- yesterday
FULL MOVIES ENGLISH SUB
Follow our telegram group to get the latest movie updates
https://t.me/dramakong
Follow our telegram group to get the latest movie updates
https://t.me/dramakong
Category
😹
FunTranscript
00:00you mean everything to me what the hell was that love lawn in London scene 28 take three
00:14I hope we did the right thing letting those people into the lane
00:19film struck girl inspector dead I've shut down filming for the time being what do we
00:26know about this film Stuart Howard he and Sandra have bound their careers together the nation's
00:32sweethearts then there's the Honorable Jesse McKendrick you're the director and the writer
00:36what about Billy someone is trying to kill me
00:40Strictly drop it it's poison can you think of anyone who might want to kill you take your
00:50ruddy pick when are we going to tell him not yet
00:56it's one of the extras it's Norena Bean
01:01still rolling Sandra yeah and action
01:15oh no god I'm so sorry Jesse um can I beg ten minutes uh Siggy you'll sort me out
01:27cut that
01:30scene 49 take nine
01:34action it was dead I knew we had fallen in last kill the sound please can we stop the film and take a proper look
01:47no we'd burn in the projector I think the difference is pretty obvious you'll see in just a moment
01:53here comes the post
01:57oh guys I see what you mean he's lost six inches just while Sandra Dad went off for a gasper
02:05so between takes eight and nine Norena Bean gets her screen break an hour later is that right
02:13well certainly no more than two she's on the cutting room floor well the bottom of the basement steps
02:19I know who he is the postman you do he was down the line yesterday I see him in the yard just now
02:31now would you be so kind
02:33yep
02:37of course she hit that step with tremendous force
02:43too hard for an accident you think
02:46did you fall
02:47or was she pushed
02:50you
03:04you
04:07Well, Book thinks there's something here.
04:09A clue.
04:11We like those.
04:12Many names coming up a lot.
04:14Regular correspondence.
04:16Name and address supplied is a very reliable contributor.
04:20I try to give myself a mole like Margaret Lockwood, and now Mum says I look like a tart.
04:28Hang on.
04:37I've seen a letter from this one before.
04:40Signed, Basilisk.
04:43If only we could step through the screen.
04:52Oh, romance of the pictures is really getting to, isn't it?
04:55It's not that.
04:57Beyond the door, behind that set, there's a flight of stairs when I think Norena Bean is already dead.
05:03Do you think this is linked to the poison girl?
05:10Well, special delivery.
05:15Your postman.
05:17Bart Masterson.
05:19Kurt Masterson.
05:22Normally I do landlords.
05:24I've seen a glass pushed in a bloke's face, and I've laughed.
05:32See?
05:34Very good.
05:35Robert Newton should watch his back.
05:37But you're not auditioning now, Mr. Masterson.
05:41We're investigating the unfortunate death that took place here last night.
05:45Second one on this production, in fact, after Miss Barbara Markham.
05:49And two looks like carelessness.
05:52Whose, though?
05:54Are you the police?
05:55Inspector Bliss is the police.
05:57Hello.
05:57I'm just helping them.
05:58With their inquiries?
06:00With the fiddly bits.
06:02Now, Kurt Masterson, not your real name?
06:05How did you know?
06:07You went home early last night, Mr. Masterson.
06:10Why?
06:10Well, I was made an offer I couldn't refuse, wasn't I?
06:13I knew the lady, Norena Bean.
06:15I read a column.
06:16I always do.
06:17She gave me a fiver, just to borrow the uniform mine.
06:19Said she would go on for me and no one would clock it.
06:21Now, why would she want to pose as you?
06:25She said she was writing a story.
06:28The poisonous secret at the heart of Loveless in London.
06:31Love-lorn.
06:33Something like that.
06:34She wasn't specific.
06:36But she said she needed one last bit of proof.
06:38I didn't think nothing of it.
06:39I was barely in the shop.
06:41You sell a lot of stories to the press, do you, Mr. Masterson, about actors here?
06:46No.
06:48Well, nothing nasty.
06:50Just whether they like mink or feathers or where they drink.
06:53Or how much?
06:54All right, thank you.
06:55We'll come and get a statement from you.
06:57That's it?
06:57That's it.
06:58I was a red herring before.
07:02Once.
07:03Half a wonder tapped his pipe and looked all beady at me.
07:05But I'd never done it.
07:06I was just in the wrong place at the wrong time.
07:08All right, thank you.
07:09Why was she here, though, Norena?
07:14Why are you going to have the trouble of bribing him and putting on his costume?
07:17The extra security.
07:18She can just hang around in the lane, could she?
07:20So I suppose she needed a disguise.
07:22The title of that article, though, eh?
07:25Maybe she was onto the poisoner.
07:27So she had to go.
07:30What's that?
07:31It was something I noticed.
07:34Backwards impression on Norena Bean's hand in ink.
07:37It was something she was holding.
07:39Evidently, she was sweating.
07:41The weather from the exertion of going up the stairs or the heavy costume.
07:45And reversed, it reads...
07:50Tywin's, Tywin's, Tywin's, Tywin's, two twins.
07:56Hardly.
07:57More likely the fragment of two words, wouldn't you say?
08:01I, uh, better go back to work.
08:03Work?
08:05I'm standing in for Stuart.
08:07It's not a profit trade, you know.
08:10Yeah.
08:11Like being a part-time detective.
08:17What's up with it?
08:20Hmm?
08:25Me.
08:29She's dead.
08:30You saw her.
08:33She was at the bottom of the stairs.
08:35Like a broken dog.
08:37Oh, God, how awful.
08:38I mean, she was awful, but still.
08:41How awful.
08:43If it was murder, there'd be a lot of suspense.
08:54Half the British film business.
08:55All of it.
08:56It's true.
08:58Everybody hated her.
09:00You hated her.
09:03What did you do last night?
09:05I had a drink with that boy.
09:09Nice kid.
09:10Went to bed early.
09:12Did some film star duties.
09:13Oh.
09:14Yes, you know.
09:16Signing photos, answering questions from fans.
09:20What's your ideal night out?
09:21What'd you like for breakfast?
09:22Hmm.
09:22You were just shooting here?
09:26Yes.
09:27Due take-off to take.
09:29Simple stuff, really.
09:31Oh.
09:37How many stars have sat here like me?
09:42What have you seen the creases grow?
09:44The hair's thin.
09:46The flesh's group.
09:47The chins.
09:50I met a man once.
09:55He was an astronomer.
09:56Now he knew about the stars.
09:59The real ones, I mean.
10:01Did you know that the stars that we see in the sky aren't really there?
10:07Most of them, anyway.
10:09It takes so long for the light to reach us.
10:13But they're just echoes.
10:16Ghosts.
10:16Just a memory of what was once there.
10:22Christ, darling.
10:23But some of those stars don't go quietly.
10:26Well, no, towards the end.
10:28Later in life, shall we say.
10:30They get bigger.
10:32Bigger stew.
10:33They give out more and more light and heat.
10:37Till nothing can eclipse them.
10:39Nothing.
10:39I don't want to go quietly.
10:43I want to burn.
10:46Light up the town like I used to explode.
10:50Boom!
10:51The chocolates were injected with one of these.
10:57So why have you got one?
10:58Well, it's hardly a secret, is it?
11:01Diabetic, aren't I?
11:02Everyone knows that.
11:04Interesting.
11:05So anyone could have gained access to this, for instance.
11:09Well, you might have done it yourself.
11:13Why the hell would I have wanted to poison Miss Dare?
11:15Well, that's just a thing, Sonny Jim.
11:17Miss Dare wasn't the target.
11:18Then who was?
11:19Her fiancé.
11:22Yes.
11:22Puts a rather different complexion on things, doesn't it?
11:25Mr. Howard fired you, didn't he?
11:26Yeah.
11:27Yeah, but not till after the chocolates.
11:28Yeah, but he treated you badly.
11:30You were his whipping boy.
11:31You need to develop a fixed skin in this business, Inspector.
11:34I've dealt with bigger egos than Stuart Howard, believe me.
11:37If I'd want it to get my own back, I'd have pissed in his tea, not poisoned his chocolates.
11:42And then there's the late Miss Noreen Bean.
11:44Yeah, well, she was a right old man.
11:49Mustn't speak ill of the dead.
11:51Does she have anything on you?
11:52Like what?
11:54You can account for your movements last night, can't you?
11:56Shot right through.
11:57Right.
11:58No coffee breaks?
11:59Yes, of course coffee breaks.
12:00So, theoretically, you could have pushed Noreen Bean down the stairwell, couldn't you?
12:04Yeah, well, theoretically, I could have won the pools and rung up Veronica Lake for a date.
12:08But I didn't.
12:10What's this?
12:11Tomorrow's pink page.
12:15Rewrite?
12:16Mr. McKendrick's rewrite of scene 34.
12:19Just a little one, but in this business, the details matter, Inspector.
12:23You don't want actors bumping into the furniture.
12:25I'm a details man myself.
12:27Oh, yeah.
12:31Yeah, I'm terrible at the pictures, me.
12:33You know, I always know it, done it, straight off.
12:36It ever takes the marrow out of Mrs. Bliss, but as I always say to her, the why is the thing.
12:41So why not take her to a western?
12:44Watch all those cowboys getting shot in the chest and falling forwards.
12:47I don't think so.
12:50You ever get home, Billy?
12:52If I try hard, Mr. Book, I can remember the daylight.
12:57Can I go now?
12:58Well, we need to get this tested.
13:01For insulin.
13:03For strychnine.
13:04For strychnine.
13:04Basilisk.
13:24Eh?
13:26Ring any bells?
13:29Basilisk.
13:30Nora and I have spent most of the morning dredging through your back issues.
13:33My head's swimming.
13:35And we finally found what we were looking for.
13:37A Sandra Dare fan who wrote to picture-goer a lot.
13:41This one is from two years ago.
13:43For looks, talent, and sheer screen charisma, no one can compete with the divine Miss Dare.
13:49There's loads like that.
13:50In her latest picture, the 43-year-old star elevates the art of acting to great heights.
13:56But why she's wasting her time showing the screen with Stuart Howard, I will never know.
14:02A mumbling, soppy-eyed fop.
14:05Oh.
14:06And here's another, a year later, the public's infatuation with Dare and Howard is beyond me.
14:12Miss Dare should be striking out alone, not saddling herself with this talentless whippersnapper.
14:17Of course, there is always difficulty when one reaches for the stars.
14:21But the difficulty as I see it is Stuart Howard.
14:25And there's a lot more like that in the same vein.
14:27An all-signed basilisk.
14:33I see.
14:34Well, they obviously didn't like Stu.
14:38You think they might be the one who sent the chocolates?
14:41I don't know.
14:42Is it too much of a stretch to go from disliking a film star to sending them strictly?
14:53Sometimes the discussions can get very heated.
14:56At the meet-ups.
14:59Meet-ups?
15:00Oh, yeah.
15:01We meet up and have chats and that.
15:03Sometimes the studio will send a star down to open a fate or something.
15:07That's how I first met Barbara.
15:09And you've never come across this basilisk.
15:13Well, how would I know?
15:15If they never used their real name?
15:17Anything?
15:35Mr. Howard's room's as bare as George Zocco's pate.
15:39Oh.
15:40What about Miss Dair's?
15:42Same.
15:47Probably.
15:51Who's next?
15:55Soundproofed?
15:56Naturally.
15:56Now, we know your movements last night, Mr. McKinley.
16:01I should think so.
16:02The director never has a moment to themselves.
16:04In the tea break, I went to my office.
16:06Just a minor change for tomorrow.
16:08A pink page, yes.
16:10You can check with my secretary.
16:12These stairs, where do they lead?
16:15Prop store.
16:16Offices.
16:17It's a warrant in this place.
16:18Film vault down there.
16:19Nice place, if you like asbestos.
16:21The treasures are pretty similar.
16:23Not really.
16:24Well, what then?
16:27Well, our film opens in Leicester Square.
16:30Then it goes out across the country.
16:31Then to the second-run houses in the flea pits.
16:33And when it's so scratched that every scene looks like it's happening in Antarctica, it comes here.
16:37Back home.
16:39And it's taken to the tank.
16:41The tank?
16:42What happens there?
16:43It's put out of its misery.
16:53It's dissolved in sodium hypochlorite.
16:55Why back here?
16:56The fumes, Mr. Book.
16:58The fumes.
17:00In goes some old tat starring a terrible provincial comic.
17:03And out comes something useful.
17:05Waterproof paint.
17:06And silver halide.
17:08What an odd little cottage industry.
17:10It's valuable.
17:11More valuable than what's on the films themselves.
17:13That seems a lot of effort to go to.
17:15No, it's a simple process.
17:16The chemical solution does the work.
17:18No, I mean, make an emotion picture.
17:20You know, the stars and the lights.
17:22You know, I'm shooting all those scenes.
17:24And then just to melt it all down for scrap.
17:26British cinema is mainly stupid, Inspector.
17:29It's never been about anything.
17:30That needs to change.
17:32When it does, I'll make movies that won't end up here.
17:41Hmm.
17:43Mr. Howard.
17:52Good evening.
17:56Bye, darling.
17:57Bye.
18:03Mr. Howard.
18:05Mr. Book.
18:05A moment?
18:06Of course.
18:07A hoary old query.
18:09Who is?
18:10What were you doing last night?
18:14Well, after drinks with your Jack, I went to bed early.
18:18But I couldn't get off.
18:19I spent a lot of time staring at the ceiling, contemplating mortality.
18:23As you can imagine.
18:24Any witnesses?
18:25Sorry to sound so official.
18:26Of course not.
18:27Sandra and I are engaged, don't you know?
18:28I had heard something of the kind.
18:32And Lorena Bean?
18:34Was she blackmailing you?
18:36About prison?
18:37I've been very careful.
18:42Incredibly, I don't think she ever got a sniff of it.
18:45Mustache.
18:46TTFM.
18:46Right, there's been a smash and grab in Crystal Palace.
18:51A tray of missing wedding rings and a cracked skull.
18:54Ooh, very much a B-movie crime.
18:57Might you stick around here?
19:00Keep in mind the beautiful people.
19:03They are beautiful.
19:04What can I get from you?
19:05Well, what else are they?
19:07Come on, Sergeant.
19:13Let's go.
19:13Come on.
19:37Cheers, Cock.
19:58Clippings.
19:59We found your trail book.
20:01Oh, excellent work.
20:03Oh, Mrs. Book.
20:05Didn't expect to see you here.
20:06Mr. Howard said we should visit,
20:08and I've bought something for my husband.
20:10Lunch.
20:11Clues.
20:12Eh?
20:13Very interesting trail here.
20:16And I thought I saw something earlier, too, in the note.
20:19A repeated phrase.
20:22And these are all signed...
20:24Basilisk.
20:26What?
20:27It's a mythological creature.
20:29Could kill you just by looking at you.
20:31Rather the way Miss Dare is looking at me now.
20:34Would you excuse me?
20:35Well done, darling.
20:36Would you like a little look around, Mrs. Book?
20:42Oh, I'd be delighted.
20:47So, uh, wallpaper didn't suit your story, then?
20:51Well, no.
20:52Because the hero, Tony, he desires pleasure.
20:55But he's afraid of it.
20:56He's repressed.
20:58That's Freud, you know.
21:00Hmm, so I understand.
21:01Wallpaper simply doesn't give us that.
21:03Wallpaper is about covering things up.
21:05I thought cakes.
21:08Cakes are the opposite of books, really.
21:10I must have missed that bit in Freud.
21:12Oh, yes.
21:14Oh, yes.
21:14Very good.
21:15Please.
21:18Skirts gathered ready for the pursuit of art?
21:21Uh, yes.
21:23I suppose so.
21:24Well, before you rush off, perhaps I could check some details.
21:27Hmm.
21:28How do you help the police exactly, Mr. Book?
21:30I check details.
21:33You must be relieved to know the chocolates weren't intended for you.
21:36Hmm.
21:36Naturally.
21:37But also terribly worried for Stu.
21:39Of course.
21:41Now, I know where you were last night, Miss Dare, because I've seen the rushes.
21:44You were doing that scene where you look through the window and think about the resilience of your love.
21:49Yes.
21:50With Marina Bean amongst the background artists.
21:53Marina?
21:54Was she on the set?
21:57In the shot?
21:58Yes.
21:59Moments later, she was on the stairs.
22:03Yes.
22:03Yes.
22:04And then at the bottom of the stairs.
22:06Yes.
22:07Well, I know about that.
22:09Perhaps she was killed because she knew who'd sent the poison chocolates.
22:15So how would you think?
22:18It's a working hypothesis.
22:20Wait a minute.
22:21Um.
22:22No.
22:22You don't think that I...
22:25No.
22:27I love Stuart.
22:28We're everything to each other.
22:31Everything to the box office at any rate.
22:34Oh.
22:35And someone's been telling tales.
22:38Well, if that were the case, I'd have even less motive for killing Stuart, wouldn't I?
22:43We're joined at the hip.
22:44No.
22:44No.
22:45No.
22:45No.
22:46When you finished filming, you went back to your dressing room, I imagine.
22:49Oh, Billy, darling, you wouldn't get me a coffee, would you, please?
22:55Of course, mister.
22:55A dash of milk.
22:56A dash of milk.
22:57Me too, really.
22:58Good strong one.
22:59Sure thing, sir.
23:00You all work such long hours.
23:03We like to turn the sign at 5.30.
23:07Oh, my dear, well, in the quote of quirky days, there was one picture shooting here during
23:11the day and one at night.
23:13When that door opened with a 10 o'clock turnaround, oh, no idea.
23:17Stale beer, orange peel, gas.
23:20Thank you, darling.
23:21Oh, the 1930s.
23:23Those were the days.
23:27Sugar, sir?
23:28Oh.
23:29What?
23:30Tastes horrible.
23:31Tastes so bitter.
23:32Would you like some milk, sir?
23:35No.
23:36Billy, get me some water.
23:38Oh, my Lord.
23:39Jessie.
23:40Same sentence.
23:41Jessie.
23:42Who's really?
23:43Who's really?
23:44Oh, my God.
23:45Eat it.
23:46That's one of the cookies.
23:47Ah.
23:48Oh, my God.
23:49Oh, my God.
23:50What's up?
23:51Jessie.
23:52You really?
23:53Oh, my God.
23:55Oh, my God.
23:56Oh, my God.
23:57I can't swallow the cookies again.
23:58What are you doing, Tim?
23:59Trying to save his life, I think.
24:01But perhaps someone should call an ambulance in case I've got it wrong.
24:04Ambulance, quickly.
24:05What's up, Mr. McKendrick?
24:06What?
24:07Stay with us.
24:08No.
24:09Oh, no.
24:10Look at me.
24:11Look at me.
24:12Look at me.
24:13We didn't even get to the top of the hill.
24:28Is he hurt?
24:29It's largely cosmetic.
24:30What's all that stuff around his mouth?
24:32It's largely cosmetic.
24:34Mascara.
24:35Oh, charcoal.
24:36I believe that's what mascara is.
24:39Oh, and petroleum jelly.
24:40Bit of a risk, though, Mrs. Book.
24:42Charcoal's good for strickening.
24:44But I'm still waiting for the report on what was in Barbara Malcolm's chocolate.
24:47It could have been anything.
24:48Mr. McKendrick twitched, though.
24:50Strickening gives you the twitches.
24:51That's right.
24:52Great presence of mind is my wife.
24:54All my thoughts, dear Jessie.
24:58Oh, wait.
24:59My bag.
25:00I need my things.
25:01Oh, allow me.
25:07Oh.
25:08Silly me.
25:18Thank you, Mrs. Book.
25:28Oh, it's in the coffee.
25:43Everyone else has drunk it.
25:45They seem to be fine.
25:49What do you...
25:50Not entirely awful.
25:54Oh, it was so...
25:56It's in the cup that I did half-times.
25:59You'd think so, wouldn't you?
26:01It's so indiscriminate.
26:06I just heard.
26:07Jessie?
26:08Poisoned!
26:09Oh, God!
26:10Has it meant for me?
26:12I don't know.
26:13The new schedule, Mr. Howard.
26:15Mr.
26:17You can go, Jack.
26:19That'll be the end of shooting for the day.
26:21Try me off.
26:23Okay.
26:27Quiet.
26:29Let's call it a day.
26:30Shall we, Trotty?
26:39What's the matter with him?
26:41I don't know.
26:43He's been rather off with me all day.
26:51Laura, are we diversifying?
27:03Just catching up on my reading.
27:09He is mud in your eye.
27:10Ah, ah!
27:11Boy!
27:12I'm still a child.
27:13Your uncle had my guts for garters.
27:16I'll go to bed.
27:17Are you all right?
27:19Long day.
27:21What's wrong with your usual diet of blood and guts?
27:25Got a bit bored.
27:27They're starving a woman to death in pinge.
27:31Nora, a favour.
27:33Where are those film almanacs?
27:36You mean the magazines that girl bought?
27:38No, no.
27:39We have a stack of almanacs.
27:40Early films.
27:41From when they still called them Flickers.
27:43If memory serves, between William Freeze Green and How Green Was My Valley.
27:47Well, I...
27:48There she is.
28:02Christiana Edmonds.
28:04And Astra.
28:05Asper.
28:06What?
28:07No.
28:08No.
28:09And Astra.
28:10Asper.
28:11What?
28:12No.
28:13And the staircase doesn't go anywhere.
28:14Oh, it's all right.
28:15These people never go upstairs.
28:16Sounds like home.
28:17No ceiling, though.
28:18No ceiling, though.
28:19The rooms in films never have ceilings.
28:20Why is that, eh?
28:21It'd stop the light getting in.
28:22Continuity.
28:23Missed the book.
28:24Ooh.
28:25Sorry.
28:26How's the life over standing?
28:27Static.
28:28Static.
28:29No.
28:30What?
28:31What?
28:32What?
28:33Is that a light getting in?
28:34Isn't it?
28:35And the staircase doesn't go anywhere.
28:36Oh, it's all right.
28:37These people never go upstairs.
28:38Sounds like home.
28:39No ceiling, though.
28:41The rooms in films never have ceilings.
28:44Why is that, eh?
28:45It'd stop the light getting in.
28:46Continuity.
28:47Missed the book.
28:48Ooh.
28:49Oh, sorry.
28:53How's the life of a standard?
28:56Static.
28:57Jack, a word in your shell, like.
29:03Jack, Jack, back into the light, please.
29:06Ah, Mr. McKendrick, glad to see you looking hale and hearty.
29:11Fully recovered, I hope.
29:12Yes, thanks to Mrs. Book.
29:14When I went into the picture business, I never thought it would be so bad for my nerves.
29:17It's exhausting.
29:18More exhausting than running.
29:19So much more.
29:20Near the end, though, now, aren't we?
29:21Yes, I'm so sorry, Mr. Book.
29:23Would you excuse me? I'm rather busy.
29:24Of course.
29:25Oh, what is the story so far, Mr. Howard?
29:29We've been having a passionate affair of the intellect, Madeline and I.
29:33But then this telegram comes.
29:35Telegram of doom.
29:36And what do you know?
29:37Her husband's been found in a Japanese POW camp.
29:40Oh, bad luck.
29:41Yes, and he's on his way back to Blighty with his ribs sticking out,
29:43but still very much a going concern, love-wise.
29:45And so she tells me she has to leave me.
29:47What do you say?
29:48Nothing, of course.
29:49Writers never want to write those bits.
29:52They're like a nice, clean reaction shot.
29:54Something swelling in the soundtrack.
29:56Positions, please.
29:58But credit due.
29:59Jesse listened.
30:00So instead of standing there catching flies, I gird my loins and go stoically back to work.
30:05Like Uncle Van, yeah.
30:07I'm sure that's what Jesse had in mind.
30:10Ask him.
30:12I might have heard that.
30:13What did I do now?
30:22What did I do today?
30:24you to die.
30:25Scene 34, take one.
30:28Action.
30:31Now the telegram is here, the one I think
30:34we knew would always come.
30:36Is this the end of the affair?
30:38Oh, don't say that word, Stuart.
30:40You know that it hurts me.
30:42I shall think of us fighting together.
30:44You said Stuart.
30:45What?
30:45You said Stuart.
30:46Cut.
30:46Let's go again.
30:47First positions, please.
30:49First positions!
30:50Billy.
30:51Yes, Mr McKendree.
30:52Run this one, would you?
30:54Call of nature.
30:58Got it.
31:00Quiet, please.
31:06And...
31:07Action.
31:10Don't say that word, Tony.
31:12You know that it hurts me.
31:14There's still time, you know.
31:17Time for what?
31:19To do the right thing.
31:20Stop the filming.
31:20I've been aware for a while about a certain secret relationship in your life.
31:27Oh, we are not.
31:28She isn't.
31:29I'm not with Sandra.
31:31With Strychnine.
31:32I've read those grave little paragraphs in the Farsity Sporting Review.
31:38How you took it as a stimulant to get you through those last agonizing yards of the race.
31:43Rather reckless, really.
31:45Your father wasn't very pleased, was he?
31:47No.
31:47So I got into trouble.
31:49So what?
31:50And then there's Christiana Edmonds.
31:53The heroine of your new film script.
31:56Household name, once.
31:58Fell in love with a doctor.
32:00And believed that he was in love with her.
32:02Pure fantasy.
32:04And she thought she could help him escape from his wife by bringing her a box of poisoned chocolate creams.
32:09Which the wife spat out just in time.
32:12And her poison of choice?
32:15Strychnine, of course.
32:17Bit of a leitmotif, isn't it?
32:20I've had a lot of time to think.
32:22Too much, I dare say.
32:24And I think we've been living in a kind of a dream.
32:28It's time for that dream to end.
32:31You, you must stay here with your books.
32:35Die.
32:35I, I must go home to my husband.
32:41I simply must.
32:58You didn't mean to kill poor Barbara Markham.
33:02And that might save you from the callous.
33:05But you couldn't make the same argument about what's happening here, could you?
33:10This is your very last chance, Jesse.
33:19Oh, damn, damn, damn you.
33:22Book.
33:23Ow!
33:24How was that?
33:25It was bloody painful.
33:25That's fucked.
33:27Oh, well.
33:30Too late now.
33:33You all right, Stu?
33:34It was on the cash register.
33:35It went right into me when I, when I pressed the button.
33:42Oh, my God.
33:44Oh, my God.
33:46You.
33:46I have a name, Mr. Howard.
33:51This is what happened to that girl.
33:53No.
33:54Barbara Markham swallowed strychnine.
33:56This time, the poison was on a pin in the cash register.
33:59So it would go straight into the bloodstream.
34:01If Jack and Billy hadn't followed my instructions perfectly and swapped it with a clean one.
34:09The pink page told me where to look.
34:11But it was Billy who found it.
34:14You should be grateful he's so diligent, Mr. Howard, considering how bloody rude you are to him.
34:19You should thank him too, Jesse.
34:21One less name on the chance sheet next to little Barbara Markham.
34:29It was for you, my love.
34:31Or for you.
34:33What?
34:34So we could be together.
34:35And I could make you a bigger star than ever.
34:38Not in cheap trash like this, but in a real film or masterpiece.
34:42What the hell are you talking about?
34:44He's been obsessed with you for years, Mr.
34:48Used to write letters to picture-goer.
34:50Under a pseudonym, of course.
34:52Basilisk.
34:53His family crest.
34:56And all those books he read in the shop last year.
34:59That's how he came up with his magnum opus.
35:02Unfortunately, he left a little trace behind.
35:07He saw that we were getting a little too close to the truth.
35:10And that's why he suddenly tasted something strange in his coffee.
35:14Faked the poisoning.
35:17He could have said,
35:18Bitter almonds.
35:20Like people do in the films.
35:23But you chose to twitch.
35:25Because you knew that Barbara Markham had been killed by strychnine.
35:29You were familiar with the effects.
35:31They're pretty ugly, aren't they, Trotty?
35:32Yes, spasms.
35:33A sort of breathless agitation.
35:35I'll never forget it.
35:37You put in a good performance, Jesse.
35:40But let me give you a note, Mr. Director.
35:43It takes a few minutes for the spasms to start.
35:46Your timing was out.
35:50Ad Astra per Aspera.
35:53Through hardship to the stars.
35:55Your family motto.
35:57You got to the stars, didn't you, Jesse?
36:00Or to the only star that mattered to you.
36:03Sandra Dare.
36:04My family has money.
36:06So much money.
36:07That's how I bought my way into this filthy industry.
36:10I could have financed our picture, Sandra.
36:13But he was spoiling it.
36:16Him.
36:18What better publicity?
36:20A tragic widow overcoming her grief.
36:24Tackling the part of a lifetime alongside the brilliant young writer.
36:27Writer-director.
36:29Writer-director.
36:29Who consoled her.
36:30Who consoled her.
36:32It's a scene.
36:34Deranged.
36:35Oh, you poor fool.
36:37It would be a whole new Sandra Dare, my darling.
36:39Playing your own age.
36:41No makeup.
36:41A true character part to show your real range.
36:44No makeup.
36:45Are you mad?
36:46I'm Sandra Dare.
36:49So was him.
36:50He killed that poor girl.
36:53Yes.
36:53And Noreena Bean.
36:55No, not Noreena Bean.
36:57What?
36:57Not Noreena Bean, the girl with the poison pen.
37:01Jesse has a cast iron alibi.
37:03He was in his office.
37:05His secretary by his side.
37:06Passing him the carbon paper.
37:08Typing out a way to murder you, Mr. Howard.
37:10Then who did do it?
37:12Where did we find her?
37:14Bottom of the stairs.
37:15Which lead where?
37:18Prop store.
37:20Offices.
37:20The vault.
37:22The vault.
37:23Yes.
37:25Wherein lie some of the forgotten remnants of British cinema.
37:29And one film in particular.
37:30I found the reference in an old movie almanac back in Archangel Lane.
37:35What film?
37:36Kitty Wins the Calcutta Sweep.
37:39The hell is that?
37:41It's the film I found in your room.
37:46Sandra.
37:57Billy, call Bow Street.
37:59Get Bliss here.
38:00Yes, Mr. Burke.
38:01You never loved her, Stuart.
38:15Not like I did.
38:16It's a long time since I've done this for real.
38:20I've done this for real.
38:24No.
38:47No!
38:47Sandra?
39:00Sandra, it's all over.
39:07Why don't you come out and explain?
39:17I wasn't Sandra Dare back then, I was Deidre Pitchock, it was so long ago the film was lost and then Norena.
39:47I discovered it.
39:53And then I discovered her.
40:06It was pure chance.
40:08I was going back to my dressing room and I saw this person an extra.
40:16And then I recognised her.
40:22And I saw what she had in her sweaty hands.
40:28I had never been so angry, not in all my life.
40:36Oh!
40:37No!
40:38Give it!
40:39No!
40:40No!
40:41No!
40:42No!
40:43Damn it!
40:44Get out of me!
40:45No!
40:54She hit that step like a fairground coconut, she died instantly.
40:58But it was an accident.
40:59I swear.
41:00It was an accident.
41:01But there it was.
41:02The monster print.
41:04The monster print.
41:05The monster print.
41:06This business will forgive you a lot of things but...
41:10I'm not getting old.
41:11Are you smoking, Sandra?
41:12Are you smoking, Sandra?
41:13No!
41:14The monster print.
41:29This business will forgive you a lot of things, but...
41:34I'm not getting old.
41:37Are you smoking, Sandra?
41:40When nitrate film burns, Sandra, it makes its own oxygen.
41:49You think I don't know that, Mr. Book?
41:54I'm a veteran of the silver screen.
41:59That's why they keep it in an asbestos bolt.
42:04If you drop that cigarette, Sandra, you'll go up like a torch.
42:08And Trotty and I won't escape unscathed.
42:14And neither will Stuart.
42:18Stuart?
42:21Darling.
42:23It doesn't have to be like this.
42:25She would have told him all my secret.
42:34That I was making films when Lennon was in office.
42:39That would have made me box office poison.
42:43It's poison.
42:45And I've told you.
42:48I want to go on and on.
42:51Light up the town.
42:52Explode!
42:53No!
42:54No!
43:03Sandra, that script that Jesse wrote, I read it.
43:07It's about a woman who makes a terrible moral mistake.
43:12But she faces her fate with dignity.
43:17Inspector Bliss will be here soon.
43:22And you'll be under arrest.
43:25But before he arrives,
43:28I could save you a little bit of humiliation.
43:31What do you say?
43:37Let's go out to the tank.
43:40Bring that film.
43:42I'm on with you as a 17-year-old with your whole life ahead of you.
43:47If all this business made you what you've become.
43:50Oh no, Mr. Book.
43:57Ah.
44:00I've always had it in me.
44:03I've always been a star.
44:06I think that's what the camera saw.
44:10And why they've always loved me.
44:15Just give me a moment, will you?
44:20Mmmmmmmm.
44:29Not bad.
44:48That's long enough.
44:49Keep the bloody door in.
45:19Come on.
45:49Come on.
46:19It's a tragedy, really.
46:38Are they...
46:39Are they hang?
46:41Jesse McKendrick, undoubtedly.
46:45But I'm sure the jury will be kind to Miss Dare.
46:49It was an accident, after all.
46:51Now you're a free man, Mr. Howard.
46:58Just what I wanted.
47:00What a cost.
47:02Mind you.
47:04Tragic ex-fiancé.
47:06Broken-hearted leading man.
47:08Suddenly single.
47:09What is it?
47:20It was an accident, wasn't it?
47:23Marina Beanstaff.
47:25Well, you shall never know, Inspector.
47:29After all, Sandra Dare is a terribly good actress.
47:33ид monk breathes.
47:38No.
47:39No.
47:42No.
47:45No.
47:45No.
47:46No.
47:47No.
47:51No.
47:52No.
47:56No.
47:57hello Jack what's up Jack we need to tell you something that I'm sorry we
48:19didn't say it before but I wanted to let you settle in and it's a delicate matter
48:23it's about our relationship oh I think I guessed it isn't that obvious well it
48:37wasn't at first but yeah I found a photograph photograph my dad
48:53you have a photo of my dad it's just like the one that I have
48:57and this I know I shouldn't have taken it I'm sorry but with the picture
49:08Eric Percival Banks your first husband
49:12is this him
49:19so
49:23so
49:27so
49:31so
49:35so
49:40so
49:44so
49:48so
49:52so
49:56so
50:00so
50:02so
50:04so
50:08so
50:12so
50:18so
50:20so
50:26so
50:28so
50:36so
50:38so
50:42so
50:48so
51:02so
51:04so
51:06so
51:08so
51:10so
51:14so
51:34so
51:40so
51:42so
51:59so
52:09so
52:25so
52:35so
Recommended
50:23
|
Up next
53:33
49:42
1:01:44
46:09
2:37:53
50:59
47:31
1:02:36
1:58:37
2:08:20
57:07
1:51:38
1:39:39
1:51:57
1:48:03
2:56:35
1:43:06
1:48:03