- 1 day ago
First broadcast 20th November 1976.
A washed-up actor has a nervous breakdown and believes that he really is the movie monster that he has been hired to play.
Bernard Horsfall - Clyde Boyd
Clive Swift - 'Bunny' Nettleton
Glyn Houston - Sidney Stewart
Thorley Walters - Sir Ramsey
Lillias Walker - Joan Eastgate
Patricia Haines - Sheila Boyd
Simon Oates - Peter Wager
Ian Thompson - Mike Hickey (as Ian Jacob Thompson)
Ruby Head - Tea Lady
Michael Sheard - Sergeant
George Malpas - Vic
Frank Coda - First Assistant
Jack Cooper - Grave Robber (as Jackie Cooper)
James Giles - Sound Mixer
Dave Carter - Dresser
Norman Hartley - Boom Swinger
Barbara Hyslop - Continuity Girl
Harry Meacher - Constable
A washed-up actor has a nervous breakdown and believes that he really is the movie monster that he has been hired to play.
Bernard Horsfall - Clyde Boyd
Clive Swift - 'Bunny' Nettleton
Glyn Houston - Sidney Stewart
Thorley Walters - Sir Ramsey
Lillias Walker - Joan Eastgate
Patricia Haines - Sheila Boyd
Simon Oates - Peter Wager
Ian Thompson - Mike Hickey (as Ian Jacob Thompson)
Ruby Head - Tea Lady
Michael Sheard - Sergeant
George Malpas - Vic
Frank Coda - First Assistant
Jack Cooper - Grave Robber (as Jackie Cooper)
James Giles - Sound Mixer
Dave Carter - Dresser
Norman Hartley - Boom Swinger
Barbara Hyslop - Continuity Girl
Harry Meacher - Constable
Category
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TVTranscript
00:00The End
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00:22Cut!
00:23Help him though!
00:27Clyde, you okay?
00:32You went a bit off track.
00:34We'll go again. Going again, studio.
00:36Save the red.
00:45What the hell's the matter with him? It's perfectly simple.
00:47Straightforward.
00:50Take five.
01:07Oh, that's lovely.
01:13Any two left, Pat?
01:15For you, Mr Stuart always.
01:18Mr Boyd a bit off-calor, is he?
01:20Hope it's not flu.
01:22I saw him when he came in.
01:24And I said to Shirley, don't look right.
01:34There you go.
01:35This is the studio where it's all happening.
01:38Oh, there's Sydney Stuart, the director.
01:42I'll try and get you a quick word.
01:47Sid, this is Joan Eastgate.
01:49She's writing that article I told you about.
01:50Ah, yes.
01:52Famarella magazine.
01:53Pleased to meet you.
01:54It's about the film industry.
01:55British.
01:55State of.
01:56I know, one more.
01:57What are you titling it?
01:58Down the plug hole?
01:59Oh.
02:00Well, this looks lively enough in here.
02:01Oh, we're all right, Jack.
02:02I mean Joan.
02:04Sorry.
02:04The prosperous bit.
02:05Mind you, this is the first dummy filmed for two years.
02:08Returned by popular demand.
02:09Mainly Japanese.
02:10Oh, they like him.
02:11He's very big with the Japs.
02:13Wouldn't he be?
02:14They're really high on him.
02:16It's simple English.
02:17They love him.
02:19That over there.
02:21A thing of beauty.
02:23It's the violence.
02:25And that's my cue to stir up some more.
02:26See ya.
02:28Er, excuse me.
02:30Sid, erm, Sid, I think what she'd really like is a chat with Clyde.
02:34Just as short as.
02:35No.
02:36Well, shortly interview, I promise.
02:37It's not on.
02:39I mean, later.
02:39He's got a heavy day.
02:41Oh, I'll say later.
02:42Say what you like.
02:43How's it coming, Rick?
02:45Let's press on.
02:46Right on, Sid.
02:53Not ketchup.
02:55No, chemical blood.
02:56It oozes better.
02:58I've, er, just been fixing up your interview with Clyde Boyd.
03:00Oh, thanks.
03:01Bit later on.
03:03Meanwhile, er, a ringside seat.
03:10How many have there been?
03:13Dummy films.
03:14Six.
03:15Dummy.
03:16Right.
03:17Horror of the Dummy.
03:18Death of the Dummy.
03:19Return of the Dummy.
03:20Oh, no.
03:21Then, er, Dummy and the Devil.
03:24Dread of the Dummy.
03:25This one's a revenge.
03:26Touch obvious in my view.
03:27Okay, everybody.
03:28Positions, please.
03:37How does he see?
03:39Through the mouth.
03:40Hey, that reminds me.
03:41I've put up an infallible title suggestion.
03:44Jaws of the Dummy.
03:45Do you get it?
03:47No, they wouldn't listen to a mere publicity boy.
03:51Quiet, studio.
03:53Let's have a red-up.
03:57Turnover.
03:59Running.
04:01Mark it.
04:02One, three, one.
04:02Take five.
04:07Action.
04:34Cut.
04:37What was it?
04:38What stopped him?
04:39Quick, we'll go again.
04:41Back to starting positions.
04:42Going again, studio.
04:43Smoke gone out.
04:45All right.
04:45Save it.
04:46Save the red.
04:56Clyde.
04:57For God's sake.
04:58What's the matter with you?
04:59What are you doing to me?
05:00Well, no.
05:01What are you doing to me?
05:02Eh?
05:03Peter bloody wager.
05:04What?
05:05Peter.
05:06Peter wager.
05:06Over there.
05:08You don't like him?
05:09Oh, God.
05:09Forget him.
05:10It's a small part.
05:11Are you engaged him?
05:12What's it matter?
05:13Well, don't you know?
05:15Look.
05:16Let's get this scene shot.
05:17Okay.
05:18Please.
05:19Right.
05:20Hurry up, boys.
05:20This is take six.
05:23Who is that actor?
05:25The soldier one.
05:26Oh, Peter wager.
05:27Plays the captain in the guard.
05:28Do you want to meet him?
05:29No, no, no.
05:30I saw him in a play once.
05:31I didn't like him.
05:32No, he's not very big.
05:33You'd do better with our knight.
05:34Oh, Sir Ramsay.
05:35Sir Ramsay.
05:36Giving us his guest appearance as the Monseigneur.
05:39Well, he's around somewhere, isn't he?
05:40No, I just want him.
05:43Yeah, well...
05:44What is he exactly?
05:45Hmm?
05:46The dummy.
05:47What is it meant to be?
05:49A monster.
05:50Well, THE monster.
05:52A mixture of animal, vegetable, mineral, immortal, bulletproof, indestructible.
05:55I mean, the customers don't really care.
06:09It looks as if it's decomposing.
06:11Yeah.
06:12That's not easy to get right.
06:14Hey, Vic.
06:14Vic, Vic.
06:16This is Vic.
06:17Special effects.
06:18Jenny Skate, writer.
06:19Vic made those hands.
06:20They're terrifying.
06:21Steel joints.
06:22Fully articulated.
06:24Spring-loaded.
06:25Better than human.
06:26Real crushes.
06:27He's got to be careful.
06:29Okay, studio.
06:30Settle down.
06:31Right.
06:32Here we go again.
06:34All right.
06:34Turn over.
06:36Running.
06:37Mark it.
06:381-3-1.
06:39Take six.
06:43Action.
06:53Parking.
06:55Spider-Man.
06:58HELLO.
07:03GRO statistics.
07:04Gah!
07:05What the hell is he thinking he's doing?
07:07Gah!
07:08Gah!
07:09Gah!
07:10For pity's sake!
07:11Gah!
07:12Gah!
07:13Gah!
07:15cut yeah cut cut where the hell is he going no wonder who did it who threw that laugh peter
07:24wager you what do you mean by it i'm sorry of all the unprofessional i couldn't help it
07:34sending up a fellow artist right i said i'm sorry i've never seen anything so disgraceful i know
07:38i know you'll apologize to him apologize so he should colin get bunny down here right away
07:44tell him there's a crisis explain no just that quick right
07:53i couldn't help it he looks so funny was that really why
08:11clyde now the hands oh hold on look he's going to apologize to you he's going to crawl to you
08:17for
08:17that if i have to drag him in here and jump on it no i've made it very clear i
08:21don't want to see him
08:22in writing then take this off
08:34right you've been in the business long enough you you meet them idiots they don't know any better
08:39why did you engage him well he uh he wasn't the first choice i should hope not he was very
08:46much
08:46a substitute in fact we had that uh young fella what's his name line up for the part but well
08:53he fell out at the last minute so it had to be wager but why why him what did you
08:58do it for
09:00well whatever you may think he's not a bad actor i mean he did a season at the old bit
09:04his small parts i grant you i don't mean that
09:09you just don't like him you could say that something personal
09:18didn't you know know what you mean you really didn't
09:27touch it
09:33no clyde no
09:37the bastards run off with my wife
09:42where are they in the dressing room
09:49oh uh there's bunny nettleton producing the film or derek nettleton actually but everybody calls
09:54him bunny
09:54of course
09:57bunny did you know what
09:59clyde's wife he's left him gone off with the wager
10:03you did know i heard a few days ago that's all i thought you were thick with him
10:07well i used to be close friends you lose touch you know how it is
10:11wager was booked when i found out it was too late well you might have told me
10:15he blew up maybe blew this film
10:33now what is going on oh sir ramsay uh may i introduce miss joan eastgate sir ramsay mcfadden
10:40was if i really needed to now what are they playing at oh you're just sorting out a slight
10:45probably lost an eyeball in a bucket of guts well no now don't accept a part here my dear
10:49unless you've got a strong stomach oh i won't and be careful where you sit down and on what
10:54the local butcher must have made a fortune in the prop room there they're chopping up hearts and
10:58livers and kidneys i don't think bloody kids well i'm off to the bahamas in the morning they can't
11:04do a thing if they don't shoot my scene today they can take my name off their nasty posters
11:15she's been living with him for three months clyde i'm sorry i had no idea hadn't you no
11:22i felt that everybody knew well i should i should of course i should i blame myself
11:26any producer worth his salt would be aware aware of these any friend hmm well that's just it you
11:32see of all our friends you and she had seemed the least likely you were so close i remember remarking
11:38to jillian the last time you came around now when was it 18 months ago oh never it is as
11:43long ago
11:43is that uh let me see uh the last dummy film the dread of over two years now so it
11:50is i got clobbered for
11:51tax income tax you didn't know that either i think you did once say it's been bad bunny really bad
12:04clive we've got a lot to talk about and i want to hear it all there's nothing i want more
12:09than to
12:09sit down with you i mean in greater comfort than this and catch up on everything that's what i want
12:14but at the moment let's face it we've got a problem and it's rather urgent hit bottom i i was
12:22right
12:23down i'd never been there before but over clive nobody wanted to know and i i i wrote to them
12:30all
12:30but they didn't reply it's been a bad but it wasn't just don't ring us we'll ring you they didn't
12:36know
12:36me i was just the man that played the dummy inside this a man in the rubber suit i mean
12:45i i wrote to
12:46bunny here bunny bunny you remember i mean what prospects for another dummy picture at that time
12:51there weren't any i was sick oh my god listen clyde i needed her i never thought i'd need any
13:07living
13:08person to hold on to like that but i did then do you know what the bitch did well you
13:15do now
13:17she walked out and cleared off in the night just like that i can't stand you any longer she said
13:25she'd found herself a real man that bastard out there
13:32wasn't just an affair i mean nothing secret she just hit me straight between the eyes with it
13:39went off and shacked up with him and and she took my kid little um karen yeah she's she's nearly
13:4912 now
13:50karen's very loving you see she wanted to be with her mother but she loves both of us
13:54you see she's with them i mean i i get letters from her dearest daddy take it easy easy
14:04what are we gonna do one thing is clear we've got to help clyde through this let's talk about how
14:09yes yes
14:15clyde you take a short rest and listen do me a personal favor don't hit that stuff okay
14:35god almighty if i'd had any notion he shouldn't be here i don't know where he should be but
14:40somewhere else not here if we can just get him together just long enough a real humpty dumpty
14:45job said it's the whole film i mean what can we do we write you round it reschedule there's no
14:49time
14:50he's got his big scene with a monsignor today that's gotta be shocked we lose sir ramsey can't
14:54hold him can we no
14:59sid can we put somebody else in the dummy suit
15:05we dump clyde well we've got every right he shouldn't have signed his contract in that state
15:09of health we can't why not funny we can't it's his part he created it it's his starring role nobody
15:16would ever guess he's just said so himself nobody knows him you never see who's inside it wouldn't
15:22work why not it was the suit many stunts it was built for clyde it was molded especially to fit
15:27him him
15:29every measurement balance weight hand control designed to fit him and nobody else a man the
15:36same size it's not just that and the dummy's a character oh see a complete character let's be
15:42realistic it is i don't know if you've noticed it but there's a lot of clyde in it he acts
15:49it i direct
15:51it at least i think i do perhaps nobody's noticed that however so you're refusing to try it
15:59if you want to dump somebody you dump peter wager i'll keep him off the bottle
16:11i'm a great believer in women's lip liberating them from work from their ghastly husbands and kids
16:19particularly husbands do what i can in that direction you better not put that bit in in the
16:24circumstances why are you shy all these days exactly put it all in it's good for the old randy
16:31in it did you break them up is that how you see it yeah got in there showed her what
16:38she was missing
16:39she is alive she's all woman as they said there she was stuck with that now you've seen him well
16:44you haven't seen it but inside all that rubbish there is even more rubbish which is old clyde
16:52hey the gibbering mess has she put up with him all this time i simply can't
16:56let's go hey have you met um our producer this is miss uh yeah well she's a writer she's writing
17:05about me so i love her joanie skate ephemeral magazine can i um have a word yeah i'm just giving
17:15her
17:16my side of the story about what story me and the monster be careful
17:30well the poor man's errol flynn my poor woman's oh uh what's happening i don't know you're getting
17:40more lines to say oh no lines at all well do you know when they're gonna shoot my scene i'm
17:46sorry
17:46it's not i do hope i made it perfectly clear sir ramsey about this a bahamas tomorrow you know
17:53for the sake of the film i'm appealing to you now you'll get paid the full amount for doing nothing
18:01you won't lose a thing oh yes i would the one the part we'll put out a story to the
18:07press we'll make
18:08it look good for you i promise i'll call the publicity man over now we'll work something out
18:11no i want the part it's not very big i like it it's me it's showy it's good for my
18:21career
18:28you'll get a bonus a substantial bonus philosophy keep it
18:33i want the part i'm here ready and willing to perform it you will have to break my contract
18:39throw me out fire me on a morality issue and these days mr nettleton just try it i'll sue you
18:49for damage to my professional career oh such damages professional that's not a word you should use from
18:57what i've heard of your behavior here this morning why don't you get rid of him hmm clyde he's washed
19:02up chuck him out anybody could do that job act inside a rubber suit anybody if you think that i
19:12would
19:12contemplate clive boyd is my friend what did you mean hmm you said be careful just now careful about
19:31what oh uh of what you might write anything that might be a defamatory for instance oh
19:36especially look um you obviously gathered there's a clash of personalities it's tricky to handle of
19:42course very tricky indeed uh what uh what do you think i meant masks mr nettleton about a nice cuppa
19:51i made a fresh brew i thought we're all gonna need it thanks pat uh two please um sugar no
19:58no one
19:59without and lots for me of course i know what do you mean masks that's what all this is about
20:05isn't
20:05it the dummy a man like clyde boyd i wanted to speak to him because i wanted to discuss not
20:11just at the
20:12moment oh thanks pat he must be into masks in a big way i mean it's what he's always done
20:20performed
20:21inside a giant mask uh well he's specialized well you know what i mean well you must do the psychological
20:27thing oh go on in primitive tribes they wear these huge ceremonial masks oh big wooden head and
20:35grass skirt you mean they completely cover a man total disguise a chap gets inside one of those and
20:40he's away the tribe thinks it's alive i must hide oh it's not like that at all it's not a
20:45disguise
20:46they know the man's inside but it doesn't matter they believe the mask itself is alive
20:52always all the time the man is just helping very deep stuff so as i thought if if by any
20:59chance you
21:00meant something like that then no no of course you didn't uh i think you want it i'm coming excuse
21:09me
21:14now that magazine what was she's bright you know brighter than you'd think oh good
21:27mr nettleton's one of the kindest people i know he always has a word for me now what do they
21:32make
21:32this out of you think bats droppings and mummy dust they should serve it in green goblets you know
21:38sir ramsey do you know clyde boyd who your co-star ah oh oh yes oh yes yes they tell
21:50me he's very promising
21:51um dearest daddy no nice listen to this dearest daddy now don't hurt no listen listen i i i want
22:09bunny
22:09to hear it i i miss i miss you very much we went for a picnic yesterday but i didn't
22:17like it
22:18to hear it but mommy got cross and shouted we only went where peter wanted to go he talks all
22:25the
22:25time but he has stupid ideas i hate peter kids work themselves but that's not kids that's my little
22:32girl i mean she hates him he he runs their lives funny for god's sake
22:57i need one too uh are there any more glasses
23:14bunny
23:17oh bunny you're a real friend
23:22he saved my life you know that oh well this job i i was on the point of making a
23:32finish
23:34calling it quits and really doing it i got all the pills and then
23:41bunny came through i applied he said what about giving the dummy another spin
23:47he's a he's a good friend you didn't know that bunny but that's how it was
23:57end of a notable career it would have been
24:01yes listen to him
24:06money money i know what i'm doing
24:12when i was young i thought i was great stuff
24:18stayed struck in it like we all are
24:26do you know what they said about me never mind
24:29he lacks presence
24:34no that's terrible it doesn't matter if you're a bin man or an electrician or something but
24:43if you're an actor and you lack presence
24:49it means nobody knows you were there
24:51you're a man who quit the stage mr boyd who'd ever notice
24:59a lot of people would fly
25:04all over the world oh
25:06they love you hate me
25:10i frighten them
25:11it's the same thing
25:13fans
25:17Well, you've got a lot of them, Clyde. A huge, loyal following. And you've had it ever since
25:25the first dummy pick. A big international public, from Iceland to Borneo to Japan.
25:33Yeah, they can all understand grunts. Well, let's put it this way. You get across to them.
25:45Yes, I do. I mean, would you rather have been like Peter Wager? He's got presses oil.
25:56Just watch him use it. Flashing the big charm, eyes, jaw, shoulders, his grace at his stage.
26:05Poncing about on his old ego trip till he's as old and crazy as Sir Ramsay out there.
26:11They think they're magic just because they can learn the lines in Hamlet. Is that what you wanted?
26:20No!
26:21Well, that's them. That's all they are. But you're something different, Clyde. I don't think you've ever known yourself.
26:30I've tried.
26:31You work in another dimension altogether. What do you mean?
26:37Look, we never thought about it. We just let it happen. We've never talked about it. But we felt it.
26:43So did all those other people all over the world.
26:45Yes, yes, they must have.
26:46You don't need lines written down by other men, other people's thoughts to repeat. That's not the way it works.
26:54It happens somewhere deep down, like going down into the sea, where words don't function anymore.
27:08The rules are different. Pressure. Preceptivity. Awareness. And on that level, you reach us. Clyde.
27:52Where's Mr. Boyd's dresser? Hmm? Ah, George. It's George. Get in there. Right away.
27:57Listen. Don't say anything. Just get it all on here. Get everybody in position. We're going to shoot the scene.
28:04The graveyard scene. Now. Right.
28:08Okay, studio. Stand by. We're going on the graveyard scene.
28:15What do you suppose they've done to him?
28:17That stuff they use on racehorses. Syringe full of it.
28:24It's starting, Clyde. Can't you feel it? The power in you.
28:32Vic, I can't have any hold-up for that. Now look, Sid, if you want a proper job...
28:35I don't. I just want to get this scene shot. So when he comes out, slurp some over him, okay?
28:39I don't know. Just put it down to me. I'll make it fast.
28:43Colin, end board, this one. Right. Stand by, everybody. It'll be turn over, then action. Board on end, right?
28:52This is it. This is a part I can hardly watch.
28:57Oh, my God. I never wanted to see this.
29:01I never wanted to be in this room when you become the dummy.
29:07I can feel it. I can feel it taking over.
29:15Stand by.
29:57I did it.
29:59Ow!
30:05Turn over.
30:08Speed.
30:09Action.
30:18Oh, look at him.
30:59Oh, my God.
31:09Cut.
31:27Clear the studio!
31:34Get the security.
31:36Just get on.
32:06Get the security.
32:07Pull out the leg off.
32:08This is the studio.
32:09Thank God for that.
32:11Last time.
32:12Who's in charge here?
32:14Mr. Nettleton's a producer.
32:15Where is he?
32:16Is he in charge?
32:17Well, he is the producer.
32:22I'm directing the film.
32:24I believe there's a man dead, sir.
32:25He may be.
32:26Don't you know?
32:27I've got to look at him.
32:28I think he's next broken.
32:29If you just let me a second longer...
32:31You'd have gone the same way.
32:32Yeah, all right.
32:34Is the animal still in there?
32:36Animal?
32:37It did it.
32:38With any luck, we can get a hold of it with this.
32:40It's not an animal.
32:42The message I've got, it said the sting...
32:43I tried to make it clear.
32:44Some kind of dangerous one.
32:45I did try to explain.
32:46From a zoo.
32:47No, no, don't you understand?
32:48Then what is it?
32:49Have you ever seen a dummy film?
32:53What the hell have you got in there?
33:13Probably doesn't realise what he's doing.
33:15I think he's had a mental breakdown.
33:16Sudden as that, without warning.
33:18It, er...
33:20just happened.
33:24Can I get a look at him?
33:25Any windows?
33:25No.
33:26Any windows?
33:26Talk to him.
33:27No direct way.
33:28Well, there's a phone.
33:29Think he's likely to answer him.
33:31Look, it's soundproof and lightproof.
33:33That's the way a film studio's made.
33:34It's gotta be.
33:34What about the doors? Well, they're all locked. You've got everybody out? Yeah. Are you sure? Well, yes, apart from
33:41the body. Where's Sir Ramsey? Anybody seen him? Not just before the... Oh, my God. Sir Ramsey! Ramsey! Ramsey! Ramsey!
33:50Ramsey! He's not out here! Sir Ramsey! He's an old man. Sir Ramsey! Sir Ramsey! Check the dressing rooms, quick.
33:57Yeah, sure.
33:59Are they... Are they calling me? Hmm? I was just having 40 winks. Is it my scene? No, no, Sir
34:05Ramsey. Well, all this shouting, it's quite unnecessary. I can hear the call, boy. It isn't that at all. I
34:12never miss an entrance. I never have. Tell him.
34:17A man's been killed. Oh, good gracious. I'm afraid so. That's unlucky, you know.
34:27Now, he did it with his hands. He's not armed. Well, it is the hands. What do you mean? Is
34:35Vic there? Special effects!
34:37Vic! Vic! Vic! Vic! Vic! Vic! Well, if they don't shoot my scene today, I'm off. And I mean it.
35:00What do you get back please?
35:11He's stuck in here.
35:23Right, unlock the doors.
35:25Look out for those hands.
35:26Don't worry, I can fed him off with this.
35:30I'll just take a look.
35:33It's grotesque.
35:34I told him, but would he listen?
35:37Right.
35:42Okay.
35:44Okay.
35:57Okay.
36:10Okay.
36:16I can't get a chance.
36:19You all right?
36:21It's so big.
36:22Well, you found out you wouldn't listen to me.
36:24Leave him alone.
36:24It's not a man you're dealing with.
36:26He's raving mad.
36:27He'd been on the edge of it for a year and now he's gone over.
36:29And you did it.
36:30What are you driving at?
36:32What do you mean?
36:33He took Boyd's wife away from him.
36:35That's a lie.
36:36That's what he told me and he believes it.
36:38His wife?
36:39Where is she now?
36:40With me.
36:40She couldn't stand him any longer.
36:42She'd had enough.
36:43And his child?
36:44Yes.
36:44I'm looking after them both.
36:45Can you get her here?
36:46What?
36:47His wife.
36:48Bring her here.
36:48Let her talk to him.
36:49Oh, no.
36:50This might help.
36:51I'm not going to let her get involved with this.
36:53She's been through enough with him.
36:54And you've got no right to suggest it.
36:55A man has been killed.
36:56Just the same.
36:57I want you to cooperate.
36:58How long will it take to fetch her?
37:00I don't know.
37:01Twenty minutes.
37:01Please do it.
37:02Listen.
37:03I won't have her put at any risk if that clearly understood.
37:06Just get the lady here, sir.
37:08Quick as you can.
37:29What's going on?
37:30They're working out, sir.
37:31Why didn't they get more people?
37:32More police?
37:33Wouldn't help.
37:35You'd better tell him.
37:38I have no idea.
37:39I was just having my little nap, and suddenly everyone started screaming.
37:49Ramsey.
37:50Ah, yes, nobody.
37:50What's the score?
37:51It's not good.
37:52We can't go on.
37:53Oh, dear.
37:53I've done everything I could.
37:54Perhaps more than.
37:56I'll have to release you.
37:58Show business.
38:00I'd like to be on your way.
38:02Right.
38:03Well, I may as well go and get my piggies stuck into those sun-drenched sands.
38:10Yes.
38:11Well, I'll just slip out of these things.
38:20The film?
38:24Here we are.
38:25Something hot and sweet.
38:28How about it, Mr. Nettleton?
38:30Good old Pat.
38:31Trust her.
38:32I always say, no matter how bad things are, they could be.
38:36It could be worse.
38:38Here.
38:41One for you, Mr. Eky.
38:43Ah, yes, certainly, certainly.
38:51What did you do?
38:54I don't see why I should.
38:58I, um, talked to him, that's all.
39:01We had a drink or two.
39:02What did he talk about?
39:04His family problems.
39:06Was that all?
39:08What else would there be?
39:09He was desperate on the edge.
39:11I, uh, talked to him back again.
39:12That's all I did.
39:15I tried to do it.
39:17It went wrong.
39:19Oh?
39:19Look, Client's problem was that, in a sense, he wasn't anybody at all.
39:27You used that, didn't you?
39:44Mrs. Floyd.
39:46What the hell is that for?
39:48She's going in there.
39:49She isn't.
39:49I thought you said.
39:50Leave this to me, sir.
39:51Now put that thing away, now.
39:54Lock it up.
39:56There'll be no shooting.
39:59What do you want me to do?
40:02Talk, that's all.
40:14We'll open two doors at the same moment, on opposite sides.
40:18I'm going in through one to try and recover the body, while your voice distracts him at the other.
40:22I thought you said.
40:23The voice.
40:24Now shove it out, speak for it.
40:25You talk through that.
40:27What shall I say?
40:29Well, Bonnie, what can I?
40:30Don't ask me.
40:32But he's gone mad.
40:33We're not sure about that.
40:35He's killed that man, hasn't he?
40:39There is no aggression in Clyde.
40:41There never was.
40:42That was the trouble.
40:44I could never move him.
40:47When things got bad, he just curled up and gave in.
40:51I couldn't stand it, Sid.
40:52All the weeping, the torment.
40:56I suppose I realised, even then, that he wasn't right.
41:00You left him.
41:01She had to.
41:02He was doing enough bits.
41:03It wasn't only me.
41:04It was Karen listening to it all.
41:07Do you know she got so thinned, her school ran me up to find out why?
41:12Where is your daughter?
41:15The neighbour.
41:17Look, I'll do it.
41:19Just tell me what.
41:21Well, the point is to get him quieted down.
41:24Bring him back to himself.
41:26How?
41:28Tell him what he wants to hear.
41:30What's that?
41:32Well, it has to be.
41:35He feels he's lost there with him.
41:37Tell him he's going to get it back.
41:38You mean her?
41:39That she's going back to him?
41:40Oh, no.
41:41I said tell him.
41:42That's right.
41:43So long as he believes it, it doesn't have to be true.
41:45Just take his attention for half a minute, that's it.
41:51I'll try.
41:52Keep it to them.
41:53Casual.
41:54Matter of fact.
41:56Yes.
41:58Just take it.
42:00Poor Clyde.
42:03Who are you?
42:04Who are you?
42:05Who are you?
42:05Who are you?
42:05He said so many things said to him today, I don't think he's hearing any more.
42:08He's gone.
42:09He's in there.
42:11Something else is in there.
42:13That's enough.
42:15What does she mean?
42:16What was she on about?
42:18Look, if you're talking about his state of mind, I know his mind better than anyone else.
42:22All right.
42:22Leave her there.
42:23Leave her there.
42:23Give her a chance.
42:25All right.
42:26Let's do it.
42:27Mark Quinn's down there.
42:30They'll give you a signal.
42:31I'll be down the next passage.
42:32All right, Mr. Stewart.
42:58I'll go home.
43:00Look at that!
43:19Clyde this is Sheila listen to me are you listening I want to help you I want to talk
43:28to you I want to understand I'm your wife Clyde I can help you perhaps after all it isn't too
43:41late for us
43:42Clyde I want you to listen to me now it's not too late it never is too late you understand
43:58that it was all my fault as it was I want you to forgive me I want to help you
44:10Clyde I know I can
44:20leave him
44:22this is boy this is boy no Clyde Clyde
44:37Clyde where are you are you there oh my dear what's happened
45:14she's in there it's gonna
45:21she's in there oh that's too slow that's all there is
45:37oh god oh god
45:40blood what it's chemical blood it's fake
45:44blood make some get her over to the medical room she's gonna be all right she was nearly
45:48dead you killed her nearly you did you'll be all right you'll be all right
46:05you'll be all right
46:07oh
46:07oh
46:07oh
46:08oh
46:08oh
46:09oh
46:10oh
46:11oh
46:11oh
46:21oh
46:22oh
46:51oh
46:57oh
46:58oh
46:59oh
46:59oh
46:59oh
46:59Oh, my God.
47:29Oh, my God.
47:40Oh, my God.
47:57Oh, my God.
47:59Good grief.
48:00Who is that?
48:02The dummy.
48:26The dummy.
48:31Amen.
48:56Amen.
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