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TV: 'And here they are, the debutantes of 1956.' | 0:00:02 | 0:00:05 | |
And one young woman in particular has the caught the eye of a certain leading man, actor Adam Le Ray. | 0:00:05 | 0:00:11 | |
You said marry her and everything will be all right. | 0:00:11 | 0:00:14 | |
-Now she's dead. -Get him out! | 0:00:14 | 0:00:16 | |
She wanted me to help her. | 0:00:16 | 0:00:19 | |
And did you? | 0:00:19 | 0:00:20 | |
There is such purpose in taking one's own life, isn't there? | 0:00:20 | 0:00:24 | |
She didn't kill herself. She was killed. | 0:00:24 | 0:00:26 | |
He starts a new job tomorrow at the railway station... | 0:00:29 | 0:00:32 | |
You are a natural front man, Hector. | 0:00:32 | 0:00:34 | |
I'm only as good as the team around me. | 0:00:34 | 0:00:37 | |
Darling! There you are! | 0:00:43 | 0:00:45 | |
-That's your..? -Wife. | 0:00:45 | 0:00:47 | |
She told you? I knew she'd tell you. | 0:00:47 | 0:00:51 | |
You're her best friend. It just happened. | 0:00:51 | 0:00:54 | |
Darrell left this the night he was killed at a newspaper kiosk. | 0:00:54 | 0:00:58 | |
"He knows. Revert to Bright Stone." | 0:00:58 | 0:01:01 | |
What are you doing? | 0:01:03 | 0:01:04 | |
You never told me any of this. This conversation hasn't happened. | 0:01:04 | 0:01:07 | |
You must tell Mr Lyon to stop investigating the Elms story. | 0:01:07 | 0:01:11 | |
There is not a Soviet agent on my team. | 0:01:11 | 0:01:13 | |
'I will not have my team watched. | 0:01:13 | 0:01:15 | |
'Everyone is watched some time or other during their career.' | 0:01:15 | 0:01:17 | |
-TV: -'The gentleman in the front row. | 0:01:55 | 0:01:57 | |
'The question that the country wishes to know the answer to, | 0:01:57 | 0:02:00 | |
'is there going to be a ground invasion in Egypt and when? | 0:02:00 | 0:02:03 | |
'No announcement has been made yet. | 0:02:03 | 0:02:06 | |
'No, no, please, I am curious that Eden calls the intervention in Suez | 0:02:06 | 0:02:10 | |
'a police action, but with a ground invasion imminent, | 0:02:10 | 0:02:13 | |
-'are we in fact at war with Egypt and Israel? -Thank you. | 0:02:13 | 0:02:17 | |
'As you may appreciate, under the restrictions of the 14-Day Rule, | 0:02:17 | 0:02:21 | |
'this programme is unable to comment on events unfolding in Suez. | 0:02:21 | 0:02:25 | |
'However, we are able to discuss events in Hungary | 0:02:25 | 0:02:28 | |
'and I would like to open questions from the floor. | 0:02:28 | 0:02:31 | |
'You, sir, in the bow tie. | 0:02:31 | 0:02:33 | |
'What legal right does Eden have to lead this country to war?' | 0:02:33 | 0:02:36 | |
-DOORBELL RINGS -Are you expecting someone? -No. | 0:02:36 | 0:02:41 | |
Don't answer it. | 0:02:41 | 0:02:43 | |
DOORBELL RINGS | 0:02:43 | 0:02:46 | |
-Sorry, am I late? -Freddie... -I'm starving. | 0:02:48 | 0:02:52 | |
-Sorry, already eaten. -Hector. You haven't even got it on! | 0:02:52 | 0:02:57 | |
-We lost track of the time. -Open it. -Fine. | 0:02:57 | 0:02:59 | |
-It's French. -I can see that. | 0:02:59 | 0:03:02 | |
-Is stew all right? It's not very warm. -Marvellous. | 0:03:02 | 0:03:06 | |
Mm! | 0:03:06 | 0:03:08 | |
-Oh, your nose is freezing. -I swear it's colder in Belgravia. | 0:03:11 | 0:03:14 | |
-Colder than Clapham? -Yes. | 0:03:14 | 0:03:16 | |
I spent the last four hours waiting outside the Elms' mansion block. | 0:03:16 | 0:03:19 | |
He's on! | 0:03:19 | 0:03:20 | |
Cheers! | 0:03:25 | 0:03:27 | |
Do you mind? | 0:03:27 | 0:03:30 | |
Suit yourself. | 0:03:30 | 0:03:32 | |
-TV: -'Again and again, passions have come to the boil. | 0:03:34 | 0:03:38 | |
'Ever since the uneasy armistice of 1949, | 0:03:38 | 0:03:43 | |
'Israel and the Arab states...' | 0:03:43 | 0:03:45 | |
This is jolly! | 0:03:45 | 0:03:47 | |
'..Egypt has been insisting ever since then | 0:03:47 | 0:03:50 | |
'that she's still at war with Israel. | 0:03:50 | 0:03:54 | |
'The other reflection is this. | 0:03:54 | 0:03:58 | |
'It's a personal one. | 0:03:58 | 0:04:00 | |
'All my life, I've been a man of peace...' | 0:04:00 | 0:04:04 | |
'working for peace, striving for peace - | 0:04:06 | 0:04:09 | |
'but I'm utterly convinced that the action we have taken is right. | 0:04:09 | 0:04:15 | |
'There are times for courage, times for action. | 0:04:15 | 0:04:19 | |
'Our passionate love of peace, our intense loathing of war | 0:04:19 | 0:04:26 | |
'have often held us back from using force, | 0:04:26 | 0:04:29 | |
'even at times when we knew in our head, | 0:04:29 | 0:04:33 | |
'if not in our in our heart, | 0:04:33 | 0:04:35 | |
'that its use was in the interest of peace. | 0:04:35 | 0:04:39 | |
'And I believe with all my heart and head, | 0:04:40 | 0:04:44 | |
'for both are needed. | 0:04:44 | 0:04:46 | |
'Good night to you all.' | 0:04:46 | 0:04:49 | |
Eden was certainly resolute. | 0:04:49 | 0:04:51 | |
They have to let the opposition respond. We can't call ourselves a public television service | 0:04:51 | 0:04:56 | |
and not let the opposition, Gaitskell, bat back. | 0:04:56 | 0:05:00 | |
Oh, brilliant, we'll have McCain on our backs again. | 0:05:00 | 0:05:02 | |
I don't know. He's gone pretty quiet. We normally have a call or one of his visits. | 0:05:02 | 0:05:07 | |
It's been three days. In less than 72 hours we go out. | 0:05:07 | 0:05:10 | |
Why's he not hovering to see how we'll sell it? | 0:05:10 | 0:05:12 | |
If we CAN sell it with their fortnightly gag. | 0:05:12 | 0:05:14 | |
-There are ways around these things. -Are there? | 0:05:14 | 0:05:17 | |
I have been lying awake for the last three nights trying to come up with one. | 0:05:17 | 0:05:21 | |
We can't debate, we can't comment, we can't analyse, | 0:05:21 | 0:05:24 | |
we can only deliver the most basic facts | 0:05:24 | 0:05:27 | |
until two weeks after they've discussed it in Parliament. | 0:05:27 | 0:05:30 | |
-It makes a mockery of what we do. -So we make a mockery of it. | 0:05:30 | 0:05:33 | |
We present the facts in a way that points to the truth. | 0:05:33 | 0:05:38 | |
We garner opinion from abroad. What? Comment and assessment from our American cousins | 0:05:40 | 0:05:44 | |
in the light of Eisenhower's election campaign. | 0:05:44 | 0:05:47 | |
-They can't stop us broadcasting the views of foreign nationals. -You're brilliant. | 0:05:47 | 0:05:52 | |
Why should we be gagged when the newspapers can print what they like? | 0:05:52 | 0:05:56 | |
-Where did you get this? -I cannot divulge my sources. | 0:06:02 | 0:06:05 | |
Suffice to say, that runs as a leader in tomorrow's Observer. | 0:06:05 | 0:06:08 | |
"We wish to make an apology. We had not realised the Government was capable..." | 0:06:08 | 0:06:12 | |
"..of such folly and of such crookedness." | 0:06:12 | 0:06:15 | |
Hector... | 0:06:17 | 0:06:18 | |
..you have the country in your palm. | 0:06:19 | 0:06:22 | |
They'll listen to you, to us. | 0:06:24 | 0:06:25 | |
We show the public what the world thinks | 0:06:25 | 0:06:28 | |
and we affirm what they already know. | 0:06:28 | 0:06:30 | |
The rumours are out there, the press are talking of collusion, that this is a rushed war, | 0:06:30 | 0:06:35 | |
secretly orchestrated by Britain and France | 0:06:35 | 0:06:38 | |
with the help of Israel, to get the canal back. | 0:06:38 | 0:06:40 | |
And we overlook that there's no proof whatsoever of collusion? | 0:06:40 | 0:06:43 | |
We can't just assume that our government's guilty. | 0:06:43 | 0:06:46 | |
Hardly impartial journalism. You'll bring the show down. | 0:06:46 | 0:06:49 | |
-McCain'd have a heart attack. -And? | 0:06:49 | 0:06:52 | |
Go easy because McCain's cage is a little rattled?! | 0:06:52 | 0:06:55 | |
We get out on the streets, tomorrow. | 0:06:55 | 0:06:59 | |
We canvass opinion from people at the rally and fire the debate. | 0:06:59 | 0:07:02 | |
-Let me go. -Where? | 0:07:02 | 0:07:04 | |
Tomorrow, to the demonstration. Keep you in line. | 0:07:04 | 0:07:08 | |
You don't mind slumming it on the streets with a microphone? | 0:07:08 | 0:07:12 | |
Sound judgment is required on occasions like this. | 0:07:12 | 0:07:15 | |
One must be light on one's feet and mercurial of mind, ready to adapt to any situation. | 0:07:15 | 0:07:19 | |
Tomorrow's the 4th. We go out on the 6th. | 0:07:19 | 0:07:22 | |
Well, it's a date. | 0:07:24 | 0:07:25 | |
Hell, last bus. Shall I kip on the sofa? | 0:07:27 | 0:07:31 | |
Goodbye. | 0:07:31 | 0:07:33 | |
Night then! | 0:07:38 | 0:07:39 | |
MUFFLED CHATTING AND GIGGLING | 0:07:45 | 0:07:48 | |
What? | 0:08:00 | 0:08:01 | |
I'm one of the last women to tolerate him. | 0:08:05 | 0:08:08 | |
It's not that. | 0:08:11 | 0:08:13 | |
-You're different with him. -Different? How? | 0:08:13 | 0:08:16 | |
How you should be. | 0:08:16 | 0:08:18 | |
How I think you are, when you're not being head girl, news chief. | 0:08:20 | 0:08:24 | |
Or irresistible woman. | 0:08:28 | 0:08:30 | |
-Don't be silly. -Am I being? | 0:08:32 | 0:08:35 | |
PHONE RINGS | 0:08:35 | 0:08:39 | |
Hello? | 0:08:48 | 0:08:50 | |
Er, yes? | 0:08:50 | 0:08:52 | |
Clarence... | 0:08:52 | 0:08:53 | |
Yes. | 0:08:53 | 0:08:54 | |
I wasn't sure if you'd still be up. Hector. | 0:09:16 | 0:09:19 | |
Oh, we were going over the outline of the show with Freddie. | 0:09:19 | 0:09:23 | |
Well, you may as well join us now you're here. | 0:09:23 | 0:09:26 | |
If Gaitskell insists on responding to the Prime Minister's broadcast tomorrow, | 0:09:29 | 0:09:32 | |
it will only fuel the flames. | 0:09:32 | 0:09:34 | |
You are asking the BBC to waive its policy of impartiality? | 0:09:34 | 0:09:40 | |
It is the duty of the BBC to offer the opposition the chance | 0:09:40 | 0:09:43 | |
to reply to a ministerial broadcast if it is deemed controversial. | 0:09:43 | 0:09:47 | |
It will be neither useful nor reassuring to the public. | 0:09:47 | 0:09:50 | |
We expect The Hour to... redress the balance somewhat. | 0:09:50 | 0:09:53 | |
-And present the Government's view. -Miss Rowley, that's not helpful. | 0:09:53 | 0:09:57 | |
The Government's actions are not universally supported, | 0:10:00 | 0:10:05 | |
that's your problem? | 0:10:05 | 0:10:07 | |
If your programme fails to fall into line, | 0:10:07 | 0:10:09 | |
it will comfort the enemy and undermine our country at war. | 0:10:09 | 0:10:12 | |
Angus, the BBC would NEVER jeopardise the security of our nation. | 0:10:15 | 0:10:20 | |
We are experienced in news management in times of peace AND war. | 0:10:21 | 0:10:27 | |
I'm obliged to tell you that there may be...funding implications. | 0:10:27 | 0:10:30 | |
-Are you threatening us? -Clarence. | 0:10:30 | 0:10:33 | |
Always advice, Douglas, always advice. | 0:10:33 | 0:10:38 | |
Never to be taken as prescriptive. | 0:10:40 | 0:10:43 | |
-Let me talk to him. -He doesn't talk. He dictates. | 0:10:52 | 0:10:56 | |
Angus. Angus! | 0:10:56 | 0:10:58 | |
-You look like you haven't slept for a week. -I hear the same. | 0:11:03 | 0:11:07 | |
I hope you sleep better tonight. | 0:11:07 | 0:11:10 | |
You were two a penny at my school. | 0:11:10 | 0:11:13 | |
Four a penny during the war. | 0:11:13 | 0:11:16 | |
Little men, desperately trying to make themselves bigger. | 0:11:16 | 0:11:20 | |
A little quieter, Hector. Or do you wish the whole world to know | 0:11:20 | 0:11:24 | |
that you have your producer's ear? | 0:11:24 | 0:11:27 | |
These are testing times for us all. | 0:11:27 | 0:11:29 | |
The mark of a man is how he conducts himself in these times. | 0:11:31 | 0:11:34 | |
Does Wallace know how you're conducting yourself? | 0:11:34 | 0:11:37 | |
You may not be fearful for yourself but it would be such a pity | 0:11:37 | 0:11:41 | |
if Miss Rowley found her career blighted | 0:11:41 | 0:11:44 | |
by mere temptations of the flesh. | 0:11:44 | 0:11:46 | |
And she seems such a dear girl. | 0:11:46 | 0:11:50 | |
Dad? | 0:12:26 | 0:12:28 | |
Dad...? | 0:12:28 | 0:12:30 | |
Yes, same look in his eyes. | 0:12:40 | 0:12:43 | |
Visitor. | 0:12:43 | 0:12:44 | |
What's happened? | 0:12:44 | 0:12:46 | |
Oh, it was like this when I arrived. | 0:12:46 | 0:12:48 | |
Dad? Are you all right? | 0:12:48 | 0:12:50 | |
He was looking for something, apparently. | 0:12:51 | 0:12:55 | |
You've paid me so many visits recently, | 0:12:55 | 0:12:58 | |
I thought I should return the call. | 0:12:58 | 0:13:01 | |
We were just catching up on old times, weren't we? | 0:13:01 | 0:13:03 | |
-Go to bed, Dad. -Bed? -Yes. | 0:13:03 | 0:13:06 | |
I'll be through in five minutes. | 0:13:09 | 0:13:11 | |
My goodness. What a room. | 0:13:21 | 0:13:25 | |
So many of one's most treasured things. | 0:13:27 | 0:13:31 | |
Your father seems well. | 0:13:36 | 0:13:39 | |
He was remembering a tea party that we had, | 0:13:39 | 0:13:43 | |
when he came down to visit you once. | 0:13:43 | 0:13:46 | |
Ruthie had one of her awful nosebleeds. | 0:13:47 | 0:13:50 | |
The doctor said it was her nerves. | 0:13:50 | 0:13:52 | |
Stop coming to our house. | 0:13:56 | 0:13:59 | |
Stop loitering on the pavement. | 0:13:59 | 0:14:02 | |
Stop bothering us. | 0:14:02 | 0:14:04 | |
You're defiling our memory of Ruth. | 0:14:05 | 0:14:08 | |
And stop with these persistent phone calls to myself and my husband. | 0:14:08 | 0:14:12 | |
You will leave this alone, Frederick. | 0:14:12 | 0:14:14 | |
Oh, good, it is him who answers the telephone. I'm never sure. | 0:14:14 | 0:14:18 | |
The silence at the other end of the line | 0:14:18 | 0:14:20 | |
when I ask why his wife is lying to me. | 0:14:20 | 0:14:22 | |
-You don't know who you're dealing with. -Yes, I do. | 0:14:26 | 0:14:30 | |
They're outside now, sitting in their car. | 0:14:30 | 0:14:33 | |
Apparently, they're convinced I'm a Soviet agent. Which I'm not, by the way... | 0:14:33 | 0:14:38 | |
if you're at all concerned. | 0:14:38 | 0:14:41 | |
As someone who once...knew you, I am imploring you to leave it. | 0:14:41 | 0:14:47 | |
Just leave us alone in our grief. | 0:14:47 | 0:14:50 | |
Grief?! | 0:14:50 | 0:14:52 | |
This isn't grief. This is shameful denial. | 0:14:52 | 0:14:54 | |
I will never let this go. Ruth came to me to ask me to help her. | 0:14:54 | 0:14:59 | |
I won't stop helping her until the truth is known. | 0:14:59 | 0:15:02 | |
She knew something, something that was terrifying, | 0:15:02 | 0:15:05 | |
something that threatened those who wanted her dead. | 0:15:05 | 0:15:08 | |
Oh, you're terrified. | 0:15:18 | 0:15:19 | |
How brave you are. | 0:15:24 | 0:15:26 | |
We're not all as brave as you, Frederick. | 0:15:31 | 0:15:34 | |
PHONE RINGS | 0:15:47 | 0:15:50 | |
Hello? | 0:15:58 | 0:15:59 | |
Why did she come to me? | 0:15:59 | 0:16:01 | |
Why did Ruth come to me? | 0:16:02 | 0:16:04 | |
Because you're tenacious. | 0:16:04 | 0:16:06 | |
'Because you care more about the truth' | 0:16:08 | 0:16:11 | |
than you do about your own safety. | 0:16:11 | 0:16:14 | |
'Because if I was scared for my life, I would run to you.' | 0:16:14 | 0:16:19 | |
And...trust that you would know the answer. | 0:16:23 | 0:16:26 | |
Because there's no-one else like you, Freddie. | 0:16:28 | 0:16:32 | |
Who is he? Who is Bright Stone? | 0:16:32 | 0:16:35 | |
Freddie. | 0:16:35 | 0:16:37 | |
-Is it me? -This is why you shouldn't drink bad wine. | 0:16:37 | 0:16:41 | |
Why else are they following me? | 0:16:41 | 0:16:43 | |
'Because you're an irritant.' | 0:16:45 | 0:16:46 | |
SHE SIGHS | 0:16:46 | 0:16:48 | |
You obviously know something, even if you don't know what it is. | 0:16:48 | 0:16:52 | |
-< -You get under people's skin. | 0:16:53 | 0:16:55 | |
Are you still there? | 0:16:59 | 0:17:00 | |
Yes. | 0:17:01 | 0:17:02 | |
They're scared. | 0:17:03 | 0:17:06 | |
'McCain, Eden... | 0:17:06 | 0:17:08 | |
'They're petrified.' | 0:17:10 | 0:17:11 | |
'They should be.' | 0:17:13 | 0:17:15 | |
Douglas called me in tonight. With McCain. | 0:17:16 | 0:17:19 | |
He's worried. | 0:17:21 | 0:17:23 | |
-We're getting to them, Bel. -I'm putting the phone down. | 0:17:23 | 0:17:27 | |
-'Not yet!' -Go to sleep. | 0:17:27 | 0:17:29 | |
McCain knows... | 0:17:40 | 0:17:42 | |
about us. | 0:17:42 | 0:17:44 | |
We have to play it carefully now, Bel. | 0:17:46 | 0:17:48 | |
-I don't know what you mean. -He will use it against us. | 0:17:51 | 0:17:55 | |
Don't be naive. | 0:17:56 | 0:17:59 | |
I'm sorry, I'm sorry, sorry. | 0:17:59 | 0:18:01 | |
Not tonight. | 0:18:02 | 0:18:04 | |
Dad? | 0:18:12 | 0:18:14 | |
I never wanted you to go there. | 0:18:19 | 0:18:21 | |
But your mother thought it would be safer. | 0:18:23 | 0:18:26 | |
I always thought a little piece of you never came back. | 0:18:29 | 0:18:32 | |
I packed your case. I found your bathers. | 0:18:35 | 0:18:39 | |
CHANTING AND SHOUTING | 0:19:13 | 0:19:16 | |
'..about the situation into which we have been thrust.' | 0:19:19 | 0:19:25 | |
Here, here. | 0:19:25 | 0:19:27 | |
Get it, Isaac, get it. | 0:19:27 | 0:19:29 | |
-Where shall I stand? -To the left. Here. | 0:19:33 | 0:19:37 | |
We're standing in a side street by Trafalgar Square. | 0:19:41 | 0:19:46 | |
You can see the crowds behind me, holding up their placards. | 0:19:46 | 0:19:49 | |
Bevan's words have united the people as they march | 0:19:49 | 0:19:53 | |
towards Downing Street. You can hear the crowd chanting, | 0:19:53 | 0:19:56 | |
"One, two, three, four, we won't fight in Eden's war," | 0:19:56 | 0:19:59 | |
-as they snake their way along from every corner... -Hector. | 0:19:59 | 0:20:03 | |
You need to come down here! We need to talk to more people! | 0:20:03 | 0:20:06 | |
It's a waste of time canvassing opinion if it can't be broadcast! | 0:20:06 | 0:20:10 | |
Nothing's ever wasted, Hector. Come on! | 0:20:10 | 0:20:13 | |
-Isaac! -One more minute! | 0:20:13 | 0:20:15 | |
OK. | 0:20:15 | 0:20:17 | |
What's so funny? | 0:20:30 | 0:20:31 | |
Isaac's asked me to look over his sketches. | 0:20:31 | 0:20:34 | |
They're ever so funny. He wants me to proof them. | 0:20:34 | 0:20:37 | |
Is that what he calls it? | 0:20:37 | 0:20:38 | |
-Nah, he's not my type. -Sadly, I think you're his. | 0:20:38 | 0:20:41 | |
Really? | 0:20:41 | 0:20:42 | |
Ah, Bel, Freddie in? | 0:20:45 | 0:20:47 | |
Oh, he just asked me to do something for him. | 0:20:47 | 0:20:51 | |
What? | 0:20:51 | 0:20:52 | |
Oh, nothing. It can wait. | 0:20:52 | 0:20:54 | |
Has he taken you to the cinema yet? | 0:20:56 | 0:20:59 | |
French? I bet French. | 0:20:59 | 0:21:01 | |
You know he doesn't speak a word? Infuriating. | 0:21:01 | 0:21:05 | |
I can only apologise, because I, more than anyone, | 0:21:05 | 0:21:07 | |
know how irritating a trip to the cinema with Freddie can be. | 0:21:07 | 0:21:11 | |
But perhaps you don't feel that way? | 0:21:11 | 0:21:13 | |
Feel what way? | 0:21:13 | 0:21:15 | |
About Freddie? | 0:21:17 | 0:21:19 | |
About how infuriatingly irritating he is. | 0:21:19 | 0:21:22 | |
There's a fine line between fury and desire, I tend to find. | 0:21:22 | 0:21:25 | |
I've never seen a film with Freddie in my life, nor do I intend to. | 0:21:28 | 0:21:32 | |
Can't stand the cinema. | 0:21:32 | 0:21:33 | |
The darkness, the sense one has of being trapped. | 0:21:33 | 0:21:37 | |
Now, a little fun... | 0:21:37 | 0:21:39 | |
Freddie is most certainly that. | 0:21:39 | 0:21:41 | |
But what did he ask you to do for him? | 0:21:42 | 0:21:44 | |
Oh, he wanted some information on Peter Darrall. | 0:21:44 | 0:21:48 | |
It's nothing, darling. His heart is still with you. | 0:21:48 | 0:21:51 | |
We're just friends. | 0:21:51 | 0:21:53 | |
Of course. | 0:21:53 | 0:21:54 | |
I had a friend once. | 0:21:54 | 0:21:56 | |
Treated him like a dog. | 0:21:56 | 0:21:58 | |
Adorable man, absolutely useless at seduction. | 0:21:58 | 0:22:01 | |
Then he married someone else and I realised it wasn't him that was useless, it was me. | 0:22:01 | 0:22:06 | |
My man in Cairo managed to smuggle out these memos | 0:22:08 | 0:22:11 | |
before British Embassy staff got to them. | 0:22:11 | 0:22:14 | |
They've been burning documents all weekend. | 0:22:14 | 0:22:16 | |
LAUGHTER | 0:22:16 | 0:22:19 | |
SHOUTING | 0:22:26 | 0:22:28 | |
It's getting rather heated. There are people running everywhere. | 0:22:31 | 0:22:36 | |
The sense of anger today is overwhelming. | 0:22:36 | 0:22:39 | |
There are police on horseback, | 0:22:39 | 0:22:42 | |
desperately trying to control the fray. | 0:22:42 | 0:22:44 | |
Keep the heart out and head focused. Don't queer the pitch with your emotion. | 0:22:44 | 0:22:48 | |
This from a man who can't drink a cup of tea | 0:22:48 | 0:22:50 | |
without worrying about the oppression of tea leaf pickers in Ceylon(!) | 0:22:50 | 0:22:54 | |
SHOUTS | 0:22:57 | 0:22:59 | |
Freddie, we should get out of here. | 0:23:00 | 0:23:02 | |
We've got to get further in, Hector. Come on! | 0:23:02 | 0:23:05 | |
Isaac, come on. Over here. | 0:23:05 | 0:23:06 | |
I can't keep it straight. I need to find somewhere and stay there! | 0:23:06 | 0:23:10 | |
I need this microphone. | 0:23:10 | 0:23:12 | |
HORSE WHICKERS | 0:23:12 | 0:23:14 | |
I don't know what time they'll be back. | 0:23:21 | 0:23:23 | |
It's utter mayhem out there. Bedlam all the way down the Strand. | 0:23:23 | 0:23:27 | |
The world has gone quite mad. | 0:23:27 | 0:23:28 | |
I hope they'll be all right. | 0:23:28 | 0:23:29 | |
Oh, I never worry. Hector can always look after himself. | 0:23:29 | 0:23:33 | |
Your poor wife, Mr Fendley. Doesn't she miss you, working all the time? | 0:23:35 | 0:23:38 | |
She is very accommodating. Marry the man and you marry the job. | 0:23:38 | 0:23:42 | |
Yes, well, isn't that so true. | 0:23:42 | 0:23:44 | |
I'm gasping for a cup of tea. | 0:23:44 | 0:23:46 | |
Yes, of course! Perhaps you would, Bel? | 0:23:46 | 0:23:49 | |
Of course. If you go through to my office... | 0:23:49 | 0:23:52 | |
Yes, it's quite all right. I do know the way, thank you. | 0:23:52 | 0:23:54 | |
No excuses. | 0:23:56 | 0:23:58 | |
I have more pressing matters on my mind. | 0:23:58 | 0:24:01 | |
Just get her a cup of tea and be nice. | 0:24:01 | 0:24:04 | |
'You're all right.' | 0:24:07 | 0:24:08 | |
We're getting you help. | 0:24:08 | 0:24:11 | |
Just grip my hand. What's your name? | 0:24:11 | 0:24:13 | |
Harry. | 0:24:13 | 0:24:15 | |
Harry. Keep talking to me, Harry. | 0:24:15 | 0:24:17 | |
Here you are, have some of this. | 0:24:18 | 0:24:20 | |
We have to get him to the road. The ambulance can't get through. | 0:24:20 | 0:24:23 | |
This is just one of many protesters injured today. | 0:24:31 | 0:24:33 | |
A day of peaceful protest soured by violence. | 0:24:33 | 0:24:36 | |
This is Frederick Lyon, reporting for The Hour, in London. | 0:24:36 | 0:24:39 | |
DOOR SLAMS | 0:24:39 | 0:24:41 | |
You're very lucky. | 0:24:41 | 0:24:43 | |
I have a very small corner in my living room | 0:24:43 | 0:24:46 | |
to do all my thank you cards and letters. | 0:24:46 | 0:24:48 | |
Um, if you'd care to leave a message, | 0:24:48 | 0:24:50 | |
I can ask Hector to telephone you when he comes back. | 0:24:50 | 0:24:54 | |
I don't usually come into town if I can help it. | 0:24:58 | 0:25:02 | |
It's very odd, me being here today. | 0:25:02 | 0:25:05 | |
Puts one's whole week out. | 0:25:05 | 0:25:07 | |
Well, there's always the country at the weekend. | 0:25:07 | 0:25:10 | |
Yes. | 0:25:10 | 0:25:11 | |
Monday's my art class. I'm absolutely hopeless. | 0:25:13 | 0:25:18 | |
Last week, we painted a gentleman in the nude. | 0:25:18 | 0:25:21 | |
Wednesday, Thursday's Bridge. | 0:25:21 | 0:25:24 | |
I'm in a club, I'm actually rather good. | 0:25:24 | 0:25:26 | |
And Friday's the country. | 0:25:26 | 0:25:29 | |
Except if Hector has to work | 0:25:29 | 0:25:30 | |
and he has...had to work a lot. | 0:25:30 | 0:25:32 | |
Yes. | 0:25:34 | 0:25:35 | |
This whole week, in fact, he's not been home. | 0:25:36 | 0:25:38 | |
I say, "Hector, they should pay you more." | 0:25:45 | 0:25:47 | |
Daddy thinks, well, knows | 0:25:49 | 0:25:51 | |
that Hector won't be staying in the BBC for ever. | 0:25:51 | 0:25:54 | |
Daddy says there's a lot of interest around Hector and The Hour. | 0:25:55 | 0:25:58 | |
And that's good. That's what I want. It's very, very good. | 0:26:00 | 0:26:03 | |
If you'll just excuse me a moment... | 0:26:03 | 0:26:06 | |
At least you're not his secretary. | 0:26:06 | 0:26:08 | |
You see, I knew you were an intelligent woman. | 0:26:13 | 0:26:16 | |
I knew that I wouldn't have to say much. | 0:26:16 | 0:26:18 | |
Normally, it's with one of those silly little girls... | 0:26:18 | 0:26:21 | |
..I'm just glad that with a clever women like you... | 0:26:23 | 0:26:27 | |
you do fully understand. | 0:26:27 | 0:26:29 | |
He just can't control himself. | 0:26:36 | 0:26:37 | |
I think it's the creative in him. | 0:26:51 | 0:26:52 | |
Picasso has a heap of lovers. | 0:26:54 | 0:26:56 | |
Not that I'm putting Hector on a par with an artiste like that... | 0:26:56 | 0:27:00 | |
..but there is always someone. | 0:27:02 | 0:27:05 | |
And normally I have to unpick their little fingers from his arm. | 0:27:07 | 0:27:11 | |
But it is such a relief to finally meet a proper woman. | 0:27:14 | 0:27:18 | |
I do like you very much. | 0:27:21 | 0:27:23 | |
You're such fun. | 0:27:26 | 0:27:27 | |
He's always just on loan. | 0:27:31 | 0:27:34 | |
And he always comes back. | 0:27:34 | 0:27:36 | |
Do you love him at all? | 0:27:39 | 0:27:41 | |
I love him. | 0:27:42 | 0:27:45 | |
Warts and all. That's me. That's what I do. | 0:27:45 | 0:27:48 | |
I don't matter. | 0:27:52 | 0:27:54 | |
And whatever you see of Hector, I know who he really is. | 0:27:57 | 0:28:03 | |
Do you? | 0:28:03 | 0:28:04 | |
-Would you like me to call you a taxi? -No, thank you. | 0:28:04 | 0:28:08 | |
Do tell Hector I called by. | 0:28:22 | 0:28:24 | |
KNOCKING ON DOOR | 0:28:47 | 0:28:49 | |
Yes. Come in. | 0:28:49 | 0:28:50 | |
-Are they back yet? -Not yet. Clarence... | 0:28:54 | 0:28:57 | |
I can't believe you've been so stupid. | 0:28:57 | 0:28:59 | |
-I can't explain. -Bad luck. I want you to. | 0:29:08 | 0:29:10 | |
I want you to explain to me | 0:29:11 | 0:29:13 | |
why you're throwing away your career for an affair that means nothing, | 0:29:13 | 0:29:17 | |
that will not last beyond this news story, Bel. | 0:29:17 | 0:29:20 | |
And if you're telling yourself anything other, then you're lying. | 0:29:20 | 0:29:24 | |
So explain, because in five minutes I will receive a concerned call from Douglas. | 0:29:25 | 0:29:30 | |
I will defend your actions, reassure him you have come to your senses. | 0:29:30 | 0:29:33 | |
-I'm not a child. -No, you are NOT! | 0:29:33 | 0:29:36 | |
YOU are producer of THIS programme - a programme that is already under pressure. | 0:29:36 | 0:29:40 | |
Can you imagine how McCain will use this against us? Against you? Against Hector? | 0:29:40 | 0:29:45 | |
It is inappropriate. It is unprofessional. And it MUST end. | 0:29:45 | 0:29:49 | |
I will defend your right to make this programme however you want. | 0:29:49 | 0:29:52 | |
But I CANNOT defend someone who has sold herself so short. | 0:29:52 | 0:29:55 | |
So fix it. Fix it now. | 0:29:55 | 0:29:58 | |
So is that how you got your second medal? Saving lives. | 0:30:11 | 0:30:14 | |
No. I got my first medal saving lives. | 0:30:14 | 0:30:16 | |
The second one was for an act of heroism which we need not dwell upon. | 0:30:16 | 0:30:20 | |
You're God's cruel joke. | 0:30:20 | 0:30:23 | |
Sent to throw horrible relief on all our personal inadequacies. | 0:30:23 | 0:30:27 | |
It's only what anyone would have done. | 0:30:27 | 0:30:29 | |
I would possibly have given him an aspirin if pushed. | 0:30:29 | 0:30:32 | |
We open with the image of thousands amassing in Trafalgar Square. | 0:30:34 | 0:30:37 | |
Why not? Newsreels will have run it. | 0:30:37 | 0:30:39 | |
A peaceful protest or attempt to control the masses? | 0:30:39 | 0:30:42 | |
Or something less leading. Then an interview with... | 0:30:42 | 0:30:44 | |
Someone who matters. Someone with a voice. | 0:30:44 | 0:30:47 | |
-Eden! -Macmillan! -Calm down. | 0:30:47 | 0:30:50 | |
-Yes, we show the protest. We cover Bevan's speech. -You weren't there. | 0:30:52 | 0:30:55 | |
I'll look at the footage and decide what to do from there. But I am serious. | 0:30:55 | 0:31:00 | |
We need to find a way of addressing the suspicion of collusion | 0:31:00 | 0:31:03 | |
between Britain and France and Israel. | 0:31:03 | 0:31:05 | |
-Like in a sketch? -What kind of sketch? -Satire. | 0:31:05 | 0:31:10 | |
This is a news show. It's not vaudeville. | 0:31:10 | 0:31:12 | |
A satirical sketch. Why not? It works on the radio. | 0:31:12 | 0:31:15 | |
I'd like to see McCain's face. | 0:31:15 | 0:31:17 | |
It gets us around the fortnightly gag, doesn't it? | 0:31:17 | 0:31:21 | |
-It could be disastrous. -Or daring. | 0:31:21 | 0:31:23 | |
-It makes me nervous. -Always a good reason to do it. | 0:31:23 | 0:31:26 | |
-Keep it simple. -Really? -I want it by the end of the day. | 0:31:29 | 0:31:33 | |
-You can't run it. -We'll see. -Are you mad? | 0:31:35 | 0:31:37 | |
Report the demonstration, yes, but you can't... | 0:31:37 | 0:31:40 | |
The Russians have taken Budapest. | 0:31:40 | 0:31:43 | |
Hundreds of tanks. It's all over the radio. | 0:31:43 | 0:31:45 | |
Nagy himself making an appeal to the West to intervene. | 0:31:45 | 0:31:48 | |
And we're too busy with the Suez. | 0:31:48 | 0:31:50 | |
Damn. | 0:31:50 | 0:31:52 | |
I've got something for you. | 0:31:56 | 0:31:58 | |
I'm going, I'm going. | 0:32:00 | 0:32:02 | |
A memo from Tom Kish about Peter Darrall in May this year. | 0:32:08 | 0:32:13 | |
They were both in Egypt, on secondment from MI6. | 0:32:14 | 0:32:18 | |
McCain was copied in. | 0:32:18 | 0:32:20 | |
They were meant to be there specifically to dig up dirt on Colonel Nasser. | 0:32:22 | 0:32:26 | |
But it looks like that there were already questions about Peter Darrall. | 0:32:26 | 0:32:30 | |
He'd clearly turned. | 0:32:30 | 0:32:32 | |
They allude to him passing secrets between Egypt and the Soviets. | 0:32:32 | 0:32:37 | |
Reading between the lines, poor Kish is clearly frantic. | 0:32:37 | 0:32:42 | |
Why the hell was Tom Kish reporting to McCain? | 0:32:42 | 0:32:45 | |
He was reporting to a lot of people. He's just one of several names on the memo. | 0:32:45 | 0:32:50 | |
-You all right? -Why can you never get hold of the British Embassy in Moscow when you need them? | 0:32:53 | 0:32:58 | |
Marnie came by today. | 0:33:04 | 0:33:06 | |
She said it was a nightmare getting in. | 0:33:06 | 0:33:09 | |
She knows? | 0:33:10 | 0:33:12 | |
It was quietly humiliating. | 0:33:14 | 0:33:16 | |
Apparently you've done this kind of thing before. | 0:33:16 | 0:33:18 | |
-KNOCKING -There's a call for you from... | 0:33:18 | 0:33:20 | |
Take a message. I WILL call them back. | 0:33:20 | 0:33:23 | |
Clarence has warned me that it has to end. | 0:33:23 | 0:33:26 | |
-It's not up to bloody Clarence. -We're in a ridiculously precarious situation, Hector. | 0:33:26 | 0:33:32 | |
Wallace is on the BBC board. | 0:33:33 | 0:33:35 | |
He has friends in high places. He's friends with McCain. | 0:33:35 | 0:33:39 | |
Christ's sake, you're friends with McCain. | 0:33:39 | 0:33:41 | |
Angus McCain is not a friend of mine. You know that damn well. | 0:33:41 | 0:33:44 | |
But it's foolish to make enemies of people close to Government. Your words, Bel. | 0:33:44 | 0:33:48 | |
I never thought your ambition would compromise your integrity. | 0:33:48 | 0:33:51 | |
It hasn't. It doesn't. | 0:33:51 | 0:33:54 | |
Look, we can't talk here. I'll come to yours tonight. | 0:33:58 | 0:34:01 | |
-I want to watch the Gaitskell broadcast. -Let's watch it together. -No! | 0:34:01 | 0:34:06 | |
Verda needs a bed. | 0:34:06 | 0:34:08 | |
-Oh. -And you should go home to yours. | 0:34:10 | 0:34:12 | |
Hector, just the man I'm looking for. | 0:34:13 | 0:34:16 | |
Sissy, put that call through. | 0:34:19 | 0:34:23 | |
You have to call McCain. | 0:34:23 | 0:34:26 | |
-Take him out for a drink, butter him up. -Do I? -Yes. | 0:34:26 | 0:34:29 | |
Crikey. | 0:34:38 | 0:34:39 | |
He knew. About Peter Darrall. He was in on whatever was going on. | 0:34:39 | 0:34:43 | |
You want me to find out. | 0:34:43 | 0:34:44 | |
Get him plastered if you have to. He talks to you. | 0:34:44 | 0:34:47 | |
Have you been talking to Bel? | 0:34:48 | 0:34:51 | |
You seem friendly enough. | 0:34:51 | 0:34:53 | |
I tolerate him. It doesn't mean we talk. | 0:34:53 | 0:34:55 | |
-Someone is on edge. -I'm not on edge! | 0:34:56 | 0:34:59 | |
You heard the news from Budapest. | 0:35:08 | 0:35:10 | |
Bloody tragedy, and we're ignoring it because we're lost in our own mess. | 0:35:10 | 0:35:13 | |
He'll have to call a ceasefire. | 0:35:13 | 0:35:15 | |
The pound is spiralling down, out of control. | 0:35:15 | 0:35:17 | |
Even his own cabinet are voicing their concerns. | 0:35:17 | 0:35:20 | |
-We can't afford a war. -We are strapped into our seats unable to truly get up and shout. | 0:35:20 | 0:35:24 | |
They can't shut us down, Clarence. Douglas is... | 0:35:24 | 0:35:26 | |
Is our ally. But Douglas is only one man, | 0:35:26 | 0:35:29 | |
and this corporation is a machine of many cogs and wheels. | 0:35:29 | 0:35:32 | |
There are still those inside as well as out under pressure to support Eden in this campaign. | 0:35:32 | 0:35:37 | |
That doesn't mean we buckle. | 0:35:37 | 0:35:39 | |
For Christ's sake, Freddie, I've waited my entire life to run a programme like this. | 0:35:39 | 0:35:43 | |
It's not going to be snatched away from me now. | 0:35:43 | 0:35:48 | |
You have several opportunities still ahead of you. | 0:35:48 | 0:35:52 | |
But this... | 0:35:55 | 0:35:57 | |
This is it. | 0:35:57 | 0:35:58 | |
There is not another Hour for me. | 0:36:00 | 0:36:03 | |
And now I'm late, and Edith will be furious because dinner will be spoilt. | 0:36:04 | 0:36:09 | |
You're right. Doesn't mean we buckle. | 0:36:11 | 0:36:14 | |
Clarence? | 0:36:14 | 0:36:16 | |
They're still following me. | 0:36:18 | 0:36:21 | |
-Still pursuing the Elms story? -Yes. | 0:36:21 | 0:36:24 | |
Then you must get quicker on your feet. | 0:36:24 | 0:36:27 | |
Put me through to Whitehall 2995, please. | 0:36:41 | 0:36:44 | |
Thank you. | 0:36:44 | 0:36:45 | |
Thank you. Angus McCain. | 0:36:50 | 0:36:51 | |
Oh! Sissy, would you read this? | 0:36:55 | 0:36:57 | |
-Miss Rowley wants it any minute. -I'm very busy, Isaac. -Please. | 0:36:57 | 0:37:01 | |
-It's just the bare bones. -I don't get it. | 0:37:01 | 0:37:05 | |
-It's too complicated? -Get what? -Isaac's written a sketch. | 0:37:05 | 0:37:09 | |
Hand it over. Immediately. | 0:37:09 | 0:37:11 | |
It's not ready yet! | 0:37:12 | 0:37:15 | |
-It needs to be balanced. -Yes. | 0:37:17 | 0:37:19 | |
We're not looking to lynch anyone, just to stir debate. | 0:37:19 | 0:37:22 | |
And he does cartoons. Does it work? | 0:37:22 | 0:37:25 | |
I think it does. | 0:37:25 | 0:37:28 | |
A sketch on Suez? They'll pull the plug on us. | 0:37:28 | 0:37:31 | |
What for? I'd rather debate a question without settling it | 0:37:31 | 0:37:34 | |
than settle a question with no debate. | 0:37:34 | 0:37:36 | |
I've got McCain. | 0:37:36 | 0:37:39 | |
One hour. Executive bar. | 0:37:39 | 0:37:40 | |
-Shall I come? -No. -No. | 0:37:40 | 0:37:42 | |
-Anyone for a drink? -No, thanks. | 0:37:49 | 0:37:52 | |
Looks like it's just you and me, then. | 0:37:52 | 0:37:54 | |
Something like that. | 0:37:56 | 0:37:58 | |
-Isaac, want me to type it up? -Would you? | 0:37:58 | 0:38:00 | |
-My handwriting's pretty illegible. -It's characterful. | 0:38:00 | 0:38:03 | |
-And after we could go and... -Oh, he's here. I told him to wait outside. | 0:38:03 | 0:38:08 | |
-Oh, sorry, Isaac, go and...? -Nothing. | 0:38:08 | 0:38:12 | |
-Mind if I type it up tomorrow? -Of course. | 0:38:13 | 0:38:16 | |
How tall do you reckon he is? | 0:38:21 | 0:38:23 | |
Five foot nine? Ten? | 0:38:24 | 0:38:26 | |
-Did you take those? -Yes. | 0:38:41 | 0:38:45 | |
Don't you miss it? | 0:38:47 | 0:38:49 | |
Yes. | 0:38:49 | 0:38:51 | |
And you wouldn't go back? | 0:38:53 | 0:38:55 | |
Report overseas again. Take photos again. | 0:38:55 | 0:38:58 | |
Too old, too slow and... huh. | 0:38:58 | 0:39:01 | |
That one...was taken just outside of Madrid. | 0:39:04 | 0:39:08 | |
They were one of the last to surrender in '39. | 0:39:10 | 0:39:14 | |
She was running away from her house. Leaving everything. | 0:39:14 | 0:39:17 | |
A row of men were being executed just behind that door. | 0:39:17 | 0:39:21 | |
Amongst them her husband. | 0:39:23 | 0:39:25 | |
She...she didn't look back. | 0:39:27 | 0:39:30 | |
I was irritated because I had my camera in my hand | 0:39:31 | 0:39:34 | |
and I couldn't find another film. | 0:39:34 | 0:39:37 | |
They were being shot one by one, | 0:39:37 | 0:39:39 | |
and all I could think was, "I've got no bloody film." | 0:39:39 | 0:39:43 | |
I'm still proud I got it. You've got to grab it while you can. | 0:39:45 | 0:39:48 | |
No, I've reached my limit. | 0:39:53 | 0:39:56 | |
You've got glasses. | 0:40:33 | 0:40:35 | |
Yes. | 0:40:36 | 0:40:37 | |
-You didn't tell me. -Well, I don't tell you everything. | 0:40:37 | 0:40:40 | |
Yes, you do. | 0:40:40 | 0:40:42 | |
Are you all right? | 0:40:44 | 0:40:45 | |
Absolutely. | 0:40:45 | 0:40:48 | |
What's wrong? | 0:41:03 | 0:41:05 | |
It's my father who's been messing up the house, | 0:41:05 | 0:41:09 | |
making it look like it's been burgled. | 0:41:09 | 0:41:11 | |
Why? | 0:41:13 | 0:41:14 | |
He's always trying to find something. | 0:41:14 | 0:41:17 | |
That sounds familiar. | 0:41:17 | 0:41:18 | |
TELEPHONE RINGS | 0:41:18 | 0:41:22 | |
Hello? | 0:41:23 | 0:41:25 | |
Hello? | 0:41:26 | 0:41:28 | |
Is that you? | 0:41:30 | 0:41:32 | |
'Lord Elms? | 0:41:34 | 0:41:36 | |
'Lord Elms?' | 0:41:37 | 0:41:39 | |
-'Hello, operator.' -Operator, from where was that last call placed? | 0:41:49 | 0:41:54 | |
'Framlingham 2355, sir.' | 0:41:54 | 0:41:57 | |
Thank you. | 0:41:57 | 0:41:58 | |
Guess who just... | 0:42:00 | 0:42:02 | |
Good evening, sir. | 0:42:14 | 0:42:15 | |
-Glengoyne, please. -Certainly. | 0:42:15 | 0:42:17 | |
Same? | 0:42:27 | 0:42:28 | |
Corner table, please. | 0:42:34 | 0:42:36 | |
Can't stay long. | 0:42:45 | 0:42:47 | |
They want us all back after Gaitskell's broadcast. | 0:42:47 | 0:42:51 | |
Well, THEY will have to wait. | 0:42:51 | 0:42:53 | |
Oh, Hector, that's not like you. | 0:42:53 | 0:42:55 | |
Whatever you think you have on me, I have something more on you, Angus. | 0:42:55 | 0:42:59 | |
Thank you very much, thank you. | 0:42:59 | 0:43:01 | |
Mm-hm. And what might that be, dear boy? | 0:43:02 | 0:43:06 | |
Your relationship with Adam Le Ray. | 0:43:06 | 0:43:09 | |
Hector... | 0:43:14 | 0:43:16 | |
I'm not interested in the details of your private life, Angus. | 0:43:16 | 0:43:19 | |
But other people certainly might be. | 0:43:19 | 0:43:21 | |
Why did Tom Kish copy you in on a memo | 0:43:24 | 0:43:27 | |
that was clearly a matter of national security? | 0:43:27 | 0:43:30 | |
My father was a drinker. | 0:43:44 | 0:43:46 | |
Gave it up when I was...19. | 0:43:48 | 0:43:51 | |
He swore he could never remember a word during one of his "episodes". | 0:43:51 | 0:43:57 | |
Whisky does obscure the memory, doesn't it? | 0:43:59 | 0:44:01 | |
I won't remember any of this tomorrow. | 0:44:01 | 0:44:06 | |
Of course. | 0:44:06 | 0:44:08 | |
May I hold onto it? | 0:44:22 | 0:44:24 | |
Last spring I was approached by Lord and Lady Elms. | 0:44:30 | 0:44:34 | |
Our families have been acquainted for years. | 0:44:34 | 0:44:36 | |
They asked me to... | 0:44:36 | 0:44:40 | |
allay their concerns their daughter had become "involved". | 0:44:40 | 0:44:44 | |
-With Peter Darrall? -They knew I had connections at the Foreign Office. | 0:44:44 | 0:44:48 | |
They asked me to make enquiries. | 0:44:48 | 0:44:50 | |
I dutifully agreed. | 0:44:50 | 0:44:52 | |
I had hoped to reassure them. | 0:44:52 | 0:44:55 | |
Much to my surprise, it was revealed that Darrall worked for MI6, | 0:44:57 | 0:45:02 | |
and that they clearly had concerns of their own. | 0:45:02 | 0:45:06 | |
This was verified to me in that memo which I was included in. | 0:45:06 | 0:45:13 | |
-So you informed Lord and Lady Elms? -I informed them | 0:45:14 | 0:45:17 | |
their daughter was involved with a very dangerous man, a spy, a traitor. | 0:45:17 | 0:45:23 | |
They in turn had discovered that she was...in trouble. | 0:45:23 | 0:45:28 | |
So you introduced the idea of Adam Le Ray. | 0:45:28 | 0:45:31 | |
She talked to the press. | 0:45:35 | 0:45:36 | |
No, sorry, she talked to Mr Lyon. | 0:45:38 | 0:45:41 | |
Whatever lengths had been gone to to protect her, | 0:45:43 | 0:45:46 | |
-she had now made her own bed. -Oh. | 0:45:46 | 0:45:48 | |
Miss Elms had been singled out by Darrall. | 0:45:50 | 0:45:53 | |
By the Soviets. | 0:45:53 | 0:45:54 | |
The KGB have a list circulating which MI6 managed to intercept. | 0:45:55 | 0:46:00 | |
On this list are the names of young men and women, | 0:46:00 | 0:46:05 | |
bright, intelligent, often...connected, | 0:46:05 | 0:46:10 | |
who might be susceptible, open to betraying their country. | 0:46:10 | 0:46:16 | |
Apparently they call them their Bright Stones. | 0:46:20 | 0:46:23 | |
CANNED LAUGHTER ON TV | 0:46:25 | 0:46:27 | |
MEN CHUCKLE | 0:46:27 | 0:46:29 | |
HANCOCK'S HALF HOUR ON TV | 0:46:29 | 0:46:33 | |
'You make me mad. That's all you do... ' | 0:46:33 | 0:46:36 | |
WOMAN CHUCKLES | 0:46:36 | 0:46:39 | |
If you're cold, there's an extra blanket. | 0:46:46 | 0:46:49 | |
Or you can turn the gas on if you wake in the night. | 0:46:49 | 0:46:53 | |
I used to think the worst possible thing would be to be like you. | 0:47:00 | 0:47:06 | |
But I could never be like you. | 0:47:09 | 0:47:11 | |
I can never live so lightly. | 0:47:14 | 0:47:16 | |
It all matters too much to me. | 0:47:18 | 0:47:20 | |
It all matters very much to me, sweetheart, | 0:47:26 | 0:47:30 | |
I just don't let my face show that. | 0:47:30 | 0:47:32 | |
It's all about how you sell it. | 0:47:32 | 0:47:36 | |
You have a suitcase and five pounds in a savings account. | 0:47:36 | 0:47:41 | |
But that very nice lady | 0:47:41 | 0:47:43 | |
who sold me a cup of tea in that little hovel that you call a cafe on the corner, she doesn't know. | 0:47:43 | 0:47:47 | |
-Well, what does it matter? -Hmm. | 0:47:47 | 0:47:52 | |
'..Postal orders and stamps.' | 0:47:52 | 0:47:55 | |
Why do we have to be married? | 0:48:00 | 0:48:03 | |
Or not married? | 0:48:03 | 0:48:04 | |
Why can't we do what the hell we like? | 0:48:07 | 0:48:10 | |
Men can. | 0:48:11 | 0:48:13 | |
They can sleep with women without getting a name for themselves, they can have careers... | 0:48:13 | 0:48:17 | |
Darling, you, YOU have a career. | 0:48:17 | 0:48:22 | |
You have a career. | 0:48:22 | 0:48:24 | |
Well, I am going to do exactly what I like and to hell with the rest of them. | 0:48:36 | 0:48:40 | |
What? | 0:48:47 | 0:48:48 | |
You're more like me than you know. | 0:48:50 | 0:48:52 | |
-'Ladies and gentleman, now follows a broadcast...' -Come on. | 0:48:53 | 0:48:57 | |
-'..from the Leader of the Labour Party, Mr Hugh Gaitskill.' -Come on. -'Good Evening. | 0:48:57 | 0:49:01 | |
'It has been a tragic, terrible week, indeed a tragic and terrible day. | 0:49:01 | 0:49:07 | |
'How tragic it is that we, by our criminal folly, | 0:49:07 | 0:49:12 | |
'should have lost the moral leadership of which we were once so proud. | 0:49:12 | 0:49:18 | |
'Here at home, the Government policy of war with Egypt | 0:49:19 | 0:49:23 | |
'has produced terrible heart searchings. | 0:49:23 | 0:49:27 | |
'The Archbishop of Canterbury has led a deputation | 0:49:27 | 0:49:31 | |
'of all denominations of the churches to the Government. What are the consequences? | 0:49:31 | 0:49:37 | |
'We have violated the charter of the United Nations. | 0:49:37 | 0:49:41 | |
'We have betrayed all that Great Britain has stood for in World affairs | 0:49:41 | 0:49:47 | |
'Since the War at least, | 0:49:47 | 0:49:50 | |
'we have supported every stand against aggression. | 0:49:50 | 0:49:53 | |
'We did so...' | 0:49:53 | 0:49:55 | |
SPEECH BARELY AUDIBLE IN BACKGROUND | 0:49:55 | 0:49:58 | |
SHE SIGHS | 0:50:00 | 0:50:03 | |
Oh... | 0:50:07 | 0:50:09 | |
-About... -Yes? | 0:50:14 | 0:50:16 | |
Er, the other night. | 0:50:18 | 0:50:20 | |
What? | 0:50:22 | 0:50:23 | |
We are - you and I... | 0:50:28 | 0:50:30 | |
We are... | 0:50:31 | 0:50:33 | |
between you and I... | 0:50:33 | 0:50:35 | |
..all right? | 0:50:37 | 0:50:38 | |
We're marvellous Freddie. | 0:50:40 | 0:50:43 | |
Good. Good. | 0:50:45 | 0:50:46 | |
Mmm... | 0:50:50 | 0:50:51 | |
-Did Hector say what time he'd be back? -Er, no. | 0:50:58 | 0:51:01 | |
Damn! | 0:51:01 | 0:51:04 | |
Freddie? | 0:51:14 | 0:51:17 | |
-The code? It said something about... -Bright Stone. | 0:51:17 | 0:51:19 | |
-Revert to... -Bright Stone! She was a Bright Stone. | 0:51:19 | 0:51:22 | |
-Who? What? -Ruth Elms was a Bright Stone. -What are you talking about? | 0:51:22 | 0:51:26 | |
-I'll tell you in the car. -Where are we going? -Well, I don't know. I'd thought you'd know. | 0:51:26 | 0:51:30 | |
They were in on it. The Elms were in on it. | 0:51:30 | 0:51:34 | |
-They live in Suffolk. -I'll drive. | 0:51:34 | 0:51:37 | |
You can't walk in a straight line. | 0:51:37 | 0:51:39 | |
Does it matter? It's nearly midnight. There will be no-one on the roads. Here... | 0:51:39 | 0:51:44 | |
Put this on. | 0:51:46 | 0:51:47 | |
Not yet. Not yet. Wait until I've pulled away. | 0:52:13 | 0:52:17 | |
A lady never removes her hat in a gentleman's car. | 0:52:17 | 0:52:22 | |
CROWS CAW | 0:52:38 | 0:52:40 | |
Hector? | 0:52:45 | 0:52:47 | |
Oh... One more minute. | 0:52:50 | 0:52:52 | |
We've been here three hours. | 0:52:54 | 0:52:57 | |
-Just wait until... -They're awake! | 0:53:00 | 0:53:03 | |
-Good morning, sir. -Are they in? Are Lord and Lady Elms in? | 0:53:18 | 0:53:21 | |
I wish to speak with Lord Elms, excuse me. Lord Elms? | 0:53:21 | 0:53:24 | |
Lord Elms! I know! | 0:53:26 | 0:53:29 | |
I know! | 0:53:29 | 0:53:31 | |
I know about Tom Kish and Peter Darrall. | 0:53:31 | 0:53:34 | |
I know that you married your daughter off. I know what you did. | 0:53:34 | 0:53:37 | |
Good morning, Freddie. | 0:53:39 | 0:53:42 | |
What I don't understand... | 0:53:45 | 0:53:47 | |
-Shall we come in here and talk? -What I don't understand is why you came to me if you don't want me to help you? | 0:53:47 | 0:53:52 | |
-Shall we sit? Thank you. -No. Ruth came to see me because she couldn't talk to you. | 0:53:52 | 0:53:56 | |
Because she was so frightened. She was frightened and pregnant and you did nothing. | 0:53:56 | 0:54:00 | |
-You did more than nothing. You married her off. -Don't speak to him! | 0:54:00 | 0:54:04 | |
Don't say anything to him, Richard. | 0:54:06 | 0:54:10 | |
She didn't kill herself, admit it! Say it! | 0:54:10 | 0:54:13 | |
No. | 0:54:22 | 0:54:25 | |
She didn't. | 0:54:25 | 0:54:26 | |
Please, Richard? Please? | 0:54:28 | 0:54:31 | |
We've tried silence, Alice, | 0:54:31 | 0:54:33 | |
and it doesn't work. | 0:54:33 | 0:54:36 | |
We've tried doing what they asked | 0:54:36 | 0:54:39 | |
and it still didn't save her. | 0:54:39 | 0:54:41 | |
They thought... | 0:54:43 | 0:54:45 | |
that she was a liability to herself, but the biggest liability to her... | 0:54:45 | 0:54:50 | |
was US. | 0:54:50 | 0:54:51 | |
We knew what that threat meant. | 0:54:54 | 0:54:56 | |
We were trying to save her life. | 0:54:56 | 0:54:59 | |
LADY ELMS SOBS | 0:55:01 | 0:55:03 | |
Who are they? | 0:55:08 | 0:55:10 | |
THEY are...us. | 0:55:12 | 0:55:16 | |
Men like me. | 0:55:18 | 0:55:19 | |
-There was a list. -Yes. | 0:55:23 | 0:55:28 | |
Did you see it? | 0:55:28 | 0:55:30 | |
The list of Bright Stones? | 0:55:30 | 0:55:34 | |
Was there anybody else you recognised? | 0:55:34 | 0:55:37 | |
Yes. | 0:55:37 | 0:55:38 | |
You, Freddie. | 0:55:41 | 0:55:43 | |
You. | 0:55:46 | 0:55:48 | |
'If Sir Anthony Eden is sincere in what he is saying, | 0:55:51 | 0:55:56 | |
'if nations more powerful than ourselves | 0:55:56 | 0:56:00 | |
'accept the absence of principle, the anarchistic attitude of Eden, | 0:56:00 | 0:56:07 | |
'and launch bombs on London, what answer have we got? | 0:56:07 | 0:56:11 | |
'They have besmirched the name of Britain. | 0:56:11 | 0:56:14 | |
'They have made us ashamed of the things for which we were proud.' | 0:56:14 | 0:56:18 | |
CHEERING ON FILM | 0:56:18 | 0:56:20 | |
'One, two, three, four | 0:56:20 | 0:56:23 | |
'we won't fight in Eden's war! One, two, three, four... | 0:56:23 | 0:56:26 | |
'They have offended against every principle of decency | 0:56:26 | 0:56:30 | |
'and there is only one way in which they can even begin to restore | 0:56:30 | 0:56:34 | |
'their tarnished reputation and that is to get out! | 0:56:34 | 0:56:38 | |
'Get out! Get out!' | 0:56:38 | 0:56:39 | |
CHEERING | 0:56:39 | 0:56:42 | |
'Eden must go! | 0:56:42 | 0:56:44 | |
'Eden must go! Eden must go! | 0:56:44 | 0:56:47 | |
'Eden must go! Eden must go! | 0:56:47 | 0:56:50 | |
'Eden must go! Eden must go! | 0:56:50 | 0:56:54 | |
'Eden must go! Eden must go!' | 0:56:54 | 0:56:56 | |
If we use the word collusion, | 0:57:01 | 0:57:03 | |
then that's treason, isn't it? | 0:57:03 | 0:57:06 | |
-These gentleman work for Her Majesty's Government. -Really? | 0:57:06 | 0:57:11 | |
Do you have any idea what you're risking here? | 0:57:11 | 0:57:14 | |
Where will you go when all the dirty secrets come out? | 0:57:14 | 0:57:17 | |
Five. | 0:57:18 | 0:57:19 | |
Four. Three. | 0:57:20 | 0:57:23 | |
Two. | 0:57:24 | 0:57:25 | |
You're fired. | 0:57:25 | 0:57:27 | |
One. CLICK | 0:57:27 | 0:57:29 | |
Subtitles by Red Bee Media Ltd. | 0:57:43 | 0:57:46 | |
E-mail [email protected] | 0:57:46 | 0:57:49 |