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S01E04 >>> https://dai.ly/xa55jrc
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00:07We simply must be brave, mustn't we?
00:12Heaven knows it'll be hard.
00:14It'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.
00:27So...
00:29I shall stay in my shop, and you and yours.
00:34And all I ask is that you don't grow to hate me.
00:37How 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. I think I'm just a bit tired.
00:59Of course, darling. You must be.
01:01Tell you what, how about a proper dinner after this?
01:03Like we used to before the war.
01:05Oh, yeah, that would be wonderful.
01:08None of this canteen muck. No offence.
01:11Sandra, are you okay?
01:13Yes, yes, Jessie, I'm fine.
01:15Don't fuss.
01:16How was my pout at the end, was it?
01:18Could do with a dab, actually.
01:22Miss dear, anywhere's victory red.
01:24Besseme.
01:24Please, can we just stop faffing and get on with it?
01:27Mary, thank you.
01:28Yes, Miss dear.
01:29All right.
01:30All right.
01:31Ad Astra Peraspera.
01:33We must have bodies.
01:35Abracadabra.
01:36Stuart, stop it.
01:36I'd like to concentrate.
01:38Have.
01:40Quiet!
01:40Love, Lorne, in London.
01:42Scene 28, take three.
01:45Action!
01:47We simply must be brave, mustn't we?
01:51Heaven knows it'll be hard.
01:53It'll be beastly.
01:55But we're strong.
02:04Oh, my.
02:08And this is on his bedroom wall.
02:12Rose red and rolled gold.
02:15I said to him, Stuart, Stu, I said.
02:17You are just like this paper.
02:20You're so strong and modern.
02:22He handled this very role.
02:26Can I touch it?
02:31I shouldn't really, but...
02:34Well, since your extra's in my cake shop.
02:44This is the last thing he sees when he gets him to 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...
03:05I 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.
03:32Thank you, King.
03:35Mr. Book.
03:36Didn't expect a welcoming committee.
03:38I thought I'd better prepare you.
03:41For what?
03:41There 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?
03:48Is it genuine?
03:50As his teeth.
03:52Oh, dear.
03:58What the hell?
03:59Close.
04:01Hollywood.
04:02Or rather, the nearest England can get to it.
04:05Yes, Jack.
04:06We'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...
04:28No, I think we'll just lose the line.
04:30I'm already worried about the...
04:32Nostalgia.
04:35You'll be smashing in the background there.
04:37Let's take ten.
04:39Ten minutes, all.
04:41Ten minutes.
04:41Billy.
04:42Marina.
04:43Rather jumpy this morning, isn't she, our dear Sandra?
04:47We worked on hours in picture business, Marina.
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.
05:05See, I know all the jargon.
05:06Who's in it?
05:07Morning, Mr. B.
05:08Good morning.
05:10Stuart Howard.
05:12Yes, Mr. Howard.
05:12I like him.
05:13He's passed me by entirely, I'm afraid.
05:16He plays the hero, the idealistic young bookshop owner, in love with the girl next door.
05:21Did you never see him in that submarine picture?
05:24He went mad and tried to throttle everyone.
05:26I mean, he was proper sweaty.
05:27Alash.
05:29Well, who else?
05:30Patience.
05:31You've literally arrived halfway through this picture, and you've yet to set eyes on our leading lady,
05:35who's also Stuart's fiancée, his real-life fiancée.
05:41Sandra there.
05:43She's using my room, decanted my thing so she can do her mascara, sip her Vichy water, whatever it is
05:49these people do.
05:51I had a cigarette card of her, before the war, of course.
05:56Fuck.
05:58Mr. Book.
05:58Ah.
06:00Not getting too much in your way, I trust?
06:02Not at all.
06:02Certainly an education.
06:04Larry Olivier calls film an anemic little medium.
06:07He's such a crashing snob.
06:10For 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.
06:18Delighted.
06:19Oh, and here's Nora.
06:20The gang's all here.
06:21So, you're all the director?
06:23And the writer.
06:24I thought you'd be older, with a monocle and a riding crop.
06:27Mustn'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.
06:41That's why you look different.
06:43Yes, you were very busy me, as I recall.
06:45You were always running about the place, weren't you, Mr. McKendrick?
06:47Jessie.
06:48Jessie.
06:50Ah, hello, 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, from...
07:03Oh.
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.
07:14Picture-goer.
07:15If 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.
07:42It's lovely.
07:44And he has this.
07:46From his ceiling, all the way down to his skirting boards.
07:54Does he talk about her, Fiance?
07:57Does he say, I don't like her anymore, she's too old for me?
08:01No.
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.
08:09He says he was very excited about Lovelorn in London from the moment he saw the script.
08:14And 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.
08:24Hear that, Barbara?
08:28Heavens!
08:29God, is it bad?
08:30Barbara?
08:34Home is the hunter?
08:36Oh, my God.
08:37God.
09:10God.
09:10God damn, is it bad?
09:23Pardon me.
09:25Oh, my God.
09:28Oh, my God.
09:28Oh, my God.
09:29Oh, my God.
10:01Yes, mate.
10:04Is 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.
10:17Suspicious. I've shut down filming for the time being.
10:19Have 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...
10:27At the pictures.
10:32Inspector.
10:34Book?
10:36We are at home to death, it seems.
10:41Oh, they're upstairs.
10:55Royal appointment.
10:58What are they keeping from us, Stuart? All this waiting is making me tired.
11:03Perhaps one should have a mask made.
11:07A mask?
11:08With a permanent Richter smile.
11:13They can do wonders with make-up now.
11:17I'll have Boris Karloff's number if you'd like.
11:24The dearest 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.
11:37Who?
11:38Them.
11:40Them.
11:40They'll buy it.
11:41They love us, don't they?
11:42Both of us.
11:43They'll throw bottles at the screen.
11:52Do 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 by the nation's most blissfully engaged couple, remember?
12:09Hmm.
12:09And what a long engagement it's been.
12:15Oh, God, I can't wait to be back at the studio.
12:17Haven't you enjoyed our little field trip?
12:19If we're back at Lady House, it gets that dreadful marina bean out of my air.
12:24The studio has gates.
12:26Fire breather of picture-goer.
12:27Hmm.
12:28You know when you lift a stone, or a branch, and suddenly all these ghastly, filthy, damp
12:35little monstrosities are exposed to the daylight, scrabbling back into the shadows?
12:41Well, beneath them are even worse, filthy, damp little monstrosities.
12:47And under them is an arena bean.
12:52Which must have been rather sweet to me.
12:54Mm-hmm.
12:56Well, we've got good news for it, don't we?
12:58Do we?
13:00Deliveries.
13:01Aw.
13:01Our new three-picture deal.
13:03Picture-goer exclusive.
13:05Yeah.
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?
13:30Evidence of a little life spilled on the floor.
13:37Ooh.
13:39What's this?
13:41You kiss your excess lipstick onto your favorite star.
13:45Yeah, well, it takes all sorts.
13:47This interests me.
13:48May I?
13:49Mm-hmm.
13:52Very carefully wrapped.
13:55Tenderly, I'd say.
13:57Ah.
13:58Well, they are still on the ration.
14:01They look expensive.
14:03But there are only coppers in this purse.
14:05Trotty.
14:05Yes.
14:05Did they have money, these girls?
14:07Very little.
14:09So they didn't buy them.
14:12I didn't notice the production providing fancy confectionery.
14:17No, the ferns bring them.
14:19Letters and presents.
14:21Sad little things they've knitted.
14:23They're left through there.
14:25Billy brings them up to them.
14:27Actually, he had a box of chocolates with him just now.
14:34Puncture mark.
14:36Barbara was breathless, Trotty, yes?
14:38Yes, and twitchy.
14:43Strychny.
14:44Oh.
14:45Hells.
14:46Bells.
14:56Poor girl.
14:59Someone's been at these.
15:01Oh, darling, you shouldn't...
15:02You don't know where they've been.
15:04Chocolate!
15:04It's poison!
15:05That'd be absurd.
15:07They're by wrong appointment.
15:07I'm afraid it's true, sir.
15:10You didn't have any, did you, mister?
15:12Oh, no, no.
15:13What about you, mister Howard?
15:14No.
15:14Oh, good.
15:16Have you ever received chocolates like this before, mister?
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.
15:30Intended victim.
15:30Intended victim.
15:30What does he mean?
15:31Intended victim!
15:33We're investigating the death of Barbara Markham.
15:35Oh, yes, that unfortunate young woman.
15:38Yes.
15:40Oh, my God, I have been sent some strange things in my time, but...
15:43How 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 at them.
15:55And Barbara and her friend presumably did.
15:57Jesus Christ, we could have both died.
16:00What were you thinking about bringing that muck up here?
16:03Sorry, mister 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 alright, my love?
16:16It's a brutal question, mister, but I'm afraid it must be asked.
16:20Do you have any idea who might want to kill you?
16:24Can't this wait?
16:26Yes, of course.
16:26He'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.
16:55There 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.
17:08Not 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?
17:26Twenty guineas.
17:27Per week.
17:28Per diem.
17:30Per diem.
17:30For ten diems.
17:35The devil's going on out there.
17:37Bobby's swarming about like the cup final.
17:39Ah.
17:40Mrs 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 neighborhood.
17:49Oh, 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 heard from us last time, wasn't it?
18:01I trust you enjoyed 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.
18:14Jack?
18:16Oh, um.
18:17Underneath Hardy Perennial's the biography of Danton
18:20and the stack of unpaid bills.
18:21Got anything on, er, how to cook?
18:25I beg your pardon?
18:26That's what she needs.
18:28Gnarly boil a ruddy egg.
18:31How are your feet?
18:32Oh, much better.
18:34Oh, I'll wait in the car.
18:38Ah, that's just a bomb.
18:40Oh, and I put this to one side, too, er, on the house.
18:44What is it?
18:45Oh, just a little play.
18:46Ibsen, A Doll's House.
18:47It's about a woman who realises she's rather trapped.
18:52Unfulfilled.
18:54But you might find it enlightening.
18:59Cereal.
19:04How's business been?
19:06Booming.
19:07Goodbye to bullying.
19:08All the Stuart Howard fans are mad for it.
19:12Is he in the film version?
19:14That's what I'm telling him.
19:18I, er, 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 glass.
19:29Right.
19:46Ah.
19:47What, what?
19:48bo wink
19:48What?
19:57Oh, my God.
20:28I don't know.
21:10You really think someone tried to kill me?
21:13It really looks that way.
21:14Good God.
21:16At least we'll be back at Ladyhurst tonight.
21:19Are you sure you're okay to shoot?
21:20I have to be, won't I?
21:22Deirdre?
21:24See me?
21:25My memory.
21:26Sandra?
21:27Are you ready?
21:28Ready?
21:29My exclusive.
21:31Oh, excuse me.
21:34I promised an interview.
21:36Harold.
21:36Mr.
21:37Marina, I can give you two minutes.
21:41Necessary evil, I suppose.
21:43One must feed the machine, Mr. Booker.
21:48Ah.
21:50Finally.
21:54If you'd be so great.
21:55You know my motto.
21:57If you've nothing nice to say, come and sit by me.
22:02And here you are.
22:04Sitting by me.
22:06Ah, yes, but I do have something nice to say, Marina.
22:10Oh?
22:11Love Lawn in London is the first of a new three-picture deal.
22:16Oh, yes.
22:17A deal Stuart and I have signed on for.
22:20Isn't that marvellous?
22:22Marvellous.
22:23And you're shooting interiors at Ladyhurst, aren't you?
22:27Not exactly MGM, is it?
22:29Ladyhurst.
22:30Oh, it'll do nicely.
22:33You know the place, though, don't you?
22:35I made plenty of pictures there in the past.
22:38I like the one where you played the simple crofter's daughter who married a duke.
22:42Hmm, yes.
22:43And the one where you played a simple fisherman's daughter who married a duke magnet.
22:48Yes.
22:49I always forget what duke is.
22:51It's a kind of fibre.
22:52People make bags with it.
22:56What's the first film you made there, Sandra?
23:00At Ladyhurst?
23:02Hmm.
23:03Um, I don't know.
23:08Springtime for Mary, I think.
23:10About a simple blacksmith's daughter who married...
23:13All right.
23:16I think it was quite a bit before that.
23:19Do you know, our readers would be fascinated to learn that not all Sandra Day's pictures were talking pictures.
23:26I love those old intertitles, came the dawn and all that.
23:33Well, I can check the date later, Deidre.
23:36That is your real name, isn't it?
23:39The one you used to go by.
23:42Deidre Piddock.
23:44Perhaps you should concentrate on the present, Noreena.
23:48What?
23:50Someone is trying to kill me.
24:04Jesse and I are taking Sandra for supper.
24:07Trying to take her mind off things.
24:09If that's not inappropriate under the circumstances.
24:11Well, one must eat.
24:13Where are you going?
24:14Wheeler's?
24:15No, Camille's.
24:16On the Strand.
24:18Good 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.
24:29Really?
24:30And they were intended for me.
24:32And that poor, sad girl intercepted them.
24:36Oh, what?
24:37How's that for an exclusive?
24:38Tragic.
24:40And what an angle.
24:42Oh, sorry.
24:44That was crass of me.
24:45But still.
24:47What an angle.
24:49Well, there's your story, Noreena.
24:52Are you ready, darling?
24:53Oh, yeah.
24:54I was just leaving.
24:55Congratulations on the new contract, Stuart.
25:03Much to chew on.
25:06Always lovely to see you.
25:12Trust the lady, Hirstie, is in five minutes.
25:14Five minutes, everyone.
25:17What are you waiting for?
25:18The last post?
25:21Mr. Masterson.
25:23What a pleasure to see you again.
25:26Noreena Bean.
25:27Looking lovely as ever.
25:29What can I do for you?
25:37Here we go.
25:38Tar.
25:46We met through, um, picture-goer.
25:48Me and Barbara, I mean.
25:50There's lots of correspondence, you see.
25:52Like-minded folk finding each other.
25:54Someone to dare, friends.
25:55Some.
25:57And the other big names, too.
25:59There's a hairdresser I know who's potty on James Mason.
26:02But, you know, Stuart was our favourite.
26:06That's why we...
26:08Why we chose to get jobs as extras.
26:10To get close.
26:11Oh, you're doing very well, my dear.
26:15You admit to taking the chocolates?
26:20Yeah.
26:22I'm awfully sorry.
26:24We just couldn't resist them.
26:25We saw them there, on the table, in the bookshop, and...
26:28I mean, chocks.
26:31Come on, it's been years.
26:32They were through there?
26:34Yeah, just through there.
26:37What did you do with the note?
26:42Note?
26:43Well, there was obviously an enclosure of some kind.
26:47It's not there now.
26:49What did you do with it?
26:50I...
26:51I...
26:52I didn't see any note.
26:58It was over there, look.
26:59On the table.
27:03It's funny how easy it is to get close to them.
27:06The stars, I mean.
27:08Sally Gray once brushed past me in the powder room at the Walsingham.
27:11You opened the box.
27:13Remember the card fell out.
27:17Do you have back issues?
27:21Picture-goer, I mean.
27:22Of course.
27:23January 35 onwards.
27:25Would you be so good as to let us have them?
27:27Of course.
27:34I know that look.
27:42Oh, dog.
27:43You naughty boy.
27:47Yes, sir.
27:49Sir.
27:50Profession.
27:51Well, I wouldn't say.
27:53Profession, sir.
27:54He gives you full pay for that.
27:56Hmm.
27:57He does.
27:58He's very calm.
28:01You're sure he knows now?
28:03Yeah, he does know where we are.
28:05Thank you, Miss Bruce.
28:06You've been most helpful.
28:11Constable?
28:21Well?
28:25Oh, Stuart.
28:26Oh, Stuart, my love.
28:28There's so much I want to say to you.
28:30From that moment on the submarine, I knew your look of concentration, your strength.
28:36We were destined to love each other.
28:38Ship of shame.
28:40Good picture, that one.
28:42They were meant for him.
28:46We imagine we control our passions, but they direct us.
28:51To the stars we strive, despite adversity.
28:54They drive ordinary people to extraordinary actions, like injecting strychnine into strawberry
29:00creams.
29:03So, Stuart, my own best darling, I implore you not to try.
29:08Follow your heart.
29:10Break off your engagement.
29:11And we can be together.
29:13You and I.
29:14My sweetest boy, 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.
29:38What do we know about this film, Will?
29:43Stuart Howard.
29:45Proof that smoldering Latin looks 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.
29:58And he's young and ruthless and rather over-rewarded.
30:01And appears to be hopelessly in love with someone else.
30:04Who?
30:06Himself.
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 us.
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, you'd have been interned as an enemy alien.
30:50I suppose they preferred the California sunshine.
30:53That's made me think rather better of her.
30:56I thought she was just running away from the bombs.
31:26What about Billy?
31:29Stuart Howard's just arrived at the top, ain't he?
31:31It's hard to have been there for years.
31:33But she can only stay there for so long.
31:36Very perceptive of you, Jack.
31:40What a brutal business this is.
31:43It captures people in time.
31:46Then they change.
31:49And it mocks them for it.
31:52Right, I'm going to get on to the film security, people.
31:54See if anyone saw who dropped the chocolates off.
31:58What will you do now?
32:01Jack and I are taking this note to dinner.
32:26Jack and I are taking this note to dinner.
32:37Jack and I are taking this note to dinner.
32:38Jesus Christ.
32:39Me?
32:40You?
32:43You have no idea how draining it is, Mr. Book.
32:47Gladhanding.
32:49Scribbling one's autograph.
32:51Feeling to recognize someone whom you apparently met at a village fate ten years ago.
32:55And the smiling.
32:56Great 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?
33:19What?
33:21Oh, no.
33:22No, we don't.
33:22So if I might repurpose the inspector's earlier question,
33:25can 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.
33:39My ex-agent, my ex-ex-agent.
33:41Uncle Tom Conway and all.
33:44What about prison?
33:46What?
33:47You started to eat your dinner with your spoon.
33:51Ah, old habits.
33:53Dead giveaway.
33:55Takes one to know one.
33:59I was younger than you.
34:01Nothing too terrible.
34:02But 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.
34:26I'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.
34:42We'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.
34:50Yeah, 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.
34:58Splendid.
34:58Yes, 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.
35:07You'll be delighted.
35:08Thank you for these.
35:10I'm a film star.
35:15You all right?
35:17Yeah.
35:19I want a bay.
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?
35:51Varsity Sporting Review.
35:55There you are.
36:21There you are.
36:28What's this?
36:31Come on. It's usually around now that you deign to share.
36:38Three things, then.
36:39Who would benefit from Love, Lord and Lutland collapsing?
36:42What was missing from that box of chocolates?
36:45It was lying there with all the other fan mail.
36:47But no envelope.
36:48Top of the class, Mrs. Book.
36:49So, unless the envelope was disposed of...
36:53The chocolates didn't arrive by post.
36:55So anyone on the film set could have put it there.
36:58Precisely.
36:59And finally, the chocolate method, haphazard though it was,
37:02has been tried and failed.
37:04Which means whoever's behind this...
37:05Is going to try again.
37:07What are you going to do?
37:09We're invited to the film studios tomorrow.
37:11And Jack has a new job.
37:13The Stuart Howard stand-in.
37:16When are we going to tell him?
37:20Not yet.
37:23Shall I read?
37:25Well, I know how you enjoy it, so I'll humor you.
37:30Bunch up then.
37:35Oh, there it is.
37:39Been fretting about that since we moved my stuff to accommodate the stars.
37:44Then fret not, dear.
37:47And recall our solemn panic.
37:55Cave of fantasy, eh?
37:59I've seen some dyes in my time for this.
38:03So dirty.
38:05So shady.
38:07The pansies in my garden abhor the shade.
38:14Right.
38:15Sir.
38:17It is sir.
38:18Is it?
38:20Let's find you on my list.
38:23Name.
38:24Occupation.
38:26Marital status.
38:28Engaged.
38:30Who are you?
38:32Medical officer Strock with Perry.
38:34Trotty to my friends.
38:36Lady for the Garibaldi brigade.
38:37And I don't mean the biscuits.
38:39I 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, which I wouldn't recommend even to you, Sergeant.
38:47And I never, ever leave a man behind.
38:50He'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, I'd just admit the error right away and cross him off your list.
39:02What say you?
39:09Trotty.
39:11Is Saturday all right for you?
39:13The forecast is good.
39:15Quite all right, Trotty.
39:20A kiss of me.
39:25Oh.
39:28Where would I be without you?
39:32I think we both know the answer to that, my love.
39:39Anyway.
39:41You are going to read.
39:44Of course.
39:53Oh.
40:11She's noticed you.
40:13Yeah, they always notice me.
40:15Girls.
40:17Doesn't mean anything.
40:19It's like when kids point a dog's in the street and say, dog.
40:22Yeah, well, you're getting married soon, Sam.
40:24I may have seen it in a column by Lorena Bean, but let me tell you something, Jack.
40:28I've never gone down on one knee to anyone.
40:31Sandra, what the question ended, see? I can imagine that.
40:34Most of the questions are from a business manager.
40:38Oh.
40:39Oh.
40:41So you've got an arrangement, then?
40:44I shouldn't drink so much, should I?
40:45Yes, an arrangement.
40:47Well, we all have those, don't we?
40:49You have one with Book.
40:50Book has one with Mrs. Book, if we're talking about unusual marriages.
40:53Why do you say Book's marriage is unusual?
40:57You're like him.
40:59Book.
41:00How?
41:01Because you read.
41:02So, go on, read me.
41:07Well.
41:09Um...
41:12You keep coming here because you think this is the sort of place that film stars go.
41:15Well, here's the thing.
41:17You don't like it here.
41:19You hate it.
41:21And you hate that drink, too.
41:23It's like a pudding from the war.
41:24Shh.
41:26So you're thinking, how can I be the chap I was, you know, before I knew that the camera
41:31loved me, which is a terrible thing tonight.
41:34It's not all it's cracked up to be.
41:35Can you believe that?
41:35Yeah, 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?
41:44I was a bit stuck when I met Sandra.
41:47Typecast.
41:48Not officer material, they said.
41:51It was a problem, kid.
41:53Sandra changed that.
41:55Pulled strings, whispered in ears.
41:57Producers started casting us as lovers.
41:59They were lovers by then, of course.
42:01Do you love her now?
42:04Oh, and I don't hate her.
42:09You won't be your own man.
42:11Of course I do.
42:12But it's impossible, isn't it?
42:13We're a pair.
42:15Like Hope and Crosby, Fred and Ginger, Garbo and Gilbert.
42:18Yeah, except he left, didn't he?
42:19What?
42:21John Gilbert.
42:22Didn't survive when the talkies came.
42:25Yeah.
42:26So it's all an act then.
42:28You and her.
42:30Golden couple.
42:31All an act.
42:32As much an artifice as Stuart Howard himself.
42:37The film is for dreamers, you see, Jack.
42:41When you sit there in the dark,
42:43there has to be space for you up there.
42:45In that kiss.
42:47No scenes in the moonlight.
42:49Standing by the rail of a ship.
42:52You just read in the fan mags
42:53that the screen lovers have broken off the engagement.
42:56Can't stand to be in a room together.
42:59And there's no space to dream.
43:05Oh, dear.
43:13Oh, dear.
43:16Chrissy?
43:17Thanks.
43:17Oh, dear.
43:27You're welcome.
43:27Oh, dear.
43:29Mm-hmm.
43:29Oh, dear.
43:31Oh, dear.
43:31Let's open it.
43:31Oh, dear.
43:33I don't know.
44:08I don't know.
44:51I don't know.
45:01Can we, um, try it again without him reading in?
45:05I can do it in time.
45:06Yes, of course.
45:08Reset.
45:12You're rolling.
45:13Sandra.
45:15And...
45:16Action.
45:26Oh, God, no.
45:28I'm so sorry, Jessie.
45:30Uh, can I beg ten minutes?
45:32Siggy will sort me out.
45:34Cut it there.
45:35Cut it there.
45:36Oh, I stay up.
45:38Ten minutes off.
45:40Back at five past.
45:44Is that a coffee, sir?
45:45No.
45:46Well, I have to go.
45:49I'm so sorry.
46:03Oh, my God.
46:49Oh, my God.
47:23Oh, my God.
47:24Eric Percival Banks, she's...
47:28She's been married before.
47:29Oh, my God.
47:49Good morning.
47:53You're up early.
47:54Oh, I thought you might want a tea.
48:19Hey, kid.
48:21You want to be in pictures?
48:27Your name's not on the list.
48:28Who are you?
48:30We're antiquarian booksellers.
48:32Isn't it obvious?
48:32And I know we're being extra vigilant, Jerry Love, but...
48:35They're with me.
48:37All right.
49:07What's this?
49:08The address of Barbara Markham's parents.
49:12I'll go visit them.
49:13No, no.
49:14There's the inquest first.
49:16Let's write them a kind letter.
49:18I will.
49:20Thanks, book.
49:22You boys are in for the biggest surprise of your lives.
49:28Keep going.
49:31Better this way.
49:32More dramatic.
49:36Geordie, can we get some lights on, please?
49:39Yes, Mr. Howard.
49:46Amazing.
49:49It's absurd.
49:51Ridiculous.
49:53Bizarre exaggeration of reality.
49:56It is wonderful.
49:59What a thrillingly peculiar life you lead, Mr. Howard.
50:02It's an imitation of life.
50:05Dog's blanket.
50:07But no dog.
50:09Is dog cast yet?
50:11Yeah.
50:12Mostly not much cop.
50:13No screen presence.
50:15Think of a good replacement?
50:17Yeah.
50:18I can.
50:24Cards of cash.
50:26Your 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.
50:40Lay on, Macduff.
50:49Just 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.
50:56Yeah.
50:57Oh, my God.
50:58What?
51:06It's one of the extras.
51:08It's one of the extras.
51:18No.
51:20I think not.
51:25It's Norena Bean.
51:37The girl with the poison pen.
51:39Hmm.
52:04I've got a done looking for my friend.
52:07All right.
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