• The first few cuts didn't involve lost dialogue, just footage. We lost a few seconds of the American trucks roaring through the village; a section of footage showing Susan Davies arriving home on her bicycle after dark and making her way into the house just before her father is called out to the fire at the Graysons'; and some shots of the smoking ruin of the Grayson house the next morning, just before Milner's arrival.
  
  
• The first dialogue cut comes in the conversation between Milner and Fire Warden Stan Davies, who tells him, "When I came it was almost over … it started in his bedroom. See, the bed is too close to the fireplace and the blanket must've caught." He then goes on to explain …
  
  
• Some dialogue is cut from the beginning of the scene where Milner visits Will's father in hospital:
  
  Milner: Did you see him come in?
  Grayson: Oh, I saw him. I waited up for him. He'd been drinking.
  Milner: He'd been drinking with me at the Wheatsheaf.
  Grayson: He'd been drinking every night. It was gettin' to him - the war … He wasn't himself.
  The dialogue picks up with Milner: Was he very drunk?
  
  
• A revealing exchange is cut between Sam and Foyle as she drives him to the new US base for his talk:
  
  Foyle: Well, thanks for giving up your evening.
  Sam: It's a pleasure, sir … do I really have to stay?
  Foyle: I thought you wanted to get to know the Americans.
  Sam: Well, if the one I met was anything to go by …
  Foyle: Forward?
  Sam: Fresh!
  Foyle: Well, they're a long way from home, fighting a war they thought had nothing to do with them … it's not any big surprise, is it?
  The pair exchange amused glances and both chuckle. Then Sam pulls the car up to the base gate, announces Foyle and goes on to ask him if he's heard from Andrew lately.
  
  
• The following dialogue was cut from the after-talk party at the US base:
  
  Kieffer: Listen, thanks once again for coming.
  Foyle: No - well, now, look. It was a great pleasure helping out and all that, but there was a little matter of the arrangement we had?
  Kieffer: The arrangement?
  Foyle: The arrangement.
  Kieffer: What arrangement? Grins teasingly. The Reuben Leonard.
  Foyle: Well, I was thinking the day after tomorrow?
  Kieffer: I'd be delighted.
  Foyle: And you'll bring the -
  Kieffer: That was the deal.
  Foyle: That was the deal.
  Kieffer: Thank you.
  
  
• Some footage is missing of Sam walking up her street in the darkness, taking out her key and entering her darkened house. There is another cut a few seconds on, after she lights the cigarette, where she turns on a lamp on top of the piano and crosses the room to sit on the stairs, savouring the long-awaiting letter from Andrew before she reads it. (If you listen closely, you can tell that there is a cut here because there is a break in the background music.) At the end of this scene, several more seconds are cut from a shot of Sam's weeping face.
  
  
• More cuts without dialogue taken from the beginning (the farmhouse exterior) and the end of the scene where Milner visits the Davies household looking for Susan.
  
  
• Next cut: Mary Davies on her bicycle is nearly struck by an American jeep speeding along a country lane. She glares after it. The scene cuts to David Barrett's kitchen, where Mary is delivering the laundry she had done for him at her home.
  
  Mary: I'll just put it down here, then.
  David: Thanks, Mary, I'll take it up later.
  Mary: You going to stay up here? Meaning at Hawthorn Cross Farm, which has been taken over by the Americans
  David: I've got nowhere else to go.
  Mary: It's not possible for you, this! There's men everywhere! … she unties the string binding up his fresh laundry and changes the subject. What did you mean the other day about Susan? (referring to David's oblique remarks while they were listening to Lord Haw-Haw on the wireless).
  David: What about her?
  Mary: Susan and Ben. You seemed to think there was something wrong.
  David: No, no. I was talking out of turn.
  Mary: You don't know how much it means to me, this wedding. I just want her to settle down! Laughs. You know what sort of girl she is. She gets ideas. But her and Ben, they've known each other a long time now, they'll be … be very happy together.
  David: (morosely) I wonder if any of us will ever be happy again, with this war … you've seen what they're doing over there (nodding in the direction of the new air base). If I complain, they'll only get the police onto it. There's nothing I can do. They've send Ben up to Iceland, Susan left on her own here … aaah, we're all changed, all of us. I don't think we'll ever be the same again.
  Mary: Is there something you're not telling us?
  David: No, no. Don't worry, Mary, Ben'll soon be home. Everything'll be all right (patting her arm). Promise.
  
  
• The entire scene where Foyle and Captain Kieffer go fishing together is cut.
  
  Kieffer: (fishing with Foyle's rod) Come on, you little beauty!
  Foyle: (coming over with the net) How many is that?
  Kieffer: Three.
  Foyle: Same fly?
  Kieffer: Yep.
  Foyle: Well, that's my fly.
  Kieffer: I know (grinning) … got it? Foyle nets the fish on Kieffer's line.
  Foyle: What do you think?
  Kieffer: Two pounder. … So, how'd you get on with my rod?
  Foyle: Well, it's beautiful. It's just that I'm not catching anything.
  Kieffer: Well, it's a poor workman who blames his tools.
  Foyle:(dryly) Thank you (picking up the rod and moving back toward the water) Keep trying.
  Kieffer: Been a cop for long?
  Foyle: Too long.
  Kieffer: I was an engineer, plodding along in a little place called Northbridge, Massachusetts.
  Foyle: This all must have come as quite a shock to you.
  Kieffer: Pearl Harbor was a wake-up call. You know, Christopher, I could never understand how many of my countrymen were against the war. The isolationists.
  Foyle: So when did you sign up?
  Kieffer: Last November. A month before Pearl. I had a kid brother, his name was Brian. He was 25 years old, serving in the US Navy. Destroyer. The Reuben James. They were on convoy duty in the Atlantic at the end of October. They were torpedoed and sunk. German U boat. 150 people lost their lives. Brian was among them. You know what? No one noticed. No one said anything. You see, nobody wanted to go to war. They wanted to pretend it hadn't happened.
  Foyle: (gently) Sorry.
  Kieffer: I volunteered the next day.
  
  There is a pause.
  
  Foyle: I've got a feeling I'd be better off with my old split cane, you know?
  Kieffer: That's something I'm learning about you Brits. If it's old, it's got to be good.
  Foyle: And you lot think that what's good needs improving.
  Kieffer: Hey, I'm the one who caught the fish!
  Foyle: Well, you're the one with my rod!
  Kieffer: Well, I'll tell you what. Let's call it even and go get a drink.
  Foyle: Warm beer?
  Kieffer: Sounds perfect.
  
  
• Some footage was cut of the GIs setting up for their dance - hanging the decorations, setting up the band. Then the scene cuts to Susan putting on her new nylons and her mother tells her that Ben is coming home, as shown. Also, the early scenes of couples jitterbugging were shortened considerably.
  
  
• The next cut is when Foyle is questioning Taylor for the first time after Susan Davies' murder. Taylor's reply is abbreviated, with several bits cut out. Here is the complete version:
  
  Foyle: Was that all?
  Taylor: There was, um, there was something else. She said something like, um, she was still working and - uh - he - he could see her later. That was it.
  Foyle: He?
  Taylor: Whoever. I tried to get up. I - I couldn't move and , so, I think I fell asleep again.
  
  Then the scene picks up with Foyle asking about Taylor's identity disks.
  
  
• Some dialogue is cut from the end of the scene where Foyle and Milner search Susan Davies' bedroom. It picks up after Milner says, "We'll find out who did this to her."
  
  Stan Davies: (fingering Susan's diary as he speaks, sounding deeply upset) She had so many dreams, that girl. She wasn't going to sit around this village for the rest of her life. She wanted to be someone. Now that's all over.
  
  
• After Foyle and Milner leave David Barrett, whom they have questioned about his nephew Ben's whereabouts on the night of Susan's murder, Barrett shoves his hands in his pockets, looking deeply upset. A minute later we see him touching the photograph of his sailor nephew and Susan, tipping it face-down on the mantel. A moment later, however, he pushes it off so that it smashes on the brick floor of the hearth below.
  
  
• There is some footage cut of Milner being led to the still by the unformed constable who has found it. A second constable follows with Alan Carter, shoving him along rather roughly.
  
  
• The final cut is from the scene where Foyle questions Taylor for the final time, when the GI admits the truth about his relationship with Susan:
  
  Foyle: Any feelings at all for this girl?
  Taylor: No, sir. I'm sorry. I didn't … I was just so lonely. I got a girl back home. I was missing her so much and (dialogue picks up here) Susan - first she seemed so friendly and one thing led to another …