The Walking Stick (1970) - full transcript

[rumbling]

[train conductor]
'Pass along inside now.
Pass right down the car.'

'Pass down the car.'

'Clear the doors.'

'Back up.'

[brakes squealing]

[train stops]

[train starts]

[doorknob turning]

- So I told them she was mad.
- She is.

Oh, Benjy,
this is my sister Deborah.



- Hello.
- How do you do?

Come up soon, won't you?

Arabella, are there hordes
of people up there?

No, no.
Not that many.

[laughter and chatter]

All calls for myself
and Dr. Douglas Dainton, please.

Oh, we shall be at 246-8007.

Yes.

Thank you.

You're very late, dear.

The bus just crawled.

I don't know why
you don't use the underground?

I do use the underground.

Ready, Erica?



Hello, dear.
You're late.

Sarah thought you might be
opting out of her party.

Oh, no. Are they all
medical types up there?

Of course not.

Aren't you staying?

No. We don't want to
intimidate the proceedings.

You can't intimidate
proceedings.

I can.

Come on.

You will go up,
won't you?

You've opted out
on so many of their parties.

- Yes, I will.
- Good. Goodnight.

Have fun.

- Hello.
- Hello, darling.

[murmuring]

[male #1]
'It isn't that easy. A painter's
got to paint for himself.'

Of course, everybody's buying
paintings these days.

They're just not buying mine.
It's as simple as that.

[male #2]
'You'll have to appeal to the
avant-garde young executives'

'with a few bob to spend.'

It's just not me. They'd be
better off with prints.

Buffet or something.

True. Why don't you try
the investors?

The bloke who buys and sells
paintings like stocks and bonds.

Because they won't
take a chance.

They won't allow themselves
to hang anything on their..

...beautifully painted
white-stucco walls

unless they know
it's worth something.

Unless they know
they can sell it.

Deborah should know that type.
She meets them every day.

Whereabouts?

'Whittington's.
The auctioneers.'

Oh, yes. I know.

Sorry.

- 'Charming. Woof!'
- Very nice. Thank you.

There's a magic word.
It's called "Excuse me."

Sorry.

Are you a good painter?

[chuckles]
Deborah! What a thing to ask?

Don't know. I had an exhibition
in a very flea-bitten gallery

in South London.
But it didn't do very well.

[male #2]
'Yes, I remember now. I saw it.'

[male #1]
'Didn't buy anything, did you?'

[male #2]
'No, I'm afraid I didn't.'

[male #1]
'It's okay, no one else did.
We'll let you off the hook.'

[male #2]
'It'll take more
than rejection to do that.'

'Painters are their own
worst critics.'

We didn't get formally
introduced just now.

- I'm Leigh Hartley, anyway.
- Hello.

- Can I get you something?
- No, that's alright.

I'll have some wine.

I must say, the Daintons
must have marvelous genes

to produce three daughters,
all of them..

...pretty and clever.

I met Dr. Sarah
about three weeks ago.

And then Annabella, Arabella?

- Arabella.
- Arabella.

Yes, the switched-on
medical student, right?

Now you.

- Here. Shall I take them?
- Yeah, just coming.

Nice drop of red wine.

Thank you.

I must say,
I'm glad you're not part

of the guy's hospital brigade.

I can't stand women doctors.

Why?

Why not? They scare me.

They're the wrong sex
for the job. Like male nurses.

- They're, uh, sinister.
- Isn't that slightly Victorian?

It's old-fashioned, maybe.

Perhaps I should have been
born a pre-Raphaelite.

There weren't
any women doctors then.

No, they used to
burn them then.

Perhaps you think
that's still a good idea?

Excuse me.

[giggling]

[giggling]

[giggling continues]

[Leigh]
'You know, your face is very
different from your sisters'.'

- Is it?
- 'Yes.'

'Theirs are modern.
Yours isn't.'

Rossetti-ish?

Very out-of-date,
very 19th-century.

Would you come out
with me sometime?

I don't go out very much.

Why not?

Well, I get home late
most evenings.

Alright, then, what about
a Sunday? Next Sunday?

I'm busy next Sunday.

Sunday after that?

I just told you
I don't go out very much.

Because of your leg?

Morning, ma'am.

Morning, sir.
Lovely day.

- Morning, Miss.
- Morning.

Morning.

They're scent bottles.
About 1750.

I'd say they're quite valuable.

Really? How valuable?

Well, they're best-period
Chelsea porcelain.

They might realize between
300 and 400 pounds each.

Are you quite sure?

You look very young.

Yes, quite sure.

Excuse me.
Telephone, Miss Dainton.

'A Mr. Hartley.'

Would you tell him
that I'm not available?

I'm sorry.

Hartley.
National Film Theater.

Sunday.

Yes, I'll see that
she gets the message. Goodbye.

'There you are.'

You really ought to
talk to him, Deborah.

He sounds pleasant enough.

Wants to take you to the cinema.

Very interesting film
on El Greco.

Never mind.

I think you should go, Deb.

I don't think so.

[Erica]
'It's a marvelous film.'

You're pushing again.

There's no need
to be so touchy.

Wouldn't hurt to go out
with a man one night.

That's what it is, isn't it?
Me going out with a man.

Well, stop worrying about me.

Don't be so sensitive
about the one failure

in your otherwise perfect lives.

I'm sorry,
I-I didn't mean that.

I'm sorry.

No, I mean, I love "El Greco".
I really do.

I just thought he handled it

in a sort of
heavy-handed manner.

You know what I mean?

- Did you like it?
- Yes, I did.

[Deborah]
I wish Bergman
had made it though.

Yes, I know what you mean.

[Deborah]
A subject like that
needs his kind of imagination.

I take it you like Bergman.

[Deborah chuckles]
'Well, I have seen
most of his films.'

'The one that impressed me most
was, uh, "Wild Strawberries".

[Leigh]
'Oh, yes.'

[Deborah]
'I saw it alone one afternoon.'

'They weren't many people
in the cinema.'

'And as I came out,
it was getting dark'

'and I remember
feeling very glad'

'when the streetlights
came on.'

'It was a very haunting film.'

[Leigh]
'Yes, it was.'

'Hmm.'

[Deborah]
'I thought we were
going for a drink?'

[Leigh]
'We are. At my studio.'

'I'm gonna take you
in the back door of London.'

'Your passport in order?'

[bell tolls]

- 'What's this?'
- West India Docks.

Pretty, isn't it?

'Lovely.
Were you born around here?'

No, I come from Cheltenham.

My father still lives there.

I came up to London
after my mother died.

[Leigh]
'You won't want to look at those
after all that "El Greco".'

- What?
- 'I said..'

You won't want to look at those
after all that "El Greco".

I'd like Erica and Douglas
to see some of your work.

'Thank you. Who are they?'

[chuckles]
Oh, that's my parents.

Sorry the place is such a mess.

They're mostly stuff
from the river around here.

This..

That's quite a nice one.

There's one I've just finished.

Trying something new now
with a rubber stamp.

An ordinary office rubber stamp.

You know,
making patterns and, uh..

- Would you like one of these?
- No, thank you.

Do you sell many?

They're all available.

Why, are you interested?

No, seriously. I mean, how can
you live if you don't sell any?

I get a legacy
from my aunt.

She was good enough
to remember me in her will.

Also I do
the odd poster or two.

"Car Wash.
Ten minutes only. 8 shillings."

That's about what
I get for it, too.

It's funny, isn't it?

The most threadbare things
in the world

are yesterday's smart ideas.

Like calling one's parents
by their Christian names.

Oh, yes.

Well, they think that
getting on a first-name basis

reduces tension
and abolishes the gap

between generations.

How can you abolish a gap
of 20 or 30 years?

I'm sorry. Perhaps
I should have remembered.

Never try and claim the goods
before the hammer's down.

Is that right?

Well, think about it. Who wants
a girl with a shriveled leg?

Imagine in bed, one good leg
and the other just hanging there

like the discarded tail
of a lizard.

I was just trying to kiss you.

And your leg
is not as bad as that.

[knock on door]

[male #3]
'Open up!'

'Vice squad!'

- Oh, hi, Ted.
- Leigh.

Um, Deborah,
this is Ted Sandymount.

'Deborah Dainton.'

- 'Oh, how do you do?'
- How do you do?

Ted's an electrician
around here.

He works on the ships.

That's right.
No fuse is good fuse.

That's me.

I was just about to run
Deborah home.

Oh, that's alright.

I just had a pint.
Tasted like wood-shavings.

Which way are you going?

- Hampstead.
- Happy Hampstead.

[Ted]
'It's not my way.'

Jack asked me to leave this.

They're paints and stuff.

Toodle-oo!

Now, Foil,
Jack Foil..

He's the one who provides me
with all my paint and stuff.

He's got an antique shop
in Chelsea.

It's called Sefton Antiques.

He was the one that arranged
my one and only exhibition.

You know, the one
that David came to.

And he's your patron?

[chuckles]

Patron?

Yeah, I suppose he is,
in a way.

Makes me sound very grand.

Well, thank you
for a very nice evening.

My pleasure.

Listen, uh..

It's for you.
I know it's not very good.

- No, no, really I--
- Please, please, please.

I want you to have it.

I'd like to
paint you sometime.

Isn't that the easiest way
to get somebody undressed?

Oh, God! You're so sensitive.

I paint faces.
I paint bridges. I paint cranes.

I want to paint you.

You don't have to
take off a thing.

No, I'm afraid not.

But thank you
for the painting.

[bell tolling]

Goodnight.

Well, aren't there
any new cranes down there?

You'll have to paint
somebody else. Not me.

And please
don't call me here.

You're much too persistent
and the answer is still no.

No.

No.

Do you always use live models?

I have.

Often?

Once before.

Was she damaged like me?

[sighs]
Shut up.

Was she your mistress?

Shut up.

More than mistress?

Look, will you shut up?
Sit still and be quiet.

Hmm?

[birds chirping]

Yeah? Right?

Deborah, this is Jack Foil.

Remember I, uh..

Jack, this is Deborah Dainton.

Ah, this is a great pleasure,
Miss Dainton.

How do you do?

You two should get along.
You're in the same business.

- Junk.
- Oh, my dear boy.

How crude could you get?
Aren't you at Whittington's?

Yes, yes, I am.

Well, I don't know,
but to my eyes

'some of this stuff here'

doesn't look too bad
of its kind.

Would you agree?

Generally, I think it is, yes.

I don't often come
to these viewing things

but it never fails to amuse me
how every single connoisseur

behaves like a conspirator
of Verdi opera.

Ah, well, it's the gentle art

of not looking at what you're
really interested in

and yet looking at it.

Exactly. Now what would you say
they're pretending

not to be interested in
in the porcelain department?

An early Meissen, I think.

The remainder of the collection
is mostly imitation.

It comes from a French factory
in Lyons, about 1880.

Isn't that interesting?

And being palmed off
as the real thing.

I'm sure.

Then I'll have to keep
my eyes skinned.

- I must get a catalog.
- You can have mine.

No, don't bother.

You'll come visit
my shop sometime?

Thank you.

It's been very nice
to meet you, Deborah.

Oh, you don't mind
my calling you Deborah?

- No, not at all.
- Oh, thank you.

Well, see you.

Okay. Bye, Jack.

Well, that's Jack Foil.

Listen, are you serious? Is all
this stuff really rubbish?

Most of it, yes.

Oh. That's charming, isn't it?

The old boy gets rich
from his brewery.

Buys a lot of old knickknacks
to impress the local squires

and that's what he ends up with.
A whole lot of junk.

Where's the special thing
that you said was valuable?

- Where are you going?
- Hmm?

Oh, it's there, eh?
Which one is it?

I'm not supposed to look at it,
if I'm a connoisseur.

It's the harlequin.

- This thing?
- Mm-hmm.

'You're joking. It looks
like a fairground prize.'

It is not.
It is worth 2,000 pounds.

- You're kidding me.
- I'm not.

You think the owner
knows about that?

I wouldn't have thought so.
It's in among so much junk.

Hmm.

Well, I know a man who would pay
700 pounds for that.

So do I.

I don't think we're talking
about the same man. Mine's bent.

It's quite simple. You look
the other way, I open my coat

I stick it inside
and no one will know.

Leigh, please, I--

It's a question of
mind over matter.

- Leigh, I'm serious.
- Ah-ah! Be very careful.

- It's very, very valuable--
- It is valuable.

Please put it back.

Alright, it's a shame.

It was a good idea.
Here you are. Oop!

You want something?

Go on, put it back.

Salesladies at Whittington's

must be very careful
of their stock.

Come on.

[Leigh]
'I think we missed
our big chance just then.'

'I mean, we could honestly..'

'We could've nicked
one piece of porcelain.'

'You don't really
think that's dishonest, do you?'

[Deborah]
'Well, don't you?'

[Leigh]
'Well, I suppose so.'

'Well, no, I don't, really.

'I mean, it's all
imitation stuff anyway.'

- 'I could've nicked a phony.'
- 'True.'

[Leigh]
True, true.

And what about him?

Three generations
of brewers, right?

I wonder how many people
they've exploited

to get that place
and the pictures

and the gear and..

And the Meissen
which will be legally sold.

[mockingly]
Ha ha ha.

- What's the matter?
- Nothing. I just got cramp.

- You alright?
- Yes, yes.

- You sure?
- Yes. Fine.

- You want a shoulder?
- It's alright. It's gone now.

Do you always use
your stick, Deb?

Yes, of course I do.

'But you can walk without it,
can't you?'

'I don't know.
I've never tried.'

[Leigh]
'I didn't think
people got polio anymore.'

Yes, of course they do.
Anyway, I was a pre-Salk baby.

That's pretty grim,
isn't it?

Don't you have to go
in an iron lung or something?

Yes, I did.

Which left you
with claustrophobia.

That's why you don't like
confined spaces or crowds.

That's why you only go to
the cinema in the afternoon.

Expect once...with you.

Yes. I take that
as a very great compliment.

You should.

[melodious music]

[no audio]

[music continues]

[music continues]

Are you and Douglas
taking separate holidays again?

Yes.

Hmm.

I don't like the implication
in your tone, Arabella.

No, bearbaiting please.

Your mother and I
take separate holidays

because we enjoy
different things.

Of course. You wouldn't be
mummy and daddy

if you didn't enjoy
different things.

Oh, dear.

Deborah..

Sarah has been talking
to David Talbot

about your young man.

Erica, I do wish you wouldn't
refer to him as my young man.

Did you know he was married?

Who?

Leigh.

- 'Did you know?'
- Yes.

Darling, your blouse
is all undone.

[Sarah]
'Have you met her?'

No.

They're divorced.

[melodious music]

[music continues]

[telephone ringing]

Hello.

Oh, hello, Leigh.

No, I can't talk now.

No, I can't this Saturday.

Please.

Look, if it's almost finished

why don't you ask your wife
to sit for you?

[tires screeching]

[honking]

Deborah!

Deborah, please
give me a chance to explain.

I've been trying to get hold
of you all day long.

Look, I wanted to tell you.
I swear to you, I wanted to.

I just knew that if I did,
you'd immediately walk out.

You were right.

Your car is rolling
down the hill.

Deborah!

Look, look.
Her name was Lauren.

She came-
she comes from Ireland.

She now lives in
Stratford-on-Avon.

I haven't seen her
for over a year.

It's about time you did.

[sighs]
Look, it is over.
It is over.

I don't know the rules
of this game.

Or if there are any.
But I like to live by some.

How do I explain it?
What do you want me to say?

There's nothing to explain.
There's nothing left to discuss.

- Goodbye.
- Alright, forget it.

[engine starts]

[melodious music]

[Leigh]
'And whatever you think, it was
not just a grotty affair.'

'It was a genuine marriage,
which genuinely went wrong.'

I've had lawyers on, talking
about a divorce and everything.

Lauren's a Catholic
and you can't..

It just takes a long time.
It's a long, drawn-out business.

[Deborah]
Why didn't you tell me
all this before?

[Leigh]
Well, I, I don't know.

I, I guess I didn't
want to lose you.

If I matter that much, that's
the very way you would lose me.

[chuckles]

Silly, isn't it?

I mean, things people do.

I'm sorry, Deborah.

There has to be honesty
and trust between us

otherwise
we don't have anything.

Ugh, that's
an inadequate cliche.

I once accused you
of being Victorian.

Listen, can't we have
a drink first?

No.

Hope the portrait's
as good as I think it is.

I hope they're all as good
as you think they are.

[Deborah]
We'll soon find out, won't we?

[Leigh]
Yes, that's a pity.

[Deborah]
You have to face the experts
sooner or later.

[Leigh]
These sharks aren't interested
in this kind of thing.

They're only interested
in the latest French discovery

or somebody who
frames his pictures

in lavatory seats
for a gimmick. Slop art.

These are pictures,
if you know what I mean?

But they're not really-
You must forgive me.

'They are not really paintings
as I understand the word.'

What about the portrait?

- Hmm?
- The portrait?

Yes, the portrait
has more feeling certainly.

But it's..

It's romantic.
It's old-fashioned in approach.

Look, Mr. Hartley, it's always
difficult to explain this

but hundreds and hundreds
of people

amateurs if you like

paint for their own pleasure.
Jolly good luck to them.

But that is rather different
from the professional

'with something to say.'

You could be an illustrator.

But I personally doubt
your success as an artist.

I'm sorry.

Well, that's, uh, ahem.

That's putting it straight,
isn't it, though?

I'm sorry
I talked you into going.

Nobody benefits from having
their work torn apart like that.

I just hoped that--

That there was
something there, right?

[Leigh]
'Deborah, stay with me tonight.'

[ship horn blowing]

You must be insane.

Wanting to sleep with a cripple.

Please.

I wouldn't..

I couldn't..

...stop you from leaving.

If you want me to..

...I'll stay.

[ship horn blowing]

Please...switch out the light.

[dramatic music]

It's me.

I'm sorry, Leigh,
it's all my fault.

You're beautiful.

Don't worry about a thing.

Do you want some coffee?

Yes, you do.

[utensils clinking]

[ship horn blowing]

[buoy bell ringing]

[ship horn blowing]

[buoy bell ringing]

[ship horn blowing]

What a terrible day
it's been...for both of us.

Oh, I don't know.

Name one thing
that could redeem it.

There you are, you see?
Can't think of anything.

[bell ringing]

You hear that?

That's a start of a new day.

Let's try
and make this one worthwhile.

Let's try and do something good.

Like what?

Like you deciding to come
and live with me...here.

I mean it.

After what just happened?

Oh, God.

That's nothing. You think that's
going to be our entire life?

We'll sort that out.

Will you?

Please?

You have less
than an hour to decide.

Why?

Because then you change
back into a pumpkin.

That clock
just struck 11, not 12

which means the day
hasn't ended yet

and I'm trying to...redeem it.

I love you.

[dramatic music]

You'll have to watch
that dehydrated

prepacked, medicated
family of yours.

'Once you're home they'll throw
the Queen's regulations on you.'

'They won't forbid it.'

'They'll just talk about it
quietly and sensibly.'

'You know what I mean?'

Why are you being do adamant?

Can't we talk about it
quietly and sensibly?

[Deborah]
For once, allow me
to make up my own mind

'and decide what's best for me.'

- A strap.
- Here's a plate.

- Oh, here's a key.
- Where?

- Can't reach it.
- Here.

God! Look at that.

It's absolutely cake solid
with stones.

♪ 21 today ♪

That'll be the day.
How old are you?

Twenty-five.

- Moving the barges.
- Oh.

Listen,
I'll make a deal with you.

One antique for another.

Another plate like the one
your sisters gave you

for your walking stick.
How's that?

You know where
to get another one?

Of course I do.
Is it a deal?

Mmm..

Well, you get the plate,
and I'll think about it.

The hell with you.

- Hey!
- It's all or nothing. Ah-ah-ah!

[melodious music]

[Deborah]
'Leigh, why don't we go
into business together?'

'An antique shop.'

How do you imagine
we're gonna finance it?

[ship horn blowing]

Don't know.
Don't you have any more aunts?

Unfortunately not.

[grunts]

That's okay.

I'll do that later.
It should make the party warmer.

Ooh, I hope so.
'Cause it's freezing now.

Can you help get him up
just a minute?

I hope you don't mind me
not inviting Erica and Douglas.

We can do that some other time.

I don't think they've ever been
to this side of the city.

They know Spain better.

Ah.

[festive music]

You bastard.

[festive music playing]

[music continues]

[no audio]

- Douglas is having fun.
- I'm glad you came.

[Erica]
'Well, Leigh asked us.
How could we refuse him?'

[festive music continues]

[crowd cheering]

It was a marvelous party.

I'm glad.

Let's go to bed.

- Why, are you tired?
- No.

- Are you sure?
- Yes.

[melodious music]

[music continues]

[Leigh]
'You know, your sister..'

[Leigh laughing]

'...told me that
cocoa is an aphrodisiac.'

[both laughing]

- 'Cocoa?'
- 'Mm-hmm.'

'With all seriousness, too.'

Mmm. Well, what about crab
and things like that?

'Crabs walk sideways. They can't
possibly be an aphrodisiac.'

[both laughing]

Well, that depends
who you're with, doesn't it?

Crab, oysters...whatever.

[Leigh]
'Listen, listen.'

'I have to ask you something,
but I don't want to.'

Then don't.

Nice, isn't it?
What do you think?

Well, I mean, yes, it's very
pretty, but we can't afford it.

True.

No, I realize that.

Listen, come here.

I started to ask you
something last night.

Mm-hmm?

I didn't want to,
and I don't want to.

But there's 500 pounds involved.

Someone wants some information
about Whittington's.

What sort of information?
What, about the next auction?

No.

They wanna know
about security arrangements.

Watchmen, alarms,
things like that.

What are you talking about?

- Who?
- It's nobody you know.

Look.
It's a little bit dodgy.

But the point is
it's 500 pounds.

And with that
we could get the shop.

We can get everything.

And once we've given them
the information

I don't suppose
they'd do anything about it.

I mean, it's just..

Well, Whittington's are insured,
aren't they?

Won't matter very much,
will it?

How did you
get involved in this?

[chuckles]
I'm not involved in anything.

'It doesn't matter. Forget it.
We can throw it out.'

You just said to me "We".

Look. It doesn't matter.
Forget it.

I'll tell them
to try Sotheby's.

- What are you doing?
- Hello. You're home early.

Oh, the auction finished early.
What's that?

Just putting a new pane
of glass in here.

And doing the door
where it sticks.

Sorry you'll find it
cold inside.

I took the door off when sunny
and it's windy this afternoon.

[Deborah]
'Oh, I see.'

Who was that woman
just leaving?

It was a neighbor
of my father's.

She was up in town
for the day.

She dropped by to tell me
that he'd been taken ill.

Your father? Hadn't you better
go and see him right away?

- Well, I can't.
- Why not?

Brace yourself.
I have a job.

Hey, that's marvelous.

Where?

Commercial Art Studio
in Dover Street.

Everyone always said
I'd make a good illustrator.

So I start tomorrow.

Gotta do something
to earn my keep, haven't I?

'Now that my aunt's legacy
is finished.'

You don't sound very
enthusiastic about all this.

Enthusiastic? Why should I be?
It's 17 pounds a week.

If we're very very careful
and very very thrifty

we might just manage
to get our shop by 2085, right?

Look, if our shop has to wait
because of your father's illness

then it just has to wait.

That's not what it is, is it?

You're still thinking
of that 500 pounds, aren't you?

What did your friends say?

They asked me to ask you
to think again.

What did you say?

What can I say?
I'm playing for time.

I told them
I'd tell them on Sunday.

Are you scared
of something?

You get a proposition like this,
you chuck it out.

I get a proposition
and it sticks.

Alright, that makes you better
than me. I'm sorry.

'That's nonsense
and you know it.'

For Christ's sake, Deborah.
What am I asking?

I'm asking for a few extra quid
to get the shop.

'So, I can send some money
to my father now.'

Or get free of loans,
so that we can get married.

I mean, to you this place
is attractive. It's great.

It's cute...different,
I don't know.

But don't you realize,
to me, it stinks of failure.

I'm sorry.

I'll sort it out on Sunday.

[dramatic music]

[no audio]

What happened?
What did they say?

Nothing.

They had a go at me.

Well, what does that mean?

You know the situation
as well as I do.

They want the information,
and I want the money.

They're going through
with it anyway.

Don't worry.
You're not involved.

I'm going in with them myself.

Do you think Whittington's
is some joke?

'You'll never break in. Never.
And you will get caught.'

Well, I'll just..

- ...have to take that risk.
- 'Why?'

Why?

The place is riddled
with alarm systems and guards.

It's impossible.

You'll get caught
and get sent to prison.

Do you know, that people
get 30 years for doing

'this kind of thing?'

Suppose I tell them
what they want to know?

Will you not get involved
with it?

It's too late, love.

I'm going in with them.

[melancholic music]

The guards are not
ordinary watchmen.

They're special detail
for places like Whittington's.

'They come on at 7 and stay
till 7 the next morning.'

[Deborah]
'They set the alarms'

'and then ring up
every half an hour'

'and give a code word
to identify themselves'

'to the police.'

Alarms are all over the place.
Windows, roof, doors.

Separate alarms
can be switched off.

But I don't know
where the master is.

The strongroom's
in the basement.

Is that it?
The basement?

That's it.

Hmph. This is difficult.

According to this,
the safeguards

are the toughest there are.

They're the sort
that give the alarm

when a particular thing
is not done.

- Isn't that so, Ted?
- Yeah.

[Leigh]
We know all that.
What are we gonna do about it?

- Are we gonna chuck it out?
- No, no. Don't let's be hasty.

[Jack]
'We've got to think about this
for a day or two.'

'Don't you agree, Deborah?'

[Jack]
'Never despair.'

So we don't drop it out, right?

Not yet.

Thank you so much
for the information, Deborah.

[Jack]
'I tell you what
we've got to do immediately.'

We've got to get the names
of all the security staff.

I've got a list of them.

I think I can get one
to help us.

He's on duty
all during the jewel sale.

Baker Evans.

[Jack]
'Right. Evans must be our man.'

The whole thing
turns on Baker Evans.

Just as the great door
of the vault

revolves around the tiniest
finest jewel bearing.

I'd like to
go home please, Leigh.

Yes, of course. I'm sorry.

[Jack]
'Thank you so much, Deborah.'

Goodbye.

[door shuts]

Did you know
that Foil was involved?

No, I didn't know.
Not until today.

Ted approached me
at the party

but he never told me
whose idea it was.

Anyway, it doesn't matter.

I need the money.

Can't chuck it now.
Come on, let's get out of here.

If I could get that money
from somewhere else

would you forget
the whole thing?

Look. You know we can't raise
that kind of money anywhere.

We don't have a sou's
worth of security.

Come on.

As you know, Deborah, it's not
our habit to accumulate cash.

In principle,
we're rather against it.

Not that there's been chance
with three girls to educate.

We're still paying off
Arabella's overdraft, you know.

'That's a pretty dress
you're wearing.'

[Leigh]
It's 12,000 quid.

Ted says the stuff
is worth at least 150,000.

'We get a third of it.
We split it four ways.'

We end up with 12,000 quid.

Ah, here we all are.

Don't you get up, Deborah.

I'd like you to meet
Bertie Irons.

Ted of course you know.

Deborah, you've been
so good over all this

'that I think it's only
right and fair'

'that you should be told
what's happened.'

I'm afraid we've had
a rather unfortunate setback.

'Oh, it's one of those things
you can't anticipate.'

It's nobody's fault.
They just happen.

Our security man, Baker Evans,
was due to have taken over

'at Whittington's this week.'

'It would have worked in
perfectly for the jewel sale.'

There's been
a lot of flu about.

He's got a bad attack
of the virus. Poor man.

You can imagine
where that leaves us.

It means we can't
use him at all.

So it's off.

Well, for the moment,
it has to be.

It has to be postponed
for a month at least.

[Ted]
'That way we'll lose
the jewelry sale.'

Well, that's the difficulty.
That's why we're here.

Will you do it?

- Leigh?
- Don't upset yourself.

Leigh, please make them go away.
Ask them to leave me alone.

- Look, Jack--
- 'Shut up.'

'She doesn't need
your protection or your advice.'

It's entirely up to her.

I have the greatest faith
in Deborah's judgment.

How many times
do I have to tell you?

I'm not going to do it.

'Of course you refuse.
Anybody would at first.'

We spring it on you like this,
out of the blue.

'But you must remember it was
sprung on us out of the blue.'

'For a time
I was absolutely desperate.'

'And then I thought "Deborah.'

"She's the one.
She's done so much.

'So much to help us
and maybe--"'

No.

But it's so simple.
It's really so simple.

Nobody's asking you
to steal anything, Deb.

We're the ones
who take the risk.

Ted taps the telephone wires
to get the code word.

Well, that's a risk.

And then there's Bertie here,
he blows the safe.

Now, that's a real risk.

Now, what are we
asking you to do?

We're asking you
to kill the alarm

on the back door and open it.

Well, it's simple.

[Jack]
'Sit down.'

'Now, listen, Deborah.'

This is the plan
that I suggest

and I want you to
keep to it absolutely.

You will wait
until everybody's gone.

The commissionaire,
the staff, everybody.

And then you'll make your way
down to the basement

and into one of those cupboards.

It'll be a little dusty,
but that can't be helped.

And there you'll stay for quite
a long time, I'm afraid.

I can't get into a cupboard.
It's impossible.

[Jack]
'It's difficult, I know.'

But with your character
and your tenacity

I know you'll carry it off.

[music on radio]

[music continues]

- Goodnight.
- Goodnight.

[music stops]

[rattling]

[rattling]

[music resumes]

We're all locked up.

- Everything okay?
- Yeah.

- I'll check in.
- Cheers.

[clicks]

Harry.

[music stops]

- All seems okay.
- Alright.

[phone dialing]

Harrogate Arthur.

Yeah.

Fine, alright.

'Yeah. Do you have the time,
by the way?'

Oh, good.

Alright, thanks. Bye.

[melodious music]

[music continues]

[music continues]

[dramatic music]

[music continues]

No.

Uh.

[intense music]

Here.

Give me the black tape.

- 'Quick.'
- Here.

[dramatic music]

Around the corner.

Harrogate Arthur. Yeah.
Everything alright down below.

[dramatic music]

Cut the wire.
Prepare the ends.

Bloody gloves.

That's it.

Take it easy.
Take it easy.

That's it.

Where's Ted?

Ted.

[explosion]

[alarm blaring]

Get on with it.

[sirens blaring]

[alarm blaring]

[engine revving]

Deb? Deb?

- It's alright. It's alright.
- Leigh?

Everything's alright.
It's all over.

We haven't got
much time. I'll be late

Must get to work
early, okay? Come on.

Leigh, are you alright?

Absolutely alright.
Something in my eye, that's all.

The guards. Were they hurt,
were they hurt badly?

No. Ted had to tap
one of them, but he's alright.

Are you sure?

'Of course, I'm sure.'

- What about the police?
- Police? Not a sign of them.

We cut all the other alarms.
Deb, will you please come on?

I'm Inspector Malcolm

Miss Dainton. I'd like
to ask a few questions.

Been with the firm
about six years?

Seven and a half, in fact.

'What time did you
leave last night?'

Uh, about, uh, 6:30.
No, maybe later.

Were the night
security guards here then?

No, I don't think so.
I didn't see them.

Do you usually see them?

No, not unless I, uh, stay late.

Mr. Maitland, what time is
the building free of all staff?

Oh, uh, between
six and half past.

[Mr. Maitland]
'Unless, they've got
a lot to do.'

Which door did you leave by
last night, Miss Dainton?

The back entrance.

Is that usual?

Well, I don't know.

Sometimes I leave one way,
sometimes I leave the other.

Did you, uh, looking back now,
did you see anything suspicious?

'Anyone loitering near
the door, when you left?'

No.

Where do you live, Miss Dainton?

I live in Poplar.
Uh, 23 Coldharbour.

'Live alone?'

No. I live
with Mr. Leigh Hartley.

He rents the place.

I take it, you're
not married to Mr. Hartley?

No.

[Inspector Malcolm]
'Excuse the personal questions.'

'One tries to fill
in the general picture.'

'Well, thank you, Miss Dainton.'

'Hope you won't mind having
your fingerprints taken.'

'We're doing the whole staff,
including the director.'

No, of course not.

[soft music]

[knocking on door]

Oh.

Excuse me..

Oh, I'm sorry.
Leigh isn't here right now.

Oh.

Is it his father?
Is he worse?

Uh, no. No, not at all.
He's alright.

Oh, well, I don't know
what time he'll be back.

Why don't you
come in and wait?

No, I won't stay.
Thank you.

'Please, please.'

Alright.

Why don't you sit down?
I'll make some tea.

- No, don't bother--
- It's no bother, really.

Thank you.

Oh, I'm sorry.
I'm Deborah Dainton.

- How do you do?
- How do you do?

It's, it's very different.
This side of the city, isn't it?

Yes.

Back door of London,
Leigh calls it.

- Do you like living here?
- Yes, I love it.

I think, he's done
the place marvelously.

You know that we're
going to be married

when he and Lauren
get their divorce?

Oh.

But she's a Catholic.

Oh, I know.

Did you know her well?

Uh, no.

First time I met her
was at the church.

Uh, might never have
met her then, really

'if Leigh's father hadn't
refused to go to Ireland.'

To him it was bad enough she was
a Catholic, let alone Irish.

Well, he insisted that they'd be
married near home in Clapham.

I thought you lived
in Cheltenham.

'Uh, no, dear.'

No, we've lived
in Clapham 22 years

ever since Leigh was born.

'They didn't get on,
my husband and Leigh.'

He doesn't approve the way Leigh
lives, you know how fathers are.

Asserting their ways,
he gets very cross.

He doesn't make
allowances for Leigh.

So, so, you're Mrs. Hartley?
Leigh's step mother.

No, dear.
I am Leigh's mother.

You won't tell him
I've been, will you?

No. Not if you don't want me to.

Sarah, what did you
know about Leigh

before I met him
at your party?

Didn't know he was married.
Otherwise I'd have told you.

No, no, I don't mean that.
How well did you know him?

Hardly knew him at all. I was
surprised he turned up at party.

David must've invited him.

Did he know about my leg?

Well, darling, he knew that
the minute he met you.

But did he know
before I met him?

Deborah, is there something
wrong between you and Leigh?

No, no, no.

Just try and think.

Well, David might've told him.

Or Jack Foil.
I really don't know.

Foil?

That friend of Leigh's
at your fireworks party.

- Where did you meet Foil?
- Look, what's all this about?

I just have to know
some answers.

Please, Sarah.

[engine rumbling]

I met Foil in his shop,
Sefton Antiques.

That Rockingham plate,
Arabella and I gave you

for your birthday,
I bought that at Jack Foil's.

Did you tell Foil
where I worked?

I told him you were the
Porcelain Pro at Whittington's.

'I had to impress him,
so that he wouldn't'

'fob me off with
just any old plate.'

Oh, Sarah.

'We've checked the staff.
They're all clear.'

The company's screened them
very carefully, although

could be a slip-up,
but I doubt it.

Whittington's employees
seem impeccable.

'We're in a bit of a
cul-de-sac, I'm afraid.'

[soft music]

- 'Hello, love. Where are you?'
- Here.

Sorry, I'm late. Had to work.

'Oh, God, it's cold out.'

[Leigh]
'Fearfully cold.

What're you doing,
hiding up here?

Just doodling.

- How are you?
- Fine.

- You see the police today?
- No.

- Not at all.
- No.

Good. What did
I tell you? Huh?

'Everything is gonna be alright.
I promise. One hundred percent.'

Why did you tell me
that your mother was dead?

Who told you
that she wasn't?

Oh, I just ran into someone
who knew you as a child.

Why did you tell me that?

[sighs]

I don't know.

Just silly little stories,
you know? Stupid..

Like, you're 22, not 25.

And lived in Clapham.
Not Cheltenham.

What on Earth is wrong
with Clapham?

I don't know.

Are there any other silly,
little stories between us?

Deborah, yes..
Probably..

...a stupid thing.
Like, what do you mean?

Well..

...Lauren, for instance?

Deborah, I have told you
everything about Lauren.

All of that
is the truth, I swear.

What do you swear
about Jack Foil?

What is this?

Inquisition?

Look, I found out
about Jack Foil

at exactly the same time,
that you did.

You know everything that went on
and how difficult it was for me.

Didn't Jack Foil send you to
Sarah's party just to meet me?

[sighs]

'Sarah bought that plate
from Jack Foil'

and she also told him where
I worked because I asked her.

Oh, look, this is just
so ridiculous, Deborah. I..

[sighs]

Is there a really, Leigh,
a guard named Baker Evans?

Wasn't I the fine jewel bearing?

It was all premeditated.

Wasn't it?

[sighs]

Oh, Deborah.

Now, listen to me.
Listen to me.

Okay.

It began like that.

I mean it, it didn't begin
like that exactly.

It was, it was just,
it was just an idea.

I mean, will you listen
to me? Listen to me.

Just meet her and,
and, and, see what happens.

It started like that but it did
not end like that, now, did it?

Hasn't, has it?

Hasn't it?

Seems to me, it's ended
exactly like that.

No, it hasn't, Deborah.

Because I love you
and you can't fake that.

Of course, you can.

What's love? Love is sex,
hate, ambition, selfishness

you name it.

Think I've been
playacting all this time?

I don't think you know when
a playacting starts or stops.

I mean, did you tell Foil
everything I said and did?

So, perhaps, you can
plan a little more easily.

Did you tell him
we were good in bed?

Oh, hell! Deborah, stop it!

'And you say, you fell
in love with me.'

Did it ever occur
to you to stop using me?

Yes.

Yes, you know why I
got into it in the first place.

I got into it
because we needed money.

Because weneeded the money.

Or you just couldn't
refuse Mr. Jack Foil.

After all, he
is your patron, isn't he?

Alright, I'm a stupid git.

But you want everything
black and white.

That's not the way
it happens, Deborah.

Sometimes the good
does overlap the bad

and the other way around.

Peoples' motives
are not that clear-cut.

I know what
it's done to you.

- I understand--
- How?

How on God's Earth can you ever
know what's it's done to me?

You don't even know
where to start.

Everything I believed
in, about myself

about others, you, the whole
balance of my life, is gone.

Balance? I don't know
what you mean by balance.

You don't? Well,
I'll explain it to you.

Because balance
is trust and security

and honesty
and caring and warmth.

And being able
to look people in the face.

- Not lies. Not all these lies.
- Alright.

You want another lie?

There are lies and lies, love.

I'll give you a lie.

I did not work late tonight.
You know where I was?

I was at the Bleeding
Estate Agent's getting these.

You know what these are?

They're forms for the shop which
we've to fill in to make a deal.

Now, I did that for us.
For you and me, right?

How can I know that,
that those forms

are not just another
of Jack Foil's little schemes?

How do I know that you
work on Dover Street?

How do I know you're trying
to get a divorce from Lauren.

How can I know anything?

Could you look at it from my
point of view for one moment?

'I don't know what
to say to you, Deborah?'

Alright. We'll go
tomorrow to the lawyers.

We'll ask him,
he'll tell you about Lauren

and he'll tell you about the
divorce. What more can I say?

That's not what
I've just said to you.

'What did you say?'

What's the point?
What do you want? Revenge?

'The fact that we love
each other, is the point.'

Not whether I lied to you.
Not whether the job was planned.

Not Jack Foil
or Ted Sandymount. Nobody.

My God, Deborah,
you know about us

living together, don't you?

I mean, you can believe
your own feelings, can't you?

Are you trying to say
that all our days together

and all our nights
together were a lie?

Look, remember, that
first night we slept together

no matter how it happened, no
matter what the reasons were.

That doesn't make what
you felt, untrue does it?

Does it?

Why can't I get through to you?
Don't you love me?

Of course, I do.

That's the whole
problem, isn't it?

[sighs]

Right now, my..

...my mind feels, uh,
as useless as my leg.

I love you, Deborah.

Very much indeed.

Do you?

Am I going to have to confirm..

...your worst suspicions
before you'll believe..

...anything I say?

There's no living with that.

[sighs]

Is love as fragile as that?

All at once, everything.
All at once, nothing?

[soft music]

[music continues]