
Browse content similar to Gambit. Check below for episodes and series from the same categories and more!
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'This is the story of my brave, foolish friend, Harry Deane. | 0:02:33 | 0:02:37 | |
'Mr Deane's work as an art curator in London | 0:02:37 | 0:02:40 | |
'had gone, he felt, largely unappreciated. | 0:02:40 | 0:02:44 | |
'He told me of countless insults | 0:02:44 | 0:02:45 | |
'suffered at the hands of his employer, | 0:02:45 | 0:02:48 | |
'Lionel Shabandar, media tycoon, art collector | 0:02:48 | 0:02:52 | |
'and an absolute brute of a fellow.' | 0:02:52 | 0:02:55 | |
Do not touch my person. You! | 0:02:55 | 0:02:58 | |
-Yes, my lord? -Idiot! Give me your boot. | 0:02:58 | 0:03:01 | |
'40 years ago, I'd have called this Shabandar a cad. | 0:03:01 | 0:03:05 | |
'Now the prevailing parlance for a fellow of this type | 0:03:05 | 0:03:07 | |
'is, I believe, shitbag.' | 0:03:07 | 0:03:11 | |
Hello. | 0:03:11 | 0:03:12 | |
This bloody thing is not operational. | 0:03:12 | 0:03:14 | |
Ah, well, that's because, I believe, my lord... | 0:03:14 | 0:03:17 | |
Because you believe what, you steaming turd? | 0:03:17 | 0:03:20 | |
'Now he would have his revenge, | 0:03:20 | 0:03:23 | |
'for Mr Deane had a plan. | 0:03:23 | 0:03:26 | |
'To be grandiose, a heist. | 0:03:26 | 0:03:28 | |
'To be accurate, a bit of a thieving. | 0:03:28 | 0:03:31 | |
'This is where I came in. | 0:03:31 | 0:03:33 | |
'I am, you see, a rather capable forger of fine art. | 0:03:33 | 0:03:38 | |
'I was pleased my little hobby might prove of use to him. | 0:03:38 | 0:03:42 | |
'The plan relied on securing the aid of one PJ Puznowski. | 0:03:42 | 0:03:48 | |
' "Find this Puznowski," | 0:03:48 | 0:03:50 | |
'Mr Deane told me, | 0:03:50 | 0:03:52 | |
'and it would all fall nicely into place.' | 0:03:52 | 0:03:55 | |
Excuse me. We were given to understand | 0:03:58 | 0:04:00 | |
that there was an equestrian tourney in the area. | 0:04:00 | 0:04:02 | |
Well, we got a law attorney, | 0:04:02 | 0:04:05 | |
don't know his religion, up downtown Alpine. | 0:04:05 | 0:04:08 | |
He's a fairy. | 0:04:10 | 0:04:11 | |
Moved here from Albuquerque, | 0:04:11 | 0:04:13 | |
it'll be five, no, six years ago, come May. | 0:04:13 | 0:04:16 | |
Not that I judge. | 0:04:16 | 0:04:18 | |
How terribly interesting, | 0:04:18 | 0:04:20 | |
but is there a tournament of some description | 0:04:20 | 0:04:22 | |
with various rowdy goings-on? | 0:04:22 | 0:04:24 | |
Rough-riding, bronc-busting sort of thing. | 0:04:24 | 0:04:27 | |
It's a competition. A test of skill involving farm animals. | 0:04:27 | 0:04:31 | |
Yippee-ai-yay. | 0:04:31 | 0:04:34 | |
CHEERING | 0:04:34 | 0:04:35 | |
-ANNOUNCER: -All right, Pecos! | 0:04:35 | 0:04:37 | |
This is the West of the Pecos Rodeo, featuring America's number-one team, | 0:04:37 | 0:04:42 | |
Team Ghostrider with Tim Lepard and his cowboy monkeys. | 0:04:42 | 0:04:47 | |
-MAN: -Go on, Suzie! Go get 'em! | 0:04:48 | 0:04:51 | |
And it's brought to you by Charlie Goodnight | 0:04:54 | 0:04:56 | |
and all those good people | 0:04:56 | 0:04:57 | |
down at Charlie Goodnight's Implements 'n' Feed. | 0:04:57 | 0:05:00 | |
Let's put some hands together for the monkeys! | 0:05:09 | 0:05:12 | |
And first out of the chute is PJ Puznowski from down Terlingua way. | 0:05:14 | 0:05:19 | |
There. | 0:05:19 | 0:05:20 | |
Going to try to put a rope around Rodney from | 0:05:20 | 0:05:23 | |
the Lazy L Sickle Y Bar Ranch. | 0:05:23 | 0:05:25 | |
And, folks, Rodney ain't going to be heppin' any. | 0:05:25 | 0:05:29 | |
That's 11.7 for PJ Puznowski! | 0:05:38 | 0:05:43 | |
-That's her. -All right, Jammies! | 0:05:43 | 0:05:46 | |
# If you want to go | 0:05:51 | 0:05:54 | |
# Let's go rodeo | 0:05:54 | 0:05:56 | |
# If you want to rock... # | 0:05:56 | 0:05:59 | |
What makes you so certain she'll be game? | 0:05:59 | 0:06:02 | |
Good God, she works in a poultry processing plant for minimum wage. | 0:06:02 | 0:06:05 | |
-You think she'll turn this down? -How much are you going to tell her? | 0:06:05 | 0:06:08 | |
Just as much as she needs to know. | 0:06:08 | 0:06:11 | |
WOMAN: That's nice. | 0:06:16 | 0:06:18 | |
This is Major Nigel Nelson-Wingate, King's African Rifles, retired. | 0:06:30 | 0:06:33 | |
-Sunday painter. -Madam. | 0:06:33 | 0:06:35 | |
Now, the simple question is, | 0:06:41 | 0:06:44 | |
how would you like to make half a million pounds sterling? | 0:06:44 | 0:06:50 | |
I have a little plan. | 0:06:50 | 0:06:52 | |
Straight? | 0:06:58 | 0:07:00 | |
-CHAUFFEUR: -Have a good day, sir. -Shut up. | 0:07:11 | 0:07:13 | |
-Sorry, sir. -Bloody hell, man, be careful! | 0:07:26 | 0:07:29 | |
WOMAN: Shabandar Media. | 0:07:29 | 0:07:31 | |
I wonder if you might approve this last photo layout for the Horse and Hunt. | 0:07:31 | 0:07:35 | |
Is there a problem, sir? | 0:07:40 | 0:07:42 | |
Slazenger, give me a loupe. | 0:07:42 | 0:07:45 | |
Haystacks, Dusk. | 0:07:52 | 0:07:54 | |
Get me Harry Deane. | 0:07:55 | 0:07:57 | |
Old man just called me up. | 0:08:01 | 0:08:04 | |
Yes, he's expecting you. | 0:08:04 | 0:08:06 | |
-No, no, no. -Oh, I am sorry, sir. | 0:08:06 | 0:08:10 | |
What? Come in. Have them proof it quick as possible. | 0:08:10 | 0:08:14 | |
We'll try and get it into next month's. Deane, sit down. | 0:08:14 | 0:08:18 | |
Have a look at these. | 0:08:18 | 0:08:21 | |
I've sent the plane to collect this woman. | 0:08:22 | 0:08:25 | |
Arrives at Heathrow in about an hour. You'll pick her up. | 0:08:25 | 0:08:27 | |
Interesting. Oh, I see, the painting. | 0:08:27 | 0:08:30 | |
A reproduction, though, in my opinion. | 0:08:30 | 0:08:32 | |
Bloody hell. Based on what? | 0:08:32 | 0:08:33 | |
On the fact that it's hanging on the wall of a caravan, sir, in Texas. | 0:08:33 | 0:08:37 | |
Yes, precisely. But whose caravan, you plank? | 0:08:37 | 0:08:43 | |
-The cowgirl, sir. -Puznowski, Deane. | 0:08:43 | 0:08:47 | |
PJ Puznowski. Think, man. | 0:08:47 | 0:08:52 | |
You stupid bastard, what! | 0:08:52 | 0:08:54 | |
Welcome to London. | 0:09:09 | 0:09:10 | |
Before we throw you into the thick of it, | 0:09:10 | 0:09:13 | |
I should give you a bit of the history. | 0:09:13 | 0:09:15 | |
Monet's Haystacks. | 0:09:15 | 0:09:17 | |
On September 15th, 1891, during the course of one very productive day, | 0:09:18 | 0:09:23 | |
the master Impressionist finished two oil paintings - | 0:09:23 | 0:09:26 | |
Haystacks, Dawn, Haystacks, Dusk. | 0:09:26 | 0:09:30 | |
Haystacks, Dawn was traded amongst various private collectors | 0:09:30 | 0:09:33 | |
over the years. | 0:09:33 | 0:09:34 | |
Haystacks, Dusk was put on display in Paris at the Jeu de Paume. | 0:09:34 | 0:09:38 | |
That is, until the Nazi occupation of 1941. | 0:09:38 | 0:09:41 | |
Haystacks, Dusk was carted off to Carinhall, | 0:09:44 | 0:09:46 | |
the private residence of Air Marshal Hermann Goering, | 0:09:46 | 0:09:49 | |
for the delectation of his eyes only. | 0:09:49 | 0:09:53 | |
In 1945, Carinhall is overrun by the first division of Patton's army, | 0:09:53 | 0:09:57 | |
the Big Red One. | 0:09:57 | 0:10:00 | |
The point platoon is led by Sergeant Brian "Bulldog" Puznowski, | 0:10:00 | 0:10:06 | |
the Killer of Kilgore, Texas. | 0:10:06 | 0:10:08 | |
Your grandfather. | 0:10:08 | 0:10:10 | |
For the next 67 years, the whereabouts of Haystacks, Dusk | 0:10:10 | 0:10:13 | |
has proved one of the art world's most tantalising mysteries. | 0:10:13 | 0:10:16 | |
And what is all this to Shabandar? | 0:10:16 | 0:10:18 | |
A man of outsized appetites and enormous enthusiasms, | 0:10:18 | 0:10:21 | |
and no few eccentricities, an avid nudist, a case in point. | 0:10:21 | 0:10:25 | |
Owing to his considerable fortune and my not inconsiderable knowledge, | 0:10:25 | 0:10:28 | |
he has assembled the most important collection | 0:10:28 | 0:10:31 | |
of Impressionist masterpieces in private hands. | 0:10:31 | 0:10:33 | |
The prize? Haystacks, Dawn. | 0:10:33 | 0:10:37 | |
Acquired at auction 20 years ago in spirited bidding. | 0:10:37 | 0:10:40 | |
The bid is with the gentleman on the aisle. The bid is £8 million. | 0:10:40 | 0:10:44 | |
-MAN: Good heavens. -I have eight and a quarter. | 0:10:44 | 0:10:46 | |
The bid is with the gentleman on my left. | 0:10:46 | 0:10:49 | |
The bid is against you, sir. | 0:10:49 | 0:10:51 | |
The bid is £8,250,000. | 0:10:51 | 0:10:54 | |
Shabandar rolled all his competitive impulses into a ball | 0:10:54 | 0:10:57 | |
and outbid his great rival, Akira Takagawa. | 0:10:57 | 0:11:01 | |
He purchased the painting for £11 million. | 0:11:01 | 0:11:05 | |
His ownership of the one has merely whet his appetite for the other. | 0:11:09 | 0:11:13 | |
For years now, Shabandar has been seeking Haystacks, Dusk | 0:11:13 | 0:11:15 | |
with a passion bordering on monomania. | 0:11:15 | 0:11:18 | |
When he saw that photograph, | 0:11:18 | 0:11:19 | |
Shabandar conducted his own investigation into your family history. | 0:11:19 | 0:11:23 | |
Best to let the fish work the hook in himself, eh, Major? | 0:11:23 | 0:11:26 | |
Much the best, Mr Deane. | 0:11:26 | 0:11:28 | |
He will want to negotiate the price with you. | 0:11:28 | 0:11:30 | |
You must stick at 12 million. | 0:11:30 | 0:11:33 | |
Pounds. | 0:11:33 | 0:11:35 | |
He'll pay it, no matter how much he protests. | 0:11:35 | 0:11:39 | |
Be firm. Be polite, but firm. | 0:11:41 | 0:11:44 | |
He will try to charm you. He will try to impress you. | 0:11:47 | 0:11:50 | |
-Ms Puznowski! -He will try to... | 0:11:50 | 0:11:52 | |
An honour! Welcome, welcome. | 0:11:52 | 0:11:55 | |
Painting in the gallery, men. | 0:11:55 | 0:11:57 | |
I knew a Koznowski once, charming man, no relation I suppose. | 0:11:57 | 0:12:00 | |
Baron Koznowski. | 0:12:00 | 0:12:01 | |
Quite the equestrian. Man had horse blood in his veins. | 0:12:01 | 0:12:05 | |
This way, please. | 0:12:05 | 0:12:07 | |
Right, let's take a look, shall we? | 0:12:07 | 0:12:10 | |
Mere formality, of course. | 0:12:10 | 0:12:12 | |
Oh, yes. | 0:12:12 | 0:12:14 | |
So... | 0:12:15 | 0:12:17 | |
What do you think, Deane? | 0:12:21 | 0:12:23 | |
-Yes, I'll need a few moments, sir. -Oh, yes. Quite. | 0:12:23 | 0:12:27 | |
You may not realise it, Ms Puznowski, | 0:12:29 | 0:12:32 | |
but Harry Deane knows Monet like I know... | 0:12:32 | 0:12:35 | |
Actually, I don't know anything quite like that. | 0:12:37 | 0:12:39 | |
The artist has used a light ground true to Monet's habit. | 0:12:39 | 0:12:43 | |
The palette is very limited, no blacks or browns. | 0:12:43 | 0:12:46 | |
Cerulean blue and cadmium yellow to achieve his broken colour. | 0:12:46 | 0:12:50 | |
And unlike the heartbreaking fraud perpetrated on the Austrians, | 0:12:50 | 0:12:54 | |
the signature is correct. | 0:12:54 | 0:12:56 | |
It is Monet and it is very fine indeed. | 0:12:58 | 0:13:03 | |
And that, Mr Deane, is good enough for me. | 0:13:03 | 0:13:06 | |
Shall we discuss terms? | 0:13:07 | 0:13:09 | |
WHIRRING | 0:13:20 | 0:13:22 | |
WOMAN: System armed. | 0:13:22 | 0:13:24 | |
System armed. | 0:13:26 | 0:13:28 | |
MEOWS | 0:13:46 | 0:13:48 | |
Hello, kitty. | 0:13:48 | 0:13:49 | |
Your wages. | 0:13:51 | 0:13:54 | |
£500,000 and your ticket home. First class, of course. | 0:13:54 | 0:13:58 | |
No, no, no. No, no, no. Please, do not thank us. | 0:13:58 | 0:14:01 | |
It is the Major and I who should be thanking you for the self-possession, | 0:14:01 | 0:14:05 | |
the good humour | 0:14:05 | 0:14:07 | |
with which you played your small but vital part. | 0:14:07 | 0:14:09 | |
-Eh, Major? -Hear, hear, sir. Jolly well played. | 0:14:09 | 0:14:12 | |
We should be arriving at Heathrow in mere minutes. | 0:14:12 | 0:14:15 | |
-MAJOR: -Mr Deane. | 0:14:15 | 0:14:18 | |
Mr Deane? Mr Deane. | 0:14:18 | 0:14:22 | |
Shouldn't have to tell her any more than that. | 0:14:23 | 0:14:25 | |
Quite right. But you will have to talk to her. | 0:14:25 | 0:14:29 | |
Hmm. | 0:14:33 | 0:14:35 | |
Back in a flash. | 0:14:37 | 0:14:39 | |
'Mr Deane, for all his talents, was given to one particular flaw. | 0:14:41 | 0:14:46 | |
'He saw the world as he wished to see it. | 0:14:46 | 0:14:49 | |
'But, as we know, | 0:14:49 | 0:14:51 | |
'an optimist is simply a man who hasn't heard the news. | 0:14:51 | 0:14:54 | |
'As my time in the African Rifles had taught me, | 0:14:54 | 0:14:57 | |
'one ignored the elephant in the room at one's peril.' | 0:14:57 | 0:15:01 | |
Half a million pounds sterling. Half a million... | 0:15:01 | 0:15:05 | |
-Hello. -I believe the lady said get lost. | 0:15:05 | 0:15:08 | |
-MAJOR: -I'll take the chunky one! | 0:15:12 | 0:15:14 | |
-MAN: -Going to open a can of whup-ass on you now. | 0:15:14 | 0:15:17 | |
Major, for heaven's sake, just be gentle. | 0:15:19 | 0:15:22 | |
-I'm trying to get... -No, that's enough. | 0:15:22 | 0:15:24 | |
-Those people are barbarians. -Other countries, other customs. | 0:15:24 | 0:15:27 | |
-How are we going to meet this woman? -I remember one night in Botswana... | 0:15:27 | 0:15:31 | |
She's surrounded by a Cro-Magnon Swiss Guard. | 0:15:31 | 0:15:33 | |
This wasn't the plan, Major. How are we going to get back on plan? | 0:15:33 | 0:15:37 | |
You boys OK, huh? | 0:15:37 | 0:15:40 | |
Faces still on right ways round? | 0:15:40 | 0:15:42 | |
Yes, thank you. All present and correct. | 0:15:43 | 0:15:46 | |
I do apologise on Merle. He just loves a brawl. | 0:15:46 | 0:15:49 | |
Nose been broke so many times, he had the cartilage taken out | 0:15:49 | 0:15:52 | |
so there wouldn't be downtime between bar fights. | 0:15:52 | 0:15:55 | |
An expedient we might consider if we spend much more time in Texas. | 0:15:55 | 0:16:00 | |
Hey-ho, friend. I wouldn't recommend it. | 0:16:00 | 0:16:03 | |
May I draw your attention to the matter which brought us here to meet you? | 0:16:03 | 0:16:06 | |
Sure. | 0:16:08 | 0:16:09 | |
So you're saying that's like 800,000 American? Wow! | 0:16:09 | 0:16:14 | |
We don't have the money yet. | 0:16:14 | 0:16:16 | |
-But it's going to work out, right? -As long as we stay on plan. | 0:16:16 | 0:16:20 | |
Sounds like you really want to stick it to this guy. Here we are. | 0:16:20 | 0:16:24 | |
TV: Inside is a man who weighs half a ton. | 0:16:24 | 0:16:27 | |
Michael was fork-lifted onto a stretcher | 0:16:27 | 0:16:29 | |
for transporting killer whales. | 0:16:29 | 0:16:31 | |
Shame! Shame! | 0:16:31 | 0:16:34 | |
Hey, Grandma! All right, well, here it is. Take your pick. | 0:16:34 | 0:16:37 | |
-Plenty of walls to choose from. -Good morning. | 0:16:37 | 0:16:40 | |
Too fat! | 0:16:40 | 0:16:42 | |
Major, if you'd like to set your camera up over there. | 0:16:44 | 0:16:48 | |
Perhaps if your grandmother would move over for a moment. | 0:16:48 | 0:16:51 | |
Grandma Merle, | 0:16:51 | 0:16:52 | |
these nice people want to take a picture here in the house. | 0:16:52 | 0:16:56 | |
Is everyone in this state named Merle? | 0:16:56 | 0:16:58 | |
-There you go. -Good God. Is she unwell? | 0:16:58 | 0:17:01 | |
Oh, no, she's fine. Grandma Merle just chews. | 0:17:01 | 0:17:04 | |
Ms Puznowski, could you slide a little closer to your grandmother? | 0:17:04 | 0:17:08 | |
Ready, ladies? Say cheese. | 0:17:10 | 0:17:13 | |
WOMAN: Hard facts, honest reporting. Shabandar. | 0:17:15 | 0:17:19 | |
His door is rather firmly shut at the moment. | 0:17:19 | 0:17:21 | |
-Would you care to wait? -Yes, thank you, I'll wait. | 0:17:21 | 0:17:25 | |
WOMAN: Lionel Shabandar explains his formula for success | 0:17:29 | 0:17:33 | |
in his startling new autobiography, Me. | 0:17:33 | 0:17:36 | |
Welcome to the jungle. We're here to help you cut through... | 0:17:40 | 0:17:44 | |
Huh! | 0:17:44 | 0:17:46 | |
Shabandar Media. Creating... | 0:17:48 | 0:17:50 | |
Go right in, Mr Deane. | 0:18:04 | 0:18:06 | |
-Your Lordship... -Yes, Deane? | 0:18:07 | 0:18:10 | |
That's a very nice suit, sir. | 0:18:14 | 0:18:16 | |
-What? -Nothing. | 0:18:16 | 0:18:18 | |
I was leafing through the advance on the Horse and Hunt the other day. | 0:18:19 | 0:18:23 | |
-The layout pages. -Why on earth were you doing that? | 0:18:23 | 0:18:26 | |
Well, as a matter of fact, it's... Well, why be coy? | 0:18:27 | 0:18:31 | |
It's a simple explanation, so simple, in fact, that I... | 0:18:31 | 0:18:35 | |
Well, it's my favourite of your... of your publications, sir. | 0:18:35 | 0:18:39 | |
Our publications here at Shabandar Media. | 0:18:39 | 0:18:42 | |
Without wanting to overstate things, I would say it may be my favourite... | 0:18:42 | 0:18:47 | |
publication ever, without the... qualification of Shabandar Media, | 0:18:47 | 0:18:52 | |
et cetera, et cetera. | 0:18:52 | 0:18:53 | |
-Do you ride? -Good God, no. | 0:18:53 | 0:18:56 | |
That is, I have ridden. | 0:18:56 | 0:18:57 | |
A birthday party. They had ponies. Little Shetland ponies. | 0:18:57 | 0:19:00 | |
We traipsed around in a circle in the garden. | 0:19:00 | 0:19:03 | |
I was, oh, six, seven years old. | 0:19:03 | 0:19:07 | |
It was my friend Bobby Montaigne's birthday party. | 0:19:07 | 0:19:10 | |
He's a speech pathologist now. | 0:19:10 | 0:19:12 | |
And how well I remember it. Made a deep impression, sir. | 0:19:12 | 0:19:15 | |
-Is there something I can help with? -Yes, sir, there is. Thank you. | 0:19:15 | 0:19:19 | |
You see, I snuck an advance peek, as I said, at the Horse and Hunt. | 0:19:19 | 0:19:22 | |
I was struck most particularly by the piece on this PJ Puznowski, | 0:19:22 | 0:19:25 | |
the Texan horse person. | 0:19:25 | 0:19:27 | |
Equestrienne, not a mutant or a mythical creature. | 0:19:27 | 0:19:31 | |
One imagines a... Well, the bosom of a woman and the hindquarters of... | 0:19:31 | 0:19:37 | |
-Did you happen to see it, sir? -Yes. | 0:19:37 | 0:19:39 | |
-I was struck by one particular picture. -Haystacks, Dusk. | 0:19:39 | 0:19:43 | |
-Yes. Exactly, sir. -A reproduction, of course. | 0:19:43 | 0:19:47 | |
Really? You think so, sir? Based on what, if I may ask? | 0:19:47 | 0:19:51 | |
Based on the fact that it was hanging on the wall of a bloody caravan in Texas. | 0:19:51 | 0:19:56 | |
There is that. | 0:19:56 | 0:19:58 | |
-Is that all? -Yes, sir. | 0:19:58 | 0:20:00 | |
Thank you. | 0:20:01 | 0:20:03 | |
But shouldn't we check, do research? I could put together a memo. | 0:20:04 | 0:20:07 | |
-One of your memos, yes. -The painting is so rarely reproduced, | 0:20:07 | 0:20:11 | |
I don't even know if I've seen a reproduction. | 0:20:11 | 0:20:13 | |
And it's the very incongruity of it, hanging, as you so discerningly... | 0:20:13 | 0:20:17 | |
Fine. Ring this woman up and ask if she has an original Monet | 0:20:17 | 0:20:20 | |
on the wall in Shitbird, Texas. | 0:20:20 | 0:20:24 | |
-Did he bite, our little fishy? -He's not hooked yet. | 0:20:27 | 0:20:30 | |
-But he's circling the bait. -Not sure I follow you, old thing. | 0:20:30 | 0:20:33 | |
He's seen the painting and he's considering being intrigued. | 0:20:33 | 0:20:36 | |
-Considering? -Considering being, yes. | 0:20:36 | 0:20:39 | |
-Where's the girl? -In a hotel in Dallas. | 0:20:39 | 0:20:41 | |
-Why is she in a hotel in Dallas? -The passport office is there. | 0:20:41 | 0:20:44 | |
It turns out that the dear girl's never been out of the country. | 0:20:44 | 0:20:48 | |
Now, ordinarily, a passport takes eight weeks, but they can expedite. | 0:20:48 | 0:20:52 | |
Pay a couple of hundred pounds, they'll hurry it along. | 0:20:52 | 0:20:56 | |
That's very nice of them. Couple of hundred. | 0:20:56 | 0:21:00 | |
Right. | 0:21:00 | 0:21:02 | |
Your post, Mr Deane. | 0:21:06 | 0:21:09 | |
It is extraordinary, isn't it? | 0:21:14 | 0:21:16 | |
Well, it's very amusing if you should turn out to have been right. | 0:21:16 | 0:21:20 | |
I am here to amuse, sir. So shall we bring her in? | 0:21:20 | 0:21:24 | |
-Who? -The cowgirl, sir. PJ Puznowski. | 0:21:24 | 0:21:28 | |
Her grandfather, and all this confirmed in the US military records, | 0:21:28 | 0:21:31 | |
Bulldog Puznowski. | 0:21:31 | 0:21:33 | |
Yes, yes, I read the memo, but why would I bring her in? | 0:21:33 | 0:21:36 | |
If the painting is real and if she wants to sell it, | 0:21:36 | 0:21:39 | |
I certainly don't want to seem overly eager. No, no, no, no. | 0:21:39 | 0:21:43 | |
Ring her up and tell her if ever she finds herself in London, | 0:21:43 | 0:21:46 | |
I'd be happy to carve out a few minutes for a chat. | 0:21:46 | 0:21:49 | |
Let her invest in the deal coming off. | 0:21:49 | 0:21:51 | |
-I see, sir. It's brilliant. -Nonsense, Deane. It's elementary. | 0:21:51 | 0:21:56 | |
-Prat. -Wanker. | 0:21:56 | 0:21:58 | |
-Unrestricted economy fare. -That's what they call it, sir. | 0:21:58 | 0:22:02 | |
Of course, they use the word "economy" with a certain looseness. | 0:22:02 | 0:22:05 | |
Looseness? It's a positive leap of the poetic imagination. | 0:22:05 | 0:22:08 | |
Very good, sir. Well put. | 0:22:08 | 0:22:10 | |
-Still, we can't count our pennies. -Oh, no, sir. | 0:22:10 | 0:22:12 | |
Not with millions in the offing. | 0:22:12 | 0:22:15 | |
-There she is. -Great to meet you. You take care. | 0:22:15 | 0:22:18 | |
Hey, boys! Hi! | 0:22:20 | 0:22:22 | |
Wow. That was a very comfortable flight. | 0:22:24 | 0:22:27 | |
Excellent. Welcome to London. | 0:22:27 | 0:22:29 | |
Thank you. Oh, thank you, Major. | 0:22:29 | 0:22:32 | |
Yes, still holding. | 0:22:34 | 0:22:37 | |
Can't see her today? Any time today? | 0:22:37 | 0:22:39 | |
At the end of the day, could he see her? Needn't take long. | 0:22:39 | 0:22:43 | |
No, I understand. No, I understand. | 0:22:44 | 0:22:48 | |
Right. Cheers. | 0:22:48 | 0:22:50 | |
RHYTHMIC THUDDING | 0:22:53 | 0:22:56 | |
Hey! Is this bothering you? | 0:23:16 | 0:23:20 | |
Not at all. | 0:23:20 | 0:23:22 | |
-I'm going to make some tea. -OK. | 0:23:22 | 0:23:24 | |
-What you got hanging here? -Sorry? | 0:23:28 | 0:23:32 | |
On your wall. Is this a Monet? | 0:23:32 | 0:23:35 | |
Careful. | 0:23:35 | 0:23:36 | |
Alfred Sisley. They were contemporaries. | 0:23:39 | 0:23:42 | |
It's of his son, Pierre. | 0:23:45 | 0:23:48 | |
The boy was ten at the time, I think. | 0:23:48 | 0:23:51 | |
Sure is small. | 0:23:51 | 0:23:53 | |
It cost me a ridiculous amount of money. Rather put me in a hole. | 0:23:53 | 0:23:58 | |
I like it. | 0:24:00 | 0:24:03 | |
It's nice. | 0:24:03 | 0:24:05 | |
It's very beautiful. | 0:24:07 | 0:24:09 | |
KNOCKING AT DOOR | 0:24:09 | 0:24:11 | |
-Good morning. -You know what time it is, mate? | 0:24:13 | 0:24:16 | |
Yes, Mr Knowles. It's just coming... | 0:24:16 | 0:24:18 | |
Morning. | 0:24:20 | 0:24:22 | |
Psst. Come on, wake up. He can see us now. | 0:24:25 | 0:24:29 | |
WOMAN: Creating and distributing news, sports and entertainment. | 0:24:29 | 0:24:34 | |
-Come on, let's go. -WOMAN: It's a jungle out there. | 0:24:34 | 0:24:37 | |
The lion's share of the world's media. | 0:24:37 | 0:24:40 | |
Shabandar. Hear us roar. | 0:24:40 | 0:24:43 | |
LION ROARS | 0:24:43 | 0:24:45 | |
-Let me do the talking. -Sure. | 0:24:45 | 0:24:47 | |
-Ms Puznowski. -Howdy. -Delighted to meet you. | 0:24:47 | 0:24:51 | |
Good grief, Deane. What happened to you? | 0:24:51 | 0:24:53 | |
A fellow in the pub expressed a preference for Matisse over Cezanne. | 0:24:53 | 0:24:57 | |
Had to set him straight. I'm joking, of course. | 0:24:57 | 0:24:59 | |
Love Matisse. Use of colour. | 0:24:59 | 0:25:02 | |
No, bent down to pick something up, bookshelf in the way. Hello, bango. | 0:25:02 | 0:25:06 | |
So, shall we sit? | 0:25:06 | 0:25:08 | |
So, how do you find London? | 0:25:08 | 0:25:10 | |
Well, everybody knows the answer to that one. | 0:25:10 | 0:25:14 | |
You turn right at Greenland. | 0:25:14 | 0:25:17 | |
Indeed. And where are you staying? | 0:25:17 | 0:25:19 | |
Er, well, one of them, erm, big hotels downtown. | 0:25:19 | 0:25:24 | |
I can't remember the name of it. You remember, Harry? | 0:25:24 | 0:25:26 | |
-Connaught. -Me neither. | 0:25:26 | 0:25:28 | |
-But it's one of them big ones. -The Connaught. | 0:25:28 | 0:25:30 | |
We spoke about the Connaught Hotel. | 0:25:30 | 0:25:33 | |
That's a stupid name. Staff seems pretty can-do. | 0:25:34 | 0:25:38 | |
You certain about the Connaught? | 0:25:38 | 0:25:40 | |
-Sorry? -It's fine, I suppose. | 0:25:40 | 0:25:41 | |
But I'll make a few calls, get our friend in at the Savoy. | 0:25:41 | 0:25:45 | |
-I much prefer it. -Sir, there's really no need. | 0:25:45 | 0:25:47 | |
Let him do it, Harry. I'm sure the service is plenty good there, too. | 0:25:47 | 0:25:51 | |
Good anywhere, I reckon, if you got the do-re-mi. | 0:25:51 | 0:25:53 | |
And I don't mind shelling it out. | 0:25:53 | 0:25:55 | |
I guess Harry here told you about this here painting | 0:25:55 | 0:25:58 | |
I'm aiming to unload. | 0:25:58 | 0:25:59 | |
Ms Puznowski feels that in light of the precedential value of the piece... | 0:25:59 | 0:26:03 | |
You're hardly her agent, Deane. | 0:26:03 | 0:26:06 | |
And anyway, | 0:26:06 | 0:26:07 | |
Ms Puznowski seems perfectly capable of expressing herself. | 0:26:07 | 0:26:11 | |
Well, yes, sir. | 0:26:11 | 0:26:12 | |
CHAIR BANGS | 0:26:12 | 0:26:13 | |
Yes, sir. English is my mother tongue. | 0:26:13 | 0:26:15 | |
But you don't have to Ms Puznowski me. | 0:26:15 | 0:26:18 | |
No, you can call me PJ. Or Jammies. | 0:26:18 | 0:26:21 | |
That's my rodeo handle. Or Philomena, which is my real name. | 0:26:21 | 0:26:24 | |
Well, thank you, PJ. And you may call me Lionel. | 0:26:24 | 0:26:28 | |
Let's hope doing business on a first-name basis | 0:26:28 | 0:26:30 | |
will be conducive to plain speaking and clear understanding. | 0:26:30 | 0:26:34 | |
Amen to that, Lionel. | 0:26:34 | 0:26:36 | |
Well, then, let's get to it. | 0:26:36 | 0:26:38 | |
I want £12 million for this here picture. | 0:26:38 | 0:26:41 | |
That's 6,000 tons if I've done my math right. | 0:26:41 | 0:26:43 | |
And maybe you'd like to throw in a nice four-by-four to haul it off in, | 0:26:43 | 0:26:47 | |
with an auto tranny, a CD deck and graduated tint on the windshields. | 0:26:47 | 0:26:51 | |
Please and thank you. | 0:26:51 | 0:26:53 | |
Well, that's marvellous, and tell me, PJ, | 0:26:53 | 0:26:57 | |
what makes you think this painting is worth £12 million? | 0:26:57 | 0:27:01 | |
Well, Lionel, first off, it's oil. Ain't it, Harry? | 0:27:01 | 0:27:06 | |
Indeed, the medium is oil, and its provenance is promising. | 0:27:06 | 0:27:09 | |
But I would like to take it to your country house to compare it to its mate. | 0:27:14 | 0:27:17 | |
-Is it being shipped in? -Arrives Tuesday. | 0:27:17 | 0:27:20 | |
You can run it up to the house. | 0:27:20 | 0:27:22 | |
We'll take a look at it at the gala on Wednesday. | 0:27:22 | 0:27:24 | |
-You've never been to the house. -No, sir, no. I... | 0:27:24 | 0:27:27 | |
I have an annual party up at the estate. | 0:27:27 | 0:27:29 | |
That sounds nice. That's another thing I got going in my favour. | 0:27:29 | 0:27:33 | |
You've got this other Haystacks, | 0:27:33 | 0:27:34 | |
and the man ain't churning 'em out, what with his being dead an' all. | 0:27:34 | 0:27:38 | |
So, looks like if you want the set, I got you by the short and curlies. | 0:27:38 | 0:27:43 | |
I don't think it's a situation of one party trying to subdue the other. | 0:27:43 | 0:27:46 | |
Nonsense. It's a pleasure doing business | 0:27:46 | 0:27:48 | |
with someone who knows her position and is able to clearly set it out. | 0:27:48 | 0:27:52 | |
Unfortunately I have another appointment at 11 o'clock. | 0:27:54 | 0:27:57 | |
But I believe this is worth pursuing. | 0:27:57 | 0:27:59 | |
Let's see if we mightn't find some common ground. | 0:27:59 | 0:28:03 | |
Why, thank you. A gentleman. | 0:28:03 | 0:28:06 | |
Thank you. | 0:28:08 | 0:28:09 | |
I'm booked the rest of the day and I have a business dinner. | 0:28:09 | 0:28:11 | |
But a thought occurs to me. Perhaps you might be my dinner companion. | 0:28:11 | 0:28:15 | |
We'd have time to talk and you might even help me with a business matter. | 0:28:15 | 0:28:19 | |
Thank you. That would be delightful. | 0:28:19 | 0:28:21 | |
Don't bother yourself, Deane. I'm sure PJ and I can handle things. | 0:28:21 | 0:28:26 | |
To plain speaking. | 0:28:26 | 0:28:28 | |
-Yes, sir. -LIFT: -Going down. | 0:28:28 | 0:28:30 | |
-Shall we say eight o'clock? -Sure. | 0:28:30 | 0:28:32 | |
Pick you up at...? | 0:28:32 | 0:28:34 | |
-The Savoy. -Why not? | 0:28:34 | 0:28:36 | |
'As I drove the two of them to the most expensive hotel in London, | 0:28:42 | 0:28:46 | |
'I was rather taken by Ms Puznowski. | 0:28:46 | 0:28:50 | |
'Her invigorating lack of decorum | 0:28:50 | 0:28:52 | |
'would have enraptured my younger self. | 0:28:52 | 0:28:55 | |
'Still, for the successful execution of the plan, | 0:28:55 | 0:28:58 | |
'Mr Deane would require a firm hand to bring her into line. | 0:28:58 | 0:29:02 | |
'I won't deny I doubted the strength of his wrists.' | 0:29:02 | 0:29:06 | |
I don't think I need to remind you, do I, | 0:29:06 | 0:29:08 | |
of the consequences of room service? | 0:29:08 | 0:29:10 | |
-Uh-huh. -This place is absurdly expensive. | 0:29:10 | 0:29:13 | |
Well, this was all your idea. | 0:29:13 | 0:29:15 | |
-Not your actually staying here. -It's not my fault neither. | 0:29:15 | 0:29:18 | |
We told him our story and either we keep laying on the bamboozlement | 0:29:18 | 0:29:22 | |
or we might as well pack it in and go home. | 0:29:22 | 0:29:24 | |
Mamacita! I bet this place has cable. | 0:29:24 | 0:29:27 | |
What are you doing? | 0:29:27 | 0:29:29 | |
The Major gave me a rag to dry this | 0:29:31 | 0:29:33 | |
and, good God, I believe it has motor oil on it. | 0:29:33 | 0:29:36 | |
Hello. Do you have a single room? | 0:29:37 | 0:29:40 | |
Very, very small. Tiny, in fact. Just for one evening. | 0:29:40 | 0:29:44 | |
Certainly, sir. I'll just take a look. | 0:29:44 | 0:29:46 | |
Not even the whole evening necessarily. | 0:29:46 | 0:29:48 | |
We could just use it for... | 0:29:48 | 0:29:51 | |
We are rather hemmed in at the moment, sir. | 0:29:51 | 0:29:54 | |
All I see for this evening is a very comfortable suite | 0:29:54 | 0:29:57 | |
-overlooking the river. -We'll take it. | 0:29:57 | 0:30:00 | |
Hold on. What's the tariff? | 0:30:00 | 0:30:03 | |
Hoss, if you're going to nickel-and-dime me, | 0:30:03 | 0:30:05 | |
we can call this whole thing off. | 0:30:05 | 0:30:06 | |
I'm beginning to have second thoughts. | 0:30:06 | 0:30:08 | |
Why would you have second thoughts? | 0:30:08 | 0:30:10 | |
There's moral issues. Right and wrong. | 0:30:10 | 0:30:13 | |
What would my momma have said | 0:30:13 | 0:30:14 | |
if she saw me deceiving somebody with you and your little Major? | 0:30:14 | 0:30:17 | |
The Major has made quite a mess here. It's really embarrassing. | 0:30:17 | 0:30:20 | |
-Don't you feel a little ashamed? -I'm not remotely ashamed. | 0:30:20 | 0:30:24 | |
-Just run that through. -Sir, I already have. | 0:30:24 | 0:30:26 | |
There seems to be a problem with this card. | 0:30:26 | 0:30:28 | |
Perhaps you've exceeded the limit. | 0:30:28 | 0:30:30 | |
Bloody hell. All right, try the... | 0:30:30 | 0:30:32 | |
This is a mistake. Try the American Express. | 0:30:32 | 0:30:35 | |
I don't know why I worry. You ain't up to it anyway. | 0:30:35 | 0:30:37 | |
-You or the Major. -The Major is quite capable. | 0:30:37 | 0:30:40 | |
-Well! -What? What's the laugh for? | 0:30:40 | 0:30:43 | |
Laughing at the Major? He's handled better than you. | 0:30:43 | 0:30:46 | |
He's been in any number of sticky spots in and out. | 0:30:46 | 0:30:48 | |
Should you choose to play coy this late in the game, | 0:30:48 | 0:30:51 | |
the Major would be aroused | 0:30:51 | 0:30:52 | |
and I could not be held responsible for the consequences. | 0:30:52 | 0:30:55 | |
From what I've seen, ain't nothin' going to arouse the Major. | 0:30:55 | 0:30:58 | |
Very good, sir. This one worked brilliantly. | 0:30:58 | 0:31:01 | |
There you are. That's room 344. | 0:31:01 | 0:31:05 | |
Stay on topic. Keep it businesslike. | 0:31:05 | 0:31:08 | |
The man is not above mixing the professional with the personal | 0:31:08 | 0:31:11 | |
-to get what he wants. -What's that supposed to mean? | 0:31:11 | 0:31:14 | |
Don't make me say it. The man is... Well, he's a cad. | 0:31:14 | 0:31:18 | |
He's up to something. He excluded me from your little date. | 0:31:18 | 0:31:21 | |
Hell, maybe I don't mind being seduced, | 0:31:21 | 0:31:24 | |
chased after by a multi-zillionaire. | 0:31:24 | 0:31:26 | |
I don't know, that don't sound so terrible. | 0:31:26 | 0:31:28 | |
What a depraved point of view. The man's money makes him attractive? | 0:31:28 | 0:31:32 | |
Yeah. Money and manners. Momma always called money and manners | 0:31:32 | 0:31:35 | |
the pork and beans of personality. | 0:31:35 | 0:31:37 | |
-What an odd woman. -There we are. 344, right? | 0:31:37 | 0:31:40 | |
And I beg you, do not abuse the minibar. | 0:31:40 | 0:31:44 | |
Is that... | 0:31:48 | 0:31:50 | |
Good God! | 0:31:50 | 0:31:52 | |
-It's a Ming. -Harry. | 0:31:54 | 0:31:57 | |
Key. | 0:31:57 | 0:31:58 | |
PJ LAUGHS | 0:31:58 | 0:32:00 | |
-That's your side. -This is a real nice car, Lionel. | 0:32:02 | 0:32:05 | |
-It's nicer than my house. -Indeed. | 0:32:05 | 0:32:07 | |
-Would you classify this as a limo? -Well, I suppose you could. | 0:32:07 | 0:32:11 | |
Shabandar. | 0:32:19 | 0:32:22 | |
Yes. Good to see you. | 0:32:22 | 0:32:24 | |
Martin Zaidenweber, this is PJ Puznowski. | 0:32:24 | 0:32:29 | |
This is her? It's so nice to meet you. | 0:32:29 | 0:32:31 | |
It's very nice to see you too. | 0:32:31 | 0:32:33 | |
Are you excited to be here in London? | 0:32:33 | 0:32:35 | |
I'm so excited. It's my first time. | 0:32:35 | 0:32:37 | |
No! No, come on. | 0:32:37 | 0:32:39 | |
Now, I have heard about this painting. I mean, what a story. | 0:32:39 | 0:32:43 | |
Almost incredible. Almost incredible. | 0:32:43 | 0:32:45 | |
I thought it'd be good for you two to meet. | 0:32:45 | 0:32:47 | |
Martin will be examining your painting. | 0:32:47 | 0:32:49 | |
He's going to curate my private collection. | 0:32:49 | 0:32:52 | |
Ja. | 0:32:52 | 0:32:54 | |
Wow. I thought that that's what Harry did. | 0:32:54 | 0:32:57 | |
For the moment, but the man's a bit of an idiot. | 0:32:57 | 0:33:01 | |
-Don't you think? -No, no, no, Shabandar. | 0:33:01 | 0:33:04 | |
No. Harry is a good man. Not much of an eye, but a good man. | 0:33:04 | 0:33:09 | |
I am for five years a director of the Kunst Museum in Cologne. | 0:33:10 | 0:33:14 | |
Before that I curated the collection of Baron Thyssen-Bornemisza. | 0:33:14 | 0:33:19 | |
But the Baron's collection is... heavily Flemish. | 0:33:19 | 0:33:24 | |
Titian, Rubens, all the women, so zaftig und heftig. | 0:33:24 | 0:33:30 | |
I mean, how many years can you spend looking at the Walloons, huh? | 0:33:30 | 0:33:35 | |
Anyway, now I prefer the Impressionists. | 0:33:35 | 0:33:38 | |
Und I'm now considered as the top man on Monet. | 0:33:38 | 0:33:42 | |
Say, your English is pretty darn good there, Martin. | 0:33:42 | 0:33:45 | |
I mean, for someone from the country of Germany. | 0:33:45 | 0:33:47 | |
Oh, thank you. Well, I speak eight languages fluently. | 0:33:47 | 0:33:50 | |
Und I'm internet-savvy, | 0:33:50 | 0:33:52 | |
but you have to be these days, don't you think? | 0:33:52 | 0:33:55 | |
I pluck chickens, so there ain't a lot of call for me | 0:33:55 | 0:33:57 | |
to be traipsing around tweetin' and bloggin'. | 0:33:57 | 0:34:00 | |
Ja, ja. | 0:34:00 | 0:34:01 | |
I'm unfamiliar with this expression, "I pluck chickens". | 0:34:03 | 0:34:07 | |
Anyway, tell me this remarkable thing. | 0:34:07 | 0:34:09 | |
This painting was hanging always in your house, | 0:34:09 | 0:34:12 | |
ever since you can remember, even as a little kinder? | 0:34:12 | 0:34:15 | |
Yep. | 0:34:17 | 0:34:19 | |
Hmm! | 0:34:29 | 0:34:31 | |
Bloody hell. | 0:34:33 | 0:34:34 | |
So, Harry's out on his butt, huh? | 0:34:36 | 0:34:38 | |
Yes. Harry is, as you say, out on his butt. | 0:34:38 | 0:34:42 | |
He's a bit of a disappointment, really. | 0:34:42 | 0:34:44 | |
Something a little desperate about the man. | 0:34:44 | 0:34:46 | |
-I don't know. -A little shifty, a little weak. | 0:34:46 | 0:34:49 | |
Not that bright. | 0:34:49 | 0:34:50 | |
I like to look a man in the eye, "Lionel Shabandar, how do you do?" | 0:34:50 | 0:34:53 | |
"This is what I should like. What do you fancy?" Just have out with it. | 0:34:53 | 0:34:56 | |
It's easier to live up to that when you're rich | 0:34:56 | 0:34:59 | |
and can call all the shots. | 0:34:59 | 0:35:00 | |
Character is tested in many ways. Money brings its own burdens. | 0:35:00 | 0:35:03 | |
You, I'm certain, will pass every test. Deane, I don't know. | 0:35:03 | 0:35:07 | |
I think maybe you're just not looking deep enough. | 0:35:07 | 0:35:10 | |
Like Momma said, | 0:35:10 | 0:35:12 | |
if you can't tell the difference between a pig and a javelina, | 0:35:12 | 0:35:14 | |
well, you could lose a big old chunk out of your ass. | 0:35:14 | 0:35:18 | |
Indeed. | 0:35:18 | 0:35:20 | |
'Mr Deane was a proud man in a difficult moment. | 0:35:23 | 0:35:27 | |
'His credit exhausted, his coffers near empty, | 0:35:27 | 0:35:30 | |
'he was forced to contemplate desperate measures. | 0:35:30 | 0:35:35 | |
'Yet he could allow no chink to appear in the plan. | 0:35:35 | 0:35:39 | |
'And though his accomplice might seem, shall we say, | 0:35:39 | 0:35:41 | |
'less than perfect,... | 0:35:41 | 0:35:43 | |
KNOCKING AT DOOR | 0:35:43 | 0:35:44 | |
'..he would maintain control. | 0:35:44 | 0:35:46 | |
'These are the moments that try men's souls.' | 0:35:46 | 0:35:51 | |
So how is His Lordship this evening? | 0:35:51 | 0:35:53 | |
-He's... -No problems? | 0:35:53 | 0:35:55 | |
-He wasn't rude or bullying, I hope. -No, he was polite enough. | 0:35:55 | 0:35:58 | |
Hey, Harry, what are you doing with all your quarters? | 0:35:58 | 0:36:01 | |
These, madam, are pounds and pence, not quarters. | 0:36:01 | 0:36:04 | |
-Just putting my affairs in order. -Harry Deane, are you tapped out? | 0:36:04 | 0:36:08 | |
Hardly. I do this periodically so as to have use of the jar. | 0:36:08 | 0:36:13 | |
I bag the coins and donate the proceeds to charity. | 0:36:13 | 0:36:16 | |
Uh-huh. | 0:36:16 | 0:36:17 | |
Tea? | 0:36:21 | 0:36:22 | |
So where do we stand with our little affair, scheme, programme? | 0:36:23 | 0:36:27 | |
You know, hoss, I don't think it's going to work out. | 0:36:27 | 0:36:31 | |
What? Nonsense. Everything's going according to plan. | 0:36:31 | 0:36:33 | |
We have the painting, or so Shabandar believes. | 0:36:33 | 0:36:36 | |
And I, my dear, have that credulous boob's confidence. | 0:36:36 | 0:36:39 | |
On plan, don't you understand? | 0:36:39 | 0:36:41 | |
Well, then, I guess it's just me having second thoughts, then. | 0:36:41 | 0:36:44 | |
Second thoughts? Well, it's a little late for that, young lady. | 0:36:44 | 0:36:48 | |
-Don't "young lady" me, hoss. -Don't you "hoss" me, young lady. | 0:36:48 | 0:36:51 | |
That is it. | 0:36:51 | 0:36:53 | |
I have invested thousands of pounds in this little caper of ours, | 0:36:53 | 0:36:57 | |
not to mention the Major, who has painted his heart, his soul, his guts | 0:36:57 | 0:37:02 | |
into his forgery of Haystacks, Dusk. | 0:37:02 | 0:37:04 | |
You call the Major, tell him about your second thoughts, | 0:37:04 | 0:37:06 | |
your silly little... | 0:37:06 | 0:37:08 | |
What is it anyway? Cold feet, moral qualms again? | 0:37:08 | 0:37:10 | |
Yeah, that's part of it. | 0:37:10 | 0:37:12 | |
Besides, the man is a cold-blooded, heartless bully. | 0:37:12 | 0:37:14 | |
-I happen to think he's quite charming. -Charming? | 0:37:14 | 0:37:17 | |
He's charming in a thoroughly reptilian, repulsive way. | 0:37:17 | 0:37:20 | |
Repulsively charming. | 0:37:20 | 0:37:21 | |
But you fail to see his manners are completely ersatz. | 0:37:21 | 0:37:24 | |
I knew you were naive and provincial... | 0:37:24 | 0:37:26 | |
And look at you, trash-talkin' my origins! | 0:37:26 | 0:37:29 | |
I respect your origins, your entire double-wide way of life, | 0:37:29 | 0:37:33 | |
but it does leave you vulnerable to... | 0:37:33 | 0:37:35 | |
Leaves me vulnerable? I don't know how to tell you this, Harry. | 0:37:35 | 0:37:38 | |
-But you're fired. -Oh, I'm fired? | 0:37:38 | 0:37:41 | |
-Yep. -Very amusing. | 0:37:41 | 0:37:43 | |
Let me remind you who's running this little enterprise, madam. Moi. | 0:37:43 | 0:37:46 | |
And it is you who are fired! Except you're not. | 0:37:46 | 0:37:50 | |
In due course, | 0:37:50 | 0:37:52 | |
when I have authenticated the Major's beautiful work, then, | 0:37:52 | 0:37:54 | |
then we shall discuss the termination of your employment | 0:37:54 | 0:37:57 | |
and come to some understanding | 0:37:57 | 0:37:59 | |
as to how to bear the onus of your ridiculous expenses. | 0:37:59 | 0:38:03 | |
Wrong, hoss. Wrong, wrong and wrong. | 0:38:03 | 0:38:08 | |
You are fired, by Lionel, cos he told me his self. | 0:38:08 | 0:38:12 | |
He introduced me to some stuck-up heinie, Martin Zaidenweber, | 0:38:12 | 0:38:15 | |
who's getting your job | 0:38:15 | 0:38:16 | |
and you won't be authenticating your dumb old hay painting. | 0:38:16 | 0:38:19 | |
So I'm going back to the Savoy to stay the night | 0:38:19 | 0:38:22 | |
and I might just order up some surf 'n' turf. | 0:38:22 | 0:38:24 | |
And tomorrow I'm going to Texas, | 0:38:24 | 0:38:26 | |
get my job back at the chicken plant. | 0:38:26 | 0:38:28 | |
It ain't no fault of mine | 0:38:28 | 0:38:29 | |
that your whole cockamamie scheme just went blooey. | 0:38:29 | 0:38:32 | |
Hmm! | 0:38:52 | 0:38:54 | |
HARRY GRUNTS | 0:38:56 | 0:38:57 | |
Zaidenweber. | 0:39:03 | 0:39:05 | |
KNOCKING AT DOOR | 0:39:05 | 0:39:07 | |
Hmm. It's a little late to apologise now. | 0:39:07 | 0:39:10 | |
How could he? Zaidenweber. | 0:39:14 | 0:39:17 | |
The man is a... Admittedly he knows his way around the Walloons. | 0:39:17 | 0:39:20 | |
But when it comes to the Impressionists, | 0:39:20 | 0:39:22 | |
the man is a hopeless ignoramus. | 0:39:22 | 0:39:24 | |
This would be comical if it weren't actually dangerous. | 0:39:24 | 0:39:27 | |
I refer not just to my nose, | 0:39:27 | 0:39:28 | |
which this time I fear may be well and truly broken. | 0:39:28 | 0:39:31 | |
Perhaps since our little caper is far from over, | 0:39:31 | 0:39:34 | |
perhaps we should consider removing the cartilage. | 0:39:34 | 0:39:37 | |
Don't be an ass. I'm hardly likely to be hit in the face a third time. | 0:39:37 | 0:39:40 | |
That was the third time, sir. | 0:39:40 | 0:39:43 | |
This isn't a maths class. | 0:39:43 | 0:39:45 | |
What are we going to do about Zaidenweber who, once hired on, | 0:39:45 | 0:39:48 | |
is not going to authenticate our dumb old hay painting? | 0:39:48 | 0:39:51 | |
Perhaps, Major, could you not contrive to neutralise him | 0:39:53 | 0:39:56 | |
simply with a... well, with a gun of some sort? | 0:39:56 | 0:40:00 | |
With a silencer screwed onto the tip of the thing, the barrel there? | 0:40:00 | 0:40:05 | |
-Mr Deane. -Hmm? | 0:40:05 | 0:40:08 | |
Too much? No, you're right, it's too outlandish. | 0:40:08 | 0:40:11 | |
I'll take care of Zaidenweber. | 0:40:11 | 0:40:13 | |
More pressing is how do we get our rogue elephant | 0:40:13 | 0:40:15 | |
out of the most expensive hotel in London? | 0:40:15 | 0:40:19 | |
Oh, er, sorry, sir. I haven't quite got the knack of this. | 0:40:19 | 0:40:24 | |
She is a person without vision, Major. | 0:40:24 | 0:40:27 | |
She cannot see the plan, so she will not believe in the plan. | 0:40:27 | 0:40:31 | |
Instant gratification is her modus vivendi, discipline a dirty word. | 0:40:31 | 0:40:34 | |
There's something awfully refreshing about her. | 0:40:34 | 0:40:37 | |
There's something refreshing about being plunged into an ice bath | 0:40:37 | 0:40:40 | |
and flogged with a birch switch. | 0:40:40 | 0:40:42 | |
Oh, yes, good flogging. | 0:40:42 | 0:40:44 | |
Madam Olga, Pennypockets Lane, third floor to the rear. | 0:40:44 | 0:40:49 | |
MOBILE RINGS | 0:40:51 | 0:40:53 | |
-Yeah? -HARRY: Martin? | 0:40:53 | 0:40:56 | |
-Ja, this is Martin Zaidenweber, ja. -Martin, it's Harry. | 0:40:56 | 0:41:00 | |
-Harry Trinkwasser? -No, Harry Deane, calling from London. | 0:41:01 | 0:41:06 | |
-How's Cologne? -Cologne? | 0:41:06 | 0:41:10 | |
Oh, ja! Cologne is...is good, not so bad. | 0:41:10 | 0:41:13 | |
Of course, I'm in Cologne. You catch me at my gym. | 0:41:13 | 0:41:16 | |
Practising physical culture. | 0:41:16 | 0:41:18 | |
I am gaily shvitzing away the kilos, you know? | 0:41:18 | 0:41:21 | |
We have to fight the heftiness! | 0:41:21 | 0:41:23 | |
Oh, absolutely. | 0:41:23 | 0:41:25 | |
Look, I know this will seem a little out of the blue, | 0:41:25 | 0:41:28 | |
and it's sort of embarrassing to say, | 0:41:28 | 0:41:30 | |
but I'm calling to ask if you might have a job on offer soon. | 0:41:30 | 0:41:33 | |
-Job? -I'm going to be free soon. | 0:41:33 | 0:41:35 | |
I'm about to kiss Shabandar off. | 0:41:35 | 0:41:37 | |
-You will kiss him off? -Quitting, yes. | 0:41:37 | 0:41:40 | |
Rather embarrassing, but Shabandar's having problems. | 0:41:40 | 0:41:43 | |
Business problems. | 0:41:43 | 0:41:45 | |
Rumour has it he's built himself a bit of a house of cards. | 0:41:45 | 0:41:48 | |
-A card house? -Yeah. | 0:41:48 | 0:41:51 | |
Just last week, my paycheck didn't clear. | 0:41:51 | 0:41:55 | |
-Good evening. -Good evening, sir. | 0:42:00 | 0:42:02 | |
-What can we do for you? -Well, I'm checking my friend out. | 0:42:02 | 0:42:05 | |
Lovely room. She's quite enjoyed her stay. | 0:42:05 | 0:42:07 | |
But I can authorise no further payments against my credit card. | 0:42:07 | 0:42:10 | |
So we're going to have to throw her out on her ear. | 0:42:10 | 0:42:13 | |
-Actually... -Give her the old heave-ho. | 0:42:13 | 0:42:15 | |
Bags packed, out on the pavement. | 0:42:15 | 0:42:16 | |
Actually, sir, | 0:42:16 | 0:42:17 | |
those charges have been assumed as of 4:17 this afternoon | 0:42:17 | 0:42:21 | |
by another party. | 0:42:21 | 0:42:23 | |
In fact, I believe she has been moved up to a senior suite. | 0:42:23 | 0:42:28 | |
Senior suite. | 0:42:28 | 0:42:30 | |
She's been moved up to... Who the bloody hell...? | 0:42:30 | 0:42:33 | |
Lord Shabandar called round. You just missed him. | 0:42:33 | 0:42:36 | |
He left with the young lady in evening wear. | 0:42:36 | 0:42:39 | |
Hmm. | 0:42:39 | 0:42:41 | |
-Evening wear? -Yes, sir. | 0:42:41 | 0:42:42 | |
-Quite striking. -Indeed. | 0:42:42 | 0:42:44 | |
A gift from His Lordship. | 0:42:44 | 0:42:47 | |
Fine. Excellent. Well, good, then. | 0:42:47 | 0:42:50 | |
But I'd be happy to close out your account. Let me see. | 0:42:50 | 0:42:54 | |
Charges accumulating prior to this evening... | 0:42:54 | 0:42:57 | |
Yes, here we are. | 0:42:57 | 0:42:59 | |
It'll just be two shakes, sir. | 0:43:02 | 0:43:04 | |
How is the... the Major this evening, sir? | 0:43:14 | 0:43:18 | |
-Hmm? -The Major. | 0:43:19 | 0:43:21 | |
He's all right, I suppose. | 0:43:22 | 0:43:25 | |
-Seems like a busy little fellow. -Not so little, I would hazard. | 0:43:25 | 0:43:29 | |
He's lost a bit of weight recently. | 0:43:31 | 0:43:34 | |
-Semi-retired now. -That is a pity, sir. | 0:43:34 | 0:43:37 | |
-At least it's...semi. -Hmm. | 0:43:37 | 0:43:41 | |
PRINTER BEEPS | 0:43:41 | 0:43:43 | |
Leaving that on the American Express card, are we, sir? | 0:43:46 | 0:43:49 | |
Yes, thank you. | 0:43:49 | 0:43:51 | |
PRINTER BEEPS | 0:43:51 | 0:43:53 | |
PRINTER BEEPS | 0:43:58 | 0:43:59 | |
Now, the task this evening is quite straightforward. | 0:44:04 | 0:44:08 | |
The Japanese ran the world in the '80s | 0:44:08 | 0:44:10 | |
and my little friend Takagawa screwed me a dozen times. | 0:44:10 | 0:44:13 | |
Well, now the boot is on the other foot. | 0:44:13 | 0:44:15 | |
So it's kind of like a grudge match. | 0:44:15 | 0:44:18 | |
He's still pissed off that I beat him to Haystacks, Dawn. | 0:44:18 | 0:44:21 | |
Now, if I can get his lackeys to sell me their 220 television channels, | 0:44:21 | 0:44:24 | |
I become the third largest provider of premium cable in the whole of Asia | 0:44:24 | 0:44:28 | |
and the Shabandar lion can finally roar over Japan. | 0:44:28 | 0:44:32 | |
Hello. Good day, Mr Shabandar. | 0:44:36 | 0:44:39 | |
I am your interpreter from Konichiwa Media Group. | 0:44:39 | 0:44:43 | |
-I am Chuck. -Delighted to meet you. | 0:44:43 | 0:44:46 | |
This is Ms Philomena Puznowski. | 0:44:46 | 0:44:50 | |
Hi. | 0:44:50 | 0:44:51 | |
Hello. Good day. | 0:44:51 | 0:44:53 | |
I am your interpreter from Konichiwa Media Group. | 0:44:53 | 0:44:57 | |
I am Chuck. | 0:44:57 | 0:44:59 | |
This is Mr Katsuhara Go. | 0:44:59 | 0:45:02 | |
Very powerful big man of Konichiwa Media Group. | 0:45:02 | 0:45:06 | |
I present Mr Shabandar and Ms Puznoskusam. | 0:45:06 | 0:45:12 | |
Marvellous. | 0:45:12 | 0:45:14 | |
I think we'll just pick up the names as we go along, don't you? | 0:45:20 | 0:45:23 | |
-It's a pleasure to meet you all. -And that goes double for me. | 0:45:23 | 0:45:28 | |
As I said, these dinners can be difficult. | 0:45:28 | 0:45:31 | |
Don't worry. These guys seem pretty harmless. | 0:45:31 | 0:45:33 | |
They're evil little shits. Watch me crush them. | 0:45:33 | 0:45:36 | |
It occurs to me, I'm afraid I left my glasses up in the room. | 0:45:41 | 0:45:45 | |
Would it... Would the key still work for me to run up and have a look? | 0:45:45 | 0:45:49 | |
-You're wearing them, sir. -These, to be sure, yes. | 0:45:49 | 0:45:53 | |
No, I mean my other glasses, my distance glasses. | 0:45:53 | 0:45:57 | |
Distance. | 0:45:58 | 0:46:01 | |
I'll run you another key, sir. | 0:46:01 | 0:46:03 | |
Huh. | 0:46:23 | 0:46:25 | |
MAID BELCHES | 0:47:03 | 0:47:04 | |
LOCK CLICKS | 0:47:08 | 0:47:11 | |
Bloody hell! | 0:47:12 | 0:47:14 | |
Hello! | 0:47:20 | 0:47:22 | |
Hello! | 0:47:22 | 0:47:24 | |
This is Extra Vroom-Vroom channel. | 0:47:34 | 0:47:37 | |
-Aim at people love car. -Hmm. | 0:47:37 | 0:47:39 | |
This is Extra Killer Whale channel | 0:47:39 | 0:47:42 | |
for people like watch whale eat other people. | 0:47:42 | 0:47:46 | |
-Very popular after ten o'clock. -Hmm. | 0:47:46 | 0:47:49 | |
This is Let's Young channel. | 0:47:49 | 0:47:52 | |
For young teenage wear hair extra crazy, | 0:47:52 | 0:47:56 | |
drink sake all night, puke in street. | 0:47:56 | 0:47:59 | |
Combined viewer for Konichiwa TV, | 0:47:59 | 0:48:02 | |
42 millions, I think. | 0:48:02 | 0:48:05 | |
-Yes. -Yes, yes, very impressive. | 0:48:05 | 0:48:08 | |
Of course, I'm familiar with the figures. | 0:48:08 | 0:48:10 | |
SPEAKS JAPANESE | 0:48:10 | 0:48:13 | |
However... | 0:48:13 | 0:48:15 | |
SPEAKS JAPANESE | 0:48:15 | 0:48:17 | |
..my offer for the group was made in pounds sterling, not yen. | 0:48:17 | 0:48:21 | |
But the recent rise of your currency relative to the pound | 0:48:21 | 0:48:24 | |
would raise my cost fully 10%, | 0:48:24 | 0:48:27 | |
and that, gentlemen, is an obligation I never undertook | 0:48:27 | 0:48:30 | |
and do not propose to undertake now. | 0:48:30 | 0:48:33 | |
There is snow on the mountains in the winter | 0:48:42 | 0:48:45 | |
and the man, in despair, | 0:48:45 | 0:48:48 | |
cannot walk to the next valley. | 0:48:48 | 0:48:51 | |
But in spring, snow melts | 0:48:51 | 0:48:55 | |
and is remembered in tranquillity. | 0:48:55 | 0:48:59 | |
Right. Sure, OK, I got you. | 0:49:01 | 0:49:04 | |
Yeah, see, what I think the big man here is trying to tell you is | 0:49:04 | 0:49:07 | |
he may have been tough on the price and a real son of a bitch until now, | 0:49:07 | 0:49:11 | |
but if you kind of party down with him so he don't lose face, | 0:49:11 | 0:49:15 | |
maybe things'll go your way. | 0:49:15 | 0:49:16 | |
But he ain't about to say it straight out and look like a wimp, right? | 0:49:16 | 0:49:20 | |
If you really want to butter these boys up, | 0:49:23 | 0:49:25 | |
you ought to invite them all out to your house. | 0:49:25 | 0:49:28 | |
You know, break some bread, mano a mano. | 0:49:28 | 0:49:31 | |
Have 'em out for the gala, why don't you? | 0:49:32 | 0:49:35 | |
Maybe you're right. God, what a bore. | 0:49:35 | 0:49:39 | |
Can't be so terribly difficult. | 0:49:44 | 0:49:45 | |
Just one foot... | 0:49:51 | 0:49:53 | |
..in front of the other. | 0:49:54 | 0:49:56 | |
MAN: Let's go dancing! | 0:49:56 | 0:49:58 | |
LAUGHTER | 0:50:01 | 0:50:03 | |
RIPPING | 0:50:31 | 0:50:33 | |
RIPPING | 0:50:39 | 0:50:41 | |
Oh, sod it. | 0:50:41 | 0:50:42 | |
You're a bit of a marvel. I hope you'll stay on, even after the gala. | 0:50:42 | 0:50:46 | |
I could use somebody with your qualities. | 0:50:46 | 0:50:48 | |
Well, I guess I got qualities at that. | 0:50:48 | 0:50:51 | |
That you do, Ms Puznowski. That you do. | 0:50:51 | 0:50:54 | |
For Pete's sake, | 0:50:54 | 0:50:56 | |
this time I think you really are trying to get me drunk, | 0:50:56 | 0:50:58 | |
with all that rice wine an' all. | 0:50:58 | 0:51:00 | |
Well, why not? No more business this evening. | 0:51:00 | 0:51:02 | |
This is a strictly social part of the day. | 0:51:02 | 0:51:04 | |
Let's get, as you might say, down, I believe, shall we? | 0:51:04 | 0:51:09 | |
-Say that one more time, please. -AMERICAN ACCENT: -Let us get down. | 0:51:09 | 0:51:14 | |
Oh, bugger me. | 0:51:28 | 0:51:30 | |
Well, Lionel, tonight was real, real fun. | 0:51:40 | 0:51:43 | |
That sounds like the past tense. | 0:51:43 | 0:51:45 | |
The... | 0:51:47 | 0:51:49 | |
Bloody tart! | 0:51:49 | 0:51:52 | |
Well, that seems to have had the desired effect. | 0:51:58 | 0:52:02 | |
My Pants. | 0:52:02 | 0:52:04 | |
My bloody trousers! | 0:52:04 | 0:52:07 | |
Lionel, you know, this ain't the place to be... | 0:52:08 | 0:52:12 | |
Nonsense. | 0:52:12 | 0:52:13 | |
This is precisely what hotels are for. | 0:52:13 | 0:52:16 | |
In the tree! | 0:52:16 | 0:52:18 | |
-MAN: -Taxi! -My bloody trousers! | 0:52:18 | 0:52:21 | |
Out snogging about when I'm trying to bloody stay on plan. | 0:52:23 | 0:52:28 | |
This is absurd. | 0:52:33 | 0:52:34 | |
KNOCKING AT DOOR | 0:52:51 | 0:52:52 | |
DOOR OPENS | 0:52:52 | 0:52:54 | |
KNOCKING AT DOOR | 0:53:00 | 0:53:03 | |
Good evening, madam. I am terribly sorry. | 0:53:03 | 0:53:06 | |
Tomorrow evening's Kirov Ballet is quite sold out | 0:53:06 | 0:53:09 | |
and it's the last performance. | 0:53:09 | 0:53:10 | |
-Oh, my! -Yes. | 0:53:10 | 0:53:13 | |
Shall we try The Cherry Orchard at the Duke of York's? | 0:53:13 | 0:53:16 | |
-Yes, let's. -Lovely. | 0:53:16 | 0:53:18 | |
Lovely. Still just the one... the one ticket? | 0:53:18 | 0:53:22 | |
-Yes, just the one. -Lovely. As you please. | 0:53:22 | 0:53:25 | |
-Have a very nice evening. -Yes, I shall try. | 0:53:25 | 0:53:29 | |
Straight back into bed. My husband doesn't arrive until Thursday. | 0:53:29 | 0:53:33 | |
Of course, madam. It must seem like an eternity. | 0:53:33 | 0:53:38 | |
There. | 0:53:41 | 0:53:42 | |
FARTS LOUDLY | 0:53:51 | 0:53:53 | |
The vase. | 0:54:02 | 0:54:04 | |
Just nipping down the hall for some ice. | 0:54:06 | 0:54:09 | |
LIFT BELL RINGS | 0:54:21 | 0:54:23 | |
You can fly private, but you still have to take the time. | 0:54:26 | 0:54:29 | |
That's why you need a place like this to lay your sleepy head. | 0:54:29 | 0:54:32 | |
Oh, look. Here we are. | 0:54:32 | 0:54:34 | |
Here we are. Well, thanks for escorting me up, Lionel. | 0:54:34 | 0:54:38 | |
I'm pretty tuckered out, so I should probably just... | 0:54:38 | 0:54:41 | |
-Nonsense. Let's have a nightcap. -What? | 0:54:41 | 0:54:44 | |
A nightcap, that's code, really, for a bit more conversation | 0:54:44 | 0:54:47 | |
-and then...who knows? -Er... | 0:54:47 | 0:54:51 | |
-Well... -I'm making you uncomfortable. | 0:54:51 | 0:54:54 | |
-Perhaps another time. -Oh, no, that's fine. | 0:54:54 | 0:54:56 | |
We should do it tonight, so here we go. Let's go on in. You first. | 0:54:56 | 0:55:01 | |
-WHISPERS: -What are you doing? -WHISPERS: What? | 0:55:01 | 0:55:04 | |
-Evening, Mr Deane. -Evening. | 0:55:04 | 0:55:07 | |
Hey, get your butt in here. Come on. | 0:55:09 | 0:55:11 | |
Quite the extensive bar. What are you having? | 0:55:13 | 0:55:16 | |
Let me think about it. I'll be right there. | 0:55:16 | 0:55:19 | |
-WHISPERS: -What are you doing here? Where are your pants? | 0:55:19 | 0:55:22 | |
Hanging on the tree downstairs. What are you doing with Shabandar? | 0:55:22 | 0:55:25 | |
They're what? | 0:55:25 | 0:55:27 | |
Hanging on the tree downstairs. | 0:55:27 | 0:55:30 | |
Good God, I can hardly put it more plainly! | 0:55:30 | 0:55:32 | |
There's Scotch, gin, Jagermeister... | 0:55:32 | 0:55:35 | |
Why would you hang your pants in a tree? | 0:55:35 | 0:55:37 | |
-It ain't Christmas. -I didn't hang them there. | 0:55:37 | 0:55:39 | |
Why did you invite Shabandar to your room? | 0:55:39 | 0:55:41 | |
Do your orgiastic impulses know no limits? You've been drinking. | 0:55:41 | 0:55:44 | |
If I want to have a nightcap, well, I am of drinking age and voting age | 0:55:44 | 0:55:48 | |
and the age of consent. | 0:55:48 | 0:55:50 | |
And I can have anyone I want up to my room, | 0:55:50 | 0:55:52 | |
cos you ain't paying for it no more anyways. | 0:55:52 | 0:55:55 | |
-What? Are you jealous? -Jealous? Don't be absurd. | 0:55:55 | 0:55:59 | |
Champagne cooling. | 0:55:59 | 0:56:00 | |
Are you coming out or are you slipping into something more approachable? | 0:56:00 | 0:56:05 | |
Yeah, that's it. | 0:56:05 | 0:56:07 | |
Your sense of shame is well and truly atrophied. | 0:56:07 | 0:56:09 | |
Not only do you not seek to disguise your wanton behaviour... | 0:56:09 | 0:56:12 | |
My behaviour? Why don't you go first? | 0:56:12 | 0:56:15 | |
Why were you out on that ledge, what was in that vase | 0:56:15 | 0:56:17 | |
and why are your pants hanging in a tree? | 0:56:17 | 0:56:20 | |
You're a very suspicious person, really. | 0:56:20 | 0:56:22 | |
There was nothing in the vase. | 0:56:22 | 0:56:24 | |
As for the rest of it, it is involved, | 0:56:24 | 0:56:26 | |
but unlike your shenanigans, | 0:56:26 | 0:56:27 | |
there's a sensible plan governing my behaviour. | 0:56:27 | 0:56:30 | |
Jealous. Good God. | 0:56:30 | 0:56:32 | |
Ready or not, here I have to come. | 0:56:32 | 0:56:36 | |
I need to use the lavatory. | 0:56:36 | 0:56:37 | |
But I shall respect your modesty. | 0:56:37 | 0:56:41 | |
DOOR CLOSES | 0:56:43 | 0:56:46 | |
I don't suppose you could dash down and get my trousers? | 0:56:46 | 0:56:48 | |
You get out of here, Harry Deane. You go get your own damn trousers. | 0:56:48 | 0:56:51 | |
Well, thanks a lot. | 0:56:51 | 0:56:53 | |
-So you don't have any ice, then? -What? | 0:56:55 | 0:56:57 | |
What did you say? | 0:56:57 | 0:56:59 | |
TOILET FLUSHES | 0:56:59 | 0:57:01 | |
What did you say? | 0:57:01 | 0:57:03 | |
-Do we have any ice? -No, not with champagne. | 0:57:03 | 0:57:06 | |
-WHISPERS: Harry. -Harry. | 0:57:06 | 0:57:08 | |
-Harry. -It's all right. I've practised. | 0:57:08 | 0:57:12 | |
Are you decent? I'm coming out. | 0:57:13 | 0:57:16 | |
I've never told you, have I, the story of the Shabandar lion? | 0:57:19 | 0:57:23 | |
GROWLS | 0:57:23 | 0:57:24 | |
Oh! Wanker. | 0:57:24 | 0:57:27 | |
KNOCKING AT DOOR | 0:57:49 | 0:57:50 | |
DOOR OPENS | 0:57:50 | 0:57:52 | |
Stroke of luck, madam. One ticket left for The Cherry Orchard. | 0:58:01 | 0:58:05 | |
-Third row in the stalls, aisle seat. -Ah, wonderful. | 0:58:05 | 0:58:08 | |
Splendid. Book that for you straightaway. | 0:58:08 | 0:58:10 | |
Oh, that's where it is. Excuse me. | 0:58:10 | 0:58:13 | |
Housekeeping. | 0:58:13 | 0:58:16 | |
Evening, Mr Deane. | 0:58:16 | 0:58:18 | |
Sometimes I wonder if they drink. | 0:58:19 | 0:58:21 | |
Right, shan't bother you again | 0:58:23 | 0:58:24 | |
and I'll tell switchboard to put a Do Not Disturb on room 318. | 0:58:24 | 0:58:29 | |
318? | 0:58:32 | 0:58:34 | |
-Good evening. -Good evening, sir. | 0:58:39 | 0:58:41 | |
-Did you find your glasses? -Yes, thank you. Got 'em right here. | 0:58:41 | 0:58:45 | |
Not forgetting anything else, are we, sir? | 0:58:45 | 0:58:47 | |
No, no, I shouldn't think so. | 0:58:47 | 0:58:49 | |
-MAN: At least he's wearing a tie. -Extraordinary fellow. | 0:58:52 | 0:58:56 | |
Good morning. | 0:59:22 | 0:59:24 | |
Harry Deane, are you spying on me? | 0:59:29 | 0:59:32 | |
No, not at all. It's just that seducing Shabandar, | 0:59:32 | 0:59:35 | |
last I checked, was not part of our plan. | 0:59:35 | 0:59:37 | |
Well, like Momma always used to say, | 0:59:37 | 0:59:39 | |
scratch it if it itches, even if it's in your britches. | 0:59:39 | 0:59:42 | |
Miss, I've had sufficient of your mother's gnomic utterances. | 0:59:42 | 0:59:45 | |
Relax, Harry. | 0:59:45 | 0:59:47 | |
Face it, our little plan ain't exactly operational any more. | 0:59:47 | 0:59:51 | |
You're wrong. | 0:59:51 | 0:59:53 | |
Look... | 0:59:53 | 0:59:54 | |
We gotta have a little talk here. See, there's two kinds of people. | 0:59:59 | 1:00:03 | |
There's people like Lionel with big deals and big cars and manners an' all, | 1:00:03 | 1:00:07 | |
and there's people like us. | 1:00:07 | 1:00:08 | |
Look at you, running around all desperate and cockamamie, | 1:00:08 | 1:00:11 | |
pretending like you're going to take Lionel for a gazillion dollars. | 1:00:11 | 1:00:15 | |
Well, Harry Deane, it ain't going to happen. | 1:00:15 | 1:00:17 | |
You're not Lionel, and why would you want to be? | 1:00:17 | 1:00:22 | |
You got your own thing going on, | 1:00:22 | 1:00:23 | |
with all your art and your beautiful little painting. | 1:00:23 | 1:00:26 | |
But you gotta quit trying to be something you're not. | 1:00:28 | 1:00:32 | |
It's OK, you know. You being you is...is OK. | 1:00:32 | 1:00:35 | |
Look, I understand how certain unforeseen wrinkles in my plans | 1:00:38 | 1:00:42 | |
have conspired to diminish your confidence in me. | 1:00:42 | 1:00:45 | |
Consider that you might still have an obligation, | 1:00:45 | 1:00:48 | |
having incurred considerable expense, | 1:00:48 | 1:00:50 | |
having pledged a degree of cooperation | 1:00:50 | 1:00:52 | |
and having... having wounded me personally | 1:00:52 | 1:00:57 | |
by fraternising with a man who does not deserve your respect, | 1:00:57 | 1:01:00 | |
who's a cynical manipulator of those less powerful | 1:01:00 | 1:01:03 | |
and who's a degenerate nudist at that. | 1:01:03 | 1:01:05 | |
Only person I've seen traipsing round London in their underwear is you. | 1:01:05 | 1:01:09 | |
That is not the point. | 1:01:09 | 1:01:10 | |
You sure do have nice eyes for a fella who never smiles. | 1:01:13 | 1:01:16 | |
Too bad you're all wrapped up in your crazy scheme. | 1:01:16 | 1:01:19 | |
Maybe you could ungrit your teeth a little bit every once in a while. | 1:01:19 | 1:01:23 | |
OK, I get it. | 1:01:27 | 1:01:29 | |
I think it's trouble, but... I'll play along at Lionel's party, | 1:01:29 | 1:01:34 | |
if that's what you want. | 1:01:34 | 1:01:37 | |
Yes, yes. Thank you, madam, that is all I ask. | 1:01:37 | 1:01:40 | |
I'm certain after tonight, you shall have reason to admire the skills | 1:01:43 | 1:01:46 | |
of a reborn, reinvigorated and surprisingly capable Harry Deane. | 1:01:46 | 1:01:50 | |
If you say so. | 1:01:51 | 1:01:53 | |
CHAMPAGNE CORK POPS | 1:01:56 | 1:01:58 | |
-MAN 1: -Very good evening to you. -MAN 2: -You're most welcome. | 1:02:14 | 1:02:18 | |
Thank you. | 1:02:23 | 1:02:24 | |
'There are moments in a life that define a man. | 1:02:26 | 1:02:30 | |
'This was Mr Deane's. | 1:02:30 | 1:02:32 | |
'He was sprung for action | 1:02:32 | 1:02:35 | |
'and yet perfectly capable of blowing it completely.' | 1:02:35 | 1:02:39 | |
Here we go. | 1:02:39 | 1:02:40 | |
Zowie. | 1:02:48 | 1:02:50 | |
-This the painting? -Painting's in the crate. | 1:02:56 | 1:02:58 | |
This is my easel so I can have a look at the bloody thing. | 1:02:58 | 1:03:01 | |
Uncrate the painting in the gallery. I'll look at it up there. | 1:03:01 | 1:03:04 | |
Managed to get hold of the guest list. | 1:03:04 | 1:03:06 | |
No sign of Zaidenweber, thank God. | 1:03:06 | 1:03:08 | |
You should go, Major. No reason to put yourself at risk. | 1:03:08 | 1:03:11 | |
You know where to find me. | 1:03:11 | 1:03:13 | |
Good luck, old thing. | 1:03:13 | 1:03:15 | |
-Howdy. -Good evening. | 1:03:27 | 1:03:28 | |
-Hey, there. Great mask. -Thank you. | 1:03:28 | 1:03:31 | |
-Hi. -Good evening. | 1:03:31 | 1:03:33 | |
GROWLS | 1:03:36 | 1:03:38 | |
I'm so glad you could make it | 1:03:38 | 1:03:40 | |
and that you've decided to consummate our little transaction. | 1:03:40 | 1:03:43 | |
Perhaps you might allow me to do the same with our other little affair. | 1:03:43 | 1:03:47 | |
You can try all you want, Shabby. | 1:03:47 | 1:03:49 | |
Shabby. | 1:03:49 | 1:03:51 | |
-Shabandar-san! -Oh, Christ. | 1:03:51 | 1:03:55 | |
It is I, Chuck. | 1:03:55 | 1:03:57 | |
We wish to thank you for extending | 1:03:57 | 1:04:01 | |
of your hospitality of your extra-big house. | 1:04:01 | 1:04:04 | |
Oh, yes, quite. Delighted. I see you managed to find the bar. | 1:04:04 | 1:04:09 | |
And if you're hungry, there's a big old spread over there. | 1:04:09 | 1:04:13 | |
Our boy Lionel pulled out all the stops. | 1:04:13 | 1:04:15 | |
Many thanks, Ms Puzkoza. | 1:04:15 | 1:04:17 | |
SPEAKS JAPANESE | 1:04:17 | 1:04:19 | |
-Hey, Harry. -Oh, Deane. | 1:04:27 | 1:04:30 | |
They probably think you're pretty strange too, Lionel, | 1:04:30 | 1:04:33 | |
what with you being a nudist an' all. | 1:04:33 | 1:04:35 | |
What with my being a what? | 1:04:35 | 1:04:38 | |
-A nudist. -Nothing wrong with that, is there? | 1:04:38 | 1:04:40 | |
Hell, no. I think it's real relaxing going naked. | 1:04:40 | 1:04:43 | |
What the devil are you talking about? | 1:04:43 | 1:04:45 | |
I understood you to have said once that you attended the Eden Retreat. | 1:04:45 | 1:04:49 | |
That isn't a nudist gathering. Somebody's been having you on. | 1:04:49 | 1:04:52 | |
It's one of the most formal gatherings you could imagine. | 1:04:52 | 1:04:55 | |
Once again, Deane, you have things arse backwards. | 1:04:55 | 1:04:58 | |
-I understand, sir. I apologise. -Just forget it. | 1:04:58 | 1:05:01 | |
Deane...we really need to have a private talk. | 1:05:01 | 1:05:05 | |
There is something I have to discuss with you. | 1:05:05 | 1:05:07 | |
You boys get your bellies full? | 1:05:07 | 1:05:09 | |
Blast, here they come again. I would rather not have to talk to them. | 1:05:09 | 1:05:12 | |
-Can't we just do business? -I can take care of these old boys. | 1:05:12 | 1:05:15 | |
And I shall just pop up and examine the painting. | 1:05:15 | 1:05:18 | |
Gentlemen. Found some nourishment, I see. | 1:05:18 | 1:05:22 | |
Have you boys heard of a little thing called live karaoke? | 1:05:22 | 1:05:27 | |
SPEAK JAPANESE | 1:05:27 | 1:05:29 | |
# How lucky can one guy be? | 1:05:38 | 1:05:41 | |
# I kissed her and she kissed me | 1:05:41 | 1:05:45 | |
# Like a fella once said | 1:05:45 | 1:05:47 | |
# Ain't that a kick in the head? | 1:05:47 | 1:05:50 | |
# The room was completely black... # | 1:05:52 | 1:05:55 | |
Thank you, gents. That'll do. | 1:06:01 | 1:06:03 | |
Hmm. | 1:06:27 | 1:06:28 | |
Whoo! Let me tell you a little bit about Texas. | 1:06:28 | 1:06:33 | |
# The stars at night are big and bright | 1:06:33 | 1:06:37 | |
# Deep in the heart of Texas | 1:06:37 | 1:06:41 | |
# The prairie sky is wide and high... # | 1:06:41 | 1:06:46 | |
# Yippee-ai! | 1:06:55 | 1:06:57 | |
# Deep in the heart of Texas. # | 1:06:57 | 1:07:01 | |
That's my boys! Deep in the heart of Texas! | 1:07:04 | 1:07:08 | |
Assuming I close this deal, may we conclude yours as well? | 1:07:21 | 1:07:24 | |
The painting arrived, yes? | 1:07:24 | 1:07:25 | |
Harry told you he was going to take a look at it. | 1:07:25 | 1:07:28 | |
No, he couldn't have. My security's on, you see. | 1:07:28 | 1:07:31 | |
Your security? | 1:07:31 | 1:07:33 | |
It's quite an ingenious system. I dreamt it up myself. | 1:07:33 | 1:07:35 | |
I hope he's not stupid enough to have gone up there. | 1:07:35 | 1:07:37 | |
Then again, we are talking about Deane. | 1:07:37 | 1:07:40 | |
MEOWS | 1:07:49 | 1:07:50 | |
MEOWS | 1:07:55 | 1:07:57 | |
GROWLS | 1:08:08 | 1:08:11 | |
Oh. Shit. | 1:08:11 | 1:08:13 | |
Go away. | 1:08:15 | 1:08:17 | |
GROWLS | 1:08:17 | 1:08:19 | |
No, there's no need for that. | 1:08:19 | 1:08:21 | |
Now, stop it. | 1:08:22 | 1:08:24 | |
Stop it. Oh! | 1:08:25 | 1:08:27 | |
Harry? | 1:08:27 | 1:08:28 | |
Damn. | 1:08:30 | 1:08:32 | |
OK, Harry, I'm going to have to take him down. | 1:08:34 | 1:08:37 | |
Ya! Come on, big boy! | 1:08:37 | 1:08:39 | |
Bad lion! Bad lion! Come on! | 1:08:40 | 1:08:44 | |
Heel! Come on! | 1:08:44 | 1:08:47 | |
To the deal, then. | 1:08:54 | 1:08:55 | |
SPEAKS JAPANESE | 1:08:55 | 1:08:57 | |
ALL: Banzai! | 1:08:57 | 1:08:59 | |
ALL: Oh! | 1:08:59 | 1:09:01 | |
GROANS | 1:09:05 | 1:09:07 | |
Well, that's that. | 1:09:07 | 1:09:10 | |
-Are you sure he's secure? -That's a double granny. | 1:09:10 | 1:09:13 | |
He can't work out of that. | 1:09:13 | 1:09:15 | |
GROANS | 1:09:15 | 1:09:17 | |
Ms Puznowski, your timing is impeccable. | 1:09:17 | 1:09:20 | |
Thank you. | 1:09:20 | 1:09:22 | |
I can handle anything that's got four legs. | 1:09:22 | 1:09:24 | |
Once you trip 'em up, they're gravy. | 1:09:24 | 1:09:26 | |
As your momma used to say. GROWLS | 1:09:26 | 1:09:28 | |
I'm going to get somebody to deal with him. | 1:09:28 | 1:09:31 | |
Hey, Shabby. | 1:09:37 | 1:09:39 | |
Where on earth have you been? | 1:09:39 | 1:09:41 | |
Well... | 1:09:41 | 1:09:42 | |
God, Deane, this is so typical of you. | 1:09:46 | 1:09:49 | |
What on earth were you doing larking about up here creating a nuisance? | 1:09:49 | 1:09:53 | |
More than a nuisance, a bloody dangerous situation. | 1:09:53 | 1:09:56 | |
PJ could well have been mauled, and all to no end. | 1:09:56 | 1:09:58 | |
Hardly to no end. | 1:09:58 | 1:10:00 | |
It is my job to ensure the integrity of the collection. | 1:10:00 | 1:10:02 | |
Sorry, Deane, it isn't your job. | 1:10:02 | 1:10:04 | |
Sorry to have to break it to you like this, | 1:10:04 | 1:10:07 | |
but we're knocking it on the head. | 1:10:07 | 1:10:09 | |
I've got a new man. It was a bloody chore hiring him. | 1:10:09 | 1:10:12 | |
I had to advance him two years' salary. | 1:10:12 | 1:10:14 | |
-Zaidenweber? -Zaidenweber. | 1:10:15 | 1:10:18 | |
I am pleased to inspect. | 1:10:30 | 1:10:32 | |
-Fine, but I hardly think you're... -Stand down, Deane. | 1:10:32 | 1:10:36 | |
How does it look, Martin? What do you say? | 1:10:42 | 1:10:45 | |
Ja. Almost incredible. | 1:10:51 | 1:10:54 | |
Almost incredible. | 1:10:55 | 1:10:58 | |
But... | 1:10:59 | 1:11:01 | |
Yeah. | 1:11:12 | 1:11:14 | |
The painting is in order. | 1:11:15 | 1:11:17 | |
-It's beautiful, isn't it? -Hm-hmm. | 1:11:17 | 1:11:19 | |
The brush strokes. The impasto. | 1:11:19 | 1:11:22 | |
Everything is just quite the way it should be. | 1:11:22 | 1:11:25 | |
And there are certain things that you cannot phoney up. | 1:11:25 | 1:11:28 | |
Gross depiction, maybe, but the finer fingerprints of technique, no, | 1:11:28 | 1:11:32 | |
absolutely not, you cannot, no. | 1:11:32 | 1:11:34 | |
I mean, this is, I have to say, really quite bloody marvellous. | 1:11:34 | 1:11:39 | |
This is authentic. | 1:11:39 | 1:11:41 | |
Now, you can do tests until your testicles are cerulean blue, | 1:11:41 | 1:11:45 | |
but there is no doubt in my mind. | 1:11:45 | 1:11:48 | |
-All right, then. -Bollocks. | 1:11:48 | 1:11:51 | |
-I beg your pardon? -Bollocks. -Excuse me? | 1:11:54 | 1:11:57 | |
Anyone with an eye can see that something is amiss here. | 1:11:59 | 1:12:05 | |
What the devil are you...? | 1:12:05 | 1:12:07 | |
YELLS | 1:12:07 | 1:12:09 | |
Harry! | 1:12:09 | 1:12:11 | |
GASPS | 1:12:11 | 1:12:13 | |
Fake. | 1:12:13 | 1:12:15 | |
The impasto is a caricature of Monet's actual brush handling, | 1:12:15 | 1:12:18 | |
which was infinitely more subtle. | 1:12:18 | 1:12:20 | |
And as far as I'm aware, Monet never painted over | 1:12:20 | 1:12:24 | |
a rather hackneyed portrait of... | 1:12:24 | 1:12:26 | |
Martin. | 1:12:34 | 1:12:36 | |
I'm disappointed. | 1:12:39 | 1:12:40 | |
RETCHES | 1:12:42 | 1:12:44 | |
Imagine how I feel. | 1:12:48 | 1:12:51 | |
Auf Wiedersehen, meine Lieblinge. | 1:12:55 | 1:12:58 | |
And as for you, you're either rather clever or not clever enough. | 1:13:04 | 1:13:07 | |
Either way, it's clear that you're of no further use to me. | 1:13:07 | 1:13:11 | |
Speaking of clever, what did you expect? | 1:13:11 | 1:13:13 | |
It was hanging on a wall in a trailer in Texas. | 1:13:13 | 1:13:16 | |
And besides, I was never going to be any use to you. | 1:13:16 | 1:13:20 | |
Well, no harm done. | 1:13:20 | 1:13:24 | |
Just a bit of a waste of time, that's all. | 1:13:25 | 1:13:29 | |
Well, Deane, against expectations, | 1:13:29 | 1:13:32 | |
you seem to know what you're on about rather. | 1:13:32 | 1:13:34 | |
You will continue in the job. | 1:13:34 | 1:13:37 | |
-Now, if you'll excuse me... -I think not, sir. | 1:13:37 | 1:13:40 | |
You think not what? | 1:13:42 | 1:13:44 | |
I think not regarding continuing in the job. | 1:13:44 | 1:13:47 | |
I'm afraid I can no longer render services | 1:13:47 | 1:13:49 | |
to a man who'd wilfully insult the intelligence and moral character | 1:13:49 | 1:13:53 | |
of a woman I have so come to admire and respect. | 1:13:53 | 1:13:56 | |
You are a boor, sir. | 1:14:00 | 1:14:02 | |
And a bully. And I've had enough. | 1:14:03 | 1:14:06 | |
So I'll just gather my kit... | 1:14:06 | 1:14:09 | |
..and bid you a semi-fond farewell. | 1:14:11 | 1:14:14 | |
Ms Puznowski, may I see you out? | 1:14:16 | 1:14:18 | |
Yes, you may. | 1:14:19 | 1:14:22 | |
Excuse me. | 1:14:22 | 1:14:24 | |
You know, Harry Deane, | 1:14:26 | 1:14:28 | |
for an Englishman, you sure do have some big old cojones. | 1:14:28 | 1:14:31 | |
'They say you can't put a price on dignity, | 1:14:42 | 1:14:45 | |
'but if you could, in Harry Deane's case, | 1:14:45 | 1:14:49 | |
'it would be approximately £11 million.' | 1:14:49 | 1:14:53 | |
Well, that didn't go exactly according to plan. | 1:14:53 | 1:14:56 | |
I know it sounds funny coming from me, | 1:14:57 | 1:14:59 | |
but now I wish you'd let him buy it. | 1:14:59 | 1:15:01 | |
I just couldn't help myself, you know? | 1:15:01 | 1:15:04 | |
Hear, hear. | 1:15:04 | 1:15:06 | |
I'll make it up to you, I promise. | 1:15:06 | 1:15:08 | |
No, no, you did your bit. I owe you your wages. | 1:15:08 | 1:15:11 | |
Here we are. | 1:15:13 | 1:15:15 | |
Well, here we are. | 1:15:17 | 1:15:19 | |
Your tickets. | 1:15:39 | 1:15:41 | |
-I regret that it's economy. -Unrestricted. | 1:15:41 | 1:15:44 | |
-Well, goodbye, Harry. -Goodbye. | 1:15:48 | 1:15:53 | |
Come here. | 1:16:03 | 1:16:05 | |
-Major. -Madam. | 1:16:09 | 1:16:11 | |
Shall we, Major? | 1:16:24 | 1:16:27 | |
No problems, then, sir? | 1:16:31 | 1:16:33 | |
Security was a little tougher than I'd anticipated. | 1:16:33 | 1:16:35 | |
But you had time to make the switch? | 1:16:35 | 1:16:37 | |
Oh, yes. Shabandar will never suspect. | 1:16:37 | 1:16:40 | |
Beautiful work, Major. | 1:16:40 | 1:16:42 | |
-On which one? -Both of them. | 1:16:42 | 1:16:44 | |
Although I'm afraid I had to destroy your Dusk to prove it was a fake. | 1:16:44 | 1:16:47 | |
Understood, sir. No hard feelings. | 1:16:47 | 1:16:51 | |
Thoughtful of this gentleman to make the trip. Saves us going to Japan. | 1:16:58 | 1:17:03 | |
Mr Takagawa. | 1:17:04 | 1:17:06 | |
-Hello, Harry. -Hello, Charlie. | 1:17:06 | 1:17:08 | |
-Hello, Major. -Hello, Charlie. -Everything all right? | 1:17:08 | 1:17:10 | |
-Everything according to plan. -Right you are, Mr Deane. | 1:17:10 | 1:17:14 | |
Very good. | 1:17:14 | 1:17:16 | |
SPEAKS JAPANESE | 1:17:16 | 1:17:18 | |
SPEAKS JAPANESE | 1:17:18 | 1:17:22 | |
Mr Takagawa wants to thank you. | 1:17:22 | 1:17:24 | |
He says he has been waiting 18 years for this moment. | 1:17:24 | 1:17:27 | |
SPEAKS JAPANESE | 1:17:27 | 1:17:29 | |
Not at all. Pleasure to have done it. | 1:17:29 | 1:17:31 | |
SPEAK JAPANESE | 1:17:31 | 1:17:33 | |
Oh, yes. | 1:17:33 | 1:17:34 | |
I'm clever. But look. | 1:17:35 | 1:17:38 | |
Monet. | 1:17:38 | 1:17:40 | |
Inimitable. Though no doubt your version will satisfy Shabandar. | 1:17:40 | 1:17:45 | |
SPEAKS JAPANESE | 1:17:45 | 1:17:49 | |
He assures me the transfer has been made. | 1:17:49 | 1:17:51 | |
The money should now be in your Swiss account. | 1:17:51 | 1:17:53 | |
-Excellent. -Hello? -Major? | 1:17:53 | 1:17:58 | |
It's gone through. | 1:17:58 | 1:18:01 | |
So much better than having to count it all. | 1:18:01 | 1:18:03 | |
I'd have got it all bollocksed up before I got to ten million. | 1:18:03 | 1:18:07 | |
-Thank you, gentlemen. -Thank you, Harry. | 1:18:07 | 1:18:10 | |
Has anyone given you anything to take on board our flight? | 1:18:10 | 1:18:13 | |
-No, ma'am. -Thank you. | 1:18:13 | 1:18:15 | |
Oh, Harry Deane. | 1:18:32 | 1:18:34 | |
You'll see she gets what we owe her? | 1:18:35 | 1:18:38 | |
Certainly, sir. And should we upgrade her ticket? | 1:18:38 | 1:18:41 | |
Yes, why don't we? | 1:18:41 | 1:18:43 | |
-Bit of an extravagance. -Oh, well. | 1:18:43 | 1:18:47 | |
How will you explain it? | 1:18:47 | 1:18:50 | |
You know me, Major. I'll think of something. | 1:18:50 | 1:18:52 | |
Fancy trying your hand at Picasso? | 1:18:54 | 1:18:55 | |
Do you think we'd find a use for it? | 1:18:55 | 1:18:58 | |
Seems Donald Trump is obsessed with the fellow. | 1:18:58 | 1:19:00 | |
And there's many a billionaire in Texas. | 1:19:00 | 1:19:03 | |
Mr Deane. | 1:19:03 | 1:19:05 | |
Oh, yes, Major. The opportunities are endless. | 1:19:05 | 1:19:09 | |
# How lucky can one guy be? | 1:19:35 | 1:19:38 | |
# I kissed her and she kissed me | 1:19:38 | 1:19:42 | |
# Like a fella once said | 1:19:42 | 1:19:44 | |
# Ain't that a kick in the head? | 1:19:44 | 1:19:47 | |
# The room was completely black | 1:19:49 | 1:19:52 | |
# I hugged her and she hugged back | 1:19:52 | 1:19:55 | |
# Like a sailor said, quote, "Ain't that a hole in the boat?" | 1:19:55 | 1:20:00 | |
# My head keeps spinning | 1:20:01 | 1:20:05 | |
# I go to sleep and keep grinning | 1:20:05 | 1:20:08 | |
# If this is just the beginning | 1:20:08 | 1:20:11 | |
# My life is going to be beautiful | 1:20:11 | 1:20:16 | |
# She's telling me we'll be wed | 1:20:16 | 1:20:20 | |
# She's picked out a king-size bed | 1:20:20 | 1:20:23 | |
# I couldn't feel any better | 1:20:23 | 1:20:26 | |
# Or I'd be sick | 1:20:26 | 1:20:29 | |
# Tell me quick | 1:20:29 | 1:20:31 | |
# Oh, ain't that a kick? | 1:20:33 | 1:20:34 | |
# Tell me quick | 1:20:36 | 1:20:38 | |
# Ain't that a kick in the head? # | 1:20:38 | 1:20:43 |