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This new programme - it's everything we've been waiting for. | 0:00:02 | 0:00:05 | |
Mr Lyon. I'm a very big fan of your work. | 0:00:05 | 0:00:06 | |
Which bit of my work? | 0:00:06 | 0:00:08 | |
Have you heard of Peter Darrall? He was killed last night. | 0:00:09 | 0:00:13 | |
It'll be reported as a robbery. | 0:00:13 | 0:00:15 | |
It wasn't. | 0:00:15 | 0:00:16 | |
McCain's in. | 0:00:20 | 0:00:21 | |
We are embarking on a truly exciting journey. | 0:00:23 | 0:00:27 | |
The Hour is coming. | 0:00:28 | 0:00:30 | |
Look at this man. | 0:01:04 | 0:01:05 | |
This is Mr Reginald Thomson. | 0:01:07 | 0:01:09 | |
Like many young men newly arrived from the West Indies, | 0:01:09 | 0:01:11 | |
he needs a place to rest for the night. | 0:01:11 | 0:01:14 | |
Not far from Victoria would be best. | 0:01:14 | 0:01:16 | |
He starts a new job at the railway station tomorrow | 0:01:16 | 0:01:18 | |
and he wants to be on time for work. | 0:01:18 | 0:01:20 | |
Now look to my left. This is Mr Alfred Baker, | 0:01:21 | 0:01:24 | |
also newly arrived in the city, also about to take up employment tomorrow | 0:01:24 | 0:01:29 | |
in the clerk's office close to Lincoln's Inn. | 0:01:29 | 0:01:31 | |
Victoria is not an ideal location... | 0:01:38 | 0:01:41 | |
And now comes the smile. | 0:01:41 | 0:01:43 | |
-..but it's cheap and needs must. -Yes, there it is. | 0:01:43 | 0:01:46 | |
Here's what happened when we followed them in their search for lodgings. | 0:01:46 | 0:01:50 | |
Counting down three, two, one - | 0:01:50 | 0:01:54 | |
roll, Freddie. I'm going in. | 0:01:54 | 0:01:56 | |
Victoria, you will find a hotel or a bed and breakfast | 0:01:57 | 0:02:00 | |
on every street to take a guest in search of shelter. | 0:02:00 | 0:02:03 | |
-Are you in discomfort or does it just seem as if you have a pickle up your backside? -..Freddie. | 0:02:04 | 0:02:10 | |
I want that man banned from the set. | 0:02:11 | 0:02:13 | |
It's camera two then back to camera one. | 0:02:13 | 0:02:15 | |
Three cameras, three lights. You're a beat behind every time. | 0:02:17 | 0:02:21 | |
75,000 immigrants arriving from the colonies, all with hopes... | 0:02:21 | 0:02:25 | |
When it's red, you hit your light. | 0:02:25 | 0:02:28 | |
If I could see my light then I would hit my light. | 0:02:28 | 0:02:30 | |
Clear the set, please, Ladies and gentleman. | 0:02:30 | 0:02:33 | |
He's here. Go in hard on the first question. Have you got them? | 0:02:33 | 0:02:37 | |
Yes. I know what I'm doing. | 0:02:37 | 0:02:39 | |
Mr Thomson, could you tell us what happened? | 0:02:39 | 0:02:41 | |
The lady was very polite... | 0:02:41 | 0:02:43 | |
Ron, star jumps behind the bloody camera if you have to. | 0:02:43 | 0:02:47 | |
Behave. | 0:02:49 | 0:02:51 | |
Mr Lyon... | 0:02:51 | 0:02:52 | |
..I can't breathe. | 0:02:52 | 0:02:53 | |
I'll let the American Space Programme know. | 0:02:53 | 0:02:56 | |
If you're white, then you're all right. | 0:02:59 | 0:03:02 | |
Freddie Lyon, reporting for The Hour. | 0:03:02 | 0:03:05 | |
OK, and go to camera two... | 0:03:05 | 0:03:09 | |
One, er, one, camera one. Sorry. | 0:03:09 | 0:03:12 | |
-Good evening Mr Gabot. -It's Gabord, not Gabot. | 0:03:12 | 0:03:14 | |
You're an expert on immigration. That was an interesting insight | 0:03:14 | 0:03:18 | |
into the prejudice faced by an immigrant arriving in London. | 0:03:18 | 0:03:21 | |
Well, yes, it was, | 0:03:21 | 0:03:22 | |
although I don't know the Notting Hill area well. | 0:03:22 | 0:03:26 | |
-Something's wrong. -Ask the question! Ask the bloody question! | 0:03:27 | 0:03:30 | |
And where are you from? | 0:03:30 | 0:03:32 | |
Well, actually, Biggin Hill. | 0:03:33 | 0:03:34 | |
The congestion is particularly bad... | 0:03:34 | 0:03:37 | |
Interrupt him! Interrupt! | 0:03:37 | 0:03:40 | |
..the A232 and join the A236 at Croydon... | 0:03:40 | 0:03:42 | |
He hasn't got the questions. | 0:03:43 | 0:03:45 | |
..to Wandsworth Bridge. | 0:03:45 | 0:03:47 | |
Once over the river I do find it's preferable to follow the Fulham Palace Road. | 0:03:47 | 0:03:51 | |
Anything rather than face the hoards on the Bayswater Road. | 0:03:51 | 0:03:55 | |
I'm sure your viewers would agree with that. | 0:03:55 | 0:03:57 | |
Three weeks... | 0:03:57 | 0:03:59 | |
..you said three weeks. | 0:03:59 | 0:04:01 | |
Four. I said give him four. | 0:04:01 | 0:04:03 | |
And we're clear. That's a wrap, everyone. | 0:04:06 | 0:04:09 | |
Erm, hello? | 0:04:11 | 0:04:14 | |
Ron, move that Mars set. | 0:04:14 | 0:04:16 | |
We won't be needing it. | 0:04:16 | 0:04:17 | |
How difficult is it? | 0:04:21 | 0:04:22 | |
We write the questions, you ask them. | 0:04:22 | 0:04:24 | |
Questions on the future of the British Colony of Cyprus, | 0:04:24 | 0:04:27 | |
a slot you scrapped? | 0:04:27 | 0:04:28 | |
It's not my fault you don't pick up the right sheet. | 0:04:28 | 0:04:31 | |
-I'm not a bloody puppet. -No, you're right. The puppet wanted more. -Freddie.. Away. | 0:04:31 | 0:04:37 | |
Right. Your charm is wearing thin, Hector. | 0:04:40 | 0:04:43 | |
I wouldn't call it charm. | 0:04:43 | 0:04:44 | |
I call it trying to make the best of a shoddily run show. | 0:04:44 | 0:04:47 | |
It's a farce. It's a bloody farce. | 0:04:47 | 0:04:50 | |
Mad arm waving, you screaming at me. | 0:04:50 | 0:04:52 | |
No, you are the farce. You. | 0:04:53 | 0:04:55 | |
-Clarence. -Clarence! | 0:04:57 | 0:04:59 | |
We've got a terrific piece for next week on the credit squeeze. It's very exciting, very exciting. | 0:04:59 | 0:05:04 | |
-I look forward to it. -You should, you really should. -Good night! | 0:05:04 | 0:05:07 | |
Brilliant. | 0:05:10 | 0:05:11 | |
I'm sorry. | 0:05:11 | 0:05:13 | |
Next week... | 0:05:15 | 0:05:16 | |
..do better. Please do better, | 0:05:18 | 0:05:20 | |
because if you don't then Freddie wins 12 shillings | 0:05:20 | 0:05:23 | |
and my entire Bill Haley collection. | 0:05:23 | 0:05:26 | |
KNOCK ON DOOR | 0:05:39 | 0:05:40 | |
You're pathetic. | 0:05:55 | 0:05:56 | |
Merci, madame. | 0:06:01 | 0:06:02 | |
Ah, here. | 0:06:02 | 0:06:04 | |
Oh, don't give him any. They won't let him on the flight. | 0:06:04 | 0:06:07 | |
You're on fiery form tonight. | 0:06:07 | 0:06:09 | |
Drink up. | 0:06:11 | 0:06:12 | |
Whisky is God's way of telling us that he loves us | 0:06:12 | 0:06:15 | |
and he wants us to be happy. | 0:06:15 | 0:06:17 | |
Night. | 0:06:17 | 0:06:18 | |
Oh, no, thanks. I'm all squiffy on a shandy. Do you need anything else, Miss Rowley? | 0:06:18 | 0:06:23 | |
-No, it's fine. I'll see you on Monday. -OK, night. | 0:06:23 | 0:06:28 | |
ALL: Night. | 0:06:28 | 0:06:29 | |
Rumour has it she can type. | 0:06:29 | 0:06:31 | |
She's probably taking the A297423. | 0:06:32 | 0:06:34 | |
Biggin Hill. | 0:06:34 | 0:06:37 | |
-ALL LAUGH -It was rather like a flaying fish. | 0:06:37 | 0:06:39 | |
LAUGHTER CONTINUES | 0:06:39 | 0:06:41 | |
Really, Mr Gabot! Do tell! | 0:06:46 | 0:06:48 | |
Do tell us more. | 0:06:48 | 0:06:51 | |
-Well, I usually take the A2678453 to absolutely the middle of going nowhere. -Ssh. He's outside! | 0:06:51 | 0:06:57 | |
-LAUGHTER -Never mind the immigration crisis... | 0:06:57 | 0:07:02 | |
Lift and shove. | 0:07:02 | 0:07:04 | |
Lift... Lift and shove. BANGING AT DOOR | 0:07:04 | 0:07:06 | |
Lift and shove! | 0:07:06 | 0:07:08 | |
Lift! And shove! | 0:07:08 | 0:07:10 | |
SHE LAUGHS | 0:07:10 | 0:07:12 | |
That is really very dangerous. | 0:07:12 | 0:07:16 | |
For the person trying to get in or for the person trying to get out? | 0:07:16 | 0:07:21 | |
What if there was a fire and you couldn't get out? | 0:07:23 | 0:07:26 | |
Or someone tried to break in? I could unpick that with a toothpick if I wanted to. | 0:07:26 | 0:07:30 | |
Really, Bel, it's hopeless. | 0:07:30 | 0:07:31 | |
Oh, Freddie, you're very sweet... when you're not being such a mutant. | 0:07:31 | 0:07:35 | |
Oh, no. | 0:07:39 | 0:07:40 | |
I'll have to do this lying down. | 0:07:41 | 0:07:43 | |
Nice to see my Bill Haley collection. | 0:07:57 | 0:08:00 | |
Just checking for scratches. | 0:08:02 | 0:08:04 | |
It was all a bad dream. | 0:08:05 | 0:08:07 | |
Don't be wet. | 0:08:08 | 0:08:09 | |
I think I might cry now. | 0:08:09 | 0:08:12 | |
No, don't look at me. | 0:08:12 | 0:08:13 | |
HE CLEARS HIS THROAT | 0:08:17 | 0:08:18 | |
Have you finished? | 0:08:21 | 0:08:23 | |
No. | 0:08:23 | 0:08:24 | |
Yes. No. No, not yet. | 0:08:26 | 0:08:29 | |
It's all gone horribly wrong. | 0:08:33 | 0:08:35 | |
Teething troubles. | 0:08:38 | 0:08:39 | |
You did it on purpose, didn't you? | 0:08:41 | 0:08:44 | |
Gave Hector the wrong questions? | 0:08:45 | 0:08:47 | |
No. | 0:08:47 | 0:08:48 | |
-HE SIGHS -Yes. I don't know. | 0:08:50 | 0:08:52 | |
-I'm not sleeping brilliantly at the moment. -Oh, you should sleep. | 0:08:55 | 0:08:59 | |
Everyone needs their beauty sleep. | 0:09:00 | 0:09:03 | |
Not everyone. | 0:09:22 | 0:09:24 | |
GENERAL CHATTER | 0:10:50 | 0:10:53 | |
'I'm not speaking to you.' | 0:10:53 | 0:10:55 | |
What do you expect me to say? | 0:10:57 | 0:10:58 | |
Peter was a...a nice chap. A little flirtatious, perhaps. | 0:10:58 | 0:11:02 | |
I don't really approve of that sort of thing, all these young girls. It...it does go on, of course. | 0:11:02 | 0:11:07 | |
-You shared the same office. -And rarely spoke. The odd formal dinner, a coffee here or there. | 0:11:07 | 0:11:12 | |
-He liked to fish. I do not. -Why are you lying to me? | 0:11:14 | 0:11:17 | |
He was short of money. I was very busy. | 0:11:20 | 0:11:24 | |
He'd fill in for me every other week. | 0:11:24 | 0:11:26 | |
-Fill in? -Crosswords. | 0:11:26 | 0:11:28 | |
I set the crosswords. Peter was always very interested. | 0:11:28 | 0:11:33 | |
Really, I...I'm very sorry. | 0:11:35 | 0:11:37 | |
Which newspaper? Which newspaper did he set the crossword for? | 0:11:37 | 0:11:41 | |
Evening Standard. | 0:11:42 | 0:11:44 | |
The last one he set was printed the day after he died. | 0:11:47 | 0:11:51 | |
That's done it. | 0:11:56 | 0:11:57 | |
I'm terribly sorry. | 0:12:19 | 0:12:20 | |
-Clarence. -Miss Rowley. | 0:12:29 | 0:12:31 | |
Yes... | 0:12:33 | 0:12:35 | |
Sorry? | 0:12:35 | 0:12:37 | |
"Though his glare may so far be a little dim, | 0:12:37 | 0:12:40 | |
"let us pray Mr Madden will guide this rudderless ship, namely The Hour. | 0:12:40 | 0:12:44 | |
"There is only so long that one can wait. | 0:12:44 | 0:12:46 | |
"One can only hope for a better tomorrow." | 0:12:46 | 0:12:49 | |
LIFT DOORS PING | 0:12:50 | 0:12:52 | |
Shall we? | 0:12:53 | 0:12:55 | |
Freddie. | 0:13:12 | 0:13:14 | |
You don't like me, do you? | 0:13:19 | 0:13:20 | |
-It's not personal. -Huh. | 0:13:20 | 0:13:22 | |
You went to a minor public school in... | 0:13:24 | 0:13:26 | |
Sherborne. | 0:13:26 | 0:13:27 | |
Not so minor, then. Where you excelled at cricket, rugby and fives. I bet you were... | 0:13:29 | 0:13:34 | |
-Head boy. -Then Cambridge, where everyone hoped for a first, | 0:13:34 | 0:13:37 | |
but sadly you partied more than you should, | 0:13:37 | 0:13:39 | |
met the right people and had a ball. Your parents were naturally disappointed, | 0:13:39 | 0:13:44 | |
but what's an upper...lower second? | 0:13:44 | 0:13:48 | |
Third? | 0:13:48 | 0:13:49 | |
Still, you had fun. | 0:13:51 | 0:13:53 | |
-Indeed I did. -Whereas mugs like me slaved away at a second-rate university | 0:13:53 | 0:13:57 | |
with very little of what you call a good time for a paltry, unrecognised first - | 0:13:57 | 0:14:02 | |
most of it in a haze of misery, but I digress. | 0:14:02 | 0:14:05 | |
Then... No, not sure what happened then but probably... | 0:14:05 | 0:14:08 | |
-Welsh Guards. -You've seen service? | 0:14:08 | 0:14:12 | |
Oh, God, you've got a medal. | 0:14:12 | 0:14:14 | |
Two. | 0:14:14 | 0:14:15 | |
Ha... Absurd. | 0:14:15 | 0:14:18 | |
So after victory at the D-Day landing, you came home, | 0:14:19 | 0:14:22 | |
looked about you and set your sights on television presenting. | 0:14:22 | 0:14:25 | |
You started at a regional station, possibly Manchester? | 0:14:25 | 0:14:28 | |
I was on the sports desk. Occasional outside broadcast. | 0:14:28 | 0:14:32 | |
-But your wife didn't like the... -People. | 0:14:32 | 0:14:35 | |
She got on the phone to pater and before your insignificant producer could say, | 0:14:35 | 0:14:39 | |
"How did that happen?" he's watching you front your very own TV programme, | 0:14:39 | 0:14:42 | |
while he, despite 40 years of loyal service, | 0:14:42 | 0:14:45 | |
is stuck in Manchester, crying into his beer. | 0:14:45 | 0:14:48 | |
-As I say, it's not personal, I just don't like privilege. -God. | 0:14:49 | 0:14:53 | |
You're a snob. | 0:14:53 | 0:14:57 | |
-We can't use this, we have no... -No, no, no, it's got to be Egypt, Egypt, Egypt. | 0:14:57 | 0:15:02 | |
There are furious anti-British tirades playing continuously on their radio. | 0:15:02 | 0:15:06 | |
For weeks now. | 0:15:06 | 0:15:07 | |
Until you have something to break, we can't run it as a story yet. | 0:15:07 | 0:15:11 | |
-Freddie? -Abolition of hanging. | 0:15:11 | 0:15:12 | |
-Second reading in the House of Lords this afternoon. -Take a camera? -Mmm-hmm. | 0:15:12 | 0:15:17 | |
Right, anyone else? | 0:15:17 | 0:15:19 | |
Thank you. Anyone else? | 0:15:19 | 0:15:20 | |
Time is ticking. We are cutting it fine, as ever. | 0:15:22 | 0:15:26 | |
-Again, Nasser? Egypt? -Thank you, Lix. | 0:15:26 | 0:15:28 | |
We have one day to go. We don't have a programme yet. | 0:15:28 | 0:15:31 | |
The premium bonds story works. | 0:15:31 | 0:15:32 | |
-Macmillan's backing it. -We could use the footage of the labour strike. | 0:15:32 | 0:15:37 | |
-Cutting it fine, but... -Brilliant. What question would you put to our Chancellor | 0:15:37 | 0:15:41 | |
-if, say, you were to interview him, Hector? -Preferably the right one. | 0:15:41 | 0:15:44 | |
But please do feel free to intervene, Mr Lyon - | 0:15:44 | 0:15:48 | |
a man of your impressive record. Any pointers you could throw my way? | 0:15:48 | 0:15:51 | |
-I still say we go with Egypt. -No. I think Hector's got the story. | 0:15:51 | 0:15:55 | |
-Oh! -It's what's of interest to the man on the street. Lix! -Isaac's got a very good piece on...uum... | 0:15:55 | 0:16:00 | |
Smokeless fuel. Life after the Clean Air Act. | 0:16:00 | 0:16:03 | |
Remarkable. Think you could manage that, Hector? | 0:16:03 | 0:16:06 | |
-Interviewing a slice of Irish bog? -I don't know. That depends. | 0:16:06 | 0:16:09 | |
If I'm given correct questions and they're less provocative, more succinct, | 0:16:09 | 0:16:13 | |
I won't grapple to find a decent interview. | 0:16:13 | 0:16:15 | |
I will not have you squabbling like this. You're like children. You're like bloody children! | 0:16:15 | 0:16:20 | |
-Is anybody listening to me? Egypt is the story... -I am not your mother | 0:16:20 | 0:16:24 | |
and I am not your nurse, so just grow up. All of you, just grow up. | 0:16:24 | 0:16:27 | |
I'm sorry. I can't work like this. Excuse me, Clarence. | 0:16:27 | 0:16:30 | |
Sorry, Clarence. | 0:16:38 | 0:16:39 | |
"The Hour is like watching the car you've always dreamed of | 0:16:39 | 0:16:43 | |
"being driven by a man who has never sat behind a wheel." | 0:16:43 | 0:16:47 | |
Telegraph. | 0:16:47 | 0:16:48 | |
Your job is to ensure Hector is prepared, | 0:16:52 | 0:16:54 | |
because you are not on the front line, Freddie, Hector is. | 0:16:54 | 0:16:58 | |
Bel tells me you're working on another story. | 0:17:01 | 0:17:03 | |
It's not ready yet. | 0:17:03 | 0:17:04 | |
Clarence... | 0:17:17 | 0:17:18 | |
-Rudderless? -At least they didn't say it was because you were a woman. | 0:17:22 | 0:17:25 | |
Perhaps they haven't noticed it yet. | 0:17:25 | 0:17:28 | |
Don't make me regret my choice, Bel. | 0:17:28 | 0:17:32 | |
Auribus tenere lupum, hmm? | 0:17:32 | 0:17:34 | |
"Grab the wolf by the ears." | 0:17:38 | 0:17:40 | |
Are you all right? | 0:17:52 | 0:17:54 | |
Absolutely. | 0:17:54 | 0:17:56 | |
-Is there a single bloody phone here that works? -No. | 0:17:56 | 0:17:59 | |
-We're between the BBC Home Service and Johnny Morris in priority, apparently. -He's mine. | 0:17:59 | 0:18:03 | |
The World Service sent him up. | 0:18:03 | 0:18:05 | |
He speaks Arabic. No harm in being ready, Bel. | 0:18:05 | 0:18:08 | |
Monitoring are sending transcripts of the Egyptian broadcasts. | 0:18:11 | 0:18:14 | |
I need someone to translate. | 0:18:14 | 0:18:16 | |
My man in Alexandria, well, he does his best, | 0:18:16 | 0:18:19 | |
but it's...it's schoolboy Arabic. | 0:18:19 | 0:18:22 | |
Lix has got a lackey? | 0:18:22 | 0:18:23 | |
When you have a president of a Middle Eastern country angry with half the Western world, | 0:18:23 | 0:18:28 | |
buying arms off the Soviets and whipping up crowds in Alexandria, | 0:18:28 | 0:18:31 | |
chances are, Egypt leads. | 0:18:31 | 0:18:35 | |
And Westminster's getting a little edgy. Tu ne penses pas? | 0:18:35 | 0:18:38 | |
Find him a desk. | 0:18:40 | 0:18:42 | |
I'm sorry. | 0:18:48 | 0:18:49 | |
You were unspeakable, Freddie. | 0:18:51 | 0:18:54 | |
I am your producer. You absolutely cannot talk like that in front of Clarence. | 0:18:57 | 0:19:01 | |
It's not just you and me. What's wrong with you? | 0:19:09 | 0:19:11 | |
I could, of course, bring up your obvious attraction to Cary Grant, | 0:19:11 | 0:19:15 | |
but ignoring that, which I won't, | 0:19:15 | 0:19:17 | |
-because you are quite frankly out of your mind... -I'm not listening. | 0:19:17 | 0:19:21 | |
He's slick, mediocre, smug. | 0:19:23 | 0:19:28 | |
I stopped listening at "mediocre". | 0:19:28 | 0:19:30 | |
Why did you not even consider me? | 0:19:32 | 0:19:34 | |
Because you're too goddamned ugly. | 0:19:37 | 0:19:39 | |
This is when you reference my brilliance off-camera, my essentiability... | 0:19:39 | 0:19:43 | |
-Not a word. -..that, without me, you really couldn't go on. | 0:19:43 | 0:19:48 | |
I couldn't go on. | 0:19:48 | 0:19:49 | |
PHONE RINGS | 0:19:50 | 0:19:53 | |
Bel Rowley. | 0:19:53 | 0:19:54 | |
CLICKING DOWN PHONE | 0:19:54 | 0:19:58 | |
Does yours keep doing this? | 0:19:58 | 0:20:01 | |
Police report. | 0:20:01 | 0:20:02 | |
It still says suicide, Freddie. | 0:20:08 | 0:20:10 | |
There are scratches all round the paint around the showerhead. | 0:20:10 | 0:20:13 | |
Like she tried to grip it to pull herself up. Like she struggled. | 0:20:13 | 0:20:17 | |
Everyone struggles when they're in the throes of dying. | 0:20:17 | 0:20:22 | |
-The body clings to life. -Second paragraph. | 0:20:22 | 0:20:25 | |
"Compression to the oesophagus, and fracture to second vertebra." | 0:20:25 | 0:20:28 | |
It's a seven-foot three-inch drop from showerhead to base of bath. At best, that's slow asphyxiation. | 0:20:28 | 0:20:34 | |
I don't think it'd break your neck, second vertebra. You'd have to hang from a tree or bridge. | 0:20:34 | 0:20:38 | |
-Or by violent force. -Is this really scientific? | 0:20:38 | 0:20:42 | |
She didn't kill herself. | 0:20:42 | 0:20:43 | |
They'll say that you fell for a 21-year-old's conspiracy theories... | 0:20:45 | 0:20:49 | |
-I made a promise to her. -..because they tapped into your own. -They did. They do. | 0:20:49 | 0:20:53 | |
I knew her. I stayed with her family during the war. | 0:20:58 | 0:21:02 | |
Peter Darrall was setting the crosswords in the Evening Standard every other week. | 0:21:06 | 0:21:10 | |
He was using them to send messages. | 0:21:10 | 0:21:14 | |
The perforations pick up certain letters. | 0:21:15 | 0:21:19 | |
Because he's a spy. | 0:21:22 | 0:21:23 | |
The last crossword he set was published the day he died. | 0:21:26 | 0:21:29 | |
-MI5? -MI6. | 0:21:29 | 0:21:32 | |
Maybe...he was killed by a Russian looking for this. | 0:21:32 | 0:21:36 | |
What does it say? | 0:21:36 | 0:21:37 | |
I don't know. I never finish crosswords. | 0:21:37 | 0:21:41 | |
Seven letters. "Many set free." Possibly an anagram. | 0:21:43 | 0:21:46 | |
-You know that a subscription to Marvel's All-True Crime doesn't make you a real detective? -Doesn't it? | 0:21:46 | 0:21:52 | |
-They publish the answers the next day. Why don't you...? -I would if I could bloody find it. | 0:21:53 | 0:21:58 | |
"Amnesty"! "Many set". | 0:22:00 | 0:22:02 | |
Very good. | 0:22:02 | 0:22:05 | |
-But not good enough to be considered as a frontman for The Hour, right? -Oh, God. | 0:22:05 | 0:22:10 | |
-It's a fact, Moneypenny. -And stop calling me that. | 0:22:12 | 0:22:15 | |
-As your producer, that qualifies me as something more than a secretary. -You know I have a story here. | 0:22:15 | 0:22:20 | |
No, you don't. Not yet. Abolition of hanging, House of Lords. | 0:22:20 | 0:22:23 | |
You know Lord Elms has an office there? | 0:22:25 | 0:22:29 | |
Be nice to Hector. | 0:22:32 | 0:22:35 | |
Why? | 0:22:35 | 0:22:36 | |
Sorry, do you mind? | 0:22:44 | 0:22:46 | |
Behave, Freddie. Ignore him. | 0:22:46 | 0:22:49 | |
He's a melancholic. | 0:22:49 | 0:22:51 | |
And thanking you again. | 0:22:51 | 0:22:54 | |
He likes to hoard newspapers, rather like a tramp. | 0:22:54 | 0:22:56 | |
No, I like to keep them, because one day they will have their use. | 0:22:56 | 0:23:01 | |
This is Mr... | 0:23:01 | 0:23:03 | |
Kish. Thomas Kish. Pretty girl. | 0:23:03 | 0:23:06 | |
Yes. | 0:23:08 | 0:23:09 | |
Just need a... | 0:23:12 | 0:23:13 | |
-Yes, of course, sorry. -Thank you. | 0:23:13 | 0:23:17 | |
-I didn't know where to put him so I thought you might share. -Oh, help yourself. | 0:23:17 | 0:23:21 | |
Isaac! | 0:23:24 | 0:23:25 | |
PHONE RINGS | 0:23:25 | 0:23:27 | |
Bel Rowley. | 0:23:27 | 0:23:29 | |
CLICKING ON LINE | 0:23:29 | 0:23:31 | |
MURMURED CONVERSATION | 0:23:36 | 0:23:38 | |
Hawley Harvey Crippen, John Christie, Ruth Ellis - | 0:23:49 | 0:23:53 | |
all hanged for very different heinous crimes. | 0:23:53 | 0:23:57 | |
But today, a momentous bill already passed in the House of Commons | 0:23:57 | 0:24:01 | |
is to be heard in the House of Lords which may put an end | 0:24:01 | 0:24:04 | |
to capital punishment in this country for good. | 0:24:04 | 0:24:07 | |
All I'm getting is rain. It's like court shoes on parquet. | 0:24:07 | 0:24:10 | |
Can we try inside? | 0:24:12 | 0:24:14 | |
Thank you. | 0:24:15 | 0:24:16 | |
You know, you always click your heel harder on the third step. | 0:24:16 | 0:24:20 | |
-No, I don't. -Yes, you do. | 0:24:20 | 0:24:22 | |
HEELS CLICK | 0:24:22 | 0:24:25 | |
We need to work on your links today. Say more. Smile less. | 0:24:26 | 0:24:30 | |
-Yes, I hear the newspapers don't like the smile? -Do you really not read them? | 0:24:30 | 0:24:35 | |
-Front page and sport. I find that normally covers it. -Incredible. -What? | 0:24:35 | 0:24:40 | |
I should be interested in the bored bile of some fat hack stuck in Fleet Street on an expense account? | 0:24:40 | 0:24:45 | |
-They refer to an absence of intellect. -They may be right. It's overrated. | 0:24:45 | 0:24:49 | |
You really don't care what they think? | 0:24:49 | 0:24:51 | |
I care what you think. | 0:24:51 | 0:24:53 | |
Four o'clock. In the studio. | 0:24:56 | 0:24:57 | |
-Ron, reel three is fine. -Thank you, Miss Rowley. | 0:24:59 | 0:25:02 | |
Miss Rowley. Your mother's here. | 0:25:02 | 0:25:04 | |
Yoo-hoo! | 0:25:06 | 0:25:08 | |
-What about here? -Well, it's as light as it's probably going to get. | 0:25:15 | 0:25:19 | |
Hello? | 0:25:40 | 0:25:41 | |
If it's pink, it's fish paste. | 0:26:23 | 0:26:25 | |
I can't stay much longer. It's madness today. | 0:26:28 | 0:26:30 | |
We should have gone to that little Italian. | 0:26:30 | 0:26:34 | |
Ooh. When did you cut your hair? | 0:26:34 | 0:26:37 | |
Umm... | 0:26:37 | 0:26:39 | |
-Last month, perhaps. I don't remember. -Platinum would suit you, darling. -Yes, | 0:26:39 | 0:26:43 | |
if I wanted to look like a lady who works the docks. | 0:26:43 | 0:26:46 | |
Darling, why don't we sit here? | 0:26:49 | 0:26:53 | |
-I've got to go now, Ma. -Oh, five more minutes. | 0:26:54 | 0:26:57 | |
Isn't that your editor? | 0:27:05 | 0:27:07 | |
Producer. | 0:27:07 | 0:27:08 | |
How old do you think she is? | 0:27:11 | 0:27:15 | |
I don't know. | 0:27:13 | 0:27:15 | |
She must be nearly 30. | 0:27:15 | 0:27:18 | |
28. | 0:27:16 | 0:27:18 | |
Thank you. | 0:27:18 | 0:27:19 | |
She looks just like that actress. | 0:27:22 | 0:27:23 | |
You know, the one we saw in that thingy? | 0:27:25 | 0:27:29 | |
-Where's the Bolshevik? -Out. | 0:27:29 | 0:27:31 | |
How's the broker? | 0:27:33 | 0:27:35 | |
Banker. He's fine, I expect. | 0:27:35 | 0:27:37 | |
I haven't seen him in weeks. | 0:27:37 | 0:27:40 | |
How's Bill? Clive? | 0:27:40 | 0:27:42 | |
Don't know. Don't care. | 0:27:42 | 0:27:45 | |
You worry so. | 0:27:45 | 0:27:47 | |
Is that her mother? Oh, God, it is, it's Verda Rowley. | 0:27:47 | 0:27:52 | |
Oh, she left her husband. | 0:27:54 | 0:27:56 | |
-Don't stare, darling. -Sorry. | 0:28:00 | 0:28:02 | |
I am quite back on my feet. In fact, it's really rather exciting. | 0:28:02 | 0:28:05 | |
-Where are you staying? -Cynthia's. | 0:28:05 | 0:28:07 | |
She's been marvellous. Oh, Robert's still appalling. | 0:28:07 | 0:28:13 | |
He reminded me I had a daughter with a very nice little flat. | 0:28:13 | 0:28:16 | |
Oh, please, God, no. | 0:28:19 | 0:28:23 | |
Just try not to... | 0:28:23 | 0:28:25 | |
-Miss Rowley, I must apologise, Marnie insists on... -Yes. | 0:28:25 | 0:28:28 | |
Carole Lesley. Hector doesn't agree with me, but you look just like her. | 0:28:28 | 0:28:32 | |
The Embezzler? Have you not seen it? | 0:28:32 | 0:28:36 | |
-She's terribly good. -No. -Hector hates it when I pop in. | 0:28:36 | 0:28:41 | |
-No, I don't. -But one is just so curious. | 0:28:41 | 0:28:44 | |
-This is my mother. -Hello. -You must be very proud. -Hello. | 0:28:44 | 0:28:49 | |
That's my babydoll. | 0:28:49 | 0:28:50 | |
We have to go...leave. | 0:28:51 | 0:28:53 | |
Yes, we should go too, darling. | 0:28:53 | 0:28:55 | |
Babydoll?! I'll be 28 in August. | 0:28:57 | 0:29:02 | |
Why not Bel or Isabel, the name you christened me? | 0:29:02 | 0:29:07 | |
Rather than something you'd call a showgirl. | 0:29:07 | 0:29:09 | |
The lock's broken. You have to lift the door a little | 0:29:09 | 0:29:13 | |
and then a quick push and you're in. | 0:29:13 | 0:29:16 | |
There are some cold chops in the refrigerator, help yourself if you're hungry. I'll be back by nine. | 0:29:16 | 0:29:22 | |
I won't forget this, sweetheart. | 0:29:22 | 0:29:24 | |
Yes, you will. | 0:29:24 | 0:29:27 | |
Miss Rowley... | 0:29:41 | 0:29:42 | |
Did you make Mr Madden a cup of tea again this morning? | 0:29:42 | 0:29:45 | |
No. Well, yeah, but he just smiles at ya and then... | 0:29:45 | 0:29:48 | |
Do you want to be taken seriously, | 0:29:48 | 0:29:51 | |
or for ever be some stupid little marionette fluttering on the arm of every good-looking man in the BBC? | 0:29:51 | 0:29:56 | |
-No. -Well, the first rule - you don't make tea. -Right, but, I... | 0:29:56 | 0:29:59 | |
You're a very pretty girl but the last thing I need is someone distracting those around you. | 0:29:59 | 0:30:04 | |
-Don't send me back. -Where? I didn't ask for you - I don't know where to send you back to. | 0:30:04 | 0:30:08 | |
Like most things in this corporation, people arrive | 0:30:08 | 0:30:11 | |
-and you are expected to accept them, no questions asked. -Personnel. | 0:30:11 | 0:30:14 | |
-They're on the second floor. It's where all the secretaries come from. -Miss Coulson... | 0:30:14 | 0:30:19 | |
How old are you? | 0:30:19 | 0:30:20 | |
Cooper. It's actually Cooper. As in Gary. | 0:30:20 | 0:30:23 | |
But there's a Miss Sally Cooper down in children's casting | 0:30:23 | 0:30:26 | |
-and they were concerned I was going to get her post. -How old are you? -21. | 0:30:26 | 0:30:31 | |
20. | 0:30:31 | 0:30:33 | |
19. But I can type 100 words a minute and I've got a distinction in shorthand. | 0:30:33 | 0:30:36 | |
The Hour is the most exciting posting I have had since I got here. | 0:30:36 | 0:30:39 | |
-I've been in the mail room since January. -That implies you can stick on a stamp | 0:30:39 | 0:30:43 | |
-but not keep out my mother. -I'm not like them - the rest of them in that typing pool, always on the lookout. | 0:30:43 | 0:30:48 | |
I ain't looking for that. I want to be part of something. Part of this. | 0:30:48 | 0:30:53 | |
-And I know I can be really useful and helpful to you. -Miss Cooper, | 0:30:53 | 0:30:56 | |
less is more. | 0:30:56 | 0:30:59 | |
The BBC. | 0:31:12 | 0:31:13 | |
Very good. | 0:31:14 | 0:31:15 | |
I had a mind to go into broadcasting once. | 0:31:17 | 0:31:20 | |
Yes, you've done well for yourself, Frederick. | 0:31:24 | 0:31:26 | |
Lord Elms? I was hoping to interview you, sir. | 0:31:28 | 0:31:33 | |
-To get your reaction to the bill. -It won't get passed, if that's what you mean. | 0:31:35 | 0:31:39 | |
So you voted against it? | 0:31:39 | 0:31:41 | |
Does it matter? We get the vote we deserve, and the rest can hang. | 0:31:41 | 0:31:46 | |
That doesn't make it right. | 0:31:46 | 0:31:47 | |
Is it on? | 0:31:52 | 0:31:54 | |
As in everyday life, the word "right" has no single unequivocal meaning. | 0:31:59 | 0:32:04 | |
Is the widow of the police officer murdered by a violent attacker | 0:32:05 | 0:32:11 | |
not "right" to demand reasonable justice for her late husband? | 0:32:11 | 0:32:15 | |
But is the man falsely convicted and sentenced to be hanged | 0:32:15 | 0:32:20 | |
also not "right" to demand that same reasonable justice? | 0:32:20 | 0:32:24 | |
To demand his right to life? | 0:32:24 | 0:32:27 | |
In a democracy, the only thing one can be right about is... | 0:32:30 | 0:32:35 | |
the right to ask the question. | 0:32:35 | 0:32:37 | |
And the real question is, | 0:32:37 | 0:32:39 | |
do we live in a democracy... | 0:32:39 | 0:32:42 | |
..or... | 0:32:43 | 0:32:46 | |
under the illusion of one? | 0:32:46 | 0:32:48 | |
..What sort of a camera is it? | 0:32:54 | 0:32:56 | |
Auricon. | 0:32:56 | 0:32:58 | |
Ruthie liked to make little films. | 0:33:00 | 0:33:02 | |
I didn't come to the funeral. | 0:33:14 | 0:33:16 | |
To Ruth's funeral. I didn't know if you'd want me there. | 0:33:17 | 0:33:20 | |
You are always welcome, Frederick. | 0:33:23 | 0:33:26 | |
You always were. | 0:33:26 | 0:33:28 | |
She came to see me. | 0:33:32 | 0:33:33 | |
She wanted me to help her. | 0:33:36 | 0:33:37 | |
And did you? | 0:33:37 | 0:33:40 | |
One could argue that swift death | 0:33:44 | 0:33:46 | |
is preferable to a lifetime's imprisonment. | 0:33:46 | 0:33:50 | |
One could argue that. | 0:33:55 | 0:33:57 | |
Mr Lyon? | 0:34:12 | 0:34:14 | |
Lix was looking for you. | 0:34:14 | 0:34:16 | |
We did this story last week. | 0:34:17 | 0:34:18 | |
And you smiled last week, | 0:34:18 | 0:34:21 | |
and then you flicked your eyes up and down. Yes, just like that! | 0:34:21 | 0:34:25 | |
If it's a short script, learn it. | 0:34:25 | 0:34:27 | |
It's this bloody desk. | 0:34:27 | 0:34:30 | |
It's not the desk's fault. It's you. | 0:34:30 | 0:34:32 | |
The only thing that's stopping you is you. | 0:34:33 | 0:34:37 | |
Sorry. My mother does this to me. | 0:34:37 | 0:34:39 | |
-She seemed very nice. -That's just her flirting with you. | 0:34:39 | 0:34:43 | |
So did your wife... Seem very nice. | 0:34:46 | 0:34:48 | |
-Freddie says... -Oh, Mr Lyon! | 0:34:51 | 0:34:55 | |
-He can be quite kind if you just... -Keep away from you? | 0:34:55 | 0:34:58 | |
I don't know why you're so nervous. | 0:35:01 | 0:35:03 | |
You're charming and you're effortless and then the minute you turn to look at the camera you just... | 0:35:04 | 0:35:08 | |
Well, everyone's waiting there for me to be brilliant. | 0:35:08 | 0:35:10 | |
I can't just pluck the name of the President of Liberia out of the ether. | 0:35:10 | 0:35:15 | |
I need to stick to a script | 0:35:15 | 0:35:17 | |
but then when I look down and then I look up again and there you all are standing there. Staring back at me. | 0:35:17 | 0:35:22 | |
It's bloody terrifying! | 0:35:22 | 0:35:24 | |
Perhaps Mr Lyon would have been a better fit. | 0:35:24 | 0:35:28 | |
SHE LAUGHS | 0:35:28 | 0:35:31 | |
How did you get into news? | 0:35:37 | 0:35:38 | |
I was about 16. | 0:35:43 | 0:35:46 | |
I used to sit in my father's study listening to the wireless. | 0:35:46 | 0:35:49 | |
1933. Vernon Bartlett discussing Hitler's decision | 0:35:49 | 0:35:52 | |
to leave the League of Nations. | 0:35:52 | 0:35:55 | |
The most powerful thing I've ever heard. | 0:35:57 | 0:35:59 | |
It pulled me out of that drab little room | 0:36:02 | 0:36:04 | |
and into the middle of a crisis, as if I was sitting there with them, the third person at that table. | 0:36:04 | 0:36:09 | |
That's how it should be. | 0:36:09 | 0:36:12 | |
Stand up. | 0:36:13 | 0:36:16 | |
They need to see you. | 0:36:21 | 0:36:24 | |
They need to know who you are. | 0:36:24 | 0:36:27 | |
Trust you as they would a friend. | 0:36:30 | 0:36:32 | |
They need to hear you talk as I just heard you. | 0:36:35 | 0:36:38 | |
A man who does a job that other men would kill to do, | 0:36:40 | 0:36:45 | |
and that women want to sit next to at the dinner table because you're the most dangerous man in the room. | 0:36:45 | 0:36:50 | |
There you are. Lix is looking for you. | 0:36:52 | 0:36:55 | |
Thank you, Freddie. | 0:36:55 | 0:36:58 | |
Yes, OK, listen to this. | 0:37:00 | 0:37:02 | |
The military have moved into the central square in Alexandria, they've cordoned off the crowd. | 0:37:02 | 0:37:06 | |
Nasser's been talking for coming up to an hour | 0:37:06 | 0:37:09 | |
and he doesn't seem like he's stopping. | 0:37:09 | 0:37:11 | |
-Our man in Alexandria's leaning out of the window, he's holding up the phone. -Give us pictures, Lix. | 0:37:11 | 0:37:14 | |
Apparently there are thousands of people, they're waving and cheering. | 0:37:14 | 0:37:18 | |
It's like a carnival... | 0:37:18 | 0:37:20 | |
I, I can't understand, it's Arabic. Mr Kish? | 0:37:20 | 0:37:24 | |
-What exactly is Nasser saying? -This canal is an Egyptian Canal. | 0:37:24 | 0:37:29 | |
It is an Egyptian Limited Company. | 0:37:29 | 0:37:31 | |
120,000 Egyptians died digging the canal and then Britain forcibly deprived us of our right in it. | 0:37:31 | 0:37:36 | |
-What's he saying? Are we going to war? -Don't be daft. | 0:37:36 | 0:37:40 | |
-Where's Clarence? -I don't know. -Are you listening now? | 0:37:40 | 0:37:42 | |
-What happens now? -I don't know... I don't, umm, I don't know. | 0:37:44 | 0:37:47 | |
Let me think. | 0:37:47 | 0:37:49 | |
-We are. We are. We're going to war. -We are not going to war, Miss Cooper! | 0:37:49 | 0:37:51 | |
We're carrying on preparing for tomorrow's show. We are taking in our stride the incoming news | 0:37:51 | 0:37:56 | |
that Colonel Nasser has taken control of this country's most important trade route, | 0:37:56 | 0:37:59 | |
we are reorganising and regrouping. Lix, Freddie, Hector, and Ron, now. | 0:37:59 | 0:38:04 | |
Sissy, telephone lines. We need them all working. | 0:38:04 | 0:38:07 | |
-Maintenance said Friday. -Go down to the floor right now. | 0:38:07 | 0:38:09 | |
Now, please. Everyone back to their desks, talk to anyone you can find. Lix, do we have a camera down there? | 0:38:09 | 0:38:14 | |
I've spoken to Donaldson and two of the boys from the Cairo agency should be there now. | 0:38:14 | 0:38:19 | |
-We need to find someone in the Egyptian Embassy. Someone who can talk for Nasser. -That minister? | 0:38:19 | 0:38:23 | |
-Was based in Cairo now in London? Outspoken supporter of Nasser. -Hafiz. | 0:38:23 | 0:38:27 | |
I went to school with his son. | 0:38:27 | 0:38:30 | |
Hafiz drinks at the Layali Club. | 0:38:30 | 0:38:32 | |
-Sorry, not a member. -I'll get us in. | 0:38:32 | 0:38:34 | |
Is there anything you can't do, Hector? | 0:38:34 | 0:38:37 | |
Erm, not really. | 0:38:37 | 0:38:39 | |
Egyptian forces are swarming the entire canal. | 0:38:39 | 0:38:41 | |
They're taking over the Suez offices. | 0:38:41 | 0:38:44 | |
-They're lining up workers and making them stand outside. -I'll get my car. | 0:38:44 | 0:38:49 | |
-I got the interview with Elms. -When do you get it back from the lab? | 0:38:49 | 0:38:53 | |
First thing, if Mr Albert gets a lick on. You have to see it, Bel. | 0:38:53 | 0:38:56 | |
-You have to hear what Lord Elms said. We run this film... -I don't know what we're running tomorrow. | 0:38:56 | 0:39:00 | |
But when I decide I'll let you know. | 0:39:00 | 0:39:02 | |
-I'll come with you, to meet Hafiz. -It's fine. Hector and I can... -Home affairs desk. | 0:39:02 | 0:39:05 | |
This could loosely be considered home affairs with a bit of foreign affairs thrown in. | 0:39:05 | 0:39:11 | |
(Why are you being such a child? | 0:39:11 | 0:39:13 | |
(Now is not the time for you to be a child.) | 0:39:13 | 0:39:17 | |
Is it just me, or has Hector shrunk? | 0:39:24 | 0:39:27 | |
I'm sure he was taller. | 0:39:27 | 0:39:30 | |
When we first met you couldn't even knot your tie straight. You'd never tried an oyster. | 0:39:32 | 0:39:39 | |
Personally not much of a loss. | 0:39:39 | 0:39:41 | |
Been to the theatre. Read Woolf or Wilde. | 0:39:41 | 0:39:43 | |
I did that. It's what you do for someone when you believe in them. | 0:39:43 | 0:39:50 | |
And you believe in him? | 0:39:50 | 0:39:54 | |
I've got "atom", | 0:39:57 | 0:40:00 | |
"shamble", "evolve". | 0:40:00 | 0:40:02 | |
Freddie? | 0:40:03 | 0:40:05 | |
(Freddie!) | 0:40:08 | 0:40:10 | |
We were hoping to entice you onto The Hour. | 0:40:13 | 0:40:16 | |
So that you can interrogate me? | 0:40:16 | 0:40:18 | |
-No. -Yes. -Mr Hafiz, we would like to bring a balanced view | 0:40:18 | 0:40:25 | |
-to rapidly unfolding and sensitive political events. -Your President has stolen our canal. | 0:40:25 | 0:40:30 | |
It hasn't been without provocation. | 0:40:30 | 0:40:32 | |
I can just see the headlines tomorrow. Grabber Nasser! | 0:40:32 | 0:40:35 | |
It does have a certain ring to it. | 0:40:35 | 0:40:37 | |
-Freddie. -May I apologise? | 0:40:37 | 0:40:39 | |
Why? He is only saying what the world will say. | 0:40:39 | 0:40:42 | |
But they do not know the truth. | 0:40:42 | 0:40:44 | |
And what is the truth, Mr Hafiz? | 0:40:44 | 0:40:46 | |
If you come on to our programme, perhaps you will have a chance to tell the country. | 0:40:46 | 0:40:50 | |
If I am interviewed by a gentleman. | 0:40:50 | 0:40:52 | |
Here. Let me give you a hand with those. | 0:40:58 | 0:41:00 | |
Right... | 0:41:00 | 0:41:02 | |
You'll need the background. You can't wing it. Start with these. | 0:41:02 | 0:41:07 | |
You'll need... | 0:41:07 | 0:41:09 | |
Perhaps a little more than a Children's Britannica. | 0:41:12 | 0:41:16 | |
How do you do it? How do you know exactly the right question to ask? | 0:41:19 | 0:41:24 | |
Because I'm not afraid of the answers. | 0:41:24 | 0:41:28 | |
Right, this is good. I've marked the best pages. Ignore the last chapter. | 0:41:29 | 0:41:35 | |
-Thank you. -This is for Bel. | 0:41:39 | 0:41:42 | |
Not for you. | 0:41:42 | 0:41:45 | |
You're still an arse. | 0:41:45 | 0:41:48 | |
Freddie? | 0:41:48 | 0:41:51 | |
-Do you ever wash up? -Saucepans, not much. | 0:41:51 | 0:41:56 | |
Cutlery occasionally. | 0:41:56 | 0:41:58 | |
And she won't even make me a cup of tea. | 0:41:58 | 0:42:03 | |
-I'll walk you. -It's all right. I can drive her home. | 0:42:03 | 0:42:06 | |
Very nice seeing you, Miss Rowley. | 0:42:06 | 0:42:09 | |
Dad. I'll be through in a minute. | 0:42:09 | 0:42:11 | |
-Hector Madden. Pleased to meet you, Mr Lyon. -Yes, Captain. | 0:42:11 | 0:42:15 | |
Well, goodnight. | 0:42:20 | 0:42:22 | |
Thank you. | 0:42:25 | 0:42:27 | |
Are you nervous? | 0:42:43 | 0:42:45 | |
Terrified. | 0:42:45 | 0:42:47 | |
You can't bottle it, Hector. | 0:42:50 | 0:42:53 | |
You have to be as tough on him as you would be on the next man. | 0:42:53 | 0:42:56 | |
-McCain's not going to like it. -Stuff McCain. | 0:42:58 | 0:43:01 | |
It's left. | 0:43:06 | 0:43:08 | |
Which floor? | 0:43:11 | 0:43:13 | |
-Top. -Here? -Mm-hm. | 0:43:13 | 0:43:16 | |
Are you all right? | 0:43:21 | 0:43:23 | |
Fine. | 0:43:23 | 0:43:24 | |
Then why are you shaking? | 0:43:24 | 0:43:28 | |
Oh, damn. | 0:43:42 | 0:43:44 | |
Military upbringing. I can't help it. | 0:44:01 | 0:44:04 | |
I'm pathologically unable to see a woman in the rain | 0:44:04 | 0:44:08 | |
without holding up an umbrella over her. | 0:44:08 | 0:44:11 | |
BUZZER | 0:44:16 | 0:44:18 | |
Don't be frightened. Gravity. | 0:44:25 | 0:44:28 | |
You have a natural gravity. | 0:44:28 | 0:44:31 | |
< 'Hello?' | 0:44:33 | 0:44:35 | |
-Good night. -< 'Bel?' | 0:44:38 | 0:44:41 | |
Ma. Sorry... | 0:44:48 | 0:44:51 | |
He rang. | 0:44:53 | 0:44:55 | |
Yes, he did. | 0:44:55 | 0:44:57 | |
Oh, don't do that. | 0:44:59 | 0:45:01 | |
-They always telephone, darling, in the end. -Right. | 0:45:01 | 0:45:06 | |
That's right. | 0:45:07 | 0:45:08 | |
Have you even heard the news today? | 0:45:08 | 0:45:10 | |
Egyptian troops have... | 0:45:10 | 0:45:14 | |
Doesn't matter. | 0:45:15 | 0:45:18 | |
Verda, World War III will break out and you'll be so busy | 0:45:20 | 0:45:26 | |
trying to squeeze yourself into that bloody dress, you'll miss it. | 0:45:26 | 0:45:30 | |
Darling, please don't become one of those women | 0:45:30 | 0:45:34 | |
who feels the need to have a career and not a life. | 0:45:34 | 0:45:36 | |
I'd rather be that woman than waiting for a bloody phone call. | 0:45:36 | 0:45:39 | |
Ooh. Did you not sleep well last night? It always makes you so grumpy. | 0:45:39 | 0:45:44 | |
The last thing I want is to sleep. I've woken up. | 0:45:44 | 0:45:47 | |
HORN BLARES OUTSIDE | 0:45:47 | 0:45:50 | |
You should try it, Ma. | 0:45:51 | 0:45:53 | |
RADIO: 'But in spite of the smiles and the friendly handshakes, | 0:46:05 | 0:46:08 | |
'Egypt's answer to the 18-nation plan for international control | 0:46:08 | 0:46:12 | |
'of the Suez Canal is still a flat refusal. | 0:46:12 | 0:46:15 | |
'Mr Menzies flies back to London with the disturbing knowledge | 0:46:15 | 0:46:18 | |
'that although he and his committee did their best, their mission has failed. | 0:46:18 | 0:46:22 | |
'Interviewed at the airport, Mr Menzies tells how the 18-nation plan was explained | 0:46:22 | 0:46:28 | |
'in great detail to President Nasser so that he should be left in no doubt as to its implications...' | 0:46:28 | 0:46:37 | |
Egypt? | 0:47:11 | 0:47:14 | |
This chap must not appear on this television... | 0:47:23 | 0:47:26 | |
LIFT BELL DINGS DOOR OPENS | 0:47:27 | 0:47:31 | |
Clarence. I would have told you. | 0:47:31 | 0:47:35 | |
McCain already has. They have their spies everywhere. | 0:47:35 | 0:47:39 | |
Naguib Hafiz is a coup. You know it. | 0:47:39 | 0:47:40 | |
A man who will be a mouthpiece for Nasser? An Arab Nationalist whom Eden sees as a Soviet puppet? | 0:47:40 | 0:47:46 | |
How can we be impartial if we only tell one side of the story? | 0:47:46 | 0:47:49 | |
That is why I am about to tell them that I leave it to the discretion of my producer to decide. | 0:47:49 | 0:47:53 | |
-But Freddie must forgo his interview with Lord Elms. -Elms complained? | 0:47:53 | 0:48:00 | |
Freddie was seen speaking to him in a corridor in the House of Lords. | 0:48:00 | 0:48:03 | |
There are things said in grief that a man may later regret. | 0:48:03 | 0:48:06 | |
You are must tell Freddie the film blew. | 0:48:06 | 0:48:08 | |
Pick your battles, Bel. | 0:48:10 | 0:48:13 | |
Mr Fendley, Mr McCain's here. | 0:48:13 | 0:48:16 | |
Thank you. | 0:48:16 | 0:48:19 | |
When did you... | 0:48:19 | 0:48:22 | |
When did you first become aware of President Nasser's intentions to seize the canal? | 0:48:22 | 0:48:27 | |
Don't work so hard. Go again. | 0:48:27 | 0:48:30 | |
You be Mr Hafiz, and I'll be you. | 0:48:30 | 0:48:34 | |
Westminster is concerned. I wanted to illuminate the situation for you. | 0:48:34 | 0:48:39 | |
I, um... Thank you. | 0:48:39 | 0:48:42 | |
I insisted it wasn't just anyone coming down to talk to you. | 0:48:42 | 0:48:48 | |
I realise this is all very new for you, but you cannot go ahead with this interview tonight. | 0:48:48 | 0:48:52 | |
But I can, Mr McCain. | 0:48:52 | 0:48:56 | |
One must be aware that politicians are very devious. | 0:48:56 | 0:48:59 | |
The Arab world has a rich literary tradition. | 0:48:59 | 0:49:03 | |
Now, this is a very dangerous mix. | 0:49:03 | 0:49:05 | |
A politician who understands the power of a good narrative could hardly be called impartial. | 0:49:05 | 0:49:10 | |
And that is why we intend to interrogate him. | 0:49:10 | 0:49:13 | |
You joined Nasser on a recent trip to Moscow. Would you care to comment? | 0:49:13 | 0:49:18 | |
See, now is when you build. | 0:49:18 | 0:49:21 | |
-Well... -I'm sorry, Mr Hafiz, I didn't catch that... | 0:49:21 | 0:49:25 | |
Was it in order to discuss the arms deal? The arms deal was with Czechoslovakia. | 0:49:25 | 0:49:30 | |
The arms were Soviet, Mr Hafiz. How long have you been planning to seize the Suez Canal? | 0:49:30 | 0:49:34 | |
-Would he know that? -Of course. Now you... | 0:49:34 | 0:49:37 | |
I would very much like to help you, Miss Rowley. | 0:49:37 | 0:49:41 | |
Now, there are many powerful people who will be very unhappy | 0:49:41 | 0:49:45 | |
if you allow Mr Hafiz on your programme this evening. | 0:49:45 | 0:49:49 | |
-I really feel it is my duty to protect you. -I don't need your protection. | 0:49:49 | 0:49:54 | |
Perhaps if the programme was scripted, and we saw a transcript prior to broadcast. | 0:49:54 | 0:49:59 | |
Then it could hardly be called a live interview. | 0:49:59 | 0:50:03 | |
If you proceed with this reckless behaviour, | 0:50:03 | 0:50:05 | |
I cannot guarantee what our response in government will be, quite frankly. | 0:50:05 | 0:50:10 | |
I run a news programme. | 0:50:13 | 0:50:15 | |
It's my job to cover the news. That is what I intend to do tonight. | 0:50:15 | 0:50:20 | |
Anything else is reckless. | 0:50:20 | 0:50:23 | |
And now if you'll excuse me, | 0:50:25 | 0:50:27 | |
I have a show about to go on air that I must attend to. It must be those maternal instincts again. | 0:50:27 | 0:50:35 | |
Auribus tenere lupum...? | 0:50:39 | 0:50:42 | |
Look it up. | 0:50:44 | 0:50:46 | |
-Sorry. -This is my dad. | 0:50:55 | 0:50:58 | |
He's testing the line. The engineers were tied up putting in more lines on the Sports desk upstairs. | 0:50:58 | 0:51:02 | |
PHONE RINGS | 0:51:02 | 0:51:05 | |
Hello? | 0:51:07 | 0:51:09 | |
-CLICKING ON LINE -He can't work out what the click is, on the line, | 0:51:09 | 0:51:13 | |
-but he will do. -Right, thank you. | 0:51:13 | 0:51:15 | |
Very good. Carry on. | 0:51:15 | 0:51:18 | |
-We shall march forward to political and economic independence. -All right? | 0:51:23 | 0:51:27 | |
-Will you be much longer with that, Mr Kish? -Not much longer. | 0:51:27 | 0:51:31 | |
If we look back, we do so only to demolish the relics of oppression, servility, exploitation... | 0:51:34 | 0:51:38 | |
-He's good. -Yes. He's the only Englishman I've met | 0:51:38 | 0:51:42 | |
who can switch from the classical Arabic to the Egyptian vernacular without batting an eyelid. | 0:51:42 | 0:51:47 | |
Thirty minutes, ladies and gentlemen, 30 minutes. | 0:51:47 | 0:51:50 | |
Sissy, I'm... ..Freddie! | 0:51:53 | 0:51:55 | |
Your Elms film blew. | 0:51:55 | 0:51:59 | |
-There was a problem with the sound. -Mr Nelson said he could clean it up. | 0:51:59 | 0:52:02 | |
-I'm sorry. -You're doing that funny thing with your eyes again. | 0:52:02 | 0:52:08 | |
Bel? | 0:52:08 | 0:52:09 | |
Everyone needs to get to the studio. We're live in 30 minutes! | 0:52:09 | 0:52:14 | |
Places, everybody, please. | 0:52:40 | 0:52:44 | |
-You set? -Yep. -Watch the smile. | 0:52:48 | 0:52:52 | |
-Makes you look like Crippen. -Was he a good-looking bastard too? | 0:52:52 | 0:52:55 | |
Mr Hafiz. Thank you. This way, please. | 0:52:55 | 0:52:59 | |
Parcel, Mr Lyon, just arrived. | 0:53:04 | 0:53:07 | |
Eyes ahead, Isaac. | 0:53:11 | 0:53:13 | |
It's fine. | 0:53:29 | 0:53:32 | |
I'll be there. Fine. | 0:53:32 | 0:53:34 | |
Do you have everything you need? | 0:53:42 | 0:53:44 | |
I see we are being watched. | 0:53:44 | 0:53:46 | |
-Always. -This way, Mr Hafiz. | 0:53:46 | 0:53:50 | |
It's just you talking to that boy sitting in his father's study. | 0:53:56 | 0:54:01 | |
Stand by, studio... | 0:54:31 | 0:54:34 | |
Five, four, three, | 0:54:34 | 0:54:37 | |
two, one... | 0:54:37 | 0:54:40 | |
Fade up vision, go. | 0:54:40 | 0:54:43 | |
Good evening and welcome to The Hour, | 0:54:43 | 0:54:46 | |
the most important 60 minutes of news of your week. | 0:54:46 | 0:54:49 | |
We lead with the story that dominates. | 0:54:49 | 0:54:51 | |
President Nasser's seizing of the Suez Canal Company. | 0:54:51 | 0:54:54 | |
To shed some light on this growing crisis, we are joined | 0:54:54 | 0:54:58 | |
by one of the leading supporters of Egypt's President, Mr Naguib Hafiz. | 0:54:58 | 0:55:02 | |
-Good evening. Thank you for joining us. -Thank you for inviting me. | 0:55:04 | 0:55:08 | |
What is your opinion of President Nasser's decision to take over the Suez Canal Company? | 0:55:08 | 0:55:13 | |
The canal is situated in Egyptian territory and it has quite simply reverted back to Egyptian control. | 0:55:13 | 0:55:20 | |
Well, if I may I correct you, Mr Hafiz? | 0:55:20 | 0:55:23 | |
The Canal is owned by the French and British Suez Canal Company. | 0:55:23 | 0:55:27 | |
It is theft. | 0:55:27 | 0:55:29 | |
-I prefer reclamation. -Well, you can be certain the British public won't perceive it that way. | 0:55:29 | 0:55:34 | |
Britain has for too long | 0:55:34 | 0:55:38 | |
behaved like a distant relative of Egypt who believes that he's still entitled to the family silver. | 0:55:38 | 0:55:44 | |
You off? | 0:55:47 | 0:55:50 | |
Till we meet again. | 0:55:53 | 0:55:55 | |
Yes. | 0:55:55 | 0:55:57 | |
Your country has been sold a fiction by an impotent Prime Minister | 0:55:57 | 0:56:02 | |
surrounded by all his cronies, | 0:56:02 | 0:56:05 | |
and by a corrupt and deceitful government. | 0:56:05 | 0:56:10 | |
The British Empire is over. | 0:56:21 | 0:56:23 | |
So you are accusing Prime Minister Eden of weakness, worse, of lying? | 0:56:29 | 0:56:36 | |
Of selling to the British public a fiction? | 0:56:36 | 0:56:42 | |
And is President Nasser hoping to build an empire of his own? | 0:56:42 | 0:56:47 | |
Are there any plans to enlist Soviet support for this new Empire? | 0:56:47 | 0:56:51 | |
Is President Nasser declaring war on the British Empire? Mr Hafiz? | 0:57:07 | 0:57:12 | |
The country is waiting, Mr Hafiz. I must press you. | 0:57:12 | 0:57:17 | |
Tell me you will come this weekend. | 0:58:00 | 0:58:02 | |
I know you think you're onto something with Ruth Elms. | 0:58:09 | 0:58:12 | |
-I am. -Obvious as hell he wasn't in love with her. | 0:58:12 | 0:58:15 | |
Mr Kish, no-one told me to expect you in. | 0:58:15 | 0:58:19 | |
-Didn't they? -What do I do? | 0:58:19 | 0:58:22 | |
-Just watch him. -You don't know what you've got yourself into. | 0:58:22 | 0:58:26 | |
And now you know too much. | 0:58:26 | 0:58:29 | |
Subtitles by Red Bee Media Ltd | 0:58:32 | 0:58:35 | |
E-mail [email protected] | 0:58:35 | 0:58:38 |