Rope By Patrick Hamilton

Oldtuberadio

Rope Two young undergraduates think they've committed the perfect murder. To add piquancy to their crime, they invite the victim's father and other guests to a macabre dinner party. Rupert Cadell .... Alan Rickman Wyndham Brandon .... Adam Bareham Charles Granillo .... Andrew Branch Sir Johnstone Kentley .... Cyril Luckham Leila Arden .... Moir Leslie Kenneth Raglan .... Christopher Good Written by Patrick Hamilton Producer John Tydeman First broadcast on BBC Radio 4 in June 1983    Do you enjoy the variety on Oldtuberadio? Like, Share and Subscribe to be notified of our new shows #radio #crime #thriller #drama To Support this channel please visit https://www.buymeacoffee.com/oldtuberadio https://ko-fi.com/oldtuberadio98 https://www.patreon.com/oldtuberadio https://locals.com/Oldtuberadio

Transcript

00:00:00We present Rope, a radio version of Patrick Hamilton's famous thriller set in the late 1920s.

00:00:17It stars Alan Rickman as Rupert Cadell and Adam Barham as Wyndham Brandon,

00:00:22with Andrew Branch as Charles Granillo, Cyril Luckham as Sir Johnston Kentley,

00:00:27and Moya Leslie as Leela Arden.

00:00:30Rope, by Patrick Hamilton.

00:00:44All right. All right. I'll lock it.

00:00:53Put the key in my pocket and turn on the light.

00:00:57Put out that light! Put out that light!

00:01:01All right. Steady, Granillo.

00:01:05Feeling yourself, Granillo?

00:01:08Feeling yourself again, Granillo?

00:01:10Give me some matches.

00:01:13Matches? Here you are. Coming.

00:01:18Isn't it about time you pulled yourself together, Granillo?

00:01:22Sabo will be here in a quarter of an hour.

00:01:23You... you... you... you fully understand, Brandon, what we've done.

00:01:34Do I know what I've done?

00:01:36Yes, I know quite well what I've done.

00:01:39I have done... murder.

00:01:42Yes.

00:01:43I have committed murder.

00:01:46I have committed passionless, motiveless, faultless and clueless murder.

00:01:51Murder. Bloodless and noiseless murder.

00:01:56Yes.

00:01:57An immaculate murder.

00:01:59I have killed.

00:02:01I have killed for the sake of danger and for the sake of killing.

00:02:05And I am alive.

00:02:08Truly and wonderfully alive.

00:02:12That's what I've done, Granillo.

00:02:14What's the matter?

00:02:16Are you getting superstitious?

00:02:17No.

00:02:18No, I'm... I'm not superstitious.

00:02:21Then may I put on the light?

00:02:22No.

00:02:23No, you may not.

00:02:29Brandon.

00:02:30Yes?

00:02:32You remember when... when Ronald came in?

00:02:35What do you mean, when Ronald came in?

00:02:37When Ronald came in here, when he came in from the car, you were standing at the door.

00:02:42Yes.

00:02:42Did you see anyone standing there?

00:02:44Up the street, about 70 yards?

00:02:47No.

00:02:47But there was someone. There was a man. I saw him. I remembered.

00:02:50Well, what of it?

00:02:53Nothing.

00:02:54Nothing.

00:02:58Oh.

00:03:01Brandon.

00:03:02Yes?

00:03:03When I met Ronald, when I met him, coming out of the Coliseum, when I met him and got him

00:03:08into the car, ready to bring him here, why shouldn't someone have seen us then?

00:03:13What do you mean by someone?

00:03:14Someone, anyone.

00:03:16Did we think of that, Brandon?

00:03:18I did.

00:03:20It's in the room, you know.

00:03:24Do you think we'll get away with it?

00:03:26When? Tonight?

00:03:27Yes.

00:03:29Are you suggesting that some psychic force emanating from this chest is going to advise

00:03:34Sir Johnston Kentley of the fact that the remains, or shall I say, the lifeless entirety

00:03:40of his 20-year-old son and heir is contained therein?

00:03:45Dear Granillo, if you're feeling in any way insecure, perhaps I'd better fortify you with

00:03:48a brief summary of facts, with mathematics, as it were.

00:03:54Let me please listen.

00:03:57What?

00:03:57Listen, I tell you.

00:04:05It's all right.

00:04:07I thought it was Sabo.

00:04:08Sabo, in the first place, will not be here until five minutes to nine, if then, for Sabo

00:04:13is seldom punctual.

00:04:15Sabo, in the second place, has been deprived by a wily master of his key.

00:04:21He will therefore ring.

00:04:24Let me, I say, give you a cool narration of our transactions.

00:04:28This afternoon, at about two o'clock, young Ronald Kentley, our fellow undergraduate, left

00:04:36his father's house with the object of visiting the Coliseum Music Hall.

00:04:41He did so.

00:04:43After the performance, he was met in the street by your good self and invited to this house.

00:04:48He was then given tea.

00:04:51And at 6.45 precisely, done to death by strangulation and rope.

00:04:57He was subsequently deposited in this chest.

00:05:02Tonight, at nine o'clock, his father, Sir Johnston Kentley, and three well-chosen friends

00:05:07of ours will come round here for regalement.

00:05:11They will talk small talk and depart.

00:05:13After the party at 11...

00:05:14This party, it isn't a slip, is it, Brandon?

00:05:17Oh, my dear Grano, have we not already agreed that the entire beauty and piquancy of the evening

00:05:24will reside in the party itself?

00:05:27Now, at 11 o'clock tonight, I was saying, you and I will leave by car for Oxford.

00:05:35We will carry our fellow undergraduate.

00:05:39Our fellow undergraduate will never be heard of again.

00:05:42Our fellow undergraduate will not be murdered.

00:05:46He will be missing.

00:05:47That is the complete story and the perfection of criminality.

00:05:54The complete story of the perfect crime.

00:05:59I'm quite lucid, am I not?

00:06:01Yes.

00:06:02The party itself, Grano, you see.

00:06:05So far from being our vulnerable point is the very apex, as it were, and consummation of our feet.

00:06:10But consider its ingredients.

00:06:13I still don't think we could have chosen better.

00:06:16There will be first, and by all means foremost, Sir Johnston Kentley, the father of the occupant of the chest.

00:06:26It is he, as the father, who gives the entire macabre quality of the evening.

00:06:32Well chosen so far.

00:06:34We then, of course, require his wife.

00:06:36But she, being an invalid, was unobtainable, alas.

00:06:41Hello?

00:06:42Hello?

00:06:44What?

00:06:45What?

00:06:46Put out that light!

00:06:47Put out that light, I tell you!

00:06:48Steady, Grano!

00:06:49Hello, hello!

00:06:50Will you put down that receiver, Grano?

00:06:51You're tamed, London!

00:06:52You're afraid!

00:06:57Come over here and sit down.

00:06:59Yes.

00:07:03Well, go on.

00:07:09There are them.

00:07:11Kenneth Raglan and Leela Arden.

00:07:14They have been asked for their youth, innocence and good spirits alone.

00:07:17Also in Raglan, who went to the same school and is at the same university as ourselves,

00:07:21you have about the most perfect specimen of ordinary humanity obtainable.

00:07:26And therefore, a suitable witness to this so extraordinary scene.

00:07:30Sir, unintellectual humanity is represented.

00:07:36The same applies to Leela, his female counterpart.

00:07:41We then come to Rupert.

00:07:47Now, in Rupert, Grano, we have a very intriguing proposition.

00:07:53Rupert, in fact, is about the one man alive who might have seen this thing from our angle.

00:07:58That is, the artistic one.

00:08:00You will recall that we even contemplated at one time inviting him to share our dangers.

00:08:06And we eventually turned the notion down, not necessarily because it would have been too much for him to swallow intellectually,

00:08:11but simply because he would not have had the nerve.

00:08:16Rupert is a damnably brilliant poet, but perhaps a little too fastidious.

00:08:22So, he is in the same blissless ignorance as the rest.

00:08:29Nevertheless, he is intellect's representative and valued at that.

00:08:36Grano?

00:08:38Grano?

00:08:39Yes?

00:08:40What's the time?

00:08:41Oh, um...

00:08:43It's...

00:08:44Oh, nearly five to nine.

00:08:48Sabo will be here at any moment now.

00:08:49I know.

00:08:50May I put on the light?

00:08:51You must, you?

00:08:52Yes, I must.

00:08:54Can't you go on talking?

00:08:55No, I can't, I'm afraid.

00:08:59Oh.

00:09:00Go on.

00:09:02I'm all right.

00:09:05Put it on.

00:09:09I'm better now.

00:09:13I thought you were going to lose your nerve for a moment, Grano.

00:09:16So did I.

00:09:17But I wasn't.

00:09:18You got a fool.

00:09:19Didn't I tell you to check up in here?

00:09:21What?

00:09:21On the floor.

00:09:22Look at this.

00:09:23The boy's policy, aren't you?

00:09:24We can hang on.

00:09:25Oh, God.

00:09:25Give it to me.

00:09:27It must have fallen out of my waistcoat pocket.

00:09:29I put it here.

00:09:30Don't mention that Sabo.

00:09:33Now, for God's sake, quiet yourself and sit down.

00:09:36Read the paper or play the piano or something.

00:09:39Good idea.

00:09:41The piano.

00:09:42Play something soothing.

00:09:43I'll let Sabo in.

00:09:49Sorry for my little outburst, Grano.

00:09:51But rather upset me.

00:09:53Not at all.

00:09:55You were right.

00:09:55What's the time?

00:09:57Just out of I-2.

00:09:58Then we can expect our first guest.

00:10:02Oh, yes.

00:10:03I must go and let Sabo in.

00:10:05Good evening, Sabo.

00:10:11Good evening, sir.

00:10:12Sorry I'm little late.

00:10:13Never mind, Sabo.

00:10:14The board's already in the kitchen.

00:10:16As the dining room's all covered with books, will you lay the supper on the chest in the sitting room?

00:10:20But I can bring the table from upstairs, sir.

00:10:22That's all right, Sabo.

00:10:23Lay it on the chest.

00:10:24No, sir.

00:10:25It will be no trouble to bring from upstairs.

00:10:27Nevertheless, Sabo.

00:10:28Lay it on the chest, will you?

00:10:30Very good, sir.

00:10:31In here?

00:10:41In here.

00:10:44Good evening, sir.

00:10:45Good evening, Sabo.

00:10:47That's it.

00:10:48Plates and things on the side, please.

00:10:50Food on the chest, don't you?

00:10:51Yes, sir.

00:10:57Very good, sir.

00:10:58Yes.

00:10:58Perfect.

00:11:01Ah, here we are.

00:11:07He's early, whoever it is.

00:11:09To bring in here, sir?

00:11:11Yes, in here.

00:11:12Very good, sir.

00:11:13Don't stop playing.

00:11:15Great.

00:11:18Good evening, sir.

00:11:19Good evening.

00:11:20I'm correct.

00:11:21Yes, please, sir.

00:11:22I'm not late, I'm not correct.

00:11:23No, no, sir.

00:11:24Mr. Hangland, sir.

00:11:27Hello.

00:11:27Hello, Ragland, old man.

00:11:29Come right in.

00:11:29You know Grinillo, don't you?

00:11:31Rather.

00:11:31Quite a long time to do that, though.

00:11:33Yes, isn't it?

00:11:36Oh.

00:11:38I say, I'm terribly sorry.

00:11:41I've come dressed.

00:11:42My dear fellow.

00:11:43My fault in time.

00:11:45Come and seat yourself.

00:11:47I should have explained.

00:11:48You see, we're going up to Oxford tonight.

00:11:50No, are you?

00:11:52I'm not going up till Friday.

00:11:53Ah.

00:11:54Now, what are you going to drink?

00:11:56You can have gin in Italian, or gin in Angostura, and I can do you a very nice gin in French.

00:12:02I still like gin in it, I think.

00:12:03Gin in it.

00:12:04Right.

00:12:05Yes.

00:12:06We leave tonight about twelve, and travel by automobile in the, let us hope, moonlight.

00:12:15And, of course, this place is simply covered with books.

00:12:19Covered with books?

00:12:20Yes, in the next room.

00:12:21I've come into a library.

00:12:23Here's your gin and it.

00:12:24Oh, thanks.

00:12:27Come into a library?

00:12:27Yes.

00:12:28Did you ever hear of old Jerry Wickham, Kenneth?

00:12:31An uncle of mine.

00:12:32Oh, yes.

00:12:33Rather.

00:12:33Well, you know that he's died just lately.

00:12:36Oh, has he?

00:12:37Yes.

00:12:38Well, it's his library, which he has very kindly and unexpectedly bestowed upon me.

00:12:46Good Lord.

00:12:47To the unspeakable mortification of Sir Johnston Kentley.

00:12:51Oh, Sir Johnston Kentley.

00:12:53He's quite a famous collector, isn't he?

00:12:54Yes, he's coming here tonight.

00:12:56Good heavens, is he?

00:12:58It is the same man, isn't it?

00:12:59He lives in Grosvenor Square and has a son.

00:13:01Quite right, isn't he?

00:13:02He lives in Grosvenor Square.

00:13:04And has a son.

00:13:07Have you got a drink, Granot?

00:13:08Oh, yes.

00:13:10Well, drink up, Kenneth.

00:13:12Do you have?

00:13:15Tell me, Sir Johnston's son, isn't that Ronald Kentley, the lad who's so frightfully good at sport?

00:13:20That's right.

00:13:22You don't know him, do you?

00:13:23No.

00:13:23I've never met him, but he wins hurdles and hundreds of yards and things like that, doesn't he?

00:13:27Yes, that's right.

00:13:28As a matter of fact, he's the living image of yourself, isn't he, Granot?

00:13:34Yes.

00:13:35Yes, he is like me.

00:13:37In what way?

00:13:38Oh, in every way.

00:13:40Same age, same height, same colour, same sweet and refreshing innocence.

00:13:44Oh, shut up.

00:13:46I'm not an athlete, anyway.

00:13:48No, but you're just as much alive.

00:13:50In fact, more so.

00:13:52Have I?

00:13:54Then you're having Sir Johnston here just sort of to make him grind his teeth with envy about the books, then?

00:13:59Oh, on the contrary.

00:14:00I'm going to let him have exactly what he wants, provided I don't want it.

00:14:03But I'm telling you all this, Kenneth, just to excuse the terrible mess we're in.

00:14:09You'll observe that we're having our meal off a chest.

00:14:12Oh, yes.

00:14:13I thought it looked rather weird.

00:14:15Good Lord, Kenneth.

00:14:16You're getting positively fat.

00:14:18Am I?

00:14:18Nothing like the little boy who used to fag for me at school.

00:14:20Oh, that's a while ago.

00:14:22It doesn't seem so very long.

00:14:24Of course, I used to think you an absolute hero in those days, Brandon.

00:14:28Did you?

00:14:29Well, as a matter of fact, I was always more or less popular amongst the juniors.

00:14:33It was I who was the unpopular one.

00:14:35Were you unpopular, Grandma?

00:14:37Oh, yes.

00:14:38I remember I used to loathe you in those days.

00:14:40There you are.

00:14:41Why did you loathe him?

00:14:43Oh, I don't know.

00:14:44I suppose games were the only things that ever counted in those days.

00:14:47I'm sure it was most unreasonable.

00:14:49It was, I assure you.

00:14:52I'm very harmless.

00:14:54Here we are.

00:14:56I wonder if that's Rupert.

00:14:57Did you ever meet Rupert, Kenneth, Rupert Gadell?

00:15:00No, I can't say that I have.

00:15:01No, he was before your time, wasn't he?

00:15:05Aha!

00:15:06The ravishing Leela.

00:15:08Come along, my dear.

00:15:09How are you?

00:15:10You know, Grano, don't you?

00:15:11Hello.

00:15:11How do you do?

00:15:12And this is Kenneth.

00:15:13Mr Raglan, Miss Arden.

00:15:16Hello.

00:15:18Hello.

00:15:19Now, what are you going to have, Leela?

00:15:21Kenneth's having a gin and it.

00:15:23I'd adore one.

00:15:24Gin and it?

00:15:25It shall be.

00:15:26Of course, I simply know that I've seen you somewhere before.

00:15:32Really?

00:15:34You're not a Finder-on-C expert, are you?

00:15:37No.

00:15:38I just go there occasionally, that's all.

00:15:40How weird.

00:15:41Because I could simply swear that I've seen you somewhere before.

00:15:44Oh.

00:15:46How weird.

00:15:47Previous incarnation, I expect.

00:15:50Here you are, Leela.

00:15:52Excuse, Miss.

00:15:53We're in a horrible mess here altogether.

00:15:55Kenneth will tell you about it.

00:15:57I've come into a library.

00:15:58Come into a library, my dear?

00:15:59Yes.

00:16:00And I hope you don't think you're going to get anything to eat,

00:16:03because all the servants are away and we're very humble.

00:16:06No, you told me that.

00:16:08And I had a simply gluttonous high tea.

00:16:11Gorged, my dear.

00:16:12Oh, well, that's all right.

00:16:14I really wouldn't have asked you,

00:16:16only this is the last chance of seeing you before we go up.

00:16:19Are you going up tonight, then?

00:16:20Yes, of course.

00:16:22I'm feeling absolutely ghastly coming dressed like this.

00:16:27Why?

00:16:28I'm sure I ought to be dressed too.

00:16:31Of course, you must admit, my dear,

00:16:33this is a most mysterious and weird meal.

00:16:37Why?

00:16:39Mysterious and weird?

00:16:41Oh, I don't know, Grano.

00:16:44Just mysterious and weird.

00:16:48Such a queer time to begin with.

00:16:50Here we are.

00:16:52I'll bet you that's old Kentley.

00:16:53Forgive me a moment.

00:16:54I must go and usher him in.

00:16:56Who's the newcomer?

00:16:57The newcomer, Leela, is the revered Sir Johnston Kentley,

00:17:00who has come here to look at books.

00:17:02My dear!

00:17:03Unless it's Rupert, which, of course, it may be.

00:17:05Oh, no.

00:17:07No, it's Sir Johnston, all right.

00:17:09Which, of course, can never be done.

00:17:13Ah, how do you do, Grano?

00:17:14Hello.

00:17:15And how are you getting on?

00:17:16Oh, very well.

00:17:17Thank you, sir.

00:17:18Now, let me introduce you all.

00:17:20Miss Arden, Sir Johnston Kentley.

00:17:22How do you do?

00:17:23How do you do?

00:17:23And this is Mr. Kenneth Radlin.

00:17:26How do you do, sir?

00:17:27How do you do?

00:17:28And here, Sir Johnston, is an armchair,

00:17:30which I think is more or less in your line.

00:17:33And here is a chest from which we're going to feed,

00:17:36the table having been commandeered for books.

00:17:40That chest, it's not a cassone, is it?

00:17:43No, sir, it's not genuine.

00:17:44It's a reproduction.

00:17:44It's a rather nice piece.

00:17:46I got it in Italy.

00:17:47Now, will you have a cocktail, sir?

00:17:48Oh, good heavens no, my boy.

00:17:50Now, these books I'm going to see, where are they?

00:17:53Oh, they're in the other room, the dining room.

00:17:55I laid them out as well as I could,

00:17:58and there's more space in there.

00:17:59Oh, I shall be most interested to see them most interested.

00:18:02I seem to remember that Wickham had a really remarkable

00:18:05little lot of Shakespeareanour.

00:18:07Yes.

00:18:09Ah, that will be Rupert.

00:18:11I'm afraid, sir, the folios were sold before Wickham died.

00:18:15But there's a run of the quarters

00:18:17and a really amazing lot of Econium, sir.

00:18:19At least I'm told it's very fine.

00:18:23Mr. Caddell, sir.

00:18:25Ah, here he is, here he is.

00:18:27Last as usual.

00:18:28Come along in, Rupert.

00:18:29Mr. Caddell, Miss Leela Arden.

00:18:32How do you do?

00:18:33How do you do?

00:18:34Mr. Caddell, Sir Johnston Kentley.

00:18:36How do you do, sir?

00:18:37How do you do?

00:18:37Mr. Raglan, Mr. Caddell.

00:18:39How do you do?

00:18:40But tell me, I don't quite follow.

00:18:41Have I come dressed or have others come undressed?

00:18:44I telephoned an inquiry, but could not obtain any answer.

00:18:48Now contain yourself, Rupert, and sit down.

00:18:51What in heaven is this?

00:18:53This is a chest, Rupert, and we're going to have our meal off it.

00:18:56Oh, are we?

00:18:57Yes.

00:18:57Why are we going to have our meal off a chest?

00:18:59Because it's a very nice chest, and because all the tables are covered with books.

00:19:05Yes, haven't you heard?

00:19:06The entire place is covered with library.

00:19:09Oh.

00:19:10Now, Rupert, are you going to have a cocktail?

00:19:12No, thank you.

00:19:12I've had four already.

00:19:13Four?

00:19:14Yes, why?

00:19:14Aren't I carrying my drink?

00:19:16Oh, yes.

00:19:17You're carrying it all right.

00:19:19It's just rather a mean advantage, that's all.

00:19:22That's all right, sir, though.

00:19:22I'll ring one way through.

00:19:23Then you can clear and get away.

00:19:25Thank you, sir.

00:19:28When do we begin to have our meal off a chest?

00:19:30Because I'm personally rather peckish.

00:19:32We're starting right away, Rupert.

00:19:34Now, look here, you people.

00:19:35There are lots of plates and knives and things on the sideboard, and lots of sandwiches and

00:19:39things on the chest.

00:19:39Pate, caviar, salmon and cucumber.

00:19:41All you've got to do is to rally round and help yourselves.

00:19:45That's marvelous.

00:19:46Come on, then.

00:19:47Oh, marvelous.

00:19:50Oh, splendid.

00:19:52Oh, look at this.

00:19:55I adore caviar, aren't you?

00:19:57Yes, rather.

00:19:58Well, wait a minute, and I'll get you some.

00:20:00What will you have, sir?

00:20:02Do you want to have a sandwich?

00:20:04Thank you so much.

00:20:05Are you the great Cadell?

00:20:08The great Cadell, sir?

00:20:10Why?

00:20:10Do you know anything about me?

00:20:11Well, adventure poems, that's all.

00:20:14Or at least a lot of them.

00:20:16Don't me.

00:20:17I hope you're not confusing me with the other Cadell, sir.

00:20:19No, I don't think so.

00:20:21You write poems, don't you?

00:20:23I am told so, sir.

00:20:24But then so does the other Cadell, a devastating creature, who spells it with two Ds.

00:20:28Oh, no.

00:20:29There's no confusion.

00:20:31I never knew you could spell Cadell with two Ds.

00:20:33Same here.

00:20:34Yes, same here.

00:20:35I knew her Cadell once, and she used to spell it with only one D.

00:20:38Louisa Cadell.

00:20:39Horrible old hag she was, too.

00:20:41She lived in Bayswater.

00:20:43Dear heaven, the young man is alluding to my aunt.

00:20:47Oh, I say, I'm terribly sorry.

00:20:51Have I dropped a break?

00:20:52No.

00:20:53You've said a mouthful.

00:20:54Can I have another sandwich?

00:20:57I say, must we have our meal off the chest?

00:21:00Is Lady Kentley any better, sir?

00:21:02Oh, no, I'm afraid not.

00:21:05I'm afraid she's still in bed.

00:21:07Oh, I'm sorry.

00:21:09Yes, please.

00:21:09And how's Ronald getting on?

00:21:10Oh, Ronald.

00:21:11Oh, he's getting on all right.

00:21:14He's merely idling, of course, now, like you two.

00:21:18Does he like it?

00:21:19Or does he want to get back?

00:21:21Oh, no, he doesn't want to get back.

00:21:23He has a great time.

00:21:24Who's Ronald?

00:21:25Oh, he's my son and heir.

00:21:28Twenty years of age.

00:21:29Oh, I know Ronald.

00:21:30He was in the papers the other day for winning the high jump at the varsity sports.

00:21:33Oh, that's right.

00:21:34Yes, I remember it well.

00:21:36There was a picture of me next door to it.

00:21:38Well, what, sir?

00:21:39Yes.

00:21:40Not, though, for winning the high jump.

00:21:43Oh, yes, quite an old friend.

00:21:44Yes, he's a sprightly lad, is Ronald.

00:21:48Ramblin says he's like me.

00:21:49Is that true, sir?

00:21:50Well, yes, he is rather like you, when you come to think of it.

00:21:55Quite like, really.

00:21:56I have a double, apparently.

00:21:57My dear, how excruciating.

00:22:00In what way is he like me, sir?

00:22:02Well, I don't know.

00:22:04Just in general usefulness.

00:22:06And innocence and freshness and gaiety.

00:22:08Shut up, Ronald.

00:22:10He's so afraid they won't think him a man, isn't he?

00:22:14That's like Ronald, too.

00:22:15I'm afraid they won't feel like that for long, though.

00:22:18No, they won't, poor dears.

00:22:20Now, of course, my boy's the most infantile thing in the world.

00:22:23I honestly believe his only passion in holiday time is the movies.

00:22:27When I saw him at lunch, he was just rushing off to the Coliseum.

00:22:30But that's not the movies, is it?

00:22:32I thought it was a music hall.

00:22:34Not that I know.

00:22:34I've never been there in my life.

00:22:35Never been to the Coliseum.

00:22:37Why should he have been to the Coliseum?

00:22:39I thought everybody had been.

00:22:41Well, I haven't.

00:22:43Neither have I.

00:22:44Is that the place in the hay market?

00:22:46My dear Grano, you're mixing it up with the Capitol.

00:22:50What abysmal ignorance.

00:22:53You'd have been a sad dog as an ancient Roman, Granillo.

00:22:56Yes, you would.

00:22:58Indeed, in the days of the Caesars, the results of confusing the Coliseum with the Capitol would have been, I should imagine, almost fatal.

00:23:05But tell me the 20th century for just one moment.

00:23:10Do you mean to tell me, Granillo, that you have never been to the Coliseum?

00:23:13No.

00:23:14No, of course I haven't.

00:23:16Never.

00:23:16Why?

00:23:18You mean you can stand there and puff out your chest and tell me that you have never been to the Coliseum?

00:23:26Yes.

00:23:28Why?

00:23:30Why should you think that I had?

00:23:32Merely the hawk-like sharpness of my vision.

00:23:35Why?

00:23:36Is it a crime never to have been to the Coliseum?

00:23:39No, sir.

00:23:41I don't expect it's a crime.

00:23:42For in that case, I'm afraid I myself am guilty.

00:23:45But young Ronald has been to the Coliseum anyway, sir.

00:23:49Yeah, that's right.

00:23:50I simply must have one more of these delicious sandwiches.

00:23:53Let me.

00:23:54You know, I'm coming to the conclusion that there's some ulterior motive about this chest picnic.

00:24:01What do you mean, ulterior motive?

00:24:02Ah, you mean it's done purely to make you spill things on your trousers, Rupert.

00:24:07I think it's more than likely.

00:24:09Oh, I suspect much worse than that.

00:24:12I think they've committed murder.

00:24:17And the chest is simply chock full of rotting bones.

00:24:21It's just the sort of thing for rotting bones, isn't it?

00:24:23Yes.

00:24:25Yes, it is, isn't it?

00:24:26Yes, it is.

00:24:27My dear, you're right.

00:24:29I wouldn't let you see the inside of that chest for work.

00:24:32I'm sure you wouldn't.

00:24:34Try one of these sandwiches, Leela.

00:24:36Oh, thank you.

00:24:38It's all very well to try and bluff me out and pretend you're willing to let me see it.

00:24:42But, my dear, that's just what I said I wouldn't do.

00:24:45I have my suspicion.

00:24:49Yes, but surely your murderer, having chopped up and concealed his victim in a chest,

00:24:55why, wouldn't ask all his friends around to come and eat off it?

00:24:58Not unless he was a very stupid and very conceited murderer.

00:25:05Very stupid and very conceited.

00:25:07But, of course, he might be.

00:25:09In fact, it's exactly what all criminals are.

00:25:11Oh, no, I don't think so.

00:25:14Well, anyway, who says books?

00:25:18Oh, that's a very good idea.

00:25:20I have a gramophone for the very young, if they care to make use of it.

00:25:23But I thought you said the next room was covered with books.

00:25:25Oh, no, there's room to dance.

00:25:27This way, Sir Johnston.

00:25:28Oh, thank you.

00:25:29Come along, the rest of you, when you want to, that is.

00:25:31I've dozens of records in there.

00:25:33You coming, Leela?

00:25:34Oh, rather.

00:25:35You dance, I know.

00:25:37Well, Rupert.

00:25:47Well, my dear Grano, you look rather fagged out.

00:25:52Oh, do I?

00:25:53I don't feel it.

00:25:55What have you been doing with yourself?

00:25:56Doing it myself?

00:25:59Nothing.

00:26:00Why do you ask?

00:26:01For no reason whatever.

00:26:02You seem rather touchy.

00:26:03Ah, yes, yes, I'm a bit liverish.

00:26:07I've been sleeping most of the afternoon, and that always puts me out for the rest of the day.

00:26:10Ah, that's what I do.

00:26:12Ah, you, you, you, uh, writing anything lately?

00:26:22Yes.

00:26:23A little thing about doves, and a little thing about rain.

00:26:28Both good.

00:26:29Very good, in fact.

00:26:30And then, of course, I'm getting ahead with the big work.

00:26:31Oh, that going well?

00:26:32Yes, very.

00:26:33Indeed, it promises to be not only the best thing I've ever written, but the best thing I have ever read.

00:26:40That tune.

00:26:42It's rather nice, isn't it?

00:26:44Mm.

00:26:44So, you and Brandon leave tonight for Oxford.

00:26:51That's right.

00:26:52What time are you going?

00:26:53We're aiming to start about 10.30.

00:26:55Arriving there about when?

00:26:56Oh, about three.

00:26:57Why?

00:26:58Peculiar form of enjoyment, Grano.

00:27:00But then that's like you.

00:27:02Oh, why?

00:27:03Lovely moonlight night.

00:27:04It's not.

00:27:05It's raining already.

00:27:05It's not.

00:27:06Yes, it is.

00:27:06Listen.

00:27:08Oh.

00:27:09Oh, yes.

00:27:11Yes, it is coming down, isn't it?

00:27:13Excuse me, Grano.

00:27:15Reaching across you, there's a book on the mantelpiece.

00:27:18Got it.

00:27:22Oh.

00:27:24Joseph Conrad.

00:27:26Dear me.

00:27:26Grano!

00:27:27Dear me.

00:27:29Grano, you're welcome.

00:27:30Oh, I'm coming.

00:27:32You coming along too, Rupert?

00:27:34No, I'm all right.

00:27:36With this book from the mantelpiece?

00:27:39And this Coliseum ticket from your waistcoat pocket?

00:27:43Hmm.

00:27:46Stalls for the 17th.

00:27:50Come in.

00:27:53Excuse me, sir.

00:27:54May I clear the chest, sir?

00:27:56Um, yes, Sabo.

00:27:59Thank you, sir.

00:28:03How are you getting on?

00:28:04Very well, thank you, sir.

00:28:06It's going to be a dirty night.

00:28:10Yes, sir.

00:28:11It is set in now, sir.

00:28:14I suppose Mr. Brandon will still be going, though.

00:28:18Pardon, sir?

00:28:19I suppose Mr. Brandon will still be going, though, to Oxford.

00:28:23Oh, yes, sir.

00:28:24I suppose so, sir.

00:28:27Have you any idea of the date, Sabo?

00:28:30The date, sir?

00:28:31Yes, sir.

00:28:31It is the 16th, sir.

00:28:34The...

00:28:34No, sir.

00:28:35No, sir.

00:28:35It is not, sir.

00:28:36It is the 17th, sir.

00:28:38Yes, I thought so.

00:28:40The 17th.

00:28:43Stalls for the 17th.

00:28:48Have you been getting into trouble lately, Sabo?

00:28:53Trouble, sir?

00:28:54Yes, trouble.

00:28:56I was wondering whether you had been getting into any trouble with your employers.

00:29:00Me, sir?

00:29:01No, sir.

00:29:02What should make you think so, sir?

00:29:03Well, I telephoned this house at a quarter to nine and heard the most hysterical noises.

00:29:09Hysterical noises, sir?

00:29:10Hysterical, Sabo, noises.

00:29:13Somebody had evidently lost their nerve.

00:29:15I was wondering whether you were the cause of it.

00:29:17Me, sir?

00:29:18No, sir.

00:29:19Not me, sir.

00:29:20I was not here till five to nine.

00:29:24Then are you the one that frequents the Coliseum, Sabo?

00:29:28Yes, sir.

00:29:30I said, are you the one that frequents the Coliseum?

00:29:34Oh, sir.

00:29:35I did not hear, sir.

00:29:37Pardon, sir.

00:29:38The Coliseum, sir.

00:29:40No, sir.

00:29:41You don't?

00:29:43The music hall, sir?

00:29:45Yes.

00:29:46No, sir.

00:29:47No, sir.

00:29:48I have been there once, sir.

00:29:51Many years ago.

00:29:52But not lately.

00:29:53No, sir.

00:29:56Strange.

00:29:57Of course, someone in this house frequents the Coliseum, Sabo, and Mr. Brandon and Mr.

00:30:02Granillo have both declared that they have never been there.

00:30:05Yet I found this Coliseum ticket in Mr. Granillo's waistcoat pocket.

00:30:11Which leaves me wondering, is it Mr. Granillo who frequents the Coliseum?

00:30:15Mr. Granillo, sir?

00:30:17Or is it Mr. Brandon who frequents the place?

00:30:19Mr. Brandon, sir.

00:30:21Hello, hello.

00:30:22Mr. Brandon.

00:30:23What's all this about Mr. Brandon?

00:30:25I was just asking the good Sabo, Brandon, whether Mr. Brandon would still travel to Oxford

00:30:28in all this rain.

00:30:30Wasn't I, Sabo?

00:30:31Er, yes, sir.

00:30:34Well, I hope he told you that we are.

00:30:36What's a little rain, anyway?

00:30:37Now, have we any whiskey left?

00:30:39Ah, yes.

00:30:40I'll just take all this into the others.

00:30:42I'll be back in a minute.

00:30:44That's all right, Sabo.

00:30:45You can go straight away now, now that that's cleared.

00:30:47Thank you, sir.

00:30:48Back in a minute.

00:30:50That, Sabo, was what we call a white one.

00:30:54A white one, sir?

00:30:57Ah, sir.

00:30:58Yes, sir.

00:30:59A white one, sir.

00:31:00What's up, monsieur?

00:31:02Good night, Sabo.

00:31:05I wonder.

00:31:08I wonder.

00:31:11Hello.

00:31:13Is Sabo gone?

00:31:15Yes.

00:31:16Is Sabo gone?

00:31:17They want more cigarettes now.

00:31:19Where are they?

00:31:22Brandon.

00:31:23Hmm?

00:31:25I've just thought of something rather queer.

00:31:27Something queer?

00:31:28What's that?

00:31:29All this talk about rotting bones and chests.

00:31:34Talk about rotting bones and chests, Rupert?

00:31:37Yes.

00:31:38What about them?

00:31:40Do you remember when you were an infant, Brandon?

00:31:42Hmm?

00:31:43How you used to tell me stories around the fire?

00:31:45Yes, rather, I remember.

00:31:47Do you remember your chest complex, Brandon?

00:31:50My chest complex?

00:31:52Yes.

00:31:53Whatever the story was, piratical, detective, murder, adventure or ghost, it always contained

00:31:59a marvellous denouement with a bloody chest containing corpses.

00:32:02You had a perfect mania for it.

00:32:03Don't you remember?

00:32:03Yes.

00:32:05I'd forgotten that.

00:32:08Why should you have remembered it?

00:32:10Yes.

00:32:11It's quite true.

00:32:12I remember now.

00:32:14What about it, though?

00:32:16Oh, nothing.

00:32:17Just queer, that's all.

00:32:19Oh, queer, exactly.

00:32:22Would just queer us all talking tonight about rotting bones and chests just came back to

00:32:26me, that's all.

00:32:29How's the old man getting on with his books?

00:32:31I'm going to take the entire library away with him as far as I can see.

00:32:35I'm simply saying goodbye to it.

00:32:37Why don't you come in and watch him at it?

00:32:39Yes, I think I will.

00:32:41And I like that tune.

00:32:44I say, what's the time?

00:32:45I want to be home fairly early tonight.

00:32:47Plenty of time.

00:32:48Come along.

00:32:49I'll just switch off the lights in here.

00:32:51Now I've let the cigarettes, I was told, to fetch.

00:32:55Go along in, Rupert.

00:32:56I'll be in in a moment.

00:32:57Very well.

00:33:01Ah, hello.

00:33:03Come and go in.

00:33:11Who's there?

00:33:14There was no matter with him.

00:33:18Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.

00:33:21Tell me, what's the matter?

00:33:24What are you doing there in the dark?

00:33:26I thought it was him.

00:33:28I thought it was him.

00:33:29I thought it was Ronald.

00:33:32Here, let me switch on the lights.

00:33:35There.

00:33:37Now, drink some of this.

00:33:40Be quick, be quick, man.

00:33:41Why were you trying to frighten me?

00:33:48I wasn't trying to frighten you.

00:33:50Why do you want to sneak in like that?

00:33:52I wanted to see that everything was all right.

00:33:57I'm sorry.

00:34:00My nerve's going.

00:34:04I'll be all right.

00:34:05Give me another.

00:34:15Very well, then.

00:34:17But pull yourself together.

00:34:21I say, Granot.

00:34:23Yes?

00:34:24You've got that little ticket, haven't you?

00:34:27You'd better give it to me and we'll destroy it right away.

00:34:30Now.

00:34:30Ticket?

00:34:31Ronald's ticket.

00:34:32Ronald's ticket.

00:34:32Oh, don't dither.

00:34:34Granot, Ronald's ticket.

00:34:35Ronald's Coliseum ticket.

00:34:37Ronald's Coliseum ticket.

00:34:38Shh.

00:34:39Not so loud.

00:34:41Yes?

00:34:44I haven't got the Coliseum ticket.

00:34:46Oh, don't be a fool, Granot.

00:34:47I gave it to you.

00:34:49You didn't give it to me.

00:34:50Granot.

00:34:51Oh, wait.

00:34:52Wait, wait.

00:34:52It's in my waistcoat pocket.

00:34:55Yes.

00:34:55Granot.

00:34:56You didn't.

00:34:57Hip, hip, hip pocket.

00:35:00You didn't give it to me.

00:35:01Look again.

00:35:02I never had it.

00:35:03I gave it to you into your hand.

00:35:06I didn't.

00:35:06I never had it.

00:35:07I gave it into your hand.

00:35:08Listen, you've got it.

00:35:08I gave it.

00:35:09I've got it.

00:35:10I tell you.

00:35:11Where is it?

00:35:12It's in my waistcoat pocket.

00:35:13Oh, you put it in your waistcoat pocket.

00:35:15You put it in your waistcoat pocket.

00:35:17Where is it now?

00:35:18Yeah, Brandon.

00:35:20What have you lost?

00:35:21Oh.

00:35:23My temper, Rupert.

00:35:26Sorry, Granot.

00:35:28It's all right.

00:35:29Oh.

00:35:31I hope I'm not interfering.

00:35:32No, no.

00:35:33It's my fault.

00:35:34You didn't know that Granot and I behave like that, did you, Rupert?

00:35:39But we often have our little outbursts like this.

00:35:41Always about trifles, eh, Granot?

00:35:42Yes.

00:35:43Oh.

00:35:43Well, as a matter of fact, I'm here on an errand.

00:35:48An errand?

00:35:49Yes.

00:35:49I want some rope.

00:35:50Rope?

00:35:53Yes.

00:35:53Why so excited?

00:35:54Rope.

00:35:56The young people in the other room, having exhausted the lyric possibilities of the gramophone,

00:36:01are now projecting their entire youthful elan and ingenuity into the composition of a parcel,

00:36:06and they want something to do it up with.

00:36:08A parcel?

00:36:10Yes.

00:36:10The old man's books.

00:36:11Oh, of course.

00:36:13You'd better see what goes into it.

00:36:14I'm sure he's lifting all your best.

00:36:16Oh, hello.

00:36:17Here we are.

00:36:18I thought it was coming.

00:36:19Damnation.

00:36:21Surely you're not going to Oxford in all this.

00:36:23Oh, yes.

00:36:24Go.

00:36:24I'd clear up soon.

00:36:26Besides, I've got nowhere to sleep here.

00:36:29Beds have all been dismantled.

00:36:30Well, that needn't worry you.

00:36:31You can come round and put up with me if you care.

00:36:32I've plenty of room.

00:36:33No.

00:36:34Thank you, old boy.

00:36:35I think we'll try and make it.

00:36:36Very well.

00:36:37Have it your own way.

00:36:39Did you hear that?

00:36:40Mmm, we heard it all right.

00:36:41We're scared out of our wits.

00:36:42I know.

00:36:43And it's simply coming down in sheets.

00:36:45Surely you're not going to Oxford tonight.

00:36:47Certainly we are.

00:36:48But, my dear, you can't.

00:36:50You'll be simply swamped out, my dear.

00:36:53Flooded, my dear.

00:36:54I hear you want some string.

00:36:56Yes, there we do.

00:36:57Kenneth, where are the books?

00:36:59Oh, here we are.

00:37:00We're going to make a parcel, my dear.

00:37:02Come on.

00:37:02All right.

00:37:03Ah, we've got some paper.

00:37:06Now, where's the string?

00:37:07Oh, the string's in the other room.

00:37:09I'll get it.

00:37:09No, no, no.

00:37:10I'll get it.

00:37:10Where is it?

00:37:11It's in that sort of big vase thing, you know.

00:37:13Do you know the sort of big vase thing, Kenneth?

00:37:15Oh, yes, I know.

00:37:16I'll get it.

00:37:16Isn't he sweet?

00:37:19Yes, he is rather a lad.

00:37:21Yes, a decided duck.

00:37:23Here we are.

00:37:24Oh, and Sir Johnston wants to know

00:37:26whether he can browse on that sort of top shelf thing.

00:37:28I didn't quite follow.

00:37:29Oh, yes, I know what he means.

00:37:31I say, Granot, put that glass down

00:37:33and go in and explain to him.

00:37:34Oh, fine.

00:37:35Poor old man's getting into hopeless muddles.

00:37:37It's all right.

00:37:40I'll go.

00:37:42I'll go.

00:37:44Just a little, I think.

00:37:46I should say completely.

00:37:48What?

00:37:49Granot, Plotto.

00:37:50Yes, he is a bit.

00:37:51Well, help me with this little bit.

00:37:55Oh, oh, my hat.

00:37:57I believe you're afraid of storms, Leela.

00:38:00My dear, I am.

00:38:01I simply rush round in circles.

00:38:03It's hereditary, you know.

00:38:05You should see my mother.

00:38:06What does she rush round in?

00:38:07My dear, she doesn't.

00:38:09She simply hides herself in cupboards.

00:38:11Really?

00:38:12All entangled in the linen, my dear.

00:38:14If it comes on again,

00:38:15you'll probably all see me suddenly

00:38:17take a violent plunge into this chest.

00:38:20I should love to see that.

00:38:21Head foremost, my dear.

00:38:23By the way, can you get into this chest?

00:38:26Or is it locked?

00:38:28Oh, put your finger on this knot for me, Kenneth.

00:38:30That's it.

00:38:30Right.

00:38:31Can you get into this chest, Brandon?

00:38:33Or is it locked?

00:38:35What?

00:38:36Oh, yes.

00:38:38You can get into it if you want to.

00:38:39Oh, well, then, I'm safe.

00:38:41Isn't there a lock on it, though?

00:38:43Yes, there is.

00:38:44Oh, my dear, you've forgotten.

00:38:47He's got his murdered man in here.

00:38:50Oh, so he has.

00:38:51We'd forgotten that, hadn't we?

00:38:53Well, you may have.

00:38:54I hadn't.

00:38:55Finger on the knot again, Kenneth Winnie's.

00:38:57Like that?

00:38:57Yes.

00:38:58That's what he's been committing.

00:39:01Murder.

00:39:03Finger tight, please.

00:39:05And we've caught him, red-handed.

00:39:09Oh, Leela, you don't know how near the mark you are.

00:39:12Oh, don't I?

00:39:13I know exactly what's inside this chest.

00:39:17What?

00:39:19There's an old, old man.

00:39:23You picked him up selling papers in the street,

00:39:25and you did him to death for the gold fillings in his teeth.

00:39:28You've a lust for gold, my dear.

00:39:30Oh, I see you've been following me.

00:39:33It is locked, isn't it?

00:39:35But why a padlock?

00:39:37What have you got in it?

00:39:38But you know, Leela.

00:39:40You've already explained to us what is in it.

00:39:42I honestly think you ought to let us have a look.

00:39:45Have you got the key?

00:39:46Yes, I've got the key.

00:39:48It's in my waistcoat pocket.

00:39:49Well, hand it over and let's have a look inside.

00:39:51I'm wrangled if I do.

00:39:52But why not, my dear?

00:39:54If you're really innocent, you can prove it, dear.

00:39:59But how often have I to tell you, Leela, that I'm not innocent?

00:40:02My hands are red with a crime committed less than three hours ago.

00:40:06Oh, well, if you won't, you won't.

00:40:10All the same, if I had strong men about me, they'd force it from you.

00:40:15I'll be your strong man.

00:40:17Will you, Kenneth?

00:40:18All right, go and be strong.

00:40:20How do I do that?

00:40:21Oh, that's up to you.

00:40:22All right, then.

00:40:23Now, then, Mr. Brandon, hand it over or it'll be the worst for you.

00:40:29Said he, eyeing the other fearlessly.

00:40:31Come and get it, Kenneth.

00:40:34Um, which pocket is it in?

00:40:37Top.

00:40:38Right.

00:40:40Uh, my right or yours?

00:40:43Mine.

00:40:44Go on, seize it.

00:40:46I'll give him ten seconds, shall I?

00:40:48That's right.

00:40:48Right you are.

00:40:50Ten seconds.

00:40:52One.

00:40:54Two.

00:40:56Three.

00:40:57Won't you surrender?

00:40:59No.

00:40:59Four.

00:41:01Five.

00:41:03Six.

00:41:04Seven.

00:41:06Three!

00:41:08My dears, what will men not do for me?

00:41:13Slaughtering each other, of course.

00:41:17Mr. Ragland, we cannot on every occasion be strong,

00:41:22but it is always possible he was silent.

00:41:24What is he doing, dear?

00:41:26I thought he'd bust my arm.

00:41:30I say, Brandon, you don't know your own strength, you know.

00:41:33You gave it an absolutely foul touch.

00:41:35I can't.

00:41:35I'm profoundly sorry.

00:41:37Really?

00:41:38No, that's all right.

00:41:42That's what you used to do to me at school.

00:41:45So I'm not a strong man after all, Leela.

00:41:47Never mind.

00:41:49You come back to the mother heart.

00:41:51I think he's a beast.

00:41:52No, Leela.

00:41:54Only a desperate criminal, that's all.

00:41:56How fearfully interested in crime we all seem to be tonight.

00:41:59Why poor Brandon can't be allowed to commit his own murders in quiet, I don't know.

00:42:02Ah, it's a simple question of bringing assassins to justice.

00:42:06Oh, how would you do that?

00:42:09Why?

00:42:11By having them arrested, of course.

00:42:13Oh, would that do it?

00:42:16I've heard of assassins being brought to the old Bailey,

00:42:19but I've seldom heard of them being brought to justice.

00:42:21I hope you're not confusing the two.

00:42:23Oh, I say.

00:42:24Are you one of those people who don't approve of capital punishment?

00:42:27I think possibly I approve of murder too much to approve of capital punishment.

00:42:33Approve of murder?

00:42:35My dear Leela,

00:42:37there are so many people that I would so willingly murder,

00:42:41particularly the members of my own family,

00:42:42and including the aunt so felicitously described by Mr. Ragden as living in Bayswater,

00:42:48that it would be positively disingenuous to say that I don't approve of murder.

00:42:52Furthermore,

00:42:53I have already committed murder myself.

00:42:57How do you get that?

00:43:00It's all simply a question of scale.

00:43:04You, my friends,

00:43:05have paradoxically a horror of murder on a small scale,

00:43:09a veneration for it on a large.

00:43:12That is the difference between what we call murder and war.

00:43:16One gentleman murders another in a back alleyway in London for, let us say,

00:43:21since you have suggested it, the gold fillings in his teeth,

00:43:24and all society shrieks out for revenge upon the miscreant.

00:43:28And they call that murder.

00:43:29But when the entire youth and manhood of a whole nation rises up to slaughter the entire youth and manhood of another,

00:43:38not even for the gold fillings in each other's teeth,

00:43:41then society condones and applauds the outrage,

00:43:46and calls it war.

00:43:47How then can I say that I disapprove of murder,

00:43:54seeing that I have, in the last great war,

00:43:57acted on these assumptions myself?

00:44:00A lamentable thing, certainly,

00:44:03and responsible for the fact that tonight,

00:44:06instead of being able to fool around the gramophone with you two,

00:44:08a thing I should very much like to have done,

00:44:10I have to hobble about like an old man.

00:44:14But the point is that I have proved

00:44:18that I don't disapprove of murder.

00:44:23Haven't I?

00:44:26No, you've done nothing of the sort.

00:44:28You'd be the first to be horrified by murder

00:44:30if it happened under your own nose.

00:44:32I wonder.

00:44:35Besides,

00:44:37you must have some moral standards.

00:44:39Must I?

00:44:40I can't recall any.

00:44:41Don't be absurd.

00:44:42You wouldn't hurt a fly.

00:44:44Wouldn't I?

00:44:46I've hurt thousands in my time.

00:44:50What are your own moral standards, then, Leela?

00:44:53Mine?

00:44:54Oh, Leela believes in the Ten Commandments, doesn't she?

00:44:56Oh, no, surely not.

00:44:58Why?

00:44:59What's wrong with the Ten Commandments?

00:45:01I think whatever.

00:45:02Indeed, I have no doubt

00:45:03that they were of the profoundest significance

00:45:05to the nomadic needs of the tribe

00:45:07to whom they were delivered.

00:45:08Their inadequacy and irrelevance for today, though,

00:45:10must be sufficient to condemn them.

00:45:13I've often attempted to discover

00:45:15whether it is within the range of any of us

00:45:18to observe even one of them.

00:45:21Honor thy father and mother?

00:45:23Of course I do.

00:45:23How could I do otherwise?

00:45:24Indeed, on the occasion of my birthday,

00:45:26I have never failed to send them

00:45:27a telegram of congratulations.

00:45:30Though whether this will make my days any longer

00:45:33in the land which has been given us

00:45:34must remain in doubt.

00:45:36But look at the others.

00:45:38Keep holy the Sabbath day.

00:45:40I don't.

00:45:42Take not the name of the Lord in vain.

00:45:44I do.

00:45:45Thou shalt do no murder.

00:45:48But I have done murder, as I have explained.

00:45:51And the seventh, Rupert?

00:45:54Committed.

00:45:56Since infancy.

00:45:57Thou shalt not steal.

00:46:01But property itself, as Proudhon has explained to us,

00:46:05is theft, and I am a man of property.

00:46:08Moreover, these are your matches.

00:46:11You...

00:46:12Where did you...

00:46:13Indeed, the only clause I am sincerely capable of hearing to

00:46:16is the little stricture concerning my neighbor's ox

00:46:18and my neighbor's ass.

00:46:20Few and far between, as are my neighbors who own oxes,

00:46:22and fewer and farther between, as are my neighbors who own asses,

00:46:25I honestly think I could face either type

00:46:28in an emergency with a pure heart.

00:46:29But then it might be different if I lived in a rural district.

00:46:34Well, anyway, I still say that you'd never commit a murder.

00:46:39Your conscience wouldn't let you.

00:46:40Ah.

00:46:42But have I a conscience?

00:46:44He's quite right.

00:46:46And for one who hasn't a conscience,

00:46:48I can understand murder being an entirely engrossing adventure.

00:46:53You mean a motiveless murder?

00:46:55Yes.

00:46:56Yes.

00:46:57That really does happen sometimes, doesn't it?

00:46:59You do get people who murder purely sort of for the fun of the thing, don't you?

00:47:02Oh.

00:47:03What a peculiar idea of fun.

00:47:05No, but I've heard of cases like that.

00:47:06Certainly you have,

00:47:07and I, for one, can certainly enter into the excitement of it.

00:47:11The only trouble about that sort of thing

00:47:13is that you're bound to be found out.

00:47:17Why should you be found out?

00:47:20Because, my dear Brandon,

00:47:21that sort of murder would not be a motiveless murder at all.

00:47:25It would have quite a clear motive.

00:47:29Vanity.

00:47:31It would be a murder of vanity.

00:47:35And because of that,

00:47:38the criminal would be quite unable to keep from talking about it

00:47:41or showing it off in some fantastic way or another.

00:47:46The trouble with that sort of murderer

00:47:47is that he can't keep quiet about it.

00:47:49He won't hide it up.

00:47:51He wants to boast about it

00:47:52and say something, do something,

00:47:54and maybe something only just slightly outré,

00:47:56which gives him away.

00:47:58They have always done it,

00:48:00and they always will.

00:48:02But then, suppose your murderer,

00:48:05your really ideal, brilliantly clever and competent murderer,

00:48:08a genius at it, I mean,

00:48:10suppose he was alive to the fact that vanity was

00:48:13the Achilles' heel to the thing

00:48:15and went specially out of his way

00:48:17to see that he wouldn't get caught like that.

00:48:21I'm talking of a genius at it.

00:48:23Oh, yes, but then he'd never be able to keep

00:48:25from talking about the very fact that he was

00:48:27so brilliantly clever, as you put it.

00:48:29So he'd give himself away just the same?

00:48:32Yes, but he might be so clever.

00:48:35Might.

00:48:37But wouldn't.

00:48:41Don't you think so?

00:48:44Here we are.

00:48:45It's coming back again.

00:48:46Lord, yes, I'm getting sick of this storm.

00:48:49Yes, so am I.

00:48:51I say, you know,

00:48:52it's really about time I ought to be going.

00:48:54Yes, same here, really.

00:48:57What an uncanny coincidence.

00:48:59Now you'll both be able to go together.

00:49:02I say, isn't it absolutely awful?

00:49:05Isn't it terrible?

00:49:06Are you really still going to Oxford, you two?

00:49:09Certainly.

00:49:10The storm's probably only just around London.

00:49:12Besides, it's not so bad now.

00:49:15It's not raining, as a matter of fact, now,

00:49:17if you're thinking of getting off.

00:49:19No, that's what I thought.

00:49:20Same here.

00:49:21Which is another curious coincidence.

00:49:23Professor, do shut up.

00:49:26Excuse me.

00:49:30Hello?

00:49:32Sorry, I can't hear.

00:49:33It's thundering, this end.

00:49:35What?

00:49:36Who?

00:49:38Who?

00:49:39Oh, yes, yes.

00:49:41Rather, will you hold the line a minute?

00:49:42I'll get him.

00:49:43Right you are.

00:49:44Just hold on.

00:49:46It's for Sir Johnston.

00:49:48Sir Johnston, you're wanted on the telephone, sir.

00:49:51The telephone's for me?

00:49:53Yes, sir, they're holding on.

00:49:54It's in this room.

00:49:55Oh.

00:49:56Oh, thank you.

00:49:58Here we are.

00:49:59Excuse me, please.

00:50:03Hello?

00:50:04Yes?

00:50:06Oh, yes.

00:50:07Oh, no, no, he's not here.

00:50:24Yes, yes, that's right.

00:50:26That's quite right, dear.

00:50:28What?

00:50:29Huh?

00:50:30Oh, no, no, no.

00:50:31He'll be back soon, I expect.

00:50:34He's probably held up in the...

00:50:36What?

00:50:36Uh, yes, dear.

00:50:39Uh, well, I'll be back there soon now.

00:50:42I'll be coming, um, pretty well straight away.

00:50:46Uh-huh, right?

00:50:48Yes, dear, yes.

00:50:50Right you are.

00:50:51Right you are.

00:50:53Goodbye.

00:50:58Um, um, Ronald hasn't come back.

00:51:02Hasn't come back?

00:51:04No.

00:51:04Oh, that's, that's a store.

00:51:06Yes, that's what it must be.

00:51:09Didn't you say he'd been to the Coliseum?

00:51:12Yes, that's right.

00:51:13Was he expected back then, sir?

00:51:15Yes, apparently he arranged to get back to tea.

00:51:19My wife gets so alarmed if there's any hitch.

00:51:23Well, he'll probably be back by the time he get home.

00:51:25Yes.

00:51:27Yes, I expect he will.

00:51:30Well, I must be off.

00:51:32Where did I leave my hat and coat?

00:51:35Oh, yes, out in the hall.

00:51:37Yes, I'll go and get them.

00:51:38Sir Johnston, we've got your parcel all ready.

00:51:42Oh, oh, that is sweet of you.

00:51:45Thank you very much.

00:51:46Say, that's a wonderful parcel, isn't it?

00:51:48Well, it's not bad, is it?

00:51:50I should say not.

00:51:52Yes, that's, that's very convenient.

00:51:56There you are, sir.

00:51:57Oh.

00:51:58No, thank you.

00:51:59Not raining now.

00:52:00But I expect you'd like a taxi, wouldn't you, sir?

00:52:04Yes, I think I'd like a taxi.

00:52:06I'd rather like to get back.

00:52:09I can't think where that boy's got to.

00:52:14Your hat, sir.

00:52:15Oh, thank you.

00:52:17I've never known him fail when he said he'd be back.

00:52:21Then he must be very filial, sir.

00:52:23Yes, he is.

00:52:24Well, then it only remains to thank him for the most charming evening,

00:52:30to say nothing of the most charming company.

00:52:33The company being even more delightful than the books.

00:52:36And that's saying an enormous amount.

00:52:39Well, good night, young lady.

00:52:41Good night.

00:52:42Good night, young man.

00:52:43Good night, sir.

00:52:44And good night, Mr. Cadell.

00:52:47Good night, sir.

00:52:48And you know, Brandon, I'll have to give you something in exchange with these books.

00:52:53Never, sir.

00:52:54Oh, yes, you must have something back.

00:52:56You must have some swaps, as we used to say.

00:52:59You must have your swaps, sir.

00:53:01Oh, yes.

00:53:01Now you're forgetting them, sir.

00:53:04What?

00:53:05Oh, oh, thank you.

00:53:07Oh, this won't do, will it?

00:53:09Just like me, just like me.

00:53:11I'm getting on, you know.

00:53:12Nonsense, sir.

00:53:13Yeah, I'm getting old.

00:53:14That's my trouble.

00:53:15Well, good night, Brandon.

00:53:17Good night, Grandilla.

00:53:19Good night, sir.

00:53:21Well, I'm going to.

00:53:24What part do you have to go to?

00:53:26Oh, I'm South Kensington-ish.

00:53:28Oh, then we'll get a taxi, shall we?

00:53:30And I'll drop you.

00:53:31Where, then, do you live, Mr. Raglan?

00:53:33Me?

00:53:34Oh, I live up at Hampstead.

00:53:35Oh, I see.

00:53:36Then it'll be quite easy to drop.

00:53:38Oh, now.

00:53:39Come along in, Granot.

00:53:40I think we must go now.

00:53:43Oh.

00:53:44Well, won't you stay and have another spot?

00:53:46Oh, no, I don't think so.

00:53:48Thanks awfully.

00:53:49I think I ought to be going.

00:53:51Yes.

00:53:52Same here.

00:53:54Really.

00:53:55Well, if you're still going to Oxford tonight, I certainly wouldn't let him drive.

00:53:59What do you mean?

00:53:59I will not, Leela.

00:54:00You may be sure.

00:54:01You ought to be ashamed of yourself, Granot.

00:54:03You certainly ought.

00:54:06What do you mean?

00:54:09Well.

00:54:11Well.

00:54:13Well.

00:54:14Are you coming?

00:54:16Yes, Robert.

00:54:19I'm going, too.

00:54:21Good night, Granot.

00:54:24Good night, Rupert.

00:54:25Everyone go.

00:54:26Yes, yes, please.

00:54:27Oh.

00:54:28And do be careful.

00:54:29Always look.

00:54:30See you in the next rack.

00:54:45Well.

00:54:48Well.

00:54:49All's well.

00:54:51God.

00:54:53I thought he got on to it.

00:54:55Oh, Rupert.

00:54:56Yes.

00:54:56Yes, so did I for a few moments.

00:54:58But that's what gave a peek-off scene to the evening.

00:55:01He hadn't.

00:55:02You're sure he hadn't?

00:55:03Quite sure.

00:55:04Sometimes I wish he had.

00:55:08God.

00:55:09Rupert.

00:55:11Queer lad.

00:55:13I wonder.

00:55:15If he'd been with us, he wouldn't have got drunk, Granot.

00:55:18I'm not drunk.

00:55:20I'm a little blur, Dessle.

00:55:24Oh, what's that?

00:55:24What?

00:55:25I thought I heard something.

00:55:27Be yourself, Granot.

00:55:29Shh.

00:55:31I thought it was the bell.

00:55:34It was.

00:55:36Well, what of it?

00:55:37I'll go and see.

00:55:38It's Rupert.

00:55:52He's left his cigarette case behind, apparently.

00:55:54Have you seen it?

00:55:54No.

00:55:55Well, it must be here somewhere.

00:55:56Where do you find it?

00:55:57Oh.

00:55:59Hello.

00:55:59I thought you might give me another spot.

00:56:02You're welcome, Rupert.

00:56:04Have a seat.

00:56:06Um, cigarette.

00:56:10I beg your pardon.

00:56:13I had my case in my pocket all the time.

00:56:15Oh, you ass.

00:56:19Just a splash, Rupert.

00:56:21Yes, a generous one.

00:56:27Ah.

00:56:29Here.

00:56:29Thanks.

00:56:34Oh, dear heaven, what unmentionable fatigue.

00:56:40What?

00:56:42Living.

00:56:44Living, living.

00:56:45I wonder if drink is a way out.

00:56:53Grano seems to agree with that.

00:56:55Yes.

00:56:56But he's not going to get any more.

00:56:59You're in a horrible state tonight, Granillo.

00:57:01You're positively silent, drunk.

00:57:03Oh, I'm all right.

00:57:05I say, must we have all this light?

00:57:06What's wrong with the light?

00:57:07Nothing is wrong with the light, Granillo.

00:57:09Only I'm a creature of half-lights.

00:57:10And seeing that you have a pleasantly shaded little table lamp,

00:57:13can't we make use of it?

00:57:14Yes, I quite agree.

00:57:16But I hope you're not going to settle down too heavily

00:57:19and make yourself too much at home,

00:57:20because we've got to be off before long.

00:57:23Oh, that's better.

00:57:24Much better.

00:57:28I'm sad tonight, you know.

00:57:31And what's the time?

00:57:33Five and twenty to eleven.

00:57:35Five and twenty to eleven.

00:57:38Inspector, you're wanting to get rid of me, aren't you?

00:57:40Not at all, Rupert.

00:57:42I hope not.

00:57:43I'm full of melancholy

00:57:44and don't want to go home.

00:57:46You must bear with me.

00:57:50It's been such a...

00:57:50a strange evening.

00:57:53A strange evening?

00:57:55Why?

00:57:56Why strange?

00:58:00I can't tell you.

00:58:01That's my trouble.

00:58:02I suppose it's the thunder.

00:58:05I suppose it's the thunder.

00:58:07One thing and another.

00:58:10Thunder always upsets me.

00:58:13Besides, I'm always melancholy at this hour.

00:58:18Five and twenty to eleven.

00:58:21It's a curious hour.

00:58:22Did you ever read Goldsmith's Nightpiece?

00:58:24No.

00:58:25I can't say that I actually recall it.

00:58:27No, you should.

00:58:28It's about the city at night.

00:58:30I shall do his nightpiece up to date one of these days

00:58:32and I shall make it five and twenty to eleven.

00:58:35Now.

00:58:37It's a wonderful hour.

00:58:38I am particularly susceptible to it.

00:58:42Why so wonderful?

00:58:45Because it is, I think,

00:58:47the hour when London asks why.

00:58:51When it wants to know what it's all about.

00:58:54When the tedium of activity

00:58:56and the folly of pleasure

00:58:58are equally transparent.

00:59:03It's the hour when jaded London theatre audiences

00:59:06are settling down in the darkness

00:59:07to the last act of plays

00:59:09of which they know the denouement only too well.

00:59:13They know that when a curtain's down

00:59:14it'll be just a question of God save the king

00:59:16and they'll be bundled out into a chilly rainy night

00:59:20where they'll have to fight for taxis

00:59:22or rush for trains

00:59:24or somehow transport themselves home

00:59:26to a cold supper

00:59:27and the prospect of another day tomorrow

00:59:29exactly similar to that which has passed.

00:59:31It's a horrible hour.

00:59:38I could enlarge upon the idea indefinitely.

00:59:43A macabre hour.

00:59:46For it is not only the hour of pleasure ended

00:59:48it is the hour when pleasure itself

00:59:52has been found wanting.

00:59:53There.

00:59:59That is what this hour means to me

01:00:00and it has moreover been thundery.

01:00:03Five and twenty to eleven.

01:00:05In brief, my dear Rupert

01:00:06at this hour of the night

01:00:08you see no earthly object in living.

01:00:13I fear not.

01:00:14Do you?

01:00:15I?

01:00:16Yes, of course I do.

01:00:18But then I'm interested in things.

01:00:20Why don't you get interested in things?

01:00:22Why don't you take up

01:00:23exploring

01:00:25or cricket

01:00:26or making love

01:00:27or golf

01:00:28or finance

01:00:29or lecturing or something?

01:00:30Or as you suggested this evening

01:00:32murder.

01:00:34Or as you say

01:00:35murder.

01:00:38Now Rupert

01:00:38we don't want to turn you out.

01:00:39Oh surely I'm not going to do that.

01:00:41Surely I'm not going to spoil my mood.

01:00:44No.

01:00:45We're not going to spoil any of your moods

01:00:47but we've got to get going at some time.

01:00:49And we've got a bit of packing

01:00:50to do in one thing and another.

01:00:51No, you really mustn't spoil my mood.

01:00:54I shall write something tonight

01:00:55if I go on like this.

01:00:56My dear Rupert

01:00:57a poetic frame of mind

01:00:58will hardly be induced

01:00:59by the spectacle of Grano and me

01:01:01filling suitcases.

01:01:02Oh, I certainly think it would.

01:01:04I'll tell you what.

01:01:06I'll stay and see you off.

01:01:09I'm having another drink.

01:01:10That's enough of that, Grano.

01:01:12Not your own business.

01:01:13Come along, Grano.

01:01:15Not your own business.

01:01:17Oh, well, it's not my business.

01:01:22Stay and see us off, Rupert.

01:01:24Doesn't look as though we'll get off

01:01:25with Grano in this state.

01:01:26I'm perfect he's sober.

01:01:29Why does he want to stay and see us off?

01:01:31That's what I want to know.

01:01:32Why does he want to stay and see us off?

01:01:34My dear Grano,

01:01:36Rupert has no earthly reason

01:01:37in wanting to stay and see us off

01:01:39and I don't know what you're talking about.

01:01:41There's no doing anything with you.

01:01:43I'm getting sick at this.

01:01:44Come along, Rupert.

01:01:45You'd better go and leave him with me.

01:01:47I've got to go then.

01:01:49What do you mean, Rupert?

01:01:51Got to go?

01:01:52I think I thought for a moment

01:01:53that perhaps you wanted me to go as well.

01:01:55Nothing of the sort.

01:01:57I was getting fed up with all this silly chatter

01:01:58and wanted to be alone with Grano, that's all.

01:02:00I don't want you to go.

01:02:02You don't?

01:02:02No.

01:02:03All right, then I'll stay.

01:02:06I said so.

01:02:07I said so.

01:02:08Grano,

01:02:10you're in a queer mood tonight too, Rupert.

01:02:14No, no, not a queer mood.

01:02:15An inspired mood, rather.

01:02:17One has inspirations, you know,

01:02:19extraordinary inspirations

01:02:21and I have one tonight.

01:02:22Oh?

01:02:23What's that?

01:02:26Ah,

01:02:27I'll tell you that perhaps.

01:02:29You haven't such a thing as a pin,

01:02:34Grano, have you?

01:02:35A what?

01:02:36A pin.

01:02:38Yes.

01:02:39Yes, yes, yes.

01:02:39What do you want it for?

01:02:41I want it for my buttonhole.

01:02:44Here you are.

01:02:46Rupert, what are you pinning in your buttonhole?

01:02:48I fear to take it.

01:02:53He's got it.

01:02:55He's got it.

01:02:56Hold your tongue.

01:02:57Oh, yes, he's got it all right.

01:02:58Hold your tongue.

01:02:58He's got it.

01:02:59Hold your tongue.

01:03:00He's got it.

01:03:01He's got it.

01:03:04Rupert.

01:03:05Yes?

01:03:06Rupert,

01:03:07this is nothing to do with you.

01:03:10Grano and I have a certain trouble between us

01:03:12which concerns no one else.

01:03:14Will you kindly oblige us

01:03:15by going at once and leaving us to it?

01:03:16Won't you tell me you're trouble, Brandon?

01:03:18I might be able to help.

01:03:18No,

01:03:19I will not tell you our trouble.

01:03:22Please,

01:03:22go.

01:03:24It's nothing to do with you.

01:03:25No, Brandon,

01:03:26it may not be anything to do with me,

01:03:28but it may possibly be something to do with

01:03:30the public in general,

01:03:33and I'm the only representative in this room,

01:03:34won't you tell me?

01:03:35Are you going,

01:03:37or are you not?

01:03:39No, Brandon,

01:03:40I'm not going.

01:03:42You see,

01:03:43I'm rather awkwardly situated.

01:03:45You're something more than that,

01:03:47my friend.

01:03:50Oh?

01:03:52How's that?

01:03:53You are very dangerously situated.

01:03:57Very dangerously situated,

01:03:59indeed.

01:04:03Brandon,

01:04:04I have no protection.

01:04:06You have not.

01:04:07Save that of my foresight.

01:04:10Foresight?

01:04:14This whistle.

01:04:17A policeman gave it to me.

01:04:19I see.

01:04:21And when did he give you that?

01:04:25He gave it to me a few minutes ago

01:04:27before I came back for my cigarette case.

01:04:30He is now waiting for me to use it.

01:04:34He is waiting at the corner.

01:04:36It depends upon you

01:04:38whether I shall use it or not.

01:04:41What do you want from me,

01:04:43Rupert?

01:04:46I want two things.

01:04:49Two truths.

01:04:51I want the truth about this ticket here

01:04:54and the truth about that chest,

01:04:57or rather its contents.

01:04:58I can satisfy you on both.

01:05:01As for the ticket,

01:05:03I know nothing whatever about it.

01:05:06As for the chest,

01:05:07I simply do not know what you mean.

01:05:09You've succeeded in satisfying me on neither.

01:05:13Rupert,

01:05:14I've come to the conclusion

01:05:16that you are hopelessly drunk

01:05:18and that you'd better go home.

01:05:20It is possible that I am drunk,

01:05:21but not hopelessly

01:05:22and I am not going home.

01:05:24What is all this about?

01:05:26What is all this maudlin suspiciousness?

01:05:28This is not maudlin suspiciousness, Brandon.

01:05:30It is well-founded.

01:05:32From the first moment

01:05:34when I telephoned this house

01:05:35at a quarter to nine

01:05:36and heard over the wire

01:05:37your friend there

01:05:38crying for the dark,

01:05:39the suspicion was there

01:05:40and that suspicion

01:05:41has been growing ever since.

01:05:43Growing ever since?

01:05:44Growing ever since?

01:05:46What do you mean?

01:05:48What do you suspect?

01:05:50I suspect murder, Brandon.

01:05:54The murder of Ronald Kentley.

01:05:58Oh, my poor, poor Rupert.

01:06:02You don't know how you've relieved me.

01:06:05I imagined you'd got on to the real truth,

01:06:08which would have been devilish awkward.

01:06:10Murder.

01:06:11Oh, dear, that's good.

01:06:12Hear that, Grano.

01:06:13He suspects us of murder.

01:06:16Murder.

01:06:16Isn't that too rich?

01:06:18Is it possible that you're trying to bluff me?

01:06:20Bluff you?

01:06:22Bluff you?

01:06:23Get on out of here.

01:06:25Blow your whistle.

01:06:26Blow your whistle

01:06:26and bring the policeman in.

01:06:27Get on out.

01:06:28Do what you like.

01:06:29Ah, since you say I can do what I like,

01:06:31may I see the inside of that chest?

01:06:33See the inside of that chest?

01:06:34See the inside of that chest?

01:06:36You can see the inside of 50,000 chests.

01:06:39Get on out.

01:06:40I did not ask to see the inside of 50,000 chests, Brandon,

01:06:43but to see the inside of this specific chest,

01:06:46and I cannot do that if I have to get on out.

01:06:50You're drunk.

01:06:52Possibly.

01:06:54Nevertheless,

01:06:56may I look inside that chest?

01:06:59Yes.

01:06:59Very well.

01:07:05I will.

01:07:06Go on, then.

01:07:07What are you waiting for?

01:07:09The key to the padlock, if you please.

01:07:11Oh, the key.

01:07:13It's upstairs, I think.

01:07:15Upstairs?

01:07:15Yes.

01:07:16Should I go and get it?

01:07:16No, don't do that.

01:07:19I can force it.

01:07:24Must I?

01:07:25Must I do this?

01:07:32Here's your key.

01:07:33Now look and get what's coming to you.

01:07:42You'll be sorry if you look in there, Goodell.

01:07:44You'll be sorry.

01:07:45I'll take the risk.

01:07:54Ugh.

01:07:55You swine.

01:07:59You dirty swine.

01:08:05Now then, Rupert.

01:08:07Sit down.

01:08:08I want to talk to you.

01:08:10Poor Ronald Kentley.

01:08:11What had he done to you?

01:08:12Sit down, Rupert.

01:08:13I...

01:08:13I want to talk to you.

01:08:16Sit down, Brandon.

01:08:17What do you mean?

01:08:18Sit down.

01:08:19For God's sake, sit down and listen.

01:08:21I want to explain.

01:08:23Explain?

01:08:24Oh, sit down.

01:08:26I'm at your mercy, I tell you.

01:08:27I'm at your mercy.

01:08:28Have mercy on me.

01:08:29I can explain.

01:08:31Have mercy on me.

01:08:32Sit down and judge me.

01:08:34Judge me.

01:08:40Well?

01:08:41Rupert, you're an enlightened man, aren't you?

01:08:48I profess to be, yes.

01:08:51And it is in your power to have me hanged.

01:08:57So it seems.

01:08:58And Grinillo, too.

01:09:00And Grinillo, too.

01:09:01Rupert.

01:09:02Yes?

01:09:03You remember our talk tonight about the old Bailey and justice?

01:09:07Yes, well.

01:09:08And the difference between the two?

01:09:10You made the point.

01:09:11Yes.

01:09:12Yes.

01:09:12Well, remember that.

01:09:16You wouldn't be giving us up to justice.

01:09:21And now I want to ask you about something else you said.

01:09:23But you do not rate life as a very precious thing, do you?

01:09:30No.

01:09:31Now listen, Rupert, listen.

01:09:32Listen, I have done this thing.

01:09:36I and Grinillo, we have done it together.

01:09:40We have done it for adventure.

01:09:43For adventure and danger.

01:09:46For danger.

01:09:49You read Nietzsche, don't you, Rupert?

01:09:51Yes.

01:09:52And you know that he tells us to live dangerously.

01:09:57Yes.

01:09:57So we thought we would do so.

01:10:00That's all.

01:10:00We have done so.

01:10:04We have only done the thing.

01:10:07Others have talked.

01:10:08We have done.

01:10:10Do you understand?

01:10:11Go on.

01:10:12Listen, Rupert, listen.

01:10:13You're understanding.

01:10:14You're the one man to understand.

01:10:17Now, apart from all that, quite apart,

01:10:19even if you can't see how we look at it,

01:10:22you'll see that you can't give us up.

01:10:26Two lives can't recall one.

01:10:29It'd just be triple murder.

01:10:31You'd never allow that.

01:10:33Apart from that, too.

01:10:35Our lives are in your hands.

01:10:39Your hands, man.

01:10:41I give them into your hands.

01:10:45You can't kill us.

01:10:47You can't kill.

01:10:49You're not a murderer, Rupert.

01:10:52What are you?

01:10:53We aren't.

01:10:54We aren't, I tell you.

01:10:56Don't tell me you're a slave to your period.

01:10:59You're an emancipated man.

01:11:02Rupert, you can't give us up.

01:11:05You know you can't.

01:11:06You can't.

01:11:07You can't.

01:11:08You can't.

01:11:09Can you?

01:11:11Yes, I know.

01:11:14There's every truth in what you've said.

01:11:18This is a very queer, dark, and incomprehensible universe,

01:11:22and I understand it little.

01:11:25I myself have always tried to apply pure logic to it,

01:11:30and the application of logic can lead us into strange passes.

01:11:34It has done so in this case.

01:11:40I shall never trust logic again.

01:11:45You've said that I hold life cheap.

01:11:46You're right, I do.

01:11:47Your own included.

01:11:49What do you mean?

01:11:52What do I mean?

01:11:54I mean that you have taken and killed by strangulation

01:11:58a very harmless and helpless fellow creature of 20 years.

01:12:02I mean that in that chest there

01:12:05now lie the staring and futile remains

01:12:08of something that four hours ago lived

01:12:10and laughed and ran and found it good.

01:12:13Laughed as you could never laugh

01:12:14and ran as you could never run.

01:12:16I mean that for your cruel, scheming pleasure

01:12:19you have committed a sin and a blasphemy

01:12:21against that very life

01:12:23which you now find yourselves so precious.

01:12:25And you've done more than this.

01:12:27You've not only killed him,

01:12:29you have rotted the lives of all those

01:12:32to whom he was dear.

01:12:34And in dragging his father round here tonight

01:12:36you have played a lewd and infamous jest upon him

01:12:38and a bad jest at that.

01:12:40And if you think,

01:12:41as your type of philosopher generally does,

01:12:44that all life is nothing but a bad jest

01:12:45then you will now have the pleasure

01:12:46of seeing it played upon yourselves.

01:12:49What are you saying?

01:12:50What are you going to do?

01:12:51It's not what I'm going to do, Brandon.

01:12:59It is what society is going to do.

01:13:03And what will happen to you

01:13:04at the hands of society

01:13:06I'm not in a position to tell you.

01:13:10But I can give you a pretty shrewd guess, I think.

01:13:16You're going to hang.

01:13:17Hang.

01:13:20Hang.

01:13:24Both of you.

01:13:28Hang.

01:13:31In Rope, by Patrick Hamilton,

01:13:34Alan Rickman played Rupert Cadell

01:13:36and Adam Barham, Wyndon Brandon.

01:13:39Andrew Branch was Charles Grinello

01:13:41and Christopher Good, Kenneth Raglan.

01:13:45Cyril Luckham played the part of Sir Johnston Kently

01:13:47and Moya Leslie Lila Arden.

01:13:50Sabot was played by Olivier Pierre.

01:13:53The pianist was Mary Nash.

01:13:55The play was directed by John Tideman.

01:13:57Bill Gates was never the first time before.

01:14:00And it was hidshrewdika.

01:14:01The play was used when

01:14:02he was her bonito Civil War.

01:14:03His work had been real money.

01:14:03Nobody's being able to be a yoga

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