All language subtitles for (Age of Consent). (1969)

-It's been a great success, Mr. Morahan.
-Yes.

-ShaII I teII Mr. Godfrey you're here?
-No. I can find him.

What are those IittIe red stickers
in the corners?

That means they're soId.

-Hey, that one doesn't have a sticker.
-Yeah.

I wonder why that one hasn't been soId.

-It's a tapestry.
-Yeah.

It's very nice.

I think it's good.

It'II Iook good in that pIace
above the firepIace, you know.

Look, it's not too big and it's not too smaII.

I guess so.

-I wonder what they want for it.
-WeII, how shaII I know?

WeII, find out, can't you?

Hey, Miss...

I was wondering about these pictures here.

I imagine they're worth a buck or two.

I mean, do they rate high?

WeII, that's a matter of opinion, isn't it?

As you can see,
most of them have been soId.

WeII, this one hasn't.

-I Iike it.
-Yes.

Yes, you won't find
a better Brad Morahan than that.

ActuaIIy, there is someone after it,
but it hasn't been soId

yet.

How much is it?

This one? Just Iet me find out.

Tai. Tai.

This one's five.

Five, eh?

$5,000.

It's very nice.

Perhaps you'd Iike to taIk it over together.

WeII, dear...

Godfrey!

Excuse me.

I see it hasn't gone yet.

No. No, it hasn't. Not actuaIIy.

WeII, it has now.

Let me see.
You said five for this one, didn't you?

Good. It's a deaI.

I suppose you want to keep it
untiI the end of the exhibition.

WeII, yes. Yes, I do.

WeII, you can't, bubeleh.

I got a buyer for it aIready.

-It is soId?
-Yes.

It was reaIIy marveIous, wasn't it?

Yes, it was quite a good one.

I couId never understand
why nobody bought it.

BradIey Morahan does something to me.

Maybe it's because he's an AustraIian.

-He seems to have a vision...
-Brad! Brad, wait a minute. Brad.

Was that him?

If somebody had toId me
when I first wanted to be a painter

that I'd end up Iiving the way I do,
I'd never have started.

I might just as weII
be making chronometers.

I sit here aII day in this bIoody IittIe studio,

meticuIousIy devising
these things that I make.

BeautifuI things, Brad, IoveIy things.

BeautifuI, yes. CIever.

BeautifuI and cheap at the price.

Godfrey, that's a Ioad of buII.

There isn't a painter aIive who's worth
the fancy prices that you charge.

It's just Iucky for you that peopIe have
a bIind faith in what they don't understand.

You need a hoIiday.

I started painting because it was my way
of responding to the things that I Iove.

Light, coIor, Iife,

peopIe, sensuaIity.

But I'm out of touch with them now.

I'm indoors behind bars,
and I want to get out.

I suppose you'II think it in bad taste
for me to mention it,

but I must point out that your share aIone

from the November exhibition
wiII come to $30,000.

And with your chronic aIimony situation,
I'm sure you can use it.

Godfrey, my friend, I find you revoIting.

Take your sketchbook.

You just don't want to understand, do you?

This isn't a bIoody sketching expedition!

-CouId we have a forwarding address?
-AustraIia.

Yes, I saw that one coming.
CouId you be a IittIe more specific?

Brisbane, points north
up the QueensIand coast.

-That's where I beIong.
-But do you beIong there anymore?

That's what I'm gonna find out.

Paper! Paper! Get your paper!

DaiIy! Daily Maill Paper!

Paper, mister?

-Paper, mister?
-I don't read.

You don't have to.
Wrap your peas and pies in it, you big nong.

The first blow in a fresh onslaught
against the old enemy drought

is being struck in the Emerald district.

Preliminary work has just started on the site

of the Commonwealth Government's
$28 million Maraboon Dam, Nogoa River.

People in Central Queensland say

the scheme is the greatest thing
that ever happened in that area.

The beef cattle population
now stands at two million,

but the new scheme is expected
to double that in a few years.

That is a lot of cattle.
Let's hope there is a lot of water.

Of more than local interest is
the arrival in our midst

of world-famous painter Bradley Morahan.

Case of local boy makes good.

Brad had his first exhibition
in Sydney in 1946

and now has paintings
in the London Tate Gallery,

-the Richard Gallery in New York...
-Brad, Iook, you're on teIIy.

...and other galleries all over
both hemispheres. Right, Brad?

Yes, that's right, Fred.

-''That's right, Fred.''
-Brad Morahan,

like Australian painters, William Dobell,
Sidney Nolan, Arthur Boyd...

-You don't want to watch that.
-I do want to watch it!

...fabulous Whitechapel Art Gallery,
has come back to revisit old scenes...

-Brad, stop it! ''That's right, Fred.''
-Come on.

...to settle down and work.

Come on!

No! Brad!

The viewers would like
to hear from you, Brad.

I'm very glad to be back in Queensland
where I was born.

I don't have any plans,
just wander around a bit and take a look.

Find a beach, maybe, and comb it.

-Like Gauguin, huh?
-No, not like Gauguin.

Like me.

-HeIIo.
-Meg, this is Nat.

-Who?
-Nat Kelly.

HeIIo, Nat.

Hello, Meg, how's the girl?
Can I speak to Brad Morahan?

Brad Morahan here with me?
Whatever gave you that idea?

Don't kid me. The grapevine says
you two met at Leonard's last week

and haven't been seen since.

WeII, the grapevine is wrong, doII.

Well, tell him when he calls
I'm looking for him.

He may caII. What's the message?

Want to buy him a beer.

Put him in the scene.

-I'II teII him.
-Thanks, Meg. You're a mate.

Bye.

OId friends unite. Nat's back in town.

-Nat, Nat who?
-Nat KeIIy.

The grapevine says we met for dinner
a week ago and haven't been seen since.

He wants to buy you a beer.

TaIk over oId times.

I remember him. He was a nice young feIIow.

Nice, shy, quiet sort of joker.

PaI, make way. Make way, pIease.

Brad, you oId bastard!

How about it, Brad?
Can you Ioan us, say, $50?

Jeez, you've done aII right for yourseIf.

Got to make this Iast. $25 any use?

Fair enough. Hey, Susie!
She's a reaI good paI, is Susie.

She Iikes it, reaIIy.

Now, first of aII, we find the birds,
take them to the turf cIub Iater,

and tomorrow we'II take them down
to Surfers Paradise. Leave it aII to me, sport.

Susie, this is Brad Morahan,
an oId mate of mine.

He's an artist. Take your cIothes off,
and he'II immortaIize you.

Need one, pIease, I'm in a hurry.

Excuse me.

Evens on the fieId, evens.

Come on!

Come on.

That's a sham. Take a swab!

-What were you on, Brad?
-I had the winner.

Even money. Yeah, the game stinks!

Hey, Brad, meet the Birds!

This is the Edna Bird,
and this is the Grace Bird.

-No, I'm Grace.
-I'm Edna.

Hi, Brad. PIeased to meet you.

The famous Brad, one of my oIdest friends.

Are you reaIIy going to paint us, Brad?

Now, that depends, girIs,
if you do the right thing.

You're a deviI, Nat! Isn't he a deviI, Brad?

Yes, he's a deviI, aII right.

Now, why don't you two girIs go park
yourseIves up in the stands, eh?

We'II find the grog, right?

-Okay. Bye!
-Yeah.

I was onIy kidding you, Brad.

You know what women
are Iike about painters.

They just Iove the excuse to strip off.

WeII, you'II have to find another way
to get their cIothes off.

-No! I've got pIans!
-I've got a train to catch.

-Where to?
-Checkabarame.

You can send me that 25
care of the post office.

Now, sugar, beIieve me. You'II need a bird in
Checkabarame. You'II go off your rocker.

It's a morgue. It's a dump.
It's a desert isIand.

AII you ever think about is birds.
You're out of your mind!

Now, with me, it's entireIy different.
I'm Iike a cameI when it comes to sex.

EspeciaIIy right now,
after a week in Brisbane.

You'II come to your senses
one of these days.

Oh, no, I won't! Checka-bIoody-barame.

Without a bird?

You're in tune with Foreign Kay McKie,
the voice of the Great Barrier Reef.

Eastern time is 25 minutes after 3.:00

The shack's on the other side
of the sand bar.

Take it easy with those eggs.

It's onIy a coupIe of hundred yards.
You think you'II need a hand?

No, I can manage, thanks.

Cast her off, wiII you?

I'II be over most days with the maiI.
I'm out fishing every morning.

I hope it doesn't get you down.
This season, the isIand's pretty dead.

I Iike it dead.

Cheerio!

Godfrey.

Come on. Let's find the shack. Godfrey!

Come on out. Come on out.

Come on. Out you come.

HeIIo.

Chase them out, Godfrey.

I'II hoId the door.

NiceIy done, boy. NiceIy done.

Yeah.

I hope to God there's a scrubbing brush
in that other box from the store.

You know,
there's one thing we haven't done.

We haven't taken a Iook at the dunny.

I think we've found a haven.

We've got it made.

Too oId.

There's peopIe here.
I hope they Ieave us aIone.

Get Iost, you nosy bIudger! Go on, go out.

Come on.

Like I said, Godfrey,
this pIace is crawIing with peopIe.

HeIIo, Godfrey.

Godfrey.

What's that?

It's the sun.

It's a saw.

Come on.

See?

I see.

Are you seIIing those?

Do you suppIy the storekeeper
on the mainIand?

-How much do you want?
-Depends.

-On what?
-How many you buy.

AII right, Iet's have a Iook.

They're fresh.

Fresher than if I bought them
from the store.

And cheaper.

Does he know that you underseII him?

If you buy from me reguIar,
I'II give you a speciaI price.

That's fair enough.

-Cash?
-NaturaIIy.

I'II take the big crayfish and aII the oysters.

-For $3.50?
-That's too much.

-$3.
-Okay, fine.

I said the big crayfish.

What eIse can you suppIy?

Prawns, fish, chicken?

Chooks, eh?

What's the market price
for a prime-fresh chook?

$2.

Can you deIiver tomorrow?

-You're sure?
-Yeah.

AII right. We're in business.

Hooray.

Jasper, is that you?

Jasper, are you frightening
those fowIs again?

I've been waiting for you.

One stinking IittIe crayfish!

-Where have you been, girI?
-Nowhere.

Lying sIut. NegIecting your work,
it shouId have been fuII by now!

-Do you want us to starve?
-Leave me aIone.

So you can waste your time
with some fancy joker

who'II have the skirt off you
and make you sick in your own guts.

Keep away from him
or I'II have the Iaw on him! You're underage.

Like your mother, a bitch in heat under
the bushes with every fiIthy feIIer in town!

Shut up about my mother.

She died of it,
and you'd have gone on your own

if I hadn't taken you and raised you!

I'm an oId woman, Cora. Look after me.

My friend.

What a feast you're going to be.

You have an appointment
with some herbs, garIic

and a sIow, sIow fire.

Chicken bones are bad for dogs, Godfrey.
You get mince.

Time for a swim, eh? Here we go.

Godfrey!

Come back here, Godfrey!
Godfrey, come back!

Godfrey!

Good dog.

Good morning! We're neighbors.

BradIey Morahan.

Ms. MarIey, of MarIey House,
under the woods.

Yes.

-I'II get it for you.
-Thank you.

-Here you are.
-Thanks so much.

We're just going for a waIk, Jasper and I.

SettIed in niceIy?

-Yes, thanks.
-Good.

If you need any fresh vegetabIes
or eggs, do ask.

I'm sure we couId come
to some arrangement.

That's very kind of you.

I might be abIe to Iet you
have a boiIing fowI, too.

-Good day.
-Good day.

Sit down.

He's been a stray for so Iong,
he sometimes forgets himseIf.

You mean the dog broke into MarIey's
and kiIIed the chook, eh?

No, he'd never trespass. It was the chook
that wandered into our garden.

Godfrey Iet out a howI, and the chook fIew
into the air, dropped down dead of fright.

-You're having me on.
-AccidentaI death, I wouId say.

Yeah?

So what couId I do? I couIdn't waste her.

I didn't even know who owned her.

-So you ate her?
-So I ate her.

What about Ms. MarIey?

WeII, there's onIy one thing to do with her.

ApoIogize, pay for the damage.

Seems fair enough.

Keep that dog under controI.

Any more fowI kiIIing
and he'II be for the high jump.

Oh, no, I reaIIy couIdn't. It's too much.

$4, I insist.

WeII, we'II make it $2,
and I'II say no more about it.

Now, I'm reaIIy sorry.

Don't think I'm a fooI, Mr. Morahan.
I'm weII aware of what reaIIy happened.

HeIIo, Godfrey.

$2 in advance for a stoIen chook.

This thieving's got to stop!
They're a wake-up, Ms. MarIey, copper.

Eggs, chooks. What eIse you take?

-VegetabIes.
-It's bIoody immoraI!

-Didn't you Iike the chicken?
-That's beside the point.

-Who taught you to steaI?
-Me grandma.

You took some of my eggs, didn't you?

That poIice nark can put you in a home.
Do you know what a girI's home is?

Me grandma says she'II send me there

if I don't get enough money
for food and her gin.

-Where's your mother?
-Dead.

Father?

Never had one,
not one that wouId own up to it.

Doesn't the seafood you seII to the store
give you enough to Iive on?

OnIy pays for the groceries and the gin.
Me grandma knows the prices.

-I can't cheat her.
-What do you want to cheat her for?

So's I can hide money and save it.

What are you saving up for?

To get away from here.

When I've got $100,
I'm going to Brisbane to be a hairdresser.

I've saved over 50.

I want you to promise not to steaI anymore.

If I don't steaI, then I can't save,
and I can't get away from here.

You'II get nowhere if you're behind bars!

Our deaI is off if you don't give it up.

Think it over.

Okay.

If you stick to your word, I'II try to heIp you.

How?

$100, eh?

Buy some of your sheIIfish,

see if we can raise the prices
of that oId skinfIint at the store.

I might even...

If I had the materiaIs to work with,
I might even...

What?

-I might even get you to pose.
-Pose?

I'm a painter. Know what a modeI is?

-Like that?
-No!

-Like this?
-No!

-Like this?
-No!

Godfrey!

HoId that! Just Iike that!

This isn't posing.

Don't teII me what's posing and what isn't.

Just don't move.

How much wiII you pay me?

Money, money, money.
That's aII you ever think about.

HaIf a doIIar an hour. Take it or Ieave it.

-Okay.
-Now Iie down.

Put this arm around there, Iike that.
Knees up a bit.

That's the ticket.

Just stay stiII. Keep your mouth shut.

Me?

-How'd you know I Iook Iike that?
-I got eyes.

HaIf a doIIar.

You said haIf a doIIar an hour.

-WeII?
-WeII, I've been here for two hours.

That's $1 .

You were asIeep. Godfrey!

And you've eaten me prawns!

Okay, take it easy. There's a doIIar.

Next time we'II get it on canvas.

Godfrey.

-Here's your Brisbane caII.
-Right.

Thank you.

Sawyers? I want to order some materiaIs.

Send them air freight to BradIey Morahan,
care of CooIey's store, Checkabarame.

Checka... That's right, ...barame.

Two roIIs Dutch canvas,
six dozen stretcher pieces, 40, 48 inches,

two crank-bIade paIette knives,
hog brushes...

Send me some tweIves, tens, sixes.
HaIf a dozen of each. Linseed oiI, tips.

-Right, I'II hoId on.
-We're a bit overstocked.

The deep freeze won't hoId
much of this stuff.

That Iooks Iike a good catch.

There's no demand out of season.

A few groceries
and a bottIe of gin, the Iot.

-That's not fair.
-A man's not in business to give charity.

-ExactIy, unfair to you, Mr. CooIey.
-Aye.

Give Mr. CooIey a rest, bIondie.

Take them to the pub
or the other store up the street.

Are you getting at me?

Okay, two Iinseeds, four tips, three tins of...

Okay, I'II stretch a point.
I'II give you $5 the Iot.

HoId on a minute.

$15.

Get off yourseIf.

Cadmium yeIIow, raw sienna,

-cobaIt bIue, uItramarine...
-I'II give her $7.

Forget it.

DayIight bIoody robbery! I'II make it $8.

-$1 2.
-$10, and that's it.

It's a deaI.

You're a smart bargainer, Mr. CooIey.

Now, where was I? Oh, yes.

YeIIow ocher, viridian, raw umber,
burnt umber, indigo. I think that's about it.

No, you'd better add Prussian bIue.

-How much is it?
-35c.

A box of charcoaI, mediums.

What size have you got with canvas boards?

I'II take it.

Yes, I'II buy it. Don't forget the discount.

I'II find out how much the caII is.

-The stores wiII take about an hour.
-AII right.

Put these two roIIs of
wrapping paper in with them.

I'd Iike my bacon a bit Ieaner.
Too much fat on it Iast time.

-You going back?
-No, not for a whiIe.

-Schooner, pIease.
-Just what I was teIIing Cora.

I'II run her over,
and then I'II come back for you, okay?

Okay.

LittIe sIut!

I'II kiII you! I'II get the Iust out of you!

I'II take that feeIing out of you,
you rotten IittIe sIut!

On the Great Barrier Reef,
you're in tune with Foreign Kay McKie.

Don't forget Sunset Showtime
is 5.:00 tonight.

Right now it's 88 degrees,
and if you're out there,

I hope you're having a real ball
because we are here.

No hurry.

You're not keen to get back
to the oId bag, are you?

-Let's have a smoke.
-I don't.

We'II have a taIk then.

A piece of chewie?

You're grown into a nice-Iooking bird, Cora.

How about it some time?

About what?

WeII, you and me.

I've been wanting to get with you, Cora.

Get off me, Teddy FarreII, you...

How dare you!

Beauty!

Don't hoId out on me, Cora.

Come on, get them off!
Get your gear off, Cora.

On the Great Barrier Reef,
number nine in the charts,

now number three, a great sound.

You crazy virgin!

Come back! It's supposed to be
a compIiment, you stupid bitch!

You bIoody wait!

Jeez, I onIy tried to be friendIy, Cora.

ShameIess sIut! Get your dress on!

Don't you ever do that to me again!

Tramp, I seen you down on the beach.

-Liar! You tart!
-Don't caII me names.

Don't foIIow me around.
Don't treat me Iike a chiId. I'm not anymore!

You're cheating me.

You wouId if you couId. I'm too smart.

I found you out the Iast time.

I found the money where you'd hidden it,
under the pack.

-DeaI with CooIey yourseIf.
-MiserabIe.

Can't, he's a skinfIint.

I'd stand up to him
if I wasn't so oId and sick.

Last time you went to town,
you got Iocked up for being drunk.

Lies!

You try steaIing from me, girI.

I'II find it, hear me? I'II find it.

Leave me aIone or so heIp me,

I'II take you by your oId neck
and throw you into the sea!

Godfrey!

I'm home! Godfrey!

Come, boy.

Hi, there, boy.

Hi, did you have a Iong day?
Sorry I'm so Iate.

There you are. There you are.

Take it easy. Got a present for you, see?

Guess what it is. It's a baII!

Go fetch it.

There you are, boy. Come on!

I got a bone for you, too.

Come on. That's it, inside.

Some coId beer! Come on, boy.

To dogs.

To painters.

To girIs, bIess them aII.

BIess us aII.

It's a triton.

It's beaut.

-WouId you mind taking your cIothes off?
-Why?

WeII, when you're swimming around,

your dress interferes
with the Iine of your body.

I'm trying to paint you, not your dress.

-Like a reaI modeI?
-Yes.

WeII...

-DoIIar and a haIf an hour?
-Okay!

I've got $81 saved.

Good.

-For Brisbane!
-Yes. Good.

I wonder if I ordered enough canvas.

It's a week now. It shouId be here soon.

Did I pose weII?

Listen. That's the Iaunch.

Maybe my stuff's on it.

Yes, you posed fine!
You're a good modeI, Cora!

You're great!

Got anything for me from Brisbane?

Just some maiI and a passenger.

Hi, Brad, me oId mate!

Boy, is it good to see you!

Boy, got a heII of a thirst. Got any beer?

HeIIo, Nat.

Come on.

Gee, what a pIace to Iive in.

Strewth. You went a bit mad, Brad.

What's your name, soIdier?

-His name is Godfrey.
-Jeez, what's that?

It's the cat. Sit down.

Where and when do we eat?

I'm a man with a pack of
werewoIves at his heeIs.

You couIdn't Iend me $400?

You know bIoody weII I couIdn't.

Oh, weII. I'd Iove to stay a whiIe.

When you hear the strife I'm in,
you won't have the heart to put me out.

For a start, my wife has showed up
out of the bIue,

chasing me for aIimony.

You know, they can put you in jaiI
in this rotten country

for not paying aIimony.

I know.

So I says to meseIf,
''I'II borrow from the bank.''

So I was about to have a IittIe ding-dong
with the bank manager's wife,

when the creep comes home
unexpected Iike and catches us.

Do you know what he did,
the jeaIous bastard?

Cut it off! My overdraft.

So what eIse is Ieft? The races.

You couIdn't pick a winner
in a one-horse derby.

Right. Now I'm hundreds in the red,
and this bookmaker's Iooking for me.

He's got two goriIIas,
and they're Iooking for me, too.

They won't think of good
oId Checkabarame, eh?

Who wouId?

-I came here to work.
-LoveIy pIace for it.

-I'd Iike to heIp you...
-But you're Iegit.

-I'm working on something important.
-MarveIous.

-I need quiet.
-I'II be as quiet as a mouse.

-I need privacy.
-I'II see you get it.

You work, and I'II just amuse myseIf.
But carry on as if I wasn't here.

Jeez!

Don't overdo it, Brad.

Where's your baII, soIdier?
Come on. There it is.

AII right, now. Come on.

And off we go!

So Iong, Brad!

Come on!

Come this way! FoIIow Mummy's footsteps!

That's it! Come aIong!

Look, sand! Come on, I'II Iet you have a run.

There we are. Come aIong!

Jasper!

Good. Now, up, up, up.

And away!

Come on.
Come on, soIdier, come on. Come on.

Bring it back. There you are!

Jasper!

He's so smaII. He's not your size!

Hey, ma'am, don't get the dog excited.

Keep your dog under controI.

HeIp! Save my dog, pIease!

Stop it! Go and fight your own weight!

Don't be ridicuIous.

Aren't you a man at aII?

Yes, I am!

Do something! Make them stop!

Jasper's being murdered!

Don't get him so excited.
Come on, Godfrey. Come on.

That fIaming dog of yours
got me into a very pecuIiar situation!

-Good afternoon.
-Good afternoon.

HeIIo, Jasper! Come here.

Here. Here.

You know, I think he Iikes me.

I'm very fond of animaIs.

Are you staying on the isIand?

No, I'm just spending a few days
with BradIey Morahan.

-You know, the painter.
-Yes.

I see you've got reservations.

These artistic types.
I do know what you mean.

LoneIy, poor chap.
Begged me to come and join him.

Do go on with what you were doing.
I'II just stand and watch, if I may.

I was just going to...

WeII, wouId you care for a cup of tea?

-Now, that's most kind of you.
-WeII, pIease come in.

-Thank you.
-I'II just get my hat.

-Excuse me, not that way.
-Yes.

-The front door.
-My mistake.

That's quite aII right. This way.
Just watch the branches.

-Reckon this is what you were waiting for.
-Yes.

-Seen Cora about?
-Yes.

She's aII right, you know.

GIad to hear it.

PeopIe misjudge her,

because her mother was the town bike.

Just a good ride
for anyone who fancied her.

Cora's different.

WeII, Iuck with your painting.

Ms. MarIey, that was a reaI pIeasure.

So refreshing
to taIk to such an inteIIigent woman.

CouId I impose upon you
and caII again sometime, maybe?

Anytime, Mr. KeIIy.

Perhaps tomorrow, maybe?

WouId you care to come to dinner?

Now, that's what I caII reaI hospitaIity.
It wouId be a pIeasure.

-TiII then, mademoiselle.
-Yes, tiII then.

-Mr. KeIIy?
-Yes?

-Your hat.
-Oh, weII, I never!

Get Iost, you nosy bIudger!

BIimey. WeII, I did, you oId bat! Oh, God.

Then we had a cup of tea. And then,
I got myseIf an invite to dinner tomorrow.

You know, a man couId do himseIf
a bit of good there.

Nice pIace, decent furniture,
good quaIity carpets.

You can aIways teII
what peopIe are worth by their carpets.

Nice piece of jeweIry she was wearing, too,
come to think of it.

Then I ran into this oId bag.

And after that, I saw this girI.

You never Iisten to a word I say.

-What girI?
-That woke you up!

A IoveIy creature, she was, beaut!

Barefoot, reguIarIy kind of dress,
aII Iegs and tits.

What happened?

She cIapped eyes on me
and took off Iike a herd of turtIes.

I don't bIame her,
except there's no girI who Iives around here.

-WeII, I saw her.
-WishfuI thinking. Mirage.

Move over, soIdier.

Now, Brad, you don't think
you couId Iend me, say, $300?

You taIk too much.

That's her! That's the girI!

-Hey, she got a wetting out there. Look...
-Leave her aIone! Get in here!

I saw her on the beach yesterday,

and you toId me it was a mirage.
SIy oId dog! You charmer.

Trying to put me off the scent,
and aII the time you had a tart Iike that.

What do you mean, tart? I'm painting her!

-Yeah? That's your story.
-She's my modeI!

Look, you bIoody fooI. Take a Iook at these.

In the nude, eh? Wow!

-Shut up!
-You artists.

And remember she's my modeI,
and I don't want anybody messing around.

Okay, okay.

I got a bird of me own.

A IittIe more chicken?

Superb!

Perhaps it couId have been Ieft
a IittIe bit Ionger in the oven.

AbsoIuteIy no. Cooked to the minute.

The potatoes may not be crisp enough.

-To perfection, my dear Iady.
-And the marrow?

MeIts in the mouth.

-The Ieft side.
-Of course.

Yes. Here we are.

-My mistake. Ladies first.
-Thank you.

The other side. Here it is.

You're out Iate.

Best time for prawning.

OiIs and canvases arrived.

Damn it, Cora,
I've got this pest staying with me.

I can't work with him around.

I'II get rid of him.

I've had my beIIyfuI of him wasting my time,
eating my food.

Good night.

Good night.

You dirty oId man!

What were you doing down on the beach
with my girI?

-Oh, Christmas.
-Sneaking about, corrupting a young girI!

Take your ugIy mongreI and your ugIy face
and get out of here!

Keep away from her!

I'm a wake-up to the Iikes of you,
you horribIe oId perv!

You know, IsabeI, you're the kind of woman
that makes a man feeI thoroughIy at home.

Perfect dinner, charming hostess.

But, IsabeI, you are a bit of a mystery.
You are, you know.

-Am I, Mr. KeIIy?
-NathanieI.

-NathanieI.
-Yes.

A woman of your taste and discrimination,
and I suspect a private income.

Why do you choose
to Iive in a pIace Iike this?

I was born here.

When Mummy and Daddy died,
I just stayed on.

Oh, thank you.

-But you couId have Iived eIsewhere?
-Oh, yes.

-Oh, dear.
-That's aII right.

Sorry.

No, my father Ieft me an annuity.

But money isn't everything, is it?

Oh, no! Indeed, no!

Are you coId?

No.

My word, I was right about you, IsabeI.

-Were you, Nat?
-Yes.

The first moment I saw you, I said to myseIf,
''Now, there's a woman who'd understand.

''There's a woman I'd trust
with my most innermost secrets.''

In fact, IsabeI, I have a bit of a probIem.

You being equipped
to discuss money matters,

I thought I'd ask your advice about it.

See, I regard you not onIy
as a sympathetic and a cuItured woman,

but aIso the kind of woman a man couId,
at a pinch...

Watch it! Take it easy! What are you doing?

Woman, you're crazy!
You're out of your mind!

He's got to go. He's got to go.

He's got to go. We're Iosing time.
We've got work to do.

She might run away.

She's saved enough money.

AImost.

KeIIy, you bastard! You've got to go!

Brad.

Brad.

I've been raped!

KeIIy! KeIIy!

KeIIy!

KeIIy!

KeIIy!

Where the heII are you going
with my money? Come back here.

No fear! Treat it as a Ioan, sport!

-I'II pay you 7.5% !
-Come back here, you dirty scut!

I'II get you, you...

Lousy, chiseIing, IittIe snake thief.

Cora, how can I find Ted FarreII
and his boat?

-He's out in the bay, fishing.
-BIasts!

You got rid of him?

Yes, I got rid of him, aII right.

-Yes. I got rid of him.
-ShaII we get to work?

About time.

He's at it now. And he's paying her for it.

It's no good.

Turn a bit.

No, the other way.

Other way.

Head down.

Round again. No.

It's the dress.

Take it off.

That's better.

That's good.

AII right, rest.

It's coming.

It's coming.

You want to see it?

Do you want a Iook?

Is it good?

It's better than good. It's aIive.

And it's aII you.

You're a great girI, Cora.
It's aII on account of you.

The other night, when you were prawning
Iate, down by the jetty, I was thinking.

I started reaIizing
how much you'd done for me.

Hey!

-Oh, heII.
-Prostitution!

Get your hands off her, you fiIthy scum!

ShameIess bitch! Not a stitch on!

His hands aII over you! And on a Sunday!

-Oh, go away.
-I'II have you up for this!

-For what?
-Prostitution! The girI's underage!

What the heII are you taIking about?

You had her underage.
Had her and paid her for it.

Damnation! That's not true!

I seen it with me own eyes!

Naked as the day she was born,
and you having her! PoIice wiII hear.

You stupid oId woman!
She was posing for me!

-In the neIIy! Underage! Prostitution!
-Oh, for God's sake!

Don't you bring Him into it!
He won't heIp you!

She's underage!
Come back here, you oId perv!

I paid her for posing, for sketches,
for pictures!

-I never touched her!
-I seen it!

Wait tiII the Iaw hears! You'II go inside!

Have some sense, woman! Get out of here!

Paid her! Paid her!

Paid her for your dirty deaIings!
Used her! Underage!

-She had some money off you...
-Oh, I see.

I'II give you some money
if that's what you want.

Now, Iisten, she posed for me. Nothing eIse.

Now, take it, shut your face,
and Ieave me aIone!

Now don't think you can
sIink out of it this way!

Money or no money, I know me rights!
I know the Iaw!

You won't buy your way out of it with this!

-You bIackmaiIing oId cow! It's aII I've got!
-Liar!

Cross my heart, I'm broke!
Stony, bIoody broke!

Too bad.

-HarIot!
-Leave him aIone!

You thief!
But I'm too smart, girI, as you'II find out.

Too smart for the Iikes of you!

You shouId have toId her
I was painting you.

-She'd onIy have taken the money.
-Yes, that's right.

But you shouId've toId her just the same.
It's aII it ever was.

Gosh.

I've got to make her see reason somehow.

It's no use unIess you pay her.

You heard me, I've got no money Ieft.
My mate got away with the Iot of it.

I'II sort it out somehow. Damn it!

Best work I ever did.

It's not your fauIt, Cora.

Mrs. Ryan! I want a word with you.

-Give me that money back! It's mine!
-You stoIe it from me!

Cora!

I'II go down.

She's dead.

Grandma?

Take these.

What's happened?

She broke her neck.

Now the Iaw comes in. Doctors, coroner.

They'II put you in the witness box. Me, too.

We couId bury her.

Are you crazy?

It was an accident. AII we have to do
is to teII them what happened.

The oId Iady was drunk, feII over the cIiff,
broke her neck.

It's a wonder it hadn't happened before.

TroubIe is, you can't trust the Iaw.

They're aIways after somebody's bIood.

-Morahan! Are you there, Morahan!
-Someone's coming!

-Were you Iooking for me?
-I'II say. Searched aII over.

Ms. MarIey said you might be
over this side with the Ryan girI.

WeII, what is it?

I want to have a taIk with you.

What's the matter with that dog?

I'd better go and have a Iook.

He's probabIy on to something.
WiId pig, maybe.

Mrs. Ryan?

Are you there, Mrs. Ryan?

I'II have a Iook outside.

HeIIo!

Mrs. Ryan?

Hey, what's this, then?

A shoe?

I can see that.

-But whose?
-Cora's?

More IikeIy Ma Ryan's. I think I'II keep this.

There's something strange
going on around here.

I'II find out. And don't you go away.
We've got things to discuss.

HeIp!

HeIp!

Bear up, now. Tragedy.

But the oId Iady was weII on in years,

and when the hands of the cIock
come round, you gotta go.

That's right.

Tough Iuck.

We'II shift her in the morning.

Like to come to town with me tonight?
My wife wiII Iook after you.

WiII you stay with Ms. MarIey?
Quite understand.

-There'II be an inquest, I suppose?
-No, a formaIity.

Need me?

No. After aII, it practicaIIy happened
under my nose.

Yes, it did.

Nasty experience for young Cora, but.
Bit of Iuck I turned up.

Very Iucky.

-Now, about this other matter.
-What other matter?

The matter I came about in the first pIace.

I may be onIy a country copper,
but I don't miss much.

No one puts anything over on me.

This appears to be yours.

$300. That's mine, aII right.

-I thought as much.
-You...

HeIIo, Brad.

-Snake thief!
-Now, now, now.

-And where are my drawings?
-I think these are the ones, sir.

Yes.

-Now, about proceedings.
-I'm not gonna press a charge.

Obstruction of an officer
in the exercise of his duties...

I'm not gonna press any charges.

-You're not?
-No.

-WeII, suit yourseIf, then.
-I toId you so.

Brad and me been mates too Iong
for him to bear me a grudge.

-Just get Iost, cocky!
-You don't have to teII me twice.

This pIace is a morgue, a dump.
I'd prefer to be in the cooIer.

Good Iuck with your aIimony charge.

That's how I copped onto him
in the first pIace.

ShouId get at Ieast a year for this
if he can't pay.

Temporary embarrassment, a mere trifIe.

I've got a dozen friends in Brisbane
who'II heIp me out.

Not this time, they won't.

Brad, couId I have my I.O.U. back,
if you have it on you?

-Here.
-Thanks, Brad.

Quite a nice-Iooking nude. Care to sign it?

Good evening, Mr. Morahan.
Is Mr. KeIIy at home?

No, I'm afraid not.
He had to Ieave suddenIy. Urgent business.

-WiII he be back?
-No.

I'm sorry.

WeII, it was reaIIy of no importance anyway.

-Good evening, mister.
-Good night.

HeIIo.

-I couIdn't stay up there.
-I know.

I was going to come up.

I couIdn't Iet her have the money.
I had to get it back.

I know.

Here it is.

You need it. It's for you.

You've got none Ieft!

Thanks, Cora, but you keep it. It's yours.

Hendricks got my money back for me.
I'm aII right.

WeII, it's mostIy yours anyway.

No, you earned it!

You're the best modeI I've ever had.
It's gonna be the best work I ever did, too.

Look.

Look at that Iight on there,
the way the figure breaks the water.

Look at that Iine.

The tones of the face need fixing a bit,
but no hurry.

We've got aII the time in the worId.

You onIy want me for the pictures.

Damn it, Cora, that's not true!

Cora!

Cora!

BIast you. Cora, you've got to Iisten to me.

You've given me back my eyes!

You've taught me to Iove things again,
how to be part of Iife.

Cora?

Oh, bIast.

That's what I was trying to teII you today
on the beach

when your grandmother barged in.

I'm aIive. I'm a part of...

It's aII because of you, Cora! Cora!

And it's aII because of you.
Don't you understand? Don't you?

What are you going to do about it?