Original subtitles

Taro and Su-Lee, if you wish to argue,

at least argue in English.

making people slaveries.

You are typical stupid capitalist.

Your imperial is going to be overthrown

when revolution comes.

So this

Another-- another one.

Come on, Taro and Su-Lee, it's time

you both learned to live together

in peaceful coexistence.

China always prepared to live peacefully.

Well let's make it start in the classroom, shall we?

In future, no more ideological arguments.

Now are you willing to make a truce, Taro?

Yes, um.

I apologize.

Hey, what's happening.

Taro and Su-Lee have decided to live together in harmony.

Is that like living in sin?

No, Danielle.

We are making truce-oh.

A truce-oh?

You're getting married.

When is the happy day?

Not truce-oh, truce-oh.

What Taro means is that he and Su-Lee have decided to have

no more political arguments.

In harmony, yes.

Tell me, Danielle, did you do anything

exciting over the weekend?

No.

Did you?

No.

What a pity.

You were alone, not being excited.

I was alone, not being excited.

Together, we could have both been very excited.

Yes, I'm sure we could.

Now, um--

Good evening, Mr. Brown.

Oh, Ali, what have you been doing

with yourself over the weekend?

Oh blimey.

Saturday, I'm going to the palace of Buckingham

to see Her Majesty the Queen, but she was not in.

If I'm going to drown in the street

to see the prime minister, Mr. Colorgas.

Callaghan.

Yes, please.

He was also not in.

Then I'm going to see the Nelson's tomb.

Well, I hope he was in.

Oh no, I did not see him either.

Oh, go on.

Ah, Juan--

Si, Sen r?

I've got a bone to pick with you.

Chicken bone.

No, a bone of contention.

Ah, I never heard that before.

Last week, I asked you to write

out a verb is a word that denotes an action or state,

20 times.

Ah, I write it on.

Here it is.

A verb is a word that denote an actual or state 20 times.

Yes, right.

Right.

I sometimes wonder if you're quite as stupid as you look?

Por favor?

Never mind.

Goodnight.

No, Zoltan-- good evening.

Good evening.

She teach me plenty much.

Did you have a nice weekend, Anna?

Yeah, I enjoyed myself with the fairies.

fairies?

What?

Was it the bottom of your garden?

Nine.

On the River Thames.

Oh, ferries.

Yeah, ferries.

Good evening.

Good evening,..

Been shopping, have you?

We are being on the funny fair.

And now winning these gifts on the shooting

rifles for only 20p.

Well, you must have been hitting the bull's-eye.

Oh no, I hit the owner man.

He's giving us these prizes to go away.

And we are be have ice cream and doughy nuts

and lemonade and hotty dogs.

Then we went up and down on the moon..

It's a wonder you both weren't violently sick.

- We were. - Twice.

Each.

All right.

While I'm marking the register for Miss Courtney,

would you all turn to page 27, please?

Yes, sentence construction again.

Enter.

I brought you tea.

Thank you.

Are you all right?

Would you like two tickets for the ladies circle supper dance?

Oh, I wouldn't mind.

I like dancing.

Five pounds, each.

Oh no, I'm sorry.

Well, as a committee member, I'm

supposed to sell six tickets.

Oh, well, I'm sure you'll get rid of them.

Not at that price.

It's far too expensive for a supper dance.

Well, I suppose they put on a good spread.

Oh yes.

Last year, I managed to get two sausage rolls.

Who else do you know fool enough to buy sausage

rolls at 2 pounds 50 a time?

Oh, Mr. Brown, come in.

We were just talking about you.

That will be all.

Thank you, Gladys.

Yes, all right, Miss Courtney.

Good luck.

What did she mean, good luck?

Oh, nothing at all.

Now, Mr. Brown--oh, do sit down.

Oh, I've just brought the register, actually.

Well, thank you very much, but there's no need to rush away.

Sit down.

Yeah, but my students will be waiting--

I'm sure they won't miss you for a few moments.

Would you care to join me in a cup of tea?

Yes, thank you.

Now, Gladys and I were just talking about you.

We were saying how lonely your life must be.

After all, you live alone.

There's nothing to do in the evening.

I mean, for example, what are you doing

tomorrow night after class?

Well, nothing in particular.

Oh good.

Would you care to go to a dance?

Oh, yes-- with you?

I'm afraid not, Mr. Brown.

But don't be disappointed, I shall be there,

but I already have my own escort.

No.

The Ladies Circle are holding their annual supper dance.

I happen to have two spare tickets and, of course,

I immediately thought of you.

You do dance?

Well, a little, but I know Gene Kelly.

Oh, well that's splendid.

There we are then. That's settled.

Oh, well thank you.

That's very good of you to consider me.

Oh, not at all, dear boy.

You can give me the money later.

Yes, all right.

Money?

For the tickets.

Five pounds each.

Five-- you didn't say tomorrow night, did you?

Yes.

Oh dear, what a pity.

What is it, Mr. Brown?

Well, I have to go to the launderette.

I'm down to my last clean shirt.

- How unfortunate. - Yes.

Any other night, but tomorrow, would have been fine.

Well, of course, if you do have to go to the launderette--

Oh yes, I do. I do.

Well then, we had, uh-- better forget about it.

Yes.

After all, I'm not the sort of person to, uh--

put pressure on anyone. - Oh no.

I'm sure you're not.

No point in forcing anyone to do

anything they don't want to do.

Very true.

By the way, I shall be having lunch next week with the area

education officer.

I expect he'll want to know how you are getting on.

Really?

The right work in his ear could lead to a full-time job.

Oh, well that would be marvelous.

Yes.

Pity about the tickets.

10 pounds, you said?

You've changed your mind?

How nice.

Sorry. Right.

Now pay attention.

Tonight, we are going to play a little game.

Pontoons?

No, not a card game, Max.

Hey, I know a good game--

Postman's Knockers.

No, we're not playing those sort of games,

either, Giovanni.

Now, this is a verbal exercise to help

you to improve your English and test your imagination.

Blimey, Ranjeet is not having a chance.

What we're going to do is to try to tell a continuing story.

That is to say, we could, for example,

start with, once upon a time, there was a man called,

Arthur and he was a bus driver.

And then, the next person would add

something more about Arthur and the things he did, and so on.

You'll soon pick it up, once we get started.

Well start with you, Juan.

I not know no this man, Arthur.

Arthur is fictitious.

Ha, ha.

But you say he's a bus driver.

He's make-believe.

I made him up.

Ah. Imaginario.

Yeah.

Now I want you to make up a story using your imagination.

I understand.

Once upon a times, there was a man called, Nickel-Ass.

That's not quite right.

No?

No.

Once upon a time, there was a woman called Nickel-Ass.

It's pronounced Nicholas.

It's all right.

Once upon a time, there was a man called Ni-chol-ass.

He was the poster man.

Post man.

No, no, no--

poster man.

Juan, a man who delivers letters is called a postman.

A man who stick poster--

poster man.

Ah.

Bill sticker.

No, no.

His name Ni-chol-ass.

All right.

I'm done with you.

It's all right.

All right.

Your turn, Ingrid.

Tell us more about this, uh--

Nicholas who is sticking up posters.

One man up his ladder when he sees a widow.

What is a widow doing up his ladder?

Well, the widow is in the opposite house.

There are four widows--

two upstairs widows, one downstairs

widow, and the French widow.

You mean windows.

Oh, sorry.

The man is house robbing.

Good, good, good. All right.

Your turn, Zoltan. - Please?

Yes.

Continue the story.

We are making up a story.

Understand-- story?

Story.

Ah, I know very good story about Aladdin and his wonderful limp.

This is another story about Nicholas.

Ah!

Merry Christmas.

Song from Nicholas-- comes every year.

Ah, yes.

This is another Nicholas, not St. Nicholas,

and he is on a ladder.

Ladder-- yes.

Yes, when he sees through a window a burglar, a robber.

Now use your imagination and tell us

about what happens next.

He sends for ambulance.

Why would he send for an ambulance?

He falls off ladder.

Good imagination-- no?

Yes.

Thank you.

Right, uh-- let's see what you can do with this story, Anna?

The burglar hears the ambulance,

but thinks it is the police, so he

climbs back out of the window, up the fire

escape onto the roofs.

Very good.

Max, carry on.

There is no way out.

He can't go up.

He can't go down.

Now, the only way you can go is across.

It's a big across.

So he gets ready.

He runs.

He jumps.

And he misses.

It's going to be a very short story.

Ah, no.

Now it's my turn.

He does not kill himself because he

jumps onto a big lorry full of-- how you say-- the cut grass.

Hay?

The cut grass.

Hay.

You're not hearing very well.

You are not understanding very well.

Cut grass is called hay.

Oh.

No ho, hay.

So, the hay is saving his life.

Good.

Well done, Danielle.

All right, Giovanni, your turn.

Now, the coppers are coming.

The burglar panics.

Then he sees the church, so he goes and knockers on the door.

A priest, he hear this knockery, so he

come along and open the door.

The burglar, he say, father, I am in a the big trouble.

So the priest say, come into the church, my son,

and I give you sanctuary.

OK, says the burglar, and sanctuary much.

Yes, genius.

Right.

Carry on, Ranjeet.

Meanwhile, the man who is falling off his ladders,

is telling the police that he's not a poster sticker-upper man,

but a secret agent.

And the burglar man is being a Russian spy.

Well I must say, you've all got very vivid imaginations.

Taro?

Russian spy-- no go priest-o on hay-do.

End-o, change-o clothes-o to escape-o.

The plot thickens.

Right, Jamila?

But the priest is be recover, and crawl

to be ring church bell.

Russian spy-- he see him and, bang, shoot at him.

As priest is fall, he is pull--

bell of rope-- ding, dong.

Very good.

Ali?

Yes, please.

The agent is thinking, hello, hello, that

is very strange hearing bells when

it is not church-going time.

So he is going into the church and finding the Russian-a spy

up the bell fry.

Come down with your hands stuck up.

You are caught, you dirty Russian rat?

Good. good.

Well, Su-Lee, I don't suppose there's really

much you can add to all that.

Is there?

Oh, yes I can.

Very devious Lussian agent, master of kalate,

overpowers British agent-- hi-- hi-yai!

And lands outside where helicopter

waiting to take him to safety, fries off the Reninglad.

Very good.

Well, it's not exactly Alistair MacLean,

but well done, everybody.

Excuse me, Mr. Brown, but about the dance tomorrow night.

It's black tie.

Oh dear, what a pity.

Yes, Mr. Brown.

I'll hire one.

Good.

You are dancing going?

Yes.

With Miss Courtney?

No, no, she sold me the tickets.

You have more than one ticket?

Two.

Then you must someone else take?

Yes, well that would seem to be a fairly logical assumption.

I wery much like dancing.

And me have for dancing.

I would love to be with you on the floor.

I am no can dance, but I am very happy for you

to be teach me, Masterji.

Well, what about you Su-Lee, aren't you eligible

for the other ticket, too?

Not me.

Western dancing-- decadent art form, not worthy

of consideration by Chinese Republic.

Well that narrows it down to Danielle, Anna, and Ingrid.

Excuse, please?

Why you not taking me?

I can't dance with you, Ali.

Oh no, I'm thinking, we could be

picking up a couple of nice pieces of a skirt--

one for each of us.

Well, I hardly think so, not at the Ladies Circle.

It says on the ticket it's old-time.

Now does that narrow it down any further?

Oh, but not for me, because I love to dance

in the old-fashioned way.

A medal I win, for my black bottom.

Oh blimey.

How can she be having a black bottom, when she's white?

It's a dance, Ali.

Jolly good.

Well, how about you, Anna, are you any good at old-time?

Germans are good at everything, but especially

military two-step.

Oh please, me take to dance.

He much prefer to take me.

Don't you, Mr. Brown?

Mr. Brown must decide for himself.

There is nothing to decide, Anna.

Act-- actually, I think you should decide

amongst yourselves, otherwise it might look as if I'm guilty

of favoritism.

Now it's almost tea time, so I suggest you go up to, uh--

the Canteen and decide amongst yourselves which one of you

girls is coming to the dance with me tomorrow.

All right?

Hey, aren't you going out for coffee?

- No, thank you, Gladys. - Oh.

Oh, just a minute, Gladys.

yeah?

How's your dashing white sergeant?

Oh, if you mean my old man, he's shocking.

No.

Old-time dancing.

Oh.

So she conned you into buying the tickets, then?

Blackmail would be more the right word.

Look, are you any good at old-time?

I should say so.

I was noted for me Valeta.

- Really? - Yeah.

Well in that case, you're just the woman I need.

Oh, that's nice.

Yeah.

I'm afraid my passe glissade isn't quite what it should be.

Well, I might not know the technical words,

but I could show you the steps. Come on.

Wait, now?

Yes.

You want to get it right for tomorrow night, don't you?

Um-- yes-- yes, of course.

Right. well look, you hold my hand and I'll la, la it.

Right. Are you ready?

Yes.

Go to the left, like la, la, la, la, la, la, la, la-- back--

la, la, la, la, la, la--

two this way-- la, la, la-- back--

la, la, la-- lovely-- la, la, la, la, la, la, la, la, la--

Sorry, uh-- sorry, Miss Courtney,

we were practicing the Valeta.

Well, I think I'll sit this one out, if you don't mind.

Oh.

And I'll have another cup of tea, if you don't mind, Gladys.

Uh-- certainly, Miss Courtney.

Well, Mr. Brown, who are you taking to the dance, tomorrow

night?

Well, I haven't exactly decided yet.

I don't believe it.

It's true.

Mr. Brown is taking me to the dance.

He's just asked me.

La, la, la, la, la, la, la--

Right.

Come along, everyone.

Places, please?

Well, let's ask Mr. Brown.

I do not understand you, Mr. Brown.

Me not respect.

Perhaps he has a mother complex.

Mm.

What are you all talking about?

Your choice of partners for the dance.

But I haven't chosen a partner for the dance-- for the dance.

I thought you were deciding it amongst yourselves.

We did.

Anna

Ah.

Until Gladys told us you have asked her.

Gladys?

I haven't asked Gladys.

That is what she's telling everybody.

Oh, that's ridiculous.

There's obviously been some misunderstanding.

I'm definitely taking you to the dance tomorrow night, Anna.

All right? Don't worry.

I'll sort it out with Gladys.

I'll have a word with her.

Ah!

Gladys, just the person I want.

Yes, Mr. Brown?

It's about the dance, tomorrow night.

Oh, I know what you're going to say.

- You do? - Yes, but not to worry.

He won't mind.

Who won't mind?

My old man, Wally.

He's not a bit jealous.

Now listen, Gladys, I've

got something to say to you.

Yes, and I've got something to say to you.

Well, I'll come straight to the point.

This is the most wonderful thing that's

happened to me in 40 years.

And I shall never forget tomorrow

night, as long as I live.

Oh.

Oh, I'm sorry, um-- uh-- what were you saying?

Nothing.

It--it doesn't matter.

Oh.

So you are taking Dame Gladys, then?

I don't know what I'm doing.

I hadn't the heart to tell her.

At the moment, I'm taking Gladys and Anna.

Ah, Mr. Brown, have you decided yet who you are taking

to the dance, tomorrow night?

Not exactly.

That's good, because Dr. Wilson has just telephoned.

He's unable to come.

I'm sorry, I don't understand.

Well, he was to have been my partner.

Now you can have that honor, Mr. Brown.

Congratulations, son, you just got..

la, la, la la, la, la--

Blimey,

Hey, don't you be so cheeky.

God.

You like, Sid?

Very seductive.

I borrow from Danielle.

Oh.

- Good evening, Sidney. - How do you do?

Do get up.

When Mr. Brown arrives, I wish to see him.

I'll tell him.

You're done up like a dogs dinner.

They're all here, the three of them.

I've seen them. They've arrived.

I wouldn't like to be in your shoes when they find out.

Yes, well, with a bit of luck, they won't find out.

All right.

What's all this?

You'll see.

Enter.

Mr. Brown, whatever have you done?

Oh, it's nothing really, just a slight accident,

uh-- compound fracture.

Well you can't possibly go to the dance like that.

Oh well, I couldn't let you down.

No, no, no. I insist.

I--

Oh, but I wouldn't consider it.

Oh well, if you feel like that, fine.

Oh, most certainly I do.

Oh well, that's-- that's very kind of you.

Ha.

She didn't fall for it, did she?

Absolutely.

Oh, Mr. Brown--

Mr. Brown, a compound fracture, I think you said.

Yes, yes.

Well it seems more like a movable fracture to me.

Pardon?

Well a moment ago, it was in the other leg.

Oh. um--

how do you like--

What's the matter?

Why are you dressed like that, Miss Schmidt?

Mr. Brown is taking me to the dance.

Oh, no he's not.

He's taking me.

Mr. Brown?

Oh, look, um--

calm down, everybody.

I'm sure there's a perfectly simple solution which will keep

everybody's honor satisfied.

Thank you very much, Anna.

You're velcome.

And now, take your partners for the Gay Gordons.

Oh, that's mine, I think, Mr. Brown.

And when you come to the Valeta, it's mine.

Come along, Mr. Brown, and smile.