All language subtitles for The.Colour.Room.2021.1080p.BluRay.DDP5.1.x265.10bit-GalaxyRG265_track4_[eng]

(bright music)

(bright music)

(dramatic music)

(birds chirping)

(dramatic music)
(birds chirping)

(dramatic music)
(fires roaring)

(footsteps tapping)

(water splashing)
(dramatic music)

(Miss Cliff groaning)

(dramatic music)

(footsteps thudding)

- [Woman] Morning.

- Whoever is stealing
clay, you will be caught.

And you will be sacked,

and by God, you'll never
work in potteries again.

Get that tat off your bench!

(people chattering)

- [Child] Good
evening, Miss Cliff.

(people chattering)

- Well?

It's almost ready for the lace.

Do you think Reg will like it?

- He'll love it.

But it needs summat.
- Well, it's not finished yet.

- Hmm.

There.

- (laughs) It's a wedding dress.

- Oh, Clarice!

Every blessed day.

Dot, that's looking lovely.

Clarice, a letter came for you.

- (laughs) I got the
job. I got the job!

I'm gonna be a lithographer
at Wilkinson's with you, Dot.

- I'm not a lithographer.
Neither are you.

- I know it seems
like a step down

but I'll be at a better factory.

And the things that they're
making, I mean, they're...

Oh, beautiful.

This one's called Oriflamme.

- I want you to get on, duck,

but we can't get
by on lower wages.

- But...

- Lithographers are girls
not smart enough to paint.

How is that going on?

- We can't afford it.

We're not moving.
That's an end on it.

- Olen said they're
gonna sack me.

Well the clay that they were
giving me to practice with,

they, they weren't
giving it to me.

- Oh, you never stole it?

- It were offcuts
that no-one wanted.

And I just thought I...

- Go upstairs.

Now!

How do I go about putting
food on the table?

Take in washing?

- I like working at Wilkinson's.
I have friends there.

- Hm.

- Can you please
behave yourself?

- Hmm.

(engines roaring)
(people chattering)

- Lithography down there.
That's you, innit it?

Clarice.

- [Worker] Coming through.
All right, Gladys?

- (laughs) This
place is amazing.

- It's filthy, is
what it is. Come on.

(dramatic music)

Clarice.

(people chattering)

- Oh, that's my sister. Dot!

- She the one who wears on ya?
- Mm.

(dramatic music)

- Out of bounds.

(people chattering)

- Clarice.
- Hey up, Reg.

Dot didn't say you
was at Wilkinson's.

- Um, my sister's fiancé.

Oh. (Laughs)

(people chattering)

- Clarice.

- Two minutes.
- Thank you.

- What's this?

- Nothing. Misfires
for chucking.

- For chucking?
- Go, go, go.

- Two minutes of your time...
- Shh!

- ...for hundreds of
wasted man hours.

Two minutes.

50 years of design and we
needn't spend a penny more.

- What about Oriflamme?
- That proves my point.

A new line winning
all sorts of awards.

- Look at the sales.

Why are we wasting
time and money

with your constant
mwuh, mwuh, mwuh.

We have good pieces here.

- Is that to be our legacy?

Just hawking old stock.

We should be at the forefront
of innovation at Wilkinson's.

- I have production
lines falling over.

Mould stores at bursting point.

- That's not my problem.
- Father would be turning

in his grave.
- Don't be such a nincompoop.

(Clarice laughs)

Uh, Gladys, won't you
please get out of there

and go back to work?

- [Gladys] So sorry, Mr. Guy.

I'm just showing
the new girl around.

- Now, I'm late!
- My apology.

- Not now, talk to my brother.
He's always right.

- [Man] Out of the way!
Out of the bloody way!

- For God's sake, man!
- Welcome to Wilkinson's.

(people chattering)

(people chattering)

- All right. There you go.

See if you can do
one yourself now.

Like what you were.

Now on to t'plate.

Uh, no air bubbles.

Good. Right, you're done.

- So, that's it?
- Well, yeah.

How hard d'you think
it was? Bless yer!

Hey, where were you before?

- I was a paintress
over at Hollinshead.

- What, you're doing this now?

- Fancied a change.

(people chattering)

- Clarice, lunch
ends in two minutes.

- Hmm.

- Where's she going?

- Uh, I don't know.

- God, she just does what she wants...

- Honestly, that factory
tour, she was a nightmare,

I'm not joking.

Uh, no offense. (Laughs)

(gentle upbeat music)

(people chattering)

- Do you like the size?
- Yeah, I do,

I do I like the model.

But somehow I miss the green.

- [Fred] Yes, yes, well,
we could have the green.

- It's possible we'll
put some of this

into the next firing.
- Hmm.

- Yes. I agree.
- Good, good.

- So does he. Don't you?

My wife never wears it,
I don't know why.

Anyway. Onward.

- Yes?

(gentle music)
(footsteps thudding)

(people chattering)
(dramatic music)

(wheel squeaking)

- On you go.

- Ah!

It's nothing.

- Lithography has ruined
those paintress hands.

- Mum.

(door creaking)

Oh, Dot.

- It's better than last week.

- [Clarice] You need
to see a doctor.

- And how do we
pay for that, hm?

- Hey, uh, the girls
in lithography said

someone got a formal
warning yesterday.

- Clarice.
- It might not have been me.

It were nothing.
I'm getting on, Mum.

And I'll earn more.

I'm practicing modeling

with a bit of clay
left from Hollinshead.

- How many women modelers
do you see in Wilkinson's?

- I've got hands, I can model.

- In anywhere?

- Maybe you're right.

Maybe I should try kiln
stacking at Wedgewood.

(Ann scoffs)

(people chattering)

- Go the canal way so
they don't see you.

- I owe you, Reg.

(Reg laughs)

(bright music)
(Clarice panting)

(Clarice sighs)

(door thudding)

- Oh! Clarice!

That's fancy.

Just make sure you clean
that rolling pin properly.

(door clicking)

- [Clarice] How
was the Hippodrome?

- We didn't go to the Hippodrome
'cause he was that upset.

Reg got the sack for
helping you steal clay.

And no-one's hiring.

And you'll be sacked the instant
you're through the gates tomorrow.

(footsteps tapping)

(door thudding)

(Clarice sighs)

(footsteps thudding)

- You need your strength. Eat!

Have you seen what
Clarice made last night?

You should show
'em at Wilkinson's.

That'd get you noticed.
Eat your breakfast.

- Oh, she's been noticed, Mum.

And the worst of it is,
she got Reg involved.

- [Ann] Your lunch!

- [Dot] She'll be back
home in time for lunch.

(people chattering)

- Cliff.

Come here.

Move.

(people chattering)

- [Man] The braces won't hold.
What about the capacity?

- [Man] There is
no spare capacity.

No, no, the braces will hold.

- Sir, I-
- They will hold,

that's an end to it.

- Excuse me, sirs.
- What?

- Sirs, this, uh, young lady
was caught stealing clay.

- Not only do we not tolerate
thieves at Wilkinson's, Miss-

- [Overseer] Cliff.

- But we also report
them to the police.

You'll not be working
in The Potteries again.

- I took scraps, sir.

- And who gave you
permission? Hmm?

No one?

Then you stole.

- They're floor
scraps for chucking.

- Uh, speak when spoken to.

- If you wouldn't mind-

- [Overseer] How dare you.
I've just told you not to-

- Uh-uh...

(people chattering)

You made this?

- Stole, more like.

- Quiet.

- It's rough. The clay
had grit from the floor.

Based on French silverware.
I saw it in a magazine.

(finger tapping)
(people chattering)

- Well, it's rather...

It's rather good.
- Hmm.

- But thieved, nonetheless.

- Sir, if I'd have
asked for the scraps,

would you have said yes?

- You could've
tried, young lady.

One should always ask.
- (sighs) Where do you work?

What, what does she do?
- Lithography, sir.

- Lithography is not
all I've got, sirs.

I went to night school at
Tunstall. A scholarship.

And I've been a paintress
at Hollinshead,

and a bander at Grindley
and a gilder at Lingards.

- So, nobody will have you then?

- Do you tire easily?
- No, sir.

No, I'm getting
to know the industry.

I'm trying my hand
so I can work out

how to make the ideas
that I come up with.

Vases like this one.

- Hmm.

Well, you've got some talent,
I'll say that for you.

Miss Cliff, is this the first time
you've taken clay?

- Hey up, duck.
Are you all right?

- Yeah.

- Ain't she up herself?

- You can tell
she's a paintress.

- All right, do you two
want to quit your whingin'?

Get your eyes back
on your plate.

- There's your lunch there.

What'll you do now then?

- Become a modeler, I suppose.

- Oh, dunna be messing.
- I'm not.

They loved my vase.

They saw what I can do.

No more laundry, Mum,
I'm on double the pay.

Ow!

(Ann laughs)

(engines rumbling)

- It's not right.

- Well, I never.

- Fred Ridgeway, art director.

- I know who you are.

Oriflamme.
- Right.

- Yes.

- Jolly good. Well, it's,
it's my job to train you up.

- I hope you're
trained in tea making?

- This shouldn't be here.

- [Clarice] Oh, will I
be modeling new shapes?

- No, that's not the way
it works, young lady.

- Excuse me, miss.

- It's taken me 40 years
to get where I am. Right.

Oh.

- (gasps) Is this clay mine?

- Well, of course,
but that's for later.

For now, all you need are.

- Morning, Mr. Shorter.
- Mr. Shorter.

- Good morning.

Miss Cliff.

I hope that our junior
modeler is feeling creative.

Hmm. Yes.

- Let me introduce
you to the family.

Sea captain, policeman,
vicar, collier,

jockey, landlord,
huntsman, sailor, squire.

All right?

You are now our
Wilkinson's lead designer

on our Toby jug range.

Now, look, I need 50 variations.

I was thinking themes, collections,
and these little men,

they must look similar but-
- Similar but not-

- The same?
- Very good.

Fred, what did you
want to show me?

- Aye. Here you go.

Right.

- Two sugars, nice
and strong, love.

Don't forget the biscuits.

Looks like you've
seen a ghost, Sid.

(people chattering)

- Come on. Good work, hey.

(people chattering)

Well, look lively, lads.

All right, gentleman.
Monthly meeting.

Remember to bring
in new ideas, okay?

Come on.

(people chattering)

(train rattling)

- They're beautiful.

Is that what you're making?

(Clarice sighs)

- Personal favorite.

(Dot laughs)

They won't even
let me touch clay.

Just get worse.

The theme is baddies.

- Villains.

- Sir, so, Dick Turpin,
Long John Silver, Guy Fawkes.

- That's very witty.

Oh, it's good. What else?

- Well, I thought
perhaps a female range.

- Toby jugs are male. No.

But, uh, I like her, had
an aunty like that once.

- Fred, I need you to cost
up the new Oriflamme range.

- [Fred] Right, well, add
two or three more villains

and then maybe a heroes range,

and then you can start modeling.

- Right.

- [Fred] Right, yes, of course.

- That's it.

Less waste, more speed.

(gentle music)

- Keep going. Put your
hand on to the other side.

- Right, gentlemen,
monthly meeting.

- [Man] All right,
lads, look lively.

- Come on then.
- Make sure you come up.

It's our favorite
time of the month.

Come on, lads.

(quiet dramatic music)

(dramatic music)

(dramatic music)

- [Man] Hey, keep
that fire burning!

- [Clarice] Would you just
do this one firing for me?

- It'll be a fortnight
before I have room, but I'll try.

- [Clarice] I can wait.

(people chattering)
- [Man] Come on, we need it hotter.

(footsteps tapping)
(people chattering)

- Where is everyone?
(Clarice gasps)

- Monthly meeting.
I'm never invited.

- Who's he supposed to be?

- Long John Silver.

(Clarice groans)

Flat John Silver.

(both laughing)

He looks better, actually.

- And, um, this is
for the Toby jugs?

- This is for me.

Fred says I'm not
ready for color.

Well, at least
I can try my ideas.

- You'll not go
flitting factories again

'cause you're bored?

- No.

- [Dot] Come on.

- I say that-
- Okay.

- I mean, he's
contradicted himself.

Stop producing, start producing.

- The man's under pressure.
- That's ridiculous, Fred.

All we need is a
little bit of clarity.

- [Fred] Let's get on as we are.

- [Man] There's not very much we can do.
Should concentrate on one line.

- Gentlemen.

Everyone.

I just want to add that monthly
meetings will now be weekly

so that we have time
to deal with the,

let's face it,
ever-changing climate.

All right? Thank you.

- Let's get on with it.
- All right, come on.

Sit down.

(people chattering)

- Fred?
- Yeah?

- Have you seen this?

- Well, is that for the
heroes or the villains range?

- (men laughing)
- Bloody hell.

- Frankenstein.
- Spitting image of thee, Fred.

Spot on, that. It's spot on.

- That's rather made my day.
- Mr. Shorter?

- Yes.

- Do you like Toby jugs?

- I beg your pardon, what?
Do I, do I like them?

No. God, no.

No, I, I don't like
much of what we do.

But we do need
to return a profit,

so unfortunately, fortunately,
however one thinks about it,

this ghastly stuff sells.

- Maybe we could try
other colors or gilding.

At Linguard's if something
was gilded it sold better.

- Miss Cliff, people who buy
our Toby jugs don't buy one.

- They collect sets.
The jugs coordinate, so, no.

No other colors,
no standing out, no gilding.

I certainly wouldn't
set much store

with what Linguard's are doing.

They've just gone
out of business.

Right. Onwards.

- Good night. Sweet dreams!
- Good night, Miss Cliff.

- [Man] Night, duck.

You'll be dreaming of
Toby jugs, you will.

(people chattering)

- Good night, Fred.
- Good night.

- I do hope you're not
gilding my Toby jugs.

- [Clarice] Oh, I
wouldn't do that.

- Go home, Miss Cliff.

- Just finishing off, sir.

(footsteps tapping)

- [Jack] All right,
come on. I'm locking up.

- I'll be 10 minutes.

- You'll be five.

(engines rumbling)
(people chattering)

- [Ann] Oh, praise be.

Thank you.

Evening.

- What did the doctor say?

- He's going to refer me
to a specialist at the hospital.

- What does that mean?
It's not serious?

- No. Now, mutton hot pot.

- Mutton hot pot.

- Oh, the monthly,
I mean, weekly meeting!

Get your new ideas.

Come on. Don't be
chatty, son, come on.

(people chattering)

- Good ideas. Bloody hell.

(gentle bright music)

(Clarice softly humming)

(knuckles rapping)
(Clarice gasping)

- Oh.
- It's a neat little thing.

Do me one, would ya? For me son.

And me mate Arthur
would like one as well,

for his little 'un.

- Of course.

- You're not listening!

This is an opportunity to shape
the future of Wilkinson's

and ambition should
not be thwarted!

- Ambition is a luxury
we cannot afford.

We need to focus
on the here and now.

- And we've more than enough
to be getting on with.

The trade fair-

- Is our chance, Fred.
- Oh, please.

(knuckles rapping)
Yes?

- I thought I might come along.

- I'm sorry, sirs. I tried-

- No, no, no.

Miss Cliff, we are not
civilized enough to host a lady.

Jack.
- All right, young lady.

Get yourself downstairs.
- No, no. Wait, Jack.

If Miss Cliff wants to be
part of this, then by all means.

Please, come in. Sit down.

Sit down.

I told you to concentrate
on Toby jugs, no?

- I know you're
looking for new ideas,

so I made this for my sister.

It's a Puddle Duck egg cup set.

Made in my own time. The clay
and paint was lying around.

- How old is she?
- 20.

She needed cheering up.
And I thought, well...

it's fun and maybe
we could do a range.

The folks in the
factory seem to like it.

I've taken orders actually.

- Well, I'm sorry, Clarice, but-

- It's charming,
Miss Cliff, really.

Four times the profit.

- Well, go on.

- That's what you make
per piece compared

to your standard Toby jug.

Three enamels only.

Quick to paint.
A quarter less clay.

- Do it. Go on, do it.
- Hold on.

- What? I like it.

What?

- I'm sorry, Clarice.
You can do better than that.

No, it's crude, it's cheap,

and it's not what
Wilkinson's stands for.

- I don't see as how it's
worse than Toby jugs.

- It's one thing
liking an egg cup

but taking commercial
risks at a difficult time-

- Oh, it's always
a difficult time, Guy.

- Not right now.

You've heard Hollinshead's
the latest to close.

- My God, doesn't that prove
that we should be doing something different?

Just for once,
we should be bold.

- The girl's a lithographer.
- I'm a modeler.

- I don't care if she is
a bloody barrow boy!

The point is, one can't
be giving design freedoms

to the barely trained.

- [Colley] Oh, then step
up the training, Fred.

- Well.

Right, take a look at these.

What's this?

Oh, um, a pokewiser.
I ordered it from Paris.

Well, have you done these?

- That sort of thing, sir...

(mysterious music)

Oh, they are beautiful.

- Well, once upon a time.

Look at the corners.

(Clarice laughs)

This is really a Mackintosh.
Look at that.

That will all be glass.
- Yes, of course.

- I've seen that.
It's beautiful.

- Fred, I need
Miss Cliff for five minutes.

I have a favor to ask of you.

Um, my wife, having heard
we now have such a thing

as a lady modeler,
would very much like for you to...

model a bust of her.

Now I've tried to dissuade her.

I told her how busy
you are with Toby jugs

and it's more than likely
that you'll make her into one.

Uh, but, alas to no avail,
so, well, will you do it?

- Yes, yes, sir.

- You will? Thank you.

Thank you, uh, all right,
as you were, thank you.

- More misfires for chucking?

- Just do it, please.

(people chattering)

(rain drumming)

Head up and to your right.

Happy?
- Yes.

- Very.

- Well, it's easy to model
someone beautiful.

- Oh, yes. She is
very beautiful.

Um, I won't be able to offer
you a lift, I'm afraid.

- Oh, that's all right.

Shall I lock up, sir?

- Yes, yes. All right, um...

This is the, um,

my office, modeling room,

inner main gate,
and outer main gate.

Look after my factory.

- Yes, sir.

- Uh, well, um, good
night, Miss Cliff.

- Good night.

(rain drumming)

- Oh, you're drenched.

Not on t'carpet!

- What'll folks be thinking?

Working all hours,
you and Mr. Shorter-

- And his wife.

- I doubt Mr. Shorter's
got eyes for her.

Look at the state of her.

She looks like
she's been dragged

through an hedge backwards.

- Anyway, look who has
the keys to Wilkinson's.

- Well, I know it's my wife,

but what do you think,
Fred? John?

- That is a seriously
impressive bit of work, sir.

- It is, isn't it?
- Yeah.

- Even more
remarkable considering

the sitter didn't sit
considering particularly still.

- How is that stiff back, sir?
- No, it's not her back.

She might have
encountered one of our-

- Beg your pardon, sirs.

Who has the spare keys, please?

- Miss Cliff.

- Miss Cliff, keys.

- Everyone else
has their own set.

(people chattering)

- Well, I don't
know, Miss Cliff.

Lots of bags
of clay lying around.

- That's right.
- Good point.

- I was joking. Let her
have her own set of keys.

- What if she's one
of them suffragettes?

- Oh, don't be silly.

- [Jack] Right, well,
you might as well

set light to the factory
and have done with it.

- That's enough, Jack!

It's terribly good.

Now, how long is
it going to take?

- Uh, a couple of weeks, sir, to dry out.

- A fortnight?

It's meant to be now.

Something that reminds
her of her youth.

Two weeks, a fortnight.

- Which key is the one
to the Colour Room?

(people chattering)

(Clarice giggles)

- [Colley] Onwards.

- [Sid] Had she seen a mouse?

- Back to work.

(lock clicking)
(dramatic music)

- [Clarice] Oh.

(gentle hopeful music)

(dramatic music)

(dramatic music)

(door clicking)

- Your pants, Reg.
- You know me.

- [Dot] You can't look.
It's, it's the dress.

I've been working on it.
It's bad luck, you can't look.

- Why?
- Stop.

Uh, do you want a cuppa?

- Uh, no, no, no.

- You sure?
- Yeah, go and get some rest.

- [Dot] Are you sure?

- Go and make yourself better.

- [Clarice] You're home early.

Oh. Hey.

Look closely.

Can you see any faults?

Hairline cracks, anything?

- No. Why?

(Clarice laughs)

- [Vera] Fred, Mr. Colley
says to tell you

they're making your new Oriflamme range
the center of the trade fair.

- [Fred] Well, thank you, Vera.

- We know what we're doing now.

- [Vera] He wants it all finished
and in the kilns Friday night.

- Of course he does.
- Someone's working late.

- And Clarice,
Mr. Colley wants to know

if you have any prior engagements
on Saturday afternoon.

- Why?

- He wants you to accompany
him to Trentham Hall.

Something about
the future of The Potteries.

(people chattering)

- Oh, ah!
- Will you keep still.

- Here.

Oh, smell of your
father's Woodbines.

Can't get rid of it.

- Let's see.

- Why does Mr. Shorter
want you there?

- To talk about my ideas.

- Don't you see him every day?

- Yes.

Dot, this is brilliant.

You should do this for a living.

(Dot laughs)

(car horn blaring)

Um, right, uh, right.

- Hmm.

- Okay.

Oh.

- [Child] Look, it's
a Rolls-Royce. It's so shiny.

- Whoa!
- I can see myself in that.

- What are you doing?
- Uh.

- Hop in.
- Um.

- There, there, there.

The handle, just give
it a, give it a...

I'll do it.
- How?

- I'll do it, I'll do it.
- How?

- I'll do it.
- Okay. Okay, sorry.

- [Child] Ask if
we can have a ride.

(car horn blaring)
- On we go, Herbert.

(children chattering)

- [Woman] Tommy,
get out of the road!

(engine puttering)
(birds squawking)

- So, first rule of
thumb, Miss Cliff,

is do not point
at anyone living.

Now good stance,
butt into the shoulders

to deal with the recoil,

you got two shots,
two corresponding triggers.

Now, you yell pull.
Oh, it's Pottery's tradition.

The local potbank
gives damaged ware

to the fair for the coconut shy.

It's fun.
- Yes, I thought so myself,

I thought why should
the proletariat have all the fun.

Gordon Forsythe,
and you are, young miss?

- Clarice Cliff, sir.
I'm a designer at Wilkinson's.

- Are you indeed?

I was just saying, Miss Cliff,

that we could do with more
lady designers about the place.

Well, uh, shall I go first?

- Yes.

- [Gordon] And pull!

(gun firing)

Pull!

(gun firing)
- Good shot.

- [Colley] Into the shoulder.
That's it.

- [Clarice] Pull!

(gun firing)

Pull!

(gun firing)

(all laughing)
(all clapping)

- Very good.

- Be careful, Miss Cliff.

- Well, I won't shoot ya.

- (laughs) I mean, don't misinterpret
my brother's attentions.

I can tell you he's
a devoted family man.

The fact that you are here today

- I'm here as a designer,
Mr. Shorter.

- Pull!
- I'm not here as a woman.

- A designer?
- Yes, sir.

- Miss Cliff, you've given
us one cheap child's egg cup.

- Everything all right?
- Of course.

- Good, good.
- Pull!

(gun firing)

- So, Gordon,
what's this plan of yours

to save this industry?

- Well, The Potteries
need a higher ambition.

Art and industry combined.

Modern art for the table.

- Folks don't want new.
They want what they've always had.

- But fancier and cheaper.

- Foreign imports are flooding
the bottom end of the market.

What we need are
The Potteries to be

in their rightful place,
at the pinnacle of excellence.

- But if folks are
buying the cheap stuff,

then surely that's
what they want.

- So, we descend to the level
of the foreign imports?

That's our future
as you see it, Miss Cliff?

- Well, it's just I don't see

as how folks want
posher, pricier things,

what with no-one having
any money these days.

- Well, that's because the customer
needs to be educated.

What he's buying is an investment.
It's an heirloom.

- But do folks really think
like that these days?

- Where The Potteries
lead, everyone follows,

remember that, Miss Cliff.

We set the standard.

Pull!

(gun firing)

Pull!

(gun firing)

All right. Let's have
that goddamn drink.

- Well, I think that
went rather well.

What do you think, Guy?

(rain drumming)

- I won't be invited
back, will I? (Laughs)

- Well, that was a bold move
disagreeing with Gordon Forsythe.

But then we have to shake things up,
otherwise what's the point.

What will, what will
Wilkinson's achieve?

Nothing of consequence,
nothing that matters.

Nothing.

- Mr. Shorter, I have ideas.

Well, about, about pieces
that folk might like.

Well, folk except Gordon.

- Have you had that
in your bag all day?

(Clarice laughs)

May I?

I've never seen
anything like it.

- It's the flawed biscuit ware.

- Well, you can't use that.

Wilkinson's sold by quality.

- Well, the cracks are hairline.
The pieces are sound.

Where are the flaws on that cup?

- Hmm, the light's poor.

- No, even in the best light,
it's impossible to see.

This could make
the unsaleable saleable.

And it only needs
an enamel firing, that's all.

- Thank you.

- Well, thank you for-

- Thank you, Miss Cliff.

(Dot gasps)

(door thudding)

- Dot.

You look beautiful.

- How'd it go?

- Well, I didn't shoot anyone.

(both laughing)

- With him.

- I showed him the cup.

- You did?
- Mm.

- And?

- We'll see.

Here.

(gentle pensive music)

Perfect bride.

(both sighing)

- [Man] Everyone out!

(people shouting)

- Don't just stand there! Do something!

(people shouting)

- What is it? What's happened?

- It's my fault. The bonts
on the glost kiln broke.

All the stocks and shave
fibers in the kiln went down

on Fred's new Oriflamme.

I've run out of time. (Sobbing)

(people shouting)

- I have a plan.

We're sitting on hundreds
of pounds worth of unused stock.

And all it needs
is the enamel kiln.

Once the decoration's on,
no need for a glost kiln.

- This is just bizarre.

- It will cost our reputation.

- Or make it.

Gordon Forsythe was calling
for art in industry.

- This, this thing is ours.

Is it?

- It would show that
we're innovating.

That, that we're not
afraid at Wilkinson's

to do something different
once in a while.

We have the courage
of our conviction.

- We have courage.
The kiln hands showed courage

going into the ruins
of our bottle ovens,

and rescuing what they could.

Some might say we should
not be pushing so hard

to do something different.

- I can do a full range
in time for the trade fair.

- In four weeks,
that's impossible.

- All right. All right,
which is worse, hm?

Turning up to the trade fair
half-stocked

or this, this, this, all this.

- I am not risking
our reputation.

We put it under
a different name.

- Surely you're not considering-

- What about the Newport factory?
We could use that.

And we could put
her name on the pieces,

make her look like
a renowned designer.

- You can't put it in the Newport factory.
It's condemned.

- What's the range
called, Miss Cliff?

- Bizarre. Bizarre!

- Bizarre.

- Bizarre.

Bizarre, Fred,
Bizarre. I like it.

I like it.

I like it.

(door creaking)

(both coughing)

After you.

- Oh!

I thought it fell down.

- Well, only part of it.

- Oh, look at that.

Beautiful.

- Your very own factory.

(Clarice laughs)

Go on.

- There's a big one there.

Yes.

Bring that too.

Just put it over there.

Oh.

Let me have a go.
Come here. (Groans)

Not in my factory, you don't.

- No, no.

I had a crocus design once
and it didn't sell, so.

- Yeah, well, then
I'll do it differently.

- Yeah.
- It won't sell.

- Oh, come on, Fred.

It's bold, it's exciting,
it's, it's vibrant.

(both laughing)

(Clarice groaning)

- [Clarice] It will sell.

(bright upbeat music)

- [Colley] Clarice, this,
Clarice, this is, this is,

this is, it is too
rough with one coat, no?

Far too rough.

- The brushwork is
part of the design.

Too fussy and there's just...

There's no life to it.

What does that look mean?

- Means you are right.
My apologies.

Means you're right.
- Yeah.

And that one.

- Losing my touch.
(Clarice laughs)

(train chugging)

(dog barking)
(people laughing)

- [Clarice] Reg?

- Don't you judge me.

- [Woman] You know her?

- Yeah, she got me
sacked from Wilkinson's.

- You tell Dot or I will.

- Who's Dot?
- How could you!

- Don't you go on acting
all high and mighty.

Everybody knows how low
you've gone to keep your job.

- Oh, my God, is that the woman?

I thought she'd be pretty.

(metal clattering)

- Give that back to Dot for me!

You cheap hussy!

- Yer bath's gone cold,
but you're not touching owt

till you're washed.
- Dot.

I was walkin' home and I saw Reg
with another woman.

- Leave her be. Bath.

Why'd you have to tell her?
Why couldn't it wait?

On top of the worry
of the operation.

- What operation?

- Oh, I hadn't seen
you to tell you.

- [Clarice] Tell me what?

- [Ann] End of next week,
she's having her innards taken out.

- Dot, stop.

Stop it!

Stop!

- It's 'cause he knows
there's no future.

We can't have a family.

What was she like?

I don't know how that woman
could live with herself,

taking somebody else's man.

Maybe she just doesn't
think about it, I mean,

is that how you homewreckers
live with yourselves?

- I've done nothing.

(Dot sobbing)

(birds chirping)

(footsteps tapping)

(gentle music)

(gentle music)

(knuckles rapping)

- [Dot] You comin' home?

- Later.

- Thought this place fell down.

- [Clarice] Only a part of it.

- It's you.

It's your name on it. (Laughs)

- [Colley] Clarice,
I'm absolutely done here.

- Well, buck up.
- Who's the boss of who?

- (laughs) Uh, Colley,
this is my sister Dot.

- Nice to meet you, Dot.
- You too.

I'll see you later.

- [Colley] Goodnight.

(footsteps tapping)

- I need help.

I need paintresses.

- All right. All right.

- Mr. Shorter.

(light clicking)

Colley.

- Oh.
(Clarice laughs)

(table thudding)
- Oh.

- My apologies.
- Oh.

(people chattering)

- I'll leave you to it.

- [Clarice] Yes. Betty, Gladys.

- [Colley] Ladies, thank
you so much for coming.

- [Woman] What's he doing here?

- Right.

Well, we've got work to do.

Look, see, thick strokes.

- No, thicker.
- You'll see me brush mark.

- [Clarice] I want to see
your brush marks.

- You're messin'?
- Well, you're free to go back

to painting rosebuds next door.

Betty's got it.

Look, you're still
not getting it.

Look, sweep. See?

Bold.

We will prevail, ladies.

- [Betty] Thick brush marks.

- [Clarice] We need
thicker strokes and color.

(gentle music)
(Clarice sighs)

(dramatic music)

(people chattering)

- So many colours.

(people chattering)

- [Clarice] Just touch
this one, please.

- Mm.

- I like it green.

Oh.

Do it.

(laughs)

- Are you sure?

- Nope.
(Dot laughs)

(gentle music)

(dramatic music)

(both laughing)

- Okay, it's not finished,
I still need to...

- I love it.

Thank you.

- It's too early for breakfast,
so I've made...

Oh, my good Lord.

Your beautiful hair.

Dorothy!

- She made me do it.
- No, I didn't.

- [Ann] You look like
summat from t'workhouse.

- Bye.

- Go show 'em what
you're made of.

- And put a hat on!

(bright upbeat jazzy music)

- [Colley] Now, the displays.
Are you happy?

- [Clarice] Happy.

# I'm back in London for my baby #

- Exactly what he said.

"I think it's because
I have three legs."

I've never understood
what he meant. (Laughs)

Oh, I do love that.

Ah, there she is.
Oh, oh, nearly went.

# We ankle down
to London town #

# With all the bad cats
in their gowns #

Oh, come on.

- I can't dance.
- Neither can I.

- Two left feet. Always have.
- ? I'm back in London for my baby ?

See?

# This ducky, hotsy
totsy day's all mine #

- [Clarice] Ooh.

- Oh! One.

- I told ya.

- They're very good.

Tell you what, I know a rather wonderful
little French restaurant

just off Piccadilly
or we can go to the Criterion

or we can go to Savoy,
the choice is yours.

- I have an idea.

- I like ideas.

(upbeat jazzy music)

- [Clarice] Well, I'm
far too hungry to wait.

- [Colley] I'm far
too old to catch up.

- Hurry up.
- All right, hold on.

(Man sings)
- Over here, mate

- Over here. Give...

(Street chatter)

- [Colley] That's going
to be you, later on. (Laughs)

- Hey, shall we sit?
- Yes.

- All right.

Well, you start by opening it.

- Mm-hm. All right.

I'm starving. (Laughs)

Mm.

Mm. Really good.

Mm. Really good.

- Mm. Mm.

(both laughing)

You can't cope with a
working man's food, can you?

Hey, you should have asked them

to wrap your chips
in The Telegraph.

- Don't mock me,
I've never done this before.

- You've never lived.

(Drunk man sings)

- I started too late.

# Have no brought #

- Hey, better late than never.

- Hmm.

(dramatic music)

(people chattering)
(dramatic music)

- Fred, the sugar bowl,
it's too near the table edge.

- They're coming.
- They're coming?

It's not set up right.

- No, no, no, no, no, no.

Leave it. Get ready.

- Why did you change it?
- It's all right.

- All right.

Sorry about that, I, look,
Guy, I'm afraid, insisted.

Good morning, gentleman.

- How are you? Been a long time.

- Good to see you. I heard
your mother had a fall.

Is she well?

I want to show you
something very special.

This is the design
that's called Bizarre.

It's by our lady designer, Clarice Cliff.

We are trying to blow everyone
out of the water with our colour.

- Interesting technique.

- Do come back later
and speak to me.

(people chattering)

- I wanna show you something.
- It's a new design.

- Female designer.
- Well you have

a subtle difference.
- Yes, well.

Female designer.

(people chattering)

- Well, it's not for everyone,
I understand. Thank you.

And we stand by that.

- Being modern, as you know,

we've always been
forward looking.

What do you think?
- It's interesting.

- [Man] Maybe it's not
for everyone, but we, we...

- [Man] Interesting.

(people chattering)

- Hi. What's this?

- It's Bizarre.

- Test pieces?

- It's a bright
and cheerful burst of joy

for the modern woman.

- And what you say is
bright and cheerful

could also be described
as cheap and tasteless.

- A bit of color brings a smile.

- You'll find a modern woman
has a more refined taste.

What they want are
pieces to invest in,

heirlooms to pass on
to her own children.

What she wants is the reassurance
of the best quality

and classic design.

- The modern woman
is forward-looking.

Not backward-looking.

- A modern woman,
my dear

will not want tat.

- Many's the time I had
my ideas pushed back.

Clarice, the trick is to know
when to keep going

but also to know when to stop.

(Clarice sobs)

(people chattering)

(traffic puttering)
(birds chirping)

- Clarice, I'm so sorry.

- I thought I had something
that people would want,

but I, I don't, do I?

I don't have anything
that these people want.

- I really love Bizarre, Cliff.

It's too late now, anyway.

- You better go back inside.

(gentle thoughtful music)

- I saw them and
I smiled, didn't I, Elsie?

- Yes, you did.
- And they make you smile.

- Oh, I'll bet it's pricey.

- [Cleaning Woman] Yeah.

(thoughtful music)

- Here.

Take it.

- Thank you.
- Here you go.

(dramatic music)

(door clattering)

- [Dot] Oh.

- Welcome back.

I made you a coconut cake.

How'd it go?

- They said, uh, they said
Bizarre made them smile.

- Course they did.

- Here.

- Is this it?
- Mm.

Oh. (Laughs) That's a bit
of sunshine, ain't it?

Oh, good Lord.

"Bizarre by Clarice Cliff."

(Dot laughs)

- You never gave up.

You knew what you
wanted and you did it.

- Well, so can you.

Eh, you should, uh, you
should do your dressmaking.

- [Dot] Hmm.

I'm going to bed.
- Night.

(footsteps tapping)

- She wanted to
stay up to see you.

We were that
jittery, weren't we?

- [Dot] Yeah.

- It sold nowt, Mum.
I didn't want to upset Dot.

- Oh, (tongue clicks) duck.

What next?

- Beg for my job.

I mean, we can't all
three be without work.

- Can you not go elsewhere?

- No-one's hiring. Besides...

they all saw me fail.
They're not gonna take me on.

- [Ann] Clarice, it's not
all on your shoulders.

- My name's on the pieces.

It is on my shoulders.

(typewriter clacking)

Where's Colley?

- He won't be in.

- Do you know when
he'll be back?

- Sit down.

- Mr. Shorter-
- Sit.

Please don't sack me.

My sister's-
- You're not losing your job.

You're back on a paintress wage.
Back on Toby jugs.

And my god, that's
being more than fair.

The only reason
you've still got a job

is that I promised my damn fool
brother I wouldn't sack you.

- Where is he?

- Hear this, Miss Cliff.

After I've spoken to you, go
straight to the Newport Factory

and go sack your paintresses.

And if they ask you why,
you'll say it's because of you

and your damned Bizarre
ware ruining the trade fair.

We've never had so few orders.
We are on a knife-edge!

- Uh, yeah.

Mr. Shorter, can my girls
not go back to Wilkinson's?

- No.
- They're hard workers!

- We can't afford them.

You have harmed our factory

and you have harmed our family.

We should have sacked you
when we caught you stealing.

(women sobbing)

(footsteps tapping)

(Clarice sighing)

- Knowing when to stop.

(Clarice sighs)

(door clicking)

(people chattering)

I've got to ask
for two days off.

My sister's goin'
in to hospital.

- I'll let Mr. Guy know.

- I did want to ask
Guy about stock.

That the brights have run out.

- Mr. Guy wants us to cut costs.
So they'll not restock.

You'll have to change your color ways
to the cheaper enamels.

- [Guy] Then let him go.

I bill him too much.

- Vera, was, um,

was Colley made to step
down after the trade fair?

- Well, I thought Mr.
Colley might have told ya.

- Uh, told me what?

- [Guy] Please put together a list of names.
Please, we are on our knees.

We have to let people go.

- Mr. Colley has cancer.

They decided
to delay the treatment

till after the trade fair.

Doctors urged him not to,
but you know how he is.

He wanted to do right
by the factory.

- [Guy] Firing people.
They have families, children.

Many of these people have
been with us two generations.

They knew our fathers too.
But we have to wind it down

by at least 50%.

Now, we are done.

Finished.

(Clarice sobbing)

(people chattering)
(footsteps tapping)

- It's been too long.
Go and ask.

- Sit down. I'll,
I'll get us some tea.

(people chattering)

Excuse me.

We've been waiting
so long. My sister-

- Clarice. This way.

- [Doctor] Mrs. Cliff,
please, take a seat.

- Uh-
- Where is she then?

- I'm very sorry,
Dorothy has passed away.

We believe she must have
had an undiagnosed heart problem.

- Her heart were broken. (Sobs)

(somber music)

We were there in that corridor,

while...

while she was alone.

(somber music)

- Can't believe
she's wearing green.

- "I heard a voice
from heaven saying unto me."

(Clarice sobbing)

(dark thoughtful music)

(people chattering)

- I'll collect Dot's things
from the factory tomorrow.

(people chattering)

- What'll you do now then?

You'll find a way. (Groans)

What does that
Mr. Shorter think?

- I haven't seen him
since the trade fair.

He's got cancer.

- Oh.

- And I don't know
if he's alive.

Or dead or dying and I...

He didn't even tell
me he was ill. (Sobs)

I mean not that he had to.

- Were you...

Were you and he...

- Did Dot never say?

Huh.

He was the only man
who liked Bizarre.

No-one else liked it.

(people chattering)

- We're sorry. About Dot.

- She were that lovely.

- Thank you. (Sniffling)

You're painting with drabs, too.

- There's no brights.

- My Archie, he does the books.

He said there's six
months left in the place.

They're running it down.

- Do you ever buy any
of the stuff we make here?

- It's hideous.
- God, no.

- Me nana buys it.

- I liked what you were doin'.

Over next door.
- It was so cheerful.

- Wee bit of fun.

- If I get some cake in,

would you come to the Newport
factory tomorrow lunchtime

and just talk to me about what
you buy and how you buy it?

- If there's cake, I'm there.

(all laughing)

- Oh, no. I'd never buy a green.

- I saw this display once.

There was all these
plates piled together,

they must have been
glued or summat.

It was like a tower.
I couldn't keep my eyes off it.

- Mind you, there's only so much

you can do
with plates and bowls.

- I'm sure we
could do something.

- Well, like what?
- We could make an animal,

an horse, and it could have
a big terrine as its body.

- Sugar bowl snout.
- And then little candlesticks

for legs.
- Cups for ears.

- And a little salt
shaker for his tail.

(laughing)

- That would make
me stop in a shop.

- It would when
it all fell over.

- Glue it.
Wire the plates together.

- This would be good.
- That will be good.

- [Woman] There's some good
ideas comin' out of this one.

- It looks great.

- Where else do you shop from?
- Makeup demonstrations.

A woman at the counter
ready to take your money,

make a girl look like
she's in the movies.

- Clarice.

I just went
to the fancy butchers.

Awful gossip he is. He knows
everything about everyone.

Anyway, he was telling me
about Mr. Colley Shorter

of all the people.

And he's all right, Clarice.

Apparently,
he's lost his spirit.

That's what they're
saying, anyway.

Had to buy
the best beef for that.

- You going in there
askin' about Mr. Shorter,

people are gonna talk.

- Sirloin steak tonight.

(thoughtful music)

(Clarice sighs)

(birds chirping)

(women chattering)

- [Gardener] We don't buy
door to door. Get on with ya.

- I'm from Wilkinson's.

I'm here to see Colley Shorter.

It's urgent.

(birds chirping)

(woman singing
in foreign language)

(throat clearing)

(Music stops)

- Cliff.

Oh, god.

What the hell are
you doing here?

- I wanted to see you.

- You should've, you
should have warned me.

Ah, it is good to see you.

- And you.

I hear you're on the mend.

- Bloody cancer.

I'd not bother
with it if I were you.

Look, Cliff,

I just,

I couldn't, uh, tell you.

I tried, I did.

(birds chirping)

- And will you be back?

- Oh, yes, I'm sure
they're all anxious

to have me back
at the factory. (Laughs)

- Well, I want you back.

- Bless you.

- I know
how we can sell Bizarre.

- And there I was thinking that
you came here because of me.

- I am here because of you.
- Hmm.

I know how much you
believe in being bold.

Doing something new.

- You want my help in
pushing Bizarre? Is that it?

Hmm?
- Yes.

- No.

Cliff, no, no. Bizarre is dead.

(birds chirping)

- What's wrong with you?

- What's wr-wrong with me?

What, do you mean
apart from the obvious?

- Oh, I didn't mean that.

- I know what you meant.
I know what you meant.

Well, let's see, shall we,

I've taken the family business
and thrown it all away.

I've caused a kiln to collapse.

A man will likely never
recover from his burns.

That enough? Do you
require more from me?

- We took risks. Together.

And we, we failed, yes.

But then we try again.
- At what costs?

- What cost if we do nothing?

I won't give up.

- Cliff, nobody wants Bizarre.

- But Bizarre isn't the problem,

it's the way that we sold it.

- Oh, you come to my home
and presume to tell me

you know my business
better than me?

- I know your business
differently to you.

What, what did
Gordon Forsythe say.

"Where The Potteries
leads, others follow."

How do we lead if we're
not first off the block?

Taking risks, doing
something different!

- And what price
have I paid for that?

Please just get it into your head
now is not the time.

- What do you mean?

You're wrong.

Now is the only time.

And you know what, I'm, I'm
going to Monday's board meeting,

because I still
believe in Bizarre.

- Good.
- Good!

- Good!
- Good!

- Good!

- What happened
to Colley Shorter?

Hmm? Where did he go?

(birds chirping)

(people chattering)
(engines rumbling)

- You've got a bloody nerve.

- Gladys, I have a plan
to get your job back.

- I just, I need you and Betty to-
- (door thudding)

(Clarice sighs)

(dog barking)

Look, the men are all liars
at the trade fair.

They didn't like Bizarre.

But we both know that women do.

So, how do we sell
this directly to women?

I need as many of us as we can
to come up with ideas

and convince the men.

If you come back,
the others will, too.

- Do you always
have a cup on ya?

- Yes. (Laughs)

- [Peggy] You two
will have to tell me

if I've got too
much of this makeup.

- [Woman] Yeah, you got, Peggy,
you've got to keep an eye.

- [Peggy] I'm not,
the makeup is fine.

Please, god, I'm
not a makeup lady.

Which one of you
two is next in line?

- [Woman] That'll be great.

# You've caught my eye #

# And I've got
a feeling I've fallen #

- You look beautiful.

- [Gladys] If it works for lipstick,
it'll work for tea cups.

(all laughing)

# Like to travel #

# Single, always a chance
to mingle... #

# Now I want #

- Get it up. Up, up.
- Hang on.

- Oh, oh!
- Oh, come on!

- All right.

? But I got a feeling I'm falling ?
- (whistles) Make way for Bizooka!

- Are you sure? Okay.

Well, you're doing a great job.

- [Gladys] (whistles)
Make way for Bizooka!

- [Peggy] What, you never seen
a giraffe on a walk before, lad?

- Okay, Bizarre girls.

(upbeat music)

- Okay.

Yes, that's it.

Okay.

Ready?
- No.

- Nothing we can do, Fred,
it's not good enough.

Get the hell out!

- Hey, hey, hey,
let's not forget ourselves.

- You deal with it.
- Jack.

(dramatic music)

It's all right,
sit down. Sit down.

- No, I don't think so, ladies.

Now is not the time
or the place.

- What the bloody hell is that?

- What in God's name.
- Well, someone didn't know

when to stop.

(gentle music)

- Show them.

- Mr. Colley.

- Morning, everyone.
- What is this?

- [Colley] Pretend I'm not here.
So just, uh, carry on, Guy.

- [Guy] Will somebody tell me
what the bloody hell is going on here?

- Products aimed at women
are sold directly to women.

Not to men.

I bet you don't buy
lipstick, Fred?

- Me? Well, no, not often.

- Oh, but there's
people making a lot

of money out of lipstick.

And you don't buy
these magazines, John.

- Me, me wife does.
Masses of 'em.

- Well, Bizarre-
- Not Bizarre.

- Hear me out.

Bizarre doesn't appeal to men.

- That much is clear.

- Well, neither do these things
here, but these things sell.

And so can Bizarre.

Because most of
the women we know like it.

- We love it.

- If we sell Bizarre
directly to women,

we'd be doing what other
industries have done for years

with these things here,

but we'd be leading
the way in The Potteries.

No trade fairs,
no adverts in a gazette,

no salesmen dealing
with shop men.

- Go on.

- Yes, go on, Miss Cliff.

Please, how do we reach women?

- Right, uh-huh.
- That's right, well.

- [Clarice] Yes.
Sit down, positions.

- You all look marvelous.
- Right.

Are we ready?

- Yes, yes.
- Beautiful!

All right.

(people chattering)

- Clarice, are you ready?
- Yes. Yes.

All right.
- We're ready then.

- [Colley] Ready, Bizarre girls?

- Yes!
- Ready.

- All right.
- You got that.

- Smile.
- Ready! Here we go!

- I didn't expect that.
- Oh.

- [Clarice] Okay.

- Don't worry,
they'll come. They'll come.

- We need women.
- Just you wait.

- Well, let, let's get
painting, shall we?

- Yeah.
- All right. Yeah, right.

- [Woman] And they shall follow.

They, they will come.
- Get them in.

- [Woman] There's
some women over there.

- [Woman] Well, look who... oh.

- Oh, yeah.

- [Woman] Show that lady there!

- [Woman] Oh, they're coming.
They're coming.

- [Woman] I think they do.

- [Woman] There are quite
a few of them, isn't there?

(people chattering)

- Do you think they like it?
- I think they do.

- [Woman] Would be silly not to.

(people chattering)

- [Clarice] They
really are coming in.

(gentle music)

We are getting
a photograph. All right.

(all laughing)

- [Painters] Hi.

- "The famous young
pottery artist, Miss Cliff,

is the quin, quintessential
woman about town."

Says here you live in London
and have a dog called Chichi.

- It says here I'm 20
and regularly enjoy Paris.

- I don't know
about this woman here,

but the Clarice Cliff
I know sets her own path.

(Clarice laughs)

More tea?

(throat clearing)
(camera flash popping)

(upbeat music)

- [Cameraman]
All right, we do have it.

- Thank you.

Thanks.

(people chattering)

- [Woman] Is that really the sea?

- This one.
- Right.

- [Woman] No, I don't,
I don't fancy...

- [Woman] Are you
done with that one.

- [Woman] Oh, yeah, I'll do it.

(people chattering)
(upbeat jazzy music)

- Where is she?

Hey!
- Getting changed.

- You haven't
signed the contract?

- No.

- Oh, for God's sake. Why not?

We've never had so many orders,
you're now art director,

your paintresses
had their pay rise,

what's the problem, Cliff?

Have you had other offers?
If so, from who?

- Oh.
- Give me some time, please.

- [Women] Ooh. (Squealing)

- Well, I don't have long.

Guy's taking Fred and I
to the industry dinner tonight.

- [Colley] Herbert's waiting
outside. It'll be quicker.

- Come on, we're late.

My wife bought
a crocus set last week,

I nearly choked on my tea

when I saw what I was
drinking from. (Laughs)

How'd you get that line?

- Well, I'll have to teach you.

I have to tell you, Fred,

it's taken me many years
to get to where I am.

- Fred, I need
Miss Cliff for five minutes.

- Right. I'll see you later.

(upbeat music)

- I heard
the Palace got in touch.

Queen Mary wants a set of them.

- Bizarre.

- Oh, do we have to go
to the industry dinner?

- Goodnight, ladies.
- I mean, they hate Bizarre

and they hate us.
- This way.

- [Clarice] They'll hate
us even more if we're late.

- Come on, it's important.

Don't be a stick-in-the-mud.

Now I hate to keep going
on like this, Cliff.

This contract, is
three years too long?

- Only three years?

- Well, how long can you give?

- Well, how long do you want?

- Well, I, I, I never
want you to leave.

Ever.

If I'm honest. (Sighs)

(Clarice laughs)

- Well, then.

Let's say five.

Take it from there.

(people chattering)

What? What's this?

- Come on.
- What?

- [Colley] A different
kind of industry dinner.

"Daily Mail" or "Telegraph"?

(Colley groans)

- Thank you.
- My pleasure.

- I've been thinking.

- Go on.

- I say we ditch
the tired old shapes.

We stop playing it safe.

And we experiment
with entirely new forms.

- Hmm.
- Square plates.

Uh, uh, rectangles.

Angular cups.

Triangular handles.

Candlesticks, cone on cone.
- Mm-hm.

- We could do
flat-sided teapots.

(triumphant music)

Sun burst. Sun ray.

- What about factory smoke?
- Stop it.

(Colley laughs)
- Fantastique!

(pensive music)

- [Woman] The girls had
quite a pleasant sort

of painting room,
I can remember that.

- [Woman 2] It was good,
real good. All the girls enjoyed it.

And we all were one team
and we used to have some fun.

- [Woman 3] She made me
appreciate color.

[Woman 4]
I've wondered about it since,

how she was able
to think of such ideas,

but she did, didn't she?

- [Woman 5] And I did admire
the girls that worked there

because they were so clever.

- [Woman 6] We had
to sit in the window

with white overalls
and a large collar.

A large spotted bow,
like an artist,

and we just sat
there painting away.

- [Woman 7] She brought so
much light into it and life

the pottery trade, I think.

- [Man] Her contribution to
the A J Wilkinson factory was,

I think, er, a certain flair.

- [Man 2] Her success
was off the charts.

I mean, over her career

she sold more than eight
and a half million pieces of pottery.

- [Man 3] He thought
the world of Clarice

Colley Shorter did.
They were very close.

- [Woman] Us paintresses
would never speak

of it directly, but secrets.

The two houses on the hill,

the collection really was
about Clarice and Colley.

- [Woman 2] He was
in another world.

A world different from a row
of terraced houses

where she was born
and brought up.

This was something different.

It was a fairy story, wasn't it?

- [Woman 3] We knew she'd been
seeing him then. (Laughs)

(gentle music)

(bright jazzy music)

# I'm back in
London for my baby #

# This ducky, hotsy
totsy day's all mine #

# I'm back in London
for my baby #

# And I'm pretty cheek #

# 'Cause the sun
is feeling fine #

# We ankle down
to London town #

# With all the bad cats
in their gowns #

# We're honoured
to de-ossify #

# No room for blue nose,
on this ride #

# I'm back in London
for my baby #

# This ducky, hotsy,
totsy day's all mine #

# I'm back in London
for my baby #

# And I'm pretty cheek #

# 'Cause the sun
is feeling fine #

(upbeat jazzy music)

# We ankle down
to London town #

# With all the bad cats
in their gowns #

# We're honoured
to de-ossify #

# No room for blue nose
on this ride #

(upbeat jazzy music)

(clarinet solo plays)

# I'm back in London
for my baby #

# This ducky, hotsy
totsy day's all mine #

# I'm back in London
for baby #

# And I'm pretty cheek #

# 'Cause the sun
is feeling fine #

(upbeat jazzy music)

# We ankle down
to London town #

# With all the bad cats
in their gowns #

# We're honoured
to de-ossify #

# No room for blue nose
on this ride #

(upbeat jazzy music)

(clarinet solo plays)

(bright music)

(dramatic music)