Libel

While travelling in London, Buckenham sees Sir Mark Sebastian Loddon on television and immediately recalls his wartime memories. He believes the famous baronet may be an impostor who is actually Frank Wellney. The moment seeds a plan to uncover the truth about Loddon's identity.

He confronts Loddon and, with the encouragement of Loddon’s scheming cousin Gerald, writes to a tabloid accusing Wellney of posing as Loddon. The confrontation deepens Buckenham’s belief that a deception is underway and pushes him to take action. Their exchange reveals old wartime resentments and a potential motive.

Loddon sues Buckenham and the newspaper for libel, arguing that his identity has been slandered. The memory gaps from wartime trauma complicate the case, making it hard for both sides to separate fact from fear. The threat of reputational ruin intensifies the courtroom stakes.

During the trial, both men recount their versions of wartime imprisonment and their escape in spring 1945. The atmosphere blends courtroom procedure with raw wartime recollections as the truth-search unfolds. The audience learns how each man perceived the other in the POW camp.

Spring 1945 marks the escape from the German POW camp as the three prisoners head toward the Dutch border. Loddon wears his British army uniform while Wellney disguises himself in civilian clothes. The march captures the tension between duty, disguise, and the worsening hunger.

One night, after days without food, Buckenham leaves Loddon and Wellney to steal from a farm. He returns to hear gunfire and sees two men: one in a British uniform lying still, and another fleeing in civilian clothes. Buckenham suspects Wellney has murdered Loddon and stolen his identity.

During the trial, Buckenham notes that Loddon is missing part of his right index finger as did Wellney. The two men also share other subtle similarities—like hair color and lack of a childhood scar—that cast doubt on their identities. The evidence clues begin to form a puzzle that only the witnesses can resolve.

Wellney's questions about Loddon's personal life during their imprisonment highlight the resemblance between them and plant seeds of doubt about identity. The courtroom discussions show how memory and appearance can be manipulated by trauma. The atmosphere grows tense as the truth remains elusive.

Defence introduces Number Fifteen, the living, disfigured man from a German asylum. In the courtroom, Loddon recognizes him, and his memory begins to return as the past refuses to stay buried. The case pivots on the truth hidden behind scars and a battered past.

Margaret states she now believes her husband to be Wellney, the impostor, implying that Number Fifteen is the real Loddon. Her testimony shifts the emotional and factual balance of the libel case. The jury weighs the possibility that love and loyalty have clouded judgment.

Margaret confronts her husband, who struggles to remember more. Seeing his reflection in a canal unlocks his memories, revealing the moment when Wellney attempted to kill him and how he survived. The canal scene becomes a turning point in his personal truth.

In court, Loddon recalls a medallion hidden in his jacket lining that Margaret had given him in 1939. Proving the medallion had been in Wellney's possession all along confirms his true identity, and Loddon wins the libel case. Margaret realizes her husband is the person she believed him to be.

Buckenham and Loddon reconcile after the truth is established, though the couple and the tabloid must pay damages. The resolution brings closure to a tangled history of memory, deception, and identity, with both men choosing a path forward. The case ends on a note of hard-won understanding rather than triumph.