It Always Rains on Sunday Page #5

Synopsis: An escaped convict tries to hide out at his former lover's house, but she has since married and is reluctant to help him.
Director(s): Robert Hamer
Production: Rialto Pictures
 
IMDB:
7.4
Rotten Tomatoes:
88%
APPROVED
Year:
1947
92 min
157 Views


Tommy Swann was here

this morning wearing dark glasses

and a long black beard.

- What...?

- Nothing.

What's diction?

Well, it's the way you speak,

aitches and things.

Talking nicely, like the announcers

on the wireless. Why?

Nothing. Just wondered.

What you knitting?

- Pair of socks.

- Who for? Ted?

No, Dad.

- You and Ted had a row?

- No.

Well, yes.

Someone offered me a job

and Ted thinks

he isn't on the level.

- Who?

- Mr Hyams.

- Who?

- You know, runs that arcade.

- That's fair enough.

- What?

Oh, nothing.

Can't see in this glass.

Where's my mirror?

- Have you taken it?

- No.

Rosie borrowed it, most likely.

What are you playing at,

making that row?

Your door's locked. If you've got

my mirror, I want it back.

- Well, you can't have it back.

- It was my own mother's!

- I'm gonna have it back!

- Come out of it!

Come out of it, I tell you.

My new dress! Look at it!

You've ruined it!

- You rotten fat cow!

- What did you call me?

- Stop it, you two!

- You keep out of this, Doris!

What's going on here?

You all gone mad?

Look what she's done to my dress!

I'll teach you to call me

a rotten fat cow!

Doris, what happened?

- She tore my dress and hit me.

- I didn't ask you. I asked Doris.

She borrowed Vi's hand mirror

and Vi wanted it back, that's all.

Rose, why don't you let her

have her mirror back?

Who's stopping her?

Let her go in and get it.

- How can I? Your door's locked.

- It is not.

Sticks with the damp, that's all.

You'd better

get some clothes on.

Better make her buy me

a new dress!

I've got something to say to you.

You didn't get in till three o'clock

this morning, and you were drunk.

- I never...

- Shut up! I've given you a free run.

I thought I could trust you

to behave decent. I was wrong.

- Dad...

- No, Doris.

You can't help her with any

more lies. Well, it's got to stop.

You'll be in at ten and tell me

where you've been and who with.

You can't treat me like that.

I'm grown up.

Not so grown up I can't tan

your hide if you don't do as I say.

Now get some clothes on.

That's the blasted limit! Did you

tell him about me coming in late?

- Of course not.

- I bet you did.

- You're all against me.

- Vi, I didn't!

Oh, get out of it

and leave me alone.

And the brave little boy said,

"Don't you come in here!"

And the lion said,

"I'm going to eat you all up!"

Grr!

- Morry Hyams speaking.

- 'Morry?'

- Oh. Who's that?

- 'It's me, Vi.'

- Oh, hello. How's tricks?

- 'I've walked out.

'I've had an awful row

with Rosie and Dad.'

- Oh. That's too bad.

- 'When can I talk to you?'

Well, er...

It's not easy, you know.

You've got to help me, Morry.

I've got nowhere to go, no money.

I've got to find a room

somewhere.

Well, look, Sid,

come round to The Palace

this evening, we'll talk it over.

I'll see what I can do.

Right, goodbye.

That was Sid Feiner.

Lost his job through being sick.

Wants me to take him

into the band.

It must have been a very bad sickness

to give Mr Feiner a soprano voice.

- You Lou Hyams?

- Not just now, son.

- Business before pleasure.

- It's about Doris Sandigate.

Nice kid.

I want her to stay that way, see?

- Does you credit.

- Now, look 'ere, Lou Hyams.

She told me about that job

and I'm warning yer. Lay off.

Excuse me.

Come on, Brown!

Look, sonny, why don't you

get your facts straight

before you start bellyaching?

The first thing I told Doris?

She's got to get the old man's OK.

George Sandigate's known me

since I was in short pants.

If he says nothing doing,

nothing doing it is.

Anyway, since you're so keen to muck

up the kid's chances, it's OK by me.

I don't want to muck up

her chances.

Not if they're the right chances.

Look, I've been watching that kid.

She's got style, acts like a lady.

The kind we need

for a class joint like ours.

But for me personally?

No, thanks.

I like my paloneys free and easy

with nothing to lose

they didn't ought to lose.

Looks like I made a mistake,

Mr Hyams.

Say no more about it, son.

Six, seven, eight,

nine, out.

A very plucky loser!

Then you think I ought to stick on

at the old gasworks?

Every time.

Well, thanks very much,

Mrs Hyams.

Not at all, Doris.

Come again soon.

Afternoon.

- Why, Mr Hyams, isn't it?

- That's right.

My sister told me you needed

a hand with this gymnasium.

- I thought this might help.

- Thanks very much.

Cup of tea, please.

Lou. What are you doing here?

I didn't know you knew

Doris Sandigate.

- I didn't know YOU knew her.

- Small world.

She told me about that job.

I've warned her off.

Warned her off? What for?

You were on the make for her,

weren't you?

You'll never know now.

Mr Hyams!

Magnificently generous of you.

Boys and girls, attention, please.

Mr Hyams here has made us

a magnificent donation of 50

for our new gymnasium.

I want you to give him

three rousing cheers.

- Hip, hip!

- Hooray!

- Hip, hip!

- Hooray!

- Hip, hip!

- Hooray!

You boys. Stop desecrating

the Sabbath like that!

Afternoon. Mr Neesley in?

We'd like to see 'im on business.

Sorry, but Mr Neesley don't see

anybody on business on Sunday.

Yeah, but this is important.

This is highly confidential...

Can't you see

I'm talking to the lady?

Well, I'll try.

No need to take it out on me

in front of the old mare.

- Made me look a right mug.

- Your mother did that.

Or your father.

I'm not sure which.

Oi!

What does this mean, coming here in

broad daylight, Sunday afternoon?

You think I want this house known

as a rendezvous for jailbirds?

Just a minute, bees knees.

Not so much of the jailbird stuff.

You've been glad enough

to see us in the past.

Now you don't want to know us.

OK. We'll pass the news round

you're going out of business.

I'm sorry, boys. I lost me temper.

I can't afford to take risks,

you know.

No, but we can, can't we?

Don't matter about us.

Don't let's fall out

over a few hasty words.

What have you brought

this time?

We've got a gross of those.

They sell at 15 bob a pair.

Mm, very nice.

Very nice, indeed.

But my skating days are over.

Don't waste my time.

I can't use stuff like that.

Mr Neesley, you've got to take

the rough with the smooth.

We're doing a job at Chingford

on Tuesday.

We only want something

to tide us over.

Well, if you boys are hard-pressed,

I don't mind helping out.

- What are you thinking of asking?

- A couple of handfuls.

10?

Oh, really!

No, the most I could possibly

offer you boys would be...

5.

'Ere, if you're...

Well?

OK.

Five nicker it is.

On delivery.

We'll have 'em round

in the morning.

Stop arguing. Do you

want to prefer a charge or not?

Oi! Get out of it!

Shh.

- Oh. It's you.

- Talk quiet.

He's asleep downstairs.

How are you feeling?

Better.

Fine.

Well, you don't look too fine,

even now.

When I think of what

you used to look like.

With your smart suits and your

fancy ties and your manicures.

What have you got out of it,

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Angus MacPhail

Angus MacPhail (8 April 1903 – 22 April 1962) was an English screenwriter, active from the late 1920s, who is best remembered for his work with Alfred Hitchcock.He was born in London and educated at Westminster School and Trinity Hall, Cambridge where he studied English and edited Granta. He first worked in the film business in 1926 writing subtitles for silent films. He then began writing his own scenarios for Gaumont British Studios and later Ealing Studios under Sir Michael Balcon. During World War II he made films for the Ministry of Information. One of Alfred Hitchcock’s favourite devices for driving the plots of his stories and creating suspense was what he called the MacGuffin. Ivor Montagu, who worked with Hitchcock on several of his British films, attributes the coining of the term to MacPhail. more…

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Submitted on August 05, 2018

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