
Browse content similar to Kinky Boots. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
This film contains some strong language. | 0:00:02 | 0:00:07 | |
SEAGULLS SQUAWK | 0:00:17 | 0:00:19 | |
LAUGHTER AND CHATTER | 0:00:28 | 0:00:31 | |
MUSIC: The Prettiest Star by David Bowie | 0:00:34 | 0:00:37 | |
# You've got everything but cold fire | 0:00:37 | 0:00:40 | |
# You will be my rest and peace, child | 0:00:40 | 0:00:44 | |
# I moved up to take a place... near you | 0:00:44 | 0:00:50 | |
# So tired | 0:00:50 | 0:00:53 | |
# It's the sky that makes you feel tried | 0:00:53 | 0:00:57 | |
# It's a trick to make you see wide | 0:00:57 | 0:01:00 | |
# It can all but break your heart | 0:01:00 | 0:01:05 | |
# In pieces | 0:01:05 | 0:01:08 | |
# Staying back in your memory | 0:01:08 | 0:01:11 | |
# Are the movies in the dark | 0:01:11 | 0:01:14 | |
# How you moved is all it takes | 0:01:16 | 0:01:19 | |
# To sing a song of when I loved | 0:01:19 | 0:01:24 | |
# The prettiest star... # | 0:01:24 | 0:01:27 | |
GUITAR SOLO | 0:01:27 | 0:01:29 | |
MUSIC STOPS | 0:01:36 | 0:01:38 | |
HE GASPS | 0:01:38 | 0:01:39 | |
Come on. | 0:01:39 | 0:01:41 | |
Come on, you stupid boy! | 0:01:54 | 0:01:56 | |
OK, now, Charlie. | 0:02:13 | 0:02:15 | |
I'm going to show you the most beautiful thing in the world. | 0:02:15 | 0:02:20 | |
-Do you know what it is? -A shoe? | 0:02:20 | 0:02:22 | |
A lot of people would say it would be an oak tree in spring. | 0:02:22 | 0:02:26 | |
-It's a shoe. -A lot of people would say a field of woodland flowers. | 0:02:26 | 0:02:31 | |
-Do you know what I think it is, Charlie? -A shoe. | 0:02:31 | 0:02:34 | |
I think it's a shoe. | 0:02:34 | 0:02:38 | |
HE CHUCKLES | 0:02:38 | 0:02:40 | |
THEY LAUGH | 0:02:54 | 0:02:57 | |
Every machine. | 0:03:08 | 0:03:10 | |
You learn how to work every machine, Charlie. | 0:03:10 | 0:03:13 | |
By the time you're old enough and married and taken over the factory, | 0:03:13 | 0:03:18 | |
believe me, first thing you'll notice about a person | 0:03:18 | 0:03:22 | |
is their shoes. | 0:03:22 | 0:03:24 | |
Come on. | 0:03:25 | 0:03:28 | |
Whoo-hoo! | 0:03:28 | 0:03:30 | |
You know, it's funny. It's always struck me that in terms of love, | 0:03:59 | 0:04:03 | |
strength and attention to detail, | 0:04:03 | 0:04:07 | |
marriage is pretty much like... | 0:04:07 | 0:04:10 | |
ALL: A pair of shoes! | 0:04:10 | 0:04:12 | |
THEY LAUGH | 0:04:12 | 0:04:13 | |
And today again, I'm not wrong. | 0:04:13 | 0:04:16 | |
HE STAMPS HIS FEET | 0:04:16 | 0:04:18 | |
They take you places perhaps you weren't expecting. | 0:04:18 | 0:04:21 | |
My son, off to London. | 0:04:23 | 0:04:26 | |
His fiancee being transferred to an even bigger estate agents. | 0:04:26 | 0:04:30 | |
And Charlie, what have you decided to try your hand at down there? | 0:04:31 | 0:04:35 | |
Marketing. | 0:04:36 | 0:04:38 | |
Marketing. | 0:04:39 | 0:04:42 | |
To my future daughter-in-law. | 0:04:44 | 0:04:46 | |
And to my wonderful son. | 0:04:49 | 0:04:51 | |
Charlie! | 0:04:55 | 0:04:56 | |
ALL: Charlie! | 0:04:56 | 0:04:58 | |
TRAIN HORN BLARES | 0:05:00 | 0:05:03 | |
PHONE RINGS | 0:05:07 | 0:05:10 | |
Ah, Mr Price. Do let me show you around. | 0:05:10 | 0:05:13 | |
This is the new layout, designed with the young couple in mind. | 0:05:13 | 0:05:17 | |
As you can see, one good-size bedroom with en-suite shower room. | 0:05:17 | 0:05:21 | |
And through here, fully furnished lounge. | 0:05:21 | 0:05:25 | |
Oh, and best of all, Mr Price, best of all... | 0:05:25 | 0:05:29 | |
DRILLING NOISE AND SIRENS WAIL | 0:05:31 | 0:05:33 | |
..the view. | 0:05:33 | 0:05:35 | |
-It's not Northampton! -It's not Northampton. -No! | 0:05:37 | 0:05:41 | |
# Not Northampton, not Northampton! | 0:05:41 | 0:05:45 | |
# We're not in Northampton any more. # | 0:05:45 | 0:05:47 | |
MOBILE RINGS | 0:05:47 | 0:05:49 | |
Oh! | 0:05:49 | 0:05:50 | |
# We're going where the sun shines brightly... # | 0:05:50 | 0:05:53 | |
-Hello? -# We're going where the sky is blue | 0:05:53 | 0:05:56 | |
# The best thing about London is... # | 0:05:56 | 0:05:58 | |
Sorry, yeah. | 0:05:58 | 0:05:59 | |
# No more bloody shoes! # | 0:05:59 | 0:06:03 | |
Yeah, this is his son. | 0:06:03 | 0:06:06 | |
MUSIC: Wild Is The Wind by Nina Simone | 0:06:06 | 0:06:09 | |
# Love me, love me, love me | 0:06:10 | 0:06:14 | |
# Say you do | 0:06:14 | 0:06:18 | |
# Let me fly away | 0:06:23 | 0:06:28 | |
# With you | 0:06:28 | 0:06:31 | |
# For my love | 0:06:32 | 0:06:35 | |
# Is like the wind | 0:06:35 | 0:06:39 | |
# And wild is the wind | 0:06:40 | 0:06:46 | |
# Give me more | 0:06:52 | 0:06:56 | |
# Than one caress | 0:06:56 | 0:07:00 | |
# Satisfy | 0:07:03 | 0:07:06 | |
# This hungriness | 0:07:06 | 0:07:11 | |
# Let the wind blow through your heart | 0:07:14 | 0:07:21 | |
# Daddy, you're spring to me | 0:07:21 | 0:07:25 | |
# All things... | 0:07:27 | 0:07:33 | |
# To me. # | 0:07:33 | 0:07:36 | |
DOOR BANGS OPEN | 0:07:49 | 0:07:50 | |
-Mr Price! He'd have been proud of you coming back, Mr Price. -Charlie. | 0:07:50 | 0:07:56 | |
Price Factory has to have a Mr Price, Mr Price. | 0:07:56 | 0:08:01 | |
George... | 0:08:03 | 0:08:05 | |
HE SIGHS | 0:08:15 | 0:08:17 | |
(Bugger!) | 0:08:27 | 0:08:29 | |
Erm,... | 0:08:42 | 0:08:44 | |
Dad always used to say that... | 0:08:45 | 0:08:47 | |
INAUDIBLE | 0:08:47 | 0:08:49 | |
MUTED LAUGHTER | 0:08:49 | 0:08:50 | |
And, in a sense... | 0:08:50 | 0:08:54 | |
INAUDIBLE | 0:08:54 | 0:08:56 | |
He hasn't pressed the button. | 0:08:57 | 0:08:59 | |
THEY CHUCKLE | 0:08:59 | 0:09:00 | |
-..my heart is... -Press the red button. | 0:09:00 | 0:09:04 | |
MICROPHONE FEEDBACK | 0:09:07 | 0:09:08 | |
THEY GROAN | 0:09:08 | 0:09:10 | |
'That was a good start(!)' | 0:09:12 | 0:09:14 | |
LAUGHTER | 0:09:14 | 0:09:15 | |
HE SIGHS | 0:09:15 | 0:09:17 | |
Right. | 0:09:17 | 0:09:19 | |
HE COUGHS | 0:09:21 | 0:09:23 | |
HE STAMPS HIS FEET | 0:09:25 | 0:09:27 | |
I'm not my dad, OK? You shouldn't expect that. | 0:09:27 | 0:09:32 | |
But I have spent my life with each one of you at some point, | 0:09:32 | 0:09:36 | |
training on these machines. | 0:09:36 | 0:09:39 | |
-I was bloody useless! -Too right. | 0:09:41 | 0:09:43 | |
THEY LAUGH | 0:09:43 | 0:09:45 | |
Thanks, Don. | 0:09:45 | 0:09:46 | |
Listen, Dad believed there would always be a place for craftsmanship. | 0:09:48 | 0:09:54 | |
Whether you realise it or not, that is what you all are... | 0:09:54 | 0:09:58 | |
craftsmen. | 0:09:58 | 0:10:01 | |
So let's make shoes! | 0:10:01 | 0:10:04 | |
THEY MUTTER | 0:10:06 | 0:10:07 | |
"Let's make shoes?!" | 0:10:07 | 0:10:09 | |
BUZZING | 0:10:09 | 0:10:11 | |
-Oh! -Oh! | 0:10:14 | 0:10:17 | |
Don't worry, love. Don't get it on your jacket. I'll get some roll. | 0:10:17 | 0:10:21 | |
Pat, what order is the company working on at the moment? | 0:10:59 | 0:11:03 | |
It's a big one, love. | 0:11:03 | 0:11:05 | |
Chambers Wholesale. Why? | 0:11:05 | 0:11:08 | |
What the hell was he playing at?! | 0:11:18 | 0:11:20 | |
I mean, why didn't he...? | 0:11:20 | 0:11:23 | |
Why did he carry on making them? | 0:11:23 | 0:11:26 | |
This happened before. | 0:11:26 | 0:11:28 | |
1992. Customer went into receivership | 0:11:28 | 0:11:32 | |
and your dad got stuck with 600 Oxfords. | 0:11:32 | 0:11:35 | |
-And? -Bill Sampson in London took 'em at cost. | 0:11:35 | 0:11:39 | |
HE SIGHS | 0:11:40 | 0:11:42 | |
Right, Pat, I'm going to London. | 0:11:45 | 0:11:48 | |
See, Harry, I just happened to find myself 1,200 pairs of brogues. | 0:11:59 | 0:12:03 | |
I know a few years back your dad took some at cost off my dad and I... | 0:12:03 | 0:12:07 | |
Yeah, but that was a few years back, Charlie. Things have changed a bit. | 0:12:07 | 0:12:11 | |
Look, I'll tell you what, I'll take 200 pairs off your hands | 0:12:11 | 0:12:16 | |
for old times' sake. Hey, and this hurts, | 0:12:16 | 0:12:19 | |
being a Forest fan, giving charity to a Northampton... | 0:12:19 | 0:12:22 | |
I mean, when I say "charity", I'm not, er,... you know... | 0:12:22 | 0:12:27 | |
Imported from Slovakia. Do you want to know how much? | 0:12:29 | 0:12:32 | |
Harry! A Price's shoe will last a man a lifetime. | 0:12:35 | 0:12:39 | |
-The poor sod who buys these will be buy new ones in ten months. -I know. | 0:12:39 | 0:12:43 | |
And isn't that great? | 0:12:43 | 0:12:45 | |
HE SIGHS | 0:12:46 | 0:12:48 | |
Spare some change, guv? | 0:12:53 | 0:12:56 | |
Here. | 0:12:57 | 0:12:59 | |
This is a Price's shoe. | 0:13:00 | 0:13:02 | |
It'll last a man a lifetime. | 0:13:02 | 0:13:05 | |
Got it in a size ten? | 0:13:07 | 0:13:09 | |
BOTTLE SMASHES | 0:13:09 | 0:13:11 | |
Slow yourself down a bit, will ya? | 0:13:11 | 0:13:14 | |
LAUGHTER | 0:13:23 | 0:13:25 | |
Come here! | 0:13:25 | 0:13:26 | |
-Come on, Princess! -Where's the fire, love? | 0:13:28 | 0:13:31 | |
HE LAUGHS | 0:13:31 | 0:13:32 | |
-Whoa! -Where do you think you're going, you silly cow?! | 0:13:32 | 0:13:36 | |
-We're not going to hurt you. -All right, lads? | 0:13:36 | 0:13:39 | |
Oof! | 0:13:40 | 0:13:41 | |
HE LAUGHS | 0:13:41 | 0:13:44 | |
Hey, easy, love, easy! | 0:13:44 | 0:13:48 | |
-We should just leave her alone now, don't you think? -Come on, then! | 0:13:48 | 0:13:53 | |
-Don't you? -What are you going to do? | 0:13:53 | 0:13:55 | |
HE LAUGHS | 0:13:58 | 0:13:59 | |
Whoa! | 0:13:59 | 0:14:01 | |
HE GROANS | 0:14:58 | 0:15:00 | |
-MAN'S VOICE: -Very sweet, you riding to my rescue. | 0:15:00 | 0:15:04 | |
Very...Prince Charming. | 0:15:04 | 0:15:08 | |
Pass me my boobs, will ya? | 0:15:08 | 0:15:10 | |
You didn't look like you needed much rescuing. | 0:15:16 | 0:15:19 | |
Well, a girl has to know how to look after herself these days. | 0:15:19 | 0:15:23 | |
-There are some very funny people out there. -Yeah. | 0:15:23 | 0:15:28 | |
-How's that wound? Let's have a look. -Get off! | 0:15:29 | 0:15:32 | |
HE LAUGHS | 0:15:32 | 0:15:34 | |
Don't flatter yourself. | 0:15:34 | 0:15:37 | |
Vodka. Helps you forget pain. | 0:15:37 | 0:15:41 | |
Well, it does me. | 0:15:41 | 0:15:44 | |
HE COUGHS | 0:15:52 | 0:15:54 | |
-Oh! -God! Clean off again! | 0:15:54 | 0:15:59 | |
Like most things in life, it cannot stand the weight of a man. | 0:15:59 | 0:16:03 | |
Here we go. Oh, God! | 0:16:04 | 0:16:07 | |
Er, hold on. | 0:16:07 | 0:16:09 | |
HE CHUCKLES | 0:16:13 | 0:16:15 | |
Oh! | 0:16:17 | 0:16:19 | |
Thank you again, Mr... Sorry to be presumptive. Are you a Mr? | 0:16:19 | 0:16:24 | |
I'm a Charlie, from Northampton. | 0:16:24 | 0:16:27 | |
Well, I rather thought you might be. | 0:16:27 | 0:16:30 | |
Hmm... | 0:16:41 | 0:16:44 | |
DISTANT CHEERING AND APPLAUSE | 0:16:46 | 0:16:49 | |
LAUGHTER | 0:16:57 | 0:17:00 | |
Hmm... | 0:17:00 | 0:17:02 | |
# Prim and proper | 0:17:09 | 0:17:12 | |
# A girl who's never been kissed | 0:17:12 | 0:17:14 | |
# I'm tired of being pure | 0:17:14 | 0:17:18 | |
# And not chased | 0:17:18 | 0:17:20 | |
# Like something that seeks its level | 0:17:20 | 0:17:24 | |
# I wanna go to the devil | 0:17:25 | 0:17:27 | |
# I wanna be evil! | 0:17:27 | 0:17:29 | |
# I wanna spit tacks | 0:17:29 | 0:17:31 | |
# I wanna be evil | 0:17:31 | 0:17:33 | |
# And cheat at jacks | 0:17:33 | 0:17:35 | |
# I wanna be wicked | 0:17:35 | 0:17:37 | |
# I wanna tell lies | 0:17:37 | 0:17:39 | |
# I wanna be mean | 0:17:39 | 0:17:41 | |
# And throw my pies | 0:17:41 | 0:17:44 | |
# I want to wake up in the morning | 0:17:44 | 0:17:46 | |
# With that dark brown taste | 0:17:46 | 0:17:48 | |
# I wanna see some dissipation in my face | 0:17:48 | 0:17:52 | |
# I wanna be evil | 0:17:52 | 0:17:54 | |
# I wanna be mad | 0:17:54 | 0:17:56 | |
# But more than that | 0:17:56 | 0:17:58 | |
# I wanna be bad | 0:17:58 | 0:18:01 | |
# I wanna be evil and trump an ace... # | 0:18:01 | 0:18:03 | |
AUDIENCE WHOOPS | 0:18:03 | 0:18:04 | |
# Just to see | 0:18:04 | 0:18:06 | |
# My partner's face | 0:18:06 | 0:18:09 | |
# I wanna be nasty | 0:18:09 | 0:18:11 | |
# I wanna be cruel | 0:18:11 | 0:18:13 | |
# I wanna be daring | 0:18:13 | 0:18:15 | |
# I wanna shoot pool | 0:18:15 | 0:18:17 | |
# And in the theatre | 0:18:17 | 0:18:20 | |
# I want to change my seat | 0:18:20 | 0:18:22 | |
# Just so I can step on everybody's feet. # | 0:18:22 | 0:18:25 | |
MACHINERY WHIRS | 0:18:27 | 0:18:29 | |
-Oh, no! -Trish, the thing is... | 0:18:44 | 0:18:47 | |
Please, please! | 0:18:47 | 0:18:49 | |
They just started school. They just started school this month, Charlie. | 0:18:49 | 0:18:53 | |
This is the uniforms, love. This is the dinners. | 0:18:53 | 0:18:57 | |
We lost the contract with Chambers, Trish. | 0:18:57 | 0:19:00 | |
-The thing is, we lost the contract with Chambers... -Actually, don't. | 0:19:00 | 0:19:05 | |
This is like apologies for your late train. It doesn't mean anything. | 0:19:05 | 0:19:10 | |
-It's not like that. -I'd rather not hear it. | 0:19:10 | 0:19:13 | |
I do mean it! | 0:19:13 | 0:19:16 | |
Bernard Caley, come up here, please. | 0:19:29 | 0:19:33 | |
This is not what I want, Bernie. | 0:19:33 | 0:19:36 | |
I don't want to be sitting here doing this, | 0:19:36 | 0:19:40 | |
but, you know, nine out of ten shoe factories are shut down. | 0:19:40 | 0:19:44 | |
What can I do? | 0:19:46 | 0:19:49 | |
I am sorry it's come to this, Anthony. | 0:19:58 | 0:20:01 | |
Daphne. Janice. | 0:20:01 | 0:20:03 | |
-Derek? -Eric. -Eric. | 0:20:03 | 0:20:06 | |
-What can I do? ..do? ..do? ..do? -Change the product. | 0:20:12 | 0:20:15 | |
-Sorry? -Like Liptons. | 0:20:15 | 0:20:18 | |
Start making equestrian boots. Browns, they're making... | 0:20:18 | 0:20:22 | |
Oh, whatever! Climbing boots. All them other sods, | 0:20:22 | 0:20:26 | |
they went looking for their niche markets. | 0:20:26 | 0:20:29 | |
They just didn't sit back in their offices going, "What can I do?!" | 0:20:29 | 0:20:33 | |
I'm sorry. | 0:20:36 | 0:20:38 | |
I was just really, really looking forward to a Chinese tonight. | 0:20:41 | 0:20:45 | |
Now I'm not sure if I can afford it. | 0:20:46 | 0:20:49 | |
In a sense, it was lucky they hadn't got round to advertising your job. | 0:21:05 | 0:21:11 | |
Yeah, lucky. | 0:21:11 | 0:21:13 | |
-Listen, Nic... -Oh, wow! | 0:21:14 | 0:21:17 | |
That's the kind of shoe, isn't it? Don't you think?! | 0:21:17 | 0:21:21 | |
-What? -For the wedding, at the altar. | 0:21:21 | 0:21:23 | |
-Is that the kind of thing you were thinking of? -Yeah. | 0:21:23 | 0:21:27 | |
On my foot. It needs to be a Jimmy Choo, doesn't it? To work... | 0:21:27 | 0:21:30 | |
-Or a Manolo. -We might have to think about the wedding, Nic. | 0:21:30 | 0:21:34 | |
-Hmm? -Not the "wedding" wedding, | 0:21:34 | 0:21:37 | |
but it doesn't have to be all live band and shoes at the altar. | 0:21:37 | 0:21:42 | |
Does it? At the end of the day, it's about the two of us, isn't it? | 0:21:42 | 0:21:48 | |
I've made 15 people redundant today, Nic. | 0:21:51 | 0:21:55 | |
GLASS BREAKS AND LAUGHTER | 0:22:17 | 0:22:20 | |
LAUGHTER | 0:22:24 | 0:22:26 | |
-Lauren. -Oh... | 0:22:45 | 0:22:47 | |
Lauren, you haven't heard what I was going to say! | 0:22:47 | 0:22:50 | |
Does it involve the words "job back"? | 0:22:50 | 0:22:54 | |
Potentially. | 0:22:54 | 0:22:55 | |
TRAIN HORN BLARES | 0:22:55 | 0:22:56 | |
CHEERING | 0:23:00 | 0:23:02 | |
OK, brace yourself. | 0:23:02 | 0:23:04 | |
Ladies, gentlemen, | 0:23:04 | 0:23:07 | |
and those who are yet to make up your mind. | 0:23:07 | 0:23:11 | |
MUSIC STARTS | 0:23:11 | 0:23:13 | |
# Whatever Lola wants | 0:23:16 | 0:23:18 | |
# Lola gets | 0:23:20 | 0:23:23 | |
# And, little man, little Lola wants you | 0:23:23 | 0:23:28 | |
-# Make up your mind to have -# Mind to have | 0:23:28 | 0:23:33 | |
-# No regrets -# No regrets | 0:23:33 | 0:23:36 | |
# Recline yourself, resign yourself, you're through | 0:23:36 | 0:23:40 | |
# I always get | 0:23:41 | 0:23:44 | |
# What I aim for | 0:23:45 | 0:23:48 | |
# And your heart and soul | 0:23:48 | 0:23:51 | |
# Is what I came for | 0:23:51 | 0:23:55 | |
-# Whatever Lola wants -# Lola wants | 0:23:55 | 0:23:59 | |
-# Lola gets -# Lola gets | 0:23:59 | 0:24:01 | |
# Take off your coat | 0:24:01 | 0:24:03 | |
-# Don't you know you can't win? -# Can't win, you'll never, never win | 0:24:03 | 0:24:08 | |
# You're no exception to the rule | 0:24:08 | 0:24:11 | |
# I'm irresistible, you fool | 0:24:11 | 0:24:14 | |
# Give in. # | 0:24:14 | 0:24:17 | |
Lola! | 0:24:24 | 0:24:27 | |
SHE LAUGHS | 0:24:28 | 0:24:31 | |
All me, sweetheart. I design everything in that club. | 0:24:39 | 0:24:42 | |
It's my costumes, my lighting, | 0:24:42 | 0:24:44 | |
my dancers, my show, love. | 0:24:44 | 0:24:47 | |
HE LAUGHS | 0:24:47 | 0:24:48 | |
I mean, it's me. Bit of a dark horse, your boyfriend. | 0:24:48 | 0:24:53 | |
Oh, he's my boss. | 0:24:53 | 0:24:55 | |
Well, he was my boss. I got laid off. | 0:24:55 | 0:24:58 | |
But now he seems to think I'm his business analyst or... | 0:24:58 | 0:25:01 | |
Excuse Charlie. We don't have many transvestites in Northampton. | 0:25:01 | 0:25:05 | |
I'm not merely a transvestite, sweetheart. | 0:25:05 | 0:25:08 | |
I'm also a drag queen. It's a simple equation. | 0:25:08 | 0:25:11 | |
A drag queen puts on a frock - looks like Kylie. | 0:25:11 | 0:25:14 | |
A transvestite puts on a frock - | 0:25:14 | 0:25:17 | |
looks like Boris Yeltsin in lipstick. | 0:25:17 | 0:25:21 | |
Ta. | 0:25:21 | 0:25:23 | |
Whatever. You're never more than ten feet away from a transvestite. | 0:25:23 | 0:25:28 | |
You made her redundant, you miserable sod! | 0:25:30 | 0:25:33 | |
-Things aren't very good in men's shoes. -No. | 0:25:34 | 0:25:37 | |
-I'm not, certainly! -Yes, precisely. | 0:25:37 | 0:25:42 | |
How much do you weigh? | 0:25:42 | 0:25:45 | |
-The right amount. How much do you drink? -Oh. | 0:25:46 | 0:25:49 | |
I mean, erm, they're women's boots, aren't they, that you buy? | 0:25:49 | 0:25:54 | |
You have to buy women's boots because you... | 0:25:54 | 0:25:58 | |
You see, the distribution of pressure in the conventional female heel | 0:26:00 | 0:26:04 | |
cannot be expected to support a man's weight | 0:26:04 | 0:26:07 | |
and if trans... | 0:26:07 | 0:26:10 | |
you know, whatevers, drag queens are everywhere, | 0:26:10 | 0:26:13 | |
like you said, then... | 0:26:13 | 0:26:15 | |
Not in a, oooh, living-dead kind of way, but... | 0:26:15 | 0:26:21 | |
Then do you think there is a niche market | 0:26:21 | 0:26:25 | |
for proper, good, decent, built-to-last boots | 0:26:25 | 0:26:30 | |
for women... | 0:26:30 | 0:26:32 | |
that are men? | 0:26:32 | 0:26:34 | |
All this way for my advice. I feel like Oprah. | 0:26:37 | 0:26:40 | |
I'd like to measure your foot, go home, make a pair. | 0:26:40 | 0:26:45 | |
HE SIGHS | 0:26:50 | 0:26:52 | |
Who gets to keep the boots? A little warning... | 0:27:14 | 0:27:18 | |
..the answer is, "You do, Lola." | 0:27:18 | 0:27:22 | |
You do, Lola. | 0:27:22 | 0:27:24 | |
Where do I can to pick it up? Price's of Northampton, is it? | 0:27:24 | 0:27:28 | |
Yeah, but I'll come to you. | 0:27:28 | 0:27:30 | |
Oh, no. As they say, a good pair of boots is worth walking for. | 0:27:30 | 0:27:34 | |
No, you see, I come here all the time and, er... | 0:27:34 | 0:27:38 | |
-I'll come to you. -Right. | 0:27:38 | 0:27:42 | |
HE COUGHS | 0:27:44 | 0:27:45 | |
Erm, look behind you. | 0:27:45 | 0:27:47 | |
What? What is it? | 0:27:47 | 0:27:49 | |
It's your niche market, Charlie. | 0:27:49 | 0:27:52 | |
Big niche. | 0:27:55 | 0:27:57 | |
Ladies, gentlemen, | 0:28:26 | 0:28:28 | |
and those of you who are yet to make up your mind, | 0:28:28 | 0:28:32 | |
our very own Lola! | 0:28:32 | 0:28:34 | |
MUSIC STARTS | 0:28:34 | 0:28:36 | |
CHEERING | 0:28:36 | 0:28:37 | |
# He walked into my life | 0:28:43 | 0:28:45 | |
# And now he's taking over | 0:28:47 | 0:28:50 | |
# And it's beautiful | 0:28:52 | 0:28:54 | |
# Mmm! | 0:28:54 | 0:28:56 | |
# Yes, it's beautiful | 0:28:56 | 0:28:59 | |
# I've gone with better-looking guys | 0:28:59 | 0:29:03 | |
# He's gone with prettier-looking girls | 0:29:04 | 0:29:08 | |
# But now we're beautiful | 0:29:09 | 0:29:11 | |
# I think we're beautiful | 0:29:12 | 0:29:15 | |
# I don't need love affairs | 0:29:17 | 0:29:20 | |
-# Any more -# Love affairs no more | 0:29:20 | 0:29:24 | |
# I don't need love affairs | 0:29:24 | 0:29:28 | |
# Any more | 0:29:28 | 0:29:30 | |
# Can't you see it's the chemistry? You really must agree | 0:29:33 | 0:29:38 | |
-# Together we are beautiful -# Beautiful | 0:29:38 | 0:29:44 | |
# We are beautiful. # | 0:29:44 | 0:29:46 | |
ZIPPER CLOSES | 0:30:07 | 0:30:09 | |
Well? | 0:30:19 | 0:30:21 | |
I was thinking, er, you should,... | 0:30:28 | 0:30:31 | |
if you haven't got anything else on, that maybe you could come back to... | 0:30:31 | 0:30:37 | |
To your house? | 0:30:39 | 0:30:42 | |
The factory. | 0:30:43 | 0:30:46 | |
I'm going to need someone on the Web to research markets | 0:30:48 | 0:30:51 | |
and...if Pat got on some of those websites, she'd have a heart attack! | 0:30:51 | 0:30:55 | |
Yeah. | 0:30:55 | 0:30:57 | |
Besides, you started it, being in that strop. | 0:30:57 | 0:31:00 | |
Oh, well, I mean, I just had the strop, Charlie. | 0:31:00 | 0:31:03 | |
You saw the idea. | 0:31:03 | 0:31:06 | |
And that is why some of us end up with our names above the factories | 0:31:06 | 0:31:10 | |
and others just on the clocking-in cards. | 0:31:10 | 0:31:13 | |
Right. | 0:31:15 | 0:31:17 | |
Well, as someone with their name on a factory, | 0:31:17 | 0:31:20 | |
can I invite you to have your name on one of my clocking-in cards? | 0:31:20 | 0:31:24 | |
CHEERING AND APPLAUSE | 0:31:28 | 0:31:30 | |
They say... Calm down. | 0:31:33 | 0:31:35 | |
Whatever life throws at you, whatever emotions you could feel, | 0:31:35 | 0:31:38 | |
somebody has written a song about it. | 0:31:38 | 0:31:41 | |
Now I hope that's true, | 0:31:41 | 0:31:43 | |
but until somebody writes a song called, No-one Stays Young Forever | 0:31:43 | 0:31:47 | |
And One Day I Hope You Get Dumped For A Younger Model, | 0:31:47 | 0:31:51 | |
-I'll just sing you Memories! -Show us your tits! | 0:31:51 | 0:31:54 | |
CHEERING | 0:31:54 | 0:31:57 | |
Certainly. Ladies and gentlemen, there they are! | 0:31:57 | 0:31:59 | |
Give them a round of applause. | 0:31:59 | 0:32:01 | |
THEY CHEER | 0:32:01 | 0:32:03 | |
Are they as wrinkly as your arms, love?! | 0:32:05 | 0:32:08 | |
THEY LAUGH | 0:32:08 | 0:32:09 | |
'Yeah, good one!' | 0:32:09 | 0:32:12 | |
I have to... I have to tell you, sweetheart, | 0:32:12 | 0:32:14 | |
my breasts are as smooth and beautiful as the day I bought them. | 0:32:14 | 0:32:19 | |
CHEERING | 0:32:19 | 0:32:20 | |
'Get yourself a refund!' | 0:32:20 | 0:32:23 | |
SHOUTING AND CHEERING | 0:32:23 | 0:32:25 | |
HE SIGHS | 0:32:25 | 0:32:27 | |
That was so bitchy, wasn't it? | 0:32:29 | 0:32:32 | |
Bastard! | 0:32:37 | 0:32:39 | |
Oh! | 0:32:39 | 0:32:41 | |
DISTANT CHATTER | 0:33:10 | 0:33:13 | |
MUSIC: In These Shoes by Kirsty MacColl | 0:33:29 | 0:33:32 | |
Aye! | 0:33:35 | 0:33:38 | |
-Forget it, Don, out of your league. -Na. | 0:33:38 | 0:33:41 | |
You seem to forget, women get turned on by the sight of the working man. | 0:33:41 | 0:33:45 | |
-Morning, Charlie! -Lola. | 0:33:55 | 0:33:58 | |
Come in. | 0:33:59 | 0:34:01 | |
Er, sorry it's a bit messy. We, erm... | 0:34:01 | 0:34:04 | |
I thought we agreed I'd come to London. | 0:34:05 | 0:34:08 | |
I have to warn you, Charlie, | 0:34:08 | 0:34:10 | |
I have a habit of doing exactly the opposite of what people want. | 0:34:10 | 0:34:14 | |
In fact, some might say that attempts to make a man out of me, | 0:34:14 | 0:34:18 | |
is exactly the reason that I now wear a frock. | 0:34:18 | 0:34:21 | |
-If, therefore, I get the feeling somebody didn't want me here... -No. | 0:34:21 | 0:34:25 | |
I can tell from years of experience when I'm being smuggled in. | 0:34:25 | 0:34:29 | |
-That's the rough-stuff room. -Is it?! -It's where we dump off-cuts | 0:34:30 | 0:34:34 | |
-and misshapes. -I wondered why I was being drawn to it. | 0:34:34 | 0:34:38 | |
-Pardon? -Nothing. | 0:34:38 | 0:34:40 | |
I'll raise that. | 0:34:40 | 0:34:42 | |
Hmm? | 0:34:48 | 0:34:50 | |
SIREN WAILS | 0:34:50 | 0:34:51 | |
Oh! | 0:34:51 | 0:34:52 | |
HE LAUGHS | 0:34:52 | 0:34:53 | |
George. | 0:34:53 | 0:34:55 | |
Listen, Mel, | 0:34:55 | 0:34:56 | |
-when it comes to attracting women, some men don't have to speak. -Ha! | 0:34:56 | 0:35:02 | |
This is cosy. | 0:35:06 | 0:35:08 | |
Here we are. | 0:35:25 | 0:35:27 | |
Well? | 0:35:36 | 0:35:38 | |
What do you think? | 0:35:47 | 0:35:49 | |
Burgundy... | 0:35:58 | 0:36:00 | |
Please, God, tell me I have not inspired something burgundy! | 0:36:01 | 0:36:06 | |
Red. | 0:36:09 | 0:36:12 | |
Red. | 0:36:14 | 0:36:16 | |
Red! | 0:36:17 | 0:36:20 | |
Red, Charlie boy! | 0:36:20 | 0:36:22 | |
PA WHINES | 0:36:22 | 0:36:23 | |
Rule one - red is the colour of sex! | 0:36:23 | 0:36:27 | |
Burgundy is the colour of hot-water bottles! Red is sex and fear | 0:36:27 | 0:36:32 | |
and danger and signs that say, "Do-not-enter"! | 0:36:32 | 0:36:37 | |
'All of my favourite things in life.' | 0:36:37 | 0:36:40 | |
-Who's that?! -He's got your new girlfriend in there. | 0:36:40 | 0:36:44 | |
-They're comfy. -Comfy?! | 0:36:44 | 0:36:46 | |
Sex shouldn't be comfy! | 0:36:46 | 0:36:49 | |
Thank God, I thought it was just me. | 0:36:49 | 0:36:52 | |
THEY LAUGH | 0:36:52 | 0:36:53 | |
I don't know what you're used to making, but now you're making sex! | 0:36:53 | 0:36:57 | |
2½ feet of irresistible, tubular sex! | 0:36:57 | 0:37:00 | |
-The heel! For God's sake! -It won't break. That's what you wanted. | 0:37:00 | 0:37:05 | |
-Not if I'm looking like a Ukrainian peasant! -It's better than... | 0:37:05 | 0:37:09 | |
You want to show your niche market a little more respect, Charlie boy. | 0:37:09 | 0:37:14 | |
-I mean, let's ask your girls. -No! | 0:37:14 | 0:37:17 | |
-Girls, would you wear this to go out? -GIRLS: No! | 0:37:17 | 0:37:20 | |
-I bet you'd look all right in them, sweetheart! -Ooh! | 0:37:20 | 0:37:24 | |
You've pulled. | 0:37:26 | 0:37:28 | |
Oh, yeah... | 0:37:32 | 0:37:35 | |
Ladies. | 0:37:37 | 0:37:39 | |
Oh... | 0:37:43 | 0:37:45 | |
-Ooh! -Well, I'm very flattered, | 0:37:53 | 0:37:56 | |
but frankly, if you can't get women to wear 'em... | 0:37:56 | 0:38:00 | |
-DEEP VOICE: -..you'll never get blokes like me to wear 'em. | 0:38:00 | 0:38:04 | |
SNIGGERING | 0:38:04 | 0:38:07 | |
Oh! | 0:38:10 | 0:38:12 | |
'Oh!' | 0:38:14 | 0:38:16 | |
-'Oh!' -Do we still have a workforce? | 0:38:16 | 0:38:19 | |
Don'll come around, once he's stopped, er... | 0:38:19 | 0:38:23 | |
DISTANT SHOUTING | 0:38:23 | 0:38:25 | |
..walking up and down, swearing. | 0:38:25 | 0:38:27 | |
-That's his problem. -No, it's our problem, Lola. This is Northampton. | 0:38:27 | 0:38:32 | |
You have no idea what it's like. It's not Soho! | 0:38:32 | 0:38:35 | |
Amen. | 0:38:35 | 0:38:37 | |
Look to the heel, young man. | 0:38:39 | 0:38:42 | |
The sex is in the heel. | 0:38:45 | 0:38:49 | |
What's that supposed to mean? | 0:38:58 | 0:39:00 | |
"Sex is in the heel." | 0:39:00 | 0:39:04 | |
Stilettos require constant balance from the upper leg, | 0:39:04 | 0:39:08 | |
causing the muscles of the backside to tense and appear pert | 0:39:08 | 0:39:12 | |
and ready for mating. | 0:39:12 | 0:39:15 | |
It's physically impossible. I mean, am I missing something? | 0:39:16 | 0:39:21 | |
To make a stiletto, something that thin, | 0:39:21 | 0:39:24 | |
-bear the weight of a man is just... -Steel shank. | 0:39:24 | 0:39:27 | |
What? | 0:39:27 | 0:39:29 | |
A steel shank cut thinly, | 0:39:29 | 0:39:32 | |
then moulded in a continuous section | 0:39:32 | 0:39:37 | |
from toe to heel, without pinning. | 0:39:37 | 0:39:39 | |
Not even Don would crush that. | 0:39:39 | 0:39:42 | |
Lola! | 0:39:45 | 0:39:48 | |
Lola, we might be able to do it. Steel shanks without underpinning. | 0:39:49 | 0:39:53 | |
We might be able to make those boots, | 0:39:53 | 0:39:56 | |
-if you were willing to... -Don would have something to say about that. | 0:39:56 | 0:40:01 | |
I gave up the provinces and I've just been reminded why. | 0:40:01 | 0:40:05 | |
Lola doesn't do North. | 0:40:05 | 0:40:07 | |
-Northampton's the Midlands. -No, Tottenham Court Road is. | 0:40:07 | 0:40:11 | |
If you'll excuse me, I have a show tonight. | 0:40:11 | 0:40:15 | |
I'm stood here trying to save a factory of four generations - | 0:40:15 | 0:40:19 | |
-my father, his father's father - -Tell me when it applies to me. | 0:40:19 | 0:40:23 | |
Now it applies to you! I'm about to take an almighty fucking gamble | 0:40:23 | 0:40:27 | |
and in one afternoon, one drawing, you've said more about boots than... | 0:40:27 | 0:40:32 | |
I just... Five weeks, Lola. That's it. | 0:40:32 | 0:40:36 | |
If I don't have a new collection for the Milan shoe fair in five weeks, | 0:40:36 | 0:40:40 | |
I'm going to have to sell the place. | 0:40:40 | 0:40:43 | |
HE SIGHS | 0:40:43 | 0:40:45 | |
All right, I'll tell you what, don't hang around. | 0:40:45 | 0:40:48 | |
It's never going to apply to you. | 0:40:48 | 0:40:50 | |
What you don't realise, Lola, | 0:40:50 | 0:40:54 | |
is this is not my world either. | 0:40:54 | 0:40:57 | |
CAR ENGINE STARTS | 0:40:59 | 0:41:01 | |
Where are you going, darling? | 0:41:02 | 0:41:05 | |
By the sound of it,... | 0:41:05 | 0:41:07 | |
..Milan. | 0:41:08 | 0:41:11 | |
THEY CHATTER | 0:41:14 | 0:41:15 | |
..A packet of satsumas. | 0:41:15 | 0:41:17 | |
I see this as a very positive step | 0:41:31 | 0:41:33 | |
for a company who spent last century making a range of shoes for men, | 0:41:33 | 0:41:37 | |
to start the next century making shoes for... | 0:41:37 | 0:41:40 | |
..a range of men. | 0:41:41 | 0:41:43 | |
Any questions? | 0:41:43 | 0:41:46 | |
DISTANT BUZZING | 0:41:51 | 0:41:53 | |
BUZZING GROWS LOUDER | 0:41:55 | 0:41:58 | |
Oh, sorry, love. Sorry. | 0:41:58 | 0:42:00 | |
-I thought you said you were going into work at nine. -No, I did. I was. | 0:42:00 | 0:42:04 | |
I am. | 0:42:04 | 0:42:06 | |
Sorry. | 0:42:06 | 0:42:09 | |
Don! | 0:42:23 | 0:42:25 | |
Have you got any toilets down here? | 0:42:38 | 0:42:41 | |
I'm afraid we've only got men's and women's. | 0:42:41 | 0:42:45 | |
Charlie, she's locked herself in the loo. | 0:42:48 | 0:42:51 | |
-What? -Come on! | 0:42:51 | 0:42:53 | |
-Right, go in there, tell her... -No, the gents' loo. | 0:42:55 | 0:42:59 | |
Right. | 0:42:59 | 0:43:01 | |
What's up, Mum? Hmm? | 0:43:02 | 0:43:06 | |
Lola, it's Charlie. | 0:43:13 | 0:43:15 | |
Are you OK? | 0:43:15 | 0:43:17 | |
-Are you ill? -Yeah, I'm sick. | 0:43:20 | 0:43:24 | |
Ask your boys. | 0:43:24 | 0:43:26 | |
Oh, is this Don? | 0:43:26 | 0:43:28 | |
HE SIGHS | 0:43:28 | 0:43:31 | |
Oh, has he nicked your dress?! | 0:43:31 | 0:43:33 | |
I came like this. | 0:43:33 | 0:43:35 | |
God! | 0:43:37 | 0:43:39 | |
Put on a frock and I can sing Stand By Your Man in front of 500 people. | 0:43:40 | 0:43:45 | |
Put on a pair of jeans and I can't even sodding well say hello. | 0:43:45 | 0:43:49 | |
I have to say, | 0:43:50 | 0:43:52 | |
I was going to suggest dressing down. | 0:43:52 | 0:43:55 | |
Well, thank you for your concern. | 0:43:59 | 0:44:02 | |
THEY MUTTER | 0:44:06 | 0:44:08 | |
-Sh. -'Come on, tell me.' | 0:44:08 | 0:44:11 | |
-Boxer. -Get out of here! -I'm serious. | 0:44:11 | 0:44:15 | |
Yeah, he had me doing training, weights... | 0:44:15 | 0:44:18 | |
I could bench-press 93 kilos. | 0:44:18 | 0:44:21 | |
I owe all my spectacular muscle definition to my father. | 0:44:21 | 0:44:25 | |
And he never... The wearing frocks... | 0:44:25 | 0:44:28 | |
He wasn't stupid. | 0:44:28 | 0:44:30 | |
He knew there'd be very few | 0:44:30 | 0:44:32 | |
cross-dressing heavyweight champions of the world. | 0:44:32 | 0:44:36 | |
No, he disowned me. | 0:44:37 | 0:44:41 | |
Wouldn't see me. | 0:44:42 | 0:44:44 | |
Even when he got lung cancer, he wouldn't. | 0:44:49 | 0:44:52 | |
It's ironic, really. | 0:44:57 | 0:45:00 | |
Fags got him in the end. | 0:45:03 | 0:45:05 | |
HE LAUGHS | 0:45:05 | 0:45:08 | |
IMITATES DRUM ROLL | 0:45:08 | 0:45:10 | |
THEY MUTTER | 0:45:10 | 0:45:12 | |
I mean, that's what it was all about - fitting in, | 0:45:12 | 0:45:16 | |
melding in, not standing out. | 0:45:16 | 0:45:20 | |
As far as he was concerned, if you're big, black and a boxer, | 0:45:21 | 0:45:25 | |
then you are sorted. | 0:45:25 | 0:45:27 | |
If you're big and you're black and you're in a... | 0:45:27 | 0:45:30 | |
you know, strapless cocktail dress, that's not so good. | 0:45:30 | 0:45:35 | |
That's what my dad wanted an' all. | 0:45:35 | 0:45:37 | |
-A strapless cocktail dress? -No. | 0:45:37 | 0:45:40 | |
THEY LAUGH | 0:45:40 | 0:45:41 | |
For me to fit in to this place. | 0:45:41 | 0:45:44 | |
You know, it should be me that's hiding in here, not you. | 0:45:44 | 0:45:47 | |
I'm the one who doesn't know what he's doing. | 0:45:47 | 0:45:51 | |
It would kill him to hear me say that, too. | 0:45:51 | 0:45:54 | |
Although, he probably knew and that's probably what did. | 0:45:54 | 0:45:57 | |
Well... | 0:46:01 | 0:46:03 | |
..perhaps we just have to pretend we do know what we're doing. | 0:46:05 | 0:46:09 | |
Charlie from Northampton, | 0:46:10 | 0:46:13 | |
Simon from Clacton. | 0:46:13 | 0:46:16 | |
Come on, let's make boots. | 0:46:22 | 0:46:25 | |
All right then, everybody. | 0:46:25 | 0:46:27 | |
THEY MUTTER | 0:46:27 | 0:46:28 | |
MUSIC: Mr Big Stuff by Lyn Collins | 0:46:28 | 0:46:31 | |
# Oh, yeah! | 0:46:31 | 0:46:34 | |
# Mr Big Stuff, who do you think you are? | 0:46:37 | 0:46:40 | |
# Mr Big Stuff | 0:46:40 | 0:46:42 | |
# You're never gonna get my love | 0:46:42 | 0:46:45 | |
# Not because you wear all those fancy clothes | 0:46:45 | 0:46:50 | |
# And drive a big, fine car, oh, yes, you do now | 0:46:50 | 0:46:54 | |
# Do you think I can afford to give you my love? | 0:46:54 | 0:46:58 | |
# You think you're higher than every star above | 0:46:58 | 0:47:02 | |
# Mr Big Stuff, tell me, tell me, who do you think you are? | 0:47:02 | 0:47:07 | |
# Mr Big Stuff, you're never gonna get my love | 0:47:07 | 0:47:11 | |
# Oh, yeah! | 0:47:11 | 0:47:14 | |
-# Mr Big Stuff... # -Cover me, girls. I'm going in. | 0:47:16 | 0:47:20 | |
# Mr Big Stuff, tell me, tell me, who do you think you are? | 0:47:20 | 0:47:24 | |
# Mr Big Stuff | 0:47:24 | 0:47:26 | |
# You're never gonna get my love | 0:47:26 | 0:47:29 | |
# Hey! | 0:47:29 | 0:47:32 | |
# Whoa, yeah! Whoo! # | 0:47:32 | 0:47:36 | |
Oh! For fu... | 0:47:36 | 0:47:40 | |
INAUDIBLE | 0:49:06 | 0:49:08 | |
# While tearing off a game of golf | 0:49:16 | 0:49:21 | |
# I might make a play for the caddie | 0:49:21 | 0:49:25 | |
# But when I do, I don't follow through | 0:49:26 | 0:49:31 | |
# Cos my heart belongs to Daddy | 0:49:31 | 0:49:35 | |
# If I invite | 0:49:35 | 0:49:39 | |
# A boy some night | 0:49:39 | 0:49:41 | |
# To dine on my fine finnan haddie | 0:49:41 | 0:49:45 | |
# Though I just adore | 0:49:45 | 0:49:48 | |
# His asking for more | 0:49:48 | 0:49:51 | |
# But my heart belongs | 0:49:51 | 0:49:54 | |
# To Daddy. # | 0:49:54 | 0:49:57 | |
It's where you applaud, Charlie. | 0:49:58 | 0:50:00 | |
Didn't you, er, have a show tonight? | 0:50:12 | 0:50:15 | |
Sore throat. | 0:50:15 | 0:50:17 | |
# But my heart... # | 0:50:17 | 0:50:19 | |
HE COUGHS | 0:50:19 | 0:50:21 | |
You know, you don't have to work in the rough-stuff room. | 0:50:25 | 0:50:29 | |
Oh, but I feel at home here. | 0:50:29 | 0:50:32 | |
They're my friends. | 0:50:32 | 0:50:35 | |
One never knows what joy one might find amongst the unwanted... | 0:50:35 | 0:50:40 | |
..and abandoned. | 0:50:44 | 0:50:47 | |
Charlie boy. | 0:50:58 | 0:51:01 | |
-Oh. -Aw! | 0:51:07 | 0:51:09 | |
Morning, stranger. | 0:51:10 | 0:51:13 | |
-Thank you. -Nic, er, look... About last night. | 0:51:14 | 0:51:17 | |
-Hmm? -Things got a little crazy at work. It won't always be like that, | 0:51:17 | 0:51:22 | |
-I promise. No, really, it won't be. -OK. | 0:51:22 | 0:51:25 | |
And, erm... | 0:51:25 | 0:51:28 | |
See, I think I've found a solution for the factory. | 0:51:28 | 0:51:31 | |
Well, that makes two of us. Come on. | 0:51:31 | 0:51:35 | |
KNOCK ON DOOR | 0:51:35 | 0:51:36 | |
One second, Mrs Cobb. | 0:51:36 | 0:51:38 | |
God... Come in! | 0:51:43 | 0:51:46 | |
-There we go. -Thank you. | 0:51:49 | 0:51:51 | |
-And the room's all right for you, love, is it? -It's absolutely lovely. | 0:51:51 | 0:51:56 | |
Yes, lots of, erm,... lots of trinkets. | 0:51:56 | 0:52:00 | |
Ah, now the little pottery shoes, they're good luck, you see? | 0:52:00 | 0:52:04 | |
You know, like Whitby has lucky glass ducks. | 0:52:04 | 0:52:07 | |
Northampton has lucky pottery shoes. | 0:52:07 | 0:52:10 | |
Can I just ask, are you a man? | 0:52:10 | 0:52:14 | |
-I am, love, yes. -Ah, that's fine. | 0:52:15 | 0:52:18 | |
Just so that I know how to leave the toilet seat. I'll get some biscuits. | 0:52:18 | 0:52:23 | |
BUZZING | 0:52:36 | 0:52:38 | |
Mr Price. | 0:52:50 | 0:52:52 | |
-Charlie, this is Richard Bailey. -Sorry to hear about your dad. | 0:52:52 | 0:52:56 | |
Shall we? | 0:52:56 | 0:52:58 | |
The beauty is the building. | 0:52:58 | 0:53:01 | |
For us developers, it's more a case of what we don't do. | 0:53:01 | 0:53:04 | |
-Isn't it? -And if you look in here, you will see... | 0:53:04 | 0:53:08 | |
the bedroom. | 0:53:08 | 0:53:10 | |
So, what do you think? | 0:53:21 | 0:53:24 | |
Er... | 0:53:24 | 0:53:26 | |
I mean, one day, Nic, if this is what you want, but... | 0:53:26 | 0:53:29 | |
Isn't it slightly out of our price range? | 0:53:29 | 0:53:33 | |
Not all buildings deserve a second life, Mr Price. | 0:53:38 | 0:53:41 | |
Factories like this, like yours, | 0:53:41 | 0:53:45 | |
they're special. | 0:53:45 | 0:53:47 | |
Sorry? | 0:53:50 | 0:53:52 | |
Are you under the illusion that Price's is for sale? | 0:53:52 | 0:53:56 | |
Look, I know you're trying to help, but I'll make you this promise... | 0:53:58 | 0:54:02 | |
-Is this a promise like the Jimmy-Choo-shoes promise? -Hang on. | 0:54:02 | 0:54:06 | |
-You're talking about the history of my family. -This is the future here. | 0:54:06 | 0:54:10 | |
I don't know, Nicola, is it? | 0:54:10 | 0:54:12 | |
-If I can't get you to summon up some faith and... -OK, give me it, Charlie. | 0:54:12 | 0:54:16 | |
Come on. What have I got to have faith in? | 0:54:16 | 0:54:20 | |
I've suggested selling the factory to a brilliant developer | 0:54:20 | 0:54:24 | |
who's done all that, made all that happen. | 0:54:24 | 0:54:28 | |
-What's your plan? -Charlie boy! | 0:54:28 | 0:54:32 | |
I've found Soho! | 0:54:32 | 0:54:34 | |
HE LAUGHS | 0:54:34 | 0:54:35 | |
A little corner of Soho in Northampton, that brasserie. | 0:54:35 | 0:54:39 | |
I'm Lola. I'm the one designing his range of transvestite boots. | 0:54:39 | 0:54:44 | |
HE CLEARS THROAT | 0:54:47 | 0:54:50 | |
There's... There's a slight chill in the air. | 0:54:50 | 0:54:55 | |
Isn't there? | 0:54:55 | 0:54:58 | |
HE LAUGHS | 0:55:05 | 0:55:07 | |
-That is the... -Plan. -Yeah. | 0:55:10 | 0:55:14 | |
Listen, Nic, I have not gone into this lightly. There is a market f... | 0:55:14 | 0:55:18 | |
Can I say, before you make a fool of yourself trying to save the factory | 0:55:18 | 0:55:23 | |
because, "It's the history of my family," Richard came to see me | 0:55:23 | 0:55:29 | |
because your dad had approached him about selling up. | 0:55:29 | 0:55:33 | |
You see, you owe your father nothing, Charlie. | 0:55:35 | 0:55:38 | |
You are free | 0:55:38 | 0:55:42 | |
to walk. | 0:55:42 | 0:55:44 | |
Right, that's it! We've terminated production on all Derbys, | 0:56:50 | 0:56:54 | |
brogues and Oxfords. From now on, the factory is 100% on the new range | 0:56:54 | 0:56:58 | |
or we will not hit Milan. So, we need at least 15 new designs | 0:56:58 | 0:57:03 | |
and at least six samples of each. Remember, you're not making footwear. | 0:57:03 | 0:57:09 | |
You are not making boots. You are making 2½ feet | 0:57:09 | 0:57:15 | |
of irresistible, tubular sex! | 0:57:15 | 0:57:19 | |
None of the major firms take a stand. | 0:57:22 | 0:57:24 | |
All of the big boys hire the main runway, so we will need that. | 0:57:24 | 0:57:29 | |
We need Milan to go, like, pow! Like the two of us did at the Angel. | 0:57:29 | 0:57:34 | |
We need to take the Angel club to Milan. | 0:57:34 | 0:57:37 | |
We will take the Angel club to Milan. | 0:57:37 | 0:57:40 | |
You wouldn't put a frock on. | 0:57:44 | 0:57:46 | |
If you don't want to get off with blokes, why put a frock on? | 0:57:46 | 0:57:50 | |
The thing is, ask any woman what she likes most in a man - | 0:57:50 | 0:57:53 | |
compassion, tenderness, sensitivity. | 0:57:53 | 0:57:56 | |
Traditionally, the female virtues. Perhaps what women secretly desire | 0:57:56 | 0:58:01 | |
is a man who is fundamentally a woman. | 0:58:01 | 0:58:04 | |
Huh? | 0:58:09 | 0:58:11 | |
Er... | 0:58:15 | 0:58:18 | |
Hmm... | 0:58:20 | 0:58:23 | |
THEY LAUGH | 0:58:23 | 0:58:25 | |
-He's coming. -Right. | 0:58:29 | 0:58:31 | |
HE LAUGHS | 0:58:32 | 0:58:34 | |
-Hello, Don. -What do you think I could do to make me more of a man? | 0:58:49 | 0:58:54 | |
I've got paper. Write down what you think would make me more of a man | 0:58:54 | 0:58:59 | |
and I'll write down what I think would make you more of a man. | 0:58:59 | 0:59:03 | |
If I do what's on yours, you do what's on mine, right? | 0:59:03 | 0:59:07 | |
Piss off. | 0:59:07 | 0:59:09 | |
Fine. | 0:59:14 | 0:59:16 | |
So, is our Don a man, do you think? | 0:59:17 | 0:59:20 | |
Well, he dresses like one. | 0:59:20 | 0:59:22 | |
THEY LAUGH | 0:59:22 | 0:59:25 | |
-Good answer. -I was pleased with it. | 0:59:25 | 0:59:28 | |
THEY LAUGH | 0:59:28 | 0:59:30 | |
Come on, Don, be a man! | 0:59:30 | 0:59:33 | |
-You don't have to do this. -I do. You know why? | 0:59:40 | 0:59:43 | |
Cos what Don's written for me is easy compared to what I've written. | 0:59:43 | 0:59:48 | |
-We've 24 hours. I could do without unrest. -Calm down. It's not boxing. | 0:59:48 | 0:59:53 | |
BELL RINGS | 0:59:53 | 0:59:56 | |
BELL GETS MUFFLED | 0:59:57 | 1:00:00 | |
Sorry. | 1:00:01 | 1:00:03 | |
'Whoo-hoo!' | 1:00:03 | 1:00:06 | |
THEY CHEER | 1:00:06 | 1:00:09 | |
HIS NECK CRACKS | 1:00:10 | 1:00:12 | |
'Wahey!' | 1:00:12 | 1:00:13 | |
HE SNIFFS | 1:00:57 | 1:00:59 | |
Play. | 1:01:03 | 1:01:04 | |
BELL RINGS | 1:01:04 | 1:01:05 | |
Go on, Don! | 1:01:05 | 1:01:07 | |
THEY SHOUT ENCOURAGEMENT | 1:01:07 | 1:01:09 | |
Do it! Do it! | 1:01:10 | 1:01:13 | |
Come on, Lola! Come on, Lola! Push, love! Push! | 1:01:15 | 1:01:18 | |
You can do it! You can do it! | 1:01:18 | 1:01:21 | |
Don't let him win! | 1:01:21 | 1:01:24 | |
Push! | 1:01:24 | 1:01:26 | |
-Do it! -Come on, Don! | 1:01:26 | 1:01:28 | |
-Lola, push it! -Come on, Don! | 1:01:28 | 1:01:32 | |
ALL SHOUT AT ONCE | 1:01:32 | 1:01:34 | |
Come on! | 1:01:41 | 1:01:44 | |
Come on, Lola! That's it! That's it! | 1:01:44 | 1:01:47 | |
You're going to win! | 1:01:48 | 1:01:52 | |
Come on! Whoo-hoo! | 1:01:52 | 1:01:55 | |
Come on, Lola! | 1:01:55 | 1:01:58 | |
ALL SHOUT AT ONCE | 1:01:58 | 1:02:00 | |
That's it! That's it! Yes! | 1:02:00 | 1:02:02 | |
FRENZIED SHOUTING | 1:02:06 | 1:02:09 | |
You're going to win! You're going to win! | 1:02:09 | 1:02:12 | |
That's it, Lola! Come on! Push! | 1:02:12 | 1:02:16 | |
VOICES FADE | 1:02:17 | 1:02:20 | |
CROWD CHEER | 1:02:34 | 1:02:36 | |
Yes! Come on! Come on! | 1:02:36 | 1:02:40 | |
Well done, Don! | 1:02:40 | 1:02:43 | |
Come on! Come on! | 1:02:46 | 1:02:49 | |
What are you looking at?! | 1:02:51 | 1:02:53 | |
Go on, Don! Come on! | 1:02:53 | 1:02:55 | |
HE SNIFFS AND CLEARS THROAT | 1:03:02 | 1:03:04 | |
So, the, er... | 1:03:06 | 1:03:09 | |
Yeah, well... | 1:03:09 | 1:03:11 | |
Why did you stop? | 1:03:15 | 1:03:17 | |
I wouldn't want you to walk into the factory | 1:03:17 | 1:03:20 | |
and feel that people didn't respect you, Don. | 1:03:20 | 1:03:24 | |
I wouldn't want anyone else to know what that feels like. | 1:03:24 | 1:03:26 | |
Change your mind about someone. | 1:03:39 | 1:03:42 | |
-Nice one, chap. Get the beers in. -Yeah, yeah, yeah. | 1:03:46 | 1:03:50 | |
Oh, Christ! | 1:04:17 | 1:04:20 | |
How much does that buy us? | 1:04:21 | 1:04:24 | |
The main runway from between 4.30 to five, | 1:04:25 | 1:04:28 | |
after Closerie and before Trickers. | 1:04:28 | 1:04:31 | |
Hi, erm, listen, I'm sorry, we can't afford it. | 1:04:38 | 1:04:42 | |
HE SPEAKS ITALIAN | 1:04:42 | 1:04:44 | |
Just, just... | 1:04:44 | 1:04:45 | |
How much for the dancers? | 1:04:45 | 1:04:48 | |
Oh... This is Lola's estimate for the Blue Angel Boys and expenses. | 1:04:48 | 1:04:53 | |
-Could you get the whole thing for under 20,000? -Why 20? | 1:04:53 | 1:04:56 | |
-Could you? -Tell me, why 20? -I can get that against my house. | 1:04:56 | 1:05:01 | |
What? | 1:05:03 | 1:05:05 | |
Take it. | 1:05:05 | 1:05:07 | |
At least one Mr Price didn't sit around saying, "What can I do?" | 1:05:09 | 1:05:13 | |
Take it. | 1:05:13 | 1:05:15 | |
Come on, Mel! Tea break finished five minutes ago! | 1:05:20 | 1:05:23 | |
Come on, you know where that goes. | 1:05:23 | 1:05:25 | |
-How are you getting on, George? -Fine. | 1:05:27 | 1:05:30 | |
It's surprisingly easy if I just imagine Pat wearing them. | 1:05:30 | 1:05:34 | |
Is it? | 1:05:34 | 1:05:36 | |
George, there's an indentation in the leather. Bin it. Do it again. | 1:05:36 | 1:05:42 | |
I don't care. Redo it! | 1:05:42 | 1:05:44 | |
-What if they're not assembled? -They'll be assembled! | 1:05:44 | 1:05:48 | |
-It's four o'clock. -I know! If they have to work over, they will! | 1:05:48 | 1:05:52 | |
You don't get marks for effort. | 1:05:52 | 1:05:54 | |
Hmm, caffeine. | 1:05:56 | 1:05:59 | |
Give us a hand, would ya? | 1:05:59 | 1:06:01 | |
-I needed a break from Mr Shouty back there. -He's just tense. | 1:06:02 | 1:06:06 | |
HE LAUGHS | 1:06:06 | 1:06:08 | |
-What? -Are you aware that you do that? | 1:06:08 | 1:06:11 | |
That you instinctively defend him? Wow! | 1:06:11 | 1:06:15 | |
Look at those puppies! | 1:06:17 | 1:06:19 | |
You know, Charlie's dad used to have this theory | 1:06:19 | 1:06:23 | |
that you could tell everything about a person from their shoes. | 1:06:23 | 1:06:27 | |
-Right, come on then. -Oh, no. -Oh. | 1:06:29 | 1:06:32 | |
Cheap, but happy. | 1:06:33 | 1:06:36 | |
HE LAUGHS | 1:06:36 | 1:06:37 | |
HE SNIGGERS | 1:06:37 | 1:06:39 | |
Oh, very eager to please. | 1:06:39 | 1:06:42 | |
All right, those, those. | 1:06:42 | 1:06:44 | |
Shiny, but dull. | 1:06:44 | 1:06:48 | |
Oh, my God! | 1:06:48 | 1:06:50 | |
HE LAUGHS | 1:06:50 | 1:06:51 | |
-Hello, Lauren. -Hello, Nicola. Oh, I love those shoes! -Mmm. | 1:06:51 | 1:06:56 | |
-Charlie's treat? -Yeah, once upon a time. | 1:06:56 | 1:07:00 | |
-What? -A girl can live with so many once upon a times | 1:07:00 | 1:07:03 | |
before she finally has to get the Visa out and buy them. | 1:07:03 | 1:07:06 | |
-It's not like that with the factory. -Sorry? -Charlie. | 1:07:06 | 1:07:10 | |
He said he was going to save it. Most guys would've said, | 1:07:10 | 1:07:13 | |
"What can I do?" | 1:07:13 | 1:07:14 | |
-Yeah, I know. -Never mind remortgaging their house. | 1:07:14 | 1:07:17 | |
You should see him in that factory. It's made him twice as determined. | 1:07:17 | 1:07:23 | |
I'm sorry, remortgage their...what? | 1:07:23 | 1:07:26 | |
No, no, no. | 1:07:37 | 1:07:39 | |
For God's sake, Melly, this is Milan! These seams aren't straight. | 1:07:39 | 1:07:45 | |
-You're rushing it. -Pardon? | 1:07:45 | 1:07:49 | |
-You're going to have to unpick all this and start again. -Sod that, mate. | 1:07:49 | 1:07:53 | |
-It's a Saturday! -What? -You've got enough completed. | 1:07:53 | 1:07:56 | |
-No, I haven't. -Some of us have got a life outside this factory. | 1:07:56 | 1:08:01 | |
You're going to have a bloody lot more of it in a bit! | 1:08:01 | 1:08:04 | |
Mel, you don't understand, this is Milan. | 1:08:04 | 1:08:09 | |
It's Mi... How do you know what Milan is? | 1:08:09 | 1:08:13 | |
You don't know. You're guessing. | 1:08:13 | 1:08:16 | |
Perhaps you'd have it finished now | 1:08:16 | 1:08:19 | |
if you hadn't made us undo every single bloody stitch! | 1:08:19 | 1:08:24 | |
-Mel, they weren't good enough. -They were good enough for your dad. | 1:08:24 | 1:08:28 | |
-I am not my dad! -Hey, I'll tell you what, Charlie Price, | 1:08:28 | 1:08:32 | |
-never a bloody truer word! -Mel. | 1:08:32 | 1:08:35 | |
SIREN WAILS | 1:08:35 | 1:08:36 | |
We have to leave at six in the morning. Please! | 1:08:36 | 1:08:40 | |
-Hello, Charlie! -Sorry. Actually, I'm in a bit of a... | 1:08:40 | 1:08:43 | |
-crisis here. -Oh, I think so. | 1:08:43 | 1:08:48 | |
It's bad enough you're making this kind of crap | 1:08:50 | 1:08:54 | |
thinking you'll save the factory, but you've remortgaged the house! | 1:08:54 | 1:08:58 | |
-What?! I... -Charlie, Lauren didn't realise! | 1:08:58 | 1:09:01 | |
Our house! No-one will ever say I didn't stand by my man, Charlie. | 1:09:01 | 1:09:06 | |
I've done it. | 1:09:06 | 1:09:08 | |
I'll stand by you now, just... Reason. | 1:09:08 | 1:09:11 | |
-Nicola. -Give me a reason! -Down there. | 1:09:11 | 1:09:16 | |
I'm looking at you, Charlie! Give me a reason! Making porn wear for... | 1:09:16 | 1:09:21 | |
hermaphrodites! | 1:09:21 | 1:09:23 | |
-Actually, love, hermaphrodites have both reproductive organs. -GET OUT! | 1:09:23 | 1:09:28 | |
SHE SOBS | 1:09:28 | 1:09:31 | |
Where was it for London, all this money? | 1:09:36 | 1:09:40 | |
Don't. Flat's the size of a postage stamp | 1:09:43 | 1:09:47 | |
-because "We have to be careful, Nic." -London was for you. | 1:09:47 | 1:09:51 | |
London was for us. You wouldn't spend another five grand on us, | 1:09:53 | 1:09:58 | |
but you'll remortgage the house to keep strangers in a job! | 1:09:58 | 1:10:02 | |
I know them. It's you that doesn't know them because you never come in. | 1:10:02 | 1:10:06 | |
I've already had to fire 15 and they were the 15 worst times of my life! | 1:10:06 | 1:10:12 | |
-So sell it! -Nicola! -I don't get... | 1:10:12 | 1:10:16 | |
'Do they know your dad was going to sell up?' | 1:10:16 | 1:10:20 | |
You know, even your dad... Have you told them that? | 1:10:20 | 1:10:23 | |
I don't care what he was going to do! I don't care he was going to sell it! | 1:10:23 | 1:10:28 | |
I, Charlie Price, doesn't actually enjoy making people redundant! | 1:10:28 | 1:10:33 | |
'If you can't hear a reason yet, maybe you won't ever get it!' | 1:10:33 | 1:10:37 | |
Maybe you won't ever get me. | 1:10:37 | 1:10:39 | |
Maybe Nicola Marsden will never, ever quite get Charlie Price! | 1:10:39 | 1:10:44 | |
Maybe I won't. | 1:10:48 | 1:10:51 | |
HE SIGHS | 1:11:47 | 1:11:48 | |
Sod it! | 1:11:48 | 1:11:50 | |
It's probably my fault, putting Dad up, making some hero out of him. | 1:11:52 | 1:11:57 | |
You shouldn't do that. | 1:11:57 | 1:11:59 | |
I suppose I just didn't want to be the last photo in the line, you know? | 1:12:00 | 1:12:04 | |
The Price who left nothing. | 1:12:04 | 1:12:07 | |
Maybe you shouldn't judge it in bricks, Charlie. | 1:12:07 | 1:12:10 | |
Maybe you judge what you leave by what you inspire in other people. | 1:12:10 | 1:12:15 | |
MACHINERY RUMBLES | 1:12:22 | 1:12:25 | |
Charlie? | 1:12:28 | 1:12:30 | |
MACHINERY RUMBLES LOUDER | 1:12:32 | 1:12:34 | |
Excuse me. Excuse me. Excuse me, please. | 1:12:36 | 1:12:39 | |
-Coming through! -Hurry up, Mum! -Beep! Beep! | 1:12:39 | 1:12:42 | |
Coffee? Cup of tea? | 1:12:42 | 1:12:45 | |
-Lola. -Charlie. | 1:12:47 | 1:12:49 | |
Did you get them to do this? | 1:12:49 | 1:12:52 | |
Brother rose to the challenge of changing his mind about someone. | 1:12:52 | 1:12:57 | |
-You? -No, Charlie. | 1:12:57 | 1:12:59 | |
You. | 1:12:59 | 1:13:01 | |
Here we go! | 1:13:46 | 1:13:48 | |
My God. | 1:14:15 | 1:14:18 | |
Hey, everyone, the man from Milan, he say yes! | 1:14:18 | 1:14:24 | |
THEY CHEER | 1:14:24 | 1:14:26 | |
MUSIC: It's A Man's Man's Man's World by James Brown | 1:14:34 | 1:14:37 | |
Cheers! | 1:14:43 | 1:14:45 | |
# This is a man's world | 1:14:46 | 1:14:49 | |
# This is a man's world | 1:14:51 | 1:14:54 | |
# But it wouldn't be nothing | 1:14:55 | 1:14:57 | |
# Without a woman or a girl... # | 1:14:59 | 1:15:04 | |
-Wahey! -# This is a man's world | 1:15:06 | 1:15:10 | |
# This is a man's world... # | 1:15:11 | 1:15:13 | |
THEY CHEER | 1:15:13 | 1:15:15 | |
HE LAUGHS | 1:15:15 | 1:15:16 | |
# But it wouldn't be nothing | 1:15:16 | 1:15:19 | |
# Without a woman or a girl | 1:15:19 | 1:15:24 | |
-Come on, Lauren. -Oh, no. No. | 1:15:26 | 1:15:30 | |
# Man made the car... # | 1:15:30 | 1:15:32 | |
ALL: Ooh! | 1:15:32 | 1:15:33 | |
# To take us over the road | 1:15:33 | 1:15:35 | |
# Man made the train | 1:15:37 | 1:15:39 | |
# To carry the heavy load | 1:15:39 | 1:15:42 | |
# Man made the electric light | 1:15:43 | 1:15:46 | |
# To take us out of the dark | 1:15:46 | 1:15:49 | |
# Man made a boat for the water | 1:15:50 | 1:15:52 | |
# Like Noah made the Ark | 1:15:52 | 1:15:54 | |
# This is a man's world | 1:15:54 | 1:15:57 | |
# But it wouldn't be nothing, nothing, without a woman or a girl... | 1:15:59 | 1:16:04 | |
He's had quite an impact on us girls, hasn't he? | 1:16:08 | 1:16:12 | |
Charlie Price. | 1:16:14 | 1:16:16 | |
# Man makes them happy | 1:16:16 | 1:16:18 | |
# Cos man makes them toys | 1:16:18 | 1:16:22 | |
# And after man make everything he can | 1:16:23 | 1:16:26 | |
# Man makes money | 1:16:28 | 1:16:31 | |
# To buy from other men | 1:16:31 | 1:16:34 | |
# This is a man's world | 1:16:34 | 1:16:37 | |
# But it wouldn't be nothing, nothing, without a woman or a girl | 1:16:39 | 1:16:44 | |
# Oh! | 1:16:45 | 1:16:48 | |
# How man needs a woman... # | 1:16:48 | 1:16:51 | |
I saw a documentary once. | 1:16:55 | 1:16:57 | |
Potholers. They'd have a celebration the night before | 1:16:57 | 1:17:00 | |
in case they never came out. | 1:17:00 | 1:17:02 | |
Of course, now Northampton is the perfect venue. | 1:17:02 | 1:17:06 | |
-Oh, I... -Oh, a little warning. | 1:17:06 | 1:17:08 | |
The answer is, "I'd love to, Lola." | 1:17:08 | 1:17:11 | |
CHATTER | 1:17:16 | 1:17:18 | |
WOMAN LAUGHS | 1:17:19 | 1:17:21 | |
Stop it! | 1:17:21 | 1:17:22 | |
-Table for one? -Er, for two. | 1:17:24 | 1:17:26 | |
-Two? Right here. -I'll use the toilet. | 1:17:26 | 1:17:29 | |
Toilets, yes. Just down the stairs on the left. | 1:17:29 | 1:17:32 | |
Richard. | 1:17:39 | 1:17:41 | |
-Oh, Christ! -It's Charlie Price. | 1:17:42 | 1:17:45 | |
I know, absolutely. From Price's, yeah. | 1:17:45 | 1:17:48 | |
Wow. Erm... I didn't expect to see you at La Conceria. | 1:17:48 | 1:17:52 | |
Not one of your normal haunts, is it? | 1:17:52 | 1:17:55 | |
-I'm here having a meeting. A business thing. -Business? | 1:17:55 | 1:17:59 | |
It never lets up, does it? | 1:17:59 | 1:18:01 | |
HE SPEAKS ITALIAN | 1:18:07 | 1:18:09 | |
HE SPEAKS ITALIAN | 1:18:09 | 1:18:11 | |
Hey, they're running away. | 1:18:13 | 1:18:15 | |
HE SPEAKS ITALIAN AND LAUGHS | 1:18:15 | 1:18:17 | |
HE GRUNTS | 1:18:35 | 1:18:37 | |
Charlie boy! | 1:18:50 | 1:18:53 | |
HE LAUGHS | 1:18:53 | 1:18:56 | |
Sorry I'm late. You know how it is. I was sitting with all my dresses | 1:18:56 | 1:19:00 | |
and I'm thinking, "Is it hot in Milan? Does it get cold at night?" | 1:19:00 | 1:19:04 | |
Oh! Thank you. | 1:19:04 | 1:19:08 | |
Ooh! You couldn't get me a Bloody Mary, could you, sweetheart? | 1:19:08 | 1:19:12 | |
-Bloody Mary for the lady. -The potholing, I didn't mean it. | 1:19:12 | 1:19:15 | |
I don't think it will go tits up. The show, the routine! | 1:19:15 | 1:19:19 | |
Wait till you see what I've got planned for the catwalk. | 1:19:19 | 1:19:22 | |
-Lola, can you talk a bit...? -The whole metrosexual crowd... -Stop. | 1:19:22 | 1:19:28 | |
-What? -People are staring. Come on, what do you want? | 1:19:28 | 1:19:32 | |
-I don't think anybody's staring. -You're a man in a frock. | 1:19:34 | 1:19:38 | |
Even if they're not looking, they're staring. | 1:19:38 | 1:19:42 | |
I'm a... I'm a Northampton shoe designer, Charlie. | 1:19:42 | 1:19:46 | |
You're also a man in a dress. | 1:19:46 | 1:19:49 | |
You make it sound as if I put this on... | 1:19:49 | 1:19:52 | |
because of a lack of a pair of trousers. | 1:19:52 | 1:19:55 | |
Does a part of you believe that? | 1:19:58 | 1:20:00 | |
I don't know why you wear dresses and I don't think you do either! | 1:20:00 | 1:20:04 | |
-I didn't realise I was causing you trouble! -Forget it. | 1:20:09 | 1:20:12 | |
You are a very good designer. | 1:20:12 | 1:20:14 | |
You'd like me to design and then disappear when I'm me. | 1:20:14 | 1:20:18 | |
You is the designer. This is you in a dress looking daft. | 1:20:18 | 1:20:21 | |
You don't have to do it. I don't know what you think. | 1:20:21 | 1:20:24 | |
Is it part of dodging what sex you get off on?! | 1:20:24 | 1:20:27 | |
If you think you're being mystical, being the best of either sex, | 1:20:27 | 1:20:32 | |
I have to tell you, Simon... | 1:20:32 | 1:20:34 | |
Simon. | 1:20:36 | 1:20:38 | |
Stood there in a frock right now, | 1:20:38 | 1:20:41 | |
you look like the worst bits of both. | 1:20:41 | 1:20:45 | |
Stop hiding. Be brave. | 1:20:56 | 1:20:59 | |
Decide one way or the other. | 1:20:59 | 1:21:02 | |
For my sake, tomorrow, | 1:21:02 | 1:21:04 | |
turn up looking like the picture on your passport. | 1:21:04 | 1:21:07 | |
I can't change what I want, Charlie. | 1:21:53 | 1:21:56 | |
I cannot...change what I want. | 1:21:57 | 1:22:01 | |
I cannot do that. | 1:22:02 | 1:22:04 | |
George. | 1:22:11 | 1:22:13 | |
Hey. No Lola? | 1:22:13 | 1:22:15 | |
-Hmm? George. -Mr Price. | 1:22:15 | 1:22:17 | |
-Are we all set? -Did she say she was going to be late? | 1:22:17 | 1:22:21 | |
No, actually, she said she was going to fly out with the girls. | 1:22:21 | 1:22:25 | |
-What, from London? -Hey, Lola! | 1:22:25 | 1:22:29 | |
SEAGULLS SQUAWK | 1:22:34 | 1:22:36 | |
MUSIC: The Prettiest Star by David Bowie | 1:22:43 | 1:22:45 | |
# Cold fire | 1:22:55 | 1:22:57 | |
# You've got everything but cold fire | 1:22:57 | 1:23:01 | |
# You will be my rest and peace, child | 1:23:01 | 1:23:05 | |
# I moved up to take a place | 1:23:05 | 1:23:08 | |
# Near you. # | 1:23:10 | 1:23:12 | |
HE GASPS | 1:23:12 | 1:23:14 | |
SEAGULLS SQUAWK | 1:23:31 | 1:23:34 | |
MUSIC: Largo Al Factotum from The Barber Of Seville by Rossini | 1:23:36 | 1:23:41 | |
CHATTER AND MUSIC PLAYS | 1:24:09 | 1:24:12 | |
Funny, isn't it? They look quite dead like this. | 1:24:29 | 1:24:32 | |
Don't worry, George. It'll be a different story tomorrow. | 1:24:32 | 1:24:36 | |
CHEERING | 1:24:36 | 1:24:37 | |
HE GASPS | 1:24:37 | 1:24:39 | |
Look! That's us. | 1:24:39 | 1:24:42 | |
Milan main catwalk. | 1:24:42 | 1:24:46 | |
The Angel girls wearing our boys, eh, Charlie? | 1:24:46 | 1:24:48 | |
Hey. | 1:25:03 | 1:25:05 | |
You know, as Lola would say, "There's a slight chill in the air." | 1:25:07 | 1:25:12 | |
-And I'm getting worried because... -I had an argument with her. | 1:25:15 | 1:25:19 | |
-What? -Lola. | 1:25:19 | 1:25:21 | |
Last night in the restaurant. | 1:25:21 | 1:25:23 | |
You see... You see, she turned up in a dress | 1:25:23 | 1:25:27 | |
and I just... | 1:25:27 | 1:25:29 | |
I just... Oh. | 1:25:29 | 1:25:31 | |
She didn't go to London, did she? She didn't get on a plane at all. | 1:25:36 | 1:25:41 | |
Lauren, it was a bloke that wanted to buy the factory, Richard Bailey. | 1:25:43 | 1:25:47 | |
He was there with Nicola and I... | 1:25:47 | 1:25:50 | |
Your love life does not apply to me. There is nobody to wear our boots | 1:25:50 | 1:25:55 | |
that we have worked our arses off to get here, Charlie. | 1:25:55 | 1:25:58 | |
OK, yes, I am sorry. It's just I felt somehow useless as a man! | 1:25:58 | 1:26:04 | |
ROOM FALLS SILENT | 1:26:04 | 1:26:06 | |
Sitting there in the restaurant, I felt... | 1:26:07 | 1:26:10 | |
..somehow useless as a man. | 1:26:12 | 1:26:14 | |
So here we are again, eh? | 1:26:17 | 1:26:19 | |
Charlie Price standing in front of me | 1:26:19 | 1:26:23 | |
saying, "It's not my fault. What can I do?" | 1:26:23 | 1:26:29 | |
MOBILE BEEPS | 1:26:42 | 1:26:44 | |
MOBILE RINGS | 1:26:44 | 1:26:46 | |
-"Hello, this is Lola." -Lola. | 1:26:46 | 1:26:49 | |
"I'm not here now. Well, I am here. You know what to do." | 1:26:49 | 1:26:53 | |
BEEPING | 1:26:53 | 1:26:55 | |
Lola, when you pick this up, this is a Charlie from Northampton. | 1:26:55 | 1:26:59 | |
CHURCH BELL TOLLS | 1:27:22 | 1:27:24 | |
CAMERAS CLICK | 1:27:28 | 1:27:30 | |
CHATTERING IN ITALIAN | 1:27:33 | 1:27:36 | |
Lorenzo! Lorenzo! | 1:27:38 | 1:27:40 | |
HE SPEAKS ITALIAN | 1:27:40 | 1:27:41 | |
OK, we have the exhibitors, please, for Price's. | 1:27:41 | 1:27:47 | |
That's me. | 1:27:48 | 1:27:50 | |
-And the dressers? -That's me. | 1:27:50 | 1:27:53 | |
And the models? | 1:27:53 | 1:27:56 | |
That's you, as well, isn't it? | 1:27:58 | 1:28:00 | |
George. | 1:28:04 | 1:28:07 | |
OK, he's all set. He looks fantastic! | 1:28:07 | 1:28:09 | |
ITALIAN ANNOUNCEMENT | 1:28:09 | 1:28:11 | |
-..Price's." -Go! | 1:28:11 | 1:28:13 | |
-Go! -"Ladies and gentlemen, take your seats for the Price's collection." | 1:28:13 | 1:28:17 | |
Does he look sexy? | 1:28:17 | 1:28:20 | |
He does to me, George. | 1:28:20 | 1:28:23 | |
"Ladies and gentlemen, take your seats for the Price's collection." | 1:28:32 | 1:28:38 | |
HE MUMBLES IN ITALIAN | 1:28:43 | 1:28:45 | |
OK? | 1:28:45 | 1:28:46 | |
OK. | 1:28:46 | 1:28:48 | |
This is it. It's you, Mr Price. | 1:28:48 | 1:28:52 | |
AUDIENCE FALLS SILENT | 1:29:06 | 1:29:09 | |
(Shit!) | 1:29:09 | 1:29:11 | |
ALL MURMUR | 1:29:11 | 1:29:13 | |
Bellissimo! | 1:29:18 | 1:29:20 | |
LAUGHTER | 1:29:20 | 1:29:22 | |
AUDIENCE LAUGHS | 1:29:27 | 1:29:29 | |
AUDIENCE GASPS | 1:29:43 | 1:29:45 | |
AUDIENCE GASPS AND DOG BARKS | 1:29:45 | 1:29:47 | |
LAUGHTER | 1:29:49 | 1:29:51 | |
AUDIENCE GASPS | 1:29:56 | 1:29:59 | |
CAMERAS CLICK RAPIDLY | 1:29:59 | 1:30:02 | |
AUDIENCE GASPS LOUDLY | 1:30:08 | 1:30:12 | |
DOG WHINES | 1:30:21 | 1:30:23 | |
# You keep lying when you oughtta be truthing | 1:30:48 | 1:30:50 | |
# And you keep losing when you oughtta not bet... # | 1:30:52 | 1:30:56 | |
AUDIENCE GASPS | 1:30:56 | 1:30:58 | |
# You keep saming when you oughtta be changing | 1:30:58 | 1:31:01 | |
# Now what's right is right, but you ain't been right yet | 1:31:02 | 1:31:07 | |
# These boots are made for walking | 1:31:07 | 1:31:10 | |
# And that's just what they'll do | 1:31:10 | 1:31:13 | |
# One of these days these boots are gonna walk all over you... # | 1:31:13 | 1:31:17 | |
WHISTLING | 1:31:17 | 1:31:20 | |
# I once met a man with a sense of adventure | 1:31:23 | 1:31:26 | |
# He was dressed to thrill wherever he went | 1:31:26 | 1:31:29 | |
# He said, "Let's make love on a mountain top" | 1:31:29 | 1:31:34 | |
# "Under the stars on a big hard rock" | 1:31:34 | 1:31:36 | |
# I said, "In these shoes?! I don't think so" | 1:31:36 | 1:31:40 | |
# Here I am looking for crime, I'm looking for some action | 1:31:40 | 1:31:44 | |
# What I have a million times will give you satisfaction | 1:31:44 | 1:31:47 | |
# Don't you mess around with me, you won't know what to do | 1:31:47 | 1:31:51 | |
# Cos I'll put on my cha-cha heels and walk all over you | 1:31:51 | 1:31:55 | |
# Gimme, gimme cha-cha heels | 1:31:55 | 1:31:58 | |
# All I want is cha-cha heels | 1:31:58 | 1:32:02 | |
# Gimme, gimme cha-cha heels | 1:32:02 | 1:32:05 | |
# If I don't get my cha-cha heels | 1:32:05 | 1:32:08 | |
# I'll walk all over you. # | 1:32:08 | 1:32:10 | |
WHOOPING | 1:32:10 | 1:32:13 | |
# Zipping up my boots | 1:32:13 | 1:32:15 | |
# Going back to my roots, yeah | 1:32:17 | 1:32:20 | |
# To the place of my birth | 1:32:21 | 1:32:24 | |
# Back down to earth | 1:32:25 | 1:32:28 | |
# I'm homeward bound, got my head turned around | 1:32:29 | 1:32:35 | |
# Zipping up my boots | 1:32:35 | 1:32:38 | |
# Going back to my roots. # | 1:32:38 | 1:32:41 | |
WILD CHEERING AND APPLAUSE | 1:32:41 | 1:32:44 | |
Whoo-hoo! | 1:32:44 | 1:32:46 | |
MAN SHOUTS IN ITALIAN | 1:32:50 | 1:32:53 | |
WOMAN SHOUTS IN ITALIAN | 1:32:56 | 1:32:59 | |
Come on, Lauren! | 1:33:04 | 1:33:07 | |
Stand by your man, Lauren. | 1:33:11 | 1:33:14 | |
Thank you. | 1:33:16 | 1:33:17 | |
'Bellissimo!' | 1:33:23 | 1:33:26 | |
AUDIENCE APPLAUDS LOUDER | 1:33:38 | 1:33:40 | |
'Aw, that's sweet!' | 1:33:40 | 1:33:41 | |
'Lola, this is a Charlie from Northampton. | 1:33:57 | 1:34:01 | |
'I'm looking at a shoe-fair programme with a big gap where you should be. | 1:34:01 | 1:34:05 | |
'I have to say, unlike most people, whenever you leave, you leave a gap. | 1:34:06 | 1:34:11 | |
'You will in Northampton, you have in Milan.' | 1:34:11 | 1:34:14 | |
'Listen, if people ever tell you you look half a man, that's fine." | 1:34:16 | 1:34:20 | |
'I don't know what half a man is." | 1:34:20 | 1:34:23 | |
'I don't know what the hell a man is, | 1:34:23 | 1:34:26 | |
'but I know that if it involves being brave, | 1:34:26 | 1:34:29 | |
'you are more of a man than I will ever be. Goodbye, Lola.' | 1:34:29 | 1:34:34 | |
Don't think that's why I came. | 1:34:44 | 1:34:47 | |
I came for the adulation. | 1:34:47 | 1:34:49 | |
-Why am I leaving you? -AUDIENCE: Aw! | 1:35:07 | 1:35:11 | |
I'm afraid in life, Lola has always been drawn to the most exciting, | 1:35:11 | 1:35:17 | |
the most daring, | 1:35:17 | 1:35:19 | |
the most... | 1:35:19 | 1:35:22 | |
sexy. | 1:35:22 | 1:35:24 | |
AUDIENCE WHOOP | 1:35:24 | 1:35:26 | |
There is tell of a mystical place far north of here | 1:35:26 | 1:35:30 | |
-called Northampton. -AUDIENCE: Ooh! | 1:35:30 | 1:35:33 | |
Exciting because is contains a shoe factory | 1:35:33 | 1:35:37 | |
struggling to survive against all the odds. | 1:35:37 | 1:35:40 | |
Daring because it's run by a man brave enough to recognise | 1:35:40 | 1:35:45 | |
that a factory is its people, not its bricks. | 1:35:45 | 1:35:49 | |
And sexy, well, | 1:35:49 | 1:35:52 | |
because now I work there. | 1:35:52 | 1:35:55 | |
AUDIENCE: Ooh! | 1:35:55 | 1:35:57 | |
Craftsmen of fantasy for ladies, gentlemen | 1:35:57 | 1:36:02 | |
-and those of you who are yet... -AUDIENCE: To make up your mind! | 1:36:02 | 1:36:06 | |
Tonight, I give you the Kinky Boot Factory! | 1:36:06 | 1:36:11 | |
AUDIENCE CHEERS | 1:36:11 | 1:36:13 | |
# Yes, sir, I can boogie | 1:36:26 | 1:36:29 | |
# If you stay, you can't go wrong | 1:36:29 | 1:36:32 | |
# I can boogie | 1:36:32 | 1:36:35 | |
# Boogie-woogie | 1:36:35 | 1:36:37 | |
# All night long | 1:36:37 | 1:36:40 | |
# No, sir | 1:36:40 | 1:36:43 | |
# I don't feel very much like talking | 1:36:43 | 1:36:46 | |
# Nor neither walking | 1:36:48 | 1:36:50 | |
# You want to know if I can dance | 1:36:50 | 1:36:54 | |
# Yes, sir | 1:36:56 | 1:36:58 | |
# Already told you in the first verse | 1:36:58 | 1:37:01 | |
# And in the chorus | 1:37:03 | 1:37:05 | |
# But I will give you one more chance | 1:37:06 | 1:37:09 | |
# Oh, yes, sir | 1:37:09 | 1:37:12 | |
# I can boogie | 1:37:12 | 1:37:15 | |
# But I need a certain song | 1:37:15 | 1:37:18 | |
# I can boogie | 1:37:18 | 1:37:20 | |
# Boogie-woogie | 1:37:20 | 1:37:22 | |
# All night long | 1:37:22 | 1:37:26 | |
# Yes, sir, I can boogie | 1:37:26 | 1:37:29 | |
# If you stay, you can't go wrong | 1:37:29 | 1:37:33 | |
# I can boogie | 1:37:33 | 1:37:35 | |
# Boogie-woogie | 1:37:35 | 1:37:37 | |
# All night long | 1:37:37 | 1:37:42 | |
# Yes, sir, I can boogie | 1:37:42 | 1:37:44 | |
# But I need a certain song | 1:37:44 | 1:37:48 | |
# I can boogie | 1:37:48 | 1:37:50 | |
# Boogie-woogie | 1:37:50 | 1:37:52 | |
# All night long. # | 1:37:52 | 1:37:56 | |
MUSIC: In These Shoes by Kirsty MacColl | 1:38:05 | 1:38:08 | |
# I once met a man with a sense of adventure | 1:38:18 | 1:38:22 | |
# He was dressed to thrill wherever he went | 1:38:22 | 1:38:25 | |
# He said, "Let's make love on a mountain top" | 1:38:25 | 1:38:28 | |
# "Under the stars on a big hard rock" | 1:38:28 | 1:38:32 | |
# I said, "In these shoes?" | 1:38:32 | 1:38:34 | |
# "I don't think so" | 1:38:36 | 1:38:39 | |
# I said, "Honey, let's do it here"... # | 1:38:39 | 1:38:42 |