- 5 months ago
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00:00We simply must be brave, mustn't we?
00:05Heaven knows it'll be hard.
00:08It'll be beastly.
00:11But we're strong people, Tony, you and I.
00:14And what we feel for each other, it'll endure.
00:17It will endure.
00:20So, I shall stay in my shop.
00:25And you and yours.
00:26And all I ask is that you don't grow to hate me.
00:31How could I hate you, Madeline?
00:33You mean everything to me.
00:37What the hell was that?
00:39Cut!
00:41Billy, what was that?
00:42Just a car back bar, I think, mister.
00:45That sounded like a pistol.
00:47It didn't sound like a ruddy pistol, Stu.
00:49You all right, my pet?
00:50Yeah, I'm fine. I think I'm just a bit tired.
00:53Of course, darling. You must be.
00:54Tell you what, how about a proper dinner after this?
00:57Like we used to before the war.
00:59Oh, yeah. That would be wonderful.
01:01None of this canteen muck. No offence.
01:05Sandra, are you okay?
01:07Yes, yes, Jessie, I'm fine. Don't fuss.
01:09How was my pout at the end?
01:11Could do with a dab, actually.
01:12Miss dear, only wears victory red.
01:17Besseme.
01:18Please, can we just stop faffing and get on with it?
01:21Mary, thank you.
01:22Yes, Miss dear.
01:23All right.
01:23All right.
01:25Ad Astra Per Aspera. We must have bodies.
01:28Abracadabra.
01:29Stuart, stop it. I'd like to concentrate.
01:32Have.
01:34Quiet!
01:34Love, Lorne, in London. Scene 28, take three.
01:39Action!
01:41We simply must be brave, mustn't we?
01:45Heaven knows it'll be hard.
01:47It'll be beastly.
01:49But we're strong.
01:49Oh, my.
02:02And this is on his bedroom wall.
02:06Rose red and rolled gold.
02:09I said to him, Stuart, Stu, I said.
02:11You are just like this paper.
02:13You're so strong and modern.
02:16He handled this very role.
02:19Can I touch it?
02:24I shouldn't really, but, um...
02:28Well, since your extra's in my cake shop.
02:38This is the last thing he sees when he gets into bed.
02:41Yes.
02:42And the first thing he sees when he gets up in the morning
02:44and his hair's all disarranged.
02:47It's 14 shillings.
02:49Tell you what, it's a bit irregular, but, um...
02:57I could let you have a sample for, well, sixpence, say?
03:03And then you could keep a little reminder of him wherever you go.
03:06Oh.
03:07Yes.
03:27Keep change.
03:29Mr. Buck.
03:30Didn't expect a welcoming committee.
03:32I thought I'd better prepare you.
03:34For what?
03:35There have been some changes since you went away on your long errand, Jack.
03:38Oh, by the way, Lord Belbrough's first folio.
03:41What did they say?
03:42Is it genuine?
03:43As his teeth.
03:46Oh, dear.
03:47East side, please.
03:48East side, please.
03:48East side, please.
03:51What the hell?
03:53Close.
03:55Hollywood.
03:56Or rather, the nearest England can get to it.
03:59Yes, Jack.
04:00They're going to be in pictures.
04:03All right, then.
04:04Let's hear it.
04:05We'll be all ready.
04:08Life and death.
04:09The whole world is here in this little patch of London town.
04:14You're going to do it like that?
04:19Life and death.
04:20The whole world here in this little...
04:22No, I think we'll just lose the line.
04:24I'm already worried about the...
04:26moustache.
04:28You'll be smashing in the background there.
04:31Let's take turn.
04:33Ten minutes, all.
04:35Billy.
04:36Marina.
04:36Well, rather jumpy this morning, isn't she, our dear Sandra?
04:41We worked on the hours in the picture business, Marina.
04:43Oh, don't I know it?
04:44And it must be so hard to keep that from telling on the faces of your stars.
04:50If you'll excuse me.
04:53Just the exteriors are being done here, you understand.
04:56The rest is at Ladyhurst.
04:57That's the studios.
04:59You see, I know all the jargon.
05:00Who's in it?
05:01Morning, Mr. B.
05:02Good morning.
05:03Stuart Howard.
05:04I like him.
05:07He's passed me by entirely, I'm afraid.
05:10He plays the hero.
05:11The idealistic young bookshop owner in love with the girl next door.
05:15Did you never see him in that submarine picture?
05:17He went mad and tried to throttle everyone.
05:19I mean, he was proper sweaty.
05:21Alash.
05:23Well, who else?
05:24Patience.
05:24You've literally arrived halfway through this picture.
05:26And you've yet to set eyes on our leading lady, who's also Stuart's fiancée.
05:31His real-life fiancée.
05:35Sandra there.
05:36She's using my room.
05:38Decanted my thing so she can do her mascara, sip her Vichy water, whatever it is these people do.
05:44I had a cigarette card of her.
05:47Before the war, of course.
05:50Ah.
05:51Mr. Book.
05:52Ah.
05:54Not getting too much in your way, I trust?
05:55Not at all.
05:56Certainly an education.
05:58Larry Olivier calls film an anemic little medium.
06:01He's such a crashing snob.
06:03For he today would shed his blood with me, shall be my brother, be he ne'er so vile.
06:08Churlish when they gave him the Oscar.
06:10Jack, this is Mr. McKendrick.
06:12Delighted.
06:12Oh, and here's Nora.
06:14The gang's all here.
06:15So, you're the director?
06:17And the writer.
06:18I thought you'd be older, with a monocle and a riding crop.
06:21I mustn't believe everything you read in the film magazines, young lady.
06:25I've seen you before.
06:26Mr. McKendrick had a lot of green penguins from us last summer.
06:30Oh, yeah.
06:31You look different.
06:32It's the shorts.
06:34I'm not wearing shorts.
06:35That's why you look different.
06:37Yes, you were very busy, Bea, as I recall.
06:39You were always running about the place, weren't you, Mr. McKendrick?
06:41Jesse.
06:42Jesse.
06:42Ah, hello, Norena.
06:47In search of material for your next article?
06:49Always.
06:49Well, the bin's around the back.
06:53Aren't you going to introduce me?
06:55This is Mr. Book, from...
06:57Oh, the apostrophe man.
07:00They subbed your sign.
07:02I'm trying not to look.
07:04Would you by any chance be a member of His Majesty's Press?
07:07Norena Bean.
07:08Picture-goer.
07:09If you have juicy titbits, my door is open.
07:12I'll bear that in mind.
07:14I'll bear that in mind.
07:21Nice fingers.
07:22Oh, they're not real.
07:24Don't break a tooth.
07:24Don't break a tooth.
07:25It's lovely.
07:37Yeah.
07:37And he has this.
07:40From his ceiling all the way down to his skirting boards.
07:46Does he talk about her fiancé?
07:52Does he say, I don't like her anymore, she's too old for me?
07:55No.
07:56Does he say, she's so old it's like kissing a leg of mutton?
08:00No.
08:01She's only 45, thank you very much.
08:03He says he was very excited about Lovelorn in London from the moment he saw the script.
08:07And he's very excited about married life.
08:11Though, he also adds, one must keep an open mind.
08:15Because who knows what fate may throw you away.
08:18Hear that, Barbara?
08:21Heavens!
08:22God, is it bad?
08:24Barbara?
08:25Home is the hunter.
08:30Oh, my God.
08:31The hunter.
08:38Oh, my God.
08:39Oh, my God.
08:42Oh, my God.
08:45Oh.
10:15Sir, she and her family didn't get on.
10:17Her friend said that's why she spent so much time at the pictures.
10:26Inspector.
10:28Book.
10:30We are at home to death, it seems.
10:35Oh, they're upstairs.
10:37Oh, for an appointment.
10:49What are they keeping from us, Stuart?
10:54All this waiting is making me tired.
10:57Perhaps one should have a mask made.
11:01A mask?
11:02With a permanent Richter smile.
11:07They can do wonders with makeup now.
11:10I'll have Boris Karloff's number, if you'd like.
11:18Dearest, Miss Dare, you don't know me, but I'm your most devoted admirer.
11:24I wonder what they'll think of love-alorn in London.
11:31Who?
11:32Them.
11:33They'll buy it.
11:35They love us, don't they?
11:36Both of us.
11:37They'll throw bottles at the screen.
11:39Do you know what they shouted at the test of brief encounter?
11:50Why doesn't she just kiss him?
11:54Only they didn't say kiss.
11:56Relax, darling.
11:58There'll be another smash.
11:59By the nation's most blissfully engaged couple, remember?
12:02Hmm, and what a long engagement it's been.
12:08Oh, God, I can't wait to be back at the studio.
12:11Haven't you enjoyed a little field trip?
12:13If we're back at Lady House, it gets that dreadful marina bean out of my hair.
12:18The studio has gates.
12:19Fire breather of picture-goer.
12:21Hmm.
12:22You know when you lift a stone or a branch
12:25and suddenly all these ghastly, filthy, damp little monstrosities
12:30are exposed to the daylight,
12:32they're scrabbling back into the shadows.
12:35Well, beneath them are even worse,
12:37filthy, damp little monstrosities.
12:40And under them is Marina Bean.
12:45Sure, it's been rather sweet to me.
12:47Mm-hmm.
12:48Well, we've got good news for it, don't we?
12:52Do we?
12:54Deliveries.
12:54Oh.
12:54Our new three-picture deal, picture-goer exclusive.
12:59Well...
12:59What do you want?
13:03Barley, sugar boy?
13:05I'm afraid there's been an accident.
13:19The contents of a handbag.
13:22Melancholy, isn't it?
13:24Evidence of a little life spilled on the floor.
13:27Oh, what's this?
13:35You kiss your excess lipstick onto your favourite style.
13:39Yeah, well, it takes all sorts.
13:41This interests me, may I?
13:43Mm-hmm.
13:45Very carefully wrapped.
13:48Tenderly, I'd say.
13:49Well, they are still on the ration.
13:55They look expensive.
13:56But there are only coppers in this purse.
13:58Trotty.
13:59Yes?
13:59Did they have money, these girls?
14:01Very little.
14:03So they didn't buy them.
14:04I didn't notice the production reviling fancy confectionery.
14:10No, the ferns bring them.
14:13Letters and presents.
14:15Sad little things they've knitted.
14:17They're left through there.
14:19Billy brings them up to them.
14:20Actually, he had a box of chocolates with him just now.
14:28Puncture mark.
14:30Barbara was breathless, Trotty, yes?
14:32Yes, and twitchy.
14:37Strychnine.
14:38Oh, hell's bells.
14:40Poor girl.
14:53Someone's been at these.
14:54Oh, darling, you shouldn't...
14:56You don't know where they've been.
14:57Drop it, it's poison.
14:59That'd be absurd.
15:00They're by wrong appointment.
15:01I'm afraid it's true, sir.
15:03You didn't have any, did you, mister?
15:05Oh, no, no.
15:07What about you, Mr Howard?
15:08No.
15:08Oh, good.
15:08Have you ever received chocolates like this before, mister?
15:12Uh, yes, all the time.
15:14My fans know they're my favourite, but I never eat them.
15:17Well, it seems reasonable to assume, then, that you were the intended victim.
15:21Intended victim?
15:23What does he mean?
15:25Intended victim?
15:26We're investigating the death of Barbara Markham.
15:29Yes, that unfortunate young woman.
15:32Yes.
15:34Oh, my God, I haven't sensed some strange things in my time,
15:37but, Howard, anyone want to kill me?
15:41Billy, who gave you these chocolates?
15:43Nobody.
15:44They were just with the usual mail.
15:45I always have to deal with it.
15:47Where anyone could have got to them.
15:49And Barbara and her friend presumably did.
15:51Jesus Christ, we could have both died.
15:54What were you thinking about bringing that muck up here?
15:56Sorry, Mr Howard, but you told me to bring everything.
15:58Now, don't answer me back.
15:59I need to find myself a new assistant.
16:06Are you all right, my love?
16:09It's a brutal question, Mr.
16:11But I'm afraid it must be asked.
16:14Do you have any idea who might want to kill you?
16:18Can't this wait?
16:19Yes, of course.
16:20If he'd excuse us.
16:22Sir.
16:22Out.
16:23Out.
16:23I need to remind you that this is an official murder investigation.
16:27Don't talk to the press.
16:49There once was an actress called Dare
16:52whose allure was exceedingly rare.
16:54Her chocolates were spiked with strychnine.
16:58Not nice.
17:00But it was Barbara that ate them.
17:02Not fair.
17:05I hope we did the right thing letting those people into the lane.
17:09Why did you?
17:10I'm afraid it was money.
17:12Yes, my love.
17:14Those little pieces of paper that keep us out of the small claims courts.
17:17How much?
17:1920 guineas.
17:21A week?
17:21Per diem.
17:23For ten diems.
17:29The devil's going on out there.
17:30Bobby's swarming about like the cup final.
17:33Ah.
17:34Mrs. Goodwin.
17:35Yes.
17:36I'm afraid there's been an accident.
17:38Oh.
17:39Well, nothing to do with Sandra Dare, I hope.
17:42I heard she was in the neighbourhood.
17:43Oh, so that's why we're here.
17:45Always been a fan.
17:46They don't want to hear about your juvenile antics, woman.
17:50Miss Dare is perfectly sound, I'm happy to say.
17:52The Scarlet Pimpernel you had from us last time, wasn't it?
17:54I trust you enjoyed it.
17:56Oh, very much.
17:57And I promised you the sequel.
17:58I'm teeing off at quarter two.
18:00Chh.
18:01Sorry?
18:01Chh.
18:02Dinky.
18:04I will repay.
18:05What?
18:06Oh, that's the sequel to The Scarlet Pimpernel.
18:08Jack?
18:10Oh, um.
18:11Underneath Hardy Perennials, the biography of Danton and the stack of unpaved bills.
18:15Got anything on how to cook?
18:19I beg your pardon?
18:20That's what she needs.
18:22Can hardly boil a ruddy egg.
18:25How are your feet?
18:26Oh, how much better.
18:28Oh, I'll wait in the car.
18:32Ah, that's just a bomb.
18:34Oh, and I put this to one side too, uh, on the house.
18:38What is it?
18:39Oh, just a little play.
18:40Ibsen, a doll's house.
18:42It's about a woman who realises she's rather trapped, unfulfilled.
18:48But you might find it enlightening.
18:53Cereal.
18:58How's business been?
18:59Booming.
19:01Goodbye to bullying.
19:02All the Stuart Howard fans.
19:04It's a mad bit.
19:06Is he in the film version?
19:07That's what I'm telling him.
19:12I, uh, better unpack.
19:14Oh, Jack, be a darling and fetch my bag from my room, would you?
19:18It's the green one with the amber glass.
19:23Right.
19:23What?
19:24Go, vai.
19:30Go.
19:30Oh, God.
19:35Oh, God.
19:38I.
19:41Oh.
19:43I don't know.
20:13I don't know.
20:43You really think someone tried to kill me?
21:07It really looks that way.
21:08Good God.
21:10At least we'll be back at Ladyhurst tonight.
21:12Are you sure you're okay to shoot?
21:14I have to be, won't I?
21:16Deirdre?
21:18Silly me.
21:19My memory.
21:20Sandra?
21:21Are you ready?
21:22Ready?
21:23My exclusive.
21:25Oh, excuse me.
21:27I promised an interview.
21:29Harold.
21:30Mr.
21:31Marina, I can give you two minutes.
21:33Necessary evil, I suppose.
21:37One must feed the machine, Mr. Booker.
21:41Ah.
21:44Finally.
21:44I'm sorry.
21:48If you'd be so great.
21:50You know my motto.
21:51If you've nothing nice to say, come and sit by me.
21:56And here you are, sitting by me.
21:59Ah, yes.
22:00But I do have something nice to say, Marina.
22:03Oh?
22:05Lovelorn in London is the first of a new three-picture deal.
22:11A deal Stuart and I have signed on for.
22:14Isn't that marvelous?
22:15Marvellous.
22:17And your shooting interiors at Ladyhurst, aren't you?
22:21Not exactly MGM, is it Ladyhurst?
22:24Oh, it'll do nicely.
22:27You know the place, though, don't you?
22:29I made plenty of pictures there in the past.
22:32Like the one where you played the simple crofter's daughter who married a duke.
22:36Hmm, yes.
22:37And the one where you played a simple fisherman's daughter who married a duke magnet.
22:42Yes.
22:43I always forget what duke is.
22:44It's a kind of fiber.
22:46People make bags without.
22:50What's the first film you made there, Sandra?
22:53At Ladyhurst?
22:56Hmm.
22:57Um, I don't know.
23:02Springtime for Mary, I think.
23:04About a simple blacksmith's daughter who married...
23:06All right.
23:09I think it was quite a bit before that.
23:12But you know, our readers would be fascinated to learn that not all Sandra Day's pictures were talking pictures.
23:20I love those old inter-titles, came the dawn and all that.
23:25Well, I can check the date later, Deidre.
23:30That is your real name, isn't it?
23:33The one you used to go by.
23:36Deidre Piddock.
23:38Perhaps you should concentrate on the present, Noreena.
23:42Well...
23:43Someone is trying to kill me.
23:46Jesse and I are taking Sandra for supper.
24:01Trying to take her mind off things.
24:03If that's not inappropriate under the circumstances.
24:05Well, one must eat.
24:07Where are you going?
24:08Wheeler's?
24:08No, Camille's.
24:10On the Strand.
24:11Good choice.
24:13Don't have the oysters.
24:16I saw them taking that girl away.
24:19I assumed it was an accident.
24:21Poisoned chocolates.
24:23Really?
24:24And they were intended for me.
24:26And that poor, sad girl intercepted them.
24:30Oh, what?
24:30How's that for an exclusive?
24:32Tragic.
24:33And what an angle.
24:35Oh, sorry.
24:37That was crass of me.
24:39But still.
24:41What an angle.
24:43Well, there's your story, Noreena.
24:45You ready, darling?
24:47Oh, yeah.
24:47I was just leaving.
24:49Congratulations on the new contract, Stuart.
24:57Much to chew on.
25:00Always lovely to see you.
25:05That's the lady, Hirstie's, in five minutes.
25:08Five minutes, everyone.
25:10What are you waiting for?
25:11The last post?
25:15Mr. Masterson.
25:17What a pleasure to see you again.
25:19Loreena Bean.
25:21Looking lovely as ever.
25:23What can I do for you?
25:30Here we go.
25:32Taa.
25:32We met through, um, picture-goer.
25:42Me and Barbara, I mean.
25:44There's lots of correspondence, you see.
25:46Like-minded folk finding each other.
25:48So are they our fans?
25:49Some.
25:51And the other big names, too.
25:53There's a hairdresser I know who's potty on James Mason.
25:56But, you know, Stuart was our favourite.
25:59That's why we, why we chose to get jobs as extras.
26:04To get close.
26:05Oh, you're doing very well, my dear.
26:09You admit to taking the chocolates?
26:14Yeah.
26:16I'm awfully sorry.
26:17We just couldn't resist them.
26:19We saw them there, on the table, in the bookshop, and...
26:22I mean, chocks.
26:25Come on, it's been years.
26:26They were through there?
26:28Yeah, just through there.
26:31What did you do with the note?
26:36Note?
26:37Well, there was obviously an enclosure of some kind.
26:41It's not there now.
26:42What did you do with it?
26:44I...
26:44I...
26:45I didn't see any note.
26:52It was over there, look, on the table.
26:56It's funny how easy it is to get close to them.
27:00The stars, I mean.
27:01Sally Gray once brushed past me in the powder room at the Walsingham.
27:05You opened the box.
27:07Remember the card fell out.
27:09Do you have back issues?
27:14Picture girl, I mean.
27:16Of course.
27:17January 35 onwards.
27:18Would you be so good as to let us have them?
27:20Of course.
27:28I know that look.
27:36Oh, dog.
27:37You naughty boy.
27:39Yes, sir.
27:41Yes, sir.
27:42Yes, sir.
27:43Session.
27:45Well, I wouldn't say Session, sir.
27:48He gives you full pay for that.
27:50Hmm.
27:50He does.
27:52He's very calm.
27:55You're sure he knows about it?
27:57Yeah, he does know where we are.
27:59Thank you, Miss Bruce.
28:00You've been most helpful.
28:04Constable?
28:09Oh, Stuart.
28:20Oh, Stuart, my love.
28:22There's so much I want to say to you.
28:24From that moment on the submarine, I knew.
28:27Your look of concentration, your strength.
28:30We were destined to love each other.
28:32Ship of Shane.
28:34Good picture, that one.
28:35They were meant for him.
28:37We imagine we control our passions, but they direct us to the stars we strive, despite adversity.
28:48They drive ordinary people to extraordinary actions, like injecting strychnine into strawberry creams.
28:56So, Stuart, my own best darling, I implore you not to try.
29:01Follow your heart, break off your engagement, and we can be together, you and I, my sweetest boy, in life, or in the cold, cold tomb of death.
29:14And if one proves impossible, I'll take the other, joyously.
29:20Well, that seems pretty clear.
29:21If the writer can't have him, nobody can.
29:24So we're looking for a film fanatic.
29:26Fanatic being the word.
29:27That would be the obvious explanation.
29:30All right, then.
29:31Bring me up to speed.
29:32What do we know about this film, though?
29:33Stuart Howard.
29:38Proof that smoldering Latin books sometimes occur spontaneously in Bermondsey.
29:43He and Sandra have bound their careers together, the nation's sweethearts.
29:49But who can know the truth of it?
29:50He's an actor, and he's young and ruthless and rather over-rewarded.
29:55He appears to be hopelessly in love with someone else.
29:58Who?
30:00Himself.
30:00Then there's the Honourable Jesse McKendrick.
30:04He lived in rooms on the lane last year just for a few weeks.
30:07Witch boy, slumming it for the summer.
30:10Ran up and down like a billy goat.
30:11He was always pounding the streets in his plimsolls.
30:13Left when it got cold.
30:15Ran straight back to Daddy's place.
30:17In Wiltshire, I think.
30:18I'm sure I looked it up.
30:20And then we must presume wrote his script on the private lives of the proletariat.
30:25Thank you so much for joining us.
30:26He's a good neighbour, was he?
30:28Didn't pay much attention, to be honest.
30:30I find that hard to believe.
30:32Well, he was obviously taking notes on how to run a bookshop.
30:35And Miss Dash, she had a rich husband who died, didn't she?
30:38An Italian national.
30:40Is that why they went to the States?
30:41Well, if they'd stayed, he'd have been interned as an enemy alien.
30:44I suppose they preferred the California sunshine.
30:47That's made me think rather better of her.
30:50I thought she was just running away from the bombs.
30:52What about Billy?
30:54Clapper boy.
30:55Positions, please.
30:56And from the look of it, Stuart Howard's now ex-whipping boy.
30:59Doesn't seem to be much love lost there.
31:02They pose a lot, don't they?
31:04These film stars.
31:06Why is he marrying her, do you think?
31:10To show she's still here.
31:19To show she knows what the audience wants.
31:23Stuart Howard's just arrived at the top, ain't he?
31:26Your sergeant's been there for years, but she can only stay there for so long.
31:30Very perceptive of you, Jack.
31:34What a brutal business this is.
31:37It captures people in time, then they change.
31:43And it mocks them for it.
31:45Right, I'm going to get on to the film security, people.
31:48See if anyone saw who dropped the chocolates off.
31:51What will you do now?
31:53Jack and I are taking this note to dinner.
31:58Oh, is that yummy?
32:22Jesus Christ.
32:33Me?
32:33You?
32:36I have no idea how draining it is, Mr. Book.
32:41Glad-handing.
32:43Scribbling one's autograph.
32:45Feeling to recognize someone whom you apparently met at a village fate ten years ago.
32:48And they're smiling.
32:49Great God, they're smiling.
32:52This is simply the next step.
32:54They can only love one so much, and there's only one way to go from there.
32:56Can I bloody well eat after that?
33:08Well, a crazed fan is only the most obvious theory, but we don't like to be obvious, do we, Jack?
33:13What?
33:14Oh, uh, no.
33:15No, we don't.
33:16So if I might repurpose the inspector's earlier question, can you think of anyone who might want to kill you, Mr. Howard?
33:22Take your ruddy pick.
33:25There's quite a lot of angry ladies out there, not to mention their husbands, Savile Row tailors, producers, directors, writers, my ex-agent, my ex-ex-agent, Uncle Tom Conway and all.
33:37But what about prison?
33:40What?
33:41You started to eat your dinner with your spoon.
33:45Ah.
33:46Old habits.
33:47Dead giveaway.
33:49Takes one to know one.
33:52I was younger than you.
33:54Nothing too terrible.
33:56But I shouldn't like it to get into the popular press, Mr. Book.
34:01I should think not.
34:05What'd they get you for?
34:07I went for a drive.
34:08Where?
34:09Through a ferrier's window in Mayfair.
34:11You?
34:12Went to the bank to make a withdrawal.
34:15Have a stocking over your face?
34:16Yeah, my mother's.
34:18I'm a Bermondsey boy, Jack.
34:22Rough as a sailor's arse.
34:24Despite all of this.
34:29Do you think it could have something to do with that?
34:31The prison?
34:32Well, as you've indicated, it's a wide field.
34:35Tell you what.
34:36We're going to take on young Jack here as your new factotum.
34:39Huh?
34:39No harm in having a strapping young fellow like him hanging around,
34:42and you are looking for a new assistant.
34:44Yeah, well, I can't.
34:46I've already got a job at the bookshop.
34:47Well, I'm sure I can spare you for a few days,
34:49and you know how Nora loves to help out.
34:51Well, splendid.
34:52Yes, this is a good idea.
34:54You know, Mr. Book, you should all come to Ladyhurst.
34:57Help us get the details right, and keep an eye on things.
35:01We'd be delighted.
35:02Thank you for these.
35:04I'm a film star.
35:05You all right?
35:11Yeah.
35:13Oh, wouldn't I be?
35:15I'll leave you to it, then.
35:17Let me know if anything interesting turns up.
35:20Oh, and be careful.
35:21There is a killer on the loose.
35:25Good night.
35:26Good night.
35:28Yes, sir.
35:29What's your poison?
35:35The Varsity Sporting Review.
35:49There you are.
35:50All right.
36:19what's this come on it's usually around now that you deign to share
36:28three things then who would benefit from love lord of london collapsing what was missing from
36:37that box of chocolates was lying there with all the other fan mail but no envelope top of the
36:42class mrs book so unless the envelope was disposed of the chocolates didn't arrive by post
36:49so anyone on the film set could have put it there precisely and finally the chocolate method
36:54haphazard though it was has been tried and failed which means whoever's behind this is going to try
37:00again what are you going to do we're invited to the film studios tomorrow and jack has a new job
37:07the stewart howard stand-in when are we going to tell him
37:11not yet
37:15shall i read well i know how you enjoy it so i'll humor you
37:23bunch up then
37:25oh there it is
37:31been fretting about that since we moved my stuff to accommodate the stars
37:38then fret not dear and recall our solemn pact
37:42cave of fancy
37:51i've seen some dives in my time for this so dirty so shady
38:00the pansies in my garden abhor the shade
38:05right sir
38:09it is sir is it let's find you on my list name occupation marital status engaged
38:22who are you medical officer struck with perry trotty to my friends late of the gary baldy brigade
38:31and i don't mean the biscuits i can pull out shrapnel i can strip it to shanker in under two seconds and i
38:37want to pull it south of the urba which i wouldn't recommend even to you sergeant and i never ever leave a
38:42man behind he's sitting there and i'm getting married to him next saturday and the chief constable's
38:48daughter is one of our bridesmaids so if i were you i'd just admit the error right away and cross him
38:55off your list what say you
39:03trotty
39:05saturday all right for you forecast is good
39:09quite all right trotty
39:15kiss me
39:19oh
39:21where would i be without you i think we both know the answer to that my love
39:33anyway you were going to read of course
39:51oh
40:05she's noticed you
40:07yeah they always notice me girls
40:11doesn't mean anything it's like when kids point a dog's in the street and say dog yeah we're
40:16getting married soon so i may have seen it in a column on arena bean but let me tell you something
40:20jack i've never gone down on one knee to anyone
40:25sandra what the question entity i can imagine that most of the questions are from a business manager
40:29oh
40:34so you've got an arrangement then i shouldn't drink so much should i yes an arrangement
40:41and we all have those don't we you have one with book book has one with mrs book if we're talking
40:45about unusual marriages why do you say books marriage is unusual
40:48you're like him book how because you read it's gone read me
41:01well um
41:05you keep coming here because you think this is the sort of place that film stars go
41:09but here's the thing you don't like it here you hate it and you hate that drink too
41:17it's like a pudding from the war
41:20so you're thinking how can i be the chap i was you know before i knew that the camera loved me
41:26which is a terrible thing to know it's not all it's cracked up to be can you believe that yeah i
41:29wouldn't mind pit of it careful what you wish for son got someone sending me poison in the post remember
41:38i was a bit stuck when i met sandra typecast not officer material they said it was a problem kid
41:47sandra changed that she pulled strings whispered in ears producers started casting us as lovers
41:53they were lovers by then of course do you love her now well i don't hate her
42:03you won't be your own man of course i do but it's impossible isn't it we're a pair
42:08like hope and crosby fred and ginger garbo and gilbert yeah except he left didn't he what
42:14john gilbert didn't survive when the talkies came
42:17yeah so it's all an act then you and her golden couple all an act as much an artifice as stewart
42:28howard himself
42:31film is for dreamers you see jack when you sit there in the dark there has to be space for you up there
42:39in that kiss those scenes in the moonlight standing by the rail of a ship
42:46if you just read in the fan mags that the screen lovers have broken off the engagement
42:50can't stand to be in a room together
42:53and there's no space to dream
43:15so
43:24so
43:26so
43:36ORCHESTRA PLAYS
44:06ORCHESTRA PLAYS
44:36SCENE 49, TAKE 8
44:40And...
44:44ACTION!
44:46It was then I knew we had fallen in love from the pages of a book.
44:50But was that love strong enough to thrive out in the teeming world?
44:55Can we try it again without him reading in? I can do it in time.
45:00Yes, of course.
45:02Reset.
45:06You're rolling, Sandra.
45:08And...
45:09Action.
45:10I don't know. I'm so sorry, Jessie.
45:24Can I beg ten minutes?
45:26Siggy will sort me out.
45:28Cutting it there.
45:29Cutting it there.
45:30I don't know if I stay.
45:32Ten minutes off.
45:33Back at five past.
45:37Is that coffee, sir?
45:39No.
45:40That's all.
45:44That's it.
45:44Oh, thank you so much.
45:58Oh, my God.
46:28Oh, my God.
46:58Oh, my God.
47:28Oh, my God.
47:44Good morning.
47:47You're up early.
47:48Oh, I thought you might want a tea.
47:50Hey, kid.
48:15You want to be in pictures?
48:20Your name's not on the list.
48:22Who are you?
48:23We're antiquarian booksellers.
48:25Isn't it obvious?
48:26And I know we're being extra vigilant, Jerry Love,
48:28but they're with me.
48:30All right.
48:32All right.
49:01What's this?
49:02The address of Barbara Markham's parents.
49:06I'll go visit them.
49:07No, no.
49:08There's the inquest first.
49:10Just write them a kind letter.
49:12I will.
49:14Thanks, book.
49:15You boys are in for the biggest surprise of your lives.
49:22Keep going.
49:24Better this way.
49:26More dramatic.
49:30Geordie, can we get some lights on, please?
49:32Yes, Mr. Howard.
49:40Amazing.
49:42It's absurd.
49:45Ridiculous.
49:47Bizarre exaggeration of reality.
49:50It is wonderful.
49:51What a thrillingly peculiar life you lead, Mr. Howard.
49:56It's an imitation of life.
49:59Dog's blanket.
50:01But no dog.
50:03Is dog cast yet?
50:05Yeah.
50:06Mostly not much cop.
50:07No screen presence.
50:09Think of a good replacement?
50:11Yeah.
50:12I can.
50:18Cans of cash.
50:19You know, Tony's a better bookseller than I am.
50:23It's fake.
50:25I like everything in here.
50:28Well, I'm glad you had a chance to look before the hordes arrived.
50:31Let's get some breakfast.
50:32Canteens in the next block.
50:34Lay on, Macduff.
50:43Just past the dressing rooms.
50:46Do you know what you're doing next, or...?
50:47Another Robin Hood remake.
50:48I mean, I've got the pins for it.
50:50No.
50:51Oh, my God.
50:52What?
51:00It's one of the extras.
51:12No.
51:12I think not.
51:19It's Nurina Bean.
51:20The girl with the poison pen.
51:32It's her, it's her.
51:37Do you know what it is?
51:39And you know what you think?
51:39Yeah.
51:39Love it.
51:40It's a good thing.
51:41It's a good thing.
51:46It's a good thing.
51:47Please quieren do it.
51:48Love it.
51:49Love it.
51:50Love it.
51:51Oh, my God.
51:51Love it.
51:52I know what you are doing next.
51:53I love it.
51:53Love it.
51:54We'll be it.
51:54Let's go.
51:55bour.
51:56We'll be it.
51:57Before we go.
51:58Bye.
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