Room 43 (1958) - full transcript

(light mellow music)

(mellow ambient music)

My name is Fabian.

Fabian of the Yard.

Some of you may know me.

I used to be in charge
of Scotland Yard's

famous Flying Squad.

Now, the film you're about to see

deals with the seamy,
almost frightening subject.

Prostitution.

Now, the crooks who run
this highly organised racket



are utterly ruthless.

I know because I served
for over 28 years

in the police force of London

and most of it, in the West End.

This city today, probably,

has the worst prostitution
problem in the world.

You'll see for yourselves

the terrible methods used
to turn innocent girls

into prostitution.

The film deals with the problem frankly,

dramatically and accurately.

And by exposing this racket as it does,

I feel it will make us all
realise what is going on

and maybe, it will do something



towards wiping out this
awful social evil.

(mellow jazz music)

(energetic jazz music)

[Mike] Careful, miss.

You nearly went in the gutter.

Hey, Mike, look, ain't she a beauty?

Expensive though, I bet.

Not that one, this one.

[Mike] Ah, you couldn't afford either.

I'll get that deposit by
Monday, I've made up my mind.

Yeah and I'm gonna be Queen of the May.

I'll get it no matter what it costs,

what it is, I'm gonna get it.

(laughing)

Mike, I'm gonna get it.

(light piano music)

(people chattering in foreign language)

(speaking in foreign language)

185, 190,

200, correct?

Thank you very much,
Mr. Hadril, yes, yes.

By Monday, she'll be all mine.

You should see her, she's a beauty.

Anyone'd think it was a pretty girl.

Oh, more important than a
pretty girl for the moment.

I don't think you quite understand.

This is a taxi, it's the beginning

of a whole fleet of taxis.

I don't know,
maybe five years from now.

I know, I know.

Repayments on the first
of the month, all right?

Oh, sure.

Thank you very much, Mr. Hadril.

Goodbye.

And listen, if you want a free ride,

you know where to get me.

(phone ringing)

United Loan Company.

Who?

Oh, yes.

How long?

All right.

[Man] Mind you, that's
where impurity happens.

He's only a kid, mister, and he's sick.

I'm sorry, no security, no loan.

But I've absolutely no security.

Don't worry about security.

Your signature is perfectly good.

I assure you, as long as we can help you.

It's terribly kind of
you, I been so worried.

You look quite happy now.

Thank you.

Your Paris call, there's a
five-minute delay on the line

but they might come through sooner.

She looked a good prospect.

She'll never be able to pay.

[Nick] Anything from Vienna?

No, but Zurich have got
two girls for us

and, of course, there's still Paris.

(phone ringing)

United Loan Company.

Oh, yes, hold on a moment.

Your Paris call.

Hello Aggie, how's tricks?

You have?

Good.

Yes.

Yes.

Hold on a second.

Paris have a girl for us.

Got a husband ready?

A cab driver, just been in here.

Dead broke.

What's she like?

Mm-hm.

Her name's Malou.

I think you'll agree with me.

We're fixing it now.

(mellow foreign language music)

Malou. (speaking in foreign language)

(conversing in foreign language)

May I have another coffee, please?

(speaking in foreign language)

Did you get through to London all right?

Yes, thank you.

You we're very lucky.

Sometimes, it's very difficult to hear.

I would never make a call from here.

It's too noisy.

This was business that couldn't wait.

I hope it was successful.

Very.

Malou!

Oui?

(conversing foreign language)

He says I took money from him.

Oh, nonsense.

You didn't touch a penny.

(speaking in foreign language)

Don't shout at me you, foreigner.

What's the French word for liar?

All right how much?

How much are you short?

Well come on, (speaking
in foreign language).

Don't you understand French?

5,000 francs, but don't
madam, I didn't take any.

There you are.

What the hell's the word for change?

The money?

The money, yes, and quick.

You shouldn't madam, I didn't.

Get your things, dear.

You're coming with me.

(speaking in foreign language)

I don't understand a word

you're talking about and
perhaps, it's just as well.

You ready, dear?

(manager speaking in foreign language)

(lively jazz music)

(horn beeping)

Hey, it's Johnny.

So he did get his new cab.

[Man] He's like a kid with a new toy.

[Man] Hey, watch out, this man's crazy.

(horn beeping)

(men clamouring)

(men chattering)

[Man] I'll buy you a cup of tea.

[Johnny] I'll buy you a cup of tea.

[Man] Oh, I've never had
a cup of tea

with a millionaire before.

(tense jazz music)

(crashing)

[Man] Poor Johnny, it's your new cab.

(men chattering)

Disgraceful.

I saw the whole thing.

Did you get the number?

No, I'm afraid not.

I could give a description of the lorry

to the police and they might...

A lot of good that'll do.

Well, it's better than nothing.

I don't think we should
let these people get away

with this kind of thing.

Come, let me give you my name and address.

Let's slip in there.

I had her three days.

Three days.

Well, here's my name
and one of my addresses.

Hey, what regiment were
you with during the war?

Canadian Highlanders.

Canadian.

Marines me.

Do you remember Dieppe?

The only thing I can
remember is the money I owe.

Well, these money lenders, who are they?

United Loan Company.

United Loan, oh yes.

I know them, off Dean Street, huh.

Yes well, maybe I can help you.

You come there tomorrow at noon, hm?

Don't forget, at noon.

You don't even know me.

At Dieppe, one of you
mob pulled me off the beach

and saved my life.

Cost him half his leg.

I didn't know him either.

Your property now, sir.

Goodbye.

Goodbye.

You know I'm fixed.

Gonna be a long time
before I can pay that back.

Hey.

Have that one on Dieppe.

(steady jazz music)

There's Nick.

What is he checking up on?

Relax, he's going next door.

Oh, the respectable house.

Lady Agatha's mansion.

[Nick] Where's that...

Nick, we still have a couple
of rooms empty next door.

I filled them, two girls from Zurich.

Where's that French girl?

Paris is getting her a passport.

It takes a day or two so I came on ahead.

She should be here tomorrow
to start her new job.

What job?

Companion to a nice, kind English lady.

You?

Me.

You're going to keep her here?

Of course.

I tell you Nick, she's a special.

Mm-hm, all right.

Don't wear that dress when you meet her.

You look like a...

Like

a what, Nick?

Wear those tailored
suits I had made for you.

Mm-hmm.

What's the matter?

Savile Row.

Natty tie, elegant shoes,
Eton hat, and an umbrella.

Quite the gentleman.

What's wrong with that?

You're still just a kid
from the East End, Nick.

(Nick chuckling)

Fortune telling.

I'll have a car meet that French girl.

Did you say East End?

Don't you ever bring that up again

or I will kill you.

(tense jazz music)

What did he want?

Oh, nothing.

Come on, finish reading the cards.

Oh, next door's buzzing like
a beehive.

The girls are busting the...

Let them bust.

Now, come on, where were we?

(women chattering)

Oh, yes.

A letter and some money.

Nick never gives money away.

I wasn't talking about Nick.

I was just telling you what the cards say.

What does it say about getting married?

Well, there's a middle-aged fair man.

Ooh, I wonder could it be this one.

Widower, 53, steady job, own home,

seeks companionable lady of refined taste

with a view to marriage.

Well?

(chuckling)

What's the joke?

You and your respectable prospects.

You've been reading those
matrimonial journals

for two years now.

You'll never leave Nick.

I want to, the way he acts now.

And I will too, if the
right man comes along.

Well, the cards say you're
not getting married until...

The cards.

You don't know how to read them anyway.

Won't get married till when?

When do the cards say?

Aggie, I need a new
bed for my sister Maria.

She can't sleep properly on that one.

We haven't got any beds.

Besides, your sister isn't
one of the working girls.

What about the bed in there?

It's booked.

Now, come on, when do the cards say?

When?

Do I get that bed for Maria?

Vicki, read the cards.

Oh, very well.

Take the bed from room 43.

That one's reserved for a new girl.

A special.

(mellow music)

Well, get her.

Hey, Sally, there's a new arrival.

Well, room 43's empty.

Hey, Greta, get 43 ready.

Oh, no, she'll be going
into the new mansion.

That means the royal treatment.

Fur, diamond, soft handling.

The lucky little bitch.

Here, they're all yours.

My niece won't need them now.

[Malou] Oh, but I can't.

Come on, take your things off.

Especially that mac.

And you won't need that hat.

Is that your best frock?

It's my only one.

Well.

Try this.

Oh.

It's beautiful.

It should fit you.

Damn, now I have to fix
this stocking.

You know, I bet this new girl

doesn't have to mend her own clothes.

Oh, stop moaning.

You do all right don't you?

Come along, my dear.

I'll help you into it.

Anyone at home?

Coming.

You know, Nick, for a moment,
you looked like a customer.

Cut it out.

You took the words
right out of my mouth.

Now, remember, this
girl's valuable property.

And she's not going to be easy
to handle.

How do you know?

Experience and instinct.

A woman is like a guitar,
it depends on the player.

And you're a maestro.

Now, this first thing we've
got to do is to get a husband.

I've got one.

And so, I told the old lady
exactly what my lawyer told me.

the only thing to do

is to get the girl married
off to a British subject.

Then she won't need a labour permit

and all her troubles will be over.

But of course, I haven't got
an eligible bachelor handy.

Except you.

I can't afford to keep a
taxi, never mind a wife, Nick.

Ah, well, you know best.

Of course, all you'd have to do

is to go through the ceremony.

Afterwards, we get the marriage annulled,

you know, for non-consummation.

Two minutes and it's all over.

The old lady, she's so keen

to keep that girl as her companion,

she'd give you 200 pounds

and think of you as doing her a favour.

Course, you'd have your own cab again.

And you'd be doing me a favour too.

Favour, every time I
meet you, I'm making money.

Look, here is my lawyer's card.

Go and see him.

I'm sure he can fix up something.

Good evening, Mr. Biaggi.

Hello.

I'll marry her for half
the price, how about that?

(chuckles)

You know, the girl I was
talking about, she's pretty too.

(Malou speaking in foreign language)

(mellow music)

Vicki, I want you to.

(sudden mellow music)

Good looker isn't she?

So, was my sister once.

That was Nick.

I'd nothing to do with it.

You know that, don't you?

She's talking about suicide again.

She can't live

- with that face.
- Vicki I've got to go out

for a few minutes.

Keep your eye on Malou, will you?

[Vicki] Why me?

Because you're the
only one Nick will allow

in the other house.

And don't forget, shut the
connecting door after you.

(tense jazz music)

Ms. Agatha, can I keep it?

I found...

Oh, hello.

Hello, I'm Vicki.

Are you a friend of Ms. Agatha?

Yeah.

What have you got there?

I just saved it from breaking his neck.

You know, you remind me of someone.

I shall call him Mignon.

Means cute.

Mignon.

Mignon, Mignon, Mignon.

Have you known Ms. Agatha long?

Aggie?

Long enough.

You like it here?

Oh, I love it.

Never had such a job.

You can believe that.

Drink?

No, thank you.

Do you think she'll let me keep it?

[Vicki] I don't see why not.

We've all gotta have
something in this life.

Yes, a decent job.

And I've got one here.

What do you work at?

[Vicki] Nothing.

Don't you work at all?

Oh, yes, I'm in the
entertainment business.

Really?

What do you do?

Entertain.

No, I mean, what sort of...

Oh, don't ask so many damn questions.

You're worse than a kid.

Look, don't take any notice of me.

I'm like that at times.

It's all right.

You know, you do look like her.

Like she was.

Who?

My kid sister.

[Agatha] Malou darling,

I want you to meet my business adviser

and good friend, Nick Biaggi.

How do you do?

Better as a friend than a
business adviser, I'm afraid.

Hello, Vicki, what an unexpected pleasure.

Well now, I've been trying
to get you a working permit.

There isn't any difficulty,
is there?

I'm afraid there is.

A very serious one.

The official quota has run out

and no more permits are
being issued till next year.

But what am I going to do?

There isn't anything she can
do except go back to France.

I can't!

The police.

Oh, Ms. Agatha, I won't
leave you, I won't.

Isn't there any way?

I've consulted four solicitors

and only one of them an any
sort of suggestion at all.

But that, I'm afraid,
was quite crazy.

What was it?

Oh, it's not worth
talking about, I assure you.

May I help myself to a drink?

Would you care for one?

No, thanks.

[Malou] But what was it?

Well, he said the only thing

would be one of those one day marriages.

You know, you marry a British subject

and then have the marriage annulled.

Oh, you mean a mariage blanc?

Ha, pardon?

You never see the
man after the ceremony.

Many French girls did that
after the war to get to America.

It's not so terrible, is it?

But where should we find a husband?

(tense jazz music)

And you think he's giving
you 200 quid as a favour?

You actually believe this malarkey?

Pass me the wrench.

You can read it in all the papers.

How they bring these girls over

just to get them British passports.

So that they can't be deported

when they put them out on the streets.

Well, don't you ever read the papers?

Yeah, I read the papers.

Must be a blocked fuel pipe.

Do you wanna press the starter?

Ah, you don't even
know what his name is.

[Johnny] Nick.

Nick what?

Nick Biaggi.

Biaggi, don't you know who he is?

Why he's the biggest...

Look, Johnny, face up to it,
will ya?

(engine revving loudly)

Suppose.

Johnny, I'm trying to say something
to ya!

Look, suppose it's a
tart he's brought over.

I don't care who he's bringing over.

He's my friend.

Look, Johnny, suppose
it's an innocent girl

he's brought over.

What are you trying to
make out of me, a Boy Scout?

All my chances got smashed
like the cab got smashed.

Yeah, that's life.

It get rough sometimes.

Oh, you're gonna start
telling me what life's about.

Rough, it's a glorified rat race

and I'm gonna start running

till I get out front
with all the smart guys.

And I don't care how rough it gets.

Mike, the Sundown Club,
Curzon Street, Mr. Sanderson.

I think he's had quite a few.

Okay.

Think about it, Johnny.

(tense music)

Hello, gorgeous.

Uh, uh, uh, uh.

Got a hot tip for you.

Try How's Ya Father in the 3.30.

Best horse of the day in all.

Is he in?

Sammy White's waiting and
so is Nick's taxi driver.

When the girl arrives,

I'll see her and
the taxi driver together.

Send Sammy White in.

Will you come in please, Mr. White?

Well, Mr. White, what sort of perjury

can we commit for you today?

Oh.

[Sammy] Well, all I can tell you.

Mr. Heath?

Oh he won't keep you long.

Will you take a seat?

Thank you.

Nice day, isn't it?

Yes.

You wouldn't be...

No, you couldn't be.

I beg your pardon.

Nothing, nothing.

Oh, go ahead.

Would you care for a cigarette?

No, thank you.

No?

You're from the Continent,
aren't you?

Yes, France.

France, wonderful country, yeah.

Have you been there?

Yeah, once during the war.

We did a raid on the Brittany coast.

At dawn, very beautiful.

Sand dunes and the pines
coming out of the mist.

Do you know you could
practically smell the pines

as you were getting closer?

Then the Spandaus opened up.

They were hidden in the pines.

Killers.

My brother was killed in the war.

Well, what part of
France do you come from?

Paris.

Ah, Paris.

Is it really as gay as everybody says?

Not when you're hungry or frightened.

Well, have you seen any
of the English countryside?

Oh, you should, it's
beautiful, real beautiful.

Beautiful as, oh well.

This waiting around just drives me mad.

What are you here for?

Oh, just some legal business.

And you?

Well, yeah, that's what I'm
here for, legal business too.

Don't worry about a thing. Mr. White.

Ah, Ms. Beaucaire.

Oh, and Mr. McVey too.

The bride and the groom have met.

(chuckling)

Well.

It's quite simple, really.

We defray all incidental
expenses, even the ring.

Try this.

Oh, it seems a bit loose.

Oh, it'll do.

Is there anything else
you want to know about?

No, I don't think so.

The perfect marriage.

One day only.

You want that cigarette now?

Thank you.

Been in this racket a long time?

Racket?

Game, business, whatever you call it.

What?

Don't act stupid.

Don't you be rude.

Do you think I enjoy doing this?

What are you doing it for?

And what are you doing it for?

For the money, honey.

I do it for my job.

It's the first decent job I've had.

Decent.

Yes, decent.

Good food, good clothes and no worries.

And the woman I work for is kind.

Woman?

What about Nick Biaggi?

He's just a friend of hers.

And when he knew I had
to have British passport,

he said there were plenty of men

who'd marry a girl out of price.

He was right there, wasn't he?

(car horn blaring)

I don't know why I feel miserable.

Not bad.

[Malou] That's not yours.

It is now.

A souvenir of my beloved wife.

Why are you like that?

What have I done?

Oh, nothing.

Want it back?

It doesn't matter.

It's funny.

My mother used to say,
"Marriage is forever."

(melancholic music)

(guests chattering)

[Man] Come on, smile there.

I'll do the rest.

Coming?

I think I prefer the fresh air.

[Man] Nice one.

That's right.

(guests cheering)

I need it more than you do, dear.

(guests chattering)

[Priest] Repeat after me.

I call upon these persons here present

to witness that I, Jonathan McVey.

I call upon these persons here present

to witness that I, Jonathan McVey.

[Priest] Do take thee
Marie Lousie Beaucaire

to be my lawful wedded wife.

(guests laughing)

Do take thee Marie Lousie Beaucaire...

[Guest] Congratulations,
George, old boy.

To be my...

[Guest] Remember what
your old dad used to say.

Money isn't everything.

(guests chattering)

To be my lawful wedded wife.

(mellow music)

Will you please place the
ring on the bride's finger?

(cans clanking)
(guests cheering)

[Man] That's the old boy, eh!

I now have pleasure in
declaring you legally married.

May I wish you good luck.

Good luck.

Good luck.

Will you sign the register, please?

Bride and groom first
and then the witnesses.

(children laughing)

[Child] Hey, mister!

You need a bouquet.

The first instalment.

(steady jazz music)

What am I supposed to
say, congratulations?

Well, you got the money anyway.

I wonder what it's
going to cost that girl.

Shut up!

You saw what happened.

It's all legit and above board.

You saw the woman she worked for.

That old bag, she was
on the beat 10 years ago.

You're crazy!

Look, who are you trying to
convince, Johnny, me or you?

Listen, if anything ever
happened to that girl...

Kind of a nice face though, didn't she?

Nice face.

Come on, we're on call in 10 minutes.

Well, well, here comes the bride.

Poor Mignon, she must be hungry.

Go on, it's time you went to work.

So soon after a wedding?

Have a heart.

I have and it's made of gold.

Go and dig for it.

(speaking in foreign language)

No wonder you're getting fat.

It was nice though.

You know, I wouldn't have minded

if it would have been a real marriage.

You think I'm crazy.

Well, what do you know about love, hm?

You don't know anything.

(Mignon meows)

Hey, where are you going?

Mignon, Mignon come here.

Mignon.

Mignon, Mignon, Mignon.

(tense jazz music)

Mignon.

Mignon.

Mignon, (speaking in
foreign language), Mignon.

Mignon, (speaking in foreign language).

Mignon, come, come.

What was that?

Funny, I thought I heard something.

[Man] Oh, yeah, yeah.

Come on, doll, give me a kiss.

You're a funny old Brit.

[Woman] Come on.

[Man] Put some light on the subject.

[Woman] Oh, you're bright enough.

[Man] Much further?

[Woman] No, not much further.

Come on.

I'd like walking
without all this match.

What a place to put a light.

Hey, come on.

(people chattering)

[Man] Would you like
living in a lighthouse?

(steady jazz music)

(lively jazz music)

(tense jazz music)

(phone ringing)

Hello, yes?

Just a moment.

For you, sir.

Hello, Aggie, how's tricks?

What?

I told you never to leave her alone.

Stay there.

Yes, Nick.

Yes, Nick, I will.

I'll be over.

But you see, I.

Oh!

Malou.

Malou.

Malou, my dear.

Oh, but Malou.

Don't touch me!

But Malou, what is it?

What's upset you?

Now, calm down.

Now, Malou listen to me.

Let get off me!

Mignon, come.

Listen, you stupid little.

Nick wants to give you everything.

You're lucky, you could
have it easy, I didn't.

(tense music)

She hit me.

It's all right.

Let the boys do it.

Put her on the sofa.

Get out, you too.

I know what you want me for.

I know what you're business is.

I won't do it!

You don't know anything.

Yet.

[Malou] You can't keep me here.

Look, don't make a scene, huh.

I don't like scenes.

And I don't like violence,
so let's...

You know what I did
for some of the girls

that's used to work for me?

I picked them out of the gutter

and I gave them their chance.

I suppose you thought
I was going to put you

in the streets with all the others.

Nonsense, no, not you.

You are going to the best
places with the best people.

And you know what, no man
is going to touch you.

Not for three months,
six months, maybe longer.

But then it's going to be
the right one.

A top client.

An ambassador, a visiting diplomat,

a cabinet minister, the cream.

I'm going to take you out of the gutter

and put you in the international set.

You'll be big, you'll be
somebody, bigger than me.

And in five years from
now, we'll make a fortune.

That's what I'll do for you.

If you play the cards
the way I deal them.

(tense music)

You'll be reserved for
special customers and for me.

(shrieking)

You know what you are?

You're a mug, suck.

You've could had it
easy all of your life.

[Malou] No, Johnny.

Who?

Johnny.

Johnny?

That low-life cab driver,

you turn me down for him, you fool.

You could've been my girl.

Come in.

Take her next door, room 43.

What are you going to do with her?

I'll teach her.

Turning me down for a cab driver.

[Johnny] Is he in?

Why, yes but.

Ah, unexpected but welcome.

I've got these papers...

Where is she?

Who?

The one I married.

I've no idea.

Now, look, just out
you're signature there...

Look, if it's a question of
money, and it generally is,

I'll try and get it for you.

Where is she?

You spilt my milk.

I'll break your neck.

I've told you, I don't know.

Where's Nick Biaggi?

Nick?

Yeah, I want his address,

otherwise, I'm gonna make
a lot of noise.

That's all you want?

June, get Nick on the telephone quick.

(phone ringing)

Nick, he's here.

The cab driver's causing trouble.

He wants to see the girl.

He demanded your address.

No, I sent him to Grant Street.

(steady jazz music)

(energetic jazz music)

(grunts)

(thudding)
(grunting)

(brooding music)

That's the whole story.

Here's a snapshot of her.

And the man behind all
this is Nick Biaggi.

(man whistles)
- Biaggi?

Why don't you call in the police?

Oh, don't be daft.

What've we got on him?

We don't even know if
she's working for him yet.

And the police'll be asking
Johnny some funny questions

about marrying a French
girl just to get a passport.

All right, she's our
business, hey, boys?

- Yeah, sure.
- Yeah.

You know, sooner or later,

she's gonna wind up on the streets

like all the Biaggi girls
and that's our chance.

Now, you all know what she looks like?

[Group] Yeah.

Well, the minute you spot her,

telephone Miriam, she knows what to do.

And what are you gonna do?

I'm gonna do the rest.

I've told all the other
boys so everyone's primed.

I'll take Park Lane, Oxford
Street, Shaftesbury Avenue,

Piccadilly is a rough square,
she's bound to be in it.

Now, it's up to you and
them and luck.

Don't worry, Johnny,
I'll be praying for you.

[Mike] And what about
Bond Street, Miles Street,

Koch Street, all right?

First call, Bond Street.

[Mike] Well, over 20 square metres.

Hey, missy.

[Woman] Hello, dearie.

Sorry, wrong face.

Wrong face?

(tense jazz music)

[Woman] Hm?

I'm hungry.

Give me something, anything.

If you want food,
you got to work for it.

No.

I gave you your chance.

You could've been...

I go the police.

I'll go back to France.

You are wanted by the police in France

for the cafe job, remember?

We framed you.

Get Maria.

I won't do it.

I don't care if you kill me.

I won't, I won't, I won't.

(Maria sobbing)

Have a look at her face.

No, no.

(gasps)

See what a few drops of acid can do?

Maria, too, was a girl who
wouldn't look at a man.

Now, no man will look at her.

(light curious music)

(tense jazz music)

(energetic jazz music)

(screaming)

(screaming)

(screaming)

(tense jazz music)

(screaming)

(shattering)

(grunts)

What's this?

You killed that man.

I couldn't have.

I couldn't have killed a man.

[Nick] The pictures prove you did.

No, no.

You did, my dear.

They're fake.

They're fake.

You try and convince
somebody else of that.

And now?

Put her on the streets.

What?

Nick, you're crazy.

- She'll go straight to...
- It's all right.

Her first customer will
be one of the boys.

(tense jazz music)

Try and pull yourself together.

It's the only way.

You must try.

Malou, go on.

For your own sake, try.

I can't.

Don't think about it, just do it.

Malou, they're watching you.

I don't care if they kill me.

They'll do worse than
that, you little fool.

Don't you realise?

You saw Maria, didn't you?

You saw what they did to her.

My kid sister.

The one that used to look like you.

Blue 47, are you reading?

For crying out loud, Blue 47.

Mike's found her.

Bayswater Road near Flanders' place.

Okay, Miriam.

Assistance Bayswater
Road, Johnny's on his way.

There may be trouble.

Everybody near stand by.

Do you really think
there'll be trouble?

Are you kidding?

With Mike there, he'd sooner
fight than have his breakfast.

(tense jazz music)

I think I'm ill.

That's the stuff they gave you.

It'll wear off.

Go on.

[Man] All right, sweetie.

No.

No.

(Malou screams)

(thuds)
(grunts)

Get the girl away, Johnny!

Leave this lot to me.

(grunts)

[Thug] Well, come on,
never mind about him,

they're getting the girl away.

[Thug] Well come on,
get after them, scarper.

(groaning)

Are you all right?

Yeah, I'm all right.

Oh, it's you again.

Come on, get up.

(car revving)

They're coming closer.

(crashing)
(tense music)

And then they said the French
police want me for stealing.

But they framed me.

I didn't steal anything, Johnny.

And when I refused to,

you know what, Nick beat me.

And then he gave me something,
a cigarette or something

and when I came to, they
said I killed a man.

I don't know, Johnny, I don't know.

You didn't kill anyone.

That was a frame up too.

Oh, maybe it's all lies.

I don't know but I just feel lost.

I'm gonna make you some coffee.

You know, there are 72
ways of making coffee?

That's what some guy told me.

I frankly think he was kidding me.

But Johnny, you don't understand.

They wanted me to...

Look, real cream, top of the milk.

I always save it for coffee.

Oh, Johnny, you...

Stop, you're with me, you're all right.

I don't want to cause
you any more trouble.

Well, didn't you're mother say

that marriage was forever, hm?

Drink your coffee and shut up.

But you just can't accept
me as a wife like that.

No?

Look, you've been
very kind, I understand.

But this was business arrangement.

You had no choice.

From the moment I set eyes
on you, I had no choice.

But it isn't fair to you.

Listen, Johnny, I...

Malou, I think
that's very good coffee.

And you know, I've got a spare room

that my mother uses
when she comes to town.

You have a mother?

What type of crack is that?

Doesn't everyone?

Don't look at me like that.

I can't explain these things.

You know when I went to the fights

and I've five pounds in my
pocket and my fare home,

and there was a skinny
little bantamweight of a kid

climbing into the ring,

he was the skinniest
little thing you ever saw.

And I was sitting close to
him and he looked down at me

and gave me a funny little smile.

And suddenly, I got that feeling.

I took those five pounds
out my pocket,

gave it to the bookmaker
and I pointed to the kid.

I didn't even know his name

and all the while this
kid was watching me.

Brother, when he came out of that ring,

when that bell sounded.

(bell ringing)

He was in there right,
left, left, right, right.

(mellow music)

Well it was, you know,
its either you believe

or you don't believe.

(speaking in foreign language)

That's French, that sounds pretty.

What does it mean?

The heart has reasons that
reason doesn't understand.

Well, let's not try to understand.

Oh, it's a beautiful night.

It's raining.

I feel good.

So do I.

And you look good too.

You look a little tired.

I'm gonna fix your bed.

I can do that.

Oh, you stay right here

and do me just one
little favour, will you?

What?

Drink your coffee.

(mellow music)

Oh, what's the use of my
making good coffee if.

Johnny.

Yeah?

[Malou] There's
something you should know.

What?

Nothing did happen to
me in that awful house.

Thanks to you.

Go to sleep.

(lively music)

Here's your sandwich.

You wanna put a big
steak on that eye, guv.

You want something?

No, guv...

'Cause you might find it.

We was just going.

Forget it, Mike.

If the men didn't look at me, I...

Two more coffees, please.

When a woman's out with me, I pay.

I'm not a woman, I'm a...

You're a woman and you're out
with me.

All right.

There's no need to be so tough.

(people chattering)

Why's a girl like you
on the game?

And why don't I mind
my own business?

I need money.

Who doesn't?

I need it quick.

What for?

I have a kid sister.

And you want to send her to college?

No, I want to send her to
hospital for an operation.

Sorry.

How's the head?

Singing like the birds of dawn.

Hey, it is dawn.

Yeah, good, fine.

Okay, me lad, see you in a half hour.

Well, you can stop worrying.

That was Mike, he says that
Vicki's okay and so is he.

You have a good friend in Mike.

So have you in Vicki.

Oh, I love French cooking.

But it's only eggs.

Yes, but there's that
certain something you know.

You do your own cooking?

Oh, sure, always.

See with the.

But you do not wash
your curtains, do you?

Why you're talking to the
future executive manager

of the McVey Taxicab Company,
Incorporated, Limited,

et cetera.

Oh, I'm going to be busy this morning.

[Johnny] Why you get
yourself busy right over here

and have your breakfast.

I can't believe it.

[Johnny] Hmm?

Everything, it's wonderful.

What's wonderful?

I don't know, the
way I feel, this place.

Oh, it isn't much of a place.

It's a beautiful place.

You must be a little crazy in the head.

You are right.

It has changed.

It's wonderful.

[Radio Announcer]
The time is now 7:40.

Hey, I'm gonna be late.

My husband.

Hey, listen, I'll get
fired, I'll get sacked

and me with a wife to keep.

Ah, yes a wife.

Hey, tomorrow I'm free.

We'll go out to the country

and walk under the trees by the river.

It'll be wonderful, won't it?

What am I shouting about?

(mellow music)

(tense music)

(people chattering)

Cigar, mate.

Cigar.

You won the Irish sweep?

No, I got married.

I thought you got married last...

I got married today, cigar.

You're doing it wrong.

Cigars are for when your wife
has a baby.

Oh, I'm doing it wrong.

Well, have one anyway.

[Man] Thanks.

Cigar, mate.

[Man] Thanks, Johnny.

Here we go.

Cheers.

Miriam, my love.

A cigar for you.

Hey, fellas, just in time for a cigar.

Help yourself.

Oh, that reminds me.

Excuse me, gentlemen, but
I do have to phone my wife.

(people laughing)

Like a kid, isn't he?

No, like a man.

Come on, baby, answer that phone.

Hey, it's still ringing,
isn't it?

Well, maybe she's gone
out to do some shopping.

Oh no, she had to do a lot
of work, wash the curtains.

Johnny, what?

(tense music)

Is he trying to get
home before the lodger?

(laughing)

[Mike] Johnny!

Ah, my old pal, the cab driver.

Where is she?

Come to pay me back some
of the money you owe me

or would you like some more?

She's not for you.

People don't break their word to me.

(tense music)

Any answer?

Well, it's ringing.

Love must be deaf as well as blind.

He's been gone over an hour.

Where are you off to?

I'm gonna see what's up.

He'll be as welcome
as a wet Sunday.

(knocking on door)

Johnny.

Johnny!

Take it easy, kid, it's me!

Mike, they took Malou.

I gotta go to her.

You're going to a doctor,

that's the only place
you're gonna go.

[Johnny] Got no time!

Well, it's a good job
they hit you on the head.

They couldn't have known
what it was made of.

(tense music)

Oh, Johnny.

Johnny.

What do you think?

Send her back to France.

I've spent money on that girl.

What do you think?

What about?

Listen Heath, this is important.

So's this if you still want
the Linden Street property.

I want the girl, Malou, I
mean I want to talk about her.

What do you think we should do with her?

Get rid of her.

Didn't you hear?

I've spent money on that...

Cut your losses,
you've done it before.

This is different.

It's different.

It's not only the money.

You think it's only the money?

I've wanted to make her into my,

I wanted to make something
of her, make her big.

Get her out of the gutter.

Maybe she prefers the gutter.

Did you find Vicki?

She's outside.

Get her.

You know, the ratable
value on this place

seems rather high.

I think we should lodge an appeal.

I've wanted to make her big.

Ah, you, you were out
with Malou last night.

Do you think we can
make anything of her?

I don't think so.

She's just not the type.

There are such girls, you know.

She could be trained, huh.

Well, couldn't she?

You can train any girl or break her.

She's not worth the trouble, Nick.

Okay.

Okay, if you all say she's
not worth the trouble,

she's useless.

If you all say so, we'll
have to get rid of her.

Fine, I'll get her
back to France tonight.

I said get rid of her.

No!

Take my advice unless you
want to face a murder charge.

Losing your nerve?

No, keeping my head.

Keep your advice too.

It's yours, you pay for
it one way or the other.

Get out!

All of you.

I'll have to get rid
of her, she's useless.

You're not gonna stand
by and let them do this.

Look, it's nothing to
do with me any longer.

But, just...

Look, it's the cab driver's
business.

And he doesn't know where
to find her either, does he?

Vicki, Vicki, come
quickly, it's your sister.

Hurry Vicki, it's Maria!

[Woman] What to do?

(tense music)

[Woman] What's she doing?

Don't go in there, duck,
it's too late.

(women murmuring)

[Woman] But what did she do?

[Woman] She's killed herself.

(sombre music)

(people chattering)

Mayfair Cabs.

No, miss, I'm sorry,
he's not on duty now.

Well, it's not good going
on like that, I don't know.

No, miss, I'm sorry,
we're not allowed

to give private addresses.

Oh, well, I.

Yeah, yeah, yeah.

Oh, do come in.

It's Malou,
they're gonna kill her.

Johnny, you gotta do something.

Did Nick send you?

Please, you don't understand.

All right, I'll get Mike,
he'll know what to do.

Not so fast, where is she?

She's at number 21
Blake Street where I work.

Nick's got her locked up.

I'll call the boys

and they'll get her out there
in no time.

No.

If you go in there with those boys,

that'll give Nick plenty of time

to get her out of
the back entrance.

So?

You gotta go in there alone.

There's only one guy guarding
her room

so all you have to do is.

What's the matter?

Well, how we gonna
get you into the house?

I'll be your customer.

Yeah, come on, get dressed.

Oh, my back still
aches from that beating.

Hey, what about the guy that's
on guard?

I'll fix him.

How?

You'll see.

With any luck, you should
both be out of there

by four o'clock.

Well, just in case.

Hello, Mike, yeah.

Look, I want you to
come to 21 Blake Street

at a quarter to four with
a whole bunch of boys.

At four o'clock, if I'm
not outta that house,

you come and get me.

And tell Miriam to put out
an assistance call for four.

That's right.

Let's go.

(tense music)

It's on the next floor, room 43.

Now, give me a few minutes just
to get rid of the boyfriend

and you go in there and get her quietly.

Only be careful because the place

is full of Nick's boys, all right?

Hello, looking for a girl?

I got one.

Just waiting for her.

Some other time.

Sure, you know where I live.

Don't drop in to tea, will you?

Bye.

Don't you talk to any strange men.

[Vicki] Hot, isn't it?

You're gonna tear that paper.

What do you want?

Nothing.

Drink?

Not without a chaser.

I haven't got a chaser.

I have.

In here.

You crazy?

Yeah, but not for a drink.

(tense jazz music)

Assistance, Blake Street.

Assistance, Blake Street.

Trouble, everyone there
at four o'clock.

Four o'clock.

Taxi, taxi.

[Miriam] Assistance, Blake Street.

[Man] Take me

- to Carson Street, please.
- Assistance, Blake Street.

Johnny's in trouble.

Assistance, Blake Street.

Well, damn.

[Thug] You really care for me?

I'll show you.

(tense music)

(knocking on door)

Malou, it's me, Johnny.

Go away please.

No, it's me, it's Johnny.

I don't believe you.

It's another trick.

[Johnny] Keep clear, I'm
gonna break the door in.

Go away, please.

(thudding)

Johnny.

(shattering)

I said I'd show you.

Malou's room.

Come on.

Get the others.

[Man] It's nearly time now, mate.

Hey, come on fellas,
out, quick.

Trouble!

Hey, John, Will!

Come on, brother, out, quick!

All right, boys, come on.

- Hey, what's happening?
- What are they going to do?

[Man] Get them.

Come on.

Malou!

She mustn't get away.

(clamouring)

(Malou screaming)

[Thug] Come on!

Keep going, I'll take care of 'em.

[Vicki] In here, quick.

[Thug] I'll fight you!

(thudding)

(people clamouring)

(people clamouring)

(grunting)

(thudding)

(grunting)

(grunting)

(clamouring)

(grunting)

Vicki, what are you?

I've got to hide.

In there.

Quick, quick, get her out.

(grunting)

You all right?

Yeah, let's get outta here.

[Nick] Have they gone?

They've gone.

Good work, open up.

I said open up.

Vicki.

Vicki, what the hell are you doing?

Vicki!

(banging on door)

Vicki, have you gone crazy?

Let me out, please!

Vicki!

(crowd cheering)

[Man] Hurray, Johnny boy!

[Man] We showed 'em!

Where's Vicki?

Vicki, Vicki.

Vicki, I've got 50,000 downstairs.

Half of it is yours.

I'll give you...

I don't want your money.

Give me back my sister!

What are you talking about?

Vicki!

Give me back my sister's life.

You took it.

You took it!

(sobbing)

(thudding)

[Man] Look.

[Malou] Vicki!

Don't go, Mike,
you'll get killed!

Hold onto her and don't let her go.

[Malou] No, Johnny, don't go.

Johnny!

Hey, Mike.

Mike!

(grunting)

Vicki, Vicki, open up!

There!

[Johnny] Get her out quick.

[Mike] Come on, get out!

Come up, somebody,
and get me down.

Get a move on!

[Man] Right lads,
but take it easy now,

he's a tricky customer.

Steady, steady.

What's the matter with you?

What's the matter with you all?

Come on!

Come on, (speaking in foreign language).

Well, try to hurry!

Are you all right?

I think so.

Where are you going?

I'm after Nick Biaggi.

Oh, leave him be, he's gone bat.

I've got money!

I'll pay you.

I'll pay you as much as you like.

Look, the street'll be
full of policemen now.

They'll deal with him.

Come on.

Come up, get me down!

Here!

Here is money!

Here, come on!

Why can't you hurry?

[Johnny] I can't leave
Biaggi out there to die.

Johnny, come back!

I'll pay you.

Here!

Biaggi.

No, Johnny, no!

Go back, Johnny, go back!

Come on back here, we
can get out this way.

[Rescuer] Right, up you
go and don't rush them.

Give them a chance to climb down.

(crowd murmuring)

Easy there, easy.

You can't get in there.

I'm trying to save your life, Nick.

Now, come back.

(crowd gasping)

Hold on.

I can't hold on much longer.

It's getting too hot.

I'm gonna take you with me.

(screaming)

[Agatha] Nick, Nick!

Nick, oh, Nick.

Come on, you're all right.

(tense music)

Steady.

Oh, Johnny, Johnny, Johnny.

Johnny.

[Vicki] Maria.

[Mike] No, no.

I'm only crying because...

I know.

Perhaps, it's best this way.

Come on, my cab's over there.

Oh, Johnny, when I saw you up there, I...

Don't worry, it's all over now.

I'll be seeing ya.

♪ Never nevermore, my
darling, will I grieve you ♪

♪ As long as I shall live ♪

♪ My love to you, I'll give ♪

♪ I broke your heart before ♪

♪ But never nevermore ♪

♪ Never nevermore, my
darling, will I leave you ♪

♪ Never nevermore, my
darling, will I grieve you ♪

♪ As long as I shall live ♪

♪ My love to you, I'll give ♪

♪ I broke your heart before ♪

♪ But never ♪

♪ Nevermore ♪

(mellow music)