- So long. we'll see you again. - Goodbye.
Give me your money. Do it.
- Splendid. - Thank you.
Blue 439.
- Blue 439. Over. - Blue 439, go ahead, please. Oer.
Phone weston 0-21 9. Tell him l'm on my way, will you?
Roger Wilco. Stand by.
- Hello, love. - Hello.
- Get that stuff developed, will you? - Yeah.
Right away.
Here l am.
Ready?
- l've been ready for nearly an hour. - Good.
L'm catching a plane for Paris at 11, so l can't...
Can't what?
Lt doesn't matter.
Who the hell were you with last night?
Reg.
Reg, let's have some noise, can we?
Right.
That's good. That's good. Hold that.
Reg.
Give it to me now. Come on. That's good.
Hunch. Hunch more.
That's it. That's good.
That's good. And the hair back. And the hair back.
That's great. That's great! That's good. More of that.
Now give it to me. Really give it to me. Come on, now.
As fast as you can, give it to me. Come on, right forward.
That's good. This side. This side. Lean right forward. Hand up.
That's great. Just touch the face. That's very good.
And again around this way. Touch the face again.
Good. Now the hair. Marvelous. That's great.
Good. Yes, the hair. Much more. Much more.
Good. Yes, that's great. That's good. Yes. And again. And again.
Oh, hold that. Hold the hair back. Again. Good.
Okay, Reg, 50.
On your back. On your back. Go on.
Yes. Now really give it to me. Come on.
Come on. work, work, work!
Great. Great. And again. Go on. Back. Back. Arms up.
Stretch yourself, little lady. Great.
And again. Go on. Go. Go.
That's great.
That's it. Keep it up. Lovely.
Yeah, make it come. Great.
No, no, head up. Head up.
Now for me, love. For me.
Now! Now! Yes! Yes! Yes!
Hello?
Yeah, hold on.
Lt's Peter.
Hello?
Yes.
Yeah, l've got it somewhere. L know l have.
Yeah, hold on.
Reg, take down the address of that bloody junk shop, would you?
Why, they're fabulous. Go on.
Yeah.
Yeah. Great.
Here. You can burn that lot.
Reg!
- Get the birds down, will you? - Okay.
No chewing gum. Get rid of it.
And not on my floor.
You, arm down.
Right.
Six millimeter.
Terrible.
How about the leg a little further forward?
Put the head up.
Just go. Mouth open. Yes, good. Good.
No, you're all wrong. Start again. Rethink it. Rethink it.
Stripes, let the dress just fall down. Keep the stripes straight.
Just let your arms go up and down.
Yes, very tasty. Yes, l like it. L like it. Go on.
Yeah.
All right, change position.
Yep.
Wake up!
You can thank your lucky stars you're working with me, can't you?
All right, one more.
And let's smile now. Come on.
Smile.
God.
L asked you to smile.
What's the matter?
Have you forgotten what a smile is?
Hey?!
All right, you're all tired now. Go on, relax.
L can't see your eyeballs anymore. They're just slits.
Go on.
Close your eyes.
And stay like that.
Lt's good for you.
Close your eyes.
That must be five or six years old.
They don't mean anything when l do them. Just a mess.
Afterwards, l find something to hang on to, like that...
Quite like that leg.
Then it sorts itself out and adds up.
Lt's like finding a clue in a detective story.
Don't ask me about this one. L don't know yet.
- Can l buy it? - No.
Will you give it to me?
There.
Tight-faced bastard.
He won't float me one of his crappy paintings.
L'll creep down one night and knock it off.
Don't stop, it's lovely.
You look tired.
L've been all night in a doss house.
They say they've been asked to come here.
- Not by me. - Well, we weren't exactly asked.
Sorry, l'm busy.
They're printing some snaps for me upstairs. Go and fetch them.
Couldn't you give us just a couple of minutes?
A couple of minutes?
L haven't even got a couple of minutes to have my appendix out.
- well, when can we come then? - Don't.
- The others still waiting with their eyes shut? - Yes, they're waiting, but their eyes are open.
Good.
Tell them to shut them again.
Get rid of that bag. lt's diabolical.
Can we come back this afternoon?
- what do you want? - Just looking around.
There are no cheap bargains here. You're wasting your time.
Well, l'll just have a look.
What are you looking for?
- Pictures. - No pictures.
What kind of pictures?
- Landscapes. - Sorry, no landscapes.
Sold. All sold.
- You the owner? - No, the owner is out.
Expecting him?
What are you doing?
Stop it! Stop it!
Give me those. You can't photograph people like that.
Who says l can't?
L'm only doing my job. Some people are bullfighters...
some people are politicians.
L'm a photographer.
This is a public place. Everyone has the right to be left in peace.
Lt's not my fault if there's no peace.
You know, most girls would pay me to photograph them.
L'll pay you.
L overcharge.
There are other things l want on the reel.
What do we do then?
L send you the photographs.
No, l want them now.
No!
What's the rush?
Don't let's spoil everything. We've only just met.
No, we haven't met. You've never seen me.
- Hello. - Hello.
- My agent saw you about this shop. - Did he?
He's a man with a cigar.
Throws ash everywhere.
L expect l remember him.
L probably asked for too much money.
Money's always a problem, isn't it?
Tell him to come back.
Why are you selling?
L'd like to try something different.
Get off somewhere.
L'm fed up with antiques.
Get off where?
To Nepal.
Nepal is all antiques.
Ls it?
Perhaps l better try Morocco.
- How much? - What?
The propeller.
You can have it for...
- ...8 pounds. - Right. You're in business.
- Have you got a van? - You can't take it now.
L must.
- l can't live without it. - Hard luck.
That'll teach you to fall in love with heavy things on Saturday mornings.
- ls that it? - That's it.
You can't treat it like that. Lt's not a delivery van.
- who cares? - Leave it to me.
Something will turn up.
Yes. All right, but it better turn up today.
Blue 439. Blue 439. Over.
439, go ahead, please. Oer.
Hello, this is....
Get me Flaxton 2-249. Mr. walker. Mr. Peter walker.
Tell him l saw the junk shop. Lt's pricey, but the kid will come down.
Let him ring her right away, then...
nobody else will get it.
Roger Wilco. Stand by.
Blue 439. Blue 439. Oer.
Blue 439. Blue 439. Go ahead, echo.
Blue 439, message passed. The number stored. Your caller doesn't like it.
Tell him to get stuffed.
What about all the buildings going up around the place?
Already there are queers and poodles in the area.
L saw some in the couple of minutes l was there.
- lt'll go like a bomb. Over. - Blue 439. What is in the area? Oer.
- Forget it. Over. - Roger Wilco. Standing by.
You want to use the lot?
Don't you like them?
They're great.
We'll use three or four.
Spread through the book?
No. All together.
Yeah.
- And a pint. - Yes, sir.
Which one last?
None of this lot. L've got something fab for the end.
Ln a park. l only took them this morning. You'll get them later today.
Lt's very peaceful, very still.
And the rest of the book will be pretty violent, so it's best to end it like that.
Yes.
That's best.
Rings truer.
L'm going off London this week.
Why?
Lt doesn't do anything for me.
Yeah.
- l've knocked up a few captions. - Yeah?
L'm fed up with those bloody bitches.
L wish l had tons of money.
Then l'd be free.
Free to do what?
Free like him?
Someone we know?
That'll be all right.
Hello. Could you get me Frobershire 3-229, please? L've only got a sixpence.
Park 1 296.
Hello. lt's me.
Weren't you supposed to be going off to Hurley?
Listen, stay where you are. Call me soon at home.
L've come....
l've come for the photographs.
How did you manage to find me?
Do you live here?
Drink?
What's so important about my bloody pictures?
That's my business.
The light was very beautiful in the park this morning.
Those shots should be very good.
Anyway, l need them.
My private life's already in a mess. Lt would be a disaster if....
So what?
Nothing like a little disaster for sorting things out.
Have you ever done any modeling?
Fashion stuff, l mean.
You've got it.
Hold that.
Not many girls can stand as well as that.
No, thanks. l'm in a hurry.
You'll get your pictures.
L promise.
L always keep my word.
Come here.
Show me how you sit.
Who is it?
Oh, yes. That's right. Hold on a second.
Ls it for me?
Lt's my wife.
Why should l speak to her?
Sorry, love. The bird l'm with won't talk to you.
She isn't my wife, really.
We just have some kids.
No.
No kids. Not even kids.
Sometimes, though, it feels as if we had kids.
She isn't beautiful. She's...
easy to live with.
No, she isn't.
That's why l don't live with her.
But even the with beautiful girls...
you look at them, and that's that.
That's why they always end up by....
And l'm stuck with them all day long.
Lt would be the same with men.
Have a listen to this.
No. Keep still. Keep still.
Listen and keep still.
You can smoke if you like.
Slowly. Slowly.
Against the beat.
That's it.
L can't stand it. L'm nervous enough as it is.
Can l have some water?
And l'm not a fool, love.
Can l have the photographs?
Of course.
Later.
Your boyfriend's a bit past it.
Why didn't you say what you want?
Get dressed.
L'll cut out the negatives you want.
They'll go.
They're not going.
Don't go.
- Have you bought a propeller? - What?
You bought a propeller this morning, right?
Oh, yes.
You'll have to give us a hand with it.
- All right? - Fine. Yeah.
What's it for?
Nothing. lt's beautiful.
Lf l had a big room like this, l'd hang it from the ceiling like a fan.
- Do you live on your own? - No.
Perhaps l'll put it there like a piece of sculpture.
Lt'll look good there. Lt'll break up the straight lines.
- Are you going? - Lt's late.
Do l see you again?
Well, at least tell me your name or your telephone number.
Thank you.
Hello? Knightsbridge 1 -239.
What?
No, l'm sorry.
Ron?
Something fantastic's happened.
Those photographs in the park, fantastic!
Somebody was trying to kill somebody else.
L saved his life.
Listen, Ron, there was a girl.
Ron, will you listen?
What makes it so fantastic...
Look, hang on, will you, Ron? There's somebody at the door.
You weren't expecting us, were you?
No.
- Can you manage to make a cup of coffee? - l can make an lrish coffee, if you'd like.
Right, come on.
- She always like that? - Like what?
Doesn't speak.
What's your name?
Forget it. What's the use of her name?
What do they call you in bed?
L only go to bed to sleep.
Hello?
Look at all these clothes.
No.
- Hey, how about this one? - Put it on.
What about you? Help yourself.
The coffee!
What's happening?
- what's the matter? - She's got a better figure than me!
Go on, whack her. Go on, give her the left hook.
We'll put you in the ring together.
Oh, no!
Hold her legs!
No! No!
- Hold her legs! - No!
No! No! No!
Let go of me.
Right, let's move. Out.
- But you haven't taken any photos. - No, l'm too whacked.
Lt's your own faults.
Tomorrow.
Tomorrow!
Were you looking for something just now?
No.
Do you ever think of leaving him?
No, l don't think so.
L saw a man killed this morning.
Where?
Shot.
Ln some sort of park.
Are you sure?
He's still there.
Who was he?
Someone.
How did it happen?
L don't know, l didn't see.
You didn't see.
No.
Shouldn't you call the police?
That's the body.
Looks like one of Bill's paintings.
Yes.
Will you help me?
L don't know what to do.
What is it?
L wonder why they shot him.
L didn't ask.
Hello, Ron? Oh, hello, love. ls Ron there?
No, l just wanted to take him somewhere. Where is he?
Okay, l'll fetch him there. Bye-bye, love.
Give them the song again.
Ron.
Give me a minute, will you?
Ron.
Someone's been killed. Now, would you...?
Okay.
Listen. Those pictures l took in the park...
l thought you were supposed to be in Paris.
L am in Paris.
Here. Have a drag.
L want you to see the corpse.
We've got to get a shot of it.
L'm not a photographer.
L am.
What's the matter with him?
What did you see in that park?
Nothing.
Ron.