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And so it is that we say goodbye | 0:00:16 | 0:00:19 | |
to a woman of great poise and dignity. | 0:00:19 | 0:00:23 | |
Katya... | 0:00:23 | 0:00:24 | |
Seritska. | 0:00:24 | 0:00:26 | |
Ha! Got it that time. | 0:00:26 | 0:00:27 | |
May she rest...in peace. | 0:00:30 | 0:00:33 | |
MACHINE WHIRS LOUDLY | 0:00:36 | 0:00:38 | |
MACHINE JARS LOUDLY | 0:00:41 | 0:00:43 | |
Sorry, this keeps happening. | 0:00:43 | 0:00:45 | |
Erm... Let me have a look at it. | 0:00:45 | 0:00:48 | |
Someone said it might be the belt. | 0:00:48 | 0:00:49 | |
I tell you what's happened 'ere. | 0:00:51 | 0:00:54 | |
You got a gearing problem. | 0:00:54 | 0:00:56 | |
Your gearing's going to need replacing. | 0:00:56 | 0:00:59 | |
Ooh, sounds expensive. | 0:00:59 | 0:01:00 | |
Hold on a second. | 0:01:00 | 0:01:02 | |
MACHINE BUZZES | 0:01:03 | 0:01:05 | |
Probably noisy in the short-term, should be all right in a moment. | 0:01:05 | 0:01:08 | |
Great, thanks, you're a life-saver. | 0:01:08 | 0:01:10 | |
Apologies, everyone. | 0:01:10 | 0:01:12 | |
Mate? | 0:01:22 | 0:01:24 | |
-Not there. -Sorry? | 0:01:24 | 0:01:26 | |
Someone's sitting there. | 0:01:26 | 0:01:27 | |
Who? There's no-one in the... | 0:01:30 | 0:01:32 | |
Eh, someone's sitting there, didn't you tell him? | 0:01:32 | 0:01:34 | |
-I did, yeah. -No, you can't sit there. | 0:01:34 | 0:01:36 | |
You have to sit there or there. | 0:01:36 | 0:01:37 | |
All right, all right. | 0:01:37 | 0:01:39 | |
-What's he doing I...? -I AM MOVING! | 0:01:39 | 0:01:42 | |
-Eggy, John, how's tricks? -Oh, you know, surviving. | 0:01:43 | 0:01:47 | |
Wow, hello, stranger. Where have you been? | 0:01:49 | 0:01:52 | |
Oh, not been anywhere, actually, I'm going somewhere. | 0:01:52 | 0:01:54 | |
I've not been around because... Well, it's boring. | 0:01:54 | 0:01:57 | |
-Where's Arthur? -We've not seen him. | 0:01:57 | 0:02:00 | |
Has he not been in yet? | 0:02:00 | 0:02:01 | |
-That's weird. -Not been in for days, Michael. | 0:02:01 | 0:02:04 | |
Seriously, where have you been? | 0:02:04 | 0:02:06 | |
Oh, I've just been having a series of angry meetings with my publisher. | 0:02:06 | 0:02:10 | |
The book I handed in is not the book they want, apparently. | 0:02:10 | 0:02:13 | |
Now they're threatening to put this awful cover on it. | 0:02:13 | 0:02:16 | |
-For days? -Not since Katya's funeral. | 0:02:16 | 0:02:19 | |
-Oh, that's not so bad. -What? | 0:02:19 | 0:02:22 | |
It's awful. It doesn't represent the book at all. | 0:02:22 | 0:02:25 | |
They might as well have called it "Ghostbusters III". | 0:02:25 | 0:02:28 | |
Eggy, have you seen Arthur? | 0:02:29 | 0:02:31 | |
I've been past his house but the curtains were drawn. | 0:02:31 | 0:02:34 | |
Do you think he's been kidnapped? | 0:02:34 | 0:02:36 | |
No, no-one would kidnap Arthur, that would mean spending time with him. | 0:02:36 | 0:02:39 | |
God, look at this place. | 0:02:41 | 0:02:43 | |
It's like somebody's died. I can't believe I've just said that. | 0:02:43 | 0:02:46 | |
-This is what it's been like. -Not just Katya dying... | 0:02:47 | 0:02:50 | |
it's Arthur not 'ere. | 0:02:50 | 0:02:52 | |
It's not the same, Michael, it's not the same at all. | 0:02:52 | 0:02:55 | |
Everybody! What a beautiful day to be alive! | 0:02:55 | 0:02:58 | |
You're new - good beard. | 0:03:00 | 0:03:02 | |
SINEM HUMS TO HIMSELF | 0:03:06 | 0:03:08 | |
Eh, where are you going? | 0:03:09 | 0:03:10 | |
I'm going to get Arthur, that's not right, what just happened. That... | 0:03:10 | 0:03:14 | |
That's not right at all. | 0:03:14 | 0:03:16 | |
Wait for me. | 0:03:16 | 0:03:18 | |
DOORBELL BUZZES | 0:03:22 | 0:03:23 | |
Arthur? Arthur, it's Michael and John. | 0:03:23 | 0:03:26 | |
-And Eggy. -And Eggy, it's Michael, John and Eggy. | 0:03:26 | 0:03:29 | |
-Still can't hear anything. JOHN: -Let me have a look. | 0:03:30 | 0:03:32 | |
It's very dark in there. | 0:03:35 | 0:03:38 | |
You're wearing sunglasses. | 0:03:38 | 0:03:40 | |
Arthur? Arthur, you there? | 0:03:40 | 0:03:42 | |
I don't like this. | 0:03:42 | 0:03:44 | |
He's not down the cafe, he's not answering his door. | 0:03:44 | 0:03:47 | |
I don't like this at all. | 0:03:47 | 0:03:48 | |
Right, that's it, there's something not right here - | 0:03:48 | 0:03:50 | |
I'm going to call an ambulance. | 0:03:50 | 0:03:52 | |
Yes, ambulance, please, and possibly police. | 0:03:52 | 0:03:54 | |
Yes, hello, there's a man in his 70s, he's not opening his door. | 0:03:55 | 0:03:59 | |
-We think he might have fallen or something. -Kidnapped! -Ssh. | 0:03:59 | 0:04:02 | |
Sorry, can you repeat that? | 0:04:04 | 0:04:06 | |
The address? Yes, what's the address here? | 0:04:06 | 0:04:08 | |
-ARTHUR: -54 Rosea Street. | 0:04:08 | 0:04:09 | |
54 Rosea Street. Better hurry, please, it's an emergency. | 0:04:11 | 0:04:14 | |
All right, I think they're on their way. | 0:04:14 | 0:04:16 | |
There's an old man in my house! | 0:04:16 | 0:04:18 | |
-Oh, what!? -Is he in here? | 0:04:18 | 0:04:20 | |
Woo! | 0:04:20 | 0:04:22 | |
There's nothing there. You two check the kitchen and I'll go upstairs. | 0:04:23 | 0:04:26 | |
-Righto, Arthur, what are we looking for? -There's a man in the house! | 0:04:26 | 0:04:29 | |
-Is there? -No, Arthur... | 0:04:29 | 0:04:31 | |
Oh, yes, hello, panic solved. ARTHUR SCREAMS | 0:04:31 | 0:04:33 | |
-He's just been up the shops. -You're pathetic! | 0:04:33 | 0:04:35 | |
I'm not speaking to the same person, am I? Ambulance, please. | 0:04:35 | 0:04:38 | |
And possibly police, but only to cancel. | 0:04:38 | 0:04:40 | |
-Has anyone looked in 'ere? -There's no man. | 0:04:40 | 0:04:41 | |
Ambulance? Yes, I'd like to cancel one, please. | 0:04:41 | 0:04:44 | |
ARTHUR SHOUTS No, not order another one. | 0:04:44 | 0:04:45 | |
Sorry, is this the right number to cancel them? | 0:04:45 | 0:04:47 | |
-Who's up 'ere?! -An ambulance and possibly some policemen. | 0:04:47 | 0:04:50 | |
You're in big trouble now! | 0:04:50 | 0:04:51 | |
No, no, I don't want to order another one, | 0:04:51 | 0:04:53 | |
I just want to cancel the first lot. | 0:04:53 | 0:04:54 | |
-The address? Yes, hang on a minute. Arthur? -He's not up there. | 0:04:54 | 0:04:57 | |
-Any luck, John? -Not at all, there's no-one in the garden. | 0:04:57 | 0:05:00 | |
I'll check upstairs. | 0:05:00 | 0:05:01 | |
-Arthur, what's the address? -54 Rosea Street and tell them to hurry. | 0:05:01 | 0:05:04 | |
No, ignore him, I'm definitely cancelling. | 0:05:04 | 0:05:07 | |
-He might still be in the area! -THERE'S NO MAN! | 0:05:07 | 0:05:09 | |
Yes, cancelling the ambulance. | 0:05:09 | 0:05:11 | |
-We don't want an ambulance, send police! -Don't send police! | 0:05:11 | 0:05:14 | |
I'm cancelling the police. But I don't know if I ordered the police, | 0:05:14 | 0:05:17 | |
so I don't know if I have to cancel. | 0:05:17 | 0:05:18 | |
Just cancel everybody who's coming to 54 Rosea Street. | 0:05:18 | 0:05:21 | |
-There's no-one in there. -OH, MY GOD!!! | 0:05:21 | 0:05:23 | |
No, I'm fine, I'm just screaming at the man. | 0:05:23 | 0:05:24 | |
Don't send an ambulance, PLEASE don't send an ambulance. | 0:05:24 | 0:05:27 | |
-JOHN: -Is anyone there? | 0:05:27 | 0:05:29 | |
Very nice to have you in the cafe. Thank you, come again. | 0:05:29 | 0:05:32 | |
Hey, we miss you. | 0:05:32 | 0:05:33 | |
Good luck with the beard. | 0:05:34 | 0:05:36 | |
Oh! | 0:05:38 | 0:05:39 | |
-What's up with you? -I hate this! How does he do this? | 0:05:39 | 0:05:43 | |
-What? -All this goddamn, stinking positivity goes right up my arse! | 0:05:43 | 0:05:46 | |
-Is this how he feels? -Who? -Idiot Man - Arthur. | 0:05:48 | 0:05:52 | |
-Hold on, what are you talking about? -Sinem, I can't be Arthur. | 0:05:52 | 0:05:56 | |
-Why do you need to be Arthur? -Look at the place, it's dead. | 0:05:56 | 0:05:58 | |
It's been like this for days because HE is not here. | 0:05:58 | 0:06:01 | |
No, no, no, no, he has to come back - | 0:06:01 | 0:06:03 | |
it's the only way I can be me again - to be rude. | 0:06:03 | 0:06:06 | |
To get annoyed at people. It's who I am, it's what I do. | 0:06:06 | 0:06:09 | |
You want to be rude to me for a few minutes? | 0:06:10 | 0:06:12 | |
-SHUT UP! Stupid idea! -(SOFTER) -Thank you very much. | 0:06:12 | 0:06:14 | |
Much better. | 0:06:16 | 0:06:18 | |
We were worried about you, Arthur. | 0:06:18 | 0:06:20 | |
We thought you'd been kidnapped. | 0:06:20 | 0:06:22 | |
Or fallen. We thought you'd fallen. | 0:06:22 | 0:06:24 | |
-What are you on about? -Well, you haven't been down the cafe. | 0:06:24 | 0:06:28 | |
Right, I think I've cancelled them. | 0:06:28 | 0:06:30 | |
Well, I don't have to be in the cafe every day, do I? | 0:06:30 | 0:06:32 | |
I do have other things to do. And what if I had fallen? | 0:06:32 | 0:06:35 | |
I'd have just got up, wouldn't I? | 0:06:35 | 0:06:37 | |
-I'm not an invalid. -Sorry, Arthur, we were just worried about you. | 0:06:39 | 0:06:41 | |
Yes, well, there's nothing to worry about. | 0:06:41 | 0:06:43 | |
I'm fine, leave me alone. | 0:06:43 | 0:06:46 | |
Oh, 'ere, you dropped this. | 0:06:46 | 0:06:49 | |
Oh, thank you. You know, Arthur, this isn't going to be the... | 0:06:49 | 0:06:52 | |
Oh, come on, anyway - out, out, out! Go on, I've got things to do. | 0:06:52 | 0:06:55 | |
-Go on, off you go. -All right, all right. | 0:06:55 | 0:06:57 | |
SIRENS BLARE | 0:07:02 | 0:07:03 | |
Oh, you're kidding me! | 0:07:03 | 0:07:04 | |
So, how long are you going away for? | 0:07:09 | 0:07:12 | |
Oh, forever, I'm ... I'm going back home. | 0:07:12 | 0:07:15 | |
-Back to York. -You don't...? | 0:07:15 | 0:07:18 | |
You don't live in London? | 0:07:18 | 0:07:20 | |
No. Oh, no, no, I'm just here for Arthur and to write the book. | 0:07:20 | 0:07:25 | |
And now it's done, there's no reason for me to stay. | 0:07:25 | 0:07:28 | |
Oh, yeah. Yeah, course. | 0:07:28 | 0:07:30 | |
I don't feel like I can leave Arthur in this state though. | 0:07:32 | 0:07:35 | |
I think Katya's death affected him more than he's letting on. | 0:07:35 | 0:07:39 | |
-And that funeral... -Yes, that was awful. | 0:07:39 | 0:07:41 | |
Wasn't what you call a proper send-off, was it? | 0:07:41 | 0:07:44 | |
No, I'm definitely going to stay until I know Arthur's all right. | 0:07:44 | 0:07:47 | |
Yeah, that's the right thing to do. | 0:07:47 | 0:07:50 | |
And... | 0:07:50 | 0:07:51 | |
-..that's the only reason? -What? | 0:07:53 | 0:07:55 | |
That's the only reason you're here? | 0:07:56 | 0:07:58 | |
Oh, erm... | 0:07:58 | 0:08:00 | |
Yeah, that's about it. | 0:08:07 | 0:08:08 | |
OK. | 0:08:08 | 0:08:10 | |
All right, Arthur? | 0:08:19 | 0:08:21 | |
-Arthur! -Arthur, you're back. | 0:08:21 | 0:08:23 | |
Hey, Arthur! Number three with eggs? | 0:08:23 | 0:08:25 | |
That's a number four. | 0:08:25 | 0:08:27 | |
No, I shouldn't have come back, she's still 'ere. | 0:08:31 | 0:08:34 | |
-What? -Katya, she's still here. | 0:08:34 | 0:08:38 | |
And she's not happy. | 0:08:38 | 0:08:39 | |
She was my biggest fan, Michael. | 0:08:40 | 0:08:42 | |
She was my only fan. I can't bear the thought of her not being happy. | 0:08:42 | 0:08:46 | |
What can we do, Arthur? There's nothing we can do. | 0:08:47 | 0:08:50 | |
There's one thing we can do. | 0:08:51 | 0:08:53 | |
SINISTER ORCHESTRAL MUSIC | 0:08:55 | 0:08:58 | |
MUSIC STOPS | 0:09:10 | 0:09:12 | |
Hello, Sheila? | 0:09:12 | 0:09:14 | |
Oh, that's great news. | 0:09:14 | 0:09:16 | |
Oh, super. | 0:09:16 | 0:09:17 | |
All right, speak later. OK, bye. | 0:09:17 | 0:09:19 | |
Nice to see the turban back. | 0:09:21 | 0:09:22 | |
You what? | 0:09:22 | 0:09:24 | |
Remember when we first met, you wore that turban for your Memory Man act. | 0:09:24 | 0:09:27 | |
Memory Man act? | 0:09:27 | 0:09:28 | |
Just forget it. | 0:09:30 | 0:09:32 | |
Oh, yes, yes. Oh, this is for sale, this is. | 0:09:32 | 0:09:35 | |
Yeah, this isn't me Memory Man turban. | 0:09:35 | 0:09:37 | |
-Yes, it is. -No, it isn't. | 0:09:37 | 0:09:39 | |
This is me Memory Man turb... | 0:09:39 | 0:09:41 | |
Oh, no, that's me round-the-house one. | 0:09:41 | 0:09:43 | |
This is me Memory Man turban. | 0:09:45 | 0:09:48 | |
I think I would know which turban I'm wearing, thank you very much. | 0:09:48 | 0:09:52 | |
Right, shall we get started then? | 0:09:52 | 0:09:54 | |
I'm missing One Born Every Minute. | 0:09:54 | 0:09:56 | |
I didn't know you did all this stuff, Arthur. | 0:09:56 | 0:09:58 | |
Oh, yes, my mother was a medium. | 0:09:58 | 0:10:02 | |
You always told me she was a big woman. | 0:10:02 | 0:10:04 | |
I don't mean her dress size! | 0:10:04 | 0:10:06 | |
She was big-boned, yes - she was an extra large. | 0:10:06 | 0:10:09 | |
Now, will you shut up and let me do this? | 0:10:09 | 0:10:11 | |
My mother was an extra-large medium. | 0:10:12 | 0:10:15 | |
When I was a small boy, she would put me into a trance, | 0:10:17 | 0:10:20 | |
and I would speak in tongues, | 0:10:20 | 0:10:22 | |
and all the wisdom of the Ancients would flow through me. | 0:10:22 | 0:10:25 | |
So deep was this trance-like state that the only thing | 0:10:26 | 0:10:30 | |
that would bring me out of it was being bit by the parrot. | 0:10:30 | 0:10:34 | |
Parrot? | 0:10:36 | 0:10:37 | |
We had a parrot. | 0:10:37 | 0:10:39 | |
What was he called? | 0:10:39 | 0:10:40 | |
His name was Captain Cheeky. | 0:10:40 | 0:10:43 | |
-Are you going to take this seriously, or not? -I'm sorry. | 0:10:44 | 0:10:47 | |
HE CLEARS THROAT | 0:10:47 | 0:10:49 | |
I'm taking it seriously, Arthur. | 0:10:49 | 0:10:51 | |
I take it very seriously. | 0:10:51 | 0:10:53 | |
My sister...lived in | 0:10:54 | 0:10:56 | |
one of those old Victorian houses in Stoke Newington. | 0:10:56 | 0:11:00 | |
One night, she was woken by the sound of scratching. | 0:11:00 | 0:11:04 | |
She sat up, and there, | 0:11:04 | 0:11:06 | |
at the dressing table at the end of her bed, | 0:11:06 | 0:11:09 | |
was an old woman brushing her hair. | 0:11:09 | 0:11:12 | |
Then, the woman turned around and there, | 0:11:12 | 0:11:15 | |
where her eyes should have been, there were two dark holes. | 0:11:15 | 0:11:20 | |
She pointed at my sister, | 0:11:20 | 0:11:23 | |
and said, "You have my eyes." | 0:11:23 | 0:11:26 | |
DOOR BUZZES LOUDLY | 0:11:35 | 0:11:37 | |
Oh, that'll be Bulent. | 0:11:37 | 0:11:39 | |
-Oh. -Bulent, lovely(!) | 0:11:39 | 0:11:40 | |
Oh, that's given me a right turn, that. | 0:11:40 | 0:11:43 | |
I'm imposing a rule - no scary stories at the seance. | 0:11:44 | 0:11:47 | |
Oh, Bulent, please, it's for Katya. | 0:11:50 | 0:11:54 | |
-20 minutes, then I'm going. -Good for you, Bulent. | 0:11:54 | 0:11:56 | |
And if I see anything I don't like, I'm off, so is my sister. | 0:11:56 | 0:11:59 | |
Oh, shut up, you're not Dad. | 0:11:59 | 0:12:01 | |
Worry not, Bulent... | 0:12:01 | 0:12:03 | |
while no-one could describe what we are doing here tonight | 0:12:03 | 0:12:06 | |
as conventional... | 0:12:06 | 0:12:08 | |
I can assure you, it is done with the utmost seriousness and gravity. | 0:12:08 | 0:12:13 | |
Now, someone pour the drinks while I get the Haunted Blackboard. | 0:12:14 | 0:12:19 | |
Oh, Polish vodka, how appropriate. | 0:12:22 | 0:12:23 | |
-Is that all right for everyone? ALL: -Yes, thank you. | 0:12:23 | 0:12:26 | |
-One for the road? -Ha, yeah. | 0:12:30 | 0:12:32 | |
Looks like we're going to probably need it. | 0:12:32 | 0:12:35 | |
-Bottoms up. -Oh, yes. | 0:12:37 | 0:12:39 | |
Oof, bottoms. | 0:12:39 | 0:12:41 | |
Ah. | 0:12:44 | 0:12:46 | |
All right... | 0:12:46 | 0:12:48 | |
I shall now draw a protective pentangle. | 0:12:48 | 0:12:51 | |
This pentangle will be our last line of defence | 0:12:52 | 0:12:55 | |
should any evil spirits attempt to invade our mortal realm. | 0:12:55 | 0:13:00 | |
-I'm definitely going to miss it now. -It'll be repeated. | 0:13:01 | 0:13:04 | |
It's not the same when you can't tweet about it. | 0:13:04 | 0:13:06 | |
Oh, look, we'll forget doing the protective pentangle, | 0:13:19 | 0:13:22 | |
it's not that important. | 0:13:22 | 0:13:24 | |
-What? -What? -No protection? | 0:13:24 | 0:13:26 | |
He said it was "for protection". | 0:13:26 | 0:13:28 | |
He said it was "crucial". | 0:13:28 | 0:13:29 | |
Arthur, can I put the telly on? | 0:13:29 | 0:13:31 | |
No, you can't put the telly on - we're doing a seance. | 0:13:31 | 0:13:33 | |
Look, don't we need it for protection? | 0:13:33 | 0:13:35 | |
God knows what this idiot will do in the spirit world. | 0:13:35 | 0:13:38 | |
Look, I got it wrong, we don't need a protective pentangle now. | 0:13:38 | 0:13:41 | |
No, no, no, I'll do it, I'll do it. | 0:13:41 | 0:13:43 | |
I'll turn the sound down. | 0:13:43 | 0:13:45 | |
No, it'll interfere with the radio waves, John. | 0:13:45 | 0:13:48 | |
Besides, you can't watch One Born Every Minute with the sound down - | 0:13:48 | 0:13:52 | |
the screaming and breathing's the best bit. | 0:13:52 | 0:13:54 | |
There. | 0:13:57 | 0:13:58 | |
-What's that? -It's a rectangle. | 0:14:01 | 0:14:03 | |
Not a rectangle. I could draw a bloody rectangle. | 0:14:03 | 0:14:06 | |
What use is a rectangle? | 0:14:07 | 0:14:10 | |
You can't see off the forces of darkness with a bloody rectangle. | 0:14:10 | 0:14:14 | |
Oh, sit down. | 0:14:14 | 0:14:16 | |
Right, everybody... | 0:14:17 | 0:14:19 | |
I want you to put your hands on the table to form a circle. | 0:14:19 | 0:14:23 | |
Once formed, under no circumstances must the circle be broken. | 0:14:23 | 0:14:27 | |
Whatever happens, do not break the circle - I implore you. | 0:14:27 | 0:14:30 | |
If you do, the repercussions will be dire indeed. | 0:14:32 | 0:14:35 | |
Close your eyes. | 0:14:37 | 0:14:38 | |
Oooh. | 0:14:41 | 0:14:43 | |
Ooooh. | 0:14:45 | 0:14:47 | |
Is there anybody...? John! | 0:14:47 | 0:14:49 | |
Sorry, Arthur. | 0:14:53 | 0:14:55 | |
We've only got a rectangle for protection | 0:14:55 | 0:14:58 | |
and you've broken the bloody circle. | 0:14:58 | 0:15:00 | |
It's a repeat anyway. | 0:15:01 | 0:15:03 | |
Oh, is it the one with the woman from Leeds? | 0:15:03 | 0:15:06 | |
-Yeah, yeah. -Oh, this one's brilliant. | 0:15:06 | 0:15:08 | |
ARTHUR SOBS | 0:15:12 | 0:15:14 | |
It was a good one, that, wasn't it? | 0:15:16 | 0:15:18 | |
-Right, I need a drink, anybody else? -Yes, please. -Yes. | 0:15:18 | 0:15:21 | |
The programme was extremely unpleasant. | 0:15:21 | 0:15:23 | |
I tell you something, this seance is a right shambles. | 0:15:25 | 0:15:29 | |
There's nothing for it. | 0:15:30 | 0:15:31 | |
We're going to have to resort to more extreme measures. | 0:15:33 | 0:15:36 | |
The Spirit Board. | 0:15:40 | 0:15:42 | |
Oh, I don't know about this, Arthur. | 0:15:43 | 0:15:46 | |
Wasn't that how The Exorcist started? | 0:15:46 | 0:15:47 | |
No, they probably used the cheap one. | 0:15:47 | 0:15:49 | |
That's top of the range is that. | 0:15:51 | 0:15:53 | |
How's this? | 0:15:53 | 0:15:54 | |
It's just another rectangle. | 0:15:56 | 0:15:58 | |
Anyway, wipe all that off, we'll need that for the spirit messages. | 0:15:58 | 0:16:02 | |
Right... | 0:16:02 | 0:16:03 | |
Come on, everybody, let's communicate with the spirit world | 0:16:03 | 0:16:07 | |
and see what messages and wisdom they have to impart. | 0:16:07 | 0:16:10 | |
-Where did you get these glasses from? -Eh... | 0:16:11 | 0:16:13 | |
Oh... Eh, Woolworths, I think. | 0:16:13 | 0:16:17 | |
Yesterday. Anyway, come on, wisdom of the spirits. | 0:16:17 | 0:16:21 | |
"I smell bricks." | 0:16:27 | 0:16:32 | |
"I smell bricks." | 0:16:32 | 0:16:34 | |
It doesn't say, "I smell bricks", it says, "I smell good". | 0:16:34 | 0:16:38 | |
Uh, come on - think, people, think. | 0:16:38 | 0:16:40 | |
What does "I smell bricks" mean? Oh, maybe it's Polish. | 0:16:40 | 0:16:44 | |
Someone look up "I smell bricks" in an English-to-Polish Pictionary. | 0:16:44 | 0:16:48 | |
It's English! | 0:16:48 | 0:16:50 | |
How can it be Polish? English can't be Polish! | 0:16:50 | 0:16:52 | |
I like it, I like it. | 0:16:52 | 0:16:53 | |
Now you're thinking with your brains. | 0:16:53 | 0:16:55 | |
I want to do the thing where you touch fingers again. | 0:16:55 | 0:16:58 | |
That's a good idea. | 0:16:58 | 0:16:59 | |
We'll contact Katya one last time. | 0:16:59 | 0:17:02 | |
See if she can shed some light on this confusion, | 0:17:02 | 0:17:05 | |
about why she smelt bricks. | 0:17:05 | 0:17:07 | |
Ooh, don't they sometimes do seances with the lights off? | 0:17:08 | 0:17:12 | |
That's it, that's where we've been going wrong. | 0:17:12 | 0:17:14 | |
Brilliant. Eggy, do the lights. | 0:17:14 | 0:17:17 | |
I permit you to leave the circle. | 0:17:17 | 0:17:19 | |
Ooh. | 0:17:22 | 0:17:24 | |
Ooooh. | 0:17:24 | 0:17:26 | |
Oooooh. | 0:17:26 | 0:17:28 | |
Ooh, Katya, give us a sign that you are here. | 0:17:28 | 0:17:32 | |
-GLASS TINKLES, CHAIR SQUEAKS -Give us a sign. | 0:17:32 | 0:17:35 | |
Ooh, oooh! It's happening! | 0:17:35 | 0:17:37 | |
It's happening! | 0:17:37 | 0:17:39 | |
GLASS TINKLES, CHAIR SQUEAKS | 0:17:39 | 0:17:41 | |
Put the lights on, Eggy - quick! | 0:17:41 | 0:17:42 | |
What happened? What happened? | 0:17:43 | 0:17:45 | |
Did anyone come th...? | 0:17:45 | 0:17:47 | |
Look at those two. | 0:17:48 | 0:17:50 | |
Oh, my God, what just happened? | 0:17:52 | 0:17:55 | |
-Oh, my God, what a... -Um, oh, that's so weird. | 0:17:55 | 0:17:58 | |
-A mystery. -And something brushed me and... -Me too. | 0:17:58 | 0:18:01 | |
-Ah... That's uncanny. -I know, it's uncanny. | 0:18:01 | 0:18:03 | |
-Arthur, that's not the way you do it. -Ssh, ssh, everybody. | 0:18:12 | 0:18:16 | |
I'm on the verge of a breakthrough. | 0:18:16 | 0:18:18 | |
Woooh! | 0:18:18 | 0:18:20 | |
Woooh! | 0:18:22 | 0:18:23 | |
Arthur, you're not a good medium. | 0:18:27 | 0:18:30 | |
-You're not bad, but you're not great. -You're "medium"! | 0:18:30 | 0:18:34 | |
Ah-choo! | 0:18:34 | 0:18:36 | |
Katya, what is it you want? | 0:18:38 | 0:18:40 | |
What is it you want? | 0:18:40 | 0:18:42 | |
Is it me to do a song? | 0:18:42 | 0:18:46 | |
Knock once for yes... | 0:18:46 | 0:18:47 | |
MULTIPLE KNOCKS | 0:18:47 | 0:18:50 | |
What does that mean? | 0:18:50 | 0:18:52 | |
Oh, she wants me to do a medley! | 0:18:52 | 0:18:54 | |
Oh, no, it'll be the pizza. | 0:18:54 | 0:18:57 | |
Wahey! Pizza! | 0:18:57 | 0:18:59 | |
SLURRED: Aw, you know, your sister's brilliant, Bulent. | 0:18:59 | 0:19:02 | |
This situation was calling out for pizza, and only she had... | 0:19:02 | 0:19:05 | |
had the... What's the word, Arthur? | 0:19:05 | 0:19:09 | |
-The gumption. -The gumption. | 0:19:09 | 0:19:10 | |
She had the gumption to order it. | 0:19:10 | 0:19:13 | |
Why aren't you drunk, Bulent? | 0:19:13 | 0:19:15 | |
Because I am not a nine-year-old girl. | 0:19:15 | 0:19:17 | |
Oooh! | 0:19:17 | 0:19:18 | |
Pizza! | 0:19:22 | 0:19:23 | |
ALL: Wahey! | 0:19:23 | 0:19:25 | |
Oh. | 0:19:27 | 0:19:28 | |
-Oh, I feel bad though. -Oh, don't feel bad. | 0:19:28 | 0:19:32 | |
I hate it when you feel bad, you should never feel bad. | 0:19:32 | 0:19:35 | |
Why do you feel bad? | 0:19:35 | 0:19:36 | |
Well, here we all are eating pizza... | 0:19:36 | 0:19:39 | |
..and Katya couldn't eat pizza. | 0:19:40 | 0:19:42 | |
That's right, she could never handle the solids. | 0:19:42 | 0:19:46 | |
I'm going to do this. | 0:19:46 | 0:19:48 | |
-What? -I'm going to "liquidirise" the pizza for Katya. | 0:19:50 | 0:19:55 | |
Not "liquidirise" - "liquid-di-iase". | 0:19:55 | 0:19:58 | |
I'm away to "liquid-di-iase" pizza for Katya. | 0:19:58 | 0:20:03 | |
-That is an absolutely brilliant idea. -Take the crust off it. | 0:20:03 | 0:20:05 | |
Do the toppings. | 0:20:05 | 0:20:07 | |
Excuse me, excuse me, I think | 0:20:07 | 0:20:10 | |
I would know how to "liquid-i-brows" a pizza. | 0:20:10 | 0:20:13 | |
There we are. | 0:20:15 | 0:20:17 | |
LIQUIDISER WHIRRS | 0:20:17 | 0:20:19 | |
That's it. There you go, Katya. | 0:20:21 | 0:20:24 | |
Come have some pizza. | 0:20:24 | 0:20:26 | |
-To Katya! -ALL: To Katya. | 0:20:26 | 0:20:29 | |
AUDIENCE: Eurgh! | 0:20:30 | 0:20:32 | |
Ooh, it's not a bad drop of pizza, that. | 0:20:32 | 0:20:34 | |
Katya... | 0:20:37 | 0:20:39 | |
-and her soups. -Tomato soup! | 0:20:39 | 0:20:43 | |
I didn't even know you served tomato soup. | 0:20:43 | 0:20:45 | |
We don't, it was her own. | 0:20:45 | 0:20:47 | |
We used to heat it up for her. | 0:20:47 | 0:20:49 | |
That's very generous of you. | 0:20:49 | 0:20:51 | |
I liked Katya, she was a strong woman. | 0:20:51 | 0:20:54 | |
She was the only one who liked my little shows. | 0:20:54 | 0:20:56 | |
As I said, "She was a strong woman." | 0:20:56 | 0:20:59 | |
Here, you know, | 0:20:59 | 0:21:01 | |
she always fell asleep on the way home from the cafe on the bus. | 0:21:01 | 0:21:04 | |
I used to have to go and collect her. Do you remember, Eggy? | 0:21:04 | 0:21:07 | |
Different stop every time. | 0:21:07 | 0:21:09 | |
Once, she told me, she didn't really fall asleep at all - | 0:21:09 | 0:21:12 | |
she just wanted to spend some extra time with me... | 0:21:12 | 0:21:14 | |
-ALL: Aww. -..listening to me going on. | 0:21:14 | 0:21:17 | |
She was my biggest fan. | 0:21:19 | 0:21:20 | |
And now she's gone. | 0:21:21 | 0:21:23 | |
Oh, there'll be more fans, Arthur, you're just getting started. | 0:21:23 | 0:21:26 | |
Thank you, Michael, I think we both know the truth. | 0:21:26 | 0:21:29 | |
Your dad, he was the real thing. | 0:21:29 | 0:21:32 | |
He entertained millions, he did. | 0:21:32 | 0:21:34 | |
I'm just a footnote, if that. | 0:21:34 | 0:21:36 | |
Oh, Arthur, that's not true. | 0:21:36 | 0:21:38 | |
You'll see, that's... That's not true. | 0:21:38 | 0:21:40 | |
That's a really nice thing about you, Michael - | 0:21:40 | 0:21:43 | |
you can't tell a lie to save your life. | 0:21:43 | 0:21:46 | |
Arthur, I'm not... | 0:21:46 | 0:21:47 | |
-What is that? -What? | 0:21:48 | 0:21:51 | |
That! | 0:21:51 | 0:21:52 | |
That's Katya's leg. | 0:21:56 | 0:21:58 | |
What? | 0:21:58 | 0:22:00 | |
They couldn't cremate it. | 0:22:00 | 0:22:02 | |
Something about it not being green. | 0:22:02 | 0:22:06 | |
But it is green. | 0:22:06 | 0:22:07 | |
Well, it's a bit green. | 0:22:07 | 0:22:10 | |
-Arthur, you can't hang on to something like that. -Arthur... | 0:22:10 | 0:22:15 | |
What's up with you all? | 0:22:15 | 0:22:16 | |
Well, it's just that... | 0:22:16 | 0:22:18 | |
she was attached to that leg. | 0:22:18 | 0:22:20 | |
Oh, I'm sorry, I thought that was a joke. | 0:22:25 | 0:22:27 | |
That's why she can't go, Arthur. | 0:22:28 | 0:22:31 | |
Because you're not letting her go. | 0:22:31 | 0:22:34 | |
-He's right. -Arthur, you have to let her go. | 0:22:34 | 0:22:37 | |
You can't hold on to her like that. | 0:22:37 | 0:22:39 | |
But I never said goodbye to her, Michael. | 0:22:40 | 0:22:43 | |
None of us did. | 0:22:44 | 0:22:46 | |
Not properly. | 0:22:46 | 0:22:48 | |
Well... Well, let's do something about that. | 0:22:48 | 0:22:51 | |
-"Woolworths"? -Yes, Woolworths. | 0:23:05 | 0:23:08 | |
Stop going on about it. | 0:23:08 | 0:23:10 | |
ARTHUR CLEARS HIS THROAT | 0:23:12 | 0:23:15 | |
I think it's left to me... | 0:23:19 | 0:23:21 | |
to say a few words. | 0:23:21 | 0:23:23 | |
HE GROANS | 0:23:26 | 0:23:28 | |
HE SIGHS | 0:23:30 | 0:23:31 | |
Oh, dear. | 0:23:33 | 0:23:34 | |
-Arthur, do you mind if I say something? -No, nope. | 0:23:35 | 0:23:38 | |
Eh... | 0:23:39 | 0:23:41 | |
Well, obviously, I didn't know Katya as well as you all did. | 0:23:41 | 0:23:45 | |
In fact, I don't know YOU as well as Katya did. | 0:23:45 | 0:23:47 | |
So, I feel a bit of an intruder. | 0:23:47 | 0:23:49 | |
-ALL: -No, no, no. -Thank you. | 0:23:49 | 0:23:52 | |
One thing I have found, in the short time of being here... | 0:23:53 | 0:23:56 | |
getting to know you all. | 0:23:56 | 0:23:58 | |
Well... | 0:23:58 | 0:23:59 | |
All I can say is... | 0:24:01 | 0:24:02 | |
..I know why Katya found it hard to leave. | 0:24:05 | 0:24:07 | |
Safe travels, Katya. | 0:24:09 | 0:24:11 | |
-ALL: -Safe travels, Katya. | 0:24:11 | 0:24:13 | |
Ooh, sorry, Arthur. | 0:24:20 | 0:24:21 | |
That's all right, they're from the cafe. | 0:24:21 | 0:24:23 | |
-Bye, Arthur. -Bye, everyone, see you tomorrow. | 0:24:29 | 0:24:32 | |
Not me, John, I'm off home. | 0:24:32 | 0:24:35 | |
Oh, yeah? | 0:24:35 | 0:24:36 | |
Well, it's nice knowing you, mate. | 0:24:36 | 0:24:40 | |
Bye then, Michael. | 0:24:40 | 0:24:41 | |
I'll show you to the door. | 0:24:41 | 0:24:43 | |
Sinem, shall we go? | 0:24:44 | 0:24:46 | |
SHE BLOWS A RASPBERRY | 0:25:08 | 0:25:10 | |
Well... | 0:25:26 | 0:25:27 | |
Well... | 0:25:27 | 0:25:28 | |
Good luck, Arthur. | 0:25:45 | 0:25:47 | |
Good luck to you. | 0:25:47 | 0:25:48 | |
I look forward to the book. | 0:25:49 | 0:25:52 | |
He was a funny man, your dad. | 0:25:52 | 0:25:54 | |
The world could use a book about him. | 0:25:54 | 0:25:57 | |
Yeah. Yeah. | 0:25:57 | 0:25:59 | |
Thanks for everything, Arthur. | 0:26:06 | 0:26:08 | |
HE SIGHS | 0:26:27 | 0:26:29 | |
Goodbye, Katya. | 0:26:37 | 0:26:38 | |
Oh, excuse me... | 0:26:59 | 0:27:00 | |
Nothing. | 0:27:02 | 0:27:03 | |
Good evening, Bolent. | 0:27:11 | 0:27:12 | |
One of your all-day breakfasts, please. | 0:27:12 | 0:27:15 | |
I don't know why, but number one seems to be beckoning me tonight. | 0:27:15 | 0:27:19 | |
-Number one, please, with fried bread and baked beans. -That's... | 0:27:19 | 0:27:23 | |
Oh, forget it. | 0:27:23 | 0:27:24 | |
All right, princess? | 0:27:26 | 0:27:28 | |
Here you go. | 0:27:38 | 0:27:40 | |
What's that? | 0:27:40 | 0:27:41 | |
Michael left it. | 0:27:41 | 0:27:43 | |
AUDIENCE: Aww. | 0:28:02 | 0:28:04 | |
Eh! | 0:28:04 | 0:28:06 | |
He's only... | 0:28:06 | 0:28:08 | |
He's only gone and... | 0:28:08 | 0:28:10 | |
-JOHN: -Who do you fancy at Kempton on Saturday, Arthur? | 0:28:20 | 0:28:23 | |
Arthur? | 0:28:24 | 0:28:26 | |
Subtitles by Red Bee Media Ltd | 0:28:37 | 0:28:40 |