Original subtitles

MRS SALTER: We're not so much a business as a family here.

MRS SALTER: Careless hussy.

ROSE: What are you doing?

IRIS: It's just a painting!

ROSE: It's obscene.

IRIS: Rose, you are suffocating me!

SILAS: Silas Reed.

IRIS: It's a pleasure to meet you.

SILAS: I had meant to offer a tour of my collection.

Will you come, Monday, five o'clock?

BLUEBELL: My arty boy.

BLUEBELL: Since this one abandoned me.

LOUIS: I'm just in need of a queen, that's all.

SILAS: I saw a redhead today. She was very striking.

ALBIE: Miss Iris is a painter.

LOUIS: I want you to be my model.

IRIS: I know what happens to girls like that.

LOUIS: What if you just came to visit my studio?

Clarissa will chaperone. I promise.

CLARISSA: Why did you suggest so soon?

We'll have to move her before she comes.

CLARISSA: You can take that one.

CLARISSA:I found something under the bed.

LOUIS: Well, get rid of it.

MRS SALTER: That's enough.

ALL: For what we're about to receive

may the Lord make us truly thankful.

MRS SALTER [OOV]: Amen.

ROSE [OOV]: Amen. IRIS: Amen.

IRIS: Rose and I saw the model

for the Crystal Palace,

where the great exhibition will be.

MRS SALTER: Hm. Great expense, more like.

ROSE: [CHUCKLES]

MRS SALTER: The worshiping of commodities

will be the downfall of society.

Eat up. Mr Bowler is coming to see you.

IRIS: Who?

MRS SALTER: Mr Albert Bowler.

He's a porter and a churchgoer.

IRIS: Why is he coming?

MRS SALTER: To avoid fornication, let every man have his own wife

and let every woman have her own husband.

Corinthians.

IRIS: Urgh!

ROSE: [SCREAMS]

MRS SALTER: Oh-oh.

IRIS: Why me?

MRS SALTER: It has to be one of you.

It's just business. I can't afford to keep both of you.

Eat.

IRIS: I've quite lost my appetite.

SILAS: Thank you.

GIDEON: This area is for students of the profession.

SILAS: Excuse me.

LISTON: Gentlemen!

Today we are trying a Yankee dodge together,

for making men insensible.

Bring him in.

LISTON: Chloroform.

A substance that quiets all suffering.

Relieves all pain.

Quenches all fevers.

I need someone.

You, sir.

Hm.

LISTON: Time me.

What's your guess?

SILAS: Oh, no more than 30 seconds.

LISTON: So quick, huh? Must be familiar with my work.

SILAS: Nine seconds.

LISTON: Hold it back.

STUDENT: [VOMITS]

SILAS: 17 seconds.

28 seconds.

STUDENTS: [APPLAUSE]

GIDEON: Impressive in there.

Gideon Fletcher.

SILAS: Silas, um, Reed. Silas Reed.

GIDEON: I haven't seen you before in lectures.

SILAS: I've only recently started attending.

GIDEON: Mm. Well, you've a strong stomach for a man

who's only just started his training.

I'm in need of a new dissection partner.

SILAS: Huh?

GIDEON: Preferably someone who isn't going to spoil my shoes.

There are new cadavers coming in tomorrow night,

so I'll see you there?

SILAS: Tomorrow I have an appointment.

GIDEON: After 10 PM?

SILAS: No, no of course not.

At, uh, five o'clock.

At 10 I-I will, I'll be there.

GIDEON: Good.

BLUEBELL: Time's up, maestro.

LOUIS: I'm not finished.

BLUEBELL: Can't get enough of me.

BLUEBELL: Hm.

LOUIS: You're torturous. BLUEBELL: Hm.

BLUEBELL: Oh.

That happened fast.

It's like a bloody church in here.

Where'd it all go?

LOUIS: What are you doing in here?

BLUEBELL: Oh, I was just inquiring

if you needed a new lodger.

LOUIS: I thought you said you were on your way out.

BLUEBELL: How about you paint me in my natural habitat for once.

Come here [GIGGLES].

LOUIS: Get off the bed.

Get off the bed. Get off the bed.

Get out.

CLARISSA [OOV]: Wait.

Bluebell, wait!

BLUEBELL: He can be a real prick sometimes, hey?

Much appreciated.

Fucking bitch.

ROSE: Do you know it's torture

to have to look at you every day?

You should be grateful.

IRIS: Grateful for what? Albert Bowler?

ROSE [OOV]: Yes.

IRIS: I don't like him.

ROSE: It doesn't matter if you like him.

IRIS: It does if I'm gonna have to marry him.

ROSE: No, it doesn't.

ROSE: What were you doing last night?

IRIS: I've had an offer.

ROSE: An offer of what?

IRIS: A new position.

ROSE [OOV]: Liar.

IRIS: As a model.

ROSE: Iris.

IRIS:To a proper artist, Louis Frost.

ROSE: Hey, you can't.

IRIS: I'm going to do it if he agrees to teach me.

ROSE: Well, he won't.

Iris. No. Iris, he won't.

A model is no better than a prostitute.

They'll call you a whore. And I'll be the whore's sister.

IRIS: Stop, listen to me.

ROSE: No, you can't. You can't Iris. You can't.

IRIS: You should come with me.

We can find a room together.

I'll work for Louis and you can sew clothes.

We'll save up and open our shop like we always dreamed of.

ROSE: When we were children.

IRIS: Rose, I can't stay here.

ROSE: You don't have to stay here.

Marry Albert Bowler.

IRIS: No, I can't.

ROSE: That is the only real choice here.

The rest is just a fantasy.

IRIS: I'm sorry, Rose.

IRIS: No! No!

ROSE: This is for your own good.

IRIS: What have you done?

ROSE: Help me.

IRIS: Did you really think this would make me stay?

ROSE: Please?

[CRIES]

MRS SALTER: What's this?

IRIS: I've found a new position.

MRS SALTER: How very enterprising of you both.

IRIS: Rose will be staying.

MRS SALTER: Is that so?

Hm.

IRIS: Thank you, Mrs Salter,

for teaching me so much.

You've been a shining example of everything I would hate to be.

ROSE: I'm sorry about the paintings.

So, please don't leave. Iris, please don't.

MRS SALTER: You set foot outside that door

you're never coming back. Don't you dare!

LOUIS: Come on in. Come.

IRIS: Is your sister here, Mr Frost?

LOUIS: Call me Louis, for god's sake.

IRIS: You promised a chaperone.

LOUIS: Uh, Clarissa,

I believe promised.

And I promise you will leave here

entirely unsacrificed to Venus.

You've come all this way.

Let me give you the grand tour at least.

LOUIS: You can touch them...

if you like.

LOUIS: Careful.

IRIS: Is it fragile?

LOUIS: Mm. Just relatively priceless.

IRIS: It's beautiful.

LOUIS: Mm.

I thought the same thing when I first saw it

at the Royal Academy.

Oh, I borrowed it.

IRIS: I didn't know you could.

LOUIS: Well, I didn't exactly clarify the finer points

of the loan with them.

IRIS: So you stole it.

LOUIS: You'd never steal anything.

IRIS: How do you know?

What is that?

LOUIS: That's Guinevere, the iguana.

She likes you.

IRIS [OOV]: Is this it?

LOUIS: Yes.

The Imprisonment of Guigemar's Queen.

Shall I tell you the story? It's tragic, deeply romantic.

She, the queen, she's held captive by a jealous husband.

But she falls in love with a man named Guigemar.

And when they're discovered, they knot each other's clothing

in such a way that only their lover knows how to untie.

So that when they meet again,

they know one another to have stayed true.

IRIS: How, how did you-?

LOUIS: Oh, we used a different technique

to what's taught at the academy.

Vivid colours painted on top of a wet white background.

We aim to bring, uh, reality to our paintings.

IRIS: Then why do you paint knights

and princesses and maids?

If your ambition is reality,

surely you should paint something real.

There's plenty to inspire you in London.

No shortage of starving children or wronged women.

LOUIS: Well, thank you for your opinion.

Other than that little critique, your thoughts?

IRIS: I think I've-I've never seen anything like it.

What are you doing?

LOUIS: Iris. You are perfect. You were made for this.

Imagine it. Imagine it.

Your face, your figure there. It's going to be magnificent.

IRIS: I haven't-I haven't agreed to anything yet.

LOUIS: My Queen, I would kill for-I would die for this.

To do this with you.

IRIS: Please, get off the floor. LOUIS: Yes.

You need to make good on your promises, unlike today.

If I'm to leave Mrs Salter's, you said a shilling an hour.

LOUIS: You can take the first shilling now, if you like.

IRIS: And-

LOUIS: And?

IRIS: You teach me to paint.

LOUIS: Why?

Despite how wonderful this all looks,

being an artist is, uh, fucking miserable.

IRIS: I know.

LOUIS: Paint something for tomorrow.

Where are you staying tonight?

There's a place for women on Rathbone Street.

You'll make enough in two hours to pay for a week's rent.

I can take you there now.

IRIS: We haven't struck a deal yet.

LOUIS: I, um, I think we have.

IRIS: You were watching me.

LOUIS: Observing. If you're an artist,

you should know it's a vital skill.

Come on. I'll show you.

SILAS: We're closing early.

I have an important appointment.

CUSTOMER [OOV]: All right.

IRIS: I'll be fine from here.

Thank you.

LOUIS: All right. Well, I'll, um, I'll see you soon then.

KATHLEEN: Some of the women meet on an evening downstairs.

We've got a lot of interesting characters here.

IRIS: Thank you.

It's perfect.

KATHLEEN: What's your story?

IRIS: I'll take the room,

but I need to be somewhere before five o'clock.

KATHLEEN: Don't let my chatter hold you up.

SILAS: I don't think she's coming, pups.

SILAS: I'm so glad you came.

IRIS: This place-this place is-

SILAS: This is just the shop.

IRIS: Well, it's magnificent.

Did you make everything in here?

SILAS: Can I show you something special?

IRIS: Yes.

SILAS: This is the piece I mentioned when we first met.

That, that I intend to submit to the Great Exhibition.

Do you think it's morbid?

IRIS: I've never seen anything like it.

SILAS: It's not many people would appreciate the craft,

like you.

The paint work on your dolls, the exactitude of it.

IRIS: Are we a pair of unacknowledged artists?

SILAS: Are we a pair of unacknowledged artists?

I grew up outside of the city.

I spent a lot of time out of the house in the woods.

I'd-I'd collect the bones and skulls of small creatures.

Trifles. Silly things.

But they all meant something to me.

SILAS: I-I still find it difficult to part with them.

Every one.

IRIS [OOV]: Are you all right?

SILAS: This was my first piece.

I found it with a friend, uh, long time ago.

I haven't had many people in my life who tried to understand me.

IRIS: You're not alone in that.

SILAS: She had hair just like yours.

That same colour.

When I first saw you

at the model of the-the Crystal Palace,

I thought...

She disappeared, my friend,

before I left for London.

Before I escaped.

IRIS: Silas. I'm so sorry.

SILAS:You're such a kind person, Iris.

SILAS: Sorry I'm late.

GIDEON: What's your excuse?

Lover or liquor?

GIDEON: Who is she?

SILAS: Her name is Iris.

GIDEON [OOV]: Whore or heart?

GIDEON: Heart it is.

GIDEON [OOV]: Shall we?

Right.

Let's take a look at the stomach.

Here. Stretch it out.

SILAS: Surely something a little less primitive could be used

then it could be possible for the skin to be-

GIDEON: He's dead.

The skin can't be saved.

SILAS: Preserve the skin.

GIDEON: Why the hell would you want

to preserve the skin?

[LAUGHS]

You're joking?

I'm gonna keep my eye on you.

No, you're right. It is a bit crude.

Still, less fun without a good bit of bloodshed

don't you think?

Hold that.

SILAS: Uh-huh.

IRIS: What was I thinking?

LOUIS: Hm.

It's primitive,

limited grasp of anatomy.

Proportion, perspective, chiaroscuro, composition.

IRIS: Fine.

LOUIS: But it is honest.

There are worse critiques. Trust me.

Sit.

We can agree on your choice of subject at least.

And the first mistake of the amateur painter,

this shadow here,

they call this your cupid's bow.

IRIS: What's wrong with it?

LOUIS: Absolutely nothing.

IRIS: In the painting.

LOUIS: Oh, in the painting.

So many things.

IRIS: Will you teach me?

LOUIS: We've already started.

IRIS: You want me to draw the table?

LOUIS: Well, let's, uh,

let's see what you can do with this.

What?

IRIS: [SIGHS] Pencil.

You're a terrible thief.

LOUIS [OOV]: So are you.

FILIGREE: Your application mentioned another piece?

SILAS: Albie?

SILAS: For the great exhibition, it would be an entire window.

SILAS: How would you like to be my porter this afternoon?

SILAS [OOV]: Come on.

FILIGREE:I think both pieces will do well

in the zoological section.

SILAS: The best day. The best.

Come on.

Well, we need to catch a hundred.

No, more.

150 I think. Can you catch that many?

ALBIE [OOV]: That many what?

SILAS: Ah, butterflies. Come on.

I need to run an errand.

SILAS: Wait here.

SILAS: Iris.

ROSE: If you're looking for my sister, she's not here.

You were here the other night.

I saw you outside.

You're the artist she told me about.

SILAS: W-we are friends.

ROSE: Leave before I scream to Miss Salter

that the man who has made a whore of my sister

is in her shop.

SILAS: No.

ROSE: You can tell Iris that she is dead to me.

She's all yours, Mr Frost.

ALBIE [OOV]: Mr Silas?

SILAS [OOV]: Yeah.

ALBIE: You know that's not Miss Iris in there.

That's her twin.

SILAS: Of course I know that.

Take that back to the shop.

[WOMEN'S LAUGHTER AND CHATTER]

[WOMEN'S LAUGHTER AND CHATTER]

IRIS: Hello.

ROSSETTI [OOV]: Primitive is correct.

LOUIS [OOV]: Exactly.

LIZZIE [OOV]: Well, you have to admit, Gabriel,

she has a kind of personality.

ROSSETTI: Well, I've never seen a dog's self-portrait.

But I imagine that would have equally distinctive personality.

GIDEON [OOV]: Silas.

LOUIS [OOV]: It's not so bad.

ROSSETTI [OOV]: It is so bad.

LOUIS [OOV]: It's honest. The word is honest.

SILAS: I'm sorry, I was diverted.

GIDEON: We're celebrating.

It's tradition at the university to toast the first corpse

one cuts together with a new partner.

Rather him than us.

SILAS: Yeah.

GIDEON: That's the spirit.

LIZZIE: [LAUGHS]

LOUIS [OOV]: I take no responsibility.

GIDEON: Do you know them?

MADAME:Here we go, let's clean that up.

IRIS: And then I threw a doll at the wall.

Do you think I'm completely mad?

ANANYA: Why?

To turn your whole life upside down?

Cut all ties from your family and run away to a place

like this from two long miles away?

Try two months on a ship

and then we'll talk about madness.

IRIS:I hope you don't mind me saying,

but you're very beautiful.

ANANYA: [LAUGHS] Why?

I don't mind this at all.

IRIS: I'd like to draw you someday.

ANANYA: You're an artist then? Not just for dolls.

IRIS: I'm, I'm learning.

ANANYA: What you must learn is to say it.

Nothing is true until you claim it for yourself.

FEMALE [OOV]: Poor Iris.

GIDEON:This is your girl you mentioned.

FEMALE [OOV]: So judgemental.

ROSSETTI: You spill-

LOUIS: Just a smidge.

[UNCLEAR CHATTER AROUND TABLE]

MALE [OOV]: I think you're being very cruel to poor Iris.

LOUIS [OOV]: No, I think I'm being incredibly fair.

GIDEON: I wouldn't stand for it myself.

If I plant the crops, I don't expect some other chap

to come along and harvest the goods.

Or should I say sow the seeds.

BLUEBELL: Oh, a real gentleman.

MALE [OOV]: Are you actually intending

on giving Iris lessons?

LOUIS [OOV]: Why not? She paints.

[LAUGHTER AND CHATTER]

KATHLEEN: Are we what you expected, Iris?

BLUEBELL: All right, sailor?

GIDEON: We're surgeons, not sailors.

BLUEBELL: It's just an expression.

Surgeons, is it?

I like your waistcoat.

GIDEON: Why don't you come and take a closer look?

BLUEBELL [OOV]: I'm Bluebell.

MILLAIS [OOV]: Okay. Okay.

I think we should toast to Guigemar's Queen.

LOUIS: Oh.

HUNT: Just try not to fuck it up this time.

ROSSETTI: To Iris Whittle.

ALL: Yeah, to Iris.

GIDEON: The nerve.

Right in front of you.

And to just ignore the fact he's sitting right there.

BLUEBELL: No, they ain't ignoring him.

They just don't know he's here, do they?

Silent, starey Silas.

GIDEON: Well, I think he should confront the matter.

Hm? What do you say?

BLUEBELL[OOV]: Oh, I'd love to see that.

GIDEON [OOV]: Yeah? BLUEBELL: Go on, Silas.

GIDEON: We think you should confront the matter.

And if you say this girl is yours first,

then it's a matter of integrity. Of honour.

LOUIS [OOV]: Mr Reed!

HUNT [OOV]: Easy, tiger.

ROSSETTI [OOV]: Evening, Silas.

SILAS: I want a word with you, Louis Frost.

LOUIS: Here he comes.

SILAS: Don't laugh at me.

Don't touch me. I want a word with you.

LOUIS: Hunt, calm down.

I think it's time Mr Reed went home, don't you?

SILAS [OOV]: You think you can walk over me, don't you?

LOUIS: I think you're drunk, cadaver. Fuck off.

MADAME: I'll not have a brawl in here tonight! Gentleman!

HUNT: Don't you fucking touch them.

SILAS: A gentleman does not treat women the way you do.

LOUIS [OOV]: And how the hell would you know? Hm?

SILAS: We've all heard the whispers about you, Louis Frost.

LOUIS: Whispers?

I'll give you whispers. You fucking-

SILAS: Where did your last model go?

Hm? And the one before that?

LOUIS [OOV]: Oh, fuck off.

SILAS: No. Where?

LOUIS: Fuck off.

SILAS: Wherever did Sylvia end up?

HUNT: Your mouth, Silas.

LOUIS: Hunt, it's fine. Hunt, it's fine.

SILAS: Answer me now.

LOUIS: Oh, my God, Bluebell,

I am so-you fucking pig.

MADAME: That's enough!

Get out!

GIDEON [OOV]: I think you'll find, madam, this is ac-

MADAME: I think you'll find that this is my house

and I decide who's in and who's out.

BLUEBELL: That's what you get for not

taking your punches like a man.

GIDEON: You've got some nerve.

Talking to a gentleman like that!

MALE [OOV]: Oh, fuck off.

GIDEON: Come on.

MADAME: Get out.

LOUIS: I didn't do anything.

He started the altercation.

BLUEBELL: She knows, lovey. She knows.

You were aiming for me, weren't you?

LOUIS: No, I wasn't aiming for-

BLUEBELL: What do you reckon?

Gonna come up a nice blue? Grab your paintbrush.

ROSSETTI: Bluebell, give him a moment!

LOUIS: Fuck's sake.

HUNT: Uh, Louis, just have a drink to settle your nerves

before you... LOUIS: Please.

MADAME: You all right?

BLUEBELL: I'm fine, I'm fine.

Yeah, I'm fine. I've had worse.

They're all just pricks.

Fucking pricks, every last one of them.

BLUEBELL: [GASPS AND COUGHS]