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Neighbours Episode 0440 from 1987 - NeighboursEpisodes.com
<<0439 - 0441>>
Episode title: 0440
Australian airdate: 06/03/87
UK airdate: 14/07/88
UK Gold: 08/07/94
Writer: Marie Trevor
Director: Steve Mann
Guests:
Music:
Summary/Images by: Graham
Recap
Jim moving a box in the Robinsons' garage containing some of Helen's paintings. Henry picking up one of the paintings – worth $800 – that Helen wants to keep, thinking it's one she wants to sell, and telling Jane that he reckons he could get $50 for it.
Garage of No. 26
Jane remarks that it's funny: she always knew Mrs. Daniels painted, but she didn't realise it was this good. Henry stares at the painting of the church and says:
HENRY: Me either – and this is just one of the rejects. I mean, she's having an exhibition and it didn't make the grade.
Jane says she thinks she painting's great: the composition and the brushwork, and the colours are so subtle. Henry, looking surprised, asks Jane if she's a painter too! Jane explains that she did Art Appreciation at school last year, and so Henry asks her if she could teach him some of the lingo to help with his sales pitch. Jane, staring at the painting of the church, says:
JANE: I think *this* one will sell *itself*. I'd *love* to have it.
HENRY (grins): Sold! I didn't know being an art dealer would be so easy!
Jane, however, smiles that she said she *loved* it, she didn't say she'd *take* it. She then asks, though, what the lowest price would be that he'd let the painting go for. Henry tells her that he knows she wants it, but he has to be fair to Mrs. Daniels... but she'd want it to go to a good home, so he'll knock $10 off and Jane can have it for $40. Jane thanks him but says she really can't afford it. She goes to walk off – but Henry calls after her that there's got to be a way around this: maybe her grandmother would buy it for her? Jane, however, explains that Mrs. Mangel has got financial problems at the moment – although she *did* have an unexpected windfall today... Henry smiles:
HENRY: Then what are we waiting for? Let's go!
JANE: Oh, it's no use – you'll never be able to persuade her.
HENRY (grins): Wanna bet?! I could sell ‘fridges to Eskimos!
No. 32
A short time later, Henry and Jane are standing with Mrs. Mangel in the lounge room at No. 32, Henry saying to Mrs. Mangel:
HENRY: I was hoping good taste might run in the family – I mean, it's obvious you have an eye for beauty. Still, takes one to know one, as they say. [He indicates the painting] This is an original oil. Do you know how much they're paying for original oil these days?
Mrs. Mangel asks how much, and Henry tells her that it's hundreds of dollars... thousands, sometimes. Mrs. Mangel asks him why he only wants $50 for *this* one. Henry tells her that Helen is having an exhibition in a few weeks and he's giving Mrs. Mangel a classic early- Daniels for practically nothing; she'll be even more famous in a few weeks and people will pay heaps for her work. Mrs. Mangel asks sharply:
MRS. MANGEL: Then why isn't *this* one in the exhibition?
Henry, looking momentarily wrong- footed, blusters:
HENRY: Er... it's just an old one, I think. She probably got tired of it.
MRS. MANGEL (pointedly): Oh, I see. Probably one of the discards from her garage, is it?
Jane suggests quickly that Helen probably doesn't want to exhibit it because it's from her early period and artists feel that as they grow and become more confident, they develop a style; the experts say usually their early work turns out to be the best. Mrs. Mangel looks at her granddaughter and admonishes:
MRS. MANGEL: Do be quiet, Jane – you sound like a textbook.
She then asks Henry how she knows that Helen gave him permission to sell the painting; for all *she* knows, he could have *stolen* it. Henry, looking mock- hurt, smiles:
HENRY: Mrs. Mangel, look at this face. Now, would I do *that*?
MRS. MANGEL (retorts): That's just what I intend to find out.
With that, she walks out of the room.
No. 26
Scott is sitting on the couch, working, when Helen emerges from the kitchen and asks him to go to the garage and get the box of paintings that she's going to show. The ‘phone starts ringing and Jim answers it. Mrs. Mangel comes on and Jim asks her who she wants to speak to. Mrs. Mangel tells him:
MRS. MANGEL: You, actually. I just thought you should know that Henry Mitchell is here, trying to sell me one of Mrs. Daniels' paintings.
JIM (grins): Is he, now?! He's quick off the mark – we only gave him the job late this afternoon!
MRS. MANGEL (frowns): Oh? He has your permission then?
JIM: Yes, of course. Those are paintings that Helen doesn't want to show at her exhibition.
MRS. MANGEL (coolly): I see: flogging off the discards to the neighbours. I think that's slightly insulting, Mr. Robinson.
JIM (retorts): Well I'm sorry you feel that way, Mrs. Mangel. Those ‘discards', as you call them, could be worth a lot of money. I tried to talk Helen out of letting them go so cheaply.
MRS. MANGEL (remarks): You sound very confident...
JIM: I *am*. This exhibition is getting a lot of interest from artists and critics. I think Helen could do very well out of it.
MRS. MANGEL (interestedly): I see. Well, thank you for clearing that up for me, Mr. Robinson. Good night.
The two of them hang up. At No. 26, Helen smiles at Jim that he's dreadful for stirring the old girl up like that! She adds that some of those paintings are downright embarrassing: she *knew* she should've painted over them. Jim tells her that even the early ones have got something about them. Scott chips in that other people can see their value, even if she can't. He then asks Helen if she should've let Henry sell the paintings so cheaply. Helen replies:
HELEN: I'll be happy if I cover the cost of the canvas.
No. 32
Back in the lounge room with Henry and Jane, Mrs. Mangel says to Henry:
MRS. MANGEL: All right – I'll give you $30 for it.
Henry, however, tells Mrs. Mangel that he's sorry, but he doesn't think he can let her have it for that. Mrs. Mangel shrugs at him to suit himself: that's all it's worth to her, so take it or leave it. Jane chips in and says:
JANE: Please, nan, I will pay you back.
Mrs. Mangel picks up the painting and remarks that it doesn't exactly brighten up the room: it's just a little dreary old church – and the colours don't match the couch... Henry sighs:
HENRY: Righto, I'll tell you what: I'll cut my profit to the bone and you can have it for thirty.
MRS. MANGEL: Profit, indeed! One would think you'd painted the picture *yourself*. Everything you *make* is profit.
Henry tells Mrs. Mangel that there's a lot more to this selling business than meets the eye. Mrs. Mangel, however, just holds out some notes and asks him wearily if he wants the money or not. Henry takes the cash and smiles:
HENRY: You drive a hard bargain, Mrs. Mangel!
Jane thanks her nan and assures her that she'll grow to love the painting just as much as *she* does. Henry adds:
HENRY: Absolutely. You're a wily woman, Mrs. Mangel. This certainly is a shrewd investment.
MRS. MANGEL: Well, I suppose I should *learn* to live with it – because, like it or not, it's *mine* now...
Ramsay Street
Charlene is walking down the street when Scott runs up to her and asks her how she's been. She just shrugs dismissively:
CHARLENE: Good, actually. Since when have *you* been interested in *my* health?
SCOTT: Don't give me that. Anyway, where are you off to?
CHARLENE (mutters): Coffee Shop, if you must know.
SCOTT: Well, just hold it two secs and I'll come with you – I just have to put the box of paintings inside for gran
CHARLENE: Don't bother hurrying. I think it would be better if I went on my *own*.
SCOTT: Why's that?
CHARLENE (retorts): Don't want to get your new girlfriend jealous, do we?
SCOTT (sighs): If that is Sue Parker you're talking about, she's not my girlfriend.
CHARLENE: Really? Someone ought to tell *her* that. She seemed pretty sure of herself the other day.
SCOTT (exclaims): Charlene, how can you *say* that?
CHARLENE (shrugs): It's none of my business anyway. If you want to hang around with a dropkick like Sue Parker, it's *your* business.
SCOTT (sighs): Here we go. Why won't you listen to me anymore?
CHARLENE: Because I'd be better if I never had in the *first* place.
SCOTT: How can you *say* that? We had such a good thing going, and you know it. I wanted us to get back together, but... I don't know what to do now. I've said I'm sorry.
CHARLENE (mutters): That's easy – but it's not going to *fix* anything, is it? It's not going to get me my job back.
SCOTT (snaps): Don't give me that. All right, I wrote those articles, but I wish I never had. But you can't blame me for losing your job.
CHARLENE: I can and I *do*.
SCOTT: Face it, Charlene – you lost your job because you lost your temper.
CHARLENE: Only because you wrote those lies about me and my family. Just rack off, Scott.
With that, Charlene walks off. Scott calls after her:
SCOTT: Don't worry, I *will*. I mean, who in their right mind would want a girlfriend like *you*, eh?
A look of hurt crosses Charlene's face.
No. 26
Helen is painting in the kitchen. Jim tells her that dinner will be in five minutes and he suggests she stop and have a glass of wine. Helen, however, says she has to finish the painting. She sighs that it's starting to look more like Lucy's finger painting than an exhibition piece: the shading's all wrong. Jim tells her that he thinks she's nervous. Helen asks who *wouldn't* be: she's never had an exhibition as big as this before. Jim hands her a glass of wine anyway. She takes it and says:
HELEN: You know, this time I'm going to be up there with some very experienced artists. Some of them are known all over the *world*.
Jim points out that she wouldn't have been invited to exhibit if they didn't have a high regard for her work. Helen, though, sighs that it's the *comparison* that terrifies her. She then murmurs:
HELEN: Oh dear... what a selfish creature I am. I was absolutely no help at all to Gerard before *his* exhibition.
JIM (gently): You think about him a *lot* don't you... It‘s not too late, you know.
HELEN: Yes it is. I'm not going to rock *that* boat again, not for *anyone*. I'll just concentrate on my art. Nobody can interfere with *that*.
No. 32
Jane is standing in the lounge room, admiring the painting of the church, when Mrs. Mangel comes in holding a frame, saying she knew it was there somewhere. Jane asks her where it came from and Mrs. Mangel explains that it's been packed away in the shed ever since they moved in there. She adds:
MRS. MANGEL: Used to have a picture of Len's mother in it!
She then puts her head behind the frame and pulls a face! Jane looks at the frame and remarks that it's a bit ornate; *she* thinks the painting needs a very *simple* frame. Mrs. Mangel, however, tells Jane tersely not to be ridiculous: she's already paid $30 and doesn't intend to throw away good money after bad. She places the frame on the painting – but discovers to her disappointment that it's too small. Jane suggests that, since Mrs. Mangel bought the painting, *she'll* buy a frame. Mrs. Mangel, however, warns that they've had enough extravagance for one day: she'll just trim a few inches off the painting here and there, where it doesn't matter...
Coffee Shop
Charlene is standing talking to Mike in the kitchen at the Coffee Shop, sighing that she doesn't know what it is, but she and Scott see each other and in ten seconds flat, pow!, they're off again. Mike murmurs that it's like him and his mum really... Charlene, looking apologetic, says to Mike that he should have told her to shut up. She adds that she was really sorry to hear about his dad. Mike just sighs heavily. He heads through to the shopfloor and says:
MIKE: I just wish we hadn't've still been fighting when he died – but it never would've happened: we *always* fought.
Charlene says more brightly that she bets Daph and Des miss him. Mike murmurs:
MIKE: Yeah. Not as much as I miss *them*.
CHARLENE: And what's it like living with your mother?
MIKE: Oh, it's all right; she just never lets me out of her sight, that's all. She wants to know where I'm going... who I'm going to be with... what time I'm going to be home... Frankly, it's driving me up the wall. She didn't even want me to go to the Orientation Day this morning.
Looking surprised, Charlene remarks that she didn't think he was *going* to uni anymore. Mike replies that he's not – but he still wanted to go: it's probably the closest thing he'll get to studying there. Charlene pleads:
CHARLENE: Mike, don't give up. You never know *what* might happen.
MIKE (sighs): It doesn't matter now, does it? If I'm going to look after mum, I'm going to have to get a full- time job.
The ‘phone starts ringing suddenly and Mike answers it. His mum comes on and Mike tells her that they're keeping the shop open for about another hour, then he'll be home as quick as he can. He listens and then exclaims:
MIKE: Mum, he's only a *puppy*. Yeah... well... I'll see what I can do when I get home. I'll make him a pen or something.
He hangs up and Charlene asks what's wrong. Mike tells her that Bouncer's got in trouble with his mum again: she *hates* him. Charlene asks what he's done this time. Mike smiles that he's got into the house and chewed the leg off one of the tables! He then murmurs that he might have to get rid of him. Charlene, however, tells him that he shouldn't have to give up everything just for his mother's benefit. Mike says he knows – but sometimes it seems easier than arguing about everything. Charlene muses:
CHARLENE: Boy – life sure isn't too exciting for you and me at the moment, is it?
MIKE: No... Well, *I* can't really do anything about *mum*, but I'm sure *you* can do something about *Scott*, if you really want to.
CHARLENE: OK! I promise I'll try. Now, you cheer up. Everything will work out: you'll see!
No. 26
Scott is in the kitchen with Jim, setting the table as he tells his father that he really doesn't understand women: they're totally unreasonable! Jim asks him if he's been talking to Charlene again! Scott exclaims that she wants everything her own way. Jim sighs at his son that he's been in a flap about Charlene for *weeks* now and it's not on: he's too young for this sort of thing – a couple of girlfriends down the track and he'll have forgotten all about her. Looking astonished, Scott asks:
SCOTT: How can you *say* that?
JIM: Easy – it takes *time* to find the right girl. You've got a few to sort through, yet.
SCOTT: You just don't understand, do you? I'm not interested in other girls and I never really *will* be.
Helen comes dashing in through the back door suddenly and asks Scott if there's another box of paintings in the garage. Scott tells her that there isn't: Henry took the other box. Helen exclaims in horror:
HELEN: He's taken the wrong one. You brought up the rejects.
SCOTT: Well, gran, that's all there *was*. It's not *my* fault. Someone *else* must've taken them.
Jim chips in suddenly and says:
JIM: Er... *I* did.
HELEN (gasps): What?
JIM: I wasn't thinking. I had to move the box when I put the car away. It was in the way.
HELEN (growls): So Henry has all my paintings for the exhibition – thousands of dollars' worth.
JIM (warily): We'll just have to pray that he hasn't sold any...
Coffee Shop
Henry is standing with Mike at the counter, telling him that the Coffee Shop is the perfect place to sell paintings! Mike, however, says it's not his shop, so Henry will have to ask Daphne. Henry insists that she wouldn't mind: they'll all be winners! He adds that they can hang them up round the walls and put prices on them.
Over at one of the tables, two smartly- dressed men are watching what's going on, and one says to the other:
MAN: Remind you of anybody, Simon?
SIMON: Yeah, *me* when I'm desperate for a dollar!
Across the shop, Mike tells Henry to give Daphne a call if he's so enthusiastic about it. The first man from the table walks up to the counter to pay, but he holds out a $100 note and apologises for not having anything smaller. Mike says he'll have to get some change from the back. He heads out to the kitchen, leaving the two men alone. Simon picks up one of the paintings and joins his mate, saying:
SIMON: Hey, Kent, come here for a sec. They're not bad; not bad at *all*, really. I reckon we could make a killing with these when we get to the States next week.
KENT: Hmm, maybe you're right. The Yanks could really love ‘em – they're into Australian stuff at the moment.
SIMON: We could probably get them for next to nix, too.
KENT: Try it on; see what he says.
Mike returns with the change. Henry rejoins them, having tried ‘phoning Daphne, but he sighs that there was no one home. Simon asks Henry if the paintings are his, as they're quite good, although a bit rough round the edges. Henry says:
HENRY: Do you reckon? I'm surprised you'd say that. They're original Helen Daniels', actually. You've probably heard of the big exhibition she's having. This is from her early period; personally, I think it's the best stuff she's done.
SIMON: Look, I don't know about *that*, but I'll do you a favour and give you five for the lot.
HENRY (exclaims): *Five*?! You've gotta be kidding; I've already sold one—
SIMON: Look, OK, OK, I'll give you five and a half big ones.
HENRY: Big ones. You mean $550?
SIMON: Look, it's an opening offer, OK?
HENRY (to Kent): Listen, you appear to be a discerning gentleman. These are original oils; works of art. They're great! Look at them: aren't they great?! Now, are you going to let this chance slip through your fingers? Are you going to let your friend, here, take the prize from right under your nose?
KENT (smiles): OK, pal, you've talked me into it. *Six* hundred.
HENRY: I *knew* you were a man of vision! Six hundred from the gentleman in the blue suit. Do I hear any advance on six?
He turns to Simon, who tells Henry that he's *with* Kent! He then backs down and offers $650!
No. 24
Charlene opens the front door to Jim, who barges in and asks if Henry's there. Charlene explains that he went down to the Coffee Shop to try and sell some of Helen's paintings. Jim asks her if she knows if he's sold any yet. Charlene replies that he didn't say, but he looked pretty pleased with himself – and Jim knows what Henry's like when he gets the bit between his teeth! Jim murmurs:
JIM: Yes, I do, unfortunately.
Coffee Shop
Henry shakes Simon and Kent's hands and tells them it's been a pleasure! Simon and Kent carry out the box of paintings. Henry then turns to Mike and exclaims happily:
HENRY: Ha ha! What a night! What a coup! What a salesman!
Mike, however, mutters at Henry to calm down. Henry just exclaims:
HENRY: Calm down?! I've just sold $680 worth of paintings without even trying! Mike, I think I've just seen the future of the commercial world: ‘Henry Mitchell, Art Dealer Extraordinaire'!
He adds happily that Mrs. Daniels isn't going to believe this!
No. 32
Helen walks into the lounge room at No. 32 with Mrs. Mangel. telling her that she just wants to know if she's bought any of her paintings from Henry. Mrs. Mangel smiles that of *course* she has: she's a well- known local patron of the arts, so she decided to ignore the expense! She indicates the painting of the church, which is resting on the couch. She adds that she found a lovely old frame in the shed, but it doesn't fit, so she's going to chop off a few inches from the painting here and there. Helen, looking horrified, grabs the painting and gasps:
HELEN: You'll do no such thing. Don't you dare touch it!
MRS. MANGEL: Mrs. Daniels, *please*. Control yourself!
She tries to take the painting back, but Helen refuses to let it go. Mrs. Mangel exclaims:
MRS. MANGEL: Really, I'm surprised. I bought the painting – it's mine and I'll do what I like with it.
Jim dashes in suddenly and tells Helen that Henry has the box of paintings down at the Coffee Shop. Helen points out that Nell has the painting of the church. Jim tells her that that can wait. Helen turns to Mrs. Mangel and says:
HELEN: I'll be back – but if you take scissors to that painting, I'll take them to *you*.
Mrs. Mangel's mouth drops open in astonishment!
No. 24
Scott has turned up at No. 24 and, standing at the front door, he asks Charlene if he can come in. Charlene lets him through, telling him that he's lucky her mum's not there, as she hasn't forgiven him either. Scott replies:
SCOTT: Yeah, well, I didn't come to see your mother; I came to see *you*.
CHARLENE (smiles): I'm glad.
SCOTT: I suppose dad told you about the fiasco with the painting, did he?
CHARLENE: Not really – I just gathered Henry's in trouble again.
SCOTT: Yeah, well, it wasn't Henry's fault, anyway.
He then muses that he didn't come to talk about that. He sighs:
SCOTT: Charlene, I'm just sick and tired of us fighting. We're only wasting our time, and I think we belong *together*, not apart. I know it was dumb of me to write the stuff, and I realise that it was my fault that you lost your job – and I'm sorry about it.
Charlene puts a finger on Scott's lips and tells him softly that it's OK: he doesn't have to say anything else. She then starts kissing him passionately...
Coffee Shop
Henry is sitting at the Coffee Shop counter, telling Mike that he can't remember when he felt this good! The shop door opens suddenly and Helen and Jim come in. Henry beams at Helen that she's just the woman he wanted to see! Jim, ignoring this, says:
JIM: Henry, have you sold any more of those paintings?
HENRY: Any more? Mike, did you hear that?! You happen to be looking at the salesman of the year! I got rid of the lot – you've only just missed the blokes that bought them, actually.
JIM (warily): Really? Er, how much did they pay you for them?
HENRY (happily): Six hundred and eighty big ones, all up! Isn't that terrific!
HELEN (mutters): Yes, that's fabulous, Henry, just fabulous. [Turning to Jim] Well, I don't have to worry anymore: no pictures, no exhibition...
<<0439 - 0441>>
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<<0439 - 0441>>
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