Thunder crashes. The full title sequence runs. We hear Leo McKern’s voice again in the catechism.
We open on a shot of the Green Dome, rising above the Village. In Number Two’s office, the Butler is steering a breakfast trolley. The Chair is occupied by a pulsating Rover. The Butler carefully deposits his tray on a side table. He operates the controls to cause a chair to slide up out of the floor. A moment later, a man rises through the floor, head bowed. We recognise him as the charming Number Two of The Chimes of Big Ben.
Number Two looks around him, disgustedly. He orders the Butler to take the breakfast away. He snatches up the red phone and snarls at the person on the other end to get rid of that ‘thing’ (i.e., Rover): he is not an inmate. Irritably, he orders the Butler to leave the coffee, shouting at him when he doesn’t move quickly enough.
He logs onto surveillance of Number Six, who is having breakfast in his kitchen. Carrying his cup and chewing a piece of toast, Number Six gets up and starts pacing back and forth. Number Two steps up to the gantry beneath the screen, almost putting himself into the pictiure. Why do you care? he muses, repeating the question.
He grabs the yellow phone off the desk, asks for Number Six. We hear the latter’s phone beep, see him answering. Why do you care? Number Two asks. I know your voice, the Prisoner replies. Number Two confirms he has been here before, and repeats his question. You’ll never know, Number Six says, putting down the phone and leaving his cottage.
Number Two continues to watch him as he makes his way through the sparsely attended square. Number Six button-holes a man with an umbrella, who reacts fearfully to being spoken to, and implores him to go away.
Coming to a decision, he snatches up the red phone again. He argues with the person to whom he is speaking, insisting that they have been going about things the wrong way, that he told them so first time. If they want him, they must do it his way, and there is no alternative: he demands approval for Degree Absolute.
This is clearly a serious, and irrevocable step, and one that is risky for Number Two himself. He acknowledges this. He is a good man, was a good man, if they they can get Number Six, he will be better. Number Two is willing to sacrifice himself. Consent is given, to start tonight, but though Number Two objects, he is given only seven days, which he believes is too short.
We cut to the Control Room. Number Two bustles in, announcing Degree Absolute, and requiring all subsidiary personnel to be removed. The Supervisor challenges him, proposes to check, but Number Two overrules him. The staff are told to leave, to submit their time sheets on the most favourable rates, leaving Number two, the Controller, and one operative on the twin-arm device.
Number Two takes one of the screens and tunes into Number Six, asleep in bed. The Controller counts to six, and announces that the first waveform is clear. A second count is made. Onscreen, Number Six grows restless. Number Two orders a third count, diminished, holding on five. Number Six threshes about, but remains asleep. A sweating Number Two is satisfied. As he leaves, the Supervisor says he would be sorry to lose him.
In his bedroom, Number Six sleeps. The ceiling light descends towards his face on its cord. It starts to flash. Number Two, sounding very weary, starts to croon the nursery rhyme, Humpty Dumpty. Number Six remains undisturbed, with the lamp over his face, as Number Two wanders round singing other rhymes. No matter how loudly he sings, Number Six is not disturbed. Number Two lies down on a shaped couch.
In the morning, he raises the blinds and looks across the village, as did Number Six on his first appearance. He wakes Number Six, asking him if he wants to go walkies. Number Six grins vacuously and leaps out of bed.
After he dresses, Number Six is wheeled across the square and into Number Two’s Office by the Butler. Whilst Number Two talks to himself as much as Number Six, the Butler walks over to one of the floor-discs and is dropped through the floor. Number Two leads Number Six to another disc, before his Chair: they drop out of sight. They emerge in a dark corridor, along which they are carried on a moving causeway. This leads to a pair of thick metal doors, which Number Two unlocks,
Inside the room, it is dark, until Number Two switches on the light to reveal a strange large room. It features objects such as a playpen, which which the Butler, wearing snow-glasses, stands, shaking a rattle, a free-standing door, a mini-tractor, a seesaw, a kitchen unit contained behind bars. Excitedly, Number Six goes to the playpen, seizes the rattle and starts shaking it. Number Two dons an identical pair of snow-glasses, and sets the clock by the entrance. The doors slide shut. The week begins.
Number Two starts to recite Shakespeare’s ‘Seven Ages of Man’ speech as he chalks three objectives on a blackboard: A. Find Missing Link, something that has been in Number Six’s brain, even as a child, B. Put it together, refining it, tuning it, making Number Six theirs, and if he fails, C. BANG.
Number Six is taken for a walk in the park, to the seesaw,but as soon as Number Two brings up the word father, he is let down with a bump. From the park it is to school: the Butler fetches Number Two a cane and a mortar board, Number Six a straw boater. ‘Report to my study in the morning break,’ snaps Number Two.
He quizzes the schoolboy Number Six about an incident of talking in class, nine days ago. Number Six has been accused, wrongly. He knows the true culprit but will not give him away. For nine days he has refused. He accepts the term ‘fool’ but says he is not a rat. It is a matter of honour. For his refusal to conform, he is left with the Butler, who brandishes the cane.
He emerges a graduate. Headmaster Number Two praises his prize pupil for hos he has overcome his rebellious spirit, and learned to conform. He demands Number Six say why he resign. Number Six protests mildly that it is a secret. Number Two’s pressure leads to screams and a fight in which Number Six starts to choke the older man. Unhurriedly, the Butler replaces the cane in the cupboard, selects a truncheon and crashes it down on Number Six’s head.
When Number Two recovers his breath, the pair manhandle Number Six onto a table. A hairdryer like device is placed over his head. A still-gasping Number Two admits he is beginning to like Number Six.
Restored, Number Six sits on a rocking horse. Number Two prowls round him, verbally sparring. They get into long to-and-fros, counting letters, numbers. Number Six has a block on the word six and will not, cannot say it. They repeat various, nonsensical combinations of the word Pop at each other, during which Number Two explains, obliquely what it stands for: Protect Other People.
The sparring continues into real sparring: boxing training, protective headgear, Number Six as the Champ, Number Two as his trainer, needling, forever needling him over his resignation, until Number Six punches him down. Then they become fencers, Number Two contemptuous of his opponent until his foil is twisted away, out of his hands. Still he taunts Number Six, accusing him of cowardice, of being the one-man band, but unable to cross the threshold to kill. Number Six backs him against the door, strikes with the button foil, just missing. Number Two taunts and he strikes the door again, but now the button has come off. Undaunted, Number Two throws forward his contempt until Number Six shrieks and lunges – but only into Number Two’s left shoulder. ‘You missed, boy, you still can’t do it’. He mocks Number Six’s shocked apology.
The two clean themselves up, Number Two’s arm in a sling. Then another approach: Number Two as interviewer using the kitchen. Number Six seeks a job, but he has no concern for the traditions of the Bank: he just wants to work, to have a job. But it’s more than a stamp-licking job, he is important, he is being groomed for his true role in Intelligence, his future. He drive a motorised toy car to the interview where this is explained to him.
Surreally happy, Number Six drives the toycar around until he is halted by the Butler, in policeman’s helmet, blowing a whistle. He is tried for speeding before Number Six, the judge, tries to alibi it on his job his secret job, above the law. Over his protests, he is fines a sum he cannot pay, and is, literally, dragged off to jail, hand-cuffed inside the caged itchen.
Number Two hammers at him again, verbally, demanding the secret of his resignation. Number Six resists, begins to slur his voice, act drunkenly. Number Two’s mastery over him starts to dwindle as the Prisoner invites him to kill him, produces a carving knife from the kitchen drawer, lies down.
Instead, we go on to a war scene, artificial smoke, the sound of bombs, the two men straddling a mid-air plank, pilot and release-operator on a bomber. Number Six’s inability/resistance to the word six creates an overshoot, a second pass, a bailing out.
Number Two interrogates Number Six in German. Number Six is apologetic, almost hangdog, but as the harangue continues, his demeanour changes. He starts to count numbers. He says the word six, starts to relish it. Removing his jacket, he nonchalantly walks from the cage.
Number Six’s acceptance of the number six has changed the dynamic. Number Two is no longer in charge. The Butler massages his temples as Number Six starts to ask penetrating questions about the psychological procedure of Degree Absolute, it’s dependance upon complete trust and its risk to any doctor who has his own problems. Number Two is effusive in his answers, admitting that he has flaws. They still have time to work on this though, but when he draws back the velvet curtains, the clock shows that only five minutes remain.
He rushes over to the kitchen, opens and bottle and pours himself a whiskey. He is still gabbling about time as Number Six experimentally slides the door to and fro, until he slams it shut and locks it. Number Two grabs the bars, then laughs as the Butler comes forward and takes the key from Number Six: he thinks you’re in charge now, he shouts.
Number Six looms over him, threatening to enter. Number Six turns fearful, pleading with him to stay away. When the door is open, he stumbles out and falls. Number Six pursues him as the man begins to disintegrate. Number Six starts counting down the time, with Number Two still protesting it’s not too late. But the inexorable march of seconds is counted down. Number Two lurches back into the caged kitchen, takes another drink, as the seconds run out. On zero, he ceases breathing and falsl to the floor, dead.
Number Six looks as if he too has come out of a trance. The steel doors slide open to reveal the Supervisor, who congratulates Number Six. He walks over to the cage and looks at Number Two. We shall need the body for evidence, he state, an edge of contempt in his voice. Number Six smashes his glass violently on the floor.
A hinged metal door slams down from above, sealing the kitchen. The Supervisor asks Number Six what he desires, to which the Prisoner replies, ‘Number One’. ‘I’ll take you’, says the Supervisor. They walk towards the doors, leaving an empty Embryo Room, silent but for a nursery rhyme.