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This programme contains some scenes | 0:00:06 | 0:00:09 | |
which some viewers may find upsetting. | 0:00:09 | 0:00:12 | |
John... | 0:00:41 | 0:00:43 | |
John, can you hear me? | 0:00:43 | 0:00:44 | |
John... | 0:00:48 | 0:00:50 | |
John. | 0:00:50 | 0:00:51 | |
Mother. | 0:00:51 | 0:00:52 | |
His legs, keep them still. | 0:00:52 | 0:00:54 | |
Keep them still. | 0:00:56 | 0:00:57 | |
John... | 0:00:59 | 0:01:00 | |
John, sh, sh, sh. | 0:01:00 | 0:01:03 | |
JOHN MOANS | 0:01:03 | 0:01:05 | |
DOOR OPENS | 0:01:14 | 0:01:15 | |
Is he breathing? | 0:01:18 | 0:01:19 | |
Yes, I think so. | 0:01:19 | 0:01:21 | |
Let me see. | 0:01:21 | 0:01:23 | |
He needs to be more comfortable. | 0:01:24 | 0:01:27 | |
Let's get him upstairs. | 0:01:27 | 0:01:28 | |
What was he hit with? | 0:01:42 | 0:01:44 | |
Did you see? | 0:01:44 | 0:01:45 | |
It was a gun. It was the butt of a gun. | 0:01:45 | 0:01:48 | |
SHE SOBS | 0:01:48 | 0:01:50 | |
Grace, Mary. | 0:01:51 | 0:01:53 | |
Warm water, please. | 0:01:53 | 0:01:55 | |
What's the hot water for? | 0:02:00 | 0:02:02 | |
To get the women downstairs. | 0:02:02 | 0:02:04 | |
She's strong - my mother. | 0:02:07 | 0:02:09 | |
I'll set him up with a drip. | 0:02:12 | 0:02:13 | |
There are 100 reasons why he needs to be in a hospital. | 0:02:16 | 0:02:19 | |
But? | 0:02:19 | 0:02:20 | |
The journey would kill him. | 0:02:20 | 0:02:22 | |
Let's hope he'll still be with us tomorrow. | 0:02:22 | 0:02:25 | |
JOHN FITS | 0:02:42 | 0:02:43 | |
It's all right, John. | 0:02:43 | 0:02:45 | |
Sh, sh, sh. | 0:02:45 | 0:02:46 | |
John. I'm here, it's all right. | 0:02:46 | 0:02:50 | |
FOOTSTEPS APPROACH | 0:02:53 | 0:02:55 | |
I can't...can't remember. | 0:03:03 | 0:03:06 | |
Hmm? | 0:03:06 | 0:03:07 | |
I can't get it in my head what happened. | 0:03:10 | 0:03:13 | |
I'll help you. | 0:03:13 | 0:03:15 | |
Lovely boy. | 0:03:16 | 0:03:18 | |
I'm sorry. | 0:03:44 | 0:03:46 | |
Is Daddy going to die? | 0:03:59 | 0:04:01 | |
Don't worry, he's fighting. He's a fighter. | 0:04:01 | 0:04:04 | |
You were there - the reporter on the scene. | 0:04:23 | 0:04:26 | |
I'm not a reporter, I'm a diarist. | 0:04:26 | 0:04:29 | |
-What's the name you write under? -Countryman. | 0:04:29 | 0:04:33 | |
No, you're right. | 0:04:33 | 0:04:35 | |
What? | 0:04:35 | 0:04:36 | |
The diarist with his love of Cabbage Whites and English hedgerow, | 0:04:36 | 0:04:40 | |
suddenly in amongst a gang of professional agitators with | 0:04:40 | 0:04:43 | |
violent intent. | 0:04:43 | 0:04:44 | |
It's the newspaperman's job to tell both sides of the story. | 0:04:44 | 0:04:48 | |
Oh, yes. Journalistic objectivity. | 0:04:48 | 0:04:50 | |
Two men went to mow a meadow. | 0:04:50 | 0:04:52 | |
When they came back, the first man told the journalist | 0:04:52 | 0:04:54 | |
the meadow had been beautifully mown, | 0:04:54 | 0:04:57 | |
but the second man said not a blade of grass had been cut. | 0:04:57 | 0:04:59 | |
But the journalist reported both sides of the story. | 0:04:59 | 0:05:02 | |
I don't understand what that means, it's... | 0:05:02 | 0:05:04 | |
Go and look at the sodding meadow. | 0:05:04 | 0:05:06 | |
-I won't do this! -Won't do what? | 0:05:06 | 0:05:09 | |
I won't be pushed into doing what you want. | 0:05:09 | 0:05:11 | |
This was found. By one of the gamekeepers. | 0:05:11 | 0:05:16 | |
What is it? | 0:05:16 | 0:05:17 | |
This wasn't a ramble, George. This wasn't about the right to picnic. | 0:05:21 | 0:05:24 | |
These were men looking for a fight. | 0:05:24 | 0:05:26 | |
Why? Because they want to overturn everything we believe in. | 0:05:26 | 0:05:31 | |
Karl Marx had a donkey. Did you know? | 0:05:31 | 0:05:34 | |
A man with a beard who rode his humble donkey | 0:05:34 | 0:05:37 | |
all over Hampstead Heath. | 0:05:37 | 0:05:38 | |
Who did he think he was?! | 0:05:38 | 0:05:41 | |
The next Messiah?! | 0:05:41 | 0:05:42 | |
George has an article to write. | 0:05:45 | 0:05:47 | |
If you swear like that once more in my presence I'll send you | 0:05:57 | 0:06:01 | |
back to Bradford where you belong without so much as a... | 0:06:01 | 0:06:04 | |
by your leave. | 0:06:04 | 0:06:05 | |
Bradford(!) | 0:06:08 | 0:06:09 | |
We need a backup plan. | 0:06:16 | 0:06:18 | |
Hey! | 0:06:40 | 0:06:41 | |
Were you in The Lamb the night before the trespass? | 0:06:43 | 0:06:46 | |
Um, yes. | 0:06:46 | 0:06:48 | |
Who with? | 0:06:48 | 0:06:50 | |
-Gilbert. -Hankin? | 0:06:51 | 0:06:53 | |
-Why are you asking me this? -And that teacher fella? | 0:06:53 | 0:06:56 | |
What are you doing about the gamekeepers... | 0:06:56 | 0:06:58 | |
Was the teacher in The Lamb? | 0:06:58 | 0:07:00 | |
What's his name? | 0:07:05 | 0:07:07 | |
-You know his name. -I want it from you. | 0:07:09 | 0:07:12 | |
My father is upstairs with his head busted open | 0:07:12 | 0:07:15 | |
from the gamekeepers at the Big House. | 0:07:15 | 0:07:17 | |
What are you doing about that? | 0:07:17 | 0:07:19 | |
Let me show you something. | 0:07:20 | 0:07:22 | |
His blood! | 0:07:23 | 0:07:24 | |
-His piss! -Steady. | 0:07:26 | 0:07:28 | |
Steady? Steady?! | 0:07:28 | 0:07:30 | |
With your bloody language, son. | 0:07:30 | 0:07:32 | |
Get out. | 0:07:32 | 0:07:33 | |
What did you say? | 0:07:36 | 0:07:37 | |
You heard me. | 0:07:37 | 0:07:39 | |
Name? | 0:07:39 | 0:07:41 | |
My name is Grace Middleton and you will leave my house now! | 0:07:41 | 0:07:46 | |
You want to wash this table, Mrs Middleton. | 0:07:51 | 0:07:54 | |
You did this. | 0:07:55 | 0:07:57 | |
You and the bastards you look after at the Big House | 0:07:57 | 0:08:00 | |
did this to my father. | 0:08:00 | 0:08:01 | |
This isn't over. | 0:08:02 | 0:08:04 | |
When I was a boy, | 0:08:38 | 0:08:41 | |
our neighbour... | 0:08:41 | 0:08:44 | |
Jack Laidlaw, his name was, | 0:08:44 | 0:08:47 | |
he went blind. And, er... | 0:08:47 | 0:08:48 | |
..he gave me the only book that he had. | 0:08:50 | 0:08:52 | |
It was about Stanley, the explorer. | 0:08:52 | 0:08:55 | |
Doctor Livingstone, I presume? | 0:08:55 | 0:08:57 | |
I was so worried about you. | 0:09:02 | 0:09:04 | |
Hats off, hats off. | 0:09:25 | 0:09:26 | |
What have I told you? Come on, seats, sit down. | 0:09:26 | 0:09:28 | |
Were you in The Lamb on the Friday before the trespass? | 0:09:37 | 0:09:40 | |
We have people saying you were. | 0:09:41 | 0:09:43 | |
-Who? -Bert Middleton. | 0:09:43 | 0:09:45 | |
They didn't even ask me if I'd seen who did it. | 0:09:47 | 0:09:49 | |
Well, did you? See it? | 0:09:52 | 0:09:54 | |
He came in from the side. | 0:09:56 | 0:09:59 | |
It was fast but... Father should have seen him coming. | 0:09:59 | 0:10:03 | |
He didn't even... | 0:10:03 | 0:10:06 | |
He was just staring. | 0:10:06 | 0:10:08 | |
What were he staring at? | 0:10:10 | 0:10:12 | |
Margaret. | 0:10:14 | 0:10:16 | |
My Henry's here. | 0:10:17 | 0:10:19 | |
What, under your skirt? | 0:10:19 | 0:10:20 | |
No, he's in the field with three of his pals, milking the cows. | 0:10:20 | 0:10:24 | |
They'll keep doing it for as long as you need them to. | 0:10:24 | 0:10:26 | |
-Margaret... -I'll show 'em job. | 0:10:26 | 0:10:28 | |
-Straight upstairs? -Yes. | 0:10:32 | 0:10:34 | |
He's still in The Lamb, you know? Bill Gibby. | 0:10:41 | 0:10:45 | |
He's hasn't run off like most politicians would. | 0:10:45 | 0:10:49 | |
And have the police been to see him? | 0:10:49 | 0:10:51 | |
I don't know. Why? | 0:10:51 | 0:10:52 | |
Oh, they'll have him marked out as the leader, won't they? | 0:10:52 | 0:10:56 | |
Him or you, Grace, from what I hear. | 0:10:56 | 0:10:59 | |
John will set it all straight when he wakes up. | 0:11:01 | 0:11:04 | |
We've just got to hope and pray his memory's still there. | 0:11:04 | 0:11:07 | |
THUMPING | 0:11:12 | 0:11:14 | |
MOANING | 0:11:16 | 0:11:18 | |
FOOTSTEPS APPROACH | 0:11:29 | 0:11:31 | |
These fits are dangerous. | 0:11:33 | 0:11:35 | |
He's having too many of them and we have to stop them. | 0:11:35 | 0:11:38 | |
What if he dies without Bert and Mary being here to say goodbye? | 0:11:50 | 0:11:54 | |
If we're going to do this, we're going to have to be quick about it. | 0:11:54 | 0:11:57 | |
I want you to hold his head... | 0:12:03 | 0:12:06 | |
very, very still. | 0:12:06 | 0:12:07 | |
-Will he feel anything? -We don't think so. | 0:12:12 | 0:12:15 | |
-But you don't know? -This has to happen, Grace. | 0:12:15 | 0:12:17 | |
-Are you all right? -Hmm-mm. | 0:12:25 | 0:12:27 | |
-Very still. -Hmm. | 0:12:27 | 0:12:29 | |
SHE COUGHS | 0:12:32 | 0:12:34 | |
SHE WINCES | 0:12:34 | 0:12:37 | |
The pressure on the brain's making him have the fits. | 0:12:37 | 0:12:40 | |
This will relieve the pressure. | 0:12:40 | 0:12:42 | |
SHE RETCHES | 0:12:46 | 0:12:47 | |
Very still, Grace. | 0:12:47 | 0:12:49 | |
Can you hear me? | 0:13:00 | 0:13:01 | |
John... | 0:13:06 | 0:13:07 | |
John, can you hear me? | 0:13:09 | 0:13:11 | |
It was... an almost impossible journey. | 0:13:28 | 0:13:33 | |
Tsetse fly, | 0:13:33 | 0:13:35 | |
malaria, cholera, the heat, the water. | 0:13:35 | 0:13:41 | |
I have marked on the map the route that he took. | 0:13:41 | 0:13:45 | |
Bagamoyo, Kingaru, | 0:13:45 | 0:13:48 | |
Kikoka, | 0:13:48 | 0:13:50 | |
Kisemo... | 0:13:50 | 0:13:51 | |
..er, Mahata... | 0:13:57 | 0:13:59 | |
HE COUGHS | 0:13:59 | 0:14:00 | |
..Usagaro, Ugogoya. | 0:14:00 | 0:14:02 | |
I'd go anywhere and do anything to be with you. | 0:14:17 | 0:14:20 | |
I'm going to talk to George. | 0:14:26 | 0:14:27 | |
-Martha... -This will be hard - very, very hard. | 0:14:27 | 0:14:32 | |
But... | 0:14:32 | 0:14:33 | |
..when it's over, we can begin a straightforward life. | 0:14:35 | 0:14:39 | |
I've tried to be good when I should have been honest. | 0:14:42 | 0:14:44 | |
I'll be here. | 0:14:53 | 0:14:54 | |
Be gentle. | 0:15:02 | 0:15:03 | |
What does he say? | 0:15:07 | 0:15:09 | |
He says he'll be a witness if the police prosecute Bert. | 0:15:09 | 0:15:12 | |
So he saw, then? | 0:15:12 | 0:15:15 | |
That's good, Grace. | 0:15:15 | 0:15:16 | |
Is that all, in the letter? | 0:15:20 | 0:15:23 | |
What's that? | 0:15:23 | 0:15:24 | |
Oh, a letter, from Bill Gibby, pledging his support. | 0:15:24 | 0:15:28 | |
He'll be hoping Father dies. | 0:15:30 | 0:15:32 | |
Then he'll have a martyr to make history out of. | 0:15:34 | 0:15:38 | |
John Middleton and the Allingham Trespass, | 0:15:38 | 0:15:41 | |
Gibby, the champion of the martyred poor... | 0:15:41 | 0:15:43 | |
He's not like that. | 0:15:43 | 0:15:45 | |
How do you know? | 0:15:46 | 0:15:48 | |
What is he like? | 0:16:00 | 0:16:01 | |
He's passionate. | 0:16:08 | 0:16:09 | |
And he's happiest when he's communicating that passion. | 0:16:11 | 0:16:14 | |
And I've had the benefit of that... | 0:16:14 | 0:16:16 | |
..and I'll always be grateful to him for... | 0:16:18 | 0:16:21 | |
for lifting my gaze, Margaret. | 0:16:21 | 0:16:23 | |
"Take a look at the world," he said. | 0:16:23 | 0:16:26 | |
"You don't have to look downwards just because you're poor | 0:16:26 | 0:16:29 | |
"or because you're a woman." | 0:16:29 | 0:16:30 | |
We should change his dressing. | 0:16:38 | 0:16:40 | |
"Communists and firebrands bussed in from Sheffield | 0:17:07 | 0:17:10 | |
"and Manchester to lead a violent and unlawful..." | 0:17:10 | 0:17:13 | |
I'm doing what the family requires of me. | 0:17:16 | 0:17:18 | |
HE EXHALES | 0:17:24 | 0:17:26 | |
Mary. | 0:17:29 | 0:17:30 | |
I know how to make yourself feel better. | 0:17:40 | 0:17:42 | |
-I used to do it a lot. -How? | 0:17:42 | 0:17:45 | |
SHE SCREAMS | 0:17:53 | 0:17:55 | |
Your turn. | 0:17:58 | 0:17:59 | |
SHE SCREAMS | 0:18:06 | 0:18:08 | |
One more - together. Ready? | 0:18:09 | 0:18:12 | |
THEY SCREAM | 0:18:13 | 0:18:18 | |
FOOTSTEPS APPROACH | 0:18:21 | 0:18:24 | |
The man with the map! | 0:18:30 | 0:18:31 | |
I taught his son. We've become friends, actually. | 0:18:33 | 0:18:40 | |
Bert is... | 0:18:40 | 0:18:41 | |
Were you in The Lamb the Friday before the trespass? | 0:18:41 | 0:18:45 | |
Um... Yes. | 0:18:45 | 0:18:47 | |
Have you been up to the farm? | 0:18:48 | 0:18:50 | |
How is he? | 0:18:50 | 0:18:52 | |
Have you got a map of Allingham land? | 0:18:52 | 0:18:54 | |
No. | 0:18:56 | 0:18:57 | |
What's this? | 0:18:59 | 0:19:00 | |
This one of yours, map man? | 0:19:09 | 0:19:11 | |
Yes. | 0:19:14 | 0:19:15 | |
Did you mark these public footpaths? | 0:19:15 | 0:19:18 | |
Yes. | 0:19:18 | 0:19:19 | |
Not many, are there? | 0:19:19 | 0:19:21 | |
No. | 0:19:21 | 0:19:23 | |
Can I be honest with you? | 0:19:24 | 0:19:25 | |
It's a scandal. | 0:19:27 | 0:19:28 | |
Makes your blood boil. | 0:19:33 | 0:19:34 | |
"It's a scandal, to be, honest, that there | 0:19:37 | 0:19:40 | |
"are so few paths for public use on Allingham land. | 0:19:40 | 0:19:44 | |
"It makes my blood boil." | 0:19:44 | 0:19:47 | |
Your mother died, didn't she? | 0:19:52 | 0:19:55 | |
Yes, she did, when I was your age. | 0:19:55 | 0:19:59 | |
Is my father going to die? | 0:19:59 | 0:20:01 | |
Probably. | 0:20:05 | 0:20:07 | |
He might survive, because he's strong and cussed. | 0:20:07 | 0:20:13 | |
But... it's more likely that he'll die. | 0:20:13 | 0:20:16 | |
Is it always better to tell the truth? | 0:20:18 | 0:20:21 | |
It can be painful, but, yes. | 0:20:21 | 0:20:24 | |
I saw Mr Eyre and Mrs Allingham. | 0:20:26 | 0:20:29 | |
Mary? | 0:20:29 | 0:20:30 | |
I didn't like it. | 0:20:30 | 0:20:32 | |
Wh... What were they doing? | 0:20:32 | 0:20:35 | |
It was like they were kissing without actually kissing. | 0:20:35 | 0:20:39 | |
What shall I do? | 0:20:39 | 0:20:40 | |
Give it to me to worry about. | 0:20:46 | 0:20:48 | |
I'll have it. You've enough on your plate. | 0:20:49 | 0:20:52 | |
SHE KISSES HER | 0:20:54 | 0:20:55 | |
Back to your witness statement. | 0:20:58 | 0:21:00 | |
The Lamb, the Friday before the trespass? | 0:21:00 | 0:21:02 | |
"Three men spoke to the minister with the map. | 0:21:03 | 0:21:10 | |
"I know the three men to be..." | 0:21:11 | 0:21:14 | |
Bert Middleton, Gerard Eyre, Gilbert Hankin. | 0:21:27 | 0:21:30 | |
What did the map show? | 0:21:31 | 0:21:34 | |
Allingham land. | 0:21:34 | 0:21:35 | |
So I'd be wrong to think that that's what they were talking about? | 0:21:35 | 0:21:39 | |
"They were talking about Allingham land | 0:21:41 | 0:21:47 | |
"whilst looking at the map." | 0:21:47 | 0:21:53 | |
I want to try and tell you about what I saw. | 0:21:56 | 0:21:59 | |
And I mean the fighting. Our gamekeepers... | 0:21:59 | 0:22:01 | |
My job has always been very clear to me - get the truth. | 0:22:01 | 0:22:04 | |
That's it. Which is why I want the best evidence. | 0:22:04 | 0:22:09 | |
Right. | 0:22:09 | 0:22:10 | |
You're a bloody hero! And you've suffered for it! | 0:22:10 | 0:22:13 | |
You witnessed four years of horror and you witnessed yesterday | 0:22:13 | 0:22:16 | |
when those people fought your gamekeepers. | 0:22:16 | 0:22:18 | |
You were there in the woods, but your mind - in no man's land. | 0:22:18 | 0:22:21 | |
You'd lost control. Am I right? | 0:22:21 | 0:22:23 | |
You can't help me with the truth about who fought who. | 0:22:23 | 0:22:26 | |
The truth is too precious to risk obscuring with doubtful evidence. | 0:22:26 | 0:22:30 | |
I won't have it. But in The Lamb? | 0:22:30 | 0:22:33 | |
You with a drink, hearing what those other men were saying? | 0:22:33 | 0:22:36 | |
That's solid ground. That's proper truth. | 0:22:36 | 0:22:39 | |
Sign here. | 0:22:46 | 0:22:47 | |
No. | 0:22:55 | 0:22:56 | |
You take your time. I'll leave it with you. | 0:22:59 | 0:23:02 | |
HE WHIMPERS | 0:23:05 | 0:23:07 | |
Go on, Mary. | 0:23:13 | 0:23:15 | |
You were on your way to Liverpool. | 0:23:19 | 0:23:21 | |
Were you running towards something or away from something? | 0:23:22 | 0:23:26 | |
Would you have stopped in Liverpool? | 0:23:29 | 0:23:31 | |
America? | 0:23:31 | 0:23:33 | |
So, running away, then. | 0:23:36 | 0:23:38 | |
From what, Bert? | 0:23:40 | 0:23:41 | |
How were you going to afford it? | 0:23:44 | 0:23:46 | |
He... He gave me money. | 0:23:48 | 0:23:51 | |
He's like a brother to me. | 0:23:51 | 0:23:52 | |
Mr Eyre. | 0:23:54 | 0:23:55 | |
You can be happy here, Bert. | 0:24:00 | 0:24:02 | |
This farm can be everything you're after. | 0:24:04 | 0:24:07 | |
SHE SCREAMS | 0:24:20 | 0:24:24 | |
SHE SOBS | 0:24:26 | 0:24:28 | |
You've spoken to all the individuals involved? | 0:24:31 | 0:24:34 | |
We're not in a position to look at specific violence. | 0:24:34 | 0:24:37 | |
-We'll come down hard elsewhere. -Elsewhere? | 0:24:37 | 0:24:40 | |
Thought. | 0:24:40 | 0:24:42 | |
I beg your pardon? | 0:24:42 | 0:24:43 | |
Three or more people with a common purpose or an intent to help | 0:24:43 | 0:24:46 | |
one another by force | 0:24:46 | 0:24:47 | |
if necessary against any person who may oppose them. | 0:24:47 | 0:24:51 | |
And what's that? | 0:24:51 | 0:24:52 | |
It's what these thugs thought. Also known as a riot. | 0:24:52 | 0:24:55 | |
What about John Middleton? | 0:24:59 | 0:25:01 | |
Drunk, wife beater, embittered, defeated... | 0:25:01 | 0:25:05 | |
All your gamekeepers are saying that he looked like a man possessed. | 0:25:05 | 0:25:08 | |
There's a history of moral hysteria in his family. | 0:25:08 | 0:25:11 | |
-God knows what he would have done... -Thank you, Sergeant. | 0:25:11 | 0:25:14 | |
You two know each other? | 0:25:20 | 0:25:21 | |
It's been a few years, but, yes. | 0:25:21 | 0:25:24 | |
You know this could define my political life? | 0:25:25 | 0:25:27 | |
What are you frightened of? | 0:25:27 | 0:25:29 | |
The left love a victim, and when they get one | 0:25:29 | 0:25:32 | |
they make one hell of a story out of it. | 0:25:32 | 0:25:34 | |
Which is why I've taken control of the story. | 0:25:34 | 0:25:36 | |
Ours will be out first, the first story usually wins. | 0:25:36 | 0:25:39 | |
-And Hankin? -Oh, he'll be fine. | 0:25:39 | 0:25:41 | |
Look, this goes to the Assizes, we'll get a jury. | 0:25:41 | 0:25:44 | |
You can't influence a jury. | 0:25:44 | 0:25:46 | |
But a magistrate, there's room for manoeuvre. | 0:25:46 | 0:25:50 | |
And what will they get? | 0:25:50 | 0:25:52 | |
They'll go to prison. | 0:25:52 | 0:25:53 | |
How was George? | 0:25:55 | 0:25:56 | |
He didn't sign his witness statement. But he will. | 0:25:56 | 0:25:59 | |
FOOTSTEPS APPROACH | 0:26:01 | 0:26:02 | |
Where have you been? | 0:26:05 | 0:26:06 | |
The village. | 0:26:09 | 0:26:10 | |
George is a man of real integrity - he takes the world | 0:26:10 | 0:26:14 | |
and his place in it very seriously. | 0:26:14 | 0:26:16 | |
And now he's being tested. One would have thought that the | 0:26:16 | 0:26:20 | |
one person to see that and to be alongside him would be his wife. | 0:26:20 | 0:26:26 | |
How's your dad? | 0:26:41 | 0:26:42 | |
The police have been asking me questions. | 0:26:52 | 0:26:54 | |
What, you too? | 0:26:54 | 0:26:55 | |
Beer? | 0:26:58 | 0:26:59 | |
Beer. | 0:27:03 | 0:27:04 | |
Margaret, your Henry can't be here forever. | 0:27:16 | 0:27:20 | |
-And you've got... -Sh, you'd do the same for me, wouldn't you? | 0:27:20 | 0:27:24 | |
There you are, then. | 0:27:25 | 0:27:26 | |
What did Bill Gibby say? | 0:27:28 | 0:27:29 | |
I haven't spoken to him. | 0:27:32 | 0:27:33 | |
Well, why not? He can help. | 0:27:34 | 0:27:36 | |
He offered, didn't he? | 0:27:36 | 0:27:38 | |
Mary, you come home with us, love. | 0:27:40 | 0:27:43 | |
Phoebe, you sit with John so that Grace can go and see our Gibby. | 0:27:43 | 0:27:46 | |
Well, come on, then, what you waiting for? | 0:27:50 | 0:27:53 | |
I looked into it. Rout and Riot. | 0:27:58 | 0:28:02 | |
That's what it'll be if we're put on trial. | 0:28:03 | 0:28:07 | |
And? | 0:28:10 | 0:28:11 | |
Prison, if we're found guilty. | 0:28:11 | 0:28:15 | |
What's it like? Prison? | 0:28:17 | 0:28:20 | |
It'd be the end of the farm. | 0:28:26 | 0:28:29 | |
Agnes and Sophie, I don't know what they'd do. | 0:28:29 | 0:28:32 | |
Your whole class would get a long holiday. | 0:28:35 | 0:28:38 | |
Or months and months of Martha Allingham. | 0:28:38 | 0:28:40 | |
DOOR OPENS | 0:28:46 | 0:28:47 | |
You're still here. | 0:29:09 | 0:29:11 | |
Yes. | 0:29:11 | 0:29:12 | |
Why? | 0:29:14 | 0:29:16 | |
-I wanted to see you. -Why? | 0:29:19 | 0:29:22 | |
I feel responsible for what happened. | 0:29:22 | 0:29:25 | |
So do I. | 0:29:28 | 0:29:29 | |
How is he? | 0:29:40 | 0:29:41 | |
Is he speaking? | 0:29:44 | 0:29:46 | |
Will he speak? | 0:29:47 | 0:29:49 | |
We don't know. | 0:29:50 | 0:29:51 | |
-So when there's a trial... -They've spun it around. | 0:29:53 | 0:29:55 | |
They're now calling it a riot and saying that my son's a rioter. | 0:29:55 | 0:29:59 | |
But there'll be no trial for the gamekeeper who tried to | 0:29:59 | 0:30:02 | |
murder my husband. | 0:30:02 | 0:30:04 | |
-Did John...? -Yes. He saw. | 0:30:07 | 0:30:10 | |
He looked at me... | 0:30:12 | 0:30:14 | |
and he looked at you... | 0:30:14 | 0:30:17 | |
and he knew. | 0:30:17 | 0:30:18 | |
I don't want you hurt. | 0:30:24 | 0:30:27 | |
Whatever happens, I can't have that. | 0:30:27 | 0:30:30 | |
You mean it'd be bad for your political career. | 0:30:30 | 0:30:33 | |
I'm in love with you. | 0:30:38 | 0:30:40 | |
I won't let anyone hurt you. | 0:30:45 | 0:30:46 | |
You? | 0:30:50 | 0:30:51 | |
-I just want... -Grace. You've come to see me. | 0:30:54 | 0:30:59 | |
You've come this far. | 0:31:00 | 0:31:02 | |
Answer my question. | 0:31:04 | 0:31:06 | |
I came for your help. I need your help. | 0:31:08 | 0:31:13 | |
You don't love me? | 0:31:14 | 0:31:15 | |
Don't make me say it. | 0:31:22 | 0:31:24 | |
HEAVY BREATHING | 0:31:28 | 0:31:30 | |
SHE WINCES | 0:31:46 | 0:31:49 | |
Margaret! | 0:31:49 | 0:31:51 | |
It's John, he's got worse, where's Grace? | 0:31:51 | 0:31:53 | |
In The Lamb! | 0:31:53 | 0:31:55 | |
Got to go. | 0:31:55 | 0:31:56 | |
How can I help you? | 0:32:14 | 0:32:15 | |
I would like a packet of crisps | 0:32:16 | 0:32:20 | |
and a word with our distinguished Magistrate. | 0:32:20 | 0:32:23 | |
Oh, let me help you, Mr Bairstow. | 0:32:28 | 0:32:30 | |
We're hoping the trespass case will go to trial. | 0:32:30 | 0:32:32 | |
I can't preside over any hearing if my son is in the dock. | 0:32:32 | 0:32:38 | |
Obviously. | 0:32:38 | 0:32:40 | |
Obviously. | 0:32:40 | 0:32:41 | |
I'm meeting Sergeant Westlake this afternoon. | 0:32:41 | 0:32:44 | |
He's making his mind up who to arrest, who to charge. | 0:32:44 | 0:32:48 | |
I'll let him know your position. | 0:32:48 | 0:32:50 | |
Now, what are we to make of that? | 0:33:20 | 0:33:22 | |
I know exactly what to make of that! | 0:33:22 | 0:33:24 | |
What do we do? Phoebe? | 0:33:43 | 0:33:46 | |
FRANTIC FOOTSTEPS APPROACH | 0:33:46 | 0:33:48 | |
SHE PANTS | 0:33:48 | 0:33:50 | |
Paul told me when he was home on leave that last time that... | 0:33:51 | 0:33:56 | |
when they bought the wounded in that had been out in no man's land | 0:33:56 | 0:34:00 | |
for a time... it was always the ones that had | 0:34:00 | 0:34:04 | |
maggots in their wounds that survived. | 0:34:04 | 0:34:08 | |
I'm so sorry, George. | 0:34:40 | 0:34:42 | |
Martha? | 0:34:48 | 0:34:50 | |
I'm so sorry. | 0:34:53 | 0:34:56 | |
It will not happen. | 0:35:49 | 0:35:50 | |
SHE PANTS | 0:35:50 | 0:35:52 | |
I've just married one son off. | 0:35:52 | 0:35:55 | |
I'm not having the other one un-marry! | 0:35:55 | 0:35:57 | |
Divorce is... | 0:35:58 | 0:36:00 | |
Don't say it, Edmund. Do not say that word. | 0:36:00 | 0:36:03 | |
Leaving my son for the village teacher! | 0:36:03 | 0:36:07 | |
Where is she? | 0:36:07 | 0:36:08 | |
Perhaps it's best if Harry spoke to Martha. | 0:36:10 | 0:36:13 | |
She's good on bad behaviour. | 0:36:13 | 0:36:15 | |
Let me make one thing very clear. | 0:36:15 | 0:36:19 | |
George will not agree to this. She will not have what she wants. | 0:36:19 | 0:36:22 | |
Mother. | 0:36:22 | 0:36:24 | |
We're finding out we're made of, Edmund. | 0:36:24 | 0:36:26 | |
Mother says that the world will end if you don't save us. | 0:36:36 | 0:36:40 | |
Divorce! | 0:36:46 | 0:36:48 | |
Eyre will be tried, he'll be convicted | 0:36:48 | 0:36:51 | |
and he'll be in Strangeways Prison before he can say "right to roam". | 0:36:51 | 0:36:54 | |
Martha will have a good long stretch to get over him | 0:36:54 | 0:36:57 | |
and return to the fold. | 0:36:57 | 0:36:59 | |
Hold our collective nerve? | 0:36:59 | 0:37:00 | |
And all will be well. | 0:37:00 | 0:37:02 | |
DOOR OPENS | 0:37:02 | 0:37:04 | |
Oh, here he is. | 0:37:04 | 0:37:05 | |
Hello, darling. | 0:37:07 | 0:37:08 | |
The key to it all - | 0:37:08 | 0:37:10 | |
a prosecution witness who just so happens to be a war hero | 0:37:10 | 0:37:13 | |
and a gentleman. | 0:37:13 | 0:37:15 | |
You left it in the desk drawer. | 0:37:19 | 0:37:21 | |
Sorry? | 0:37:24 | 0:37:25 | |
Your witness statement - for signing. | 0:37:25 | 0:37:28 | |
Mother? | 0:37:30 | 0:37:32 | |
I think that we should thank Mr Bairstow for everything | 0:37:32 | 0:37:37 | |
he's doing for our family. | 0:37:37 | 0:37:38 | |
And... | 0:37:52 | 0:37:53 | |
there were women. | 0:37:53 | 0:37:56 | |
Mary Heys, trampled to death by cavalry, | 0:37:56 | 0:38:00 | |
Sarah Jones, of repeated truncheon blows to the head | 0:38:00 | 0:38:04 | |
by Special Constables. | 0:38:04 | 0:38:06 | |
Will you excuse me, children? I have to go now. | 0:38:16 | 0:38:20 | |
I am going to leave you in very good hands. | 0:38:20 | 0:38:25 | |
All lessons will continue as usual. | 0:38:25 | 0:38:30 | |
You have...nothing to worry about. | 0:38:30 | 0:38:34 | |
The fourth victim, Margaret Downes, | 0:39:00 | 0:39:04 | |
died from a stab wound to the chest. | 0:39:04 | 0:39:06 | |
Sir. | 0:39:12 | 0:39:13 | |
Madam. | 0:39:13 | 0:39:16 | |
I've come to inform you that you're no longer | 0:39:16 | 0:39:18 | |
a suspect in our enquiries, | 0:39:18 | 0:39:20 | |
so please, feel free to carry on as normal. | 0:39:20 | 0:39:22 | |
The question I ask myself is, what's wrong wi' me? | 0:39:28 | 0:39:33 | |
Spit it out. | 0:39:33 | 0:39:34 | |
That's what your mother were doing, last time I saw her in The Lamb. | 0:39:34 | 0:39:39 | |
We all know what a useless man your father is. | 0:39:39 | 0:39:42 | |
That's why I offered her a piece of my pie. | 0:39:45 | 0:39:47 | |
What are you doing?! | 0:40:01 | 0:40:02 | |
Stop it now! Stop it now! Get off! | 0:40:06 | 0:40:10 | |
Both of you, stop! Stop! | 0:40:12 | 0:40:13 | |
What are you doing?! | 0:40:13 | 0:40:15 | |
What were you doing, more like? | 0:40:15 | 0:40:17 | |
No! | 0:40:17 | 0:40:18 | |
GIRL SCREAMS | 0:40:20 | 0:40:21 | |
Oh, no. | 0:40:27 | 0:40:29 | |
No... | 0:40:29 | 0:40:30 | |
I'm glad it's you. | 0:40:40 | 0:40:42 | |
If it had to be someone in here with me, I'm ... | 0:40:43 | 0:40:46 | |
..I'm glad it's you. | 0:40:47 | 0:40:48 | |
You knew Bert was going to Liverpool | 0:40:54 | 0:40:56 | |
and you didn't try to stop him from leaving? | 0:40:56 | 0:40:59 | |
No. | 0:40:59 | 0:41:01 | |
You? | 0:41:01 | 0:41:04 | |
No. | 0:41:04 | 0:41:05 | |
I love him. | 0:41:07 | 0:41:09 | |
And you'd let him go? | 0:41:09 | 0:41:11 | |
Yes. | 0:41:11 | 0:41:13 | |
For love? | 0:41:14 | 0:41:16 | |
When John and I were first married, | 0:41:25 | 0:41:27 | |
he wanted everything to be right for me. | 0:41:27 | 0:41:30 | |
There was a gate that used to swing shut on you and it hit me | 0:41:32 | 0:41:36 | |
once and I had a bruise for a day or two. | 0:41:36 | 0:41:39 | |
John found a round stone and he... | 0:41:39 | 0:41:42 | |
he worked it with another stone like a pestle and mortar so the first | 0:41:42 | 0:41:46 | |
stone had a hole in it. It was to stand the gate in when he opened it. | 0:41:46 | 0:41:50 | |
He made me come and look at it when it he'd finished. | 0:41:52 | 0:41:56 | |
He wanted me to try the gate in the hole that he'd made. | 0:41:56 | 0:41:59 | |
It was his way of telling me that he loved me. | 0:42:03 | 0:42:06 | |
But it was cold and it was raining, so I went inside. | 0:42:06 | 0:42:10 | |
I should have listened better. | 0:42:12 | 0:42:15 | |
I should have had the patience to hear what he was saying. | 0:42:15 | 0:42:19 | |
You still can. | 0:42:19 | 0:42:21 | |
You've an old head on young shoulders, Phoebe Rundle. | 0:42:24 | 0:42:28 | |
Is there nothing goes by you? | 0:42:28 | 0:42:30 | |
How do maggots help an infected wound get better? | 0:42:30 | 0:42:34 | |
They eat dead tissue, and the wound, we hope... | 0:42:36 | 0:42:40 | |
..heals. | 0:42:41 | 0:42:43 | |
The innocent party | 0:42:48 | 0:42:49 | |
has to want the divorce. And I'm not sure he does. | 0:42:49 | 0:42:53 | |
And then there's evidence of adultery. That's the only grounds. | 0:42:53 | 0:42:58 | |
Isn't it enough that... | 0:42:58 | 0:43:00 | |
Sex is the only thing the divorce courts are interested in. | 0:43:00 | 0:43:02 | |
Even if George was in favour, there has to be actual evidence. | 0:43:02 | 0:43:06 | |
So the question is - | 0:43:08 | 0:43:10 | |
are you prepared to be caught at it, | 0:43:10 | 0:43:12 | |
in a desperate hotel room by a desperate detective? | 0:43:12 | 0:43:16 | |
Is that a price worth paying? | 0:43:16 | 0:43:18 | |
This was a riot. | 0:43:57 | 0:43:59 | |
These men were intent on manufacturing public disorder | 0:43:59 | 0:44:04 | |
of the most terrifying and violent character. | 0:44:04 | 0:44:08 | |
With subtle malice, they conspired to enter your minds that day, | 0:44:08 | 0:44:13 | |
they sought to undermine your decency | 0:44:13 | 0:44:16 | |
and they visited the hysteria of discord upon this village. | 0:44:16 | 0:44:20 | |
Now, this trial is not about who got injured, | 0:44:20 | 0:44:25 | |
who struck which blow when and why. | 0:44:25 | 0:44:28 | |
It is about bad men with evil intentions. | 0:44:28 | 0:44:32 | |
What is riot? | 0:44:35 | 0:44:36 | |
It requires three or more men - there were dozens that day. | 0:44:36 | 0:44:40 | |
A common purpose - the trespass on Allingham land. | 0:44:40 | 0:44:45 | |
Intent to help one another by force against any person | 0:44:45 | 0:44:49 | |
who may oppose them in pursuit of the common purpose. | 0:44:49 | 0:44:52 | |
And there's the key. | 0:44:52 | 0:44:54 | |
Did Bert Middleton and Gerard Eyre plan to use force | 0:44:54 | 0:44:58 | |
when gamekeepers employed by the Allingham estate did their duty | 0:44:58 | 0:45:02 | |
and stood in the way of an unlawful trespass? | 0:45:02 | 0:45:04 | |
We will rely on the evidence of a decorated war hero | 0:45:04 | 0:45:08 | |
and a gentleman of the highest order | 0:45:08 | 0:45:11 | |
to establish that the answer to that question... | 0:45:11 | 0:45:14 | |
..has to be "yes". | 0:45:15 | 0:45:17 | |
Were you in The Lamb the Friday before the trespass? | 0:45:17 | 0:45:20 | |
Yes, I was. | 0:45:22 | 0:45:23 | |
There are those who'd be surprised to hear that a man of your status | 0:45:23 | 0:45:26 | |
frequented such an establishment. | 0:45:26 | 0:45:29 | |
I spent three years in the trenches. | 0:45:29 | 0:45:31 | |
And The Lamb serves good beer. | 0:45:31 | 0:45:33 | |
MUTED LAUGHTER | 0:45:33 | 0:45:35 | |
Who did you see in The Lamb that night? | 0:45:35 | 0:45:38 | |
Robin Lane. | 0:45:38 | 0:45:39 | |
The minister... | 0:45:39 | 0:45:41 | |
..my father-in-law. | 0:45:42 | 0:45:44 | |
And, er, the defendants. | 0:45:52 | 0:45:53 | |
They were looking at a map of Allingham land. | 0:45:53 | 0:45:56 | |
Did you hear what they said? | 0:45:56 | 0:45:58 | |
My father-in-law wanted to talk about how best | 0:45:59 | 0:46:02 | |
to get onto Allingham land without being seen doing it. | 0:46:02 | 0:46:05 | |
The defendants, they were arguing for a more direct approach. | 0:46:05 | 0:46:09 | |
They wanted a confrontation, you see. | 0:46:09 | 0:46:12 | |
Thank you so much. | 0:46:12 | 0:46:14 | |
Mr Eyre? | 0:46:17 | 0:46:18 | |
You're a "war hero". | 0:46:31 | 0:46:33 | |
I fought. | 0:46:34 | 0:46:35 | |
I was there. | 0:46:36 | 0:46:37 | |
And you suffered for it. | 0:46:37 | 0:46:39 | |
I have bad dreams, yes. | 0:46:40 | 0:46:42 | |
It's, er... | 0:46:44 | 0:46:45 | |
it has an effect on your life. | 0:46:45 | 0:46:48 | |
On the way that you see things, | 0:46:49 | 0:46:51 | |
on the way that you judge what you see... | 0:46:51 | 0:46:53 | |
Get to the point, Mr Eyre. | 0:46:53 | 0:46:54 | |
There were shots fired, weren't there? | 0:46:57 | 0:47:00 | |
On the day. | 0:47:00 | 0:47:01 | |
How did that make you feel? | 0:47:01 | 0:47:03 | |
I-I can't... | 0:47:06 | 0:47:08 | |
..loud noises make me... | 0:47:10 | 0:47:12 | |
You can't be relied on to give an accurate account | 0:47:12 | 0:47:17 | |
of who was doing what, because you were terrified. | 0:47:17 | 0:47:19 | |
Completely irrelevant. | 0:47:19 | 0:47:21 | |
The defendant hasn't listened. | 0:47:21 | 0:47:23 | |
Mr Rose? | 0:47:23 | 0:47:25 | |
This court doesn't have to decide | 0:47:25 | 0:47:27 | |
who was the aggressor and who wasn't. | 0:47:27 | 0:47:29 | |
The law says you are guilty of riot if you intend to use force. | 0:47:29 | 0:47:34 | |
The witness has told us about the defendants' intentions. | 0:47:35 | 0:47:39 | |
That is the end of it. | 0:47:39 | 0:47:40 | |
-That isn't fair. -It's the law. | 0:47:40 | 0:47:43 | |
MURMURING | 0:47:43 | 0:47:45 | |
Any other questions, either of you? | 0:47:45 | 0:47:48 | |
Thank you, Mr Allingham. You may go. | 0:47:52 | 0:47:55 | |
Yes. | 0:47:58 | 0:47:59 | |
A coward. | 0:48:38 | 0:48:39 | |
A conchy. | 0:48:42 | 0:48:43 | |
Are you asking me a question? | 0:48:45 | 0:48:47 | |
Because I don't recognise either of those terms. | 0:48:47 | 0:48:51 | |
You're a man of principle, Mr Eyre? Is that better? | 0:48:53 | 0:48:57 | |
-Yes. -Someone who puts the wellbeing of others before himself? | 0:48:57 | 0:49:01 | |
I try to, yes. | 0:49:03 | 0:49:05 | |
But you're also a liar. | 0:49:05 | 0:49:07 | |
The map, Mr Eyre. | 0:49:09 | 0:49:10 | |
You lied about it to Sergeant Westlake. | 0:49:10 | 0:49:12 | |
Yes... | 0:49:13 | 0:49:15 | |
Twice. | 0:49:15 | 0:49:16 | |
You said there was no map - first lie. | 0:49:16 | 0:49:19 | |
Then when the constable found it in your classroom, | 0:49:19 | 0:49:21 | |
you said it was yours. | 0:49:21 | 0:49:24 | |
It wasn't, was it? | 0:49:24 | 0:49:25 | |
No. The map belonged to the minister. | 0:49:28 | 0:49:31 | |
Do you lie to the children you teach? | 0:49:31 | 0:49:33 | |
-No. -So... | 0:49:34 | 0:49:36 | |
..why does a man of principle suddenly tell so many lies | 0:49:37 | 0:49:41 | |
in such a short space of time to the policemen? | 0:49:41 | 0:49:45 | |
No? | 0:49:48 | 0:49:49 | |
I think I know. | 0:49:52 | 0:49:53 | |
Because the map is evidence of criminal intent, | 0:49:55 | 0:49:58 | |
because it shows planning and forethought, | 0:49:58 | 0:50:00 | |
because it establishes common purpose | 0:50:00 | 0:50:02 | |
and because it makes you guilty of riot. | 0:50:02 | 0:50:04 | |
Then why would I want to claim it as my own? | 0:50:04 | 0:50:08 | |
Because your first instinct is to protect others. | 0:50:08 | 0:50:10 | |
You knew it would incriminate Robin Lane. | 0:50:10 | 0:50:13 | |
Now, if the map were not something to hide, | 0:50:13 | 0:50:15 | |
you'd have told the constable whose it was, | 0:50:15 | 0:50:17 | |
who made the markings on it. | 0:50:17 | 0:50:19 | |
Martha? | 0:50:20 | 0:50:21 | |
DOOR SLAMS | 0:50:33 | 0:50:34 | |
You're a man of violence. | 0:50:41 | 0:50:44 | |
No. | 0:50:44 | 0:50:45 | |
Do you want to think about that answer? | 0:50:46 | 0:50:48 | |
Only when there's good reason. | 0:50:50 | 0:50:52 | |
What was the reason for fighting Alf Rutter? | 0:50:52 | 0:50:54 | |
Who threw the first punch? | 0:50:58 | 0:51:00 | |
-I did. -Why? | 0:51:01 | 0:51:03 | |
In the absence of an explanation, | 0:51:05 | 0:51:07 | |
we'll have to see it as unprovoked violence. | 0:51:07 | 0:51:11 | |
And the attack on Sergeant Westlake? | 0:51:11 | 0:51:13 | |
-That was provoked. -By? -Him! | 0:51:13 | 0:51:15 | |
Bastard just wanted to see everything his way, | 0:51:16 | 0:51:18 | |
which is the same as theirs. | 0:51:18 | 0:51:20 | |
-Er, whose way? -The Big House. | 0:51:20 | 0:51:22 | |
They're all in it together. | 0:51:22 | 0:51:25 | |
Allinghams, gamekeepers, police, you. | 0:51:25 | 0:51:28 | |
I'm sorry, is this what one might call a rant? | 0:51:28 | 0:51:31 | |
I just see things as I see them. | 0:51:34 | 0:51:36 | |
The uncomplicated farm boy. | 0:51:36 | 0:51:39 | |
-Did you meet any political activists before the trespass? -No. | 0:51:39 | 0:51:42 | |
Did anyone in your family | 0:51:42 | 0:51:44 | |
meet with political activists before the trespass? | 0:51:44 | 0:51:46 | |
-Yes. -Who? -My mother. | 0:51:49 | 0:51:51 | |
-Who did she meet? -Bill Gibby. -How often? | 0:51:51 | 0:51:53 | |
I don't know what you're trying to say. | 0:51:56 | 0:51:58 | |
Nor do I. | 0:51:59 | 0:52:01 | |
Now you, you tell me what you think I'm "trying to say". | 0:52:01 | 0:52:04 | |
Did they meet more than once? | 0:52:07 | 0:52:08 | |
-Yes. -Where? -I don't know. | 0:52:08 | 0:52:10 | |
Why not? Were they secret meetings? | 0:52:10 | 0:52:12 | |
What about the last time they met? | 0:52:14 | 0:52:16 | |
Let's, let's just concentrate on that. | 0:52:16 | 0:52:18 | |
Might be worth remembering you're on oath. | 0:52:18 | 0:52:21 | |
Upstairs at The Lamb. | 0:52:25 | 0:52:26 | |
Just the two of them? | 0:52:37 | 0:52:39 | |
-Did you talk to her about it? -No. | 0:52:41 | 0:52:43 | |
Let me ask you again. | 0:52:43 | 0:52:45 | |
-Why were you fighting Alf Rutter? -I don't know! | 0:52:45 | 0:52:49 | |
As I was saying... | 0:52:51 | 0:52:52 | |
..you're a man of violence, Bert Middleton. | 0:52:53 | 0:52:55 | |
MURMURING | 0:52:59 | 0:53:01 | |
DOOR CLOSES | 0:53:08 | 0:53:10 | |
KNOCK AT DOOR Sir? | 0:53:22 | 0:53:24 | |
I'm going to set you up for life, Polly. | 0:53:31 | 0:53:33 | |
I don't understand. | 0:53:35 | 0:53:36 | |
In exchange, I need you to do something for me. | 0:53:38 | 0:53:40 | |
Thank you, darling. I'm proud of you. | 0:53:41 | 0:53:44 | |
The whole family is very proud of you. | 0:53:44 | 0:53:47 | |
Hear, hear. | 0:53:47 | 0:53:48 | |
An exemplary performance. Hand tremors particularly moving. | 0:53:48 | 0:53:53 | |
Just Bill Gibby to deal with next, and then we're home and dry. | 0:53:53 | 0:53:56 | |
Mm, but he is very impressive. | 0:53:56 | 0:53:58 | |
Yes, but very cross-examinable. | 0:53:58 | 0:54:00 | |
What Norma Hankin gossips about won't stand up in court. | 0:54:00 | 0:54:03 | |
It's not gossip. | 0:54:03 | 0:54:04 | |
What? | 0:54:05 | 0:54:06 | |
Gibby stays upstairs in The Lamb when he's in the village | 0:54:06 | 0:54:09 | |
and Grace Middleton goes to visit him. | 0:54:09 | 0:54:11 | |
Alone, at night. | 0:54:11 | 0:54:12 | |
How do you know? | 0:54:14 | 0:54:15 | |
Alf Rutter, Peter the landlord. | 0:54:17 | 0:54:19 | |
Me. | 0:54:20 | 0:54:21 | |
He's arriving this evening. | 0:54:21 | 0:54:23 | |
Ready for his big moment in court tomorrow, | 0:54:23 | 0:54:25 | |
he'll be having a big moment with the defendant's mother first. | 0:54:25 | 0:54:28 | |
-Tonight? -Mmm. | 0:54:28 | 0:54:30 | |
An adulterer, Mr Hankin. | 0:54:41 | 0:54:43 | |
Can I confirm with you | 0:54:43 | 0:54:45 | |
your magistrate's understanding of such a man? | 0:54:45 | 0:54:47 | |
Dishonest, depraved, and, of course, | 0:54:47 | 0:54:50 | |
completely unreliable as a witness in a court of law. | 0:54:50 | 0:54:54 | |
LAUGHTER FROM WITHIN | 0:55:02 | 0:55:04 | |
Good evening, Mr Gibby. | 0:55:19 | 0:55:22 | |
The "gentleman of the highest order" | 0:55:31 | 0:55:36 | |
upon whom the prosecution rely | 0:55:36 | 0:55:39 | |
for all the evidence they bring in this case... | 0:55:39 | 0:55:42 | |
..is not a gentleman and cannot be relied on. | 0:55:43 | 0:55:46 | |
I know this to be true. | 0:55:48 | 0:55:50 | |
I've seen it for myself. | 0:55:50 | 0:55:52 | |
His evidence therefore cannot be taken as credible. | 0:55:53 | 0:55:57 | |
It is my duty, therefore, | 0:55:57 | 0:55:59 | |
to tell you both | 0:55:59 | 0:56:01 | |
that you are innocent. | 0:56:01 | 0:56:03 | |
GASPS AND APPLAUSE | 0:56:03 | 0:56:04 | |
And that you will leave here free men, | 0:56:04 | 0:56:06 | |
unstained by criminal conviction or by any slurs on your character. | 0:56:06 | 0:56:11 | |
George. I don't understand. | 0:56:26 | 0:56:30 | |
You're free. | 0:56:31 | 0:56:34 | |
I'm the guilty party. | 0:56:34 | 0:56:35 | |
You can divorce me. | 0:56:35 | 0:56:37 | |
And Mr Eyre, he's free too. | 0:56:37 | 0:56:39 | |
I hope you make him as happy as I know that you've tried to make me. | 0:56:43 | 0:56:46 | |
DOOR OPENS | 0:57:02 | 0:57:03 | |
I want you to know that I love you. | 0:57:08 | 0:57:11 | |
Before I t... | 0:57:16 | 0:57:18 | |
..before I tell you... | 0:57:21 | 0:57:22 | |
..that you've killed me. | 0:57:23 | 0:57:25 | |
SHE SOBS | 0:57:26 | 0:57:29 | |
DOOR SLAMS | 0:57:32 | 0:57:34 | |
SHE SOBS | 0:57:36 | 0:57:38 | |
Oh, George! | 0:57:42 | 0:57:44 | |
George... | 0:57:46 | 0:57:47 |