Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
The newsreels are dead. | 0:00:02 | 0:00:03 | |
We've bored the public for too long. | 0:00:05 | 0:00:07 | |
Give me this opportunity and I'll prove it. | 0:00:09 | 0:00:11 | |
This programme contains some scenes which some viewers may find upsetting | 0:00:11 | 0:00:15 | |
-PENCIL SNAPS -Oh... | 0:00:15 | 0:00:17 | |
Thank you! | 0:00:22 | 0:00:24 | |
Of course, I'll need an assistant. | 0:00:24 | 0:00:26 | |
Two minutes, Mr Lyon. | 0:00:27 | 0:00:29 | |
But may I say one more thing... | 0:00:29 | 0:00:31 | |
..you haven't seen my best yet. | 0:00:33 | 0:00:35 | |
There needs to be more on mike. | 0:00:40 | 0:00:42 | |
Track in on caption three, then lock off. | 0:00:42 | 0:00:44 | |
-BELL RINGS -Stand by, studio. | 0:00:44 | 0:00:46 | |
Mr Lyon. | 0:00:46 | 0:00:47 | |
Cue Grams. | 0:00:47 | 0:00:49 | |
Five seconds... | 0:00:49 | 0:00:50 | |
Five... | 0:00:50 | 0:00:51 | |
..four... | 0:00:52 | 0:00:53 | |
'Yes, I'm ready.' | 0:00:53 | 0:00:55 | |
..three... | 0:00:55 | 0:00:57 | |
two... | 0:00:57 | 0:00:58 | |
..one. | 0:00:59 | 0:01:01 | |
Cue Johnny. | 0:01:02 | 0:01:04 | |
And here they are, the debutantes of 1956... | 0:01:04 | 0:01:07 | |
Roll newsreel. | 0:01:07 | 0:01:08 | |
Young ladies of distinction enjoying a day at the Royal Ascot, | 0:01:08 | 0:01:12 | |
and one young woman in particular | 0:01:12 | 0:01:14 | |
has caught the eye of a certain leading man - actor Adam Le Ray. | 0:01:14 | 0:01:19 | |
Engagement looks set for the honourable Ruth Elms, | 0:01:19 | 0:01:22 | |
Daughter of Lord Elms of Framlingham, | 0:01:22 | 0:01:24 | |
to this eligible young bachelor. | 0:01:24 | 0:01:26 | |
All of London society awaits the peal of wedding bells. | 0:01:26 | 0:01:30 | |
Cue telecine. | 0:01:31 | 0:01:32 | |
'And now, here is a summary of the news from abroad.' | 0:01:32 | 0:01:35 | |
Did you get it? | 0:01:44 | 0:01:45 | |
WE got it. | 0:01:47 | 0:01:48 | |
Producer? | 0:01:48 | 0:01:50 | |
Foreign desk. | 0:01:50 | 0:01:51 | |
Bravo! | 0:01:52 | 0:01:54 | |
I haven't told Freddie yet. | 0:01:55 | 0:01:57 | |
Good luck. | 0:01:59 | 0:02:00 | |
'In Egypt, election victory for the Arab Nationalist, | 0:02:03 | 0:02:07 | |
'Colonel Gamal Abdel Nasser.' | 0:02:07 | 0:02:09 | |
Here he is | 0:02:15 | 0:02:16 | |
with Prime Minister Anthony Eden during last years' visit to Cairo, | 0:02:16 | 0:02:20 | |
where they discussed the future of the Suez Canal Company. | 0:02:20 | 0:02:24 | |
'And that is the end of the news and newsreel from Alexandra Palace. | 0:02:29 | 0:02:33 | |
'Good night.' | 0:02:33 | 0:02:34 | |
And thanking you, gentlemen - and Alice - | 0:02:34 | 0:02:37 | |
for another fascinating evening. | 0:02:37 | 0:02:41 | |
May you go home once again happy in the knowledge | 0:02:41 | 0:02:43 | |
that we have delivered the important news of the day | 0:02:43 | 0:02:46 | |
with the same brisk banality as a debutante coming out in Mayfair. | 0:02:46 | 0:02:50 | |
Three... | 0:02:51 | 0:02:52 | |
..two... | 0:02:54 | 0:02:55 | |
one. | 0:02:55 | 0:02:56 | |
-Good evening, madam. -Good evening. | 0:03:07 | 0:03:09 | |
'Tutankhamun did somewhat neglect his duties as a son, so...' | 0:03:25 | 0:03:28 | |
See? Even the Pharaohs failed to write to their mothers. | 0:03:28 | 0:03:31 | |
LAUGHTER | 0:03:31 | 0:03:33 | |
Er, and on that note, papers in by Friday, please. | 0:03:38 | 0:03:42 | |
Any late papers will be returned to you unread, be warned. | 0:03:44 | 0:03:48 | |
PHONE DIAL WHIRRS | 0:03:52 | 0:03:54 | |
Hello, operator, put me through to Bloomsbury 7428. | 0:03:56 | 0:03:59 | |
PHONE RINGS | 0:04:16 | 0:04:18 | |
Darling, our guests are arriving. | 0:04:25 | 0:04:27 | |
Lipstick. I left my lipstick in the.... | 0:04:33 | 0:04:36 | |
Impeccable as ever, Johnny. | 0:04:45 | 0:04:46 | |
Thank you. | 0:04:46 | 0:04:47 | |
Moneypenny. | 0:04:51 | 0:04:52 | |
James. | 0:04:52 | 0:04:54 | |
Friday's running order. Next time, do it yourself, | 0:04:54 | 0:04:57 | |
I am not your secretary. | 0:04:57 | 0:04:59 | |
Night. BELL RINGS | 0:04:59 | 0:05:01 | |
And what of tomorrow, Mr Wengrow? | 0:05:02 | 0:05:05 | |
I'm gunning for Kennedy for the VP nom, but who knows? | 0:05:05 | 0:05:09 | |
A new hat for the Queen Mother? | 0:05:09 | 0:05:10 | |
A rare sow with 20 in her litter? | 0:05:10 | 0:05:14 | |
Mr Lyon, tonight. The Claringdon. | 0:05:16 | 0:05:19 | |
-You're covering the engagement. -How could I forget, Georgie? | 0:05:19 | 0:05:22 | |
-Who's getting married? -Just another debutante. -Night, George. | 0:05:22 | 0:05:26 | |
-How was I? -Bit slow on that last cue. | 0:05:26 | 0:05:29 | |
Nice watch. Does the broker know it's missing? | 0:05:29 | 0:05:32 | |
-Banker. -Please. The details of your love life do not interest me at all. | 0:05:32 | 0:05:36 | |
SHE LAUGHS | 0:05:36 | 0:05:37 | |
Where did you dine? | 0:05:37 | 0:05:38 | |
Sheekey's. | 0:05:38 | 0:05:39 | |
We had oysters and afterwards he took me to the theatre. | 0:05:39 | 0:05:43 | |
Dinner, then the theatre. I do love a man who plans. | 0:05:43 | 0:05:45 | |
That way, no-one sleeps on a full stomach. | 0:05:45 | 0:05:47 | |
Can I cadge a lift? | 0:05:49 | 0:05:51 | |
Eight letters, 14 down. "Treacherous foe in bad or in good faith." | 0:05:51 | 0:05:55 | |
Something-O, something-F, something-D. | 0:05:55 | 0:05:58 | |
Bona fide. | 0:05:58 | 0:05:59 | |
Ready? | 0:06:32 | 0:06:33 | |
-We are calcifying in television news. -Agreed. | 0:07:02 | 0:07:04 | |
Hell, martial law may have been imposed in Poland | 0:07:04 | 0:07:07 | |
but we've got footage of Prince Rainier on honeymoon with his showgirl. | 0:07:07 | 0:07:11 | |
And, hallelujah, they're dining with the Queen. | 0:07:11 | 0:07:13 | |
-We are the dose of reassurance that all's right in the world. -Agreed. | 0:07:13 | 0:07:17 | |
Because some edict sent down from God knows who | 0:07:17 | 0:07:19 | |
is telling us what and how we broadcast. We will escape. | 0:07:19 | 0:07:22 | |
Yes, b-but, Freddie... | 0:07:22 | 0:07:23 | |
Don't worry, Moneypenny, I'll put in a good word for you. | 0:07:23 | 0:07:27 | |
You're coming with me. | 0:07:27 | 0:07:28 | |
STRING QUARTET PLAY "Voices Of Spring" | 0:07:45 | 0:07:48 | |
Bravo, bravo. | 0:07:55 | 0:07:56 | |
'Platform five, 10:30 to Boscastle.' | 0:08:37 | 0:08:40 | |
'Hurry, please. Hurry.' | 0:08:43 | 0:08:45 | |
HE GRUNTS WITH EFFORT | 0:09:38 | 0:09:42 | |
HE GURGLES AND CHOKES | 0:09:45 | 0:09:49 | |
TRAIN APPROACHES | 0:09:58 | 0:10:01 | |
Freddie, listen. Your programme... | 0:10:14 | 0:10:16 | |
..it's everything we've been waiting for, working together. | 0:10:18 | 0:10:22 | |
It's exciting! | 0:10:22 | 0:10:23 | |
But I need to talk to you before your interview. | 0:10:23 | 0:10:26 | |
Stay and have a drink with me. | 0:10:26 | 0:10:27 | |
And miss all the fun? | 0:10:27 | 0:10:29 | |
You stay here and wait for your banker, | 0:10:29 | 0:10:31 | |
but I warn you... | 0:10:31 | 0:10:33 | |
he'll be late. They're always late. | 0:10:33 | 0:10:35 | |
If he's still not here by nine, come and find me. | 0:10:36 | 0:10:39 | |
Just try to keep a clear head. | 0:10:39 | 0:10:42 | |
You're impossible! | 0:10:42 | 0:10:44 | |
Evening, gentlemen. Shall we? | 0:10:44 | 0:10:46 | |
Ladies and gentlemen. | 0:11:00 | 0:11:01 | |
It's truly wonderful to be able to share our engagement | 0:11:01 | 0:11:04 | |
with so many loved ones. | 0:11:04 | 0:11:05 | |
Lord and Lady Elms, | 0:11:05 | 0:11:06 | |
it's an honour and a privilege to join this eminent family. | 0:11:06 | 0:11:09 | |
And so without further ado, | 0:11:09 | 0:11:11 | |
I ask you to raise your glasses to my beautiful fiancee... | 0:11:11 | 0:11:15 | |
-ALL: -Ahh. | 0:11:15 | 0:11:16 | |
..and we look forward to seeing you a week on Saturday. | 0:11:16 | 0:11:19 | |
And do let's keep our fingers crossed and hope the sun shines. | 0:11:19 | 0:11:22 | |
LAUGHTER | 0:11:22 | 0:11:24 | |
Ruth and Adam. | 0:11:24 | 0:11:25 | |
-ALL: -Ruth and Adam. | 0:11:25 | 0:11:28 | |
TAPPING | 0:11:57 | 0:11:58 | |
Are you hiding? | 0:12:09 | 0:12:10 | |
No... | 0:12:10 | 0:12:11 | |
Yes. | 0:12:12 | 0:12:13 | |
I hate parties. | 0:12:13 | 0:12:15 | |
And I'd just written, | 0:12:15 | 0:12:16 | |
"The newly-engaged, honourable Miss Elms was glowing." | 0:12:16 | 0:12:19 | |
Hello, Freddie. | 0:12:19 | 0:12:20 | |
Miss Elms. | 0:12:20 | 0:12:21 | |
Would you like to comment? | 0:12:22 | 0:12:24 | |
Yes... | 0:12:24 | 0:12:25 | |
..if you pour me another one of those. | 0:12:27 | 0:12:28 | |
How old are you now? 20? 21? | 0:12:33 | 0:12:34 | |
Old enough. | 0:12:34 | 0:12:35 | |
I was ten when you left. | 0:12:39 | 0:12:41 | |
Well... | 0:12:44 | 0:12:46 | |
Congratulations. I wish you... | 0:12:46 | 0:12:48 | |
..the absolute best. | 0:12:50 | 0:12:51 | |
"A conspiracy is nothing but a secret agreement of a number of men | 0:12:51 | 0:12:55 | |
"for the pursuance of policies which they dare not admit in public." | 0:12:55 | 0:12:59 | |
You wrote that. | 0:12:59 | 0:13:01 | |
-Actually, Mark Twain did, but... -Damn! | 0:13:01 | 0:13:04 | |
Tilt your head. | 0:13:04 | 0:13:06 | |
Pinch the bridge. | 0:13:06 | 0:13:07 | |
I'm sorry. | 0:13:09 | 0:13:11 | |
It's only a handkerchief. | 0:13:11 | 0:13:12 | |
You see it, don't you, Freddie? | 0:13:17 | 0:13:19 | |
You always have. | 0:13:19 | 0:13:21 | |
DOOR OPENS | 0:13:21 | 0:13:24 | |
There you are, darling. | 0:13:24 | 0:13:25 | |
Good night, Miss Elms. | 0:13:27 | 0:13:28 | |
God, you're drunk. | 0:13:35 | 0:13:37 | |
Not nearly enough. | 0:13:37 | 0:13:39 | |
Would you like to take the lady's coat, sir? | 0:13:42 | 0:13:44 | |
I'm sure she'll pick it up later. | 0:13:44 | 0:13:46 | |
# My landlady's too rude | 0:13:49 | 0:13:51 | |
# In my affairs she likes to intrude | 0:13:51 | 0:13:54 | |
# My landlady's too rude | 0:13:54 | 0:13:56 | |
# In my affairs she likes to intrude | 0:13:56 | 0:14:00 | |
# Five o'clock in the morning | 0:14:00 | 0:14:02 | |
# My landlady is peeping | 0:14:02 | 0:14:04 | |
# No, it isn't fair | 0:14:04 | 0:14:06 | |
# This prosecution I got to bear | 0:14:06 | 0:14:08 | |
# And every Monday | 0:14:08 | 0:14:09 | |
# "Mister give me the rent" | 0:14:09 | 0:14:11 | |
# Although I try I cannot prevent she telling me | 0:14:11 | 0:14:14 | |
# "Mister give me the rent..." # | 0:14:14 | 0:14:16 | |
-Hello? -It's just me, Dad. | 0:14:26 | 0:14:28 | |
Go inside, Mary's out for the evening. | 0:14:32 | 0:14:35 | |
I wouldn't trouble you, see, but I have to speak with you privately. It's very important. | 0:14:35 | 0:14:39 | |
Good day, Frederick? | 0:14:39 | 0:14:40 | |
You should have the light on. | 0:14:45 | 0:14:46 | |
Mrs B not been in? | 0:14:47 | 0:14:48 | |
The washing up's still in the... | 0:14:48 | 0:14:50 | |
What you watching? | 0:14:57 | 0:14:59 | |
The only thing wrong with her is her weight. | 0:15:03 | 0:15:05 | |
You should see her now. Blimey - she's enormous! | 0:15:05 | 0:15:08 | |
-Did you see the news tonight? -The usual rubbish. | 0:15:08 | 0:15:11 | |
How's that nice girl? | 0:15:14 | 0:15:16 | |
Miss Rowley? | 0:15:16 | 0:15:17 | |
She's... | 0:15:19 | 0:15:20 | |
fine. | 0:15:20 | 0:15:21 | |
-TV: -'Look, will you leave it to me for a day or so? | 0:15:23 | 0:15:26 | |
'I just want to give it a bit of thought. Chew it over.' | 0:15:26 | 0:15:28 | |
Good morning, Broadcasting House. | 0:15:28 | 0:15:31 | |
One moment, please. | 0:15:33 | 0:15:35 | |
8:30. | 0:15:35 | 0:15:36 | |
I said 8:30. | 0:15:36 | 0:15:38 | |
Don't mix single malt with Martini. | 0:15:38 | 0:15:39 | |
Oh, wonderful(!) | 0:15:39 | 0:15:41 | |
-Frederick Lyon for the Director of Programmes. -Of course. | 0:15:41 | 0:15:44 | |
I've brought the manifesto. | 0:15:44 | 0:15:45 | |
That was written years ago, when we were very drunk. | 0:15:46 | 0:15:49 | |
You were drunk. | 0:15:49 | 0:15:51 | |
I was sober. | 0:15:51 | 0:15:52 | |
You've put three Ts in topicality. | 0:15:52 | 0:15:54 | |
7th floor, please. | 0:15:54 | 0:15:56 | |
Thank you. | 0:15:56 | 0:15:57 | |
Freddie... | 0:15:57 | 0:15:58 | |
Think I should start with the Marx quote? | 0:16:00 | 0:16:03 | |
-Freddie, you really need to focus. -No, you're right. | 0:16:03 | 0:16:06 | |
Don't want to scare them off straight away. | 0:16:06 | 0:16:08 | |
Not when one is looking to run... | 0:16:08 | 0:16:10 | |
It doesn't have a name yet. | 0:16:10 | 0:16:11 | |
..this changing-face-of-television news programme with no name. | 0:16:11 | 0:16:15 | |
I'd pitch on balancing London news with the provinces. | 0:16:15 | 0:16:18 | |
It's important they know you're interested in stories in Bradford, Manchester, Leeds... | 0:16:18 | 0:16:22 | |
Why? | 0:16:22 | 0:16:24 | |
Because you need to show them... | 0:16:24 | 0:16:25 | |
Show them what? | 0:16:25 | 0:16:27 | |
..that you're familiar with the demands of home affairs. | 0:16:27 | 0:16:30 | |
That's your job. | 0:16:30 | 0:16:32 | |
You need to keep your options open. | 0:16:32 | 0:16:34 | |
Moneypenny, your eyes look piggy when you lie. | 0:16:36 | 0:16:38 | |
I'm the producer. | 0:16:40 | 0:16:42 | |
The new programme. Clarence wants me to be the producer. | 0:16:43 | 0:16:46 | |
LIFT PINGS | 0:16:46 | 0:16:47 | |
GIRLS GIGGLE | 0:16:48 | 0:16:50 | |
Right. | 0:16:53 | 0:16:54 | |
You produce, I'll present. | 0:16:54 | 0:16:56 | |
-LIFT PINGS -Bel, Freddie, there you are. | 0:16:56 | 0:16:59 | |
-Now, breathe, Freddie... -Clarence! | 0:17:00 | 0:17:02 | |
He's waiting but he has a packed day. Later! | 0:17:02 | 0:17:05 | |
We speak in full sentences, we listen, | 0:17:05 | 0:17:08 | |
-we don't try any funnies. -Yes, right. | 0:17:08 | 0:17:10 | |
Your reputation goes before you. The good, I have been able to confirm, | 0:17:10 | 0:17:14 | |
the bad was youthful recklessness, which in your more mature years, | 0:17:14 | 0:17:17 | |
-you have left behind. -Clarence, I can... | 0:17:17 | 0:17:20 | |
Freddie, this is my programme. | 0:17:20 | 0:17:22 | |
It's very important that I get the right team | 0:17:22 | 0:17:24 | |
and that you are part of it. | 0:17:24 | 0:17:26 | |
Ditch the manifesto. | 0:17:26 | 0:17:28 | |
Bel told me. | 0:17:28 | 0:17:29 | |
Top button. | 0:17:34 | 0:17:35 | |
13 minutes, 36.8 seconds. | 0:18:07 | 0:18:10 | |
Remarkable. | 0:18:10 | 0:18:12 | |
There. | 0:18:13 | 0:18:14 | |
There... | 0:18:14 | 0:18:16 | |
ballsed it. Top of the frame, bloody boom. | 0:18:16 | 0:18:18 | |
How do we run that? | 0:18:18 | 0:18:19 | |
I want two men at Lord's next week to film Jim Laker. | 0:18:19 | 0:18:23 | |
One to hold the camera, the other to keep the bloody boom out of sight. | 0:18:23 | 0:18:26 | |
-You play? -Yes. | 0:18:28 | 0:18:30 | |
No. | 0:18:30 | 0:18:31 | |
Do I need to? | 0:18:31 | 0:18:32 | |
I like football. | 0:18:32 | 0:18:35 | |
Which team? | 0:18:35 | 0:18:36 | |
Derby County. My mother was born... | 0:18:36 | 0:18:38 | |
So, not really. | 0:18:38 | 0:18:39 | |
You're something to do with natural history. | 0:18:45 | 0:18:48 | |
Heard a rumour they're setting up a unit somewhere in the BBC. | 0:18:48 | 0:18:51 | |
I'm a big fan of animals. | 0:18:54 | 0:18:56 | |
Clarence tells me you're a brilliant journalist. | 0:19:01 | 0:19:05 | |
Give me tomorrow's news. | 0:19:05 | 0:19:07 | |
Well, a lot can happen in 24 hours. | 0:19:09 | 0:19:11 | |
Eisenhower looks like he'll run for another term, but that's obvious. | 0:19:13 | 0:19:16 | |
I'm more interested in the underdog. | 0:19:16 | 0:19:18 | |
Rumour has it that the young Mr Kennedy is a contender | 0:19:18 | 0:19:21 | |
for the Vice Presidential Democratic nomination. | 0:19:21 | 0:19:23 | |
But in newsreels, we don't do scoops. | 0:19:23 | 0:19:25 | |
Let me guess, accounts? | 0:19:25 | 0:19:28 | |
Researcher. You're flying out with a crew to the Amazon, Monday. | 0:19:29 | 0:19:34 | |
Something like that. | 0:19:35 | 0:19:38 | |
Do you take sugar? | 0:19:38 | 0:19:39 | |
That's a pretty blouse. | 0:19:41 | 0:19:43 | |
So, 60 minutes, six days to get it together. | 0:19:48 | 0:19:50 | |
Seventh day it's out there. Three slots. Tell me how it looks. | 0:19:50 | 0:19:53 | |
At the top, New Commonwealth immigration. | 0:19:53 | 0:19:58 | |
75,000 people arriving here every year from the colonies, but what does that really mean? | 0:19:58 | 0:20:03 | |
Martin Luther King gives a public address in San Francisco. | 0:20:03 | 0:20:06 | |
The birth of the new Negro, one who is not crippled by fear and self-loathing, | 0:20:06 | 0:20:12 | |
but driven by dignity and destiny. | 0:20:12 | 0:20:15 | |
But we don't even challenge the fact that in every hotel window | 0:20:15 | 0:20:18 | |
we still, without shame, say "No Coloureds. No Irish". | 0:20:18 | 0:20:21 | |
Second story, MacMillan and the credit squeeze, obviously. | 0:20:21 | 0:20:25 | |
And third? | 0:20:25 | 0:20:27 | |
13 minutes, 38.6 seconds. It's a good story. | 0:20:27 | 0:20:31 | |
You've got a boom tracking in every shot. | 0:20:31 | 0:20:34 | |
Seeing him cross that finishing line's the thing! It makes it more real, | 0:20:34 | 0:20:37 | |
seeing the boom. It's the mechanics of how we bear witness, because that's what we do. | 0:20:37 | 0:20:41 | |
What one tries to do. Reveal fleeting moments of history, | 0:20:41 | 0:20:45 | |
not with apology, not as it is now, endless static newsreel. | 0:20:45 | 0:20:50 | |
A man who never leaves his desk delivering the story | 0:20:50 | 0:20:53 | |
as if it's the dry, five-minute warm-up act to Hancock's Half Hour! | 0:20:53 | 0:20:56 | |
We all want to be entertained, but while we're all busy laughing, | 0:20:56 | 0:20:59 | |
Russia's aligning its missiles and declaring World War Three! | 0:20:59 | 0:21:02 | |
It has to be the hour that you can't miss. | 0:21:02 | 0:21:05 | |
The hour you have to see. | 0:21:05 | 0:21:08 | |
Putting real journalists in front of the camera | 0:21:08 | 0:21:10 | |
is sending out the message that you take the news seriously. | 0:21:10 | 0:21:12 | |
So you see yourself in front of the camera, Mr Lyon? | 0:21:12 | 0:21:16 | |
I never understand women and magazines. | 0:21:25 | 0:21:28 | |
They only ever buy them for the pictures. | 0:21:28 | 0:21:32 | |
You're so right. And those things called novels, impossible! | 0:21:32 | 0:21:36 | |
So many words... | 0:21:36 | 0:21:37 | |
This is where I ask you for a drink. | 0:21:39 | 0:21:42 | |
Sorry. I have to pack for South America. | 0:21:42 | 0:21:45 | |
Is this some kind of joke? | 0:21:45 | 0:21:47 | |
Home affairs! | 0:21:47 | 0:21:48 | |
House of Lords garden parties and outbreaks of foot and mouth in Keswick? | 0:21:48 | 0:21:52 | |
-The audacity to even think you could present this programme! -He asked for my opinion. | 0:21:52 | 0:21:56 | |
And you gave it. Including telling him to stuff it! | 0:21:56 | 0:21:59 | |
I said talk to him, calm him down. | 0:21:59 | 0:22:01 | |
I said he's a risk... He's always a bloody risk. | 0:22:01 | 0:22:03 | |
But you said no. You don't lead the story. | 0:22:03 | 0:22:06 | |
The story leads you, Freddie. First rule of news, hmm? | 0:22:06 | 0:22:09 | |
Well, maybe you are better off where you are. Two minutes. | 0:22:09 | 0:22:14 | |
You're not in accounts, are you? | 0:22:17 | 0:22:19 | |
No. Mr Lyon. I am a big fan of your work. | 0:22:20 | 0:22:24 | |
How, exactly? | 0:22:24 | 0:22:26 | |
I mean which bit? Of my work? | 0:22:26 | 0:22:29 | |
Freddie. | 0:22:30 | 0:22:31 | |
Mr Madden, my apologies. This is Miss Rowley. | 0:22:31 | 0:22:34 | |
Yes, I know exactly who Miss Rowley is. | 0:22:34 | 0:22:37 | |
May I introduce you to the face of our new programme. | 0:22:37 | 0:22:42 | |
If you'd like to come this way. | 0:22:45 | 0:22:47 | |
Christ, he's charming as well. | 0:22:48 | 0:22:50 | |
Freddie... | 0:22:52 | 0:22:53 | |
LIFT PINGS | 0:22:56 | 0:22:57 | |
How could you do that? | 0:23:00 | 0:23:01 | |
How could you not warn me what I was being interviewed for? | 0:23:01 | 0:23:04 | |
-If you listened... -I thought it was so sweet you wanted to meet me beforehand. | 0:23:04 | 0:23:07 | |
It's still home affairs. You're still part of the team, | 0:23:07 | 0:23:10 | |
and it's the team Clarence believes in. | 0:23:10 | 0:23:12 | |
What? You, me and Gregory Peck? What is he? Oxford-educated? | 0:23:12 | 0:23:15 | |
Well, at least you're with your own kind. | 0:23:15 | 0:23:17 | |
Oh, of course. You find him attractive. | 0:23:17 | 0:23:20 | |
You're pathetic. | 0:23:20 | 0:23:22 | |
It's you who said you were calcifying in newsreels. | 0:23:22 | 0:23:25 | |
Do you seriously want to die there? The last job I got you, | 0:23:25 | 0:23:28 | |
you nearly closed us down - you accused the then Minister of Trade of accepting bribes. | 0:23:28 | 0:23:33 | |
He had. He was. | 0:23:33 | 0:23:36 | |
Clarence has championed you since day one. | 0:23:40 | 0:23:44 | |
He was giving you an opportunity | 0:23:45 | 0:23:48 | |
and you have just thrown it back in his face. | 0:23:48 | 0:23:51 | |
You could be even more brilliant than you know, but you just have to ruin it. | 0:23:51 | 0:23:55 | |
A new programme, a new era. | 0:23:57 | 0:23:59 | |
And they want me as producer. | 0:24:00 | 0:24:02 | |
They're humouring you. | 0:24:04 | 0:24:07 | |
They don't want a woman. A woman is difficult. Hysterical. | 0:24:08 | 0:24:13 | |
And you can never really find one who will ever stay. | 0:24:13 | 0:24:15 | |
-A couple more years, you'll probably want a baby. -Oh, don't speak. | 0:24:15 | 0:24:18 | |
It's what they're thinking. Anything else is just your vanity making you believe... | 0:24:18 | 0:24:23 | |
What? | 0:24:23 | 0:24:25 | |
That I can do it? That I can actually do this? | 0:24:25 | 0:24:30 | |
Watch me. | 0:24:32 | 0:24:33 | |
Oh, Lyon, George wants to bump the Vice Presidential nominations for the Duke of Edinburgh... | 0:25:08 | 0:25:14 | |
-Not guilty. Mr Wengrow is on Royal duty. -Well, he does look very smart on his horse. | 0:25:14 | 0:25:19 | |
Copy in by four, ladies and gentlemen. | 0:25:19 | 0:25:21 | |
Oh, a doctor's been seen arriving at Downing Street, apparently Eden's unwell again. | 0:25:21 | 0:25:25 | |
-Well, you know where rumour gets us. -And Cairo? -I'm covering the bobsleigh at Bergen and then I'm... | 0:25:25 | 0:25:30 | |
What to you is rumour, to the rest of the world is foresight, George. | 0:25:30 | 0:25:34 | |
-Have you done your copy for the Elms' engagement yet, Mr Lyon? -Not remotely. | 0:25:36 | 0:25:40 | |
You know I have any number of men who would happily fill your post, Mr Lyon. | 0:25:40 | 0:25:45 | |
Is that a threat? | 0:25:46 | 0:25:49 | |
Four o'clock. No Eden. No Cairo. | 0:25:52 | 0:25:56 | |
Don't sulk, spoils your face. | 0:26:00 | 0:26:03 | |
They could have at least offered me foreign affairs. | 0:26:03 | 0:26:06 | |
Already taken. | 0:26:06 | 0:26:08 | |
You? | 0:26:08 | 0:26:10 | |
Traitor. I want my desk back. | 0:26:10 | 0:26:13 | |
As I recall, I won this desk. | 0:26:13 | 0:26:16 | |
You've got absolutely no poker face. | 0:26:23 | 0:26:27 | |
Mr Lyon, there's a lady to see you. She said you're old friends. | 0:26:29 | 0:26:33 | |
Nice coat. | 0:26:44 | 0:26:46 | |
Mother hates it. I wear it to annoy her. | 0:26:46 | 0:26:49 | |
One needs to find tiny acts of rebellion where one can. | 0:26:49 | 0:26:52 | |
Is this a joke? | 0:26:56 | 0:26:57 | |
That's funny. Most people think I'm too serious. | 0:26:58 | 0:27:04 | |
But I find it very serious indeed, the world. | 0:27:04 | 0:27:08 | |
-You have grown up. -Oh, don't patronise me. | 0:27:08 | 0:27:11 | |
Why didn't you ever reply to my letters? | 0:27:15 | 0:27:17 | |
It didn't matter. | 0:27:22 | 0:27:23 | |
I've kept up with what you're doing. Read your odd articles. | 0:27:23 | 0:27:28 | |
That makes you quite unique. | 0:27:28 | 0:27:30 | |
I even found the short story you wrote in The Listener, | 0:27:30 | 0:27:33 | |
which, I may add, was not very good. | 0:27:33 | 0:27:36 | |
Though I suppose the novel is perhaps still the last domain of the free mind. | 0:27:36 | 0:27:42 | |
Where they can't tell you what to think, what to say. | 0:27:42 | 0:27:46 | |
That and art, I suppose. | 0:27:47 | 0:27:49 | |
They? Who are they? What are you talking about? | 0:27:51 | 0:27:54 | |
They. | 0:27:54 | 0:27:56 | |
They are everywhere. | 0:27:59 | 0:28:02 | |
Here in this building. Out in the street, in your office. | 0:28:02 | 0:28:05 | |
They even control what you write. | 0:28:05 | 0:28:08 | |
Have you heard of Peter Darrall? | 0:28:13 | 0:28:15 | |
He is... | 0:28:17 | 0:28:19 | |
He WAS one of the leading political minds this country had. | 0:28:20 | 0:28:24 | |
He was killed last night. | 0:28:24 | 0:28:26 | |
It will be reported in the evening papers as a robbery. | 0:28:29 | 0:28:32 | |
It wasn't. | 0:28:32 | 0:28:34 | |
There will be no investigation. | 0:28:34 | 0:28:36 | |
Even those who loved him the most will be told to forget him. | 0:28:37 | 0:28:41 | |
They will weave a web of deceitful lies. | 0:28:41 | 0:28:45 | |
You think it's ridiculous? | 0:28:47 | 0:28:49 | |
I wish it were. | 0:28:49 | 0:28:52 | |
I want you to find out why he was murdered. | 0:28:54 | 0:28:57 | |
-Go to the police, I'm not the right person. -Yes, you are! | 0:28:57 | 0:29:00 | |
You think you live in a democracy? | 0:29:00 | 0:29:02 | |
You think this country stands for freedom of speech? | 0:29:04 | 0:29:07 | |
It does not. | 0:29:07 | 0:29:09 | |
No, I'll make my own way out. | 0:29:16 | 0:29:18 | |
They will kill me if they know I'm talking to you. | 0:29:21 | 0:29:25 | |
A man, stabbed, North London... Came in this morning. | 0:29:48 | 0:29:52 | |
Did anyone see it? Peter, his name was Peter something. | 0:29:52 | 0:29:57 | |
-Did he forgive you? -Who? | 0:30:07 | 0:30:09 | |
Mr Lyon? You really should have told him, you know. | 0:30:09 | 0:30:12 | |
He's a big boy. | 0:30:12 | 0:30:14 | |
You found one another. Douglas is on his way. | 0:30:14 | 0:30:19 | |
-All right, Charlie? Here you are. -No. | 0:30:25 | 0:30:29 | |
Suspected robbery. Came in last night. | 0:30:29 | 0:30:34 | |
BABY CRIES | 0:30:34 | 0:30:38 | |
You been frightening babies? | 0:30:38 | 0:30:41 | |
Plain clothes were in an hour ago. | 0:30:50 | 0:30:52 | |
Alexis Storm will be heading the foreign desk. She covered the... | 0:30:54 | 0:30:57 | |
Spanish Civil war in Madrid, broke the news in '40 | 0:30:57 | 0:31:00 | |
that the British troops had arrived in France. | 0:31:00 | 0:31:03 | |
She has an extensive network of stringers all through Europe, the Middle East and Africa. | 0:31:03 | 0:31:09 | |
I'm presuming that you've resolved the home desk. | 0:31:09 | 0:31:11 | |
-There are a number of faces in the frame. -Clarence. -We'll have the claret. | 0:31:11 | 0:31:15 | |
I realise that Freddie wasn't at his best this morning. | 0:31:15 | 0:31:17 | |
-You don't need him. -He is passionate. | 0:31:17 | 0:31:20 | |
He's dangerous. | 0:31:20 | 0:31:22 | |
There's that very nice chap in that Sunday news review. He might be an idea. | 0:31:22 | 0:31:26 | |
No. Freddie is infuriating and outspoken, | 0:31:26 | 0:31:32 | |
but he sees the extraordinary in the ordinary. | 0:31:32 | 0:31:35 | |
I truly believe we need him. | 0:31:35 | 0:31:38 | |
I need him, to make the programme the best that it can be. | 0:31:40 | 0:31:45 | |
And what is that? | 0:31:45 | 0:31:47 | |
The world that Freddie sees. | 0:31:47 | 0:31:50 | |
A train crash, a labour strike, | 0:31:50 | 0:31:53 | |
Freddie will be somewhere away from all the other journalists, | 0:31:53 | 0:31:56 | |
talking to the last person that should matter, | 0:31:56 | 0:31:59 | |
but that is the story that matters most to ordinary people. | 0:31:59 | 0:32:02 | |
He finds them. | 0:32:02 | 0:32:03 | |
Douglas. | 0:32:03 | 0:32:05 | |
Clarence. I hope you ordered for me. Please. | 0:32:05 | 0:32:09 | |
How many men? | 0:32:10 | 0:32:12 | |
Five. | 0:32:12 | 0:32:13 | |
MI5? | 0:32:15 | 0:32:16 | |
Box 850, governor says. | 0:32:18 | 0:32:19 | |
SIS? | 0:32:21 | 0:32:23 | |
You know you're someone when MI6 come to pay their respects. | 0:32:25 | 0:32:27 | |
Did they do this? | 0:32:29 | 0:32:30 | |
Someone's looking for something. | 0:32:34 | 0:32:36 | |
There's £15 in here. Wasn't much of a robbery. | 0:32:44 | 0:32:49 | |
Unless they stole his last cigarette. | 0:33:03 | 0:33:07 | |
Five minutes. We're done. | 0:33:11 | 0:33:13 | |
Yes. We're done. | 0:33:19 | 0:33:20 | |
LAUGHTER | 0:33:26 | 0:33:28 | |
McCain's in. | 0:33:33 | 0:33:34 | |
One of Eden's press minions. | 0:33:38 | 0:33:40 | |
Christ, he's coming over. | 0:33:43 | 0:33:45 | |
Leave it to me. | 0:33:46 | 0:33:49 | |
So, this is how Westminster feeds you, hmm? | 0:33:49 | 0:33:52 | |
Clarence. What a gathering we have here, and Mr Madden. | 0:33:52 | 0:33:56 | |
Yes. | 0:33:56 | 0:33:58 | |
Er... Oh, Miss Rowley. You did that lovely piece, "At Home With Lady Eden". | 0:33:58 | 0:34:03 | |
My friends so enjoyed that. | 0:34:03 | 0:34:06 | |
Is Prime Minister Eden in good health? | 0:34:06 | 0:34:08 | |
-Yes, he is, thank you. -Only I heard he'd been unwell again. | 0:34:08 | 0:34:11 | |
Such maternal instincts, I do think you're rather wasted in news. | 0:34:11 | 0:34:16 | |
I was hoping to see you today, | 0:34:17 | 0:34:19 | |
Michael was very keen to have a word. | 0:34:19 | 0:34:22 | |
Pandit Nehru is coming to town. | 0:34:22 | 0:34:24 | |
Barton's been on the phone banging on at me for weeks about having an interview. | 0:34:24 | 0:34:28 | |
"No," I said, "sorry, BBC has first dibs." | 0:34:28 | 0:34:31 | |
Yes. Are we celebrating? | 0:34:32 | 0:34:35 | |
We're launching a topical news programme. | 0:34:35 | 0:34:37 | |
Oh! Good, Marvellous. Yes, um, does it have a name yet? | 0:34:37 | 0:34:42 | |
Oh, working on it. | 0:34:42 | 0:34:44 | |
Mr Madden will present it, Clarence at the helm | 0:34:44 | 0:34:47 | |
-and Miss Rowley as the producer. -That must have been a surprise. | 0:34:47 | 0:34:50 | |
What a coup, Miss Rowley! | 0:34:50 | 0:34:53 | |
Douglas, I must introduce your team to... | 0:34:53 | 0:34:55 | |
It's the mackintosh. | 0:34:55 | 0:34:57 | |
You left it on the table. | 0:35:03 | 0:35:04 | |
-Thank you. -How about a brandy to celebrate? | 0:35:05 | 0:35:08 | |
Well, I'd love to, but... | 0:35:08 | 0:35:10 | |
beyond that door women are not allowed. | 0:35:10 | 0:35:13 | |
What is it about you men? | 0:35:16 | 0:35:19 | |
You always need a tiny corner where we can't quite reach you. | 0:35:19 | 0:35:22 | |
Then we'll have to take you elsewhere. | 0:35:23 | 0:35:25 | |
Come on, I'm good at smuggling contraband. | 0:35:25 | 0:35:28 | |
This is highly illegal. | 0:35:39 | 0:35:41 | |
That's what makes it so much more enjoyable. | 0:35:41 | 0:35:44 | |
How can you bear that man talking to you like that? | 0:36:03 | 0:36:05 | |
We'd be foolish to make an enemy of anyone close to government, Mr Madden. | 0:36:05 | 0:36:10 | |
Hector. | 0:36:10 | 0:36:12 | |
Hero of Troy. | 0:36:12 | 0:36:15 | |
Father with pretensions of a scholar. | 0:36:15 | 0:36:18 | |
And mother? | 0:36:20 | 0:36:21 | |
Oh, she died, when I was ten. | 0:36:21 | 0:36:25 | |
I've been out long enough. | 0:36:39 | 0:36:41 | |
Some of us have work to do. | 0:36:41 | 0:36:43 | |
So it's true what they say? | 0:36:43 | 0:36:44 | |
You work twice as hard as any man and none is half as good as you. | 0:36:44 | 0:36:49 | |
I enjoy the company of men. | 0:36:49 | 0:36:51 | |
Is it true you covered McCarthy's Lincoln Day speech? | 0:36:51 | 0:36:55 | |
With a tape recorder that didn't work. | 0:36:57 | 0:37:00 | |
Well, I don't believe you're prepared to give up this job for Mr Lyon. | 0:37:00 | 0:37:04 | |
I think you'll do whatever it takes. | 0:37:04 | 0:37:06 | |
Take the afternoon off. | 0:37:10 | 0:37:12 | |
You'll be out by the end of the week anyway. | 0:37:12 | 0:37:15 | |
I hope you're not going to be this lax when I'm your producer. | 0:37:21 | 0:37:24 | |
Talk to Mr Lyon. | 0:37:28 | 0:37:30 | |
I intend to. He doesn't listen to anyone but himself. | 0:37:31 | 0:37:35 | |
-This shouldn't be open. They told me it was going to be kept locked. -They? | 0:37:48 | 0:37:54 | |
I have an appointment with Mr Darrall. | 0:37:54 | 0:37:57 | |
Oh. Professor Darrall sadly passed away last night. | 0:37:57 | 0:38:00 | |
Oh, I'm so sorry. | 0:38:01 | 0:38:03 | |
You knew him? | 0:38:03 | 0:38:05 | |
No, but I hoped to. | 0:38:05 | 0:38:07 | |
-If you'd like to talk to the bursar... -Was he married? | 0:38:08 | 0:38:12 | |
Professor Darrall? Er, no, I don't believe so. | 0:38:12 | 0:38:15 | |
Tragic. | 0:38:17 | 0:38:19 | |
Apparently it was a robbery. | 0:38:19 | 0:38:21 | |
You've spoken to the police? | 0:38:21 | 0:38:23 | |
Well, I'm sure it will be in the afternoon press. | 0:38:23 | 0:38:25 | |
All right, sir? | 0:38:45 | 0:38:46 | |
Um, do you recognise this man? He works near here. | 0:39:03 | 0:39:06 | |
Yeah, came in last night, just as I was closing up. | 0:39:07 | 0:39:11 | |
He didn't have no change. I told him he could pay me tomorrow, | 0:39:11 | 0:39:14 | |
but he insisted I take this as security. | 0:39:14 | 0:39:17 | |
It seemed a bit much for a packet of smokes. | 0:39:17 | 0:39:20 | |
The thing is that he didn't come back. | 0:39:20 | 0:39:22 | |
Orchids. You should talk to your banker. | 0:39:34 | 0:39:38 | |
They really are an awful cliche. | 0:39:38 | 0:39:40 | |
George. | 0:39:42 | 0:39:43 | |
George. | 0:39:47 | 0:39:49 | |
You know I'm leaving, don't you? | 0:39:50 | 0:39:52 | |
What? | 0:39:54 | 0:39:56 | |
If I'm about to lose two of my best journalists then I'm entitled to feel a little sore. | 0:39:56 | 0:40:00 | |
You're a big girl, Bel, so I'll tell you this for nothing. | 0:40:01 | 0:40:05 | |
I know, because there are no secrets in this place. | 0:40:05 | 0:40:08 | |
You'll have your strings yanked like the rest of us. | 0:40:08 | 0:40:11 | |
-No, George. -You'll see. | 0:40:11 | 0:40:14 | |
There you are, Georgie. | 0:40:14 | 0:40:15 | |
An eminent professor is found with his throat cut | 0:40:15 | 0:40:18 | |
and it's reported as a robbery. No inquest. No search for suspects. | 0:40:18 | 0:40:22 | |
Every seam in his suit has been cut. MI6 visited the mortuary. | 0:40:22 | 0:40:25 | |
Missed your slot. Programme's been filled. | 0:40:25 | 0:40:28 | |
When does MI6 visit the body of a robbery victim? | 0:40:30 | 0:40:33 | |
-They won't even answer my questions. -Why should they? They're MI6. | 0:40:33 | 0:40:37 | |
What? And we should never challenge that? | 0:40:37 | 0:40:39 | |
He still had his wallet and his watch. | 0:40:39 | 0:40:41 | |
Give me another 24 hours and I know I can follow it up, George. | 0:40:41 | 0:40:44 | |
Though I share your desire to live in the pages of an Ian Fleming novel, Mr Lyon, | 0:40:44 | 0:40:49 | |
I prefer to keep my life separate from a work of fiction. | 0:40:49 | 0:40:52 | |
No! This is happening now, right now, outside this building, | 0:40:52 | 0:40:55 | |
down on those streets, and we are doing a disservice to the public to deny it. | 0:40:55 | 0:40:59 | |
You won't run this, but you'll run footage of Ruth Elms smiling at her engagement? | 0:40:59 | 0:41:03 | |
No, the film blew. The bobsleigh - also gone. | 0:41:03 | 0:41:05 | |
-Eddie thinks there's something wrong with the machine. -For God's sake. | 0:41:05 | 0:41:09 | |
Have you had a single original thought in your life? | 0:41:09 | 0:41:12 | |
Do you want to die knowing you were always a yes man? | 0:41:12 | 0:41:14 | |
If you'll excuse me, I have a news programme to get out. | 0:41:16 | 0:41:20 | |
Do you know more people watch The Sooty Show than us, George? | 0:41:24 | 0:41:28 | |
You're sacked. | 0:41:28 | 0:41:29 | |
Accepted. | 0:41:30 | 0:41:32 | |
Freddie. | 0:41:32 | 0:41:33 | |
Buzz off, Moneypenny. | 0:41:38 | 0:41:39 | |
It is true, I am asking myself why I am doing this, | 0:41:43 | 0:41:46 | |
especially as it is you who should be apologising to me. | 0:41:46 | 0:41:49 | |
-But that's what you do when you believe in someone. -You let me go in there. | 0:41:49 | 0:41:54 | |
I should have told you. I'm sorry. | 0:41:54 | 0:41:56 | |
-But home affairs is... -Not presenter. Not good enough. | 0:41:56 | 0:42:00 | |
But most of all not here! Don't you want to get out? | 0:42:00 | 0:42:02 | |
Who else is going to have you? | 0:42:02 | 0:42:05 | |
-You know some nice girl needs to rescue you. -Who? | 0:42:08 | 0:42:11 | |
There's only ever been you. | 0:42:11 | 0:42:15 | |
And you're not even that nice. | 0:42:19 | 0:42:21 | |
All right, you sit here, pulling apart some stupid cigarette case | 0:42:29 | 0:42:34 | |
-when next week you could be... -Before, it was an offer I declined. | 0:42:34 | 0:42:37 | |
Now, it's a pity post, which I just can't. | 0:42:37 | 0:42:39 | |
-Won't. -No. And don't ask again, because, quite frankly, | 0:42:39 | 0:42:42 | |
it's getting very tedious, your inability to stand on your own two feet. | 0:42:42 | 0:42:46 | |
But then I suppose one should expect that from you. | 0:42:48 | 0:42:51 | |
I mean, for all your strong talk, Moneypenny, | 0:42:51 | 0:42:54 | |
you really are quite hopeless, aren't you? | 0:42:54 | 0:42:56 | |
You want to be, oh, so independent | 0:42:56 | 0:42:58 | |
but you just can't quite cut it alone. | 0:42:58 | 0:43:02 | |
Why else do you throw yourself at such unavailable men? | 0:43:04 | 0:43:06 | |
Bravo. | 0:43:08 | 0:43:09 | |
PHONE RINGS | 0:43:20 | 0:43:22 | |
Yes? | 0:43:24 | 0:43:25 | |
'Yes?' | 0:43:26 | 0:43:28 | |
Nothing. They've reported nothing. | 0:43:28 | 0:43:32 | |
I'm sorry, but... | 0:43:34 | 0:43:35 | |
you were stupid to ask me to help you | 0:43:35 | 0:43:37 | |
'and I was even more stupid to think that I could.' | 0:43:37 | 0:43:40 | |
Are you still there? | 0:43:43 | 0:43:45 | |
'Ruthie?' | 0:43:47 | 0:43:48 | |
Never give up, Freddie. Never. | 0:43:48 | 0:43:50 | |
'If it's something you truly care about, believe in, | 0:43:50 | 0:43:54 | |
'then you have to keep kicking back. | 0:43:54 | 0:43:56 | |
'Let the rest of them give up if they must, | 0:43:56 | 0:43:58 | |
'but if that is being a grown-up...' | 0:43:58 | 0:44:01 | |
..I'd rather stay 21 forever. | 0:44:03 | 0:44:05 | |
Ruthie? | 0:44:08 | 0:44:10 | |
-OPERATOR: -'Sir, could you please hang up?' | 0:44:10 | 0:44:13 | |
Could you tell me where this call is being made from, please? | 0:44:13 | 0:44:16 | |
'The Claringdon Hotel, sir.' | 0:44:16 | 0:44:17 | |
Bel and I are leaving in five minutes. | 0:44:26 | 0:44:29 | |
Stop being such a coward. | 0:44:29 | 0:44:30 | |
When I was in France, there were these men. | 0:44:33 | 0:44:35 | |
I'd... I'd loosely call them journalists, but they were never at the front. | 0:44:35 | 0:44:41 | |
They never stuck their head above the parapet, | 0:44:41 | 0:44:43 | |
they were terrified of being shot. | 0:44:43 | 0:44:45 | |
Yet they wrote some of the best battle reportage I've ever read - | 0:44:45 | 0:44:48 | |
filched most of it from us and what they didn't know, they'd make up. | 0:44:48 | 0:44:53 | |
But you're not one of them. And you'll never truly know, Freddie, | 0:44:53 | 0:44:56 | |
unless you stick your neck out and get yourself a bit muddy. | 0:44:56 | 0:45:00 | |
Come on, jump. I dare you. | 0:45:01 | 0:45:04 | |
-Coming for a drink? -Already drunk. | 0:45:27 | 0:45:30 | |
But I don't smoke. | 0:45:32 | 0:45:33 | |
Save it for later. | 0:45:33 | 0:45:35 | |
I wondered if you could have a look at this, Mr Lyon? | 0:45:36 | 0:45:39 | |
I'd really appreciate your opinion. | 0:45:39 | 0:45:41 | |
"The tradition of Freedom of the City of London dates back to | 0:45:41 | 0:45:45 | |
"the 13th century when it attracted privileges including | 0:45:45 | 0:45:48 | |
"being allowed to go about the city with a drawn sword." | 0:45:48 | 0:45:52 | |
-Did George ask you to write this? -Yes. | 0:45:52 | 0:45:54 | |
It's very, um... | 0:45:56 | 0:45:58 | |
It's very, um...nice and clear. | 0:45:58 | 0:46:03 | |
It's... It's boring. | 0:46:03 | 0:46:05 | |
Yes. | 0:46:05 | 0:46:07 | |
I thought so. | 0:46:07 | 0:46:08 | |
You forgot your lamp. | 0:46:43 | 0:46:44 | |
It's just a piece of tat I picked up somewhere. | 0:46:44 | 0:46:47 | |
April. 1952. Your birthday. I bought it from John Lewis. | 0:46:47 | 0:46:50 | |
-A yellow desk light. Just what every girl needs. -Isaac! In. | 0:46:50 | 0:46:54 | |
What are you doing? | 0:46:54 | 0:46:55 | |
I thought we'd come along for the ride. | 0:46:55 | 0:46:57 | |
-Douglas has invited us for drinks at Lime Grove Studios. -Goody. | 0:46:57 | 0:47:02 | |
Children. There will be tears. | 0:47:02 | 0:47:04 | |
TV CHATTERS | 0:47:11 | 0:47:13 | |
Thank you. | 0:47:30 | 0:47:33 | |
Shall we leave our things over here? | 0:47:35 | 0:47:38 | |
I think that will be all right. > | 0:47:38 | 0:47:40 | |
What? Falling at the first hurdle? | 0:47:50 | 0:47:53 | |
You can do this job standing on your head, Moneypenny, | 0:47:54 | 0:47:57 | |
and don't let anyone tell you otherwise. | 0:47:57 | 0:47:59 | |
Not me, not George, not your stupid bloody banker. | 0:47:59 | 0:48:03 | |
You're the best man for the job, and you know it. | 0:48:03 | 0:48:07 | |
Is that your idea of an apology? | 0:48:07 | 0:48:10 | |
After I gave you that lamp, we ate at that terrible Chinese. | 0:48:10 | 0:48:13 | |
It's an angle-poise because you press your face too close to the page when you read | 0:48:13 | 0:48:17 | |
and there's never enough light. | 0:48:17 | 0:48:19 | |
You won't wear glasses because you say your nose is too small | 0:48:19 | 0:48:22 | |
and with glasses you'd look like a mole... | 0:48:22 | 0:48:25 | |
Which you don't... Wouldn't... | 0:48:25 | 0:48:27 | |
They'd suit you. You'd look just as... | 0:48:27 | 0:48:30 | |
fairly beautiful as you are. | 0:48:30 | 0:48:32 | |
It's yellow because you said no-one wants a yellow lamp. | 0:48:32 | 0:48:35 | |
So I thought if I got if for you in yellow then no-one would steal it from your desk. | 0:48:35 | 0:48:39 | |
I do give these things quite a lot of consideration, you see... | 0:48:41 | 0:48:44 | |
The devil is in the detail. | 0:48:44 | 0:48:47 | |
And what you said about my story... | 0:48:47 | 0:48:51 | |
you're right. George will never run it. | 0:48:51 | 0:48:55 | |
An academic, seemingly eminent, has his throat slit in a suburban street. | 0:48:55 | 0:48:59 | |
Who wants to hear that? It shouldn't stop me. | 0:48:59 | 0:49:01 | |
-That's why I am pulling apart a cigarette case. -I want to hear you say it. | 0:49:01 | 0:49:05 | |
I get first choice of desk. And I want an office with a window. | 0:49:09 | 0:49:13 | |
And an assistant. | 0:49:13 | 0:49:14 | |
I'll absolutely need an assistant. | 0:49:14 | 0:49:17 | |
And I won't do the farming slots. | 0:49:19 | 0:49:21 | |
And? | 0:49:25 | 0:49:26 | |
May I accept the offer that I so... | 0:49:30 | 0:49:34 | |
Rudely. | 0:49:34 | 0:49:37 | |
So rudely declined? | 0:49:35 | 0:49:37 | |
The Hour! | 0:49:56 | 0:49:58 | |
It'll never run. | 0:49:59 | 0:50:01 | |
-Mr Lyon. -Mr Madden. | 0:50:05 | 0:50:07 | |
-Looking forward to working with you. -At least that makes one of us. | 0:50:07 | 0:50:11 | |
-Thank you. -Thank you. | 0:50:15 | 0:50:17 | |
Welcome on board, comrade. | 0:50:19 | 0:50:22 | |
GENERAL CHATTER MUSIC PLAYS | 0:50:33 | 0:50:36 | |
-Help us out, have a look, see what you can do! -There's nothing to worry about. | 0:50:40 | 0:50:45 | |
Clarence. I... | 0:50:50 | 0:50:52 | |
Don't say it. | 0:50:52 | 0:50:54 | |
New slate, new day. | 0:50:54 | 0:50:56 | |
-You're always watching. -I find it helps. | 0:51:18 | 0:51:21 | |
Otherwise one tends to walk into walls, doors, that sort of thing. | 0:51:23 | 0:51:26 | |
Yes, she said you were witty. | 0:51:26 | 0:51:28 | |
She's easy to make laugh. | 0:51:28 | 0:51:31 | |
So tell me about yourself, Mr Lyon. | 0:51:31 | 0:51:33 | |
No. | 0:51:43 | 0:51:45 | |
Isaac! | 0:51:46 | 0:51:47 | |
Isaac, the cigarette... | 0:51:49 | 0:51:51 | |
The cigarette that I... | 0:51:51 | 0:51:53 | |
Bingo! | 0:52:12 | 0:52:14 | |
MUSIC DROWNS SPEECH | 0:52:21 | 0:52:25 | |
How did you know I like them? | 0:52:28 | 0:52:29 | |
All beautiful women like orchids. | 0:52:29 | 0:52:31 | |
Do they really fall for that line? | 0:52:31 | 0:52:34 | |
Is it bad? | 0:52:34 | 0:52:36 | |
Very bad. | 0:52:36 | 0:52:39 | |
< Darling, there you are. | 0:52:39 | 0:52:42 | |
Well, somebody obviously did. | 0:52:42 | 0:52:44 | |
That's your...? | 0:52:44 | 0:52:46 | |
Wife. | 0:52:46 | 0:52:48 | |
Of course. | 0:52:48 | 0:52:51 | |
-And your? -Father-in-law. | 0:52:51 | 0:52:54 | |
Douglas and he have been friends for years. | 0:52:54 | 0:52:59 | |
And I thought it was because you had such a pretty face. | 0:52:59 | 0:53:03 | |
Hello, you look so handsome! | 0:53:05 | 0:53:08 | |
Here he is - the face of tomorrow. | 0:53:08 | 0:53:11 | |
Congratulations, Hector. | 0:53:11 | 0:53:13 | |
Thank you, Wallace. | 0:53:13 | 0:53:14 | |
Ladies and gentleman, may I have your attention. | 0:53:15 | 0:53:19 | |
We are embarking | 0:53:19 | 0:53:23 | |
on what I hope is to become a truly exciting journey. | 0:53:23 | 0:53:29 | |
To the dawn of a new era. | 0:53:29 | 0:53:32 | |
The Hour is coming. | 0:53:32 | 0:53:37 | |
ALL: The Hour! | 0:53:37 | 0:53:39 | |
RADIO PLAYS INTERVIEW | 0:53:45 | 0:53:47 | |
RADIO PLAYS JIVE MUSIC | 0:55:09 | 0:55:10 | |
Ruth? | 0:55:28 | 0:55:30 | |
Ruthie, it's just me. | 0:55:32 | 0:55:34 | |
Hello? | 0:55:36 | 0:55:37 | |
CHOKING | 0:55:44 | 0:55:47 | |
Ruth! | 0:55:48 | 0:55:50 | |
SHE GASPS AND CHOKES | 0:55:51 | 0:55:53 | |
Ruth! | 0:55:54 | 0:55:56 | |
SHE GASPS | 0:55:59 | 0:56:01 | |
Ruthie! Ruthie! | 0:56:05 | 0:56:08 | |
TELEPHONE RINGS | 0:56:31 | 0:56:36 | |
Hello. | 0:56:39 | 0:56:40 | |
'Did you fire Mr Lyons?' | 0:56:40 | 0:56:42 | |
Yes, he's someone else's problem now. | 0:56:42 | 0:56:46 | |
'Good evening, Reception.' | 0:57:10 | 0:57:12 | |
Yes, hello. The police, could you call the police, please? | 0:57:12 | 0:57:15 | |
-'Which room, sir?' -This is room 214. | 0:57:15 | 0:57:18 | |
'Could you hold, please?' | 0:57:18 | 0:57:20 | |
Are you in discomfort, | 0:57:57 | 0:57:59 | |
or does it just SEEM as if you have a pickle up your backside? | 0:57:59 | 0:58:01 | |
I want that man banned from the set! | 0:58:01 | 0:58:03 | |
-The World Service sent him up. This is Mr... -Kish. Thomas Kish. | 0:58:03 | 0:58:09 | |
She wanted me to help her. | 0:58:09 | 0:58:10 | |
And did you? | 0:58:10 | 0:58:12 | |
I run a news programme. | 0:58:12 | 0:58:14 | |
I wanted to illuminate the situation. | 0:58:14 | 0:58:16 | |
But you cannot go ahead with this interview. | 0:58:16 | 0:58:18 | |
Subtitles by Red Bee Media Ltd | 0:58:38 | 0:58:41 | |
E-mail [email protected] | 0:58:41 | 0:58:44 |