Browse content similar to Episode 6. Check below for episodes and series from the same categories and more!
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This programme contains some strong language | 0:00:02 | 0:00:04 | |
-Is Mr Madden in? Allegations have been made against you. -Did he punch you? -Yes. | 0:00:04 | 0:00:07 | |
The last time I watched the programme I could feel the tingle. | 0:00:07 | 0:00:10 | |
-Hear the tick. -I wrote you a letter. You didn't write back. | 0:00:10 | 0:00:12 | |
Or jump when you want me. You have a wife for that. | 0:00:12 | 0:00:15 | |
It's over. I miss you. | 0:00:15 | 0:00:17 | |
Marnie's very keen I make the move to ITV. | 0:00:17 | 0:00:20 | |
I can't give her children. She doesn't know yet. | 0:00:20 | 0:00:23 | |
Who are Castlecore? | 0:00:23 | 0:00:24 | |
That's you. | 0:00:24 | 0:00:26 | |
They've been working on a deal. It's ready to be signed tonight. | 0:00:26 | 0:00:30 | |
They will be in El Paradis. | 0:00:30 | 0:00:32 | |
Bingo. Castlecore. | 0:00:32 | 0:00:34 | |
We need to prove Satchell's involved. | 0:00:34 | 0:00:37 | |
They will kill you. | 0:00:37 | 0:00:38 | |
-Now! -This is a raid! Stay where you are! | 0:00:38 | 0:00:42 | |
Raphael Cilenti, I am arresting you for questioning in relation to | 0:00:42 | 0:00:46 | |
the murder of Miss Rosa Ramirez. | 0:00:46 | 0:00:48 | |
My parting gift. | 0:00:48 | 0:00:50 | |
Daily Sketch. Madden caught in Soho Scandal. Get it here. Daily Sketch. | 0:01:28 | 0:01:34 | |
Cheers, guv. | 0:01:43 | 0:01:45 | |
Oh, hell! | 0:01:54 | 0:01:56 | |
Here he is. That's him! | 0:01:58 | 0:02:00 | |
Mr Stern, Mr Stern, have you charged Mr Cilenti? | 0:02:00 | 0:02:03 | |
Are reports of Mr Madden beating up a woman who | 0:02:05 | 0:02:07 | |
worked at El Paradis true? | 0:02:07 | 0:02:09 | |
THEY GIGGLE | 0:02:09 | 0:02:11 | |
'Mr James Clancy was the first to state surprise at the club's | 0:02:11 | 0:02:14 | |
'closure last night. | 0:02:14 | 0:02:15 | |
'He moved to dissociate himself from El Paradis stating it was | 0:02:15 | 0:02:18 | |
'the place to see and be seen and I would be dismayed | 0:02:18 | 0:02:21 | |
'if allegations made by police proved correct.' | 0:02:21 | 0:02:24 | |
THEY LAUGH | 0:02:24 | 0:02:25 | |
Apparently there were topless girls in back rooms | 0:02:25 | 0:02:28 | |
spanking several members of the Foreign Office. | 0:02:28 | 0:02:31 | |
Actually it was the Department of Trade. Good morning, Veronica. | 0:02:31 | 0:02:33 | |
Morning, Mrs Madden. | 0:02:33 | 0:02:35 | |
Thank you. Beautiful day! | 0:02:35 | 0:02:37 | |
Are you all right? | 0:02:39 | 0:02:40 | |
Yes, I'm fine. I was there with my husband. Alistair, please. | 0:02:40 | 0:02:44 | |
Thank you. Where is he? | 0:02:49 | 0:02:51 | |
You have a visitor. Mr Kendall. | 0:02:51 | 0:02:53 | |
-Can I take this? -No, no, no, Hector's need is far greater. | 0:02:56 | 0:02:59 | |
It's like the sinking of the Titanic at ITV. | 0:03:03 | 0:03:06 | |
All hands on deck, everyone calling their agents, | 0:03:06 | 0:03:08 | |
desperate to get a place in the lifeboats. | 0:03:08 | 0:03:11 | |
Too many of our lot there last night. | 0:03:11 | 0:03:12 | |
Fortunately they didn't end up on the front page. | 0:03:12 | 0:03:15 | |
Word from my source is they needed a face for the scandal. | 0:03:15 | 0:03:18 | |
Mr Madden's was a perfect fit. | 0:03:18 | 0:03:20 | |
There were any number of businessmen and ministers | 0:03:20 | 0:03:22 | |
from every corner in that club. | 0:03:22 | 0:03:24 | |
-Not all of them are accused... -Wrongly accused. | 0:03:24 | 0:03:26 | |
..of beating up a girl, a fact which you have clearly been hiding | 0:03:26 | 0:03:29 | |
and yet is now in the press. | 0:03:29 | 0:03:31 | |
-And you wouldn't have done the same? -It wasn't on his curriculum vitae. | 0:03:31 | 0:03:34 | |
You're withdrawing your offer. | 0:03:38 | 0:03:40 | |
Yes. | 0:03:42 | 0:03:43 | |
Hector is a brilliant journalist. | 0:03:43 | 0:03:45 | |
And his stock has just crashed. | 0:03:45 | 0:03:47 | |
-You were there, weren't you? -Yes. | 0:03:49 | 0:03:51 | |
Why do you always keep me at arm's length? | 0:03:52 | 0:03:55 | |
Why didn't you tell me that was where you were going? | 0:03:55 | 0:03:57 | |
It was one dinner. I'm very sorry. | 0:03:59 | 0:04:02 | |
I don't care about the bloody dinner. | 0:04:02 | 0:04:04 | |
I care that this, whatever this is, isn't going anywhere. | 0:04:04 | 0:04:07 | |
I don't know what you want but it's not me. | 0:04:07 | 0:04:12 | |
You're cold. | 0:04:12 | 0:04:13 | |
This is impossible. YOU are impossible! | 0:04:13 | 0:04:16 | |
Is everything all right? | 0:04:16 | 0:04:17 | |
Hector, I'm sorry. | 0:04:19 | 0:04:21 | |
It will pass. | 0:04:21 | 0:04:23 | |
For your sake I hope it does. | 0:04:23 | 0:04:25 | |
What does that mean? | 0:04:25 | 0:04:26 | |
Perhaps you'd better talk to your agent. | 0:04:26 | 0:04:29 | |
I was cleared. | 0:04:29 | 0:04:31 | |
We're moving on. It hasn't worked out. I'm sorry. | 0:04:31 | 0:04:35 | |
You know, for someone running an apparently discerning show | 0:04:35 | 0:04:38 | |
you're very quick to believe the lies. | 0:04:38 | 0:04:40 | |
And you say I'm cold? | 0:04:50 | 0:04:52 | |
Is it Mr Lyon? | 0:04:54 | 0:04:56 | |
You might tell him, and I say this from bitter experience, | 0:04:59 | 0:05:02 | |
there's only ever room for one newsman in a relationship. | 0:05:02 | 0:05:05 | |
-Drink your coffee. -It's not single malt. | 0:05:14 | 0:05:16 | |
I'm sorry, Hector. | 0:05:20 | 0:05:22 | |
-Don't do this. -Why? | 0:05:25 | 0:05:28 | |
-I was only there cos you said... -There was a story. There is. | 0:05:34 | 0:05:37 | |
Not now. | 0:05:37 | 0:05:39 | |
Now this is the story. I'm the story. Madden batters and assaults women. | 0:05:39 | 0:05:43 | |
Wines and dines them in a Soho vice bar. | 0:05:43 | 0:05:45 | |
Why can't they dig the dirt on someone else? Why not on you? | 0:05:45 | 0:05:47 | |
Because, sadly, there is no dirt. | 0:05:47 | 0:05:50 | |
Because you have a past that is ripe to be exploited. | 0:05:50 | 0:05:53 | |
Because, despite the fact that I have been sitting next to you | 0:05:55 | 0:05:58 | |
every week on screen, my face is oddly unmemorable. | 0:05:58 | 0:06:01 | |
Whereas yours is. | 0:06:01 | 0:06:03 | |
This is a cover. | 0:06:10 | 0:06:13 | |
Someone knows we're on to them. | 0:06:13 | 0:06:15 | |
STUDIO BELL RINGS | 0:06:19 | 0:06:21 | |
Alistair, I am in the middle of a very delicate operation | 0:06:23 | 0:06:27 | |
involving some wafer thin mille-feuille. | 0:06:27 | 0:06:30 | |
Yes, I know, Marnie, but the chaps upstairs... | 0:06:30 | 0:06:34 | |
SHE GASPS | 0:06:35 | 0:06:37 | |
We are delighted with Name That Dinner Guest. | 0:06:44 | 0:06:46 | |
Well, I'm glad. | 0:06:46 | 0:06:47 | |
But, we think perhaps a couple of weeks with you off air, | 0:06:47 | 0:06:50 | |
until this thing with Hector has blown over? | 0:06:50 | 0:06:52 | |
It's all lies. | 0:06:52 | 0:06:55 | |
But it does somewhat mar what one loves about you, Mrs Madden. | 0:06:55 | 0:07:00 | |
The image you present no longer fits the homely ideal we wish to convey? | 0:07:00 | 0:07:07 | |
What one SHOULD love about me is the fact that I am a strong | 0:07:07 | 0:07:10 | |
and capable woman, perfectly capable of handling this storm in a teacup. | 0:07:10 | 0:07:16 | |
Hardly a teacup. | 0:07:16 | 0:07:17 | |
The lunchtime edition, just in. | 0:07:20 | 0:07:23 | |
I see. | 0:07:33 | 0:07:34 | |
What do you tell your wives when they ask why you are home so late? | 0:07:34 | 0:07:39 | |
It was good to see you last night, Mr Roberts, and you, Mr Grogan. | 0:07:42 | 0:07:45 | |
Marnie! | 0:07:51 | 0:07:53 | |
I'm sorry. | 0:07:55 | 0:07:57 | |
For what? We all let ourselves down from time to time. | 0:07:57 | 0:08:00 | |
The only difference is my husband has made the front page. | 0:08:00 | 0:08:04 | |
Think yourselves lucky you haven't ended up in the same place. | 0:08:04 | 0:08:08 | |
Fine press coverage. A very impressive exercise, Commander. | 0:08:17 | 0:08:22 | |
But, er, we would like to go quiet on this. | 0:08:22 | 0:08:27 | |
We've already had a call from Westminster, | 0:08:27 | 0:08:29 | |
keen to protect their own. | 0:08:29 | 0:08:32 | |
Chaps like Howard Satchell were in there last night. | 0:08:32 | 0:08:36 | |
So crack down, certainly, | 0:08:38 | 0:08:39 | |
but we need to crack down on something else. | 0:08:39 | 0:08:42 | |
So let's focus on the coloureds in Notting Hill. | 0:08:42 | 0:08:47 | |
There's lots of tension, lots of petty crime. | 0:08:47 | 0:08:50 | |
It's an absolute powder keg. | 0:08:50 | 0:08:54 | |
Well, that's a pity, sir. | 0:08:54 | 0:08:56 | |
Because I hoped we might push on with this. | 0:08:56 | 0:08:59 | |
My concern is that Mr Cilenti's... activities have made certain | 0:09:02 | 0:09:09 | |
chaps like yourself vulnerable to his demands. | 0:09:09 | 0:09:12 | |
There are some photographs of you. | 0:09:12 | 0:09:14 | |
-Do you have the negatives? -Yes, I do. | 0:09:25 | 0:09:28 | |
-Who else is implicated? -Who isn't, sir? | 0:09:30 | 0:09:33 | |
So, shall we start again? | 0:09:35 | 0:09:37 | |
This is a cover up. | 0:09:40 | 0:09:41 | |
This story was given to the press to discredit Hector and therefore us. | 0:09:41 | 0:09:44 | |
-Well, how did they get it? -A leak from Stern? | 0:09:44 | 0:09:47 | |
-Laurie wouldn't do that, for all his faults. -Wouldn't he? | 0:09:47 | 0:09:49 | |
Well, he must have found something in this raid. | 0:09:49 | 0:09:51 | |
Westminster are running scared. | 0:09:51 | 0:09:53 | |
A sex scandal to cover a nuclear scandal. Which would you prefer? | 0:09:53 | 0:09:56 | |
I called my contact at Castlecore's bank. They've gone quiet on me. | 0:09:56 | 0:09:58 | |
-It's in total shutdown. -See. | 0:09:58 | 0:10:01 | |
We were planning to cover the launch of CND, | 0:10:01 | 0:10:03 | |
the threat from abroad but, with the threat from home more pressing, | 0:10:03 | 0:10:08 | |
I might suggest... | 0:10:08 | 0:10:10 | |
We uncover the sex scandal and thereby the profiteering? | 0:10:10 | 0:10:12 | |
Darling, isn't it a little provocative to focus on the perils | 0:10:12 | 0:10:15 | |
of scandals with one of our presenter's past indiscretions | 0:10:15 | 0:10:19 | |
unravelling so publicly? | 0:10:19 | 0:10:20 | |
Aren't you a tiny bit relieved about ITV? | 0:10:22 | 0:10:25 | |
It always made me nervous to think of you in a glittery waistcoat. | 0:10:25 | 0:10:28 | |
Panel games. The small print said panel games. | 0:10:28 | 0:10:32 | |
Stern owes us. | 0:10:34 | 0:10:35 | |
If you can get him to give you anything | 0:10:35 | 0:10:37 | |
we can use it to expose Cilenti, the blackmail racket, even Satchell? | 0:10:37 | 0:10:40 | |
Tonight, on The Hour? | 0:10:40 | 0:10:41 | |
We go live in eight hours. Are you completely deranged? | 0:10:41 | 0:10:45 | |
The men who steer our nuclear policy lie, cheat and deceive their wives. | 0:10:45 | 0:10:48 | |
Why should we be surprised when they do the same thing to the country? | 0:10:48 | 0:10:52 | |
We are being sold a lie. That's the real threat. | 0:10:52 | 0:10:55 | |
We need the proof to connect the nuclear scandal to the sex scandal. | 0:10:55 | 0:10:58 | |
The one thing we can be sure of is if we focus on vice | 0:10:58 | 0:11:01 | |
then we win viewers tonight. | 0:11:01 | 0:11:03 | |
Had we known this scandal would have proved so popular, Mr Madden, | 0:11:03 | 0:11:06 | |
we might have leaked the story ourselves. | 0:11:06 | 0:11:08 | |
But it's risky, so let's get our facts straight. | 0:11:08 | 0:11:10 | |
A little more notice next time would be nice. | 0:11:10 | 0:11:13 | |
Let's get that bloody CND logo down and cancel Henrietta Williams. | 0:11:13 | 0:11:16 | |
-Don't we need some contributor? -I'll see what I can do. -Mr Wengrow. | 0:11:16 | 0:11:19 | |
Eight hours, ladies and gentleman. | 0:11:19 | 0:11:21 | |
We have eight hours to pull this out of the bag. | 0:11:21 | 0:11:23 | |
Hector. I'm sorry about Bill. I could have killed him. | 0:11:25 | 0:11:28 | |
-He's just the messenger. -Still, it wasn't the place to do it. | 0:11:28 | 0:11:32 | |
Well, right now my real concern is Marnie. | 0:11:32 | 0:11:34 | |
I've been trying her all morning. She's apparently in rehearsal. | 0:11:34 | 0:11:37 | |
I'm going to try her again. | 0:11:37 | 0:11:39 | |
You all right? | 0:11:40 | 0:11:42 | |
No, no. Apparently I'm impossible. | 0:11:42 | 0:11:45 | |
No, you're not. | 0:11:45 | 0:11:46 | |
He was right. It was wrong. So he is right. | 0:11:46 | 0:11:50 | |
-I AM impossible. -More papers in. | 0:11:50 | 0:11:53 | |
Hector. | 0:12:17 | 0:12:19 | |
Details of my arrest and every allegation she levelled against me. | 0:12:21 | 0:12:24 | |
No mention I had an alibi. | 0:12:24 | 0:12:25 | |
There was no mention it was all a lie. | 0:12:25 | 0:12:27 | |
Yes, and I'm sorry. It's very unfortunate. | 0:12:27 | 0:12:29 | |
Convenient. Did you do this to me, Laurie? | 0:12:29 | 0:12:32 | |
No, of course not. Now leave it. Sit down, Hector. | 0:12:32 | 0:12:35 | |
The best thing you can do is let it pass, lie low. | 0:12:38 | 0:12:40 | |
Let this ruin me? No. No. The best I can do now, is what I do best. | 0:12:40 | 0:12:45 | |
Be a journalist. What did you find last night? | 0:12:45 | 0:12:48 | |
Plenty. | 0:12:48 | 0:12:50 | |
Now these were the ones I could get of you. | 0:12:50 | 0:12:52 | |
Were there any photographs of Satchell? | 0:12:59 | 0:13:01 | |
For Christ's sake, take the bloody photographs, Hector. | 0:13:01 | 0:13:04 | |
We are trying to expose serious ministerial malpractice. | 0:13:04 | 0:13:07 | |
Now if there's any photographs, paperwork, | 0:13:07 | 0:13:09 | |
anything that implicates Howard Satchell, I need them, Laurie. | 0:13:09 | 0:13:12 | |
We want to run the story but we've got no proof. | 0:13:12 | 0:13:15 | |
Well, there were hundreds but they're police property now. | 0:13:15 | 0:13:19 | |
They've been destroyed on the orders of my superiors. | 0:13:20 | 0:13:23 | |
It was felt it was for best. | 0:13:23 | 0:13:25 | |
Now for Christ's sake, I've done all I can to protect you. | 0:13:25 | 0:13:28 | |
It's not about protecting me. This is bigger than me, Laurie. | 0:13:28 | 0:13:31 | |
This whole charade goes way beyond any paltry scandal | 0:13:31 | 0:13:34 | |
I might find myself in. | 0:13:34 | 0:13:35 | |
-Look have a drink with me. -What? | 0:13:35 | 0:13:38 | |
They're going to make me Deputy Commissioner. | 0:13:38 | 0:13:41 | |
This mess. This is your mess. | 0:13:44 | 0:13:47 | |
You beat Miss Delaine. | 0:13:47 | 0:13:49 | |
On what evidence, Hector? | 0:13:49 | 0:13:51 | |
You know the difference is I am not denying it. | 0:13:55 | 0:13:57 | |
I frequented that club. I did things I'm not proud of. But you? | 0:13:57 | 0:14:00 | |
You live in this place where you don't acknowledge anything. | 0:14:00 | 0:14:03 | |
You don't go anywhere that's too dark or uncomfortable | 0:14:03 | 0:14:06 | |
because you're terrified of what you might find. | 0:14:06 | 0:14:08 | |
Just button up that uniform and protect yourself. | 0:14:08 | 0:14:11 | |
It will send you mad, Laurie. | 0:14:11 | 0:14:13 | |
Take the bullet, Hector. | 0:14:13 | 0:14:15 | |
I've already saved your life once. | 0:14:15 | 0:14:17 | |
And I've been grateful for far too long. | 0:14:17 | 0:14:19 | |
RADIO PLAYS | 0:14:34 | 0:14:36 | |
Isaac? | 0:14:37 | 0:14:39 | |
What you doing? | 0:14:39 | 0:14:41 | |
Listening to my radio play. | 0:14:41 | 0:14:44 | |
You've got... confetti in your hair. | 0:14:44 | 0:14:47 | |
-Really? -Tied the knot first thing this morning. | 0:14:50 | 0:14:54 | |
Why didn't you say? | 0:14:54 | 0:14:56 | |
It was only us and a couple of witnesses. | 0:14:56 | 0:14:59 | |
We had to pull in people off the street. | 0:14:59 | 0:15:02 | |
Took us ages. | 0:15:02 | 0:15:05 | |
No-one wanted to do it when they saw Sey. | 0:15:05 | 0:15:07 | |
But finally... | 0:15:08 | 0:15:10 | |
I'm so frightened, Isaac, of it all. | 0:15:13 | 0:15:15 | |
My dad wouldn't even give me away. | 0:15:17 | 0:15:19 | |
Should have asked me. | 0:15:21 | 0:15:23 | |
I would have given you away. | 0:15:24 | 0:15:26 | |
Would you have? | 0:15:28 | 0:15:29 | |
'We're trying to get out the finest programme we can. | 0:15:30 | 0:15:33 | |
'Now get on with it, James. | 0:15:33 | 0:15:35 | |
'Mr Radlow, have you finished that coffee yet?' | 0:15:35 | 0:15:38 | |
Kiki! | 0:15:45 | 0:15:46 | |
PHONE RINGS | 0:15:50 | 0:15:52 | |
Piss off! | 0:15:54 | 0:15:56 | |
Phone's been ringing non-stop. I don't know how they got my number. | 0:15:57 | 0:16:01 | |
My mum thinks I work at Debenhams. What do I tell her now? | 0:16:01 | 0:16:03 | |
Where you going to go? | 0:16:03 | 0:16:04 | |
Anywhere. Somewhere? | 0:16:04 | 0:16:06 | |
They were signing something last night. | 0:16:06 | 0:16:08 | |
There are always men signing something, men talking deals, | 0:16:08 | 0:16:11 | |
men in whispered conversations, men passing money to other men. | 0:16:11 | 0:16:14 | |
Castlecore. | 0:16:14 | 0:16:15 | |
Did you see any paperwork anywhere with the name Castlecore on it? | 0:16:15 | 0:16:19 | |
Anything that connects Cilenti to the government. | 0:16:19 | 0:16:22 | |
We need proof. | 0:16:22 | 0:16:24 | |
Mr Cilenti's been arrested. He will go to prison. | 0:16:30 | 0:16:34 | |
You don't have to be afraid. | 0:16:34 | 0:16:35 | |
What? Like Rosa didn't have to be afraid? | 0:16:35 | 0:16:37 | |
I'm going to get my money and get out of here. | 0:16:40 | 0:16:43 | |
I can do this. | 0:16:45 | 0:16:46 | |
I can get away from Mr Cilenti. | 0:16:47 | 0:16:49 | |
He thinks I can't but I can. | 0:16:51 | 0:16:53 | |
He always goes to stop you when you try. | 0:16:53 | 0:16:56 | |
Blinds you with a kindness, then yank! | 0:16:56 | 0:16:57 | |
And you're on the floor again. | 0:16:57 | 0:17:01 | |
But I can go somewhere else. Do something else. I can do it. | 0:17:01 | 0:17:04 | |
Then why are you so scared? | 0:17:05 | 0:17:07 | |
There is a thread. | 0:17:19 | 0:17:21 | |
A thread Cilenti has found. | 0:17:22 | 0:17:24 | |
And he pulls it. | 0:17:25 | 0:17:27 | |
And as he pulls it, | 0:17:28 | 0:17:29 | |
he pulls more and more men, successful men, in. | 0:17:29 | 0:17:34 | |
Until they are all hanging off that thread. | 0:17:34 | 0:17:36 | |
And you're on that thread too. | 0:17:38 | 0:17:40 | |
You help us bring down Castlecore, bring down Satchell | 0:17:45 | 0:17:48 | |
and I promise you we will keep you safe. | 0:17:48 | 0:17:52 | |
How else are you ever going to escape this? | 0:17:55 | 0:17:59 | |
The five o'clock double bill at the Curzon does me fine. | 0:18:01 | 0:18:04 | |
I don't believe you. | 0:18:04 | 0:18:05 | |
KNOCKING AT DOOR | 0:18:05 | 0:18:06 | |
They're not going to leave you alone. | 0:18:06 | 0:18:08 | |
This is a scandal to cover a much bigger story. | 0:18:08 | 0:18:10 | |
Piss off! | 0:18:10 | 0:18:11 | |
SHOUTING OUTSIDE | 0:18:11 | 0:18:13 | |
Five o'clock at the Curzon then? | 0:18:16 | 0:18:19 | |
Piss off! Piss off! | 0:18:19 | 0:18:20 | |
Piss off! | 0:18:20 | 0:18:22 | |
Nothing. The police destroyed everything they found, | 0:18:30 | 0:18:32 | |
photographs, paperwork, everything. | 0:18:32 | 0:18:34 | |
Oh, my God. There's no time. We've no time. | 0:18:34 | 0:18:37 | |
LIFT BELL RINGS | 0:18:39 | 0:18:40 | |
-She's going to get us what she can. Miss Delaine. -Freddie. | 0:18:43 | 0:18:46 | |
I pushed her. I hope not too far. | 0:18:46 | 0:18:48 | |
I told her if she helped us, she'd be safe. | 0:18:48 | 0:18:50 | |
But we can't promise that. | 0:18:50 | 0:18:51 | |
Cilenti's been arrested, let the police deal with him. | 0:18:51 | 0:18:53 | |
-I'm trying to stop the story falling apart in our hands. -With what? | 0:18:53 | 0:18:56 | |
Isaac's already exhausted the entire newsroom contact list. | 0:18:56 | 0:19:00 | |
The Bishop of Woolwich says | 0:19:00 | 0:19:01 | |
mothers who work are the enemies of family life. Perfect. | 0:19:01 | 0:19:04 | |
One better - Sugar Ray Robinson becomes middleweight champion | 0:19:04 | 0:19:07 | |
for the fifth time. Should squeeze a good ten minutes out of that. | 0:19:07 | 0:19:10 | |
If we don't run this story, who will? It will be fine. | 0:19:10 | 0:19:15 | |
Oh, my God. Even you're worried. | 0:19:15 | 0:19:17 | |
-I'm not. -You are. We are reaching the point of no return, Freddie. | 0:19:17 | 0:19:21 | |
Isaac, any other story, anything we might have binned? | 0:19:21 | 0:19:24 | |
Don't be alarmed but McCain has just arrived. | 0:19:24 | 0:19:28 | |
Last night that story about your arrest | 0:19:30 | 0:19:34 | |
was leaked by Westminster. | 0:19:34 | 0:19:37 | |
It's a campaign in motion to discredit your programme | 0:19:37 | 0:19:40 | |
and anyone associated with it. | 0:19:40 | 0:19:42 | |
A key minister profiteering from the arms race. | 0:19:42 | 0:19:44 | |
-You can't honestly believe there's only one. -No, we don't. | 0:19:44 | 0:19:47 | |
It's oddly disconcerting to have you admit the same. | 0:19:47 | 0:19:51 | |
There are just times when one becomes weary of hiding things. | 0:19:51 | 0:19:56 | |
I've spent the last 15 years lying for ministers, | 0:20:00 | 0:20:04 | |
covering gaps and gaffes. | 0:20:04 | 0:20:06 | |
And I think last night was the last time. | 0:20:08 | 0:20:10 | |
Are you saying that you want to help us? | 0:20:12 | 0:20:14 | |
Yes, perhaps I am. | 0:20:16 | 0:20:18 | |
We have had your help before, Angus. | 0:20:20 | 0:20:23 | |
I would ask you not to reject this out of pride. | 0:20:23 | 0:20:27 | |
Now you have smoked the hive. | 0:20:27 | 0:20:29 | |
You need me more than ever now. | 0:20:29 | 0:20:31 | |
And the question is who is willing to come out and withstand the sting? | 0:20:31 | 0:20:37 | |
-He works for me. -Bit young, isn't he? -I'm 17. | 0:20:43 | 0:20:47 | |
All right, Kiki? Make the papers? | 0:20:47 | 0:20:49 | |
Almost famous. | 0:20:49 | 0:20:52 | |
They didn't take you in too? | 0:20:52 | 0:20:54 | |
Well, why would they? I ain't done anything illegal. | 0:20:54 | 0:20:58 | |
Is there money in the till? He hasn't paid me this week. | 0:20:58 | 0:21:01 | |
Ooh, when did you take over? | 0:21:08 | 0:21:12 | |
When I see an opportunity, I take it. | 0:21:12 | 0:21:15 | |
You should do the same. | 0:21:17 | 0:21:19 | |
You could be a star attraction. | 0:21:19 | 0:21:21 | |
Now, all that stuff in the press, | 0:21:21 | 0:21:24 | |
they want to see more of that. | 0:21:24 | 0:21:26 | |
And I could help you with that. | 0:21:26 | 0:21:29 | |
Sex sells. Why hide it? | 0:21:29 | 0:21:31 | |
No, thanks. | 0:21:31 | 0:21:33 | |
I just want to pick up my things, get my money and go. | 0:21:33 | 0:21:35 | |
He'll be out and when he finds you drinking his whisky... | 0:21:37 | 0:21:41 | |
What? | 0:21:41 | 0:21:42 | |
You'll be out too. | 0:21:42 | 0:21:45 | |
Then why are you the one shaking? | 0:21:45 | 0:21:47 | |
We've talked to Miss Delaine. | 0:21:56 | 0:21:58 | |
Risky. Cilenti has been released. | 0:21:58 | 0:22:01 | |
Oh, my God! | 0:22:02 | 0:22:04 | |
There's even more reason to get this out. | 0:22:04 | 0:22:07 | |
There's a story we've been trying to sell | 0:22:07 | 0:22:09 | |
but we are limited in how we sell it. | 0:22:09 | 0:22:11 | |
So don't limit yourselves. | 0:22:11 | 0:22:12 | |
Expose it all? | 0:22:14 | 0:22:16 | |
Put the person on The Hour who knows better than anyone the comings | 0:22:16 | 0:22:19 | |
and goings of El Paradis. | 0:22:19 | 0:22:21 | |
We are running around trying to find a contributor, | 0:22:21 | 0:22:24 | |
trying to pull this show together. It's right in front of us. | 0:22:24 | 0:22:26 | |
But if we use her can we protect her? | 0:22:26 | 0:22:29 | |
Sometimes the best place to hide is in fame's spotlight. | 0:22:31 | 0:22:35 | |
One must simply know how to control the direction of the glare. | 0:22:37 | 0:22:41 | |
Such a mess. | 0:22:55 | 0:22:57 | |
Watch yourself. Don't cut yourself on the glass. | 0:23:02 | 0:23:04 | |
You cut yourself? | 0:23:04 | 0:23:06 | |
No. | 0:23:06 | 0:23:08 | |
For Christ's sake, I need a coffee! | 0:23:08 | 0:23:11 | |
I'll make it. | 0:23:11 | 0:23:12 | |
No. | 0:23:12 | 0:23:13 | |
You're leaving me? | 0:23:19 | 0:23:21 | |
Mr Pike didn't think you were coming back. | 0:23:21 | 0:23:23 | |
Norman. | 0:23:23 | 0:23:25 | |
He's not to be trusted. Coaxing you girls into his films. | 0:23:25 | 0:23:29 | |
Have you succumbed, Kiki? Starred in one of his dirty little pictures? | 0:23:30 | 0:23:36 | |
No. | 0:23:36 | 0:23:38 | |
Be careful. | 0:23:38 | 0:23:39 | |
You know what he did to Rosa when she betrayed us? | 0:23:39 | 0:23:42 | |
How can anyone do that to a person? | 0:23:44 | 0:23:46 | |
How can anyone just suffocate someone like that? | 0:23:47 | 0:23:50 | |
Bastard. | 0:23:51 | 0:23:53 | |
You know what's funny? That's true. | 0:23:55 | 0:23:57 | |
Mr Pike tells me The Hour have been sniffing around you. | 0:24:00 | 0:24:03 | |
Mr Lyon? You like Mr Lyon? | 0:24:03 | 0:24:04 | |
Little vulture, picking at my bones. | 0:24:06 | 0:24:09 | |
Did you tell Mr Stern where my photographs were? | 0:24:14 | 0:24:19 | |
You did. | 0:24:19 | 0:24:20 | |
You know what you need to know about Mr Lyon? | 0:24:23 | 0:24:25 | |
He will use you, like he uses me. | 0:24:27 | 0:24:31 | |
We're all nothing but whores. | 0:24:31 | 0:24:33 | |
Kiki? | 0:24:38 | 0:24:40 | |
See where she goes. | 0:24:49 | 0:24:50 | |
PHONE RINGS | 0:24:53 | 0:24:56 | |
-Put me through to the Commissioner. -He's not in, Mr Stern. | 0:24:56 | 0:24:59 | |
'Well, when will he be back?' | 0:24:59 | 0:25:01 | |
He's out all day. | 0:25:01 | 0:25:02 | |
'Will you give him a message, please?' | 0:25:02 | 0:25:04 | |
Why have they released Raphael Cilenti? | 0:25:04 | 0:25:07 | |
Tell him I need to speak to him. | 0:25:07 | 0:25:09 | |
'I'm sorry, Mr Stern...' | 0:25:09 | 0:25:10 | |
..but no-one is available to talk to you today. | 0:25:10 | 0:25:13 | |
BACKGROUND CHATTER | 0:25:18 | 0:25:21 | |
Ladies and gentlemen, | 0:25:21 | 0:25:22 | |
two and a half hours to go and we've had a last-minute reshuffle. | 0:25:22 | 0:25:26 | |
We're sticking with the simple and direct approach, | 0:25:26 | 0:25:28 | |
starting with the intro on Soho, | 0:25:28 | 0:25:30 | |
then the growing influence of vice, the raid, and then | 0:25:30 | 0:25:34 | |
the examination of the blackmail ring and then finally an interview. | 0:25:34 | 0:25:37 | |
Hector, I realise that this is sensitive. | 0:25:37 | 0:25:40 | |
It's not. It's what we should do. | 0:25:40 | 0:25:42 | |
You need to mention the scandal. We can't deny it. | 0:25:42 | 0:25:44 | |
Let's hope you can get Miss Delaine, Mr Lyon. | 0:25:44 | 0:25:46 | |
I'm not coming back without her. | 0:25:46 | 0:25:47 | |
You'd better not otherwise you will be looking at an empty chair. | 0:25:47 | 0:25:50 | |
Be careful. | 0:25:50 | 0:25:52 | |
Worried you can't ride solo now, Mr Madden? | 0:25:52 | 0:25:54 | |
Worried I'll like it too much, Mr Lyon. | 0:25:54 | 0:25:56 | |
Freddie. Freddie! | 0:25:56 | 0:25:57 | |
Mr Madden, a word. | 0:25:57 | 0:26:00 | |
Freddie, you can't go on your own. | 0:26:00 | 0:26:03 | |
I sent her to the club, I have to find her. | 0:26:03 | 0:26:05 | |
It's dangerous! | 0:26:05 | 0:26:06 | |
You are not impossible. Impossible is just what hasn't been done. | 0:26:06 | 0:26:11 | |
It's not impossible when it's possible. | 0:26:11 | 0:26:13 | |
We need to talk. We haven't... | 0:26:15 | 0:26:18 | |
Haven't what? | 0:26:18 | 0:26:20 | |
We haven't... | 0:26:20 | 0:26:23 | |
About us. | 0:26:23 | 0:26:25 | |
No, we don't. We need to stop talking. We talk too much. | 0:26:25 | 0:26:27 | |
Instead we have to do something. | 0:26:27 | 0:26:29 | |
I am tired of it not being possible. It is possible. | 0:26:43 | 0:26:46 | |
You are possible. | 0:26:46 | 0:26:48 | |
You are possible with me. | 0:26:48 | 0:26:50 | |
Ditch the desk. Make the camera move with us. | 0:27:08 | 0:27:12 | |
It should be unpolished. It should be raw. | 0:27:12 | 0:27:14 | |
Single for the double bill, please. | 0:27:19 | 0:27:21 | |
I'll get these. Two, please. | 0:27:21 | 0:27:23 | |
Yes, I was wondering about setting up on my own. | 0:27:27 | 0:27:30 | |
A little office in Piccadilly. | 0:27:30 | 0:27:32 | |
Where there is fear there is also money. | 0:27:32 | 0:27:36 | |
One can capitalise on that. | 0:27:36 | 0:27:38 | |
You could be my first client. | 0:27:38 | 0:27:41 | |
And my first question would be have you called your lawyer? | 0:27:42 | 0:27:47 | |
What? And ask him to lie for me? The worst is out. | 0:27:47 | 0:27:51 | |
They got a story, they printed it. Who wouldn't have done the same? | 0:27:51 | 0:27:53 | |
Truth is, it's oddly liberating. | 0:27:53 | 0:27:56 | |
-You should try it. -Angus. | 0:27:56 | 0:27:58 | |
One day. | 0:28:00 | 0:28:01 | |
Hector. | 0:28:03 | 0:28:05 | |
I've been trying to reach you all day. | 0:28:05 | 0:28:07 | |
They said you left this morning. | 0:28:07 | 0:28:08 | |
Are you all right? | 0:28:08 | 0:28:09 | |
ITV have withdrawn their offer. | 0:28:22 | 0:28:25 | |
Yes, well they think its best I stay off the air for a while too. | 0:28:25 | 0:28:29 | |
I'm sorry. | 0:28:31 | 0:28:33 | |
I'm not. | 0:28:36 | 0:28:38 | |
They had that awful woman from the Grove Family in this afternoon. | 0:28:38 | 0:28:41 | |
She can't act for toffee | 0:28:41 | 0:28:43 | |
and she has this barking passion for afternoon tea. | 0:28:43 | 0:28:47 | |
Do you know how difficult it is to make pastries for someone who | 0:28:47 | 0:28:50 | |
you know will neither appreciate it nor can act? | 0:28:50 | 0:28:52 | |
You can walk away now | 0:28:58 | 0:29:02 | |
and I'll understand. | 0:29:02 | 0:29:03 | |
Then what do I do? | 0:29:06 | 0:29:07 | |
There are things I've done in the last few months, | 0:29:12 | 0:29:19 | |
behaviour that I have in myself allowed | 0:29:19 | 0:29:21 | |
and have condemned in you. | 0:29:21 | 0:29:23 | |
But I want to make it right now. I really do. | 0:29:29 | 0:29:31 | |
Especially now. | 0:29:34 | 0:29:36 | |
Hector. I think I'm...I'm sure... | 0:29:48 | 0:29:51 | |
You're sure you're what? | 0:29:56 | 0:29:57 | |
I'm... | 0:29:59 | 0:30:01 | |
..three weeks gone. | 0:30:04 | 0:30:05 | |
Hector? | 0:30:11 | 0:30:12 | |
Well, isn't that wonderful? | 0:30:28 | 0:30:29 | |
Isn't that what you always wanted? | 0:30:35 | 0:30:37 | |
Yes. | 0:30:38 | 0:30:39 | |
Well, then aren't you clever, Marnie. You got what you wanted. | 0:30:42 | 0:30:46 | |
KNOCKING ON DOOR | 0:31:03 | 0:31:05 | |
Randall, Bel was wondering | 0:31:05 | 0:31:07 | |
if you might want to come down onto the floor a little earlier? | 0:31:07 | 0:31:10 | |
Sofia Malfrand. No E. | 0:31:18 | 0:31:20 | |
Born 24th June 1938. | 0:31:22 | 0:31:24 | |
They've...they've found her. | 0:31:27 | 0:31:30 | |
Moved to the outskirts of Paris, March 1940. | 0:31:43 | 0:31:49 | |
Died... | 0:31:56 | 0:31:57 | |
..June the same year. | 0:31:59 | 0:32:00 | |
Killed with both her parents... | 0:32:03 | 0:32:05 | |
..in an air raid. | 0:32:08 | 0:32:09 | |
Would you forgive me if I asked you to go? | 0:32:17 | 0:32:19 | |
I...I can't move. | 0:32:23 | 0:32:26 | |
Please. | 0:32:33 | 0:32:34 | |
-Please, I need you to. -No. | 0:32:36 | 0:32:38 | |
No, Randall, I won't go. I won't. | 0:32:46 | 0:32:48 | |
You just...just do what you need to do. | 0:32:48 | 0:32:51 | |
Girls never do anything in these films. | 0:34:22 | 0:34:26 | |
They are either the ones in glasses or the ones screaming. | 0:34:26 | 0:34:29 | |
What do I do now? | 0:34:32 | 0:34:33 | |
You come on The Hour. | 0:34:35 | 0:34:38 | |
You say what you see at the club. | 0:34:38 | 0:34:40 | |
Me? On the television? | 0:34:40 | 0:34:42 | |
You talk about Satchell. | 0:34:43 | 0:34:45 | |
Talk about him signing papers, talk about what you do. | 0:34:46 | 0:34:50 | |
How you're used. | 0:34:50 | 0:34:52 | |
He'll kill me. | 0:34:52 | 0:34:53 | |
I can't promise to protect you, it was wrong to promise you that. | 0:34:56 | 0:34:59 | |
But the world knows about Cilenti now. | 0:34:59 | 0:35:01 | |
Fleet Street will want to know more from you. | 0:35:03 | 0:35:06 | |
You think they go after you now, | 0:35:06 | 0:35:08 | |
they'll go after you even more now that he's out. | 0:35:08 | 0:35:10 | |
The more you can control what you say and how you say it, the better. | 0:35:10 | 0:35:14 | |
That's how you protect yourself. | 0:35:16 | 0:35:19 | |
-You're the bomb. -Me? | 0:35:19 | 0:35:21 | |
No, I'm not, I'm nothing. | 0:35:22 | 0:35:25 | |
I'm just a stupid fucking whore. | 0:35:25 | 0:35:28 | |
We broadcast tonight. If we leave now, we'll take a taxi, | 0:35:31 | 0:35:34 | |
we'll be there in half an hour. | 0:35:34 | 0:35:36 | |
You won't have to do anything you don't want to do. | 0:35:36 | 0:35:38 | |
-I'll be there, I'll look after you. -You can't. | 0:35:38 | 0:35:40 | |
What time does the film start, darling? | 0:35:40 | 0:35:43 | |
-Go, now. -All right, don't worry. | 0:35:44 | 0:35:46 | |
They are expecting you. Ask for Miss Rowley. | 0:35:46 | 0:35:48 | |
I'll follow you. Come on, go, now. | 0:35:48 | 0:35:50 | |
I'll keep them occupied. | 0:35:50 | 0:35:52 | |
Gentlemen. | 0:35:56 | 0:35:58 | |
-Good evening. -Oh, good night. | 0:35:58 | 0:36:01 | |
-Miss Rowley? -Yes. Mr Lyon? | 0:36:26 | 0:36:29 | |
-He's going to follow me. -This way, please. -Thank you. | 0:36:29 | 0:36:32 | |
It's just this way. | 0:36:36 | 0:36:37 | |
-Where's Freddie? -God knows. Miss Delaine said he was following on. | 0:36:40 | 0:36:43 | |
Miss Delaine. Thank you for joining us. | 0:36:43 | 0:36:45 | |
Could you find Randall? | 0:36:47 | 0:36:50 | |
I'm just going to talk you through our plans for this evening. | 0:36:50 | 0:36:53 | |
-My makeup, I need to do my makeup. -Oh, of course. Joan! | 0:36:53 | 0:36:57 | |
-Where's Liz? Find her. -Right. | 0:36:59 | 0:37:02 | |
Ladies and Gentlemen, 30 minutes, please! | 0:37:02 | 0:37:05 | |
All right, Trevor? | 0:37:15 | 0:37:16 | |
Yeah, I'm fine, thanks, Mr Lyon. | 0:37:16 | 0:37:19 | |
Mr Cilenti asked you to do this, Norman? | 0:37:19 | 0:37:21 | |
Rough handle me down here? | 0:37:21 | 0:37:23 | |
I don't answer to Mr Cilenti any more. | 0:37:23 | 0:37:25 | |
Thought not. Thought he had a bit more style. | 0:37:25 | 0:37:27 | |
He's got style, all right. | 0:37:27 | 0:37:29 | |
You're not a good businessman if you can't see the future coming. | 0:37:29 | 0:37:32 | |
-You the future? -Might be. | 0:37:32 | 0:37:34 | |
You got a fascist as your first recruit! That's impressive. | 0:37:34 | 0:37:38 | |
You do like to rile. | 0:37:40 | 0:37:41 | |
I confess, I do. | 0:37:43 | 0:37:44 | |
Miss Storm, Miss Delaine is here. | 0:37:49 | 0:37:52 | |
Oh, Sissy, is that you? | 0:37:56 | 0:37:58 | |
I'm just coming. Can you just give me a minute, please? | 0:37:58 | 0:38:02 | |
Try to stay calm. | 0:38:10 | 0:38:12 | |
Don't talk too quickly and try not to smile too much. | 0:38:12 | 0:38:16 | |
The questions will be direct and not complicated. | 0:38:16 | 0:38:18 | |
You just answer as truthfully as you can. | 0:38:18 | 0:38:22 | |
I was thinking we may need to reinvent a little. | 0:38:22 | 0:38:25 | |
Now, what name were you christened with? | 0:38:25 | 0:38:27 | |
Patricia. | 0:38:27 | 0:38:29 | |
Ah, Patricia Delaine. | 0:38:29 | 0:38:31 | |
It's the wrong colour. It drains my face. | 0:38:31 | 0:38:34 | |
Mr McCain, if you could wait in the green room? | 0:38:34 | 0:38:37 | |
Yes, of course. | 0:38:37 | 0:38:38 | |
I can't do this. | 0:38:46 | 0:38:47 | |
Miss Ramirez wanted to help us. | 0:38:50 | 0:38:53 | |
But she couldn't. | 0:38:54 | 0:38:56 | |
You can. | 0:38:56 | 0:38:58 | |
Mr Lyon will take you in and he will do the interview. | 0:39:05 | 0:39:08 | |
What if he doesn't get here? | 0:39:08 | 0:39:10 | |
Why wouldn't he get here? | 0:39:11 | 0:39:13 | |
No reason. | 0:39:15 | 0:39:16 | |
No reason, I don't know. | 0:39:17 | 0:39:19 | |
'And so tonight, | 0:39:23 | 0:39:24 | |
'with the launch of the Campaign for Nuclear Disarmament, | 0:39:24 | 0:39:27 | |
'we have one of the leading figures in the pro-nuclear debate, | 0:39:27 | 0:39:30 | |
'Mr Howard Satchell for the Conservatives and | 0:39:30 | 0:39:33 | |
'one of the anti-nuclear debate's strongest voices of support, | 0:39:33 | 0:39:36 | |
'Mrs Henrietta Williams...' | 0:39:36 | 0:39:38 | |
There is something she's not telling us. | 0:39:38 | 0:39:40 | |
He would have been here by now. | 0:39:40 | 0:39:42 | |
Let's give him ten more minutes. | 0:39:42 | 0:39:43 | |
Try calling him at home again. | 0:39:43 | 0:39:45 | |
He's Freddie, he'll, he'll get here. | 0:39:45 | 0:39:47 | |
Then why do you look worried? | 0:39:47 | 0:39:50 | |
I just want to see what Satchell has to say. | 0:39:50 | 0:39:52 | |
Uncovered has just started. | 0:39:52 | 0:39:53 | |
Will you turn it up? | 0:39:53 | 0:39:56 | |
'Now, this is not about money. | 0:39:56 | 0:39:58 | |
'Pure and simple, the nuclear age is here.' | 0:39:58 | 0:40:01 | |
No, No, No! | 0:40:04 | 0:40:07 | |
Is this how you have a conversation? | 0:40:07 | 0:40:08 | |
We're done with conversation. | 0:40:08 | 0:40:10 | |
Oh, really? | 0:40:10 | 0:40:12 | |
Norman here was just... | 0:40:12 | 0:40:14 | |
just telling me about his plans for your club. | 0:40:14 | 0:40:17 | |
I think he was hoping you were done for. | 0:40:19 | 0:40:25 | |
I'm not in the grave yet. | 0:40:25 | 0:40:26 | |
Are you going to let me go now? | 0:40:30 | 0:40:32 | |
Only we go out tonight. | 0:40:33 | 0:40:36 | |
Where is Miss Delaine? | 0:40:36 | 0:40:37 | |
Lost her. She was meeting him at the cinema. | 0:40:37 | 0:40:39 | |
A date now? | 0:40:44 | 0:40:45 | |
I wouldn't... I wouldn't flatter myself it was a date. | 0:40:47 | 0:40:51 | |
Attack Of The Crab Monsters. Have you seen it? | 0:40:51 | 0:40:54 | |
Don't. | 0:40:54 | 0:40:56 | |
What did she tell you? | 0:40:56 | 0:40:58 | |
Do you know the first... | 0:41:03 | 0:41:04 | |
Do you know what the first rule of journalism is? | 0:41:04 | 0:41:07 | |
If you want to get someone to tell you something, | 0:41:07 | 0:41:10 | |
you have to give something of yourself first. | 0:41:10 | 0:41:13 | |
You have no evidence. | 0:41:16 | 0:41:17 | |
Whatever it is you think you have, you have no evidence. | 0:41:18 | 0:41:24 | |
The police destroyed it. | 0:41:24 | 0:41:25 | |
That's a... That's a start. | 0:41:27 | 0:41:28 | |
'Commander Stern's office.' | 0:41:36 | 0:41:37 | |
Yes, it's Bel Rowley here. | 0:41:37 | 0:41:39 | |
I'm concerned with regards to one of my journalists who's gone | 0:41:39 | 0:41:42 | |
missing - Mr Lyon, of The Hour. | 0:41:42 | 0:41:44 | |
Could I speak to Commander Stern, please? | 0:41:44 | 0:41:46 | |
Commander Stern, Miss Rowley from The Hour is on the telephone. | 0:41:47 | 0:41:50 | |
Go home. | 0:41:50 | 0:41:52 | |
Hector, prepare. | 0:42:01 | 0:42:03 | |
He wouldn't miss this show. | 0:42:08 | 0:42:09 | |
Isaac, script. It might need some tweaking now it's in my hands. | 0:42:13 | 0:42:17 | |
There will be those who'll turn off their sets on seeing me tonight. | 0:42:17 | 0:42:20 | |
Then make sure they don't. Good luck. | 0:42:20 | 0:42:22 | |
Ladies and gentlemen, that's last checks, please. | 0:42:27 | 0:42:29 | |
We're in trouble. | 0:42:31 | 0:42:33 | |
That's the problem with trouble. It always starts out as such fun. | 0:42:34 | 0:42:39 | |
They hate you. | 0:42:40 | 0:42:42 | |
The businessmen and the ministers, | 0:42:45 | 0:42:48 | |
the clientele you've worked so hard to lure in. | 0:42:48 | 0:42:53 | |
They despise you. | 0:42:53 | 0:42:55 | |
The way you fawn, the way you seduce them, the way you rob them. | 0:42:55 | 0:42:59 | |
Yet you still naively think... | 0:42:59 | 0:43:03 | |
..that you will fit in. | 0:43:05 | 0:43:06 | |
Answer me. Where is she? | 0:43:07 | 0:43:10 | |
You'll never fit in. | 0:43:10 | 0:43:11 | |
You've no money and you didn't even go to the right school. | 0:43:11 | 0:43:14 | |
And in the new world order, | 0:43:14 | 0:43:17 | |
money... | 0:43:17 | 0:43:18 | |
..money is king. | 0:43:20 | 0:43:22 | |
You're the one trying to fit in. | 0:43:28 | 0:43:31 | |
You're the performer, Mr Lyon. | 0:43:31 | 0:43:33 | |
You don't know where she is. | 0:43:36 | 0:43:37 | |
You tried to get her to help you and she runs. | 0:43:37 | 0:43:40 | |
That's it. | 0:43:40 | 0:43:42 | |
BACKGROUND CHATTER | 0:43:43 | 0:43:45 | |
-KNOCK ON DOOR -Kiki? | 0:43:47 | 0:43:50 | |
Freddie did say he was going to follow on? | 0:43:50 | 0:43:52 | |
He...he didn't imply that he was going anywhere else? | 0:43:52 | 0:43:57 | |
It's all Rosa left. | 0:43:57 | 0:44:00 | |
Couple of lipsticks. | 0:44:00 | 0:44:01 | |
I never got it when she said it to me. | 0:44:03 | 0:44:06 | |
"Your face is your future". | 0:44:06 | 0:44:07 | |
Twist it. | 0:44:09 | 0:44:11 | |
One minute, please. | 0:44:25 | 0:44:27 | |
BELL RINGS | 0:44:27 | 0:44:28 | |
I've got something coming up from the lab, can you watch out for it? | 0:44:28 | 0:44:32 | |
Where the hell is he? | 0:44:33 | 0:44:34 | |
You'll never have a face for television now. | 0:44:38 | 0:44:40 | |
Places, please, ladies and gentlemen. | 0:44:42 | 0:44:45 | |
Cue Grams. | 0:44:57 | 0:44:58 | |
Over. | 0:45:06 | 0:45:09 | |
Yes, it's over. | 0:45:09 | 0:45:11 | |
Turn it over. | 0:45:12 | 0:45:14 | |
Five, | 0:45:16 | 0:45:18 | |
four, | 0:45:18 | 0:45:20 | |
three, | 0:45:20 | 0:45:22 | |
two, | 0:45:22 | 0:45:24 | |
one. | 0:45:24 | 0:45:25 | |
'Good Evening, | 0:45:25 | 0:45:27 | |
'in a departure for The Hour tonight' | 0:45:27 | 0:45:29 | |
we will present an expose on the world of vice | 0:45:29 | 0:45:33 | |
and the secrets that it hides. | 0:45:33 | 0:45:35 | |
I apologise for the absence of my co-host, | 0:45:36 | 0:45:38 | |
Mr Lyon, who could not be with us tonight. | 0:45:38 | 0:45:41 | |
In presenting this special programme, | 0:45:41 | 0:45:44 | |
we are acknowledging his fearless pursuit of this story. | 0:45:44 | 0:45:47 | |
-'On a day that has been dominated...' -Ready? | 0:45:48 | 0:45:50 | |
-'..by scandal and police raids...' -Good luck. | 0:45:50 | 0:45:53 | |
'..here at The Hour we felt events could not be ignored | 0:45:53 | 0:45:56 | |
'even when those closest to the programme were implicated.' | 0:45:56 | 0:45:59 | |
Bring in camera one. | 0:45:59 | 0:46:00 | |
We've invited Miss Delaine | 0:46:00 | 0:46:02 | |
to be interviewed on the programme tonight - | 0:46:02 | 0:46:04 | |
a woman at the heart of the scandal. | 0:46:04 | 0:46:07 | |
A scandal that also involves me. | 0:46:07 | 0:46:09 | |
'Miss Delaine, thank you for joining us tonight.' | 0:46:11 | 0:46:13 | |
Bring in camera two. | 0:46:13 | 0:46:14 | |
'Now, I know you are nervous. So let's get started.' | 0:46:19 | 0:46:22 | |
Two months ago we met. | 0:46:24 | 0:46:26 | |
Yes. | 0:46:26 | 0:46:27 | |
And at that time you accused me of attacking you. | 0:46:27 | 0:46:31 | |
I did. | 0:46:31 | 0:46:33 | |
Though it was proved that I had an alibi | 0:46:33 | 0:46:35 | |
and you later withdrew the accusation. | 0:46:35 | 0:46:38 | |
Why was that? | 0:46:38 | 0:46:39 | |
Because I lied. | 0:46:41 | 0:46:42 | |
And why did you lie? | 0:46:42 | 0:46:44 | |
'Because the man who beat me up is someone important | 0:46:45 | 0:46:49 | |
'and I was seeking revenge.' | 0:46:49 | 0:46:50 | |
Can you name that man? | 0:46:52 | 0:46:53 | |
'Let's go back a little.' | 0:47:01 | 0:47:02 | |
How long have you worked at the club? | 0:47:02 | 0:47:04 | |
-'Four years. -And in that time' | 0:47:04 | 0:47:06 | |
can you tell us about the men that you've met? | 0:47:06 | 0:47:09 | |
PHONE RINGS | 0:47:09 | 0:47:10 | |
Pick it up, pick it up! | 0:47:10 | 0:47:12 | |
-Is it him? -It's Presentation. | 0:47:12 | 0:47:14 | |
They'll call back. | 0:47:17 | 0:47:19 | |
'And you're there to listen? Is that right? | 0:47:19 | 0:47:22 | |
'That's what we're there for.' | 0:47:22 | 0:47:24 | |
To hear things. To honeytrap. | 0:47:24 | 0:47:27 | |
'For the benefit of those viewers | 0:47:27 | 0:47:29 | |
'who may be unfamiliar with that term, what is a honeytrap?' | 0:47:29 | 0:47:32 | |
We're the bait. For Mr Cilenti. | 0:47:33 | 0:47:36 | |
He's the owner of El Paradis. Bait for what? | 0:47:36 | 0:47:40 | |
Just breathe. | 0:47:41 | 0:47:42 | |
'To trap them. To help them blackmail them. | 0:47:44 | 0:47:48 | |
'To help him make deals.' | 0:47:48 | 0:47:49 | |
You know the funny thing? I grew up near a British base in Italy. | 0:47:58 | 0:48:03 | |
My mother serviced any number of British soldiers until I was born. | 0:48:03 | 0:48:09 | |
What does that make me? | 0:48:11 | 0:48:12 | |
An English man. | 0:48:14 | 0:48:16 | |
'..Mr Cilenti at its heart.' | 0:48:16 | 0:48:17 | |
Tonight, on ITV's Uncovered | 0:48:19 | 0:48:21 | |
'there is a fierce debate raging regarding the Government's | 0:48:21 | 0:48:23 | |
'nuclear armament budget. | 0:48:23 | 0:48:25 | |
'The minister on that programme is justifying his campaign | 0:48:25 | 0:48:28 | |
'for increased spending, claiming it is for protection.' | 0:48:28 | 0:48:31 | |
I'm going down on the floor. Cue up the NATO film. | 0:48:31 | 0:48:33 | |
'Well, there's one company in particular' | 0:48:33 | 0:48:36 | |
that is set to make a lot of money in this arms race. | 0:48:36 | 0:48:39 | |
That company is called Tufnell Engineering, | 0:48:39 | 0:48:42 | |
the company co-owned by Mr Rafael Cilenti. | 0:48:42 | 0:48:45 | |
Now, it is our belief that a leading minister has personally | 0:48:45 | 0:48:48 | |
invested in this company in a deal brokered by Mr Cilenti. | 0:48:48 | 0:48:52 | |
Miss Delaine was a witness to this deal. | 0:48:52 | 0:48:55 | |
Miss Delaine, can you name that minister? | 0:48:55 | 0:48:58 | |
'Mr Howard Satchell.' | 0:49:05 | 0:49:07 | |
'Thank you to Mr Howard Satchell...' | 0:49:07 | 0:49:09 | |
'As a leading defence minister' | 0:49:09 | 0:49:11 | |
Mr Satchell attended the NATO summit late last year. | 0:49:11 | 0:49:14 | |
Here is footage of that same summit, where some of the key | 0:49:14 | 0:49:17 | |
decisions on the British nuclear defence policy were made. | 0:49:17 | 0:49:21 | |
Proof. | 0:49:25 | 0:49:27 | |
Miss Delaine was holding onto the negatives. | 0:49:27 | 0:49:30 | |
-Are you all right? -Has Mr Lyon arrived? | 0:49:30 | 0:49:32 | |
They've got him. | 0:49:32 | 0:49:34 | |
Cilenti's got Mr Lyon. | 0:49:34 | 0:49:36 | |
Oh, God. Freddie! | 0:49:39 | 0:49:41 | |
Call the police! Somebody call the police! | 0:49:41 | 0:49:46 | |
Corporations have been enthroned | 0:49:53 | 0:49:57 | |
and an era of corruption in high places will follow | 0:49:57 | 0:50:02 | |
and the money power of the country | 0:50:02 | 0:50:05 | |
will endeavour to prolong its reign | 0:50:05 | 0:50:08 | |
by working upon the prejudices of the people | 0:50:08 | 0:50:13 | |
until all wealth is aggregated in a few hands | 0:50:13 | 0:50:18 | |
and the Republic is destroyed. | 0:50:18 | 0:50:20 | |
Abe Lincoln. | 0:50:31 | 0:50:34 | |
Abe Lincoln said it. | 0:50:34 | 0:50:36 | |
What did you say? | 0:50:36 | 0:50:38 | |
Money. | 0:50:44 | 0:50:45 | |
No money. | 0:50:48 | 0:50:49 | |
'I've just been handed some photographs by my producer.' | 0:50:56 | 0:50:59 | |
-Go to camera two. -They're en route, the police will be there soon. | 0:50:59 | 0:51:02 | |
'I understand that you have provided these, Miss Delaine.' | 0:51:02 | 0:51:05 | |
May I ask where you acquired these? | 0:51:05 | 0:51:07 | |
A friend of mine believed every girl needs a little insurance. | 0:51:08 | 0:51:12 | |
'I'm going to hold one of these photographs up to the camera.' | 0:51:14 | 0:51:18 | |
Can you confirm that is Mr Howard Satchell? | 0:51:18 | 0:51:21 | |
Miss Delaine. | 0:51:26 | 0:51:29 | |
Yes. | 0:51:29 | 0:51:30 | |
'It looks like a very relaxed evening. | 0:51:32 | 0:51:35 | |
'There is clearly entertainment. What were you celebrating? | 0:51:35 | 0:51:38 | |
'They just got back from Paris. They were very pleased with themselves. | 0:51:38 | 0:51:42 | |
And what month was this? | 0:51:42 | 0:51:45 | |
December. | 0:51:45 | 0:51:46 | |
'Just after the NATO summit.' | 0:51:47 | 0:51:51 | |
Now I also note, in this second photograph, | 0:51:51 | 0:51:56 | |
I believe that's the Metropolitan Police Commissioner Laurence Stern. | 0:51:56 | 0:51:59 | |
Is that right? | 0:51:59 | 0:52:01 | |
'Yes. He's the man who beat me.' | 0:52:03 | 0:52:07 | |
'There will be those viewers undoubtedly shocked to see | 0:52:08 | 0:52:11 | |
'Mr Stern in so compromising a position.' | 0:52:11 | 0:52:15 | |
Is it your belief that Mr Stern has enabled Mr Cilenti's actions? | 0:52:17 | 0:52:22 | |
It is. And other officers. | 0:52:22 | 0:52:25 | |
'And are there other men who you could name, Miss Delaine? | 0:52:27 | 0:52:30 | |
'Yes. All names girls don't forget. | 0:52:30 | 0:52:35 | |
'The Commissioner of Police often visits. | 0:52:35 | 0:52:37 | |
'There are any number of officers in Cilenti's pocket.' | 0:52:37 | 0:52:41 | |
Are you aware of any other criminal activities | 0:52:41 | 0:52:43 | |
that have also been ignored? | 0:52:43 | 0:52:45 | |
'I know bribes were paid | 0:52:45 | 0:52:48 | |
'I know girls were brought into the country illegally | 0:52:48 | 0:52:50 | |
'and nothing was done.' | 0:52:50 | 0:52:52 | |
I know girls who were beaten and worse. I know of worse. | 0:52:52 | 0:52:57 | |
We would like to thank you, Miss Delaine. | 0:53:04 | 0:53:07 | |
Perhaps one last question? | 0:53:07 | 0:53:09 | |
What do you believe these men come to you for? | 0:53:09 | 0:53:12 | |
Comfort. | 0:53:14 | 0:53:16 | |
Company. | 0:53:16 | 0:53:17 | |
To tell you their secrets. | 0:53:19 | 0:53:21 | |
The things they can't say at home, to their wives. | 0:53:21 | 0:53:24 | |
They talk about things they're scared about. | 0:53:26 | 0:53:29 | |
Maybe stuff they've seen in the past. | 0:53:29 | 0:53:31 | |
And when they leave you, I don't know, in some hotel room, | 0:53:33 | 0:53:38 | |
you lie there, daylight creeping under the curtains, | 0:53:38 | 0:53:42 | |
your head full of their secrets, keeping you awake. | 0:53:42 | 0:53:45 | |
Knowing you've got to go back, the next night and the next. | 0:53:47 | 0:53:53 | |
We dance with them, drink with them | 0:53:54 | 0:53:58 | |
and they flatter themselves that we like them. | 0:53:58 | 0:54:03 | |
But we're just the ghosts in their lives. | 0:54:03 | 0:54:06 | |
Kevin, could you... | 0:54:07 | 0:54:11 | |
-..could you get my bag? I've left it upstairs. -Yes, sir. -Thank you. | 0:54:12 | 0:54:15 | |
Everyone, sooner or later, has to sit down to the consequences. | 0:54:29 | 0:54:33 | |
So they shouldn't be surprised when we come back to haunt them. | 0:54:35 | 0:54:38 | |
'Well, thank you, Miss Delaine, for talking to us.' | 0:54:42 | 0:54:44 | |
Well done, Hector. | 0:54:44 | 0:54:46 | |
There's that tick. | 0:54:49 | 0:54:51 | |
We're off air. | 0:54:51 | 0:54:52 | |
-Miss Delaine, Miss Delaine! -Good evening, gentlemen. | 0:55:13 | 0:55:15 | |
Miss Patricia Delaine is unavailable for comment. | 0:55:15 | 0:55:18 | |
But she will release a statement in the morning. | 0:55:18 | 0:55:21 | |
Good evening, gentlemen. Thank you, thank you. | 0:55:21 | 0:55:23 | |
'Dear Freddie. | 0:56:36 | 0:56:38 | |
'So I got your letter. San Francisco - amazing. | 0:56:38 | 0:56:43 | |
'I'm sorry it's taken me so long to write back. | 0:56:43 | 0:56:47 | |
'There are life's natural heroes and then there's you. | 0:56:47 | 0:56:51 | |
'Your words. | 0:56:51 | 0:56:54 | |
'You always believe somewhere deep in you that there is a coward. | 0:56:54 | 0:56:58 | |
'I wish I'd told you that that's not true | 0:56:58 | 0:57:01 | |
'because you leapt while I stayed. Feet first into the unknown. | 0:57:01 | 0:57:07 | |
'Why should I have expected anything less than fearlessness from you?' | 0:57:07 | 0:57:11 | |
Money. | 0:57:11 | 0:57:12 | |
'But I am not as brave as you.' PHONE RINGS | 0:57:12 | 0:57:15 | |
'I want to write and say I'll be there.' | 0:57:15 | 0:57:17 | |
'I'll get on a plane, I'll come right now. I really do. | 0:57:17 | 0:57:21 | |
'But I can't. Not because I don't love you. | 0:57:21 | 0:57:25 | |
'I love you, Freddie Lyon. | 0:57:25 | 0:57:27 | |
'But because you won't even get this letter.' | 0:57:27 | 0:57:30 | |
Money. | 0:57:30 | 0:57:31 | |
'Because I won't ever send it. | 0:57:31 | 0:57:32 | |
'I'm the coward Freddie, not you. | 0:57:32 | 0:57:37 | |
'So, instead, I'm sending this prayer out there.' | 0:57:37 | 0:57:40 | |
Moneypenny. | 0:57:40 | 0:57:42 | |
'Just hoping that somehow you'll know to come home. | 0:57:42 | 0:57:44 | |
'Just please come home. Now, soon and | 0:57:44 | 0:57:48 | |
'maybe your courage will make me brave to. | 0:57:48 | 0:57:51 | |
'Just come home and I will leap too.' | 0:57:51 | 0:57:54 | |
Moneypenny. | 0:57:54 | 0:57:56 | |
Subtitles by Red Bee Media Ltd | 0:58:02 | 0:58:05 |