Original subtitles

[roaring]

[MUSIC - NAT KING COLE, "MONA LISA SMILE"]

Yeah?

Do you want Mum?

Mum!

Who is it, love?

Jeannie, get inside.

Get inside.

Just let me talk to her.

You can't do this to me.

[arguing]

She don't know you, George, and she don't want to know you.

She's my daughter!

You can't do this to me!

I only came to see her.

[shouting]

No!

[arguing]

You cow!

I only came to say hello.

Cow!

[dog barking]

[laughter]

Fuck off.

Fuck off.

Are you gonna clean all that up?

[interposing voices]

Hey, hey, take it easy, boys, OK?

Hey, just let him be, all right?

The man's upset, OK?

That's the right word, George, eh, upset?

So where'd they all come from?

They live here.

Since when?

Since you went insane.

Did you get my last book?

Yeah, yeah, shouldn't have been the driver, though.

Who should it have been then?

I could pin him in the first chapter.

Well, who should it have been then?

The Chinese fellow who fed the gold fish.

You didn't write it, George.

No, no, I didn't.

But if I had I-- Christ.

You kept it.

Aye, I kept it for you.

You keep it tuned?

[whistling]

[engine starting]

["MONA LISA SMILE" PLAYING ON RADIO]

Why does she hate me, Thomas?

She doesn't.

Yes, she does.

You can never tell with women, George.

They're different.

They wear scarves and like to powder their noses.

And when they go to heaven, they get wings.

Like angels?

Aye, like angels.

Yeah, but angels are men, Thomas.

Men?

Yeah.

No one told me that.

[tires squealing]

It's true.

Angels are men.

[birds chirping]

[dog barking]

You got a big white rabbit with long, floppy ears?

No, but we have one with short ears.

Oh, what's his name?

His name is Arthur.

He's over here.

Oh, right, he'll do, yeah.

What is this, George?

It's a rabbit.

You're not gonna start all that business again, are you?

Huh?

Yeah, why not?

Look, George.

You can't go in there.

Why not?

It's different.

What, Mortwell, is he different, too?

Very different.

Ah, we'll see.

Come on, George.

You're not going in there.

I've done seven years for him, Thomas.

Listen, George.

You don't know what they're up to now.

I don't give a fuck.

Give us the rabbit. - No-- look.

Oi, what do you want it for?

I'm gonna give it to him.

It's up to you.

We're closed.

Tell him, Terry.

Yeah, we're closed, sir.

Hello, Terry.

He'll have a lettuce, and I'll have a Bloody Mary.

George.

That's right.

This is Arthur.

What are you doing here?

Looking for Mortwell, Terry.

Bit a work, you know.

What do you do now?

Whatever comes up.

Yeah, but this is a knockin' shop.

Leave your hat, George.

- So where is he? - Mortwell?

Yeah.

He's not around.

Well, he must be somewhere.

Better ask Dudley, George.

Through there?

Cheers.

[beeping]

Expecting me?

Knew I was there?

I suspected it, George.

So where is he?

Where is who?

Mortwell.

He's away, George, south of France.

He owes me, Dudley.

He said he'd look after me.

He said a lot of things, George.

Next time you see him, give him that.

Hey, George, George.

Come on.

Look, we need a driver.

I'm a driver.

Do you know what a bleeper is?

A what?

I can't understand it.

How is that little thing supposed

to go bleep wherever I am?

Well, it bounces off the post office tower, George,

miracle of modern technology.

Yeah, but it hasn't got an aerial or nothing.

Oh, it doesn't need one.

I'll show you, right?

[bleeping]

What's that?

Is that going?

No, no, that's just a test.

It's making a noise.

Don't knock about, for Christ's sake. [inaudible]

Bet you buggered it.

What do you think?

Well, what do you do, melt it down and eat?

No, they're ornamental, George.

Ornamental spaghetti?

Right, I reckon it'll go about.

Where'd you get it?

Contacts, George, can't find plastic spaghetti

just anywhere.

Ah, I don't suppose too many people make it, do they?

Aye, well, the Japanese have cornered the market.

Do you fancy a fiberglass fruit fly

or a polystyrene tutti-frutti?

Fancy a cup of tea?

What's it made of?

Leaves.

[train rumbling]

[loud beeping]

[honking]

[women speaking french]

[piano playing]

MAN (ON PA): Paging Mr. Carrington,

paging Mr. Carrington.

Where's the bar?

Take a seat, sir, and I'll take your order.

MAN (ON PA): Paging Mr. Carrington.

Thank you, sir.

Doing business?

Darling, sorry I'm late.

For fuck's sake.

What do you think this is, the Honeymoon hotel?

Look, do you have business in this hotel,

or can I really help you?

Where's your car?

Over there.

Pretend you know me, would you?

I don't know you, do I?

[inaudible]

I beg your pardon.

Not the back, the front-- so where did they get you from?

Under a cabbage leaf.

I can hardly work in these places.

The bar boy turns a blind eye, but the manager doesn't.

You gonna tell me where you want to go?

The Lambert.

[tires squealing]

Jesus.

Sorry.

Didn't they tell you that?

You are to be my date, not my minicab driver.

[honking]

What does your date do?

He looks after me, you dingbat.

There are men who want to see me.

What have you done?

He pretends.

How do you pretend?

Christ, who sent you?

Does it matter?

You're the charm, darling.

Just shut up and drive, would you?

Oh, can I have a long Bloody Mary?

I'm sitting here, all right?

Hey, did you hear me?

Are you serving here or just wearing in a new pair of shoes?

Oi.

Want a drink?

They don't seem to serve you here.

I've done it wrong again, haven't I?

OK, I've got it wrong.

That's-- oof.

What do you expect?

I'm not used to working in piss holes like this.

[CLASSICAL MUSIC PLAYING ON RADIO]

That was quick.

You were asleep.

Was I?

How was he?

I beg your pardon?

How was the Arab?

None of your business.

Huh, all right, where to?

King's Cross.

[women laughing]

[non-english speech]

Hello.

Like a chocolate sandwich?

Goddamn market, isn't it?

Shut up.

Drive on, please.

Hey, don't go, mate.

And now?

You leave me here.

Goodnight, then.

You'll have to get yourself some clothes.

Why will I have to get myself some clothes?

If you're to drive me, here, you this.

I'm not having you paying me.

Why not?

You don't even like me.

I can claim it.

Goodnight.

Is this real?

Aye, of course.

Got a present for you.

All right, is it good?

It's brilliant.

Yeah?

Aye.

Somebody's murdering opera singers, right?

Right.

And after every murder, they'll leave a Percheron.

What's a Percheron?

A kind of horse.

Isn't it-- you mean like a white

horse that pulls a milk cart?

Aye, that kind of thing.

All right, and?

Well, then it gets complicated.

It might just spoil it for you.

Oh.

[laughter]

[chatter]

Christ.

What do you think?

Jesus.

You don't like them?

Do you?

Well, I bought them, didn't I?

You bought them all right.

Here, here's your change.

Not here, for Jesus' sake.

You're as much cover as a pair of fishnet tights.

I may as well be wearing a sign around my neck.

Oh, all you're missing is the gold medallion.

I don't like them either.

Fucking [inaudible].

Right, see, I'm cheap.

I can't help it.

God made me that way.

Being cheap is one thing.

Looking cheap is another.

That really takes talent.

Some women are whores.

Some whores are black.

You take what you're given, don't you?

I didn't ask to drive you around.

I was given you, same as you was given me.

The only difference is you complain, and I don't.

["MONA LISA SMILE" PLAYING ON RADIO]

- Turn it off. - No.

You heard me.

Turn it off.

Look, you asked me to buy clothes, and I bought them.

But you make remarks.

Didn't anybody ever teach you matters?

Do you want to work for me?

No.

[tires squealing]

[honking]

Get out.

Get fucking out, lady.

Now tell me I'm fired.

All right, you're fired.

Lovely, I'm fired, and you're street walking.

[honking]

Fuck off.

You swine.

[honking]

Go screw yourself.

[man yelling]

- Hey. - Piss off.

Look, come on.

Come on.

You can't stand in the middle of the road.

You're gonna get run over.

Come on, please.

Please, I-- I'm sorry.

I've wasted your money.

I look ridiculous.

I'm sorry.

You don't look that bad.

Well, bad enough.

Get in the car, huh, madam.

We're late.

All right, all right, I'm-- I'm sorry.

We're gonna get run over here.

Where do you want to go?

Up to Highbridge.

[music playing quietly]

Madam thought you might like some refreshments.

Oh, thank you very much.

Will she be long?

No more than usual, sir.

Right, cheers.

[humming]

[bell ringing]

See you next Friday.

Uh, who do I give this to?

To me.

Thank you.

Thanks a lot.

See ya.

He took his time.

What, did he fall asleep halfway through?

Well, you never know with these darkies, do you?

Oh, I'm sorry.

Well, I told you I was cheap, didn't I?

Very.

Much obliged.

Where to now?

King's Cross.

Back to the meat rack, your wish is my command.

[music playing]

Jesus, they're so young.

Hey, tell me something.

What?

Do they ever want you back?

Who?

Your clients.

Always.

What, they-- they fall-- fall in love with you?

Well, do they?

Sometimes they fall for what they think I am.

What do I think you are?

You think black whore.

Did I say that?

What do you think then?

Well, you ain't no night nurse.

I ain't no night nurse.

Let's say you're a lady.

Why, thank you.

So what about this job then?

Well, it's nothing.

It's just driving really.

Yeah, driving who?

A tall, thin, black tart, I could write a book about it.

Too many T's.

No, no, he comes out of nick, and they owe him one.

And they give him a job driving a tall, thin, black tart.

And she fucking hates him, treats him like a doorman.

And he hates her.

Well, kind of.

You mean, he likes her?

He don't even know her, does he?

[beeping]

She's early.

You look better in the daytime.

Yeah, and so do you.

Where do you want to go?

Down here.

What, you wanna walk?

Yes, it's good for you.

A bit early, you know.

I know, but the early bird catches the worm.

Clever little birds.

In here?

Yes.

You got business here?

Yes.

That's nice.

They're pure silk.

These.

Do you-- do you like men's clothes?

Sometimes, how about a pinstripe?

It's classy.

Herringbone?

Look at that.

Here, look.

Eh?

It's lovely.

What do you think?

What do you want to wear men's clothes for?

I don't.

It's for you.

For me?

Yeah, try it.

You can't dress me.

Yes, I can.

Try it.

[inaudible]

If you want to work for me, you dress yourself.

I said no.

Take the fucking thing, will you?

Look at it.

Are you serious?

Yes, please.

I may as well then, mayn't I?

Yeah, you may as well.

What do you think?

It's lovely.

Yeah, it's lovely.

Thank you.

There was this frog, and no one wanted to kiss him.

Why not?

Well, he was a frog, wasn't he?

You know the story, don't you?

Yeah, he turns into a prince.

Yeah, and then they--

20 minutes.

Right.

A Bloody Mary, is it, sir?

No, I'd like a pot of tea, please.

Earl Grey or Lapsang Souchong?

No, tea.

Very good, sir.

Thank you.

Good evening, sir.

May I see your invitation?

Denny, Denny, that's all right.

Denny.

Jesus Christ, George.

What am I doing here, right?

I didn't say that.

I'm sorry.

Don't be sorry.

It's bad to be sorry.

Hello, mate.

Hello.

Raschid, this is, uh, George.

Of course, we have met.

How'd you get on the other night?

Did she go--

Come on, George.

Sorry, but I've been trying to contact you.

Wasn't Dudley looking after you?

Oh, yeah, yeah, he is.

But, I mean, there's nothing like the personal touch,

is there? Seven years--

This isn't the time.

This is business, George.

Well, we've got a lot to talk about.

So we have.

I'll ring you.

Promise?

I promise.

Did you get the rabbit?

Good?

What do you mean?

Well, I mean the, uh, you know.

All right?

What is wrong with you?

I don't know.

What's-- what's wrong with me, eh?

[whistling]

[clicking tongue]

Ooh, come on, sweetheart.

You want to try me, baby?

Ooh, she's pretty.

Stop here.

Hey, mate, you as fast as your car?

Maybe he's [inaudible], eh?

I've got a daughter that age.

She's not out there.

Jesus, I hope not.

[woman calling out]

Hey, should we go?

Shh.

[woman laughing]

You want some?

I'm good.

I do French, twosomes.

I'm very good.

Oh, go home to your mum, will you?

I know your type.

You want it, but you won't pay for it, will you?

I've seen you before. You're--

Go on.

Piss off.

Up yours.

Is he at you, Rosie?

I'll fix the bastard.

You don't want her, you fuck off, mate.

And you take your fucking motor with you.

You, what did you do?

Drive.

John, come on. Drive.

If Anderson finds you, he'll cut your face off.

Drive, would you?

You nigger--

Watch your fucking language.

Stop it, John.

Get fucking out of here.

[shouting]

[screaming]

[angry shouting]

So tell me, what was that all about?

Well, come on.

Not here, come on inside.

Where did you learn to do that?

Picked it up along the way.

How do you know him?

Like you, along the way.

I used to work that street.

[water pouring]

Who's Anderson?

Anderson?

Yeah.

Anderson is a ponce, a pimp.

Your ponce?

An animal born in a butcher shop.

But have you got a ponce now?

No, got you.

Did he knock you about?

He used to adjust my face, yes.

Why didn't you leave?

-

He told me he'd cut me up.

Then he'd tell me I was wonderful.

What, in the same breath?

Yeah.

That's what a ponce does.

He drives flashy cars and lives in a room

with a parrafin heater.

Had a friend then.

He ran the two of us.

She was younger than me, beautiful.

She had a habit, and that's why I stayed.

One day, I couldn't take it any longer.

Met a man with a gold ring who took me to Brighton.

When I woke up, he was gone.

I didn't mind.

I saw the sea outside.

Met another on the pier, and that paid the hotel bill.

Stayed the whole summer, even managed to save.

I came back to London, met the man with the gold ring

again, learned about the West End hotels

then and a different world.

I took a taxi around that street to look for Cath,

but she was gone.

If you last a year and a half on that street, you're lucky.

I was lucky.

I got out.

Cathy, her name's Cathy.

Uh-huh.

She's a Londoner.

She has a tattoo on her hand, there.

I promised I'd look after her.

Things can happen out there.

Out where?

On the streets, in the clubs, I can't I down, but you could.

I'll pay you.

How?

Any way I can.

I want to find her.

You know the way it is.

Yeah.

You're a good man, Mr. George.

How can you tell?

I can tell.

Will you think about it?

Yeah, I'll think about it.

Promise?

Promise.

Goodnight, Mr. George.

Goodnight.

Thanks for the drink.

Turn the lights out.

What do you think?

What happened to the spaghetti?

Went like hotcakes.

What are you gonna do with that?

I'm working on that.

You're mad.

You think so?

Of course, I do.

Christ, what's happened to you, George?

I've grown up, Thomas.

Time to look like other people.

You'll never look like other people, George.

Fuck, is that true?

Well, she don't think so.

Aye, what's she up to?

She's not up to anything.

She's a friend of mine.

She's got to be up to something, George.

What do you think this lot costs?

Well, she's a woman of substance.

She's a lady.

I thought you said she was a tart, a tall, thin, black tart.

Well, maybe, but she's still a fucking lady.

Sorry about the language

Nice car, can I get in then?

Come on.

Boys are jealous.

They friends of yours?

- Sort of. - Come on.

Get in.

You made a right mess up that day, Dad.

Yeah, I know.

I'm sorry.

So you should be.

What did your mum say?

She don't talk about it.

Never?

Dad, why did you leave?

Did she tell you?

No.

Well, I'm not gonna tell you, either.

Go on, please.

Oh, I was a bad lot.

I'll tell you someday.

Are you still a bad lot?

It's not up to me to say, is it?

[music playing]

A regular couple.

Yes, dear, sit down.

He's lonely.

Oh, wait a minute.

That's it.

Gotta look our best.

[music - genesis, "in too deep"]

Have you got your ticket?

Yeah, yeah.

Drink?

No, no thanks.

Look, if you've got a ticket, then

you've got to have a drink.

Where?

Over here.

How much is that?

5 pounds.

What, after the 3 pound I just paid to get in?

I don't make the rules.

Do you want someone to join you?

Have you got any blondes?

What do you think?

Very nice.

Any chance of a cup of tea?

Piss off.

Don't worry.

It's disinfectant.

George, I didn't know you were kinky.

I'm not.

What are you doing here then?

Looking for a girl.

Oh, yeah?

No, no, not that kind of girl, she's

a young girl called Cath--

Oh, young, eh?

Yeah.

Blonde?

Yeah, she's blonde.

And she's got, um, she's got a little tattoo there.

Hmm, young, blonde Cathy.

Yeah, that's right.

Come back in a couple of hours, George.

What, here?

No, the Go-Go.

See what I can do for you.

All right, thanks, Terry.

See ya, a couple of hours.

You want to do anything?

No, I don't want to.

I'm just coming to see a mate.

Terry, you know him?

Oh, here he is.

Hello, George.

Have you had any luck?

Yeah, I've found her for you.

You have, who, Cathy?

Yeah, the blonde.

Yeah, what, her?

No, no, the young one.

Yeah?

I'm a bit surprised, though, George.

Why?

She's very young.

Hey, look, love.

Do me a favor.

Go away, will you?

Leave me alone.

Well, you know the way it is.

Yeah, I know how it is, George.

Tim will take you up there, all right?

Tim.

Been busy?

Yeah.

Tourists?

Yeah, the Japanese.

Ah.

Cathy, 20 minutes.

Hello.

My name's Cathy.

What's yours?

George.

Don't you want to come and sit down next to me, George?

Where you from, love?

I'm from here.

Now, listen. Listen.

Don't. Don't.

Don't.

You need to tell me what you want.

Yeah, well, I want-- I want to talk.

Shh, he's listening.

He'll be angry if you don't come out happy.

But I am happy.

He thinks I'm no good.

But I am good, aren't I, George?

Yeah, yeah, you're-- yeah, you're very good, wonderful.

Doesn't mean you can't talk, though, does it?

Where'd you get these bruises?

I told you, he gets angry.

Where are you from, love?

I'm from Ireland.

Oh, shit, no, no, no, look.

No, no, look.

It's-- it's no good.

I'm looking for someone else.

Don't say that, George.

Please, don't say that.

What do you-- what do you mean, you mean he'll hit you?

Mm-hmm.

Look, he won't hit you again, Cathy.

Not if you're happy, he won't.

I told you, I am happy.

Well, tell him that, George.

Please, tell him that.

All right, all right, I'll tell him.

Promise?

I promise.

Happy?

Yeah.

40.

Yeah.

She's a good girl, Cathy.

Yes, very good.

Come by any time.

She'll be here.

Yes, I will.

I promise.

Just ask for me.

And you are?

Smith, Mr. Smith.

Mr. Smith.

I went to those clubs, like you said.

SIMONE: And?

And I met a girl about 15 years of age

with bruises all over her face.

She said she wanted to make me happy.

What was her name?

Nah, she was the wrong girl.

Is that what you say, I'm gonna make you happy?

Sometimes.

Why am I doing this?

So what happened to the dwarf after he run off with the, uh--

The Percheron?

Yeah, yeah, sorry.

Well, he goes back to the psychiatrist's office.

What, the horse does?

No, no, the dwarf, he's got an obsession, right?

And just as he's leaving the office--

Another murder.

How did you know that?

I'm good at these things.

Don't tell me.

It was the lawyer's wife.

No, no, it was the horse.

What, the horse did the murder,

murdered the lawyer's wife?

Not the fucking lawyer's wife, the horse,

the horse was the victim, right?

It was the horse that got murdered.

What, with an ice pick?

Yeah, that would be good.

I like that.

Anyway, listen.

What?

What about this tall, thin, black story?

Ah, well he got it wrong, the fella did.

Actually, she's a nun in disguise.

What kind of nun?

A sister of mercy, you know, those that

wear the big white bonnets.

Aye, with the big thingies on it.

Yeah.

She doesn't wear this the whole time, though.

Well, she can't, can she?

She's on the game.

It would look a bit funny, wouldn't it,

and spoil the point of the exercise.

How?

She wouldn't be in disguise then, would she?

Well, that's nuns for you.

Will you tell him George is here, please?

All right.

Hello.

There's a Mr. George down here for Mr. Mortwell.

Yeah, that's OK.

Bye.

Hi, George.

Hi, Denny.

How's the missus?

Don't see her any.

Oh, the kid then?

She's fine.

It's my birthday today.

Yeah?

You know that?

My fucking birthday.

Well, happy birthday.

Thank you very much, George, through here.

Aren't you going to ask me what age?

What age are you?

52, George, and you?

Well, it's not my birthday, is it?

No, it's not your birthday, is it?

Do you know what I think?

What do you think?

I think that you think I left you in the shit.

Well, you did, didn't you?

Kind of.

Have a drink anyway, George.

Life goes on happening.

We can't control it.

We can only swim in it.

So what happens when you can't swim?

You get water on the brain, George.

But that can't be good.

And do you know what happens then, George?

What happens?

You get confused, and always with little things.

You know the little things.

What little things?

Do you, or do you not, get confused?

Yeah, I get confused.

You still get confused?

Yes, I get confused.

Great, great, well, at least now you know.

You do know it, don't you, George?

All right, now I know.

Well, that's something.

Eh?

Because do you know what I'm good at, George?

What?

I'm good at the little things, the little things

that mean everything, the things that you forget, George.

I've got a family of my own now, and it's all perfectly legal.

And it's all through the little things.

And you're part of that family, George,

one of my favorite parts.

I'm glad, Denny.

I'm happy that you're glad, George.

Want another drink?

No, so what's it's all about?

What am I doing here?

You're being happy.

That's what it's all about.

You come out.

I wasn't here.

Now I'm here.

I want you to know that I know that.

That girl who sees the Arab--

Every night.

You ask her what she does.

What do you mean, what she does?

I mean, what she does, what he pays her for.

Well, why me?

Because you're the driver, George.

You should notice these things, the little things.

The business is different, but the rules are still the same.

I mean, I can't ask her that.

She tells you, truthfully, mind, that's important.

You tell me, and I'll be happy.

You didn't like me, did you?

Well--

Don't-- don't worry.

Everyone hates me once in a while.

But it's important to me, George, that your happy.

Well, I'm happy.

Good, good.

You better go now.

Will you pick me up again?

You mum won't like it.

We can keep it a secret then or something, all right?

Promise.

Maybe.

Can you do tricks?

What kind of tricks?

I don't know, any sort of tricks.

Dads are meant to do tricks, aren't they?

How about that?

That's a good trick.

See you later, Dad.

Bye.

Bye.

[music playing]

Do you want to do it in the road, or what?

You're out early.

I do the rush hour.

You-- you told him, didn't you?

Told him what?

You know what.

You told him I was not fucking good.

That's what, bastard.

Oi, oi, come here.

Fuck off, you.

But I didn't tell him.

Why should I?

Honestly.

I said, fuck off.

Come here.

Listen, Tommy come here.

Come here.

Get off of me, will you?

Get off of me.

[arguing]

Shut up.

What did he do?

What do you think he fucking did?

He-- he beat me up.

And he-- he took all my stuff.

And you told him, didn't you?

You fucking told him.

I told him I was happy.

That's all.

I promise you.

Look, come on, love.

Buy you a cup of tea, eh?

No, get me an ice cream.

Yeah, yeah, all right.

What do you want?

Uh, Knickerbocker Glory.

And a tea.

Used to eat them all the time when I was first down here.

Thought I was pregnant.

Was you?

You're kidding.

How old are you?

17.

You're not, are you?

Well, what am I then?

You're 15, ain't ya?

OK, I'm 15.

Jesus Christ.

And a half.

Where'd you get that?

From a man like you.

[clicking]

So what do you want then?

I just want to talk.

You mean talk dirty?

No, I just want to talk.

Well, how did you know where to find me?

I didn't know where to find you.

I wasn't looking for you.

I was looking for somebody else.

Well, that's not very nice, is it?

So I wasn't any good the other night then?

You weren't what?

Oh, shit, look.

I'm looking for a young girl, just like you, who's

called Cathy, just like you.

Yeah, but my name's May.

You told me your name was Cathy.

Yeah, well, I say whatever you want me to, don't I?

Stop doing that, will you?

What were you doing there?

What do you think I was doing?

I'm a working woman, aren't I?

I can't live on fresh air.

Are you gonna pay me?

Shut up.

I only want to talk.

Yeah, well, it all adds up, doesn't it?

I mean, it's my valuable time you're taking up.

It costs.

All right, all right, I'll pay you.

You're sure you didn't tell him?

I cross my heart.

I believe you.

There's my ice cream.

That's 1.35, please.

Thank you very much, guv.

Ta.

What are you doing?

Where are you going?

You haven't finished your ice cream.

Get out of that car, you silly cow.

Do you want to get yourself beaten up again?

What do you do with him?

With who?

Harry Ben-Turban, your Arab, you know.

I drink tea.

Now, don't lie.

What is this, George?

I've been asked to find out.

Who asked you?

Your boss.

I don't have a boss.

Yes, you do.

He's my boss, too, Mortwell.

Tell him I drink tea.

Master wished you to have them, sir.

[music playing quietly on radio]

From the man.

Yeah, take them through there, out the back there.

SHOPKEEPER: [inaudible] Any idea?

No, no, I have no idea.

What's that?

You interested in that one?

How much?

Ah, take it.

You're family, aren't you?

Yeah, yeah, I suppose I am.

Could I get out this way?

Yeah, it's just around the back there.

[phone ringing]

Hello.

[music playing]

What'd you get?

Nothing.

Nothing?

Yeah, nothing.

What do you mean, nothing?

I mean, nothing, Denny, the opposite of something.

They drink tea.

She's lying.

Well, why would she know?

I don't know.

You find out.

How am I gonna find out?

Well, take a picture.

Climb a drain pipe.

Find out.

I've-- I've, uh, I've got a picture.

You trying to be funny, George?

I told you, Denny.

She drinks tea.

You are funny, Georgy.

Yeah, I am, yeah.

Get something better.

What do you mean, better?

I mean, dirty, nasty, slimy, kinky.

I don't want to know anything about tea.

All right, then, George?

What does Mortwell want?

He wants to win friends and influence people.

How does he do that?

Through girls like me.

Could I come up?

I've got something to show you.

What?

I'll show you upstairs.

I do deliveries when I'm not poncing for you.

You're not poncing for me.

Well, what is it then?

What kind of deliveries?

That kind.

Turn it off.

Fuck you, you bastard.

Who is he?

What does it matter who it is?

It's me and a piece of meat.

Just tell me his name.

Anderson.

That's Anderson?

Jesus, why am I doing this?

Because I asked you, because you like me.

You fancy me.

But having me is nothing, George.

Any prick can have me.

Shut up.

I'm screwed by old men so fat, I

have to lift myself onto them.

Don't hit me, George.

Nobody hits me.

They can have me, but they can't hit me.

That fucker did, every day, every hour of every day,

whenever he had a spar minute.

[sobbing]

Oh, I'm sorry.

You don't understand, do you?

No, I don't understand.

What don't I understand?

There are people out there who like this kind of thing

and pay him to get it for them.

If he has Cathy, anyone can have her, for whatever they want.

I thought that was the idea?

I mean anyone, any sadistic bastard who likes little girls,

George.

[music playing on radio]

[women calling out]

Channel 4, is it?

Couldn't finish the book, and you're watching this crap?

[sighing]

You used to be my hero, George.

What's happening?

Don't worry about me.

Aye, well--

Can you get your hero a gun, Thomas?

What for?

Remember the horse that was murdered?

Yeah.

I did it, and the lawyer's wife was really upset.

You're not joking, are you?

When did I ever joke?

You used to tell that one about the randy gorilla.

Yeah, but no one ever laughed, though, did they?

It's the way you tell them.

[train rumbling]

[vendors shouting]

You a member?

No.

320, please.

Thank you.

[dramatic music playing]

MORTWELL: This is very good for stress, you know,

very relaxing.

So this woman says to her husband,

she says, I'm leaving you.

He says, oh, please, darling, don't leave me.

I'll buy you a mink coat.

She says, I don't want one. I'm leaving you.

He says, please, don't leave me.

He says, I'll buy you a diamond necklace.

She says, I don't want one.

He says, I'll buy you a villa in the south of France.

She says, I don't want one.

He says, well, what do you want?

She says, I want a divorce.

He says, I wasn't thinking of spending that kind of money.

[laughter]

He wants the blonde kid again.

MORTWELL: Sure, take him up.

Sure, where?

MORTWELL: Number 9 around 12 o'clock.

OK.

[dramatic music playing]

[honking]

[tires squealing]

Shit.

Come on.

Do you want to put that cigarette out?

Why?

You're in a church.

Are you a priest?

What's your name?

Mary.

Is that better?

What's your name, Father?

George.

Father George.

MAN: Yes, ah, who is this?

[knocking]

Uh--

Simone?

Jesus Christ.

[muffled talking]

Get out of here.

Shut up, you fucking pervert.

This is a private room.

What in the bleeding hell is going on here?

Get out, George.

Get out. - What do you mean, get out?

He's tied you to the bleeding bed.

Give him his glasses.

You said you were respectable.

I am fucking respectable.

You bloody bitch, you.

You watch your fucking language.

George, George. [arguing]

What's the matter with you?

Stop it, George.

George.

George!

You'd have done well in fucking Auschwitz, you old git.

What in the bleeding hell is this?

You do this all the time, do you?

What made you come here, curiosity?

I found her.

Where?

Put your clothes on.

Make yourself respectable.

Where is she?

She's with your mate.

Just a minute, just a minute, what the hell is going on here?

[arguing]

Don't touch me.

I want to look in your bag and see what you've got in there.

All right, all right.

Jesus. [arguing]

You fucking--

Get out of here.

Hey, call the police, please, Stephanie.

My

Jesus, what was that?

Mace.

What?

Mace.

Christ, you don't need anybody, do you?

I do.

I need you.

So where is she?

She's with your friend, Anderson.

You've seen her?

In a church, what's he meeting her in a church for?

It's the one place no one ever goes.

So where do you want to go?

Home.

It's all right.

Don't worry.

Are you rushing off?

Where am I gonna rush to?

Come on up, then.

Haven't you someone to rush to?

You know, I haven't.

Everyone should have.

Well, you haven't.

I'm different.

How?

How are you different?

I'm the girl they rush home from.

Simone.

Simone!

[screaming]

[dramatic music playing]

My fucking arm.

[screaming and shouting]

Push the button.

Oh, are you all right?

Yeah.

Jesus, you know some nice people.

He know where I live, George.

He knows where I live!

Calm down.

Get your keys out.

Come on.

Do us a favor.

Scratch my nose.

You're good at this, too, eh?

Yeah, I'm good at most things.

Think he'll be back?

I don't want to think about it.

You better come and stay with me.

Where is this?

My friend Thomas's place, he likes detective stories.

Don't you, Thomas, eh?

Don't worry.

The dwarf did it again.

What dwarf?

There's a dwarf who's been murdering opera singers.

Why don't you tell her?

Aye, that's right.

Apparently, this dwarf's been bumping off--

Oh, sorry, I didn't introduce you.

Thomas, this is Simone.

How do you do, Simone?

Pleased to meet you, Thomas.

Oh, excuse the hands, eh?

No problem.

What a bloody mess, just move them

carburetors and have a seat.

[dramatic music playing]

[opera playing on stereo]

Didn't you like that?

No, you didn't, did you?

You're the priest.

That's right, Father George.

Well, you weren't meant to.

Where's your clothes?

Why are you here?

Simone sent me.

Remember Simone?

Come on.

Get on my back.

What did you do to her, eh?

What'd you do to her?

Nothing.

Don't worry, sir.

I'll take care of it for you.

[dramatic music playing]

(SINGING) Wind came out and blew them in again.

BOTH: (SINGING) Poor old Michael Finnegan.

(SINGING) Begin again.

There was an old man called Michael Finnegan.

He grew whiskers--

Do you know any other songs?

(SINGING) There was an old man called Michael Finnegan.

BOTH: (SINGING) He grew whiskers on his chin again.

Want a cup of tea?

Come on.

Come on.

Do you like ice cream?

It's the only thing I can eat.

What do you mean?

You know.

No, I don't know.

I can't take food anymore, real food.

Well, what can you take?

You don't know anything, do you?

No, no, I don't know anything.

Well, I don't mean to be rude.

I like you.

Oh, I'm glad.

Do you like me?

I don't know you, do I?

She likes me.

She really likes me.

I'll, uh, I'll wait out here, all right?

Thanks, George.

You like her, don't you?

Yeah.

You?

I don't know her, do I?

Let's face it.

You're not a very good bet, though, are you, George?

Uh-huh.

THOMAS: So what was the story then?

Complicated.

More complicated than the story about the horse?

Much more.

I'd better be getting back then.

What do you think?

Yeah, yeah.

You're gonna be all right then, eh?

Yeah, yeah, yeah.

[honking]

[whinnying]

[honking]

[tires squealing]

Where is she?

Here.

Who is he, then?

He's a friend of mine.

The ice cream man, Mr. Whippy.

Shh.

Left your van outside, have you?

[sobbing]

What's the matter with her?

Do me a favor, would you?

Get this from a chemist.

Oh, uh, hey, listen.

You'd better have this.

Here you are.

You never know, do you?

[music playing]

[seagulls calling]

Thanks.

You brought the ice cream.

[dramatic music playing]

MAN (ON TV): What time is it?

WOMAN (ON TV): 10 minutes to 12:00.

[bells ringing on tv]

[tv playing quietly]

Is she asleep?

Yes.

Like babes in the wood.

I like the seaside.

I've always liked the seaside.

Do you like the seaside?

Come for a walk on the pier.

[seagulls calling]

Did you used to do this walk?

Every day.

With your gentlemen?

Sometimes.

[carnival music playing]

Well, come on.

Show me the sights, eh?

Now then, did you dance with them?

Did you waltz, eh?

Did you tango?

Come on.

I'll buy you a present, eh?

Let's throw a party, shall we?

Here you are, mate.

Don't run away.

What do you think, eh?

Here, beautiful, cover those fucking eyes, eh?

Told you I was cheap, didn't I?

Seven years away, I can do with a tan.

No, come on.

Leave me--

You got a tan.

Where'd you get your tan?

Can't I have a tan?

What's wrong with me?

What's the matter?

Am I too old for you?

Am I too cheap, eh?

You know, now come on.

Just show me the sights.

You know, get me some "Brighton Rock."

That's all I want.

We're on holiday, aren't we?

We're going to have fun, like men and women do.

They have fun.

They walk arm in arm, you know.

And they all kiss.

No.

Because they love each other.

And they get married so they can love each other more

and have a little baby, only a little one.

And he fights with the fucking mother-in-law.

You know the way it is between men and fucking women, eh?

[mumbling]

Come on.

Say something.

Anything, say it.

I'm sorry.

I can't.

You're worried?

Yes.

So are you gonna tell me?

Tell you what?

As my friend Thomas would say, the whole story.

[sobbing]

You like her, don't you?

Of course I like her.

Yeah, but you like her in that special way, in the songs.

What songs?

Well, I've sold myself for a couple of dykes.

She needs me, George.

And you needed me to get her.

You ever need someone?

All the time.

George!

George!

[dramatic music playing]

Hey, come on.

[street band performing]

Where the fuck is he?

MORTWELL: Shh.

You bloody fool, George, you bloody fool.

Can't you leave it, Denny?

No, George, I can't leave it at all.

Can I, lovey?

Look at this tart.

What did you do it for, George?

I mean, look at her.

[gasping]

It's all right.

I'm not gonna hurt you.

Your pimp will do that for me.

See, I'm giving them both back to you, the two of them.

[screaming]

Don't touch me, no.

She's got a gun.

[gunshot]

[screaming]

She blew my fucking toes off, George.

SIMONE: It hurts now, doesn't it?

George! [gunshot]

It really fucking hurts.

Simone.

[cathy crying]

Hey.

Come on.

Come on.

What, hurt you, too?

You fucking cow, you fucking cow, you would have done it,

wouldn't you?

You would have done it.

I'm just another fucking bugger to you.

[sobbing]

You fucking cow.

[sobbing]

[whimpering]

[sobbing]

[dramatic music playing]

GEORGE: She was trapped.

From the first time he met her, she was

trapped, like a bird in a cage.

But he couldn't see it.

Well, he liked her too much, and he

was the sort who couldn't see what was in front of his face.

And there she was, in pain.

When you're soppy about someone, well, you can't

see things like that, can you?

And there he was, a soppy sort.

Oh, she had faith in him, and she believed in him.

And he had a lot of hoes for her.

But then there was love.

Yeah, yeah, she was in love, all right.

Uh-huh.

She really was, but not with him.

And that's the story.

That's the whole story?

Well, almost.

Hello, Dad.

Coming, hello.

How are you?

You're looking well.

[MUSIC - NAT KING COLE, "MONA LISA"]