The Killing of Sister George Page #10

Synopsis: George lives with her lover, Childie and plays a cheerful district nurse in a BBC soap opera. However, her character is to be killed off, and George realises that the only other job she can get is the voice of a cow in a children's tv programme. Her life begins to fall apart as Childie has an affair with a predatory tv producer.
Genre: Drama
Director(s): Robert Aldrich
Production: Anchor Bay Entertainment
 
IMDB:
7.1
Rotten Tomatoes:
77%
X
Year:
1968
138 min
807 Views


Sounds most exciting.

Excuse me a moment.

- Really, I think we might slip away now.

- Yes, I think now is the time.

- Good night.

- Good night, sir.

I say, you've forgotten your briefcase.

- Thanks.

- That's the best commercial I've ever seen.

You will have your little joke,

won't you, Miss Buckridge?

I'm not sure

you pick your moments very wisely, though.

Never mind.

I want you to come and meet Mrs. Coote.

Mrs. Coote.

You do know Mrs. Coote, don't you?

- She's in charge of Toddler Time.

- How do you do?

Splendid. Absolutely splendid.

What we are telling you now

is strictly confidential...

with everything still in the planning stage.

But I did want you to see

there is a ray of sunshine on the horizon.

Margaret.

As you probably know,

Toddler Time has been...

what shall we say, a wee bit disappointing.

Audience research figures

have shown a slight but perceptible slide.

I don't mind telling you,

we've been terribly worried about it.

To cut a long story short...

a completely new approach

to Toddler Time has been decided on.

We're preparing

an absolutely super new adventure series...

in which we've all got loads of confidence.

Something really contemporary

and "with it. "

Don't tell me, Snow White's having it off

with the Seven Dwarfs?

Please, Miss Buckridge,

do try to be serious for a moment.

Both Mrs. Coote and I are anxious

that you should have first crack of the whip.

When they get down to casting the title role.

Sorry. What's it called?

The World of Clarabelle Cow.

Am I to understand...

that this character is a cow?

A very human one, I assure you.

Full of little foibles and prejudices.

A flawed, credible cow.

Credible in human terms, certainly.

Otherwise the children wouldn't

believe in her.

Our children are very discerning.

You mean you want me

to play the part of a cow?

You do understand

that this is an animated series?

I mean, animated marionettes.

You wouldn't be expected to portray...

I mean, it's just your voice.

Mrs. Coote, I have no intention

of playing the part of a cow...

in any manner, shape or form!

Is that absolutely crystal bloody clear?

Yes, of course.

Good.

I didn't mean to upset her.

She's overwrought, Margaret.

We'll talk about this some other time.

Yes, I think that would be best.

I want to talk to you.

George, don't make a scene.

Not now, not here.

- You're drunk.

- Drunk?

Appearing to be drunk happens to be one

of the easier ways of getting through...

some of life's most embarrassing situations.

You should know that.

I am afraid Miss Buckridge

is going to do something quite dreadful.

You've simply got to help me get

that poor girl away from her.

I shouldn't worry too much.

I gather she's really quite fond

of that poor girl.

Everybody has to lie occasionally.

There you are, Miss Buckridge.

I was afraid we'd lost you.

Listen, you mealy-mouthed old boot.

Are you totally incapable of saying

what you mean?

- Really.

- George, stop it. You are drunk.

"I was afraid we'd lost you. "

You were afraid

I was doing something obscene...

to our lady poetess here, weren't you?

For Pete's sake, George!

Would you like to examine her?

She's all there.

Not exactly untouched,

as we might say, by human hands...

but quite serviceable.

Miss Buckridge, restrain yourself.

I have no intention of restraining myself.

And when we've had a couple of gins...

there're one or two things I'd like to discuss

with Miss McNaught...

in detail.

- And you'd better be there, too!

- Miss Buckridge, please.

Why don't you piss off?

Come along, my dear.

I really cannot allow you

to put up with this sort of thing anymore.

- You all right, George?

- Of course I'm all right.

I think you find your bird has flown.

Leo.

I never suspected you of taking such

a sympathetic interest in my little problems.

I don't know. Think nothing of it.

No, you're a really true friend, Leo.

One of those rare human beings...

who can always smile

in the face of adversity.

Just don't sit there,

get me a tissue, you stupid nit!

Do you think we should

do something about George?

Yes, we might get her another large gin

before she runs out of steam.

You know, funerals are barbaric.

- Your soda.

- Thank you.

Wouldn't it be absolutely super?

Wouldn't what be super, dear?

If I could really work for you in some way.

Writing or something, I mean.

We shall see. There's no great rush.

I told you I'd keep the other job open

for a few weeks.

But just for now, I simply cannot allow you

to spend another night here.

We shall have to go to my little pied-a-terre.

Tomorrow we can decide what's to be done.

Yes, of course.

Run along, my dear.

Fetch whatever you need for the night

and we'll be off.

Won't be a second.

Horse brasses.

"The English Village Preservation Society. "

Preserved in alcohol, I imagine.

How vulgar.

How are you getting on?

I can't decide what to take.

I would just take what you really need

for now.

My dolls. I nearly forgot my dolls.

But surely you don't need to take them all?

Not for one night.

I always take them with me everywhere.

Emmeline, anyway. And Jane.

Then I get scared

the others will get lost or stolen.

Sometimes George hides them.

It's her idea of a joke.

It's a very cruel joke.

Shall I get Emmeline for you?

Would you? She's on the couch.

I wouldn't go without you, Jane.

You know that.

Don't cry, then.

You and Emmy and me are going away

for a little journey.

Don't cry.

I wouldn't go without you.

What a shame.

Are you really so lonely?

We shall have to look after you better,

won't we?

Dress you up.

Keep your hair nice...

and soft.

Why don't you lie down for a little bit?

Just have a rest. Just for a little bit.

Go to sleep.

I wonder where we're going to.

I don't know.

It will be a beautiful white house...

with sunshine.

Sunny rooms.

We'll have new dresses to wear.

You'll have rings on your fingers.

Bells on your toes.

Why don't you just go to sleep?

Dream a little.

Because Mommy is going to pack.

Emmeline!

You're going with Jane.

You're going on a very long journey.

And you're going to be very tired.

I think you should go to sleep.

Now, be a big girl and close your eyes.

Why don't you rest?

Go to sleep.

Close your eyes.

What a perfect little gem

for the Sunday press.

Did it have to be here?

I'm sorry about the circumstances...

but I don't think

it makes any real difference.

No, of course you don't, because you

planned it like this in the beginning!

In point of fact, I merely intended

to let the poor girl spend the night...

in some place where she would be free

from your drunken spite.

You think you're so bloody powerful,

don't you?

What will your precious employers say

when they find you had me sacked...

so that you could creep into bed with my...

With someone I...

With someone you what?

You stupid woman.

I didn't have you sacked.

If you'd taken the trouble to read

the confidential material...

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Lukas Heller

Lukas Heller (21 July 1930 – 2 November 1988) was a German-born screenwriter. more…

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Submitted on August 05, 2018

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