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-The military are in central Alexandria. -Are we going to war? | 0:00:02 | 0:00:04 | |
Egyptian forces are swarming the Canal! | 0:00:04 | 0:00:06 | |
And what is the truth, Mr Hafiz? | 0:00:06 | 0:00:09 | |
If you come onto our programme, | 0:00:09 | 0:00:10 | |
perhaps you'd have the chance to tell the country. | 0:00:10 | 0:00:13 | |
If I'm interviewed by a gentleman. | 0:00:13 | 0:00:15 | |
One young woman in particular | 0:00:15 | 0:00:17 | |
has caught the eye of a certain leading man, | 0:00:17 | 0:00:19 | |
actor Adam Le Ray. | 0:00:19 | 0:00:20 | |
So without further ado I ask you to raise your glasses to my beautiful fiance. | 0:00:20 | 0:00:24 | |
They will kill me | 0:00:24 | 0:00:26 | |
'if they know I'm talking to you.' | 0:00:26 | 0:00:29 | |
This is Mr...? | 0:00:29 | 0:00:31 | |
Kish. Thomas Kish. | 0:00:31 | 0:00:33 | |
This is for Bel... | 0:00:42 | 0:00:43 | |
..not for you. | 0:00:44 | 0:00:45 | |
You're still an arse. | 0:00:45 | 0:00:47 | |
Don't be frightened. | 0:00:47 | 0:00:49 | |
Gravity. | 0:00:49 | 0:00:50 | |
You have a natural gravity. | 0:00:50 | 0:00:53 | |
FOOTSTEPS | 0:01:36 | 0:01:39 | |
DOOR BURSTS OPEN | 0:01:39 | 0:01:41 | |
Who sent you? Did they send you? | 0:01:45 | 0:01:47 | |
MEGAPHONE: Come out quietly, you are surrounded. | 0:01:59 | 0:02:01 | |
Hey, Johnny! | 0:02:01 | 0:02:03 | |
You didn't think I'd give up that easily, did you? | 0:02:05 | 0:02:08 | |
Oh, please, no! | 0:02:11 | 0:02:13 | |
FAKED FOOTSTEPS | 0:02:13 | 0:02:15 | |
He's going to jump! | 0:02:15 | 0:02:16 | |
FOOTSTEPS QUICKEN | 0:02:16 | 0:02:18 | |
Don't shoot! Please don't shoot! | 0:02:20 | 0:02:23 | |
GUNSHOT | 0:02:23 | 0:02:24 | |
THUD OF A BODY Argh! | 0:02:24 | 0:02:27 | |
FOOTSTEPS EXIT | 0:02:27 | 0:02:29 | |
He's gone. | 0:02:29 | 0:02:31 | |
The man who knew, | 0:02:31 | 0:02:33 | |
he's gone. | 0:02:33 | 0:02:34 | |
APPLAUSE | 0:02:35 | 0:02:39 | |
Smoke around these lights again and you won't be back next week. | 0:02:43 | 0:02:46 | |
Three o'clock. | 0:03:02 | 0:03:03 | |
And how are you enjoying playing the part, Mr Le Ray? | 0:03:25 | 0:03:28 | |
Well, it's very exciting. Terrific. | 0:03:28 | 0:03:30 | |
One does one's best with the script. | 0:03:30 | 0:03:32 | |
You're staring. | 0:03:34 | 0:03:35 | |
He was surprisingly good. | 0:03:35 | 0:03:38 | |
For a man in mourning. | 0:03:38 | 0:03:40 | |
-Great show, Ron. -Bloody actors. | 0:03:40 | 0:03:43 | |
Ron. | 0:03:43 | 0:03:44 | |
What are we doing here? | 0:03:44 | 0:03:46 | |
-The drinks are free. -Oh, good. | 0:03:46 | 0:03:47 | |
-She's coming over. -Hector's awful. | 0:03:47 | 0:03:49 | |
He says you've declined, but I refuse to believe it. | 0:03:49 | 0:03:52 | |
Tell me you will come this weekend? | 0:03:52 | 0:03:54 | |
She's very persistent. I did try. | 0:03:54 | 0:03:57 | |
Wasn't my husband simply brilliant last night? | 0:03:57 | 0:03:59 | |
-You dropped that second question. -Talk to Lix. -I did. | 0:03:59 | 0:04:02 | |
So, what did you think of our Man Who Knew? | 0:04:03 | 0:04:05 | |
Wasn't it ridiculous? | 0:04:06 | 0:04:07 | |
-I knew who'd done it five minutes in, didn't I, Hector? I said. -Yes. | 0:04:07 | 0:04:12 | |
Don't tell Adam. He's one of my brother's bestest friends | 0:04:12 | 0:04:15 | |
and he's had a terrible time. | 0:04:15 | 0:04:17 | |
It's all tres, tres tragique. | 0:04:17 | 0:04:19 | |
Tell me more. I'm going to grab that. | 0:04:19 | 0:04:21 | |
Oh, here comes our shadow again. | 0:04:25 | 0:04:27 | |
And even when we are not working, you are always near. | 0:04:27 | 0:04:30 | |
We just cannot shake you, Mr McCain. | 0:04:30 | 0:04:32 | |
Remaining vigilant. | 0:04:32 | 0:04:33 | |
Miss Rowley's worried you have no life outside of work. | 0:04:33 | 0:04:36 | |
None as captivating as Miss Rowley and The Hour. | 0:04:36 | 0:04:39 | |
Damn fine programme last night, | 0:04:39 | 0:04:40 | |
I must say. | 0:04:40 | 0:04:43 | |
Transatlantic telephone cable systems have never seemed so interesting. | 0:04:43 | 0:04:47 | |
No, I thought the live call was a stroke of genius. | 0:04:47 | 0:04:50 | |
Thank you. It was Miss Rowley's idea. | 0:04:50 | 0:04:53 | |
Wallace, there you are. Do excuse me. | 0:04:54 | 0:04:56 | |
Wallace, I hear you're shooting this weekend. | 0:04:56 | 0:04:59 | |
Wave and smile. | 0:04:59 | 0:05:01 | |
I hate that man. | 0:05:01 | 0:05:02 | |
On the contrary, it's a mark of how well you are doing | 0:05:02 | 0:05:06 | |
that you've rattled McCain's cage. | 0:05:06 | 0:05:08 | |
Please come this weekend. | 0:05:08 | 0:05:10 | |
The people are awful | 0:05:10 | 0:05:11 | |
and you'll be screaming to go home by Sunday, but... | 0:05:11 | 0:05:14 | |
Darling, this man is brilliant. | 0:05:14 | 0:05:16 | |
You didn't tell me they were all so interesting. | 0:05:16 | 0:05:18 | |
Did you know a python could swallow a baby whole if it had a mind to? | 0:05:18 | 0:05:22 | |
No. | 0:05:22 | 0:05:23 | |
Well, she won't be persuaded. | 0:05:23 | 0:05:25 | |
-A Town Like Alice is opening at The Coronet. -We could go next weekend. | 0:05:25 | 0:05:29 | |
I'm driving down with Daddy tonight, | 0:05:29 | 0:05:31 | |
but Hector's bringing the car first thing. | 0:05:31 | 0:05:33 | |
I know he'd like the company. | 0:05:33 | 0:05:35 | |
-And you must come, too, Mr Lyon. -I must. | 0:05:35 | 0:05:38 | |
You might find it quicker on the train. | 0:05:39 | 0:05:41 | |
Surely not. | 0:05:41 | 0:05:43 | |
Come on, darling. | 0:05:45 | 0:05:47 | |
-You hate the country. -I lied. | 0:05:49 | 0:05:51 | |
Excuse me. | 0:05:53 | 0:05:54 | |
Mr Kish? | 0:05:59 | 0:06:00 | |
We've missed you. | 0:06:01 | 0:06:02 | |
You're surprisingly elusive. | 0:06:02 | 0:06:04 | |
And yet you are here tonight. | 0:06:04 | 0:06:06 | |
Yes. | 0:06:06 | 0:06:07 | |
Everyone says how hard you work at the World Service, yet whenever | 0:06:08 | 0:06:11 | |
I try to get hold of you you're never at your desk. | 0:06:11 | 0:06:14 | |
I hope they pay you overtime, whoever they are. | 0:06:14 | 0:06:17 | |
Were you following me yesterday? | 0:06:17 | 0:06:18 | |
Coming out of Embankment station? | 0:06:20 | 0:06:21 | |
Why would I do that? | 0:06:22 | 0:06:24 | |
You knew Ruth Elms. | 0:06:24 | 0:06:26 | |
I have you on film with her | 0:06:28 | 0:06:30 | |
with her and Peter Darrall. | 0:06:30 | 0:06:31 | |
It looks like it was a sunny day. | 0:06:33 | 0:06:36 | |
You sat at my desk with her obituary stuck on the wall. | 0:06:37 | 0:06:40 | |
You said, "What a pretty girl". | 0:06:40 | 0:06:42 | |
She was. | 0:06:42 | 0:06:44 | |
Both are now dead. | 0:06:45 | 0:06:46 | |
That might unsettle some people. | 0:06:48 | 0:06:50 | |
Did you kill him? | 0:06:52 | 0:06:53 | |
Peter Darrall? | 0:06:55 | 0:06:56 | |
Yes. | 0:06:56 | 0:06:57 | |
Every time we played at cards. | 0:07:01 | 0:07:03 | |
The holiday I presume you are referring to was more of a weekend. | 0:07:05 | 0:07:08 | |
I don't recall anyone making a film. | 0:07:08 | 0:07:10 | |
Perhaps, Mr Lyon, we might have a drink sometime. | 0:07:13 | 0:07:18 | |
Steady. Steady! | 0:07:20 | 0:07:22 | |
Ladies was blocked. | 0:07:39 | 0:07:41 | |
Is he good looking, do you think? | 0:07:41 | 0:07:43 | |
Do you classify that as a good-looking face? | 0:07:43 | 0:07:45 | |
It's all to do with symmetry. | 0:07:45 | 0:07:47 | |
The balance of the left and right of your face. | 0:07:47 | 0:07:49 | |
The more even you are, the more beautiful you are. | 0:07:49 | 0:07:52 | |
You see this eyebrow? | 0:07:52 | 0:07:53 | |
It's wider than me other one. | 0:07:53 | 0:07:55 | |
And my nose, I've got a dip right here. | 0:07:55 | 0:07:57 | |
But a good looking person, it would all be the same. Equal. | 0:07:57 | 0:08:00 | |
Hmmm. | 0:08:04 | 0:08:05 | |
He doesn't really do much for me, but... | 0:08:07 | 0:08:10 | |
Isaac! Just the man. | 0:08:10 | 0:08:12 | |
Tomorrow, I want you in. | 0:08:12 | 0:08:13 | |
It's Saturday. | 0:08:13 | 0:08:15 | |
Your commitment has been duly noted, | 0:08:15 | 0:08:17 | |
Mr Albert has had a film of mine for weeks, I gave it to him | 0:08:17 | 0:08:20 | |
to look over. Pick it up first thing. Don't let it out of your sight. | 0:08:20 | 0:08:24 | |
-Magpie! -Damn. | 0:08:34 | 0:08:36 | |
Six to your two. | 0:08:36 | 0:08:38 | |
What are you scribbling, Freddie? | 0:08:41 | 0:08:42 | |
I'm surprised we can lure you away from your desk. | 0:08:42 | 0:08:46 | |
"What is he writing?" I often ask myself. | 0:08:46 | 0:08:49 | |
Mainly the words that will come out of your mouth. | 0:08:49 | 0:08:52 | |
Whenever Sissy thrusts those hot little sheets of paper into my hand, I wonder if at last I'll find out | 0:08:54 | 0:09:00 | |
why Mr Lyon is so intrigued by a debutante's suicide. | 0:09:00 | 0:09:04 | |
My first girlfriend was a debutante. | 0:09:06 | 0:09:09 | |
I wrote her pages of God-awful poetry to her during the war. | 0:09:10 | 0:09:13 | |
Line? | 0:09:13 | 0:09:15 | |
Line? | 0:09:16 | 0:09:17 | |
Happily forgotten. | 0:09:17 | 0:09:19 | |
I don't think I've ever been sent love poetry. | 0:09:21 | 0:09:23 | |
Yes, you have. | 0:09:23 | 0:09:24 | |
I do not know what it is about you | 0:09:26 | 0:09:28 | |
That closes and opens | 0:09:28 | 0:09:30 | |
Only something in the... | 0:09:30 | 0:09:32 | |
No, can't remember the rest. | 0:09:34 | 0:09:36 | |
-NEWSREADER: -'British and French governments are in close discussion | 0:09:40 | 0:09:44 | |
'in an attempt to resolve the crisis in Egypt. The Suez Canal Company has constructed... | 0:09:44 | 0:09:49 | |
'But the power remains in Colonel Nasser's hands | 0:09:49 | 0:09:52 | |
'and there is growing unease as to which direction he will take.' | 0:09:52 | 0:09:57 | |
You're late. Daddy's furious. | 0:10:02 | 0:10:04 | |
Leave the bags. | 0:10:06 | 0:10:07 | |
Jemima! | 0:10:16 | 0:10:17 | |
Darling! | 0:10:17 | 0:10:18 | |
Ooh, you're freezing! You're all freezing. | 0:10:18 | 0:10:21 | |
You've missed the morning's drive. | 0:10:21 | 0:10:23 | |
Sorry, darling. | 0:10:23 | 0:10:25 | |
Come, come. | 0:10:25 | 0:10:26 | |
The pictures, I know. Daddy thinks they're awfully creepy, but they're all Mummy's relatives. | 0:10:27 | 0:10:32 | |
Thieves and liars every one of them. | 0:10:32 | 0:10:34 | |
Each room is a different decor. | 0:10:41 | 0:10:42 | |
Not entirely to modern taste, | 0:10:42 | 0:10:44 | |
but poor Mummy has very little imagination. | 0:10:44 | 0:10:47 | |
Miss Rowley, this is you, | 0:10:47 | 0:10:50 | |
and you're in the green one. | 0:10:50 | 0:10:51 | |
I wasn't sure if you were together, but Hector thought not. | 0:10:54 | 0:10:57 | |
Even so, I've put you close. We're tres liberal here. | 0:10:57 | 0:11:00 | |
Er, thank you, but there was really no need. | 0:11:00 | 0:11:03 | |
-One never can tell how things will work out. -DOOR OPENS AND SLAMS | 0:11:03 | 0:11:06 | |
Bugger! | 0:11:06 | 0:11:08 | |
How the hell did Hector get out of it? | 0:11:08 | 0:11:10 | |
He hasn't. I've sent him off to change. | 0:11:10 | 0:11:12 | |
Ralphie, meet our guests. This is my brother. | 0:11:12 | 0:11:14 | |
-He's a monster. -Hello. | 0:11:14 | 0:11:16 | |
-Nice to meet you. -Hello. | 0:11:16 | 0:11:18 | |
I've been sent back. Wrong socks. | 0:11:18 | 0:11:20 | |
Did you tell Mother Adam was coming down? | 0:11:20 | 0:11:23 | |
Ralphie, don't be boring. | 0:11:23 | 0:11:24 | |
She's invited those appalling Roedean girls again. | 0:11:24 | 0:11:27 | |
Good! We're a little short of girls. You did bring a dress? | 0:11:27 | 0:11:30 | |
Mummy! | 0:11:30 | 0:11:32 | |
Ralphie, don't be mean. She's lying down. Lunch is at one, | 0:11:32 | 0:11:35 | |
then we always have a big walk afterwards. | 0:11:35 | 0:11:37 | |
C'est magnifique! | 0:11:37 | 0:11:39 | |
Shut up and go and change, please. | 0:11:39 | 0:11:41 | |
Swot! | 0:11:45 | 0:11:46 | |
It's Saturday. Leave immediately. | 0:11:47 | 0:11:49 | |
Mr Lyon wanted me in. | 0:11:49 | 0:11:51 | |
Curiouser and curiouser. | 0:11:51 | 0:11:53 | |
And I had some work to do on my Jackson Pollock piece. | 0:11:53 | 0:11:56 | |
Hmm... | 0:11:56 | 0:11:57 | |
LIFT BELL RINGS | 0:11:57 | 0:11:58 | |
Mr Kish. Almost a full house. No-one told me to expect you in. | 0:11:58 | 0:12:03 | |
Didn't they? | 0:12:03 | 0:12:04 | |
I rather enjoy the place to myself at the weekend. | 0:12:06 | 0:12:11 | |
-I've got the most horrible wallpaper. What's yours like? -Remind me to lock that. | 0:12:12 | 0:12:17 | |
And your bed's softer than mine. | 0:12:19 | 0:12:22 | |
What are we doing here? | 0:12:25 | 0:12:27 | |
I don't know. | 0:12:27 | 0:12:29 | |
I've missed a gripping Saturday of Scrabble with mon papa... | 0:12:30 | 0:12:34 | |
Then sardines on toast for afters in front of the TV. What's your excuse? | 0:12:35 | 0:12:39 | |
GUNSHOT | 0:12:39 | 0:12:40 | |
Oh, Christ! | 0:12:42 | 0:12:43 | |
I won't actually have to hold a gun, will I? | 0:12:43 | 0:12:46 | |
THEY LAUGH | 0:12:46 | 0:12:48 | |
KNOCK AT DOOR | 0:12:48 | 0:12:50 | |
Settling in? | 0:12:51 | 0:12:53 | |
Oh, yes, very well, thank you. | 0:12:53 | 0:12:55 | |
-You'll need boots. It gets pretty muddy this time of the year. -Thank you. | 0:12:55 | 0:12:59 | |
Well, see you later, at lunch. | 0:12:59 | 0:13:03 | |
Oh, what? | 0:13:05 | 0:13:07 | |
He's being kind. | 0:13:07 | 0:13:08 | |
The Man Who Knew... | 0:13:18 | 0:13:19 | |
..shoots for real. | 0:13:21 | 0:13:22 | |
And I didn't even bring a dress. | 0:13:24 | 0:13:26 | |
You can have mine. | 0:13:26 | 0:13:27 | |
Oh, hell! | 0:13:29 | 0:13:31 | |
I'm surprised hell can spare him. | 0:13:32 | 0:13:34 | |
It was shot on 8mm. | 0:13:38 | 0:13:39 | |
Mr Albert said it was professionally developed, but he doesn't think over here. | 0:13:39 | 0:13:44 | |
The scratches on the lens could be sand. | 0:13:44 | 0:13:48 | |
And the pot looks eastern. | 0:13:48 | 0:13:50 | |
What else? | 0:13:50 | 0:13:51 | |
I don't know. I've left the rest of the notes on your desk. | 0:13:51 | 0:13:55 | |
Then go and get them. | 0:13:55 | 0:13:56 | |
I can't. He's sitting at it. | 0:13:58 | 0:14:00 | |
Who? | 0:14:00 | 0:14:01 | |
Mr Kish. | 0:14:01 | 0:14:03 | |
He's in? What's he doing? | 0:14:05 | 0:14:08 | |
Eating a sandwich. | 0:14:08 | 0:14:09 | |
If it's of any interest, I think he's been drinking. | 0:14:09 | 0:14:12 | |
It takes one to know one, sweetheart. | 0:14:13 | 0:14:15 | |
What do I do? | 0:14:15 | 0:14:17 | |
Just watch him, and don't let that film out of your sight. | 0:14:17 | 0:14:21 | |
Away! Away! | 0:14:21 | 0:14:23 | |
May I? | 0:14:33 | 0:14:34 | |
Yes, please. | 0:14:34 | 0:14:35 | |
We saw your show last night. | 0:14:39 | 0:14:42 | |
You do that news programme. | 0:14:42 | 0:14:44 | |
The odd outside broadcast. | 0:14:44 | 0:14:47 | |
Did you like it, The Man Who Knew? | 0:14:47 | 0:14:50 | |
Ingenious title. | 0:14:51 | 0:14:53 | |
We're still waiting on the reviews. You haven't got today's paper? | 0:14:54 | 0:14:57 | |
-No. -Have we met before? | 0:14:57 | 0:15:00 | |
I covered your engagement party. Frederick Lyon. | 0:15:00 | 0:15:04 | |
Adam Le Ray. | 0:15:04 | 0:15:06 | |
My condolences on your loss. | 0:15:10 | 0:15:13 | |
Ralph, whose idea was it to sit me next to a journalist? | 0:15:13 | 0:15:16 | |
Marnie arranged the seating. | 0:15:16 | 0:15:18 | |
We're all friends here. | 0:15:18 | 0:15:20 | |
You've known each another a long time. | 0:15:22 | 0:15:25 | |
No, not long. | 0:15:25 | 0:15:26 | |
It was all a bit of a whirlwind. | 0:15:28 | 0:15:29 | |
Still... | 0:15:29 | 0:15:31 | |
Leave the boy alone, Mr Lyon. | 0:15:31 | 0:15:32 | |
It's the weekend. And he's an awfully good shot. | 0:15:32 | 0:15:35 | |
You wouldn't want to get on the wrong side of him. | 0:15:35 | 0:15:38 | |
Gold reserves have taken a tumble. Down £800,000 since July. | 0:15:40 | 0:15:45 | |
Does Eden know what he's going to do about it? | 0:15:45 | 0:15:47 | |
Let's solve this problem in Egypt, shall we, Wallace? | 0:15:47 | 0:15:50 | |
Then I will talk to you about gold. | 0:15:50 | 0:15:52 | |
When are you going to solve it? | 0:15:52 | 0:15:53 | |
The Soviets have just sent in "volunteers" | 0:15:55 | 0:15:58 | |
to help Nasser run the Canal. | 0:15:58 | 0:16:00 | |
-That's very worrying, darling. -Please do not worry yourself, dear Mrs Sherman. | 0:16:00 | 0:16:04 | |
I can assure you there is a solution in hand and our Prime Minister | 0:16:04 | 0:16:07 | |
will guide us through this crisis. | 0:16:07 | 0:16:09 | |
You and your boys at Westminster have been feeding us that line for weeks. | 0:16:09 | 0:16:13 | |
It's grown a little tired. | 0:16:13 | 0:16:15 | |
We've offered Nasser Egyptian representation | 0:16:15 | 0:16:18 | |
on the Suez Canal Company board with a share in its profits. | 0:16:18 | 0:16:21 | |
And any pact is seen by Nasser as veiled colonialism. | 0:16:21 | 0:16:24 | |
The truth is you don't know what to do. He's doing too little to provoke a war, | 0:16:24 | 0:16:28 | |
but just enough to provoke our Prime Minister. | 0:16:28 | 0:16:30 | |
And why you think it is a good idea to let him on air | 0:16:30 | 0:16:33 | |
exposing his frailty is... | 0:16:33 | 0:16:35 | |
I'm sure Angus | 0:16:35 | 0:16:36 | |
would dutifully pass on your good thoughts to the Prime Minister. | 0:16:36 | 0:16:39 | |
Well, someone ought to, otherwise he may not take the country with him. | 0:16:41 | 0:16:45 | |
Marilyn Monroe has been sick with gastritis. | 0:16:47 | 0:16:50 | |
They've delayed the shooting of The Sleeping Prince for four days. | 0:16:51 | 0:16:55 | |
Olivier is apparently livid. | 0:16:55 | 0:16:57 | |
I'd have gastritis if I was married to that Mr Miller. | 0:16:57 | 0:17:00 | |
And his plays! Hector and I went to see one last week. What was it called again? | 0:17:00 | 0:17:05 | |
It escapes me now. | 0:17:07 | 0:17:08 | |
GUNSHOTS | 0:17:20 | 0:17:22 | |
GUNSHOTS | 0:17:23 | 0:17:25 | |
GUNSHOTS | 0:17:29 | 0:17:31 | |
GUNSHOT | 0:17:32 | 0:17:33 | |
Oh, damn! | 0:17:33 | 0:17:35 | |
Bad luck! | 0:17:35 | 0:17:36 | |
Yes, wrong weight. I prefer something lighter. | 0:17:36 | 0:17:39 | |
Stop fussing, Angus. | 0:17:39 | 0:17:42 | |
You're a little liverish today. | 0:17:42 | 0:17:44 | |
I've never understood the point of shooting. | 0:17:46 | 0:17:48 | |
That's cos you live in London. | 0:17:48 | 0:17:50 | |
The only thing they shoot in London is films or each other. | 0:17:50 | 0:17:53 | |
It grows on you. | 0:17:54 | 0:17:55 | |
Especially if you manage to... | 0:17:57 | 0:17:58 | |
GUNSHOTS | 0:17:58 | 0:18:00 | |
When you actually hit something. | 0:18:03 | 0:18:04 | |
Did you get a chance to talk to him? | 0:18:09 | 0:18:11 | |
I thought you'd be interested. | 0:18:11 | 0:18:13 | |
I'm not an idiot. | 0:18:14 | 0:18:15 | |
-I know you think you're on to something with Ruth Elms. -I am. | 0:18:15 | 0:18:18 | |
Well, you won't have much luck with Adam. | 0:18:18 | 0:18:21 | |
It's obvious as hell he wasn't in love with her. | 0:18:21 | 0:18:23 | |
Well, then he's a fool. | 0:18:23 | 0:18:26 | |
Girls like Ruth Elms are a rare breed. | 0:18:27 | 0:18:29 | |
You don't get it, do you? | 0:18:31 | 0:18:33 | |
You'll see. | 0:18:35 | 0:18:36 | |
He comes alive after dinner. | 0:18:36 | 0:18:38 | |
GUNSHOT | 0:18:41 | 0:18:42 | |
Marnie's got us all dancing in the dining room. | 0:18:50 | 0:18:53 | |
You shoot, we jive. How many did you miss? | 0:18:53 | 0:18:56 | |
As many as I could. I don't like shooting things. | 0:18:56 | 0:18:58 | |
How do you think they killed that beef you had for lunch? | 0:18:58 | 0:19:01 | |
With boredom. | 0:19:01 | 0:19:03 | |
Are you going to help me pluck them? | 0:19:07 | 0:19:10 | |
No, sorry. | 0:19:11 | 0:19:13 | |
I have to jive. | 0:19:13 | 0:19:14 | |
Isaac, you've been slurping that coffee for nearly an hour. | 0:19:23 | 0:19:28 | |
Surely, it's gone cold by now? | 0:19:28 | 0:19:30 | |
Mr Fendley. | 0:19:30 | 0:19:31 | |
Working the weekend? Very good. | 0:19:31 | 0:19:33 | |
Mr Lyon wanted me to cover a couple of things. | 0:19:33 | 0:19:35 | |
Oh? And what might those be? | 0:19:35 | 0:19:37 | |
What's he paying you? | 0:19:40 | 0:19:41 | |
A pint and a bag of chips. | 0:19:41 | 0:19:43 | |
You've been had. | 0:19:43 | 0:19:44 | |
He's not sure about Mr Kish. | 0:19:45 | 0:19:48 | |
Then he's just one on Mr Lyon's very long list. | 0:19:51 | 0:19:54 | |
You are the definition of enigma, Mr Lyon. | 0:20:03 | 0:20:05 | |
You clean a gun as if you've done it before. | 0:20:05 | 0:20:09 | |
Your father? | 0:20:11 | 0:20:12 | |
A poacher, I bet. | 0:20:12 | 0:20:14 | |
Tell me your secret, do. | 0:20:15 | 0:20:17 | |
Did you put pressure on Clarence to drop my interview with Lord Elms? | 0:20:17 | 0:20:22 | |
It was you, wasn't it? | 0:20:22 | 0:20:24 | |
The buck stops with your producer, I'd say. | 0:20:24 | 0:20:28 | |
You will encourage Miss Rowley and her team to work WITH us, Hector? | 0:20:43 | 0:20:47 | |
That's a little presumptuous, isn't it? What do you mean, "will"? | 0:20:48 | 0:20:51 | |
It is to be advised. | 0:20:51 | 0:20:53 | |
Things in Suez will only get worse | 0:20:54 | 0:20:56 | |
and the BBC may find itself | 0:20:56 | 0:20:57 | |
coming under increasing pressure in the coming weeks if they don't. | 0:20:57 | 0:21:01 | |
You are a guest in my family's house, Angus. | 0:21:01 | 0:21:04 | |
Don't outstay your welcome. | 0:21:06 | 0:21:07 | |
Angus? | 0:21:10 | 0:21:11 | |
Got a light? | 0:21:14 | 0:21:15 | |
The Lord Elms film didn't blow. | 0:21:32 | 0:21:34 | |
Did it? | 0:21:37 | 0:21:38 | |
I'm starving, so you'll have to wait until after dinner if you want a fight. | 0:21:41 | 0:21:45 | |
I couldn't run them both. | 0:21:50 | 0:21:52 | |
I couldn't risk Hafiz and Lord Elm speaking out of turn. | 0:21:53 | 0:21:56 | |
It's censorship. | 0:21:58 | 0:21:59 | |
It is political sabotage... | 0:21:59 | 0:22:01 | |
-Hafiz was the better story. You would have done the same thing. -No. | 0:22:01 | 0:22:04 | |
Yes. | 0:22:04 | 0:22:06 | |
But I can't even get near him now. | 0:22:06 | 0:22:09 | |
He refuses even to take my calls. | 0:22:10 | 0:22:12 | |
Can you let it go just for one weekend? | 0:22:12 | 0:22:15 | |
Gist. | 0:22:15 | 0:22:16 | |
Bright, tree, | 0:22:18 | 0:22:19 | |
rest, | 0:22:21 | 0:22:22 | |
tribe, tone. | 0:22:22 | 0:22:23 | |
Stone, rover. | 0:22:24 | 0:22:26 | |
How the hell do you bloody decode it? | 0:22:27 | 0:22:30 | |
I don't know because I'm not a spy. | 0:22:30 | 0:22:32 | |
Well, it can't be that difficult. | 0:22:32 | 0:22:34 | |
Are you all right? | 0:22:37 | 0:22:38 | |
Bloody dog hair. | 0:22:40 | 0:22:41 | |
What's he doing now? | 0:22:49 | 0:22:50 | |
Translating Nasser's rejection of Menzies' proposals. | 0:22:50 | 0:22:53 | |
Clarence is in, talking to Lix. | 0:22:53 | 0:22:55 | |
'Have you told him anything?' | 0:22:55 | 0:22:57 | |
No. | 0:22:57 | 0:22:58 | |
Er, yes, not much. | 0:22:58 | 0:23:00 | |
Not good, Mr Wengrow. | 0:23:00 | 0:23:01 | |
Not good. Please, will you not just... | 0:23:01 | 0:23:05 | |
Oh, I've seen it all before. | 0:23:05 | 0:23:06 | |
Not on me. | 0:23:06 | 0:23:08 | |
-Who are you talking to? -Isaac. -Ask what he's working on? -Pollock. | 0:23:08 | 0:23:11 | |
-He's getting up. -To do what? | 0:23:12 | 0:23:14 | |
To put his wrapper in the bin. | 0:23:16 | 0:23:18 | |
Isaac, anything else in? | 0:23:18 | 0:23:19 | |
A Swedish ship scuttled in King George Dock, Hull. | 0:23:20 | 0:23:24 | |
Mine's squished over everything in my bag. | 0:23:24 | 0:23:26 | |
Apparently, it's on fire. | 0:23:26 | 0:23:29 | |
'Tell him that Pollock' | 0:23:29 | 0:23:31 | |
only runs if he can get an interview. | 0:23:31 | 0:23:33 | |
He died four weeks ago. It's all right, Isaac. | 0:23:33 | 0:23:38 | |
Oh. | 0:23:38 | 0:23:40 | |
I was worried you might not have towels. | 0:23:41 | 0:23:44 | |
I forgot toothpaste. | 0:23:46 | 0:23:47 | |
Careful not to get any on your silk. | 0:23:49 | 0:23:50 | |
Is it, silk? | 0:23:50 | 0:23:52 | |
One can't tell any more, | 0:23:52 | 0:23:53 | |
what with all the marvellous new cheap synthetics. | 0:23:53 | 0:23:57 | |
-Damn, he's leaving. -Follow him. | 0:24:01 | 0:24:04 | |
'How the hell does Lix know what you're doing as well?' | 0:24:04 | 0:24:06 | |
Obvious, darling. He's hardly Poirot. | 0:24:06 | 0:24:08 | |
'Don't let him follow him with the film.' | 0:24:08 | 0:24:11 | |
Tell him to lock it in my desk drawer. | 0:24:11 | 0:24:13 | |
'Lix, do you hear?' | 0:24:13 | 0:24:15 | |
God! Marnie just saw me coming out of you bathroom. | 0:24:30 | 0:24:34 | |
And? | 0:24:35 | 0:24:36 | |
I think Marnie's fun. | 0:24:37 | 0:24:39 | |
I'm sorry. | 0:24:42 | 0:24:43 | |
I should have told you the truth about the Lord Elms film. | 0:24:47 | 0:24:49 | |
Yes. | 0:24:51 | 0:24:52 | |
Just because you're one of them, | 0:24:54 | 0:24:56 | |
don't act like them. | 0:24:56 | 0:24:58 | |
I won't. | 0:24:59 | 0:25:00 | |
I promise. | 0:25:02 | 0:25:03 | |
What if I've got it wrong? | 0:25:14 | 0:25:15 | |
What if there's nothing in this bloody crossword and I'm bored and... | 0:25:15 | 0:25:19 | |
Avoiding a grown-up life? | 0:25:19 | 0:25:20 | |
You? | 0:25:20 | 0:25:22 | |
You're right. | 0:25:25 | 0:25:28 | |
A momentary lapse. | 0:25:28 | 0:25:29 | |
They're very even. | 0:25:44 | 0:25:46 | |
Your ears. | 0:25:49 | 0:25:50 | |
CLOCK CHIMES | 0:25:50 | 0:25:54 | |
Dinner. | 0:25:54 | 0:25:56 | |
Darling? | 0:25:58 | 0:26:00 | |
-I knew it. -What? | 0:26:05 | 0:26:07 | |
Miss Rowley and Mr Lyon. | 0:26:08 | 0:26:09 | |
I've just seen her coming out of his bathroom. | 0:26:09 | 0:26:12 | |
Really? | 0:26:14 | 0:26:15 | |
Didn't I say? | 0:26:17 | 0:26:18 | |
What's wrong? | 0:26:22 | 0:26:23 | |
Don't put me near McCain at dinner. | 0:26:25 | 0:26:27 | |
What? | 0:26:45 | 0:26:47 | |
Nothing. | 0:26:48 | 0:26:50 | |
Freddie... | 0:26:50 | 0:26:52 | |
You can't possibly wear that jacket. | 0:26:53 | 0:26:55 | |
And those shoes. | 0:26:56 | 0:26:58 | |
It's a little long in the leg but you should make up for it | 0:27:01 | 0:27:03 | |
with the shoes | 0:27:03 | 0:27:04 | |
The jacket would be... | 0:27:04 | 0:27:06 | |
Here's one of my old ones. | 0:27:11 | 0:27:13 | |
I was a little trimmer then. | 0:27:13 | 0:27:15 | |
I mean, no-one gives a monkey's what you wear. It's bloody ridiculous. | 0:27:17 | 0:27:20 | |
We're just sitting down to eat. | 0:27:20 | 0:27:21 | |
No-one's getting married or buried or anything but we just do it. | 0:27:21 | 0:27:25 | |
We just obey these ridiculous rules, because Christ help us if we don't. | 0:27:25 | 0:27:28 | |
It's only a suit. | 0:27:30 | 0:27:31 | |
You need cufflinks. | 0:27:34 | 0:27:35 | |
-Here. -Thank you. | 0:27:41 | 0:27:43 | |
CLOCK CHIMES | 0:27:43 | 0:27:44 | |
She's a wonderful woman... | 0:27:47 | 0:27:49 | |
Bel. | 0:27:49 | 0:27:50 | |
Yes. | 0:27:55 | 0:27:56 | |
Well, don't be late. There's never enough soup. | 0:27:59 | 0:28:02 | |
'And now for news from abroad. Talks between the Five Nations Suez Committee and Colonel Nasser | 0:28:03 | 0:28:09 | |
'failed dramatically last night | 0:28:09 | 0:28:10 | |
'when the Egyptian President rejected the proposals put to him | 0:28:10 | 0:28:14 | |
'by Australian Prime Minister Robert Menzies. | 0:28:14 | 0:28:16 | |
'On flying back to London...' | 0:28:16 | 0:28:17 | |
Looks likes he's turned down your proposal. | 0:28:17 | 0:28:20 | |
May I use your telephone? | 0:28:20 | 0:28:22 | |
Of course. In the hall. | 0:28:22 | 0:28:24 | |
'Australia will have nothing to do...' | 0:28:25 | 0:28:27 | |
The only reason they sent Menzies is because America won't help. And now look. Complete farce. | 0:28:27 | 0:28:33 | |
If Eisenhower wasn't running for re-election the Americans | 0:28:33 | 0:28:36 | |
would have stood by us more instead of hiding behind the United Nations and opening the door to Russia. | 0:28:36 | 0:28:41 | |
Perhaps the President knows something we don't. | 0:28:41 | 0:28:45 | |
Like how to win an election. | 0:28:45 | 0:28:47 | |
That was a very good point you made earlier, though. | 0:28:51 | 0:28:54 | |
Can you inform the Prime Minister I'm trying to get hold of him? | 0:28:55 | 0:28:58 | |
This country's become far too entrenched in what it thinks it's entitled to. | 0:28:58 | 0:29:03 | |
Perhaps it needs the likes of you and I to shake things up a bit. | 0:29:05 | 0:29:08 | |
I'm off. | 0:29:12 | 0:29:13 | |
-All quiet? -Israel is becoming increasingly jumpy. | 0:29:13 | 0:29:16 | |
They don't like the Soviets in their back yard. | 0:29:16 | 0:29:19 | |
They'll be in Suez before us at this rate. | 0:29:19 | 0:29:22 | |
I saw. | 0:29:22 | 0:29:24 | |
Does Edith ever see you? | 0:29:24 | 0:29:25 | |
I pity that poor woman, Clarence, I really do. | 0:29:25 | 0:29:28 | |
And who should I pity, Lix? | 0:29:28 | 0:29:30 | |
No-one. That's the way I like it. | 0:29:31 | 0:29:33 | |
-Has Mr Kish gone? -No, not yet. | 0:29:33 | 0:29:36 | |
World Service speak very highly of him. | 0:29:39 | 0:29:41 | |
Well, his Arabic's brilliant. | 0:29:41 | 0:29:43 | |
Though I haven't found a single programme he's worked on | 0:29:43 | 0:29:46 | |
in the eight years he's been at the BBC. | 0:29:46 | 0:29:48 | |
Night-night. | 0:29:51 | 0:29:52 | |
Mr Kish. | 0:30:01 | 0:30:03 | |
Still here? | 0:30:03 | 0:30:04 | |
I'm just making final amendments | 0:30:04 | 0:30:06 | |
to Nasser's rejection of Menzies' proposals. | 0:30:06 | 0:30:09 | |
Lix wanted it all down. | 0:30:09 | 0:30:10 | |
What we have ever to do with ease, we must first do with diligence. | 0:30:12 | 0:30:15 | |
So beautiful on the page. | 0:30:17 | 0:30:19 | |
There are 28 basic letters. | 0:30:19 | 0:30:22 | |
It's the style that varies the form. | 0:30:22 | 0:30:24 | |
It's remarkable. | 0:30:26 | 0:30:27 | |
I think so. Yes. | 0:30:27 | 0:30:29 | |
Kish? Hungarian? | 0:30:29 | 0:30:31 | |
Russian. On my father's side. | 0:30:31 | 0:30:34 | |
Don't work too late. | 0:30:36 | 0:30:37 | |
I'll be off then. | 0:31:26 | 0:31:27 | |
Good night, Mr Wengrow. | 0:31:29 | 0:31:31 | |
Night. | 0:31:31 | 0:31:33 | |
-You don't dance, Angus? -No. | 0:31:46 | 0:31:49 | |
Don't dance. Can't shoot. | 0:31:49 | 0:31:51 | |
What are you doing here? | 0:31:52 | 0:31:54 | |
Eden's called an emergency meeting. I may have to leave early. | 0:31:54 | 0:31:57 | |
Well, we'll try not to miss you too much. | 0:31:57 | 0:32:00 | |
They're insisting everyone attends. | 0:32:00 | 0:32:02 | |
They again? | 0:32:02 | 0:32:03 | |
The mysterious they. | 0:32:03 | 0:32:06 | |
THEY don't want you to know who THEY are, do they, Angus? | 0:32:06 | 0:32:10 | |
Have you read it? Middle section. | 0:32:10 | 0:32:13 | |
Adam Le Ray has all the charisma and threat of a carpetbagger. | 0:32:14 | 0:32:17 | |
One can forgive Mr Le Ray most things | 0:32:17 | 0:32:20 | |
but a basic lack of talent | 0:32:20 | 0:32:22 | |
is suspect in a man so devoid of anything else. | 0:32:22 | 0:32:25 | |
Well, I just did what you said. | 0:32:27 | 0:32:29 | |
And now the papers crucify me. | 0:32:31 | 0:32:33 | |
You need to go to bed. Hector, take him up. | 0:32:34 | 0:32:36 | |
Yes, I think sleep would do him good. | 0:32:36 | 0:32:38 | |
You said marry her and everything would be all right. | 0:32:38 | 0:32:42 | |
-Now she's dead! -Get him out. | 0:32:42 | 0:32:44 | |
Freddie, could you? | 0:32:44 | 0:32:47 | |
I'm all right. I remember you now. | 0:32:47 | 0:32:50 | |
Get him out! | 0:32:52 | 0:32:54 | |
I DID WHAT YOU SAID! | 0:32:54 | 0:32:56 | |
I'm going to be sick. | 0:33:05 | 0:33:06 | |
What was he talking about? | 0:33:06 | 0:33:08 | |
God knows. | 0:33:08 | 0:33:09 | |
What do you mean? | 0:33:09 | 0:33:11 | |
-Slap him. -Really? | 0:33:11 | 0:33:14 | |
Ow! | 0:33:15 | 0:33:17 | |
HE LAUGHS | 0:33:17 | 0:33:18 | |
Ow! Bastard! | 0:33:18 | 0:33:20 | |
What the hell did you mean? You did what he said? Who? | 0:33:20 | 0:33:24 | |
Was it McCain? | 0:33:24 | 0:33:25 | |
What did McCain tell you to do? | 0:33:25 | 0:33:27 | |
Marry her. Marry her. | 0:33:27 | 0:33:29 | |
Ruth? | 0:33:29 | 0:33:30 | |
Shh, shh! | 0:33:30 | 0:33:32 | |
Well, you didn't think it was for love, did you? | 0:33:34 | 0:33:37 | |
A girl in trouble and me. | 0:33:39 | 0:33:41 | |
What?! | 0:33:41 | 0:33:43 | |
If I married her then no-one would know what I am. | 0:33:50 | 0:33:53 | |
You should have bloody cared. | 0:33:59 | 0:34:01 | |
You should have bloody loved her! | 0:34:01 | 0:34:04 | |
Let him sleep it off. | 0:34:04 | 0:34:06 | |
Is he all right? | 0:34:16 | 0:34:18 | |
Why do you let him get drunk like that? Every time, Ralph! | 0:34:18 | 0:34:21 | |
We were just having a bit of fun. | 0:34:21 | 0:34:22 | |
Oh, yes, of course. Always fun. No. Leave him. | 0:34:22 | 0:34:25 | |
Did you hear what he said? | 0:34:32 | 0:34:33 | |
-These silent deals are struck all the time, Freddie. -No. | 0:34:37 | 0:34:40 | |
Then consider yourself fortunate. | 0:34:40 | 0:34:42 | |
One learns to recognise it. | 0:34:44 | 0:34:46 | |
A slow deadening in the eyes. | 0:34:46 | 0:34:49 | |
An acceptance of defeat. | 0:34:49 | 0:34:51 | |
I lived with the Elms family. | 0:34:53 | 0:34:55 | |
During the war. | 0:34:55 | 0:34:57 | |
On and off. | 0:34:58 | 0:34:59 | |
My mother, she worked as a secretary for Lord Elms | 0:35:01 | 0:35:04 | |
before she met my father. | 0:35:04 | 0:35:07 | |
They took me in during the Blitz. | 0:35:08 | 0:35:10 | |
The odd summer. Christmas. | 0:35:10 | 0:35:12 | |
I hated shooting then. | 0:35:13 | 0:35:14 | |
I don't understand this world. | 0:35:15 | 0:35:17 | |
I've never understood it. | 0:35:17 | 0:35:19 | |
How any of you live. | 0:35:21 | 0:35:23 | |
There lies the rub. | 0:35:23 | 0:35:24 | |
GIGGLING | 0:35:24 | 0:35:27 | |
Have you seen them? | 0:35:27 | 0:35:28 | |
-Who? -Any of them. | 0:35:28 | 0:35:30 | |
LAUGHTER AND CHATTER | 0:35:30 | 0:35:33 | |
67, 68, 69... | 0:35:41 | 0:35:45 | |
FOOTSTEPS | 0:35:45 | 0:35:47 | |
Sardines. | 0:35:47 | 0:35:49 | |
Oh, God. I'm so sorry. | 0:35:49 | 0:35:51 | |
Why do grown-ups insist on playing party games? | 0:35:55 | 0:35:58 | |
Didn't we do enough of that as children? | 0:35:58 | 0:36:01 | |
I never had parties as a child. | 0:36:01 | 0:36:03 | |
-Everyone had birthday parties. -Not me. | 0:36:03 | 0:36:06 | |
-Well, not until I met Marnie. -Oh, you're in it for the cake. | 0:36:06 | 0:36:10 | |
97! | 0:36:13 | 0:36:15 | |
98... | 0:36:17 | 0:36:19 | |
99... | 0:36:19 | 0:36:21 | |
Coming! | 0:36:23 | 0:36:24 | |
Not here! | 0:37:32 | 0:37:33 | |
GIGGLING | 0:37:34 | 0:37:36 | |
Shh! | 0:37:36 | 0:37:37 | |
Sardines! | 0:38:45 | 0:38:46 | |
DOOR BANGS Bel? | 0:38:55 | 0:38:58 | |
Precautionary measure. | 0:39:03 | 0:39:05 | |
Revert... | 0:39:12 | 0:39:13 | |
to Brightstone. | 0:39:15 | 0:39:16 | |
"Better rovers tonight." | 0:39:21 | 0:39:22 | |
"Sherbet, invert, grotto." | 0:39:22 | 0:39:24 | |
"Brighteners veto tort." | 0:39:24 | 0:39:26 | |
It's a fair point, but... it just jumps out at you. | 0:39:26 | 0:39:31 | |
Mm. Like "observe trotenite". | 0:39:31 | 0:39:33 | |
Why would you marry someone you didn't love? | 0:39:37 | 0:39:40 | |
Are you asking? | 0:39:41 | 0:39:43 | |
Because you were lonely. | 0:39:46 | 0:39:47 | |
Because you had to. | 0:39:47 | 0:39:49 | |
-Because you were in trouble. -Pregnant. | 0:39:50 | 0:39:53 | |
Is that... That is what trouble means? | 0:39:53 | 0:39:58 | |
Poor innocent boy. | 0:39:58 | 0:40:00 | |
Because you had something to hide. | 0:40:08 | 0:40:10 | |
Because there was a promise of a career at the end of it. | 0:40:10 | 0:40:13 | |
Because the person that you loved... was doing something they shouldn't. | 0:40:16 | 0:40:22 | |
Because the person that you loved... was a spy passing secrets. | 0:40:22 | 0:40:26 | |
Freddie, it's one o'clock in the morning. | 0:40:26 | 0:40:28 | |
He knows. He knows. | 0:40:28 | 0:40:32 | |
Revert to Brightstone. | 0:40:32 | 0:40:33 | |
You need to sleep. | 0:40:33 | 0:40:35 | |
Good idea. | 0:40:38 | 0:40:40 | |
Not with me. | 0:40:42 | 0:40:44 | |
Boring Moneypenny! | 0:40:44 | 0:40:47 | |
And stop calling me that! | 0:40:47 | 0:40:49 | |
I don't know what it is about you | 0:40:52 | 0:40:55 | |
That closes and opens | 0:40:55 | 0:40:57 | |
Only something in me understands the voice of your eyes | 0:40:58 | 0:41:01 | |
Is deeper than all roses | 0:41:01 | 0:41:03 | |
Nobody, not even the rain | 0:41:05 | 0:41:07 | |
Has such small hands. | 0:41:07 | 0:41:11 | |
EE Cummings. | 0:41:12 | 0:41:14 | |
That's the one. | 0:41:15 | 0:41:16 | |
Hector, | 0:41:22 | 0:41:24 | |
you've just missed a wonderful game of Sardines. | 0:41:24 | 0:41:27 | |
Where were you? | 0:41:27 | 0:41:28 | |
Nowhere. | 0:41:30 | 0:41:32 | |
I'm awfully tired. Aren't you? | 0:41:45 | 0:41:47 | |
Yes. | 0:41:52 | 0:41:54 | |
PHONE RINGS | 0:41:58 | 0:42:01 | |
Hello. | 0:42:06 | 0:42:07 | |
Frederick? | 0:42:07 | 0:42:08 | |
Sorry? | 0:42:10 | 0:42:11 | |
Frederick? | 0:42:11 | 0:42:13 | |
Everyone is still asleep here. | 0:42:15 | 0:42:18 | |
HE WHIMPERS | 0:42:18 | 0:42:20 | |
Let me come with you. | 0:42:34 | 0:42:35 | |
It's fine. Stay. He's all right. | 0:42:35 | 0:42:38 | |
Someone broke in last night and he's just a bit shaken up. | 0:42:38 | 0:42:41 | |
-Mrs B went over straight away. -Ready? | 0:42:41 | 0:42:44 | |
Really. | 0:42:51 | 0:42:52 | |
Can you slow down a bit? | 0:43:10 | 0:43:11 | |
You're very interesting to me, Mr Lyon. | 0:43:11 | 0:43:14 | |
I'd be more interesting alive than dead. | 0:43:14 | 0:43:16 | |
For all your socialist principles, | 0:43:16 | 0:43:18 | |
no-one does as well as you without help. | 0:43:18 | 0:43:20 | |
Please just... Let me out here. I'll take the train. | 0:43:21 | 0:43:24 | |
Don't be ridiculous. There's only one. It won't get you to London until next week. | 0:43:24 | 0:43:28 | |
You think you heard something last night? | 0:43:28 | 0:43:32 | |
Hmmm. | 0:43:32 | 0:43:34 | |
What you actually heard were the drunk ramblings of an actor | 0:43:34 | 0:43:37 | |
whose career is faltering at the starting gate. | 0:43:37 | 0:43:40 | |
-I give The Man Who Knew a week. -I think you're wrong. | 0:43:41 | 0:43:44 | |
I think Adam Le Ray's a very interesting man with a lot to say for himself | 0:43:44 | 0:43:48 | |
and I plan to listen and find out as much as I can. | 0:43:48 | 0:43:51 | |
I'm a big supporter of the spirit of inquiry. | 0:43:51 | 0:43:54 | |
A different time, I may well have offered you a job. | 0:43:54 | 0:43:57 | |
Work with us, Freddie. | 0:43:57 | 0:43:59 | |
I'd rather not. The hours are appalling and the people are tedious. | 0:43:59 | 0:44:02 | |
HE LAUGHS | 0:44:02 | 0:44:04 | |
I don't think it's privilege you dislike. | 0:44:04 | 0:44:07 | |
I think it's fear that in spite of it, you still won't be let in. | 0:44:07 | 0:44:11 | |
-Drive carefully, won't you, darling? -We will. | 0:44:25 | 0:44:29 | |
-Safe journey. Bye, my dears. -Bye, Mummy. | 0:44:29 | 0:44:33 | |
KNOCK ON DOOR | 0:44:33 | 0:44:34 | |
Shall I take these? | 0:44:37 | 0:44:38 | |
You really don't have to drive me. | 0:44:38 | 0:44:41 | |
I insist. | 0:44:41 | 0:44:43 | |
Look after him. Precious cargo. | 0:45:00 | 0:45:03 | |
Drive carefully. | 0:45:08 | 0:45:09 | |
Yes. Do be careful, Hector. | 0:45:11 | 0:45:13 | |
Let's get you a cup of tea. | 0:46:04 | 0:46:06 | |
What are you doing here? | 0:46:50 | 0:46:51 | |
There was a break-in. | 0:46:51 | 0:46:52 | |
At my father's. | 0:46:54 | 0:46:55 | |
Good grief! I'm so sorry. Is he all right? | 0:46:55 | 0:46:57 | |
He's sleeping. I just needed to get out. | 0:46:57 | 0:46:59 | |
-Was anything taken? -Nothing. | 0:46:59 | 0:47:01 | |
Except a photo of me with my mother. | 0:47:01 | 0:47:04 | |
What's your excuse? | 0:47:04 | 0:47:06 | |
Oh, dinner with a dreadful great aunt. | 0:47:06 | 0:47:08 | |
I'm stalling for as long as I can, but... | 0:47:08 | 0:47:11 | |
-The Egyptians have issued a new set of proposals. -Is Isaac in? | 0:47:11 | 0:47:14 | |
Somewhere, knee-deep in Pollock. | 0:47:14 | 0:47:17 | |
No, I can't put it off any longer. She gets rather spiteful if I'm not there by the entree. | 0:47:22 | 0:47:26 | |
Did he give you the film? | 0:47:26 | 0:47:28 | |
No, he didn't. | 0:47:28 | 0:47:29 | |
He hasn't been seen all day, our Mr Kish. | 0:47:37 | 0:47:40 | |
Be careful, Freddie. | 0:47:40 | 0:47:42 | |
It's Sunday. Look sad. | 0:47:43 | 0:47:44 | |
Go home or people will talk. | 0:47:46 | 0:47:48 | |
Are you going to say anything? | 0:48:05 | 0:48:06 | |
You haven't spoken the whole journey. | 0:48:06 | 0:48:09 | |
Bel... | 0:48:15 | 0:48:16 | |
..just say if you want this. | 0:48:19 | 0:48:21 | |
DOOR OPENS | 0:49:14 | 0:49:17 | |
I left my raincoat. | 0:49:21 | 0:49:22 | |
Perhaps we could go for that drink now? | 0:49:27 | 0:49:30 | |
Coffee. I want coffee. | 0:49:32 | 0:49:34 | |
They really, really do the best. | 0:49:34 | 0:49:37 | |
Shall we? | 0:49:39 | 0:49:41 | |
Good night! | 0:50:52 | 0:50:53 | |
Did you break into my house last night, Mr Kish? | 0:51:15 | 0:51:18 | |
Of course I didn't, Mr Lyon. | 0:51:19 | 0:51:22 | |
You're lying. | 0:51:22 | 0:51:24 | |
You came into my house | 0:51:25 | 0:51:28 | |
and you frightened my father. | 0:51:28 | 0:51:29 | |
Is that what you do? | 0:51:31 | 0:51:32 | |
Frighten people? | 0:51:34 | 0:51:35 | |
You've got a very active imagination, Mr Lyon. | 0:51:35 | 0:51:37 | |
I don't think so. | 0:51:37 | 0:51:39 | |
Who do you work for? | 0:51:41 | 0:51:43 | |
The same people you do, Mr Lyon. | 0:51:44 | 0:51:46 | |
Then why are you spying on me? | 0:51:46 | 0:51:48 | |
You look like you were very good friends. | 0:51:52 | 0:51:54 | |
With Ruth and Peter. | 0:51:56 | 0:51:58 | |
You must miss him. | 0:52:03 | 0:52:04 | |
I do. | 0:52:07 | 0:52:08 | |
Then why aren't you helping me? | 0:52:08 | 0:52:10 | |
I know you know something. Something you're not telling me. Why? | 0:52:10 | 0:52:13 | |
I could help you. | 0:52:18 | 0:52:19 | |
You can't help me. | 0:52:22 | 0:52:23 | |
You are an amateur, Mr Lyon. | 0:52:25 | 0:52:28 | |
You know nothing about me. I know everything about you. | 0:52:30 | 0:52:33 | |
I know that you live with your father. | 0:52:34 | 0:52:36 | |
That you go to the launderette on Wednesdays. | 0:52:36 | 0:52:39 | |
That you have no luck with girls. You work too much. | 0:52:39 | 0:52:42 | |
You don't know what you've got yourself into, | 0:52:42 | 0:52:45 | |
and now you know too much. | 0:52:45 | 0:52:47 | |
You're in the middle of a very dangerous world | 0:52:50 | 0:52:53 | |
but you have convinced yourself that you are somehow immune. | 0:52:53 | 0:52:56 | |
You're not. | 0:52:58 | 0:52:59 | |
We can do this one of two ways. | 0:53:03 | 0:53:06 | |
You can stop playing games with me and tell me everything you know... | 0:53:07 | 0:53:11 | |
Or? | 0:53:16 | 0:53:17 | |
You don't have to do this, Mr Kish. | 0:53:48 | 0:53:51 | |
Mr Kish? | 0:53:53 | 0:53:55 | |
It is the confession, not the priest that gives us absolution. | 0:54:16 | 0:54:20 | |
My mother always said that to me. It always worked. | 0:54:20 | 0:54:22 | |
Stolen cake. | 0:54:22 | 0:54:24 | |
"Bum" scrawled on a piece of paper. | 0:54:24 | 0:54:26 | |
If you kill me you might not meet someone so interested in the truth! | 0:54:28 | 0:54:32 | |
I don't want to die in the bloody office! | 0:54:33 | 0:54:36 | |
Mr Kish. | 0:54:37 | 0:54:38 | |
He knows. | 0:54:39 | 0:54:41 | |
It's you, isn't it? What do you know? | 0:54:41 | 0:54:43 | |
Huh? | 0:54:43 | 0:54:45 | |
Better rovers tonight. | 0:54:45 | 0:54:46 | |
Brighteners veto tort. | 0:54:46 | 0:54:48 | |
Sherbet invert grotto! | 0:54:48 | 0:54:50 | |
Revert to Brightstone. | 0:54:51 | 0:54:53 | |
It's Brightstone, isn't it? | 0:54:56 | 0:54:57 | |
What is BRIGHTSTONE? | 0:54:57 | 0:55:00 | |
Who. | 0:55:02 | 0:55:03 | |
The question is who? | 0:55:06 | 0:55:08 | |
BODY THUDS | 0:55:24 | 0:55:26 | |
PHONE RINGS | 0:56:41 | 0:56:45 | |
Hello? | 0:56:50 | 0:56:52 | |
'Can I come over?' | 0:56:52 | 0:56:53 | |
Freddie, it's nearly midnight. | 0:56:53 | 0:56:56 | |
Is it? | 0:56:57 | 0:56:59 | |
'Go to bed.' | 0:56:59 | 0:57:00 | |
I can't. | 0:57:00 | 0:57:02 | |
I can't sleep. | 0:57:02 | 0:57:04 | |
Are you all right? | 0:57:04 | 0:57:06 | |
Yes. | 0:57:07 | 0:57:08 | |
'Night.' | 0:57:08 | 0:57:09 | |
DIALLING TONE | 0:57:17 | 0:57:20 | |
Tom never mentioned you. | 0:57:39 | 0:57:41 | |
No, he wouldn't have. We'd only recently met. | 0:57:41 | 0:57:44 | |
You went to see his wife?! Are you insane? | 0:57:44 | 0:57:47 | |
I was delivering my condolences. | 0:57:47 | 0:57:49 | |
You know, I didn't think she'd last as long as she has. | 0:57:53 | 0:57:56 | |
Douglas said you thought a lady would be easier to steer. | 0:57:56 | 0:58:00 | |
Yesterday and again this morning. Blue car, black interior. | 0:58:00 | 0:58:04 | |
-What?! -Why am I being followed? | 0:58:04 | 0:58:05 | |
Miss Rowley? | 0:58:06 | 0:58:07 | |
-Audacious. -Papers are in. | 0:58:07 | 0:58:09 | |
At worst, it was an accident. | 0:58:11 | 0:58:13 | |
There are no accidents... | 0:58:13 | 0:58:16 | |
apparently. | 0:58:16 | 0:58:18 | |
Subtitles by Red Bee Media Ltd | 0:58:26 | 0:58:28 | |
E-mail [email protected] | 0:58:28 | 0:58:31 |