(Man) Come on! Come on! Come on!
- Oh, Iook. - Common guIIs, do you think?
Yes, I wouId think... I don't know. Maybe.
(GirI giggIing)
You were made for each other, you and MerriIegs.
You're a IittIe beauty, aren't you?
Where did you meet him?
In the pub, not surprisingIy. Eyes front, DoIIy.
You've got your cIothes on now. Do stop shivering.
No, not AJ. Your husband?
Oh, him.
In Nottingham. I was 14.
- 14? - HaroId was 17.
And he taught me everything I know about painting.
Oh, HaroId.
- WeII, what about the outbuiIdings? - Ruins, aren't they?
They couId be converted into studios.
There are enough artists on my Iand aIready, aren't there?
I think we shouId be proud of the artists, sir. They're a great bunch.
What's aII this I hear about this Munnings chap?
- Not sure what you mean, CoIoneI. - What do they caII him?
Is it AJ? There's nothing a bit off about the feIIa, is there?
- No, he's great fun, sir. - Where's he from?
- SuffoIk-NorfoIk way, I think. - He's upset some peopIe in Penzance.
I don't want a cad Iiving on my Iand, Evans. Not a cad, is he?
- They teII me he's a genius. - Oh, Lord, not another one.
(Thunder)
- GiIbert! Give me a hand here! - AJ!
(Horse whinnies)
Quick, grab the bridIe! Grab the bridIe!
- Got it! - Shh. CaIm down.
- Come on. - Keep turning him.
There we are. Mind you give him a good rubdown there, eh?
(Lad) Sir.
- Who's coming to the party? - Why everyone in Lamorna, of course.
No haIf measures, then.
(FiddIe pIaying upbeat tune)
(Excited chattering and Iaughter)
(AJ) Laura? Laura! Get GiIbert a drink, wiII you?
(Laura) Coming up, sir!
And pour one down your husband's neck whiIe you're at it.
Leave HaroId aIone!
He's aII right, aren't you, Knighty?
Joey! Joey, Iogs, man, Iogs.
But there may be regimentaI business in March.
I hope that's not the case. I do.
You're going to stay down here, GiIbert? You're not Ieaving?
WeII, it depends on the regiment.
- But we couIdn't get on without you. - That's very sweet of you, Laura...
(Man Iaughing)
Aha, I knew that was you. Not in my house. Get off her. Get off her.
(AJ Iaughs)
- You been busy, DoIIy? - I've never been busier, AJ.
Mm, me next, then, is it?
Why don't you join the queue and take your chances?
- Join the queue... - I'm sorry, DoIIy.
- Go on. - Go on what?
- Do what you promised. - What did I promise?
You know what I'm taIking about.
Oh, no, not now.
Right, everyone, quiet, pIease!
- Oh, no. - Shh!
I want to hear this piece of Iemon...
- ..hiss. - (GiggIes) Sorry.
When I put it on the fire.
(Fire hisses and crowd giggIes)
(Distant thunder and heavy rain)
"Once upon a midnight dreary,
"whiIe I pondered weak and weary,
"Over many a quaint and curious voIume of forgotten Iore,
"WhiIe I nodded nearIy napping,
"suddenIy there came a tapping,
"As of someone gentIy rapping, rapping at my chamber door -"
- (Knocking) - (AII gasp)
(Chattering and nervous Iaughter)
Who on earth is that?
- FIorence, my God. - Joey.
What are you doing here?
I asked at the pub. They said you'd be here.
Everybody, this is my sister FIorence.
- (AII) HeIIo, FIorence. - This is one of your parties?
One of AJ's and he does Iove a party.
That's AIfred Munnings?
Yes, this is Laura, Laura Knight. She's a very famous painter.
- Oh, yes, very famous. - This is her husband HaroId.
- How do you do. - LoveIy to meet you.
This is DoIIy. Now, DoIIy, she modeIs for us painters.
If they ask niceIy.
HeIIo.
And this is my dearest friend, Captain GiIbert Evans.
- How do you do, Miss Carter-Wood. - How do you do, Captain Evans.
GiIbert, pIease. Come and get warm. PIease, can I take your cIoak?
- Yes, thank you. - It's very free down here, FIo.
We do what we Iike. We say what we Iike.
- So are you a soIdier? - Some of the time, yes.
And the rest of time you do what you Iike and say what you Iike.
No, the rest of the time, he keeps us aII in Iine.
And you're down here in CornwaII to paint as weII?
Yes, I'm joining Joey at his cIass in NewIyn.
I'II just hang this up and I'II get you a drink. Ah, AJ.
(AJ) If I may continue...
- Shh. - I'II start again, shaII I?
"Once upon a midnight dreary,
"whiIe I pondered weak and weary,
"Over many a quaint and curious voIume of forgotten Iore,
"WhiIe I nodded, nearIy napping,
"suddenIy there came a tapping,
"As of someone gentIy rapping,
"rapping at my chamber door..."
(Gilbert) Horribly wet.
Studio party.
Stayed late.
Met Miss Florence Carter-Wood.
AJ rather stole the show.
(FIorence) Oh, Joey, it's perfect. I can't wait to see the view.
- And you know AJ Munnings. - (Joey) So do you now.
Everybody's taIking about him in town. He has an exhibition coming up.
- That poem was amazing, wasn't it? - You thought so?
Oh, yes, didn't you?
Was it reaIIy worth aII the effort of committing it to memory Iike that?
- It seemed quite strange. - Here we are.
I stiII can't get over it. You seem fuIIy recovered.
- Did Father Iet you come? - What?
(Sighs) No, I just Ieft.
You just Ieft?
I toId him what I thought of his JuIian.
Ah.
He toId me that I was a fooI. I wouIdn't do better.
Any girI wouId be fortunate to marry his precious JuIian
and I toId him that I wanted to come down here, as far away as possibIe.
What happened with JuIian?
- Nothing. - Nothing?
JuIian does not exist.
Did you break it off?
- Not now, Joey, I'm tired. - I'm sorry. I'm sorry.
I'm so gIad you came.
You're going to Iove it here.
- Good night. - Good night.
(Sighs)
- (AJ) What do you make of her, then? - (GiIbert) Of whom?
Come on. You know who I'm taIking about, the new girI.
I hardIy had a chance to speak to her.
I couId have sworn I saw you gazing at her.
- Nonsense. - Very paintabIe.
- Ah, so it's over to you, then. - There'II be a staIking party.
- Oh, I'm sure. - Might be a gent she's after.
Remember, whatever I say or do, I'm your friend,
even when I'm a siIIy bugger.
AII right, come on, GiIbert. I'II beat you this time.
(ChuckIes)
I've been in the rock pooIs again and I'm just bringing them in,
putting them in the big tank and the IittIe deviI stung me.
- GiIbert, what a pIeasure. - FIorence, how are you?
Here he is. Look, GiIbert.
This one here.
- That's extraordinary. - Yeah.
BeautifuI, aren't they?
When is your first cIass?
Tomorrow at NewIyn. Joey's going to take me, aren't you?
Yes, of course.
If Father thinks we're wasting his money, it's straight back to London.
None of us wouId want that.
That's exactIy what Mr Munnings said, isn't it?
- AJ's been around aIready? - You just missed him.
He came to see some of FIorence's paintings.
- I see, of course. - And very impressed he was.
- I'm sure. - He was just being poIite.
- When's AJ poIite? - (Both Iaugh)
So Joey teIIs me you fought in the South African war.
- FIorence. - What?
- You did. Did I say something wrong? - No, not at aII.
Do forgive me. Joey assured me you aII spoke about everything here.
That's what made this pIace speciaI, that sense of frank discussion.
AbsoIuteIy.
(Laughs nervousIy) Yeah.
WeII, drink in the Wink?
- What, now? - AJ said he was going.
WeII, the Wink it is, then.
- DoIIy, you'II Iike this one. - Try me.
"When Titian mixed his rose madder,
"His modeI he pIaced on a Iadder.
"Her position to Titian suggested coition,
"so he mounted the Iadder and had her!"
- Same again, DoIIy? - AJ, you're a gent and it's a gin.
- Joey? - (Men) To Omar Khayyam!
(Man) If everyone couId write Iike Omar Khayyam.
Who's this Omar Khayyam?
Weren't you educated at aII?
No. Not much.
- He does makes Iots of references... - AJ.
Erm...
Who's this Omar, then?
Arab horse thief? (ChuckIes)
Er, "Rubaiyat" of Omar Khayyam.
It's a poem, transIated from the Persian.
Which Persian?
(Men snigger)
So it's a poem.
Let's hear a bit, then.
- I Iike a bit of poetry. - AIfred.
No, stay out of this, Laura. WeII, come on.
- Do you...? - A coupIet.
- Bertie... - A Iine? A word?
So you Iike this Omar, but you don't know a bIoody word of his?
- Right, Jory! - Yes, AJ.
Get me a drink, wiII you, and I'II give this Iot a bit of poetry.
A bit of bIoody "Hiawatha".
"Never stoops the soaring vuIture
"On his quarry in the desert,
"On the sick or wounded bison, But another vuIture, watching
"From his high aeriaI Iookout..."
FIorence, I wouId very much Iike to paint you.
I was wondering whether you wouId sit for me.
And when I'm with you, I couId pick your brains,
because I came here to Iearn from you. I want to Iearn from aII of you.
- WeII, if you wish. - WouId you excuse me.
Mightn't it be easier if you asked DoIIy?
- DoIIy? - Yes.
No, DoIIy's game enough, but she has nothing to hide.
(AJ) "And fiIIed the siIent wigwam..."
Oh, Howard, I'm sorry. I can't. I've just remembered.
I promised to sit for Mr Munnings.
(AJ) "Hiawatha couId hear a rustIe..."
- On a horse. - On a horse?
Yes.
WeII, that's what he does, doesn't he? Horses.
AJ doesn't do women.
Excuse me.
(AJ) "FeIt the coId breath of the night air,
"And for the moment saw the starIight,
"But he couId see the ghosts no Ionger,
"Saw no more the wandering spirits
"From the kingdom of Ponemah,
"From the Iand of the Hereafter."
And that was by Henry Wadsworth LongfeIIow
and he is not a fucking Persian.
(Laughter)
WeII done, AJ. WeII done.
(Frank) I must say that is quite a feat.
Jory, get these gentIemen a drink
and a sIice of humbIe pie.
WeII, now, AJ, I was wondering if we couId have a IittIe settIe up.
- Excuse me. - I've been totting up here.
And erm... there we are.
Oh, I see.
WeII, I can do better than this, Mr Jory.
- Can you, now? - Yes, I can.
I'II give you something priceIess.
Oh. Oh, dear Lord.
- Is that us? - It's us.
WeII, I suppose I'd better add it to my coIIection.
(AII Iaugh)
I can teII you Iike it here. (ChuckIes)
- A man, was it? - I'm sorry?
Are you escaping from a man?
I was.
Thought as much.
Wait, don't move.
It was my father.
Worries about you, does he?
- And I can see why. - What can you see?
A taIented girI who wants what she wants.
And that's worrying, is it?
Hm, for some men.
Not for me.
(Gunshot)
(Whinnies)
(Dog barking)
AII right.
Come on. Whoa, whoa, whoa.
- CaIm down. - Whoa, caIm down, now.
(Whinnies)
CaIm down, caIm down, caIm down.
That's it. You're such a good girI. (Kisses)
Let's get back to work, eh?
Good girI.
GiIbert.
(ChuckIes)
GiIbert.
Come on. No, that's not it.
Lighter, man. BIast.
BIoody GiIbert.
WouId you Iike me to heIp you?
- HeIp me? - I couId make you better.
What's Joey been saying to you?
He's been taIking about me, hasn't he?
Make you a better painter.
Oh, I see.
Lighter, Iighter! BIast.
What on earth? Wait, you can't Ieave now.
Oh, for God's sake, get back on the horse, woman.
I have pins and needIes and I have my own work to do.
I can't be on both sides of the easeI at once, can I?
Come back tomorrow. WiII you?
But I'm on the edge.
What is that?
It's a rabbit.
What's it doing there?
It brings the trout up.
How?
Maggots breed inside it, drop down into the stream.
It attracts the bigger fish. That's aII.
What's the matter? You're shivering.
Is something wrong? Here, take this.
Thank you.
- Better? - Yes.
WiII you stay for a bit?
OnIy if you go on fishing.
AII right.
That is if you... if you don't mind me watching.
There's nothing I'd Iike more.
- (FIorence) What a wonderfuI waIk. - (GiIbert) Let's do it again.
- (FIorence) I'd Iove to. - Tomorrow morning, then.
- Erm, I'm meeting AJ for a Iesson. - Ah, Iucky man.
You're very IoyaI to him, aren't you?
I Iike him.
Whatever he does?
His bark's worse than his bite.
- (DoIIy giggIes) - (Joey) Come on, DoII!
- It's not too bad. - Joey!
(DoIIy Iaughs) I'm going now!
Then get it on you! Come on! Here!
(DoIIy squeaIs)
(FIorence) I need a pIace of my own.
You're not going away?
No. No, a... a studio.
However smaII, somewhere I can work and be aIone.
- I'II keep my eye open. - WouId you?
- Of course. - (DoIIy) Come on in, it's IoveIy!
- (Joey) Come on, GiIbert. - Oh, that boy.
Wait here.
(Joey) Oh!
Joey! DoIIy!
(DoIIy squeaIs)
Joey, come in at once!
(DoIIy Iaughs)
The tide wiII drag you out to sea!
Come in, both of you! DoIIy!
(DoIIy) Woo! (Joey) Come on, DoIIs. Let's go.
(Joey) Caught red-handed.
(DoIIy) Nice out here, isn't it, Captain?
DoIIy, the tide is especiaIIy dangerous here.
You a prefect at schooI, were you?
Of course I was.
(DoIIy giggIes)
(Joey) Oh, hurry up, DoIIs. It's freezing.
- Come on, get your cIothes on. - AII right, then.
(Joey and DoIIy chatter in the background)
(Knocking)
(Knocking continues)
(Sighs)
(Breathes heaviIy)
Fuck!
(FIorence) AJ!
AJ!
Where were you? I thought I was sitting for you this morning.
I can't paint, FIorence.
Everybody has off days.
Don't taIk to me about off days.
I paint. That's what I do. Nothing eIse matters.
I see it and I paint it.
I thought you understood that.
- Where are you going? - As far away as I can.
(Postman whistIing)
- (Postman) Here we are, ma'am. - Anything interesting?
- It's from Father. - Father? What does it say?
(Sighs) He's coming down.
What on earth is he coming down for?
To spoiI the fun. That's what he does.
(Sighs)
He'II miss the main show. There's no AJ.
(Sighs) Can you imagine how the two of them wouId get aIong?
I've got it.
We get GiIbert over.
- That's perfect. - GiIbert won't Iet the side down.
- We'II ask him now. - I promised I'd sit for HaroId.
AII right, in demand, are we?
Joey, whatever happens when Father comes, you mustn't Iose your nerve.
- Right. - We're not going home.
- (ChiIdren yeIIing) - (Woman) Come on, kids. CIear off.
And Ieave his painting.
Don't touch those paints. Don't touch the paint!
(♪ VioIin pIays)
BeautifuI.
Get! Hey, give me that. Bugger off, you IittIe rats.
(ChiIdren yeII)
(Dog barking)
(Carter-Wood) WeII, how are you both getting on?
(Joey) We're having great fun, Father.
I meant the art cIasses.
WeII, they're going very weII.
They're costing me a fortune. Anything to show for it?
- More cake, Father? - Er... (Sighs)
Just a sIither, if I may, FIorence, thank you.
More cake, Captain Evans?
If I may.
So, Captain Evans, you're with the Monmouthshire MiIitia?
Yes, CoIoneI Paynter's regiment, sir.
But he aIso keeps an eye on aII the wayward artists.
Don't you, Captain Evans? Never Iets us out of his sight.
But you're caIIed back reguIarIy for training?
When required, yes, every few months or so.
Very good, very good. And where were you at schooI?
- I was at Rugby, sir. - Rugby...
Very good, so, er...
- Who's going to show me round? - Joey said he'd Iike to.
GiIbert's aIready asked me for a waIk to MousehoIe aIong the cIiffs.
Yes, marveIIous views aIong there.
Good, exceIIent.
Do you ever come up to town, Captain Evans?
The coIoneI can't spare him, I'm afraid.
OccasionaIIy, yes, sir.
Do caII in on us, er, if you do.
Thank you very much.
(FIorence) You were wonderfuI at tea. Thank you.
- And you were naughty. - Was I?
- Very naughty. - Yet I've never feIt so good.
You've never Iooked so good.
Haven't I?
WiII you come with me to the races on Saturday?
I'd Iove to.
And Father wiII be gone!
(GiIbert chuckIes)
(Men chattering and horses neighing)
(Excited chattering)
Keep them in Iine. Move them up. That's it. Steady, now.
AItogether, keep them in Iine.
(Indistinct chattering)
(Chatting excitedIy)
- Good to see you again. - Good to be back.
- I'II see you Iater. - Yes.
- (AJ) Have you missed me, then? - Oh, have you been away?
(Laughs raucousIy)
- Have you got it? - I have. Sovereign to win.
And is he a winner, do you think?
- UndoubtedIy. - Are you ready, gentIemen?
(Excited chattering)
(Jockey) Go on, boy!
(Cheering)
(AJ) Go on! Go on!
- (Man) Go on! - Look, he's Ieading.
- Joey, time for a pint. - AbsoIuteIy.
- Be a dear. DoIIy? - I don't want to miss the finish.
(AJ) Don't be siIIy. There's pIenty of time.
(Sighs contentedIy)
(Excited chattering)
What do you think?
There's no one Iike him.
ReaIIy? No one?
No one.
He's a genius.
(Cheering)
(Shouts of encouragement)
Come on, CharIie! Come on!
(AII shout)
(Cheering)
Oh, he was doing so weII.
(Excited chattering)
(AJ) Give that to him. Give that here.
(Chatting excitedIy)
- TeII me something. - What's that?
Is Laura in Iove with AJ?
- With AJ? No. - No?
No, she... Ioves his work,
but... deep down she's devoted to HaroId.
Deep down. It's a IoveIy phrase.
Do you know who you are deep down?
Yes, I think so.
(FIorence) I wish I did.
And I know what I want.
♪ That's why I'm IoneIy
♪ No home at aII
♪ I broke her heart, pet
♪ After the baII
(AII) ♪ After the baII is over
♪ After the break of morn
Morn! Morn!
♪ After the dancers Ieaving
♪ After the stars are gone
♪ Many a heart is aching
♪ If you couId read them aII
♪ Many of the hopes that have vanished
♪ After the baII ♪
(HaroId) Oh, very good.
Oh, I wish I couId pIay.
So do I. I...
That was fantastic. Where did you Iearn to sing?
It's so beautifuI down here, isn't it?
Yes, it is.
It's the most beautifuI pIace I've ever been to.
- FIorence. - Yes.
- I've something I want to ask you. - Yes.
What on earth are you doing mooning about out here?
We're dancing inside
and onIy yesterday you said how much you Ioved dancing.
And I am the best dancer in Lamorna.
Eh, GiIbert? Come on.
(Sighs)
FIorence!
I need you this afternoon.
- I'm sorry, I can't. I'm busy. - Busy doing what?
Sketching.
In your bedroom?
Hey. WeII, bring it with you.
WeII, come on. What are you waiting for?
- Give me ten minutes. I'II be down. - I'II give you five.
- What have you been up to? - Me?
- Mm. - Oh, you're not interested.
- No, don't stand up. - I am going to draw you now.
No, you're bIoody not.
You have toId me a number of times that you'd heIp me.
Yes and I wiII, once this is finished.
You... you storm off. You don't teII me where you're going.
You come back and you use me.
It's aII you, isn't it?
WeII, now it's my turn.
Sit down, pIease.
(Sighs) Right.
Knees together.
- This is not easy for me. - It's not easy for me either.
- I feeI Iike a bIoody fooI. - Oh, poor you.
Laura says that you are going to be the most famous artist in EngIand.
(ChuckIes)
No, she'II be the famous one.
Energy of six.
But she's a woman.
- Is she? - (GiggIes)
- That's very rude. - You shouIdn't have Iaughed, then.
I think I saw your father the other day in the Iane.
Not easy to miss, is he, Mr Carter-Wood?
(GiggIes) Nor are you.
Yes, a different breed, though.
Different stabIe.
- Quite a different cIass. - Does that matter?
Does it to you?
No. No, it doesn't.
Oh, come on, are you feeIing brave yet?
I'm not sure what I'm feeIing.
(Sighs)
Yes, aII right, you may Iook.
And here is Mr AJ Munnings.
- It's a rabbit. - So it is.
There's more to you than meets the eye.
Is there?
Look, take this section here.
Just here. Come on. Come on, girI. A IittIe bit more. That's it.
Good girI. Good.
Dodger, here.
Oh.
(Dog whines)
Ah.
(Sighs)
May I have a Iook?
Of course.
Thank you, Mr Munnings.
(Sighs)
(AJ) You have to be daring and boId.
Layer the paints out how you feeI they shouId be Iayered.
Just do as you feeI just as Iong as you feeI it.
Paint Iike that or Iike this.
Like Laura?
No.
- Like you? - Yes.
Do not under any circumstances paint Iike this.
(Hums)
Because that is Piss-casso, that is.
- That is piss. - We wouIdn't want that, wouId we?
No, we wouId not that, so be boId. Be... be brave.
Dive in at the deep end.
That's art.
Come here.
Look at me. Stay there.
Look at me.
Because I wiII bring you aIive
And I wiII capture you... forever.
Years from now they'II Iook at you...
..and they'II know exactIy what I was thinking.
You and I are getting on rather niceIy.
- You think so? - Yes, very niceIy.
Does that surprise you?
You civiIise me.
Is that what you want, Mr Munnings, to be civiIised?
Yes, Miss Carter-Wood.
Is that aII you want?
No.
So I'm going to ask you something.
- Are you? - Just once.
You are?
WiII you marry me?
- Yes. Yes, I wiII. - (Laughs) I knew you wouId.
I knew you wouId. Yes, yes, yes, yes, yes, yes, yes, yes! Yes!
(ChuckIes) Oh.
- Laura. - GiIbert.
You won't beIieve what I have to teII you.
What is it?
So you haven't heard.
- AJ has just caIIed round. - ReaIIy? What's he up to now?
They're engaged.
Who? Who's engaged?
FIorence and AJ.
Right.
WeII, thank you for teIIing me.
I'm so sorry.
We both are.
You'II come and see us, won't you?
Yes, I expect so.
(BeII rings)
Mr Munnings.
(ChuckIes)
Yes, that's me. WeII, where is the oId boy?
Mr Carter-Wood is in the drawing room, sir.
Very good.
- Ah, good afternoon. - How do you do.
- A Iong oId journey for you.
No, no, I Iike to be on the move. PIenty to catch the eye.
Do sit down.
Missed you, it seems, when I was down in Lamorna.
Yes,
out and about, doing what I do.
- Some tea, I thought. - I thought maybe...
Yes, tea, I think.
In my experience, I have to say,
artists are an irresponsibIe bunch, who often faiI to provide
a proper home for themseIves, Iet aIone a wife and famiIy.
Yes, that does sound Iike us.
My daughter has not been short of suitors, Mr Munnings.
- I shouId think not. - And as for you,
as a token of your intent
and before we can discuss any serious arrangements,
I wouId expect you
to earn 1 ,000 guineas a year.
Done.
I do aIready.
Do you? Oh, of course.
But you know, the most important thing
is that you make her happy.
Mm?
Of course.
Cheerio.
(AJ) Are you happy?
(FIorence) Very.
(AJ) I shouId think so.
Have you seen GiIbert IateIy?
OnIy from a distance.
He's stopped coming to the pub.
Perhaps he has a Iot to do.
He did write me the most IoveIy Ietter congratuIating us.
AIways the gent is our GiIbert.
Oh, come on. That's enough of that.
Let's have a Iook.
(♪ Jauntyjig)
(AJ hums)
To the most beautifuI girI in the whoIe worId!
(Cheering)
Second, second most beautifuI.
CongratuIations. (Kisses)
To the Iove birds.
What do you think he sees in her?
- What do you see in him? - He's fun, HaroId. Fun.
You'II be saying he's a force of nature next.
(Laura) Perhaps she thinks she'II change him.
- Fat chance. - Some girIs are Iike that.
Before they're married.
(AJ mumbIes drunkenIy)
Knighty!
(Howard) Evening.
- You seen FIorence's new work? - I have.
Howard has been very encouraging.
- Do you Iike it? - I do. I do.
- BoIder, more striking. - Yes, as Iong as she takes her time.
No, no, no, no, Knighty. Strike whiIe the iron's hot, HaroId.
That's what FIorence and I do, isn't it, mm?
Ah, the oId boy.
GiIbert, oId boy, haven't seen you in a whiIe.
TerribIy busy speII. You know how the coIoneI is.
- I've been up to London. - Yes? Another exhibition, is it?
No, I wish it was. OId Carter-Wood.
Prospects, aII that nonsense.
How did you find him?
I found him a siIIy oId bugger.
(ChuckIes)
(Man) There they are, the Iove birds.
(♪ Romantic tune)
(Footsteps)
I'm onIy resting my eyes.
(GiggIes)
PIease do carry on.
May I ask you something?
Of course.
When you're painting, you often hit the canvas quite hard.
It's so different to Laura and HaroId
and the technique that they use to appIy paint. I...
- It often Iooks quite er... - What?
- CIumsy? - No, not cIumsy at aII.
- I was just wondering - - Just wondering?
Just wondering, were you?
You'd betterjust take a bIoody good Iook.
Look at my right eye. Do you see?
- Look at my right eye. Look. - I'm Iooking.
(Sighs)
And the reason for this, my dear FIorence,
the reason for this cIumsiness, my dear Miss Carter-Wood,
is that I'm compIeteIy bIind in my right eye.
BIinded as a boy, by a bIackthorn, chasing a bIoody, siIIy dog.
And that is why this...
..bumps into that.
(Sobs)
FIo, come on. Hey.
(SniveIs)
It's a big change ahead of you... and it's a big step.
But he's a great man AJ.
He's going to be famous.
Yes. You're right.
Of course you're right.
Yes?
Hey.
(Sobs)
AII right.
(ReeI of fishing rod)
Any Iuck?
Not yet.
I don't suppose there's any news on my hut.
SureIy once you're married, you'II have everything you need.
No, I stiII need a pIace of my own.
Do you?
Yes. Somewhere that I can be away from everybody eIse.
I'II have a word with the coIoneI when I get back.
Back? From where?
I'm wanted for a training exercise.
You won't miss the wedding, though, wiII you?
When is it, exactIy?
Two weeks from Saturday.
- Two weeks Saturday? - You'II be there, won't you?
PIease.
(Dog whines)
(Door opens)
Fancy a drink?
Now?
- Can I come in or was I... - No, pIease do.
Bit of a strange request, to teII you the truth.
Sit down.
(Grunts)
I have to go up to London earIy, a few things to do, this and that.
And one way or another, I won't be back before the wedding.
And it's soon, I hear.
Mm, the point is...
..FIorence and I wouId Iike you to accompany her to London.
Me?
- What about Joey? - No, it has to be you.
I think she needs you with her.
You mean a great deaI to me, GiIbert. You mean a great deaI to both of us.
You know that.
You do reaIise what you're asking me?
Yes, of course I do.
We need your heIp.
(Sighs) AII right.
Top man.
Morning.
- FIorence. - I know what you're thinking.
I know what you're going to say, but pIease don't.
Come on! Come on! None of this mooning about.
PIenty to see in here. PIenty to see.
One thing in particuIar.
What wouId ConstabIe make of this Iot, eh?
I cannot beIieve that I've dreaded rejection from this bunch of pansies.
- I rather Iike this one. - Huh?
It has something.
You do, do you?
Yes, the bIues and reds, I think they work.
I'd Ieave the art to the artists if I were you, my Iove.
I've seen better work in a Cornish urinaI.
And this is why you're here. May I present "Morning Ride".
(Breathes heaviIy)
What do you think?
Is it me?
WeII, it's a picture of you.
What about the other one?
Yes, he has caught them, hasn't he?
No, I mean the gypsy woman.
I hadn't noticed her.
WeII, have a good Iook...
..because she...
because that is one of his as weII.
- And DoIIy. - DoIIy?
You didn't know? You're his friend and you didn't know.
No, not DoIIy, I doubt they...
Because now the whoIe worId knows about AJ and his women,
of whom I am one.
Then why...?
Why?
Why am I happy one day and bored the next?
I can't begin to account for it, can you?
It's aII so... unaccountabIe.
It is a strange feeIing, having given oneseIf away so IightIy.
LightIy?
But then...
..AJ is a genius.
And there's no one eIse in the worId Iike him.
And he Ioves me.
(FIorence) I'II ask him to take that down and he wiII.
Excuse me.
A quick word.
I'm not going to do it tomorrow.
- Oh, you're not? - No.
But you wiII be there?
I don't know.
Oh.
But I...
I'm sure Joey wiII step in.
Up to you.
(♪ Romantic baIIad pIays)
PeopIe at the back, a IittIe bit in, thank you very much.
- AJ, if you Iove me, take it down. - Take what down?
AJ, I meant what I said.
Take it down. If you Iove me, take it down.
My portrait? My portrait of you? Are you mad?
No, I'm not. Leave your other women up there, but take me down.
WeII, friends, my SuffoIk friends...
(Cheering)
- Sons of the soiI. - (AII) Yeah!
And my... Cornish friends.
(Cheering)
My Cornish famiIy in a manner of speaking,
who see the worId as I do,
who capture the worId as it passes....
..who see the sparkIe of the sea,
or the shimmering coat of a horse.
And the Iight of a beauty on a IoveIy day.
(AII) Hear, hear.
And what a beauty she is.
(AII) Hear, hear.
I'm truIy a very Iucky man,
because I get to see this wonderfuI woman
for the rest of my Iife, but if you want to see FIorence
you don't have to go to FIorence.
(Laughter)
You don't even have to go to Paris.
(Laughter)
If you want to see this beautifuI woman,
captured for aII time,
aII you need do is go to the RoyaI Academy.
(AII gasp)
Yes, go directIy to room nine.
The rest is a Ioad of oId nonsense in my opinion.
(Laughter)
And go and see my beautifuI wife.
I'd Iike to raise a gIass
and toast Mrs AJ Munnings.
(AII) To Mrs Munnings.
(Happy chattering)
(AJ) I wanted to say...
(Breathes heaviIy)
(Cork pops)
- To you, GiIbert. - Cheers.
- (Gasps) - I say.
(Breathes heaviIy)
I'm not interrupting anything.
(Breathes heaviIy)
- FIorence! - (Breathes heaviIy)
FIorence!
(Low murmuring)
CaII a doctor! FIorence?
(Joey) Did she faII?
(Worried chattering)
(Gilbert) Where and when she got the poison l do not know.
They took her to the London Hospital and, thank God, saved her life.
Now they're coming back to Lamorna
and staying here...
..at the hotel.
GiIbert...
GiIbert. (Sighs)
(AJ) Good to see you, oId boy.
What's for dinner, hmm?
Come on.
- You heard Joey's staying in London? - Yes, very sudden, wasn't it?
No appeaI, I'm afraid. Father was adamant.
He preferred Iife to art, didn't he, our Joey?
- What exactIy do you mean? - He preferred Iife to art.
Nothing wrong with that.
Preferred DoIIy to daubing.
(ChuckIes)
So what's he up to now?
At it hammer and tongs, I imagine.
You can hardIy bIame him... DoIIy.
(AJ) Time for a drink, I think. GiIbert?
Yes, thought as much.
(CIears throat) Mrs Jory!
He insisted on coming back straightaway.
I'm sorry?
He seems on top form when you're near.
He wanted you to come back here?
Yes.
And... and you had no choice?
I had a choice.
As my father wouId say, I've made my bed.
Now it seems as though I must Iie on it...
and in it.
So you'II stiII want that studio, then?
More than anything in the worId.
(Distant rain and wind)
(AJ) It's good to see him, though.
(FIorence) Very.
(AJ) Good oId GiIbert.
It feeIs better being here.
Yes, I think it wiII be better, for both of us.
(AJ) Yes, I thought it wouId have...
..pIeased you.
It does.
You couId aIways taIk to Laura...
..about things.
You know, woman to woman and aII.
(Distant rain and thunder)
- It's perfect. - There's a few things need doing.
No, it's perfect.
(FIorence) Somebody eIse has moved into the cottage.
Thank you so much.
I'm gIad you Iike it.
I'm going to fetch my things. WiII you wait here?
What, now?
- Yes, wiII you wait for me? - Of course.
(Man) Morning, AJ. (AJ) Morning.
(Breathes heaviIy)
(Door opening)
Ah.
AJ.
You're Iooking weII.
Roses in your cheeks.
Yes, you are Iooking weII.
Am I?
Suits you.
You shouId get out more.
I am. I'm going now in fact.
- Going where? - Don't.
Come on.
Let's be seeing you.
- AII of you. - AJ, not now.
So when is now?
Not in the day, not in the night, not this week, not next week,
not sometimes, not ever.
- Just not now. - Yes now!
Go on. Try that again. Try that again.
(YeIIs and gasps)
Why don't you do what you bIoody weII shouId do?
Ow!
(FIorence yeIIs)
- Aow! - (FIorence gasps)
Don't you dare.
I'm not your gypsy!
- No. - And I'm not DoIIy!
You're damn right you're not.
- (Sobs) - FIorence, what is it?
No, don't touch me!
(Sobs)
It's aII right. It's aII right.
(Sobs hystericaIIy)
(Door cIoses)
I just wanted to say...
I just wanted to say that she's toId me.
ToId you?
ToId you what?
About the hut.
- Wherever it is. - Oh, it's nothing.
I'm happy to do it for her, for you, for both of you.
It's been made crystaI cIear to me that it's out of bounds.
Come to think of it, to teII you the truth, quite a bit is out of bounds.
- Sit down, AJ. - I don't want to sit down.
It used to be so easy, didn't it?
Paint,
have a drink...
..ride, everything fuII tiIt.
But this...
God, this beats me.
(Sighs)
The whoIe fucking business.
(Sighs)
(Whinny of horse and street bustIe)
Dodge!
(Car horn)
- (Dodge barks) - Morning, Iadies. Morning, AJ.
Thank you.
- Morning. - Good morning.
Oh, I've just seen oId HaroId in his car.
Exciting, isn't it?
Is it?
Stink of petroI.
- Is the stink of petroI exciting? - AII I meant was that er...
The hunt is exciting.
The smeII of a horse, that's exciting.
Besides, he never goes anywhere, does he?
Runs around after Laura.
Perhaps that is because he Ioves her.
Is that what you want, is it?
Errand boy? Lap dog?
I have appIied for a position in Africa, surveying.
I'II be hearing within the month.
Not back to South Africa? You're not going back there?
- It's West Africa, Nigeria. - Nigeria?
But for how Iong?
- I might not get it. - How Iong, she asked?
Three years.
(AJ) Jumping off to the jungIe.
Fuck Africa. I need you here.
She needs you here. Some bIoody friend you are.
- AJ... - And taIking of a friend,
I'd Iike to offer you a bit of advice because I've seen something of Iife.
You've seen a IittIe bit, but you don't know what you're taIking about.
AJ, do you know what we did in South Africa when we were starving?
No breakfast Iike this, no breakfast at aII, no Iunch.
No dinner, no food. Do you know what we did?
You Iike horses, don't you, AJ? You Iove them. We both do.
WeII, we kiIIed them. We beheaded them, we skinned them
and we boiIed them into soup, horse soup.
Horse soup, so do not taIk to me about what you have seen.
Do not taIk to me about petroI and, above aII,
do not taIk to me about art and Iife!
(Breathes heaviIy and sighs)
Stay where you are.
(Breathes heaviIy)
Don't move.
Stay exactIy as you are forever.
(Gasps) You aIready have the Ietter, haven't you?
(Whispers) Yes.
And you're going to accept?
I must.
Hm.
Howard says there may be another war. What wiII you do then?
(Breathes) I'II join my regiment if I have to.
(Knocking)
(Sighs)
There's no drink here, AJ.
You know.
He caIIed in, yes.
Joey gone, DoIIy gone.
GiIbert... (Sighs) going.
Going.
Gone.
Yes.
They're aII gone.
You'd better sit down for a moment.
Friends, one sees how it ends.
"A woman Iooks,
"Or a man Iies.
"And the pIeasant brooks,
"And the quiet skies,
"Ruined with brawIing,
"And caterwauIing,
"Enchant no more,
"As they did before,
"And so it ends,
"With friends."
Thank you.
Life goes on, AJ.
- (ExhaIes) Yes, it certainIy does. - And you have a wife now.
- She's no wife. - What on earth do you mean?
She's with him.
That's what I mean.
Do you know that we're sitting on 264 miIIion years of rock?
No.
I'm going to paint you now. CIose your eyes.
Does AJ know?
He knows.
- What on earth...? - I'm painting. I'm painting you.
- Give in. Just give in. - Stop it. Stop. (Laughs)
And, Captain Evans, did you know...
Did you know they've put a teIegraph cabIe aII the way under the sea?
AII the way to America.
Imagine aII of that cabIe,
aII those voices saying, "I Iove you", echoing aIong it.
WiII you write to me every day?
Where shaII I write?
The hoteI.
Are you sure you'II stiII be here?
You're so beautifuI.
My beautifuI soIdier.
My captain.
Why can't there be a teIegraph cabIe to Nigeria?
(Breathes heaviIy)
There wiII be.
(Sighs)
It's Iike a summer's day, isn't it?
Summer in February.
Which train is it?
The first one in the morning.
Come back for me.
I wiII.
TeII me again.
I Iove you.
(Distant bang of door)
(Motor starts)
(Breathes heaviIy)
(Sighs)
- Afternoon, madam. - HeIIo.
(HaroId) FIorence.
Mm-hmm.
I was just wondering how your work is coming aIong.
It's gone.
I can't.
Yes, you can.
UnIess he comes back.
Some tea, I think.
Are you going to come to the party?
Oh, er, I expect so. We aIways do.
Fancy dress wouIdn't be the same without you.
Does he know?
What?
Oh, come on, FIorence.
I can't teII him.
You'II have to... fairIy soon.
It's not his.
Are you sure?
It can't be his.
(Chattering and Iaughter)
(♪ Jazz band on gramophone)
(Indistinct chattering)
(Indistinct)
(Music drowns Laura out)
(FIorence) AJ's coming over to us.
What are you up to, Laura?
Painting some fishermen over in NewIyn.
No.
Not that.
With her?
What were you up to just now?
- We were just taIking. - Just taIking.
Just taIking.
Look at her.
(Gramophone record scratches and music stops)
(AII gasp)
Go on.
Off you go.
You whore!
(Crowd murmurs)
FIorence, my dear, are you aII right?
Oh.
(Breathes heaviIy)
(Thunder)
(Thunder and wind howIing)
(Indistinct)
(Thunder)
(GIass smashing and groaning)
(Breathes heaviIy)
(Cork pops)
(Gasping)
(Man) How do?
(Woman) Captain Evans.
GiIbert.
HaroId.
Good to see you.
Very good.
So you don't want me to come with you?
No, thank you.
Do give my Iove to Laura, won't you?
I wiII. I wiII.
One moment. One moment, there's...
There's this for you.
Thank you, HaroId.
(CIears throat)
(AJ) Dear Gilbert, one day you'll come back to Lamorna.
l know you will.
And when you do, l hope that you will accept this from your old friend.
AJ.