05x06 - Look Back in Happiness

[bunniefuu]

(dramatic orchestral music)

- Good morning.
- Good morning, sir.

- Good morning.

- Good morning, Mr. Kay, Mrs.
Kay.

Are you still enjoying London?

- I always enjoy London.

- Oh, Stan seems so blase,
but don't be fooled by him.

Between you and me, my
husband's like a kid

with a new train set
every morning.

- Oh yeah, and who
dragged me out

to see the Tower last night?

"It's better when it's
floodlit," she says.

It's also better when it
isn't raining.

I'll take these in fives please.

And the way Susie's
been spending,

I'll probably be back
for more within an hour.

- Fine, Mr. Kay, I wonder
if you'd mind,

my son, he likes very
much jazz piano.

- Oh sure.

- Frankly, I lean towards
the classics myself.

- Well, do me a favor,
don't talk him out of it

or I might not be able
to cash any more checks.

What's his name?

- [Bank Teller] Alec.

- For Alec, Stan Kay.

Here, I'll swap you.

Thank you.

And now, Mrs. Kay.

(dramatic orchestral music)

Do what he says.

Just stay out of the way.

- [Masked Man] You've got sense.

Help him fill it.

(dramatic orchestral music)

- No!
(screams)

(g*n fires)

(screams)

- Susie.

Susie.

- [Masked Man] Stay clear.

(g*n fires)

(screams)

(alarm ringing)

(mysterious orchestral music)

(moves into jazz piano music)

- Is it all right?

- It's fine.

- And the acoustics, do
they suit you?

- They're great.

It's a long time since
I've heard notes slice

so sweet you could hear
a pin drop in this room.

- In those days, they
believed in conversation.

They wanted to make sure
they could hear each other.

- Just as long as they stop
talking when I start playing.

- [Julie] Oh, that's never been
a problem for you, Mr. Kay.

- That's the way I like
to hear my agents talk.

- I'm a fan, even before
I joined the agency.

When I heard you were
coming over,

I practically blackmailed Ted

into letting me handle
some of your tour.

- She's a very good agent,
too, your Miss Gordon.

I had my daughter,
Claudia, twisting one arm

and this little lady
twisting the other.

Has she told you what I
have to pay you

to play at my daughter's
engagement party?

- Oh, I'm the last of
the wines, Sir Peter.

You should
understand about that.

- Oh beware, Mr. Kay,
the wine market's

taking a bit of a knock.

I've got a cellar full of
miraculous clarets downstairs

that nobody can afford to buy.

You wouldn't care to be
paid in wine, I suppose?

- That's right.

- Nobody's ever sympathetic
to a wine shipper.

They all think we have
far too good a time of it.

I'll leave you in Miss
Gordon's capable hands.

- Where do you want to go?

- I think over by the
fire would be nice.

- All right.

This way.

- [Stan] Ah yes, thank you.

- It must be a strain for you
coming back to this country.

- Hmm?

- Oh, I read it, I've
read everything about you.

Your wife k*lled and
you blinded.

I don't see how you can bear
to come back to us at all.

- Oh, that was 10 years ago.

You cope, you adjust.

- [Julie] They never
caught them, did they?

- No, they never did.

- Oh, I'm sorry, I shouldn't--

- No, no, no, no,
don't be sorry.

Fortunately, I'm in
the one business

where you can do
without your eyes.

It was tougher learning
to do without Susie,

but things fade.

Uh oh, young lady, if
you'd be kind enough

to take me to my dressing room,

I'd better start
getting changed.

- Oh sure.

And it's Julie.

- Right, well it sure is nice
having you around, Julie.

- [Julie] Here's the first step.

- [Stan] Uh huh.

- You're still bent on
getting engaged

to this dreadful child of
mine then, Robert, huh?

- I might as well I suppose,
sir.

It's been a pretty dull
week up until now.

(laughing)
- Oh, that's your problem.

- Hey, hey, hey.

- Down, Claudia.

- Claudia, here we are,
my darling.

- Claudia could have
done a lot worse.

- [James] She could have
done a lot better, too.

- She could be going to
marry you, James, you mean.

All her money would have gone
straight into your racing cars

and straight out again
through the exhaust.

No, you stick to robbing banks,

or whatever it is you do to
get all that money you burn.

- Listen, Mr. Pelham, you had
hopes there, too, I know that.

When you bought your
partnership with Sir Peter,

I bet you had in mind being
his son-in-law, too, eh?

- When I bought my partnership,
Claudia was 12 years old.

- What did you buy it
with anyway?

You never had two fivers
keeping company in your life.

- That's a question of the
magic moment, isn't it?

Got to be ready to take
your chance when it comes.

Isn't that right, Alan?

Like you with your first
big scrap iron deal.

How did you swing that?

- Oh, luck.
- Oh h* h*.

- [James] Here's the
piano wizard.

- How brave to come all the
way from America on his own.

- Oh, he has a man who
travels with him.

But I read he got some
kind of virus

on the way over and had
to stay in town.

That very pretty girl with him
is looking after him for now.

- Lucky girl, he's a dish.

I wouldn't mind looking
after him myself.

- Oh.

- Sir Peter's a
self-made man himself.

That's why he gets on so well
with his future son-in-law.

- He's seems self-made?

I thought he inherited it all.

- Don't you believe it.

He started with one
wine at his door.

Then about 10 years ago, he
foresaw that wine was about

to take off, so he
got some capital

from somewhere and
started to expand.

Look where he's finished up.

Sir Robert Carroll's the same.

He came like a rocket
out of nowhere.

- It was my idea.

I've got all his records.

- I think he was
absolutely brilliant.

- Yes, well we'll see you
a little later.

- Oh, how nice.

- Well, he's certainly
very good looking.

- Who is?

- Robert Carroll,
Claudia's fiance.

- Oh, the boy wonder.

- Why'd you call him that?

- Don't you know?

- Ladies and gentlemen,

ladies and gentlemen,

ladies and gentlemen,

may I have your
attention please?

The man you've all been
waiting for, Mr. Stan Kay.

(applauding)

- Thank you.

- Why did you call Robert
Carroll the boy wonder?

- 10 years ago, he was as
broker's clerk.

And some obscure aunt
nobody had ever heard

of before died and left
him a fortune.

Now, he's one of the biggest
money brokers in the city.

- But he must have
ability, as well as luck.

- Luck and money
means very little,

just a truck to carry
home the loot.

- Ooh, they say men
aren't catty.

- Sh.

(jazz piano music)

- Where did you say
your first big deal was?

- You know, sir, when I come
to a party, I come to a party--

- Sh.

(jazz piano music)

- Is not together now.

(screams)

(g*n fires)

(jazz piano music)

(screams)

(g*n fires)

(piano blaring)

- [Man] He's drunk or
high or something.

(jazz piano music)

(applauding)

- Stan.

Are you all right?

- Yes, sure, I'm fine.

- You don't look it,
you're shaking.

- Oh, that's just
anger at myself.

I botched up a whole phrase.

- Stan, something is wrong.

- Maybe, who was it?

- Who?

- Somebody spoke right
towards the end there.

Who was it, did you see him?

- Just some fool suggesting
you were drinking.

- Oh no, not him, I made him.

He was standing just off
to my right, yes?

- Yes.

- No. This was before, earlier.

I caught just a snatch of it.

It didn't make sense.

- Does it matter?

- No, no, no, I guess not.

It's just imagination.

- You sure you're all right?

- Nothing that a good
drink won't cure.

- Champagne?

- How about bourbon?

- Right.

What happened?

- Imagination, I don't know.

A trick of memory, let's
leave it at that.

- Here.

I'm really sorry someone
spoke while you were playing.

I'll make sure next time
they're really quiet.

- On no, it's not them.

You play well enough,
they'll listen.

If a musician loses his
audience, that's his own fault.

- Well, whatever you heard,
I didn't.

- I warned you, remember?

I have tricky hearing,
a pin drop at 40 paces.

The acoustics in this
place are good, too.

Maybe too darn good.

Yeah, that voice just seemed
to come out of everywhere.

Couldn't place it.

- Hey, it was imagination,
remember?

- Yeah.

Please.

- Why was it so
important anyway?

- It wasn't important.

- Here.

But don't let your host
see you drinking whisky.

He's a wine shipper, remember?

He might get a bit upset.

- That's true.

- [Unknown Man] Well,
sweetheart.

(dramatic orchestral music)

- Stan.

(g*n fires)

What is it?
- Quit.

- [Unknown Man] Well, I'm
not too clear.

- [Stan] It is him.

Where is he, do you see him?

- See who?

- [Stan] Him, the man who
spoke just now.

- Stan, everybody's speaking.

I can't pick out one
from this crowd.

- [Stan] I can, he's
there, he's over there.

- Mr. Kay, you were
fantastic, do you know that?

I've always thought you were
fantastic, but now I know.

- Stan, this is Claudia
Hastings, it's her party.

- Oh yes, thank you very
much, Miss Hastings.

It's a wonderful party,
congratulations.

- Oh, thank you.

I never dreamed we'd be
able to get you.

You will play some more
for us later, won't you?

- Sure, it'll be my pleasure.

- What is it?

- No, I can't hear him anymore,
he's gone.

- Hear who, what are you
hoping to hear?

- Not hoping, Julie.

- Stan, would you tell me
what this is all about?

- Yeah, but someplace else, huh?

Could we go someplace
where it's quiet?

- Yeah, come on.

(disco music)

Sorry.

I forgot.

They set up a disco in
there for the pop fiends.

- [Guest] Terrific,
really marvelous.

- Thank you very much.

- Oh, I could listen to
you all night, Mr. Kay.

- [Guest] Mr. Kay, might I
have your autograph please?

- Later please.

- [Guest] I'm sure he'll give
it to you later, my dear.

- There's a couch over here.

Come and sit down.

Now, what is it?

- I think I told you
that I'd adjusted.

I said that things fade.

- Yes.

- Well, some things don't fade,
at least one thing didn't.

The k*ller's voice.

- [Julie] The k*ller's voice?

- Yes, I heard him speak.

He said, "You have
sense, help him fill it,

"and stay clear, stay clear."

And Susie didn't stay
clear, she got in the way.

Well, he was wearing a
hood over his head

so his voice was muffled, but

I've got one of the best
ears in the business,

and singers call perfect pitch,

and I could pick him
out of a baseball crowd.

And tonight, I heard
that voice again.

The man who k*lled my wife,
who blinded me, is here.

- But that can't be.

- Why not?
- Oh because--

- Because our host
wouldn't know such a man.

- Yes.

- Look, a man went to
jail for armed robbery

just a few months ago,
and I seem

to remember he had a big
house near here.

- Well, all right,
there are some--

- Well, criminals don't
go around looking

like criminals anymore.

I mean, he might not
even be a criminal now.

He may have made his
stake and gone straight,

that can happen.

- Look, this is all
just on a voice

you heard 10 years ago.

Can't you be mistaken?

- No.

- What did it sound like,
this voice?

- Well, there's nothing
extraordinary about it.

I mean, the way it sounds
to me might not make sense

to you because I hear
it differently, you see.

I hear a certain register in it.

- How do you know I
don't hear the same way?

- Well, maybe you do but
I don't think so

because it's a
question of tones,

you see, vibes and half tones.

Look, tonight, I didn't
even hear the words.

All I was getting was the shape,

the structure of the sounds.

- [Julie] Well, if we
don't hear voices--

- Sh.

- What?

- There's someone
outside the door.

- There are a hundred people.

- This one isn't moving.

He's listening to us.

Now, he's moving.

- What are you doing in here?

- I didn't know that part of
this house were off limits.

Not that it's any of
your business.

- Oh, but it is.

- Who are you?

- Ben Tamplin, security.

There's lot of valuable
stuff in this house.

Them pictures, for instance.

Not my type, but they run
into thousands, some of them.

- You just stopped us from
cutting them out of the frames.

- Eh?

- And passing them to our
g*ng out the window, right?

- You're joking.

- That's right, I'm joking.

- And you're being
presumptuous and rude.

You must know who Mr. Kay is,

even if you don't know who I am.

- [Ben] Kay? Oh, the
entertainer.

- Now, wait a minute.

- No, drop it, Julie.

The man paid me a compliment,
entertainer.

- Well, I'm doing me job.

- Very badly.
- Leave it alone, Julie.

After all, Mr. Tamplin is
going to apologize to you,

aren't you, Mr. Tamplin?

- I'm sorry if I was
a bit abrupt.

There's lots of valuable
things in this house.

- Come on, we'll leave this
man to count his silver.

(laughing)

- I had no idea you have
such a temper.

- I just get angry, that's all.

I'm sorry.

- [Stan] Don't be, I'm
told a temper suggests

a passionate nature.

- [Julie] Oh?

No?
- No.

- Maybe you were right the
first time, just imagination.

- I bought it the first time,
yes.

The second time, it's him,
he's here.

- Look, there must be
a guest list.

- Julie, I don't know his name.

Just the sound, the feel,
the nuances of his voice.

- What are you going to do?

- Look, I'll need your help,
hmm?

- Right.

- Would you steer me
around this place

so I can listen?

- All right.

- [Guest] And then he
just stopped at the water

and pitched me straight
over his head.

(laughing)

- [Guest] I've never seen
such a polished bunch

of epaulettes in my life.

(laughing)

(people talking)

- It's that wonderful touch.

One can recognize it instantly.

My son has something of
the same quality.

- [Guest] He's very lucky
to get Claudia.

He kept some pretty strange
company a few years ago.

- [Guest] Well, I suppose
we've all sown

our wild oats, you know.

- Indeed, sometimes I can
hardly distinguish his playing

from that of dear Mr. Kay's.

- [Julie] How old is he?

- Eight, but he has been
learning for nearly two years.

- Would you excuse us, please?

- I wonder if I might have--

- Sorry.

Excuse us, please.

- Oh, Mr. Kay, please
play for us in here, do.

- I'm sorry, not right now.

- Oh, but you must, you
can't disappoint us.

- I said, "I'm sorry"

Julie, would you get
me out of here.

- Mr. Kay's promised to
play again later.

- Well.

- I'm sorry about that, Julie.

- Stan, can't you
possibly be mistaken?

- I know what I heard, I know.

Now, stop treating me
like a child.

Look, I didn't mean to
start on you.

I'd like another drink.

- You've already had
two large ones.

Oh, all right, another drink.

Come on.

Wait here.

(people talking)

- [Guest] Here you are,
lovely to see you.

I'll be with you in a moment.

- [Unknown Man] Hey, Ludo.

(g*n fires)

(screams)

- [Ludovic] Oh God,
not you again.

- [Unknown Man] You've
lost your bet

about the Saint Emilion,
I've just tasted it.

- Well, you always did
get ahead of the game.

Well, don't worry, I'll
catch up with you

as soon as I've dumped
Nancy's coat.

See you in a moment.

- Oh, Mr. Kay.

- Is something wrong?

- Darling.

- I'm sorry, Ludo, where's Ludo?

- Ludo's a game.

- No, he's a man, he
was just here.

- Right, drunk.

- Dear Mr. Kay, can I help you?

- Mr. Kay.
- Julie.

Julie.
- Miss Gordon, Miss Gordon.

- Julie.

- Oh, Stan.

Stan.

What is it?

- There, on the stairs,
who is he?

Who's on the stairs?

- The stairs are there.

There's no one there.

- He was there, I heard him.

- Stan, you're beginning
to lose your reputation.

You know, the cool pianist.

- I heard him loud and
clear this time.

- Oh, Stan, I believe you.

He'd gone when I looked.

Well, do you know where he went?

Did you get the feeling
that he'd come past you?

- I don't think so.

All I could hear was stairs.

People going up and down stairs.

So, maybe he went up.

Well, it's not really your
problem, is it?

- He's out of his skull.

- I know.

Come on.

Here's the first step.

Here's another step.

There are four doors here.

This is your bedroom.

- [Stan] Have a look.

- There's no one there.

That was the bathroom
and it's empty.

That was a bedroom and
it's just full of coats.

- Nancy's coat.
- What?

- Mr. Ludo, the man
that he was talking to,

he said he was gonna
dump Nancy's coat.

Let's find it.

- Here.

(suspenseful orchestral music)

Oh well.

Well, you can see for.

Stan, the bed is just
piled high with them.

- Where's the bed?

- Here.

- Nancy's coat should
be near the top.

Find Nancy, find Ludo,
find the man I'm after.

It's possible, I suppose, that
Nancy whoever left something

in her pocket, something
with her name on it.

- Stan.

- Well, help me.

(suspenseful orchestral music)

Julie, what is this, a
notebook, a pocketbook, what?

Julie.

- Stan, we're not alone.

- That's right.

Well, the entertainer.

Funny kind of entertainment,
this.

- [Julie] Look, I know
this looks odd.

- Very odd, goin'
through people's pockets.

- You're just jumping
to conclusions.

- Oh, am I?

- Because you don't know
the full facts.

- Well, you'd better give
them to me then, hadn't ya?

- That's enough, I'm gonna
find Sir Peter.

- Not until I've had
the full facts.

Well?

- All right, look it was
more than 10 years ago.

A bank raid.

And that's it, he's here,
I heard it.

- It's crazy.

Recognizing a voice
after 10 years.

Do you believe this?

- Yes.
- No, maybe she'd like to.

Maybe she even half
believes, but completely.

Nevertheless, the man who
k*lled my wife is in this house.

- What'd he say, this
man you heard tonight?

- [Stan] He said, "Ludo,
you've lost your bet

about the Saint Emilion,
I've just tasted it.

Look, if we could just
find this Ludo--

- And ask him who
said that to him?

Well, I won't say I
don't believe you.

- [Stan] But you have
heard crazier things.

- Maybe.

Tell you what I'll do.

Got some police friends.

I'll check up on the
bank raid story.

- [Julie] And if it checks out?

- Then I'll start
looking for Ludo.

I'm not saying I'm convinced,
mind.

Just gonna check up, that's all.

- Julie, what did his face
look like, our security friend?

Is it skeptical, humoring,
or does he really mean

to do something?

- I think he'll do what
he said he'll do.

Now, come on, let's go
back to the party.

Oh Stan, I don't think you ought

to tell anyone else
about that voice.

- In case they lock me up.

- No, I didn't mean that.

- What do you mean?

- I mean if it's true then--

- If it's true, you see,
I was right about you.

You'd like to believe
but you can't.

- I was going to say,
if it is true,

then the fewer people who
know the better

in case he gets to know.

Then you'd be in danger,
wouldn't you?

- Your hand.

You know, Julie, I
thought I'd adjusted.

10 years of adjustment,
and for the first time,

I find myself wishing for
the impossible, my sight.

Well, if this is a party,

do you suppose you could
find me some champagne?

- (laughing) Sure, come on.

- Anyway, I'm pleased.

Robert's a fine chap, came
right out of the blue.

- In more ways than one, eh,
Sir Peter?

- Hmm?

- Well, a few years ago, who
had heard of Robert Carroll?

And now suddenly, he's
the bright star.

- Oh, that's the way things
are these days, meteoric.

Besides that--

- Excuse me, sir.
- Yes.

- Is there a phone I could
use, sir, it's private?

- Oh, in the study there.

- Oh, thank you, sir.

- Is something wrong?

- No sir, nothin' I
can't handle, sir.

- Oh.

- You don't say.

So, he was telling the truth
about the bank raid anyway.

- [Guest] Ludo!

Hey Ludo!

- George, I'll call you back.

- The nuances of fine
wine mean nothing,

absolutely nothing to
the uninitiated.

But to the connoisseur,
well, every single wine.

- [Julie] Is it all
right to speak,

or are you listening?

- Sit down, Julie, tell me
all your hopes and fears.

- Hopes?

Here.

- Thank you.

- Oh, happy life, husband, kids,

but most of all the hope
that you are mistaken

about that voice.

- Hmm, that's sad.

I mean, a forlorn hope
is always sad, isn't it?

But I'm sure that your husband
and kids will work out.

- Well, and then that
brings me to my fears.

I know a lot of those
people down there.

And my fear is that it
might be one of them.

- Ludo? Oh, you mean
old Ludovic Bates, why?

- You ever bet with him,
sir, about some wine?

Some Saint Emilion or something.

- No.

- Know who did?

- I haven't the slightest idea.

Look here, what is all this?

- It's important I have
a word with him, sir.

Do you know where he is?

- Well, he was around
here when I yelled at him.

He seems to have shoved off.

Ah, I know, follow me.

- No one yet.

It's soft.

It's span an octave.

Aha, musician, huh?

- Go on, Mr. Holmes.

- Well, the accent
doesn't fool me.

I'd say half and half.

Mother European.

- Father.

- So, he must have
traveled a good bit.

Too young to be a w*r baby,

so I'd guess he was a
salesman of some kind?

- Well, he was.

He's dead now.

- Ah, but mom is alive,
looking half her age

and twice as beautiful.

- Hey.

- And like mother,
like daughter.

No, I checked all this out
with your boss, my agent.

And he tells me you're a really
sensational looking lady.

(laughing)

What's going on down there?

- The party's livening up.

- Well, do you see Tamplin?

- Nope.

(disco music)

(screams)

- Mr. Bates.

(laughing)

- I thought we might
find him in there.

He usually starts baying
off to broken glass

right around midnight.

(screams)

Looks as if you'll have to chase

all through the wine
cellars now.

(laughing)

- Gotcha.

Now, it's my turn.
- No.

- Well, you were first, right?

- You don't, don't you dare.

- Mr. Bates.

Security, I'd like a word.

You there?

(giggling)

- Who did he say he was?

- I don't know and I don't care.

Two's company and all that.

- [Ben] Mr. Bates.

About the wine.

Your bet with someone.

(suspenseful orchestral music)

Mr. Bates, you here?

(suspenseful orchestral music)

Bates!

- He's getting nearer.

- Persistent delivery.

- Should we tell him we're here?

- Definitely not.

- Mr. Bates.

(giggling)

Mr. Bates.

(foreboding orchestral music)

- There you are, you
wanted to see it.

That little bottle set me back
3,000 to the wine auction.

- 3,000 for one bottle of wine.

- It's not just a bottle of
wine, it's an investment.

1812 burgundy, just think,

Victoria not on the throne yet.

- And probably quite
undrinkable.

- [Peter] Without a doubt.

- [Man With Mustache]
Oh surely not.

- That's right, Peter,
why not crack it

open now and let's try some?

- No, I must split back
to the party,

and find that daughter
of mine and her fiance.

Where is he anyway?

- [Man With Mustache]
Deserted out already.

- Don't be ridiculous.

- Well, darling, where
on Earth have you been?

I've been looking
everywhere for you.

- Sorry, darling.

- I might have known,
you've been down

in the cellars looting
Daddy's claret.

- I've been doing
nothing of the sort.

As a matter of fact, I dropped
my lighter behind a radiator.

I had to be a contortionist
to get it back.

- Now, you come and
have a talk to Stan Kay.

You haven't exchanged a
word with him all night.

- Later, sweetheart,
I've just got

to complete a deal with
old Townsend..

- Robbie, you can't.

- [Julie] So, I decided
to join the agency.

- I'm sorry, look, I hate
to keep bothering you,

but Tamplin's been such a
long time now.

"Just one phone call," he said.

- Maybe he's found him.

Or he's still looking.

- Please.

- All right.

I'll go see what's happening.

Oops, sorry.

I'll be right back.

- [Unknown Man] I know I left
the cigarettes somewhere.

(dramatic orchestral music)

Probably left them in my coat.

(dramatic orchestral music)

- [Peter] Get him in the study.

That's it, up.

Right behind you is my study.

Just put him down there.

- [Guest] Been acting
strangely all evening.

- Yes, well.

Now look, don't hang about.

All is well, we'll get
on with it now.

Do carry on with the party,
will you?

Thank you very much indeed
for all you've done.

Miss Gordon, luckily it
seems we have a doctor

in the house, Dr. Mace.

- Is he all right?

- I don't know yet.

Would you mind waiting
outside please?

- Yes, we'll wait outside, hmm?

Come on, let's don't
spoil Claudia's party.

Yes, he'll be all right.

Now, come on, you too.

Come on, Miss Gold.

Now, he's in expert hands.

- Mr. Kay.

- [Unknown Man] Mr. Kay.

Mr. Kay.

Mr. Kay.

(knocking)

- Would you mind going away?

I have a patient in here.

- [Unknown Man] I'm so sorry.

- You must rest, Mr. Kay.

Rest.

You had a fall.

You must take it easy
for a while, Mr. Kay.

- Come with me.

- Why, where are you
taking me to?

- Come on.

You wait and see.

We'll be safe.

Oh, ruffian.

Spoil sport.

- Woo.

Look what I've got for you.

- Ugh.

(laughing)

The hair of the dog for him?

- It's ice water.

- Oh, I think he's all right.

There's no concussion.

More shaken than anything.

Just you take it easy for
a bit Mr. Kay.

- Thank you.

- Thank you, doctor.

- Julie?

- Yeah.

Here's some water.

- No, thank you.

- How are you feeling?

- Fine.

- Oh, Stan.

- No, I mean it.

Are we alone?

- Yeah.

- Julie, I'm right.

I've been proved right.

See, I heard that voice,
and I started toward it

and he hit me with something.

But don't you see, it
proves that I know

what I'm talking about.

Because he attacked me.

Not only do I know about him,

now obviously he knows about me.

I was moving up the
stairs toward him

because he planned it that way.

He spoke so I would hear him,
so I would move toward him.

And he was just standing
there waiting for me.

Boy, lamb to slaughter.

(solemn orchestral music)

- Where are you going?

- He's still here.

- You don't know that.

- Oh yes, I do.

Now, I do.

- Stan.

- Look, Julie, Julie,
if I'm right,

how does he know that I know?

- When you were telling Tamplin.

- Sure, you mean in that
room upstairs.

Yeah, it was quiet.

He must have been outside
the door listening.

- But suppose--
- No, no, hear me out.

If he did hear, then why didn't
he just leave this party?

Why didn't he run?

Because he can't?

- Because he's
important and it would

be noticed if he left early.

- He's stuck here, Julie.

I'm gonna find him.
- But how?

- Tamplin, what's
happened to Tamplin?

- Well, does it matter?

- You bet it does, because
Tamplin must know now, too.

He left that room, you
remember, half believing me?

He was gonna check out my
story, find Ludo, whoever he is.

The man with the voice
would never let that happen.

- Do you mean that Tamplin--

- Tamplin could be on his
way to an accident, too.

- Oh.

- Well, hold on,
where you going?

- Well, to find Tamplin,
to ask some questions.

- But ask who, who
can you trust?

- Sir Peter, you've heard
him speak, it's not him.

The waiters, the staff.

Well, a waiter would
hardly be making a bet

with a guest, would he?

- No, no, you're right.

Okay, take me with you.

I can't do much but
I can listen.

- If you promise to stay put.

(laughing)

Now, stay here out of trouble.

(dramatic orchestral music)

- Ludovic, you promised
me the very next dance.

Ludovic, Ludo.

- Ludo?

- That's right.

He's mine.

- Look, I just wanna
ask him some questions.

- So, do I.

- Ludo.
- Ludo.

- [Julie] Come on, Ludo.

- Come on, Ludo.

- [Julie] Wake up, Ludo,
come on.

(dramatic orchestral music)

Ludo.

- I told you, he's mine.

Actually, I think we're engaged.

- [Julie] Ludo.

- Hello.

- [Julie] You made a
bet about wine.

Can't you get him some
black coffee?

- Oh, I would but I don't
think my legs are moving.

(dramatic orchestral music)

- Dear Mr. Kay, I've
been trying all evening

to get your autograph.

- Oh, all right.

- Ah, Pelham, there you are.

I've been looking for you.

Where did you disappear to?

- Drinking the profits.

- [Stan] Sir Peter.

- Oh, okay, it'll keep,
I'll see you later.

- Very well.

- Are you fully recovered?

I'm sorry to hear about
your accident.

- I wasn't drunk, Sir Peter.

- Yeah, I can see that.

- But you heard I was?

- Well, this place is like
a b*ttlefield, rumors fly.

- I'll bet old Ludo went
along with them.

- Ludo?

- Yes, he's a guest here.

- Well, I don't know him,
but I don't know

half the people here,
Claudia's friends, you know.

- Oh, well that must make things
pretty tough for security.

- I have a fellow
looking after that,

a chap called Tamplin.

- Say, is he anywhere around?

- I don't see him.

Why do you want him?

- There's just something
I wanted to ask him.

- I got the impression, I
saw him heading

towards the wine cellar, but
that was half an hour ago.

- You know, I heard so much
about these famous wine cellars

of yours, I was wondering,
is there any chance

that I might go down there?

- Well.

- I really would love to
sample a claret.

- And so you shall
and so shall I.

Come along.

- I didn't wanna put
you to all this trouble.

- It's no trouble at all.

Frankly, I'm glad of an excuse
to get away from this lot.

Here we are.

Here's the staircase.

Nine steps altogether,
not too slippery.

Put your hand on my shoulder.

- Oh, thank you.

I thought if you had a wine
steward or a cellar man

that I could talk to him,
he'd take care of me.

- Well, there's Parkinson,
of course,

but he has retired,
passed by now, I think.

- Oh?

- Over zealous sampling
of the product.

(laughing)

A good wine is stronger
than his Rockshore beer.

He usually manages to get to
his room, collapse on the bed.

Occasionally, Scrub makes
it to the staircase.

Next morning he resigns.

- Yes, did he?

- I reject his resignation.

It's a game we've been
playing for years.

- He sounds like
quite a character.

I'd like to have met him.

- Well, you may be lucky,
but I doubt it.

- At these parties, can
just anybody come down

and taste the wine?

- No, only close friends.

- [Stan] And have any
of them done it tonight?

- Well now, steady.

I believe Alan Richards
said something.

Now, he's got a good palate

even though he is a millionaire.

Come along this way.

(dramatic orchestral music)

Parkinson.

Curious how sound
deadening this place is.

- Yes, it gets absorbed
because there's no feedback.

This is what they
made studios like

at the beginning of radio.

Sound is a living thing,
you see.

And they just took all the
life out of it.

- Parkinson!

Parkinson!

Oh, steady, over.

And up, yeah, that's right.

Just over to the left a bit.

Nope, down a step there.

That's right.

- Sh.

- Hm?

- I'm sorry, I thought I
heard something.

- Here we are, this way.

- [Julie] Here.

- Oh, what a punch in the
Saint Emilion.

- [Julie] Drink it.

Go on, drink it.

- Oh, I do so admire a
dominant woman.

- No Parkinson, I'm afraid.

Oh, he's been at the '69
Chambertin again.

And the '66 Saint Emilion.

- Well, you have to
admit, the man has taste.

What is this, a visitor's book?

- No, a cellar book.

The name of the wine, name
of the shipper,

vintage, where we bought it,
price, comments, et cetera.

- Comments?

- Well, what we thought of it,

what our guests thought of it,

whether it's still
improving some.

- Well, you mean if anyone
had been tasting tonight,

Parkinson would have
written down their names

and what they said?

- He might have done,
depending on A,

how conscientious he
was feeling,

and B, how drunk he was.

(laughing)

- Well, I've heard a
couple of people mention

the Saint Emilion.

Has he written about
anyone tasting that?

- Well, he was just about able
to hold the pen apparently.

Two friends tasted it, John
Pelham, and James Townsend.

Pelham said, excellent,
and Townsend, knockout.

Would you like to
taste something?

- Oh, well how about
that Saint Emilion

I've been hearing so much about?

- Good idea, and so shall I.

Ah, I see that it's in a
bin back near the staircase.

Now, you stay put, I
won't be a minute.

- All right.

Richards, Pelham, Townsend.

Richards, Pelham, Townsend.

- Oh, excellent coffee.

I say, did you make it yourself?

- Look, you made a
bet about wine.

- Oh, I make a lot of bets,
dear girl.

In fact, if I put mind to it,

I bet I could take you
out to dinner.

- [Nancy] No, you don't.

- It's just a joke,
you understand.

- Look, this is very, very
important, do you understand?

- Very, very, very important.

- No, that's one very too many.

She only said very,
very and you said.

- [Both] Very, very, very.

- Please.

Oh God, Ludo, come on.

- Ludo.

- Now, where were we?

- You made a bet about
the Saint Emilion.

- You know, I rather
believe I did.

- With who?

- With whom, dear girl, really--

- All right, with whom?

- I've forgotten. (laughing)

- Will you concentrate
and try to remember?

Please.

(footsteps)

- Here we are, blessed
Saint Emilion.

May God bless all who drink him.

Especially with my name on
the bottom of the label.

(laughing)

- You know, I've been
thinking, it might be fun

after we've tasted it
to compare notes

with the others who've
been down here tonight.

- Yes, of course.

- I don't think I've
met any of these people.

- Well, we can soon remedy that.

Now then, let's give it a
little oxygen, shall we?

Oh yeah, that's all right.

A little decanting.

(phone ringing)

Oh.

Now, do you think you could
carry on decanting, Stan?

- Well, of course,
you don't think

we'd treat California's finest

with any less respect, do you?

- Touche, my boy, very
palatably touche.

Hello, yes, speaking.

Oh, what is it?

Oh, I see, yes, thank you.

Well, I'm sorry, there's a
call come through upstairs

from the states for me, but
why they have to pick this day.

I'll be as quick as I can.

Will you be all right down here?

- Just worry about your wines,
Sir Peter,

I'll be fine as long as
I can resist temptation.

- Back soon.

- Oops.

- Excuse me.

(dramatic orchestral music)

(bottles clinking)

(dramatic orchestral music)

- Who is it?

Who's there, what happened?

(solemn orchestral music)

Tamplin?

(solemn orchestral music)

(bottles clinking)

- Foster, which line is the
American call supposed to be on?

- American call, Sir Peter?

- Someone rang down to the
cellar on the house phone.

There's nothing on either
of my private lines,

now is it the one is the study,
I wonder?

- I've not heard of any
outside calls, Sir Peter.

I'll make inquiries at once.

- Thank you very much.

- See, phone.

(clicking)

(dinging)

Hello, hello, this is Stan Kay.

I'm down in the basement.

There's a dead man here.

I need help.

Did you hear me?

- Loud and clear.

Clear.

(screams)

- Stay clear.

(bottles clinking)

(door shutting)

(dramatic orchestral music)

- [Nancy] Simon?

Edward?

Nigel?

Alan?

Peter?

- Alan, of course, now how
could I forget?

Blighter owes me a tenner.

- Alan who?

Alan who?

- Alan Richards, of course.

- Have you seen Alan Richards?

- No.

- Do you know where you
last saw him?

- No.

Hey look, he's probably
with Sir Peter.

He said he couldn't
possibly leave the party

without concluding some deal
or other with Sir Peter.

Why don't we sit down
and have a drink?

(bottles clinking)

- Oh, Mr. Kay.

What great, beautiful
ears you've got.

Acute perfect pitch.

Seeking,

finding.

I'm respectable now, Mr. Kay.

Respected,

influential friends.

You're not going to spoil
all of that now.

Not with those ears of yours.

But they won't do you
any good now.

(glass breaking)

- Mr. Pelham, I'm looking
for Sir Peter.

It's very important,
have you seen him?

- No, I'm afraid I haven't.

- Oh, I think he went
into the study.

(dramatic orchestral music)

- I see, and you
have tried that.

Yeah.

Well, I can't understand
it, but thanks anyway.

- [Julie] Sir Peter.

Have you seen Alan Richards?

- Well, not recently.

- Do you know where you
last saw him?

- What, at this party?

Yes, Foster.

- It must have been a hoax,
Sir Peter,

no trace of a call from
the states today.

- I left Stan for nothing then.

I hope the Saint
Emilion is safe.

- You left Stan where?

- Well, down in the cellar.

He wanted to taste the wine.

- He's there alone?

- Well, he said he'd be okay.

I wouldn't have done it
if it hadn't been

for this hoax call I
was supposed

to get from the United States.

Oh my God.

(dramatic orchestral music)

- [Julie] Stan!

- Stan, Stan Kay!

- Stan!

Stan!

- Stan!

Good grief.

Stan!

- [Julie] Stan!

- [Peter] Stan, where are you,
Stan?

(dramatic orchestral music)

- [Julie] Stan!

Oh, Stan.

(dramatic orchestral music)

- Stan.

- Oh Stan, are you all right?

- I hit for the sound, I
just hit for the sound.

It was the only
thing I could do.

I just kept hitting
till he stopped moving.

Is he dead?

Well, tell me, have
I k*lled him?

- No, but pretty near.

- Thank God.

I wanted to.

10 years of hatred, 10
years I wanted to k*ll him.

And now, I'm glad I didn't.

- It's finished now, Stan.

- Well, don't you go away now,
you hear.

I want you close.

Lead me.

(dramatic orchestral music)