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Bookish Season 1 Episode 3
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Short filmTranscript
00:00We simply must be brave, mustn't we?
00:12Heaven knows it'll be hard.
00:15It'll be beastly.
00:17But we're strong people, Tony, you and I.
00:20And what we feel for each other, it'll endure.
00:23It will endure.
00:28So...
00:29I shall stay in my shop.
00:32And you and yours.
00:34And all I ask is that you don't go to hate me.
00:38How could I hate you, Madeline?
00:40You mean everything to me.
00:43What the hell was that?
00:45Cut!
00:47Billy, what was that?
00:49Just a car back bar, I think, mister.
00:51That sounded like a pistol.
00:53Didn't it sound like a ruddy pistol, Stu?
00:55You all right, my pet?
00:56Yeah, I'm fine.
00:57I think I'm just a bit tired.
00:59Of course, darling.
01:00You must be.
01:01Tell you what, how about a proper dinner after this?
01:04Like we used to before the war.
01:06Oh, yeah.
01:06That would be wonderful.
01:08None of this canteen muck.
01:09No offense.
01:10Sandra, are you okay?
01:13Yes.
01:13Yes, Jessie, I'm fine.
01:15Don't fuss.
01:16How was my pout at the end?
01:18What could do with a dab, actually?
01:22Miss dear, anywhere's victory red.
01:24Besseme.
01:25Please, can we just stop faffing and get on with it?
01:27Mary, thank you.
01:28Yes, Miss dear.
01:29All right.
01:30All right.
01:31Ad astra per aspera.
01:33We must have bodies.
01:35Abracadabra.
01:35Stuart, stop it.
01:36I've got to concentrate.
01:39Have.
01:40Quiet!
01:41Love, Lorne, in London.
01:42Scene 28, take three.
01:45Action!
01:48We simply must be brave, mustn't we?
01:51Heaven knows it'll be hard.
01:53It'll be beastly.
01:54I was strong with him, I've heard of him.
01:58I'm afraid of him.
02:03Oh.
02:05Oh, my.
02:08And this is on his bedroom wall?
02:12Rose red and rolled gold.
02:15I said to him, Stuart, Stu, I said.
02:18You are just like this paper.
02:20You're so strong and modern.
02:22And he handled this very role.
02:27Can I touch it?
02:30Uh, I shouldn't really, but, um...
02:34Well, since you're extras in my cake shop.
02:44This is the last thing he sees when he gets into bed.
02:47Yes.
02:48And the first thing he sees when he gets up in the morning
02:51and his hair's all disarranged.
02:54It's 14 shillings.
03:00Tell you what, it's a bit irregular, but, um...
03:04I could let you have a sample for, well, sixpence, say?
03:10And then you could keep a little reminder of him wherever you go.
03:13Oh.
03:13Yes.
03:33Cube change.
03:35Mr. Buck.
03:37Didn't expect a welcoming committee.
03:38I thought I'd better prepare you.
03:41For what?
03:42There have been some changes since you went away on your long errand, Jack.
03:45Oh, by the way, Lord Belbrose's first folio.
03:48What did they say?
03:49Is it genuine?
03:50As his teeth.
03:52Oh, dear.
03:54So, please.
03:54What the hell?
04:00Close.
04:01Hollywood.
04:02Or rather, the nearest England can get to it.
04:05Yes, Jack.
04:07We're going to be in pictures.
04:09All right, then.
04:10Let's hear it.
04:11Now we're 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?
04:22Life and death.
04:27The whole world here in this little...
04:28No, I think we'll just lose the line.
04:31I'm already worried about the...
04:33Nostarge.
04:35You'll be smashing in the background there.
04:37Let's take ten.
04:39Ten minutes, all.
04:41Ten minutes.
04:41Billy.
04:42Nerina.
04:43Rather jumpy this morning, isn't she?
04:45Our dear Sandra.
04:47We worked on the hours and picture business, Nerina.
04:50Oh, don't I know it?
04:51And it must be so hard to keep that from telling on the faces of your stars.
04:56If you'll excuse me.
04:59Just the exteriors are being done here, you understand.
05:02The rest is at Ladyhurst.
05:04That's the studios.
05:05You see, I know all the jargon.
05:06Who's in it?
05:07Morning, Mr. B.
05:08Good morning.
05:10Stuart Howard.
05:12Yes, Mr.
05:12I like him.
05:14He's passed me by entirely, I'm afraid.
05:16He plays the hero.
05:17The idealistic young bookshop owner.
05:20In love with the girl next door.
05:22Did you never see him in that submarine picture?
05:24He went mad and tried to throttle everyone.
05:26I mean, he was proper sweaty.
05:28Alash.
05:29Well, who else?
05:30Patience.
05:31You've literally arrived halfway through this picture.
05:33And you've yet to set eyes on our leading lady, who's also Stuart's fiancée.
05:38His real-life fiancée.
05:41Sandra there.
05:43She's using my room.
05:44He canted my thing so she can do her mascara, sip her Vichy water, whatever it is these people do.
05:51I had a cigarette card of her.
05:54Before the war, of course.
05:56Ah.
05:58Mr. Book.
05:59Ah.
06:00Not getting too much in your way, I trust?
06:02Not at all.
06:03Certainly an education.
06:05Larry Olivier calls film an anemic little medium.
06:08He's such a crashing snob.
06:10For 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.
06:19Delighted.
06:19Oh, but here's Nora.
06:20The gang's all here.
06:22So, you're all the director?
06:24And the writer.
06:25I thought you'd be older, with a monocle and a writing quote.
06:28I mustn't believe everything you read in the film magazines, young lady.
06:31I've seen you before.
06:33Mr. McKendrick had a lot of green penguins from us last summer.
06:36Oh, yeah.
06:38You look different.
06:39It's the shorts.
06:40I'm not wearing shorts.
06:42That's why you look different.
06:43Yes, you're very busy, as I recall.
06:45You're always running about the place, weren't you, Mr. McKendrick?
06:48Jessie.
06:48Jessie.
06:49Ah, hello, Norena.
06:53In search of material for your next article?
06:55Always.
06:56Well, the bin's around the back.
06:58Ah, aren't you going to introduce me?
07:02This is Mr. Book, from...
07:04Oh, the apostrophe man.
07:06They subbed your sign.
07:08I'm trying not to look.
07:10Would you by any chance be a member of His Majesty's Press?
07:13Norena Bean.
07:15Picture-goer.
07:16If you have juicy titbits, my door is open.
07:19I'll bear that in mind.
07:27Nice fingers.
07:28If they're not real, don't break a tooth.
07:42It's lovely.
07:45And he has this.
07:47From his ceiling, all the way down to his skirting boards.
07:54Does he talk about her?
07:57Fiance.
07:58Does 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.
08:10He 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.
08:25Hear that, Barbara?
08:25Heavens!
08:29God, is it bad?
08:31Barbara?
08:34Home is the hunter.
08:37Oh, my God.
08:38Oh, my God.
08:38Oh, my God.
08:39Oh, my God.
08:39Oh, my God.
08:39Oh, my God.
08:40Oh, my God.
08:40Oh, my God.
08:41Oh, my God.
08:41Oh, my God.
08:42Oh, my God.
08:42Oh, my God.
08:43Oh, my God.
08:43Oh, my God.
08:43Oh, my God.
08:44Oh, my God.
08:44Oh, my God.
08:45Oh, my God.
08:45Oh, my God.
08:46Oh, my God.
08:47Oh, my God.
08:47Oh, my God.
08:48Oh, my God.
08:49Oh, my God.
08:49Oh, my God.
08:51Oh, my God.
08:51Oh, my God.
08:52Oh, my God.
08:52Oh, my God.
08:53Oh, my God.
08:55Oh, my God.
08:55Oh, my God.
10:32Inspector.
10:34Look.
10:36We are at home to death, it seems.
10:38Oh, they're upstairs.
10:42Hmm.
10:50The royal appointment.
10:54What are they keeping from us, Stuart?
11:00All this waiting is making me tired.
11:02Perhaps one should have a mask made.
11:06A mask?
11:08The permanent Richter smile.
11:12They can do wonders with makeup now.
11:16Boris Karloff's number, if you'd like.
11:20You don't know me, but I'm your most devoted admirer.
11:30I wonder what they'll think of Lovelorn in London.
11:36Who?
11:37Them.
11:38They'll buy it.
11:40They love us, don't they?
11:42Both of us.
11:43They'll throw bottles at the screen.
11:46Do you know what they shouted at the test of brief encounter?
11:56Why doesn't she just kiss him?
11:59Only they didn't say kiss.
12:01Relax, darling.
12:03There'll be another smash.
12:05By the nation's most blissfully engaged couple, remember?
12:08Hmm.
12:09And what a long engagement it's been.
12:14Oh, 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.
12:23The studio has gates.
12:25Fire 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.
12:46And under them is marina bean.
12:51Which must have been rather sweet to me.
12:53Mm-hmm.
12:54Well, we got good news for it, don't we?
12:57Do we?
12:59Deliveries.
13:00Huh?
13:01Our new three-picture deal.
13:02Picture-goer exclusive.
13:04Yeah.
13:08What do you want?
13:09A barley sugar boy?
13:11I'm afraid there's been an accident.
13:13The contents of a handbag.
13:27Melancholy, isn't it?
13:29Evidence of a little life spilled on the floor.
13:33Oh, what's this?
13:38You kiss your excess lipstick onto your favourite style.
13:44Yeah, well, it takes all sorts.
13:47This interests me.
13:48May I?
13:49Mm-hmm.
13:50Very carefully rammed.
13:53Tenderly, I'd say.
13:55Ah.
13:56Well, they are still on the ration.
14:00They look expensive, but there are only coppers in this purse.
14:04Trotty.
14:05Yes?
14:06They buy these girls.
14:07Very little.
14:08So they didn't buy them.
14:10I didn't notice the production providing fancy confectionery.
14:15No, the fans bring them.
14:18Letters and presents.
14:20Sad little things they've knitted.
14:22They're left through there.
14:24Billy brings them up to them.
14:26Actually, he had a box of chocolates with him just now.
14:33Puncture mark.
14:36Barbara was breathless, Trotty, yes?
14:38Yes, and twitchy.
14:42Strychnine.
14:44Oh, hell's bells.
14:56Poor girl.
14:59Someone's been at these.
15:00Oh, darling, you shouldn't even...
15:02You don't know where they've been.
15:03Chocolate!
15:04It's poison!
15:05That'd be absurd.
15:06They're by royal appointment.
15:07I'm afraid it's true, sir.
15:09You didn't have any, did you, mister?
15:11Oh, no, no.
15:12What about you, mister Howard?
15:13No.
15:14Oh, good.
15:15Have you ever received chocolates like this before, mister?
15:18Yes, all the time.
15:19My fans know they're my favourite, but I never eat them.
15:22It seems reasonable to assume, then, that you were the intended victim.
15:25Intended victim.
15:26Intended victim?
15:29What does he mean?
15:31Intended victim?
15:32We're investigating the death of Barbara Markham.
15:35Yes, that unfortunate young woman.
15:38Yes.
15:39Oh, my God, I have been sent some strange things in my time, but...
15:43I would... anyone want to kill me?
15:46Billy, who gave her these chocolates?
15:48Nobody.
15:49They were just with the usual mail.
15:51I always have to deal with it.
15:52Where anyone could have got at them.
15:54And Barbara and her friend presumably did.
15:57Jesus Christ, we could have both died.
15:59What were you thinking about bringing that muck up here?
16:02Sorry, mister Howard, but you told me to bring everything...
16:04Now, don't answer me back.
16:07I need to find myself a new assistant.
16:12You all right, my love?
16:14It's a brutal question, Miss Dare, but I'm afraid it must be asked.
16:19Do you have any idea who might want to kill you?
16:24Can't this wait?
16:25Yes, of course.
16:26He'd excuse us.
16:27Sir.
16:28Out.
16:29I need to remind you that this is an official murder investigation.
16:32Don't talk to the press.
16:34Oh, no.
16:35Let's talk to the press.
16:36Oh, no.
16:37Oh, no.
16:38Oh, no.
16:39Oh, no.
16:41Oh, no.
16:42Oh, no.
16:43You got what we're gonna look about with?
16:44Oh, no.
16:45Oh, no.
16:47Oh, no.
16:48Oh, no.
16:50Oh, no.
16:51Oh, no.
16:52Oh, no.
16:53Oh, no.
16:54There once was an actress called Dare, whose allure was exceedingly rare.
17:01Her chocolates were spiked with strychnine, not nice.
17:05But t'was Barbara that ate them, not fair.
17:11I hope we did the right thing letting those people into the lane.
17:14Why did you?
17:15I'm afraid it was money.
17:18Yes, my love.
17:19Those little pieces of paper that keep us out of the small claims courts.
17:23How much?
17:2520 guineas.
17:26Per week?
17:27Per diem.
17:28For 10 diems.
17:34The devil's going on out there.
17:36Bobby's swarming about like the cup final.
17:38Ah.
17:39Mrs Goodwin?
17:40Yes.
17:41I'm afraid there's been an accident.
17:43Oh.
17:44Well, nothing to do with Sandra Dare, I hope.
17:47I heard she was in the neighbourhood.
17:49Oh, so that's why we're here.
17:50Always been a fan.
17:52They don't want to hear about your juvenile antics, woman.
17:55Miss Dare is perfectly sound, I'm happy to say.
17:58The Scarlet Pimpernel you had from us last time, wasn't it?
18:00I trust you enjoyed it.
18:01Oh, very much.
18:02And I promised you the sequel.
18:04I'm teeing off at quarter two.
18:05Tch.
18:06Sorry?
18:07Tch.
18:08Dinky.
18:09Tch.
18:10Tch.
18:11Tch.
18:12Tch.
18:13Tch.
18:14Tch.
18:15Tch.
18:16Tch.
18:17Tch.
18:18Tch.
18:19Tch.
18:20Tch.
18:21Tch.
18:22Tch.
18:23Tch.
18:24Tch.
18:25Tch.
18:26Tch.
18:27Tch.
18:28Tch.
18:29Tch.
18:30Tch.
18:31Tch.
18:32Tch.
18:33Tch.
18:34Tch.
18:35Tch.
18:36Tch.
18:37Tch.
18:38Tch.
18:39Tch.
18:40Tch.
18:41Tch.
18:42Tch.
18:43Tch.
18:44Tch.
18:45Tch.
18:46Tch.
18:47Tch.
18:48Tch.
18:49Tch.
18:50Tch.
18:51Tch.
18:52Tch.
18:53Tch.
18:54Tch.
18:55Tch.
18:56Tch.
18:57Tch.
18:58Tch.
18:59Tch.
19:00How's business been?
19:06Booming.
19:07Goodbye to bullying.
19:09All the Stuart Howard fans are mad for it.
19:12Is he in the film version?
19:14That's what I'm telling them.
19:18I, 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.
19:30I'm sorry.
21:00You really think someone tried to kill me?
21:13It really looks that way.
21:15Good God.
21:16At least we'll be back at Ladyhurst tonight.
21:19You sure you're okay to shoot?
21:21I have to be, won't I?
21:22Deirdre?
21:23Silly me, my memory.
21:26Sandra, are 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.
21:44I must feed the machine, Mr.
21:45Ah.
21:50Finally.
21:54If you'd be so great.
21:56You know my motto.
21:58If you've nothing nice to say, come and sit by me.
22:02And here you are.
22:04Sitting by me.
22:06Ah, yes.
22:07But I do have something nice to say, Marina.
22:10Oh?
22:11Lovelorn in London is the first of a new three-picture deal.
22:16A deal Stuart and I have signed on for.
22:20Isn't that marvelous?
22:22Marvellous.
22:24And your shooting interiors at Ladyhurst, aren't you?
22:27Mm-hmm.
22:27Not exactly MGM, is it at Ladyhurst?
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.
22:38And like the one where you played the simple crofter's daughter who married a duke.
22:42Mm, 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 fiber.
22:53People make bags without.
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.
23:10Oh, about a simple blacksmith's daughter who married...
23:13All right.
23:16I think it was quite a bit before that.
23:18But you know, our readers would be fascinated to learn that not all Sandra Day's pictures were talking pictures.
23:27I love those old inter-titles, came the dawn and all that.
23:31Well, I can check the date later, Deirdre.
23:37That is your real name, isn't it?
23:39The one you used to go by.
23:42Deirdre Piddock.
23:44Perhaps you should concentrate on the present, Noreena.
23:49Well...
23:49Someone is trying to kill me.
23:52Someone 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.
24:14Where are you going?
24:15Wheeler's?
24:15No.
24:16Camille's.
24:17On the Strand.
24:18Good choice.
24:19Don't have the oysters.
24:20I saw them taking that girl away.
24:26I assumed it was an accident.
24:27Poisoned chocolates.
24:29Really?
24:30And they were intended for me.
24:33And that poor, sad girl intercepted them.
24:36Oh, God.
24:37How's that for an exclusive?
24:39Tragic.
24:40And what an angle.
24:41Oh, sorry.
24:44That was crass of me.
24:46But still...
24:47What an angle.
24:49Oh, 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.
25:04Much to chew on.
25:06Always lovely to see you.
25:12Trust the lady, Hurstleys, in five minutes.
25:14Five minutes, everyone.
25:17What are you waiting for?
25:18The last post.
25:19Mr. Masterson, what 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.
25:39Tarr.
25:39We met through, um, picture-goer.
25:48Me and Barbara, I mean.
25:50There's lots of correspondence, you see.
25:53Like-minded folk finding each other.
25:54Someone to dare, friends.
25:56Some.
25:57And the other big names, too.
25:59There's a hairdresser I know who's potty on James Mason.
26:01But, 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?
26:21Yeah.
26:22I'm awfully sorry.
26:24We just couldn't resist them.
26:25We saw them there, on the table, in the bookshop, and...
26:29I mean, chocks.
26:31Come on, it's been years.
26:33They were through there?
26:35Yeah, 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 didn't see any note.
26:53No.
26:59It was over there, look, on the table.
27:03It's funny how easy it is to get close to them.
27:07The stars, I mean.
27:08Sally Gray once brushed past me in the powder room at the Walsingham.
27:12I'm up in the box.
27:14Maybe the card fell out.
27:18Do you have...
27:19back issues?
27:21Picture girl, I mean.
27:22Of course.
27:23January 35 onwards.
27:25Would you be so good as to let us have them?
27:27Of course.
27:27I know that look.
27:42Oh, dog.
27:44You naughty boy.
27:45Okay.
27:47This, sir...
27:49This, sir...
27:50Session.
27:51Well, I don't say Session, sir.
27:54He gives you four packs of ice.
27:56Oh.
27:56He does.
27:57He does.
27:57He's got the car.
28:01You're sure he knows about it.
28:04Yeah, he does know where we are.
28:05Thank you, Miss Bruce.
28:06You've been most helpful.
28:10Uh, uh...
28:11Constable?
28:13Oh, 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.
28:33Your look of concentration, your strength.
28:36We were destined to love each other.
28:38Ship of shame.
28:40Good picture, that one.
28:43They were meant for him.
28:47We imagine we control our passions, but they direct us.
28:51To the stars we strive, despite adversity.
28:55They drive ordinary people to extraordinary actions, like injecting strychnine into strawberry creams.
29:01So, Stuart, my own best darling, I implore you not to try.
29:08Follow your heart, break off your engagement, and we can be together, you and I, my sweetest boy, in life, or in the cold, cold tomb of death.
29:21And if one proves impossible, I'll take the other, joyously.
29:26Well, that seems pretty clear.
29:28If the writer can't have him, nobody can.
29:30So we're looking for a film fanatic.
29:32Fanatic being the word.
29:33That would be the obvious explanation.
29:36All right, then.
29:37Bring me up to speed.
29:39What do we know about this film, Will?
29:43Stuart Howard.
29:45Proof that smouldering Latin books sometimes occur spontaneously in Bermondsey.
29:49He and Sandra have bound their careers together, the nation's sweethearts.
29:55But who can know the truth of it?
29:57He's an actor, and he's young and ruthless and rather over-rewarded.
30:02He appears to be hopelessly in love with someone else.
30:04Who?
30:06Himself.
30:08Then there's the Honorable 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.
30:27And then we must presume wrote his script on the private lives of the proletariat.
30:32Thank you so much for joining me.
30:33Good neighbour, was he?
30:35Didn't pay much attention, to be honest.
30:37I find that hard to believe.
30:38Well, he was obviously taking notes on how to run a bookshop.
30:41And Miss Dash, she had a rich husband who died, didn't she?
30:44An Italian national.
30:46Is that why they went to the States?
30:48Well, if they'd stayed, he'd have been interned as an enemy alien.
30:50I suppose that they preferred the California sunshine.
30:54That's made me think rather better of her.
30:56I thought she was just running away from the bombs.
30:58What about Billy?
31:00Clapper boy.
31:01Positions, please.
31:02And from the look of it, Stuart Howard's now ex-whipping boy.
31:06Doesn't seem to be much love lost there.
31:09They pose a lot, don't they?
31:11These film stars.
31:13Why is he marrying her, do you think?
31:17To show she's still here?
31:26To show she knows what the audience wants.
31:29Stuart Howard's just arrived at the top, ain't he?
31:32Miss Saja's been there for years, but she can only stay there for so long.
31:36Very perceptive of you, Jack.
31:41What a brutal business this is.
31:43It captures people in time, then they change.
31:49And 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.
32:13Jesus Christ, me!
32:40You.
32:40You have no idea how draining it is, Mr. Book.
32:47Glad-handing.
32:49Scribbling one's autograph.
32:51Failing to recognize someone whom you apparently met at a village fate ten years ago.
32:55And they're smiling.
32:56Great God, they're 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.
33:03Uh...
33:05What can 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?
33:19Well...
33:20Oh, uh, no.
33:22No, we don't.
33:22So, if I might repurpose the inspector's earlier question, can you think of anyone who might want to kill you, Mr. Howard?
33:29Take your ruddy pick.
33:31There's quite a lot of angry ladies out there, not to mention their husbands, Savile Row tailors, producers, directors, writers, my ex-agent, my ex-ex-agent, Uncle Tom Conway and all.
33:44But what about prison?
33:46What?
33:47You started to eat your dinner with your spoon.
33:49Ah, old habits.
33:53Dead giveaway.
33:56Takes one to know one.
33:59I was younger than you.
34:01Nothing too terrible.
34:03But I shouldn't like it to get into the popular press, Mr. Book.
34:07I should think not.
34:12Where'd they get you for?
34:13I went for a drive.
34:14Where?
34:15To a ferrier's window in Mayfair.
34:18You?
34:18Went to the bank to make a withdrawal.
34:21You have a stocking over your face?
34:23Yeah.
34:23My mother's.
34:27I'm a Bermondsey boy, Jack.
34:28Rough as a sailor's arse.
34:31Despite all of this.
34:35Do you think it could have something to do with that?
34:37The prison?
34:38Well, as you've indicated, it's a wide field.
34:42Tell you what, we're going to take on young Jack here as your new factotum.
34:46Huh?
34:46No harm in having a strapping young fellow like him hanging around, and you are looking
34:49for 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, and you know how Nora loves to help out.
34:58Well...
34:58Splendid.
34:59Yes, this is a good idea.
35:00You know, Mr. Book, you should all come to Ladyhurst.
35:03Help us get the details right, and keep an eye on things.
35:07We'll be delighted.
35:08Thank you for these.
35:09I'm a film star.
35:15You all right?
35:17Yeah.
35:19Oh, wouldn't I be?
35:21I'll leave you to it, then.
35:23Let me know if anything interesting turns up.
35:26Oh, and be careful.
35:27There is a killer on the loose.
35:29Hmm?
35:31Good night.
35:32Good night.
35:34Yes, sir.
35:35What's your poison?
35:36Varsity's Sporting Review.
35:56There you are.
35:57There you are.
36:06What's this?
36:31Come on.
36:32It's usually around now that you deign to share.
36:36Three things, then.
36:39Who would benefit from Love, Lord, and London 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.
36:50So, 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.
36:58And finally, the chocolate method, haphazard though it was, has 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.
37:11No.
37:12And Jack has a new job.
37:14The Stuart Howard's stand-in.
37:16When are we going to tell him?
37:20Not yet.
37:23Shall I read?
37:24Well, I know how you enjoy it, so I'll humor you.
37:30Bunch up, then.
37:36Oh, there it is.
37:39I've been fretting about that since we moved my stuff to accommodate the stars.
37:45Then fret not, dear.
37:47And recall our solemn pact.
37:49Cave of Fancy, eh.
37:59I've seen some dives in my time for this.
38:03So dirty.
38:05So shady.
38:08The pansies in my garden abhor the shade.
38:14Right, sir.
38:16It is, sir, is it?
38:20Let's find you on my list.
38:23Name, occupation, marital status.
38:28Engaged.
38:31Who are you?
38:32Medical officer Stroth of Perry.
38:35Trotty to my friends.
38:36Lady for the Garibaldi Brigade, and I don't mean the biscuits.
38:39I can pull out shrapnel, I can strip it to Shanker in under two seconds, and I want to pull it south of the urbo, which I wouldn't recommend even to you, sergeant.
38:47And I never, ever leave a man behind.
38:51He's sitting there.
38:52And I'm getting married to him next Saturday, and 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?
39:13Forecast is good.
39:15Quite all right, Trotty.
39:18Love him.
39:21Kiss me.
39:22Where would I be without you?
39:32I think we both know the answer to that, my love.
39:40Anyway, you are going to read.
39:44Of course.
39:52She's noticed you.
40:14Yeah, they always notice me.
40:15Girls.
40:17Doesn't mean anything.
40:18It's like when kids put on their dogs on the street and say, dog.
40:22Yeah, what are you getting married to, isn't it, sir?
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?
40:33I can imagine that.
40:34Most of the questions are from my 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.
40:46Well, you'll have those, don't we?
40:49You'll 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'll like him.
40:59Book.
41:00How?
41:01Because you read.
41:02So go on, read me.
41:07Well.
41:08Um.
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.
41:20You hate it.
41:21And you hate that drink, too.
41:23Like a pudding from the war.
41:25Shh.
41:26So you're thinking, how can I be the chap I was, you know, before I knew that the camera
41:31loved me?
41:32Which is a terrible thing tonight.
41:34It's not all it's cracked up to be.
41:35Can you believe that?
41:36Yeah, I wouldn't mind a bit of it.
41:38Careful what you wish for, son.
41:39Got someone sending me poison in the post, remember?
41:41I was a bit stuck when I met Sandra.
41:47Typecast.
41:49Not officer material, they said.
41:52It was a problem, kid.
41:54Sandra changed that.
41:55Pulled strings, whispered in ears.
41:58Producers started casting us as lovers.
42:00They were lovers by then, of course.
42:02Do you love her now?
42:02Oh, and I don't hate her.
42:10You want to be your own man?
42:11Of course I do.
42:12But it's impossible, isn't it?
42:13We're a pair.
42:15Like Hope and Crosby, Fred and Ginger, Garbo and Gilbert.
42:18Yeah, except he left, didn't he?
42:20What?
42:21John Gilbert.
42:22Didn't survive when the talkies came.
42:25Yeah.
42:27So it's all an act, then.
42:29You and her.
42:30Golden couple.
42:31All an act.
42:32As much an artifice as Stuart Howard himself.
42:38The 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.
42:47Those scenes in the moonlight.
42:50Standing by the rail of a ship.
42:52You just read in the fan mags that the screen lovers have broken off the engagement.
42:56Can't stand to be in a room together.
43:00And there's no space to dream.
43:02No.
43:06I love you.
43:23But...
43:23You remember me?
43:25I don't know.
43:55I don't know.
44:25I don't know.
44:55I don't know.
44:56I don't know.
44:57I don't know.
44:58I don't know.
44:59I don't know.
45:00I don't know.
45:01I don't know.
45:02I don't know.
45:03Try it again without him reading in.
45:05I can do it in time.
45:06Yes.
45:07Of course.
45:08Reset.
45:09I don't know.
45:10I don't know.
45:11I don't know.
45:12I don't know.
45:13I don't know.
45:14I don't know.
45:15I don't know.
45:16I don't know.
45:17I don't know.
45:18I don't know.
45:19I don't know.
45:20I don't know.
45:21I don't know.
45:22I don't know.
45:23I don't know.
45:24I don't know.
45:25I don't know.
45:26I don't know.
45:27I don't know.
45:28I'm so sorry, Jessie.
45:30Can I beg ten minutes?
45:32Siggy will sort me out.
45:34Cut it there.
45:35Cutting it there.
45:36Right.
45:37Ten minutes off.
45:39Back at five past.
45:44Is that coffee, sir?
45:45No.
46:06No.
46:07No.
46:36A little bit more.
46:40I like it.
46:44I like it.
46:48I like it.
46:52I like it.
46:56I like it.
47:00Eric Percival Banks, she's been married before.
47:30Good morning.
47:54You're up early.
47:55Oh, I thought you might want a tea.
47:59Hey kid, do you want to be in pictures?
48:23Your name's not on the list.
48:28Who are you?
48:30We're antiquarian booksellers, isn't it obvious?
48:33And I know we're being extra vigilant, Jerry Love, but they're with me.
48:38All right.
48:39What's this?
48:40What's this?
48:41The address of Barbara Markham's parents.
48:48What's this?
48:49The address of Barbara Markham's parents.
48:55I'll go visit them.
48:56No, no.
48:57There's the inquest first.
48:58Just write them a kind letter.
49:00I will.
49:01Thanks book.
49:02You boys in for the biggest surprise of your lives.
49:07Keep going.
49:08Better this way.
49:09More dramatic.
49:10Geordie, can I get some lights on please?
49:11Yes.
49:12Can I get some lights on please?
49:13Yes.
49:14Yes.
49:15Yes.
49:16I'm sorry.
49:17Can I get that?
49:18What a policy, man.
49:19Look at me.
49:20What's this Nossa P הר?
49:21A character for the teenager?
49:22Fuck you.
49:23Excuse me.
49:24Why are you looking into the tree and you could foil this?
49:25While客's parents hand on his hands?
49:26Some cameras have cameras in toThey.
49:27Can you sunrise them as a grocery store?
49:31Can you they come and take a look for them?
49:32Right, well, thanks The Losers.
49:33I'm sorry.
49:34You just آ retired, sir.
49:35No, wait.
49:36I'll go.
49:40In other light words.
49:41Amazing, it's absurd, ridiculous, bizarre exaggeration of reality, it is wonderful.
49:58What a thrillingly peculiar life you lead, Mr. Howard.
50:03It's an imitation of life.
50:05Dog's blanket, but no dog.
50:10Is dog cast yet?
50:11Yeah, unless you're not much cop, no screen presence.
50:15Think of a good replacement?
50:17Yeah, I can.
50:24Cans of cash.
50:26Your Tony's a better bookseller than I am.
50:29He's fake.
50:31I like everything in here.
50:33Ah, well, I'm glad you had a chance to look before the hordes arrived.
50:37Let's get some breakfast. Canteen's in the next block.
50:40Lay on, McDuff.
50:41Just past the dressing rooms.
50:42Do you know what you're doing next, or...?
50:43Another Robin Hood remake.
50:44I mean, I've got the pins for it.
50:45Oh my God.
50:46Right.
50:47It's one of the extras.
50:48Oh my God.
50:49It's one of the extras.
50:50No.
50:51No.
50:52I think not.
50:53No.
50:54No.
50:55I think not.
50:56No.
50:57I think not.
50:58It's Norena Bean.
50:59It's Norena Bean.
51:00No.
51:01It's Norena Bean.
51:02No.
51:03It's Norena Bean.
51:04No.
51:05It's Norena Bean.
51:06No.
51:07It's Norena Bean.
51:08It's Norena Bean.
51:09No.
51:10It's Norena Bean.
51:11No.
51:12It's Norena Bean.
51:13The girl with the poison pen.
51:14It's Norena Bean.
51:16No.
51:17It's Norena Bean.
51:18No.
51:19No.
51:20I think not.
51:21It's Norena Bean.
51:22No.
51:23It's Norena Bean.
51:24It's Norena Bean.
51:25It's Norena Bean.
51:26It's Norena Bean.
51:37The girl with the poison pen.
51:54It's Norena Bean.
51:55It's Norena Bean.
51:56It's Norena Bean.
51:57It's Norena Bean.
51:58It's Norena Bean.
51:59It's Norena Bean.
52:00It's Norena Bean.
52:01It's Norena Bean.
52:02It's Norena Bean.
52:03It's Norena Bean.
52:04It's Norena Bean.
52:05It's Norena Bean.
52:06It's Norena Bean.
52:07It's Norena Bean.
52:08It's Norena Bean.
52:09It's Norena Bean.
52:10It's Norena Bean.
52:11It's Norena Bean.
52:12It's Norena Bean.
52:13It's Norena Bean.
52:24You
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