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00:00We simply must be brave, mustn't we?
00:12Heaven knows it'll be hard.
00:15It'll be beastly.
00:17But we're strong people, Tony, you and I.
00:20And what we feel for each other, it'll endure.
00:23It will endure.
00:28So...
00:29I shall stay in my shop.
00:32And you and yours.
00:34And all I ask is that you don't grow to hate me.
00:38How could I hate you, Madeline?
00:40You mean everything to me.
00:43What the hell was that?
00:45Cut!
00:47Billy, what was that?
00:49Just a car back bar, I think, mister.
00:51It sounded like a pistol.
00:53It didn't sound like a ruddy pistol, Stu.
00:55You all right, my pet?
00:56Yeah, I'm fine.
00:57I think I'm just a bit tired.
00:59Of course, darling.
01:00You must be.
01:01Tell you what.
01:02How about a proper dinner after this?
01:04Like we used to before the war.
01:06Oh, yeah.
01:06That would be wonderful.
01:08None of this canteen muck.
01:09No offense.
01:10Sandra, are you okay?
01:13Yes.
01:14Yes, Jessie, I'm fine.
01:15Don't fuss.
01:16How was my pout at the end?
01:18What could do with a dab, actually?
01:22Miss dear, anywhere's victory red.
01:24Besseme.
01:25Please, can we just stop faffing and get on with it?
01:27Mary, thank you.
01:28Yes, Miss dear.
01:29All right.
01:30All right.
01:30Ad astra per aspera.
01:33We must have bodies.
01:35Abracadabra.
01:35Oh, Stu, stop it.
01:36I'd like to concentrate.
01:39Have.
01:40Quiet!
01:41Love, Lorne, in London.
01:42Scene 28, take three.
01:45Action!
01:48We simply must be brave, mustn't we?
01:51Heaven knows it'll be hard.
01:53It'll be beastly.
01:54I was strong.
02:03Oh, my.
02:09And this is on his bedroom wall.
02:12Rose red and rolled gold.
02:15I said to him, Stuart, Stu, I said.
02:18You are just like this paper.
02:20You're so strong and modern.
02:22And he handled this very role.
02:27Can I touch it?
02:31I shouldn't really, but, um...
02:34Well, since your extra's in my cake shop.
02:44This is the last thing he sees when he gets into bed.
02:47Yes.
02:48And the first thing he sees when he gets up in the morning
02:51and his hair's all disarranged.
02:54It's 14 shillings.
03:00Tell you what, it's a bit irregular, but, um...
03:04I could let you have a sample for, well, sixpence, say?
03:09And then you could keep a little reminder of him wherever you go.
03:13Oh.
03:14Yes.
03:14Yeah.
03:15Yeah.
03:15Yeah.
03:15Mm-hmm.
03:33Thank you, Jane.
03:35Mr. Buck.
03:36I didn't expect a welcoming committee.
03:38I thought I'd better prepare you.
03:41For what?
03:42There have been some changes since you went away on your long errand, Jack.
03:45Oh, by the way, Lord Belbrose's first folio.
03:48What did they say?
03:49Is it genuine?
03:50As his teeth.
03:52Oh, dear.
03:54Inside, please.
03:56What the hell?
04:00Close.
04:01Hollywood.
04:02Or rather, the nearest England can get to it.
04:05Yes, Jack.
04:07We're going to be in pictures.
04:09All right, then.
04:10Let's hear it.
04:11We'll be all ready.
04:14Life and death.
04:16The whole world is here in this little patch of London town.
04:21You're going to do it like that?
04:25Life and death.
04:26The whole world here in this little...
04:28You know, I think we'll just lose the line.
04:31I'm already worried about the...
04:32Nostarge.
04:35You'll be smashing in the background there.
04:37Let's take ten.
04:39Ten minutes, all.
04:41Ten minutes.
04:42Billy.
04:42Norena.
04:43Rather jumpy this morning, isn't she?
04:45Our dear Sandra.
04:47We worked on hours in the picture business, Norena.
04:50Oh, don't I know it?
04:51And it must be so hard to keep that from telling on the faces of your stars.
04:56If you'll excuse me.
04:59Just the exteriors are being done here, you understand.
05:02The rest is at Ladyhurst.
05:04That's the studios.
05:05You see, I know all the jargon.
05:06Who's in it?
05:07Morning, Mr. B.
05:08Good morning.
05:10Stuart Howard.
05:12Yes, Mr. Howard.
05:13I like him.
05:14He's passed me by entirely, I'm afraid.
05:16He plays the hero.
05:17The idealistic young bookshop owner.
05:20In love with the girl next door.
05:22Did you never see him in that submarine picture?
05:24He went mad and tried to throttle everyone.
05:26I mean, he was proper sweaty.
05:28Alash.
05:29Well, who else?
05:30Patience.
05:31You've literally arrived halfway through this picture.
05:33And you've yet to set eyes on our leading lady.
05:36Who's also Stuart's fiancée.
05:38His real-life fiancée.
05:41Sandra there.
05:43She's using my room.
05:44They canted my thing so she can do her mascara, sip her Vichy water, whatever it is these people do.
05:51I had a cigarette card of her.
05:54Before the war, of course.
05:56Mark.
05:58Mr. Book.
05:59Ah.
06:00Not getting too much in your way, I trust?
06:02Not at all.
06:03Certainly an education.
06:05Larry Olivier calls film an anemic little medium.
06:08He's such a crashing snob.
06:09For he today would shed his blood with me, shall be my brother, be he ne'er so vile.
06:15Churlish when they gave him the Oscar.
06:16Jack, this is Mr. McKendrick.
06:19Delighted.
06:19Oh, and here's Nora.
06:20The gang's all here.
06:21So, you're the director?
06:24And the writer.
06:25I thought you'd be older, with a monocle and a riding crop.
06:28I mustn't believe everything you read in the film magazines, young lady.
06:31I've seen you before.
06:33Mr. McKendrick had a lot of green penguins from us last summer.
06:36Oh, yeah.
06:38You look different.
06:39It's the shorts.
06:40I'm not wearing shorts.
06:42That's why you look different.
06:43Yes, you were a very busy bee, as I recall.
06:45You were always running about the place, weren't you, Mr. McKendrick?
06:48Jesse.
06:48Jesse.
06:51Ah.
06:51Hello, Norena.
06:53In search of material for your next article?
06:55Always.
06:56Well, the bin's around the back.
07:00Aren't you going to introduce me?
07:02This is Mr. Book.
07:03From...
07:04Oh.
07:04The apostrophe man.
07:06They subbed your sign.
07:08I'm trying not to look.
07:10Would you by any chance be a member of His Majesty's Press?
07:13Norena Bean.
07:15Picture-goer.
07:16If you have juicy titbits, my door is open.
07:19I'll bear that in mind.
07:27Nice fingers.
07:29Well, they're not real.
07:30Don't break a tooth.
07:34It's lovely.
07:45And he has this.
07:47From his ceiling, all the way down to his skirting boards.
07:52Does he talk about her, the fiancée?
07:58Does he say, I don't like her anymore, she's too old for me?
08:02No.
08:02Does he say, she's so old it's like kissing a leg of mutton?
08:06No.
08:07She's only 45, thank you very much.
08:10He says he was very excited about Lovelorn in London from the moment he saw the script.
08:13And he's very excited about married life.
08:17Though, he also adds, one must keep an open mind.
08:21Because who knows what fate may throw your way.
08:25Hear that, Barbara?
08:28Heavens!
08:29Girl, is it bad?
08:31Barbara?
08:31Barbara?
08:34Home is the hunter?
08:35Oh, my God.
08:38Oh, my God.
09:08Oh, my God.
09:33It's later.
10:03Is this a sad one, Morris?
10:07Well, right, because I've been up all night with the razor blade case, so...
10:11All right, let's have it.
10:13Film struck girl. Extra. Dead. On the counter.
10:17It's suspicious. I've shut down filming for the time being.
10:20Have the parents been informed?
10:21Yes, sir. She and her family didn't get on.
10:23Her friend said that's why she spent so much time at the...
10:26At the pictures.
10:28Yes, sir.
10:33Inspector.
10:35Book?
10:37We are at home to death, it seems.
10:42Over there, uh, upstairs.
10:53Hmm.
10:55Royal appointment.
10:56What are they keeping from us, Stuart?
11:00All this waiting is making me tired.
11:04Perhaps one should have a mask made.
11:07A mask?
11:09With a permanent Richter smile.
11:13They can do wonders with makeup now.
11:17I'll have Boris Karloff's number if you'd like.
11:19Lear as Miss Dare, you don't know me, but I'm your most devoted admirer.
11:33I wonder what they'll think of lovelorn in London.
11:38Who?
11:38Them.
11:40They'll buy it.
11:41They love us, don't they?
11:42Both of us.
11:43I'll throw bottles at the screen.
11:50Do you know what they shouted at the test of brief encounter?
11:56Why doesn't she just kiss him?
12:00Only they didn't say kiss.
12:02Relax, darling.
12:04There'll be another smash.
12:06By the nation's most blissfully engaged couple, remember?
12:08Hmm, and what a long engagement it's been.
12:15Oh, God, I can't wait to be back at the studio.
12:18Have you enjoyed a little field trip?
12:19If we're back at Lady House, it gets that dreadful marina bean out of my hair.
12:24The studio has gates.
12:26Fire breather of picture-goer.
12:28Hmm.
12:29You know when you lift a stone or a branch
12:32and suddenly all these ghastly, filthy, damp, little monstrosities
12:37are exposed to the daylight,
12:38they're scrabbling back into the shadows.
12:41Well, beneath them are even worse, filthy, damp, little monstrosities.
12:47And under them is Marina Bean.
12:52Which must have been rather sweet to me.
12:54Mm-hmm.
12:55Well, we've got good news for it, don't we?
12:58Do we?
13:00Deliveries.
13:01Oh.
13:01Our new three-picture deal?
13:03Picture-goer exclusive.
13:05No.
13:08What do you want?
13:10Barley sugar boy?
13:12I'm afraid there's been an accident.
13:25The contents of a handbag.
13:28Melancholy, isn't it?
13:29Evidence of a little life spilled on the floor.
13:38Oh, what's this?
13:42You kiss your excess lipstick onto your favourite star.
13:45Yeah, well, it takes all sorts.
13:47This interests me, may I?
13:49Mm-hmm.
13:52Very carefully wrapped.
13:55Tenderly, I'd say.
13:56Well, they are still on the ration.
14:00They look expensive, but there are only coppers in this purse.
14:05Trotty.
14:05Trotty.
14:05Yes.
14:05Did they have money, these girls?
14:08Very little.
14:09So they didn't buy them.
14:12I didn't notice the production providing fancy confectionery.
14:16No, the ferns bring them.
14:18Letters and presents, sad little things they've knitted.
14:23They're left through there.
14:26Billy brings them up to them.
14:28Actually, he had a box of chocolates with him just now.
14:34Puncture mark.
14:35Barbara was breathless, Trotty, yes?
14:39Yes, and twitchy.
14:43Strychnine.
14:44Oh, hell's bells.
14:57Poor girl.
15:00Someone's been at these.
15:01Oh, darling, you shouldn't even...
15:02You don't know where they've been.
15:04Drop it!
15:04It's poison!
15:06That'd be absurd.
15:07They're by wrong appointment.
15:08I'm afraid it's true, sir.
15:10You didn't have any, did you, Miss Dare?
15:12Oh, no, no.
15:13What about you, Mr. Howard?
15:14No.
15:15Oh, good.
15:16Have you ever received chocolates like this before, Miss Dare?
15:19Yes, all the time.
15:20My fans know they're my favourite, but I never eat them.
15:23It seems reasonable to assume, then, that you were the intended victim.
15:28Intended victim?
15:30What does it mean?
15:32Intended victim?
15:32We're investigating the death of Barbara Markham.
15:36Oh, yes, that unfortunate young woman.
15:38Yes.
15:40Oh, my God, I have been sent some strange things in my time, but I would... anyone want to kill me?
15:47Billy, who gave you these chocolates?
15:49Nobody.
15:50They were just with the usual mail.
15:52I always have to deal with it.
15:53Where anyone could have got to them.
15:55And Barbara and her friend presumably did.
15:58Jesus Christ, we could have both died.
16:00What were you thinking about bringing that muck up here?
16:03Sorry, Mr. Howard, but you told me to bring everything...
16:05Now, don't answer me back.
16:07I need to find myself a new assistant.
16:13Are you all right, my love?
16:16It's a brutal question, Miss Dare, but I'm afraid it must be asked.
16:19Do you have any idea who might want to kill you?
16:25Can't this wait?
16:26Yes, of course.
16:27He'd excuse us.
16:28Sir.
16:29Out.
16:30I need to remind you that this is an official murder investigation.
16:34Don't talk to the press.
16:36There once was an actress called Dare, whose allure was exceedingly rare.
17:01Her chocolates were spiked with strychnine, not nice.
17:06But it was Barbara that ate them.
17:09Not fair.
17:12I hope we did the right thing, letting those people into the lane.
17:15Why did you?
17:16I'm afraid it was money.
17:19Yes, my love.
17:20Those little pieces of paper that keep us out of the small claims courts.
17:24How much?
17:2620 guineas.
17:27Per week?
17:28Per diem.
17:29For 10 diems.
17:31What the devil's going on out there?
17:37Bobby's swarming about like the cup final.
17:39Ah, Mrs. Goodwin.
17:41Yes.
17:42I'm afraid there's been an accident.
17:44Oh.
17:45Well, nothing to do with Sandra Dare, I hope.
17:48I heard she was in the neighbourhood.
17:50Oh, so that's why we're here.
17:51Always been a fan.
17:52They don't want to hear about your juvenile antics, woman.
17:56Miss Dare is perfectly sound, I'm happy to say.
17:58The Scarlet Pimpernel you had from us last time, wasn't it?
18:01I trust you enjoy it.
18:02Oh, very much.
18:03And I promised you the sequel.
18:05I'm teeing off at quarter two.
18:06Shh.
18:07Sorry?
18:08Shh.
18:08Dinky.
18:10I will repay.
18:12What?
18:12That's the sequel to The Scarlet Pimpernel.
18:15Jack?
18:16Oh, um.
18:17Underneath hardy perennials, the biography of Danton and the stack of unpaved balls.
18:22Got anything on, uh, how to cook?
18:25I beg your pardon?
18:26That's what she needs.
18:28Can hardly boil a ruddy egg.
18:31How are your feet?
18:32Oh, how much better.
18:34Oh, I'll wait in the car.
18:38Ah, that's just a bob.
18:41Oh, and I put this to one side, too, on the house.
18:44What is it?
18:45Oh, just a little play, Ibsen.
18:47A Doll's House.
18:49It's about a woman who realises she's rather trapped.
18:52Unfulfilled.
18:55But you might find it enlightening.
18:59Cheerio.
19:04How's business been?
19:06Booming.
19:08Goodbye to bullying.
19:09All the Stuart Howard fans are mad for it.
19:12Is he in the film version?
19:14That's what I'm telling them.
19:15I, uh, better unpack.
19:21Oh, Jack, be a darling and fetch my bag from my room, would you?
19:24It's the green one with the amber clasp.
19:29Right.
19:30You're
19:34Good.
19:34You're
19:35Good.
19:39Good.
19:42I'm
19:43Good.
19:43Good.
19:44Good.
19:44Good.
19:45What?
19:46What?
19:47What?
19:48What?
19:49What?
19:50What?
19:57Ah!
20:15What?
20:45What?
21:10You really think someone tried to kill me?
21:13It really looks that way.
21:14Good God.
21:15At least we'll be back at Ladyhurst tonight.
21:18Are you sure you're okay to shoot?
21:20I have to be, won't I?
21:21Deirdre?
21:24See me?
21:25My memory.
21:26Sandra?
21:27Are you ready?
21:28Ready?
21:29My exclusive.
21:31Oh, excuse me.
21:33I promised an interview.
21:35Harold.
21:36Mr.
21:37Marina, I can give you two minutes.
21:41Unnecessary evil, I suppose.
21:43One must feed the machine, Mr. Booker.
21:48Ah!
21:50Finally!
21:51If you'd be so great.
21:52You know my motto, if you've nothing nice to say, come and sit by me.
22:02And here you are, sitting by me.
22:05Ah, yes, but I do have something nice to say, Marina.
22:09Oh?
22:10Love Lorne in London is the first of a new three-picture deal.
22:17A deal Stuart and I have signed on for.
22:20Isn't that marvellous?
22:21Marvellous.
22:23And you're shooting interiors at Ladyhurst, aren't you?
22:26Mm-hmm.
22:27Not exactly MGM, is it, Ladyhurst?
22:30Oh, it'll do nicely.
22:32You know the place, though, don't you?
22:35You make plenty of pictures there in the past.
22:38And like the one where you played the simple crofter's daughter who married a duke.
22:41Mm-hmm, yes.
22:42And the one where you played a simple fisherman's daughter who married a duke magnet.
22:47Yes.
22:49I always forget what duke is.
22:51It's a kind of fibre people make bags without.
22:56What's the first film you made there, Sandra?
23:00At Ladyhurst?
23:02Hmm.
23:04I don't know.
23:08Springtime for Mary, I think.
23:09Oh, about a simple blacksmith's daughter who married...
23:12All right.
23:16I think it was quite a bit before that.
23:19But you know, our readers would be fascinated to learn that not all Sandra Dare's pictures were talking pictures.
23:26I love those old inter-titles, Came the Dawn and all that.
23:33Or I can check the date later, Deidre.
23:36That is your real name, isn't it?
23:38The one you used to go by.
23:42Deidre Piddock.
23:44Or perhaps you should concentrate on the present, Noreena.
23:48Where?
23:50Someone is trying to kill me.
23:51Jesse and I are taking Sandra for supper.
24:06Trying to take her mind off things.
24:08If that's not inappropriate under the circumstances.
24:10Well, one must eat.
24:13Where are you going?
24:14Wheelers?
24:15No, Camille's.
24:16On the Strand.
24:17Good choice.
24:19Don't have the oysters.
24:23I saw them taking that girl away.
24:25I assumed it was an accident.
24:27Poisoned chocolates.
24:28Really?
24:30And they were intended for me.
24:32And that poor, sad girl intercepted them.
24:36Oh, what, how's that for an exclusive?
24:38Tragic.
24:40And what an angle.
24:42Oh, sorry.
24:43That was crass of me.
24:45But, Stuart, what an angle.
24:48Oh, there's your story, Noreena.
24:51Are you ready, darling?
24:52Oh, yeah.
24:53I was just leaving.
24:55Congratulations on the new contract, Stuart.
25:03Much to chew on.
25:06Always lovely to see you.
25:11Trust the Ladyhursties in five minutes.
25:14Five minutes, everyone!
25:16What are you waiting for?
25:17The last post.
25:21Mr Masterson.
25:23What a pleasure to see you again.
25:25Noreena Bing.
25:27Looking lovely as ever.
25:29What can I do for you?
25:37Here we go.
25:38Ta.
25:39We met through, um, picture-goer.
25:40Me and Barbara, I mean.
25:41There's lots of correspondence, you see.
25:42Like-minded folk finding each other.
25:43Someone to dare, friends.
25:44Some.
25:45And the other big names, too.
25:46There's a hairdresser I know who's potty on James Mason.
25:49But, you know, Stuart was our favourite.
25:50That's why we chose to get jobs as extras.
25:51To get close.
25:52Oh, you're doing very well, my dear.
25:53You admit to taking the chocolates?
25:54Yeah.
25:56Yeah.
25:57I'm awfully sorry.
25:58We just couldn't resist them.
25:59We saw them there, on the table, in the bookshop and...
26:00Oh.
26:01Oh.
26:02Oh.
26:03Oh.
26:04Oh.
26:05Oh.
26:06Oh.
26:07Oh.
26:08Oh.
26:09Oh.
26:10Oh.
26:11On the table, in the bookshop and...
26:12Oh.
26:21Hold on.
26:22Oh.
26:23Oh.
26:24Oh.
26:25I'm afraid we...
26:26Oh.
26:36Yeah, just through there.
26:37What did you do with the note?
26:42Note?
26:43Well, there was obviously an enclosure of some kind.
26:48It's not there now. What did you do with it?
26:50I... I didn't see any note.
26:58It was over there, look, on the table.
27:03It's funny how easy it is to get close to them.
27:05Sally Gray once brushed past me in the powder room at the Walsingham.
27:12You opened the box. Maybe the card fell out.
27:17Do you have back issues? Picture-goer, I mean.
27:22Of course. January 35 onwards.
27:25Would you be so good as to let us have them?
27:27Of course.
27:27I know that look.
27:42Oh, dog. You naughty boy.
27:45This, uh, this, uh, session.
27:51Well, I'm going for a session, sir.
27:54He gives you full pay tonight.
27:56Hmm.
27:57He does.
27:58He's very calm.
28:01You're sure he knows about it?
28:04Yeah, he does know where we are.
28:05Thank you, Miss Bruce. You've been most helpful.
28:07Uh, uh, constable?
28:22Well?
28:22Oh, Stuart.
28:27Oh, Stuart, my love.
28:28There's so much I want to say to you.
28:30From that moment on the submarine, I knew.
28:33Your look of concentration, your strength.
28:36We were destined to love each other.
28:39Ship of shame.
28:40Good picture, that one.
28:43They were meant for him.
28:44We imagine we control our passions, but they direct us to the stars we strive, despite adversity.
28:55They drive ordinary people to extraordinary actions, like injecting strychnine into strawberry creams.
29:03So, Stuart, my own best darling, I implore you not to try.
29:08Follow your heart.
29:10Break off your engagement.
29:11Break off your engagement, and we can be together, you and I, my sweetest boy, in life, or in the cold, cold tomb of death.
29:21And if one proves impossible, I'll take the other.
29:25Joyously.
29:26Well, that seems pretty clear.
29:28If the writer can't have him, nobody can.
29:30So we're looking for a film fanatic.
29:32Fanatic being the word.
29:33That would be the obvious explanation.
29:36All right, then.
29:37Bring me up to speed.
29:39What do we know about this film, Will?
29:41Stuart Howard.
29:45Proof that smoldering Latin books sometimes occur spontaneously in Bermondsey.
29:50He and Sandra have bound their careers together, the nation's sweethearts.
29:55But who can know the truth of it?
29:57He's an actor, and he's young and ruthless and rather over-rewarded.
30:02He appears to be hopelessly in love with someone else.
30:04Who?
30:05Himself.
30:08Then there's the Honourable Jesse McKendrick.
30:11He lived in rooms on the Lane last year just for a few weeks.
30:14Witch boy, slumming it for the summer.
30:16Ran up and down like a billy goat.
30:17He was always pounding the streets in his plimsolls.
30:20Left when it got cold.
30:21Ran straight back to Daddy's place.
30:23In Wiltshire, I think.
30:25I'm sure I looked it up.
30:26And then we must presume wrote his script on the private lives of the proletariat.
30:32Thank you so much for joining.
30:33Good neighbour, was he?
30:35Didn't pay much attention, to be honest.
30:37I find that hard to believe.
30:38Well, he was obviously taking notes on how to run a bookshop.
30:41And Miss Dash, she had a rich husband who died, didn't she?
30:44An Italian national.
30:46Is that why they went to the States?
30:48Well, if they'd stayed, he'd have been interned as an enemy alien.
30:50So I suppose that they preferred the California sunshine.
30:54That's made me think rather better of her.
30:56I thought she was just running away from the bombs.
30:59What about Billy?
31:00Clapper boy.
31:01Positions, please.
31:02And from the look of it, Stuart Howard's now ex-whipping boy.
31:06Doesn't seem to be much love lost there.
31:09They pose a lot, don't they, these film stars?
31:13Why is he marrying her, do you think?
31:17To show she's still here?
31:26To show she knows what the audience wants.
31:29Stuart Howard's just arrived at the top, ain't he?
31:32Miss Saja's been there for years, but she can only stay there for so long.
31:36Very perceptive of you, Jack.
31:41What a brutal business this is.
31:43It captures people in time, then they change.
31:47And it mocks them for it.
31:52Right, I'm going to get on to the film security, people.
31:55See if anyone saw who dropped the chocolates off.
31:58What will you do now?
32:01Jack and I are taking this note to dinner.
32:04See if anybody's asking.
32:18Don't they have the toll to me?
32:23I'm waiting.
32:24You've got the toll on me.
32:25Music up here.
32:27Oh, it's burnt around me.
32:38Jesus Christ, me?
32:40You?
32:43I have no idea how draining it is, Mr. Book.
32:47Glad-handing.
32:49Scribbling one's autograph.
32:51They need to recognize someone whom you apparently met at a village fate ten years ago.
32:55And the smiling.
32:55Oh, my God, the smiling.
32:58This is simply the next step.
33:00They can only love one so much, and there's only one way to go from there.
33:12Can I bloody well eat after that?
33:14Well, a crazed fan is only the most obvious theory.
33:17But we don't like to be obvious, do we, Jack?
33:20What?
33:21Oh, no. No, we don't.
33:22So, if I might repurpose the inspector's earlier question, can you think of anyone who might want to kill you, Mr. Howard?
33:29Take your ruddy pick.
33:31There's quite a lot of angry ladies out there, not to mention their husbands.
33:35Savile Row tailors, producers, directors, writers.
33:38My ex-agent, my ex-ex-agent, my ex-ex-agent.
33:41Uncle Tom Conway and all.
33:44But what about prison?
33:46What?
33:47You started to eat your dinner with your spoon.
33:51Ah.
33:52Old habits.
33:53Dead giveaway.
33:56Takes one to know one.
33:57I was younger than you.
34:01Nothing too terrible.
34:03But I shouldn't like it to get into the popular press, Mr. Book.
34:07I should think not.
34:12What did they get you for?
34:13I went for a drive.
34:14Where?
34:15To a ferrier's window in Mayfair.
34:18You?
34:19Went to the bank to make a withdrawal.
34:21You have a stocking over your face?
34:23Yeah.
34:23My mother's.
34:24I'm a Bermondsey boy, Jack.
34:28Rough as a sailor's arse.
34:31Despite all of this.
34:35Do you think it could have something to do with that?
34:37The prison?
34:38Well, as you've indicated, it's a wide field.
34:42Tell you what, we're going to take on young Jack here as your new factotum.
34:46Huh?
34:46No harm in having a strapping young fellow like him hanging around,
34:49and you are looking for a new assistant.
34:51Yeah, well, I can't.
34:52I've already got a job at the bookshop.
34:53Well, I'm sure I can spare you for a few days,
34:55and you know how Nora loves to help out.
34:58Well, splendid.
34:59Yes, this is a good idea.
35:00You know, Mr. Book, you should all come to Ladyhurst.
35:03Help us get the details right, and keep an eye on things.
35:07We'll be delighted.
35:09Thank you for these.
35:10I'm the film star.
35:11You all right?
35:17Yeah.
35:19Or wouldn't I be?
35:21I'll leave you to it, then.
35:23Let me know if anything interesting turns up.
35:26Oh, and be careful.
35:27There is a killer on the loose.
35:31Good night.
35:32Good night.
35:32Yes, sir.
35:35What's your poison?
35:50Varsity Sporting Review.
35:53There you are.
35:57There you are.
35:57There you are.
35:57there you are.
36:03There you are.
36:04You are.
36:04Come on.
36:04You are.
36:12Good night.
36:15Good night.
36:16Good night.
36:16Good night.
36:16what's this come on it's usually around now that you deign to share
36:34three things then who would benefit from love lord in london collapsing what was missing from
36:44that box of chocolates was lying there with all the other fan mail but no envelope top of the
36:49class mrs book so unless the envelope was disposed of the chocolates didn't arrive by post so anyone
36:56on the film set could have put it there precisely and finally the chocolate method haphazard though
37:01it was has been tried and failed which means whoever's behind this is going to try again
37:07what are you going to do we're invited to the film studios tomorrow and jack has a new job
37:13the stewart howard stand-in when are we going to tell him
37:18not yet
37:21shall i read well i know how you enjoy it so i'll humor you punch up it
37:31oh there it is
37:37been fretting about that since we moved my stuff to accommodate the stars
37:45then fret not dear and recall us all unpacked
37:49cave of fancy
37:58i've seen some dives in my time for this
38:02so dirty
38:04so shady
38:06the pansies in my garden
38:09don't abhor the shade
38:11all right
38:15sir
38:16it is sir
38:18is it
38:19let's find you on my list
38:22name
38:23occupation
38:25marital status
38:28engaged
38:29who are you
38:32medical officer strock of perry
38:34trotty to my friends
38:36late of the gary baldy brigade
38:37and i don't mean the biscuits
38:40i can pull out shrapnel
38:41i can strip it to shanker in under two seconds
38:43and i want to pull it south of the urba
38:45which i wouldn't recommend even to you sergeant
38:47and i never ever leave a man behind
38:51he's sitting there
38:52and i'm getting married to him next saturday
38:54and the chief constable's daughter is one of our bridesmaids
38:57so if i were you
38:59i'd just admit the error right away and cross him off your list
39:02what say you
39:09trotty
39:11saturday all right for you
39:13forecast is good
39:15quite all right trotty
39:19love him
39:22kiss me
39:26oh
39:29where would i be without you
39:33i think we both know the answer to that my love
39:40anyway
39:42you are going to read
39:44of course
39:51she's noticed you
40:12yeah they always notice me
40:15girls
40:16it doesn't mean anything
40:18it's like when kids point at dogs on the street and say
40:21dog
40:22yeah what are you getting married to
40:23i may have seen it in a column by an arena bean
40:26but let me tell you something jack
40:27i've never gone down on one knee to anyone
40:30sandra
40:32what the question ended to
40:33i can imagine that
40:34most of the questions are from a business manager
40:36oh
40:38oh
40:40so you've got
40:42an arrangement then
40:43i shouldn't drink so much should i
40:45yes an arrangement
40:46and we all have those don't we
40:48you have one with book
40:50book has one with mrs book
40:51if we're talking about unusual marriages
40:53why do you say book's marriage is unusual
40:55you'll like him
40:58book
40:59how
41:00because you read
41:02so go on
41:03read me
41:03well
41:08um
41:09you keep coming here
41:13because you think this is the sort of place that film stars go
41:15but here's the thing
41:17you don't like it here
41:18you hate it
41:20and you hate that drink too
41:22like a pudding from the war
41:25so you're thinking how can i be the chap i was
41:29you know before
41:30i knew that the camera loved me
41:32which is a terrible thing tonight
41:34it's not all it's cracked up to be
41:35can you believe that
41:36yeah i wouldn't mind a bit of it
41:37careful what you wish for son
41:39got someone sending me poison in the post remember
41:42i was a bit stuck
41:45when i met sandra
41:46typecast
41:48not officer material
41:50they said
41:51it was a problem kid
41:53sandra changed that
41:55she pulled strings
41:56whispered in ears
41:57producers started casting us as lovers
41:59they were lovers by then of course
42:01do you love her now
42:02well i don't hate her
42:06you want to be your own man
42:11of course i do
42:12but it's impossible isn't it
42:13we're a pair
42:14like hope and crosby
42:16fred and ginger
42:17garbo and gilbert
42:18yeah except he left didn't he
42:19what
42:20john gilbert
42:21didn't survive when the talkies came
42:24yeah
42:25so it's all an act then
42:28you and her
42:29golden couple
42:31all an act
42:32as much an artifice as
42:34steward howard himself
42:35film is for dreamers you see jack
42:40when you sit there in the dark
42:42there has to be space for you up there
42:45in that kiss
42:46no scenes in the moonlight
42:49standing by the rail of a ship
42:51you just read in the fan mags that the screen lovers have broken off the engagement
42:55can't stand to be in a room together
42:57and there's no space to dream
43:02and there's no space for you up to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in a room to be in
43:32I don't know.
44:02I don't know.
44:32I don't know.
45:02Can we, um, try it again without him reading in?
45:05I can do it in time.
45:07Yes, of course.
45:08Reset.
45:12You're rolling.
45:13Sandra.
45:15And...
45:16Action.
45:26Oh, God, I don't know.
45:28I'm so sorry, Jessie.
45:30Uh, can I beg ten minutes?
45:33Ziggy will sort me out.
45:34Cut it there.
45:35Cut it there.
45:36Yeah, right.
45:37I stay, love it.
45:38Ten minutes off.
45:40Back at five past.
45:44Is that coffee, sir?
45:45No.
45:46I'll see you again.
46:12Oh, my God.
46:42Oh, my God.
47:12Oh, my God.
47:24Eric Percival Banks, she's been married before.
47:29Oh, my God.
47:41Oh, my God.
47:45Oh, my God.
47:49Good morning.
47:51You're up early.
47:55Oh, I thought you might want tea.
47:57Oh, my God.
47:59Oh, my God.
48:03Oh, my God.
48:07Hey, kid.
48:19You want to be in pictures?
48:21Your name's not on the list.
48:23Who are you?
48:25We're antiquarian booksellers.
48:27Isn't it obvious?
48:29And I know we're being extra vigilant, Jerry Love,
48:31but they're with me.
48:33All right.
48:35They're with me.
48:37All right.
48:39All right.
48:43Oh, my God.
48:45What's this?
49:08The address of Barbara Markham's parents.
49:12I'll go visit them.
49:14No, no.
49:14There's the inquest first.
49:16Let's write them a kind letter.
49:19I will.
49:20Thanks, book.
49:23You boys are in for the biggest surprise of your lives.
49:29Keep going.
49:31Better this way.
49:33More dramatic.
49:36Geordie, can we get some lights on, please?
49:38Yes, sir.
49:39Amazing.
49:49It's absurd.
49:51Ridiculous.
49:53Bizarre exaggeration of reality.
49:55It is wonderful.
49:59What a thrillingly peculiar life you lead, Mr. Howard.
50:03It's an imitation of life.
50:05Dog's blanket.
50:07But no dog.
50:08It's still cast yet?
50:11Yeah.
50:12Mostly not much cop.
50:14No screen presence.
50:15Think of a good replacement?
50:18Yeah.
50:19I can.
50:24Cans of cash.
50:27You know, Tony's a better bookseller than I am.
50:30It's fake.
50:32I like everything in here.
50:34Ah.
50:34Well, I'm glad you had a chance to look before the hordes arrived.
50:37Let's get some breakfast.
50:39Canteen's in the next block.
50:40Aon Macduff.
50:49It's just past the dressing rooms.
50:52Do you know what you're doing next, or...?
50:53Another Robin Hood remake.
50:55I mean, I've got the pins for it.
50:57Oh, my God.
50:58What?
51:06It's one of the extras.
51:08No.
51:19I think not.
51:25It's Norena Bean.
51:26The girl with the poison pen.
51:39No.
51:40It's Norena Bean.