• 6 months ago
Transcript
00:00:00Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:00:30oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:01:00music
00:01:30♪
00:01:37Stand back, stand back.
00:01:39♪
00:01:59♪
00:02:19No, no, Pora, don't look back.
00:02:22You've got to forget everything that's happened here.
00:02:24That's why you're going to Italy to see Nio Guardi.
00:02:29He was the best friend your aunt ever had,
00:02:30and he'll be yours, too.
00:02:32Perhaps Nio Guardi will make you
00:02:34into a great singer, as she was.
00:02:37Wouldn't you like that?
00:02:40You must think of the future, dear, not the past.
00:02:43♪
00:02:54♪
00:03:14No, no, no, no, no.
00:03:16Wait a moment, Signorina, that is no use.
00:03:18Paola, you are not concentrating.
00:03:20Your mind's not on your singing.
00:03:22All these years you worked so hard,
00:03:24and now what's come over you?
00:03:27She suppressed tragedy, Signorina.
00:03:29A thing you seem incapable of understanding.
00:03:31Did you never hear your aunt sing, Lucia?
00:03:34You look like her.
00:03:36But I don't sing like her.
00:03:38I know.
00:03:44Signor Guardi, may I speak to you seriously?
00:03:47Very seriously.
00:03:50It is ten minutes to the hour.
00:03:52If you're not continuing the lesson,
00:03:54I should like to be excused.
00:03:55Very well, Signor Anton.
00:03:57Thank you. Good afternoon, Signorina.
00:04:00Now, what is it you wish to say to me?
00:04:03Seriously, very seriously.
00:04:06Signor Guardi, I've tried, I've worked hard,
00:04:10but it's no use.
00:04:12I haven't a voice, have I?
00:04:14The trouble is not in your voice alone.
00:04:17Your heart is not in your singing anymore.
00:04:20Each time you come here now,
00:04:22you look happier and you sing worse.
00:04:25Tell me, Paula,
00:04:28you are in love.
00:04:33Yes.
00:04:36Yes, it's something
00:04:38that has never happened to me before.
00:04:41Something I never expected would happen,
00:04:45but suddenly it is as if nothing else existed.
00:04:48Even my music, which used to mean so much to me...
00:04:53Yes, you were right.
00:04:55My thoughts were wandering while I was singing just now.
00:04:58I'm too happy.
00:05:00That's why you said that tragedy was something I could never understand.
00:05:03Oh, I'm sorry.
00:05:05It was cruel of me to say that.
00:05:07Cruel and untrue.
00:05:09Real tragedy has touched your life
00:05:12and very deeply.
00:05:14But now, if there is a chance to forget tragedy,
00:05:17my child, take it.
00:05:19Free yourself from the past
00:05:21and forget your singing too for a while.
00:05:24Happiness is better than art.
00:05:26Oh, dear maestro,
00:05:28no one has ever been as kind to me as you have since she died.
00:05:31Will you let me meet the man
00:05:33who is taking my pupil away from me?
00:05:36Oh, yes. Yes, of course.
00:05:40Ah, you have a rendezvous with him.
00:05:43The moment your lesson is over, you fly to him.
00:05:46Is he jealous of your music,
00:05:48these hours you spend away from him?
00:05:51Oh, dear maestro, I...
00:05:55I don't know when we'll meet again.
00:06:00Thank you.
00:06:09Paula?
00:06:16Paula?
00:06:28Did you tell him?
00:06:30He told me. He didn't know who.
00:06:32What did he say?
00:06:34He said I should take my happiness.
00:06:36And will you now?
00:06:39But I don't know you. I don't know anything about you.
00:06:42No, I about you, but I want to marry you.
00:06:44Are you afraid?
00:06:46I think I am, a little.
00:06:48Of me?
00:06:50No, no, never, but...
00:06:52but of happiness. I haven't had a lot, Gregory,
00:06:54and I feel I can't trust it.
00:06:56You must give me time to get used to the idea.
00:06:58You shall have all the time you want.
00:07:00I've waited for you so long.
00:07:02How waited? We've only known each other two weeks.
00:07:04I've waited all my life, Tina.
00:07:06You could wait a little longer,
00:07:08but it would not be easy to wait
00:07:10and to be patient seeing you every day.
00:07:14No, it won't be easy for me either.
00:07:16I should go away.
00:07:18Go away?
00:07:20By myself for a week, only a week,
00:07:22just to know what I'm doing, just to be sure.
00:07:27Where will you go?
00:07:29I thought perhaps to the lakes.
00:07:31And when will you go?
00:07:33I thought tomorrow. Tomorrow?
00:07:36No, the sooner you go, the sooner you will come back.
00:07:39But while you're away, never forget for one moment
00:07:41that I'm here, waiting,
00:07:43and in love with you.
00:07:52Oh, my dearest.
00:08:06Oh.
00:08:08Oh!
00:08:10Oh!
00:08:14Oh, my goodness.
00:08:16Oh, good gracious.
00:08:18Oh, it's so exciting.
00:08:20Your book?
00:08:22Yes. It's all about a girl who marries a man,
00:08:24and what do you think?
00:08:26He's got six wives buried in the cellar.
00:08:28That seems a lot.
00:08:30Yes, and I'm only at page 200,
00:08:32so I'm sure there's still more to come.
00:08:34Oh, it's a wonderful book.
00:08:36Oh, it sounds a little gruesome.
00:08:38Yes. Well, I'm afraid I enjoy a good murder now and then.
00:08:41My brother always calls me Bloodthirsty Bessie.
00:08:44Have a biscuit, dear.
00:08:46Thank you.
00:08:48Digestive biscuits. Unpleasant name, isn't it?
00:08:51I always call them diggy biscuits.
00:08:53I never travel without them.
00:08:55You're not English, are you?
00:08:57No. I was brought up there.
00:08:59My aunt lived in London.
00:09:01Are you on your way there now?
00:09:03No. I'm going to Lake Como.
00:09:05Oh? All by yourself?
00:09:07Yes, all by myself.
00:09:09Oh, but is that wise?
00:09:11I don't think any harm will come to me.
00:09:13Well, I'm going to London.
00:09:15I must be in London for the spring.
00:09:17The croaks, as you know, and the daffodils and the tulips.
00:09:19The gardens are so beautiful in the spring.
00:09:21I go and say good morning to my flowers in Thornton Square every day.
00:09:25Thornton Square?
00:09:27Yes, that's where I live. Number 16.
00:09:29Do you know it?
00:09:32I know Thornton Square.
00:09:34Do you know anyone living there?
00:09:36I used to. Not anymore.
00:09:38I wonder who that could be.
00:09:40I know almost everyone who lives there now.
00:09:42We're also very friendly, you know.
00:09:44Popping in and out of each other's houses.
00:09:46What number did your friends live at?
00:09:48I'm afraid I don't remember.
00:09:50No, we had a real live murder there.
00:09:53Yes, I... I'd heard of it.
00:09:56Unfortunately, it's before I went to live there.
00:09:59Just a year before.
00:10:01Ten years ago, at number nine.
00:10:03A famous singer called Alice Alquist.
00:10:05Have another biscuit, dear.
00:10:07No, thank you.
00:10:09It was a most mysterious case.
00:10:11They never found out who killed her.
00:10:13They never even found a motive.
00:10:15I've tried to get in the house many and many a time.
00:10:17I think it was so exciting. Don't you?
00:10:19I mean, just to see.
00:10:21All as it used to be.
00:10:23Nothing's been changed.
00:10:25All the furniture and everything.
00:10:27We're getting into Cormore.
00:10:29Oh, so we are.
00:10:31Is anyone meeting you? No.
00:10:33Oh, dear. Well, you will be careful, won't you?
00:10:35I will be. Goodbye, my dear.
00:10:37Oh, come and see me if you're ever in London.
00:10:39My name is Thwaites. Miss Thwaites.
00:10:41And I'll point out the window of the room in number nine where it happened.
00:10:44You can see it from my drawing room.
00:10:51You're not angry with me?
00:10:53Angry? If you hadn't come, I should have sent for you.
00:10:57Shit.
00:11:02Quick!
00:11:27Come and look at the morning.
00:11:58Aren't you cold like this?
00:12:00What were you dreaming of?
00:12:02Our life together.
00:12:04And how did you see it?
00:12:06I saw all the places where we'll be together.
00:12:09Lovely places like this.
00:12:11I was thinking of our life together, too.
00:12:13Only I heard it in music.
00:12:15Something that I want to write.
00:12:17Yes, what?
00:12:19The whole thing is alive with happiness.
00:12:21I want a feeling of the early morning.
00:12:24This morning?
00:12:26Yes. With the sun rising.
00:12:28Lighting your hair as it is now.
00:12:31I don't know how it ends.
00:12:33Perhaps it never ends until I do.
00:12:44When will you start on it?
00:12:46Oh, someday.
00:12:48After we've had our honeymoon.
00:12:50And settled down a little.
00:12:52Where?
00:12:54Where would you like us to settle?
00:12:56I haven't thought.
00:12:58Paris, perhaps.
00:13:00Paris?
00:13:02Rome?
00:13:04How will you feel about London?
00:13:08London?
00:13:15Paula.
00:13:17If you won't laugh at me, I'd like to tell you something.
00:13:20I won't laugh at you.
00:13:22What is it?
00:13:24Oh, it's an idea.
00:13:26A silly idea that's been with me for years.
00:13:28I was not once in the winter.
00:13:31It seemed to me there was no city in the world that was colder to the homeless.
00:13:36Or that could be warmer to the ones who had a home.
00:13:40How I used to long for a home of my own.
00:13:43In one of those quiet houses in the little London squares.
00:13:47With a woman I should one day come to love.
00:13:50Could we settle down in London?
00:13:52Not in a house in a square, perhaps.
00:13:56Paula.
00:13:58Why do you look like that?
00:14:02Because there is a house in a square.
00:14:05What house?
00:14:07Nine at Thornton Square.
00:14:10She left it to me.
00:14:12She? Oh, you mean...
00:14:14Alice Holquist.
00:14:18She was my mother's sister.
00:14:21My mother died when I was born.
00:14:23I don't know anything about her or my father.
00:14:26I lived with my aunt always as if I were her own.
00:14:31Then, after it happened, I never went back.
00:14:35I never went back.
00:14:42That house comes into my dreams sometimes, a house of horror.
00:14:50It's strange.
00:14:52I haven't dreamed of it since I've known you.
00:14:56I haven't been afraid since I've known you.
00:14:59Afraid?
00:15:01Yes, for years I've been afraid...
00:15:04of something nameless, something...
00:15:06ever since she died.
00:15:08You've cast out fear for me.
00:15:10No, Paula, if it were true, it would make me very happy.
00:15:13It is true.
00:15:15I've found peace in loving you.
00:15:19I could even face that house with you.
00:15:21Oh, no, no, Paula, beloved. I would not ask that of you.
00:15:24Yes, yes, you shall have your dream.
00:15:26You shall have your house in a square.
00:15:34Good morning, Daffodils. Good morning, Tulips.
00:15:37Good morning. Oh, Daffy, dear.
00:15:39Oh, Percy, there it is, dear.
00:15:43Good morn...
00:15:51What are you doing there, my good man?
00:15:53Turning on the water in number nine, ma'am.
00:15:55Nine? Why nine?
00:15:57Orders, ma'am.
00:15:59It must be going to be occupied at last, after all these years.
00:16:03I wouldn't care to live in there myself.
00:16:05I don't know about living there, but...
00:16:07Oh, I would like to get a peep inside.
00:16:23Good morning. Good morning.
00:16:25We're not late, are we? Oh, not at all.
00:16:27I've only been here a moment. Good morning, Miss Danvers. Good morning.
00:16:31Oh, it's you.
00:16:33Don't you remember me?
00:16:35In the train in Italy last month.
00:16:37Diggy biscuits. Oh, yes, of course I do.
00:16:40Don't tell me you're coming to live in number nine.
00:16:43Yes, I am.
00:16:45Oh, Paula, we mustn't give Mr. Muffling wait.
00:16:48Oh, I'm sorry. I must go now. Perhaps we can...
00:16:50I'll call directly. You're settled.
00:16:52That's my house over there. The one with the pink curtains.
00:16:55Goodbye for the present. Goodbye.
00:16:57Goodbye. I'm so glad we are to be neighbours.
00:16:59Oh, so am I.
00:17:03This lock needs oiling.
00:17:06Now, if there's anything further I can do, let me hear from you.
00:17:09Good day. Good day. Good day, Mr. Endon.
00:17:15Now, Paula.
00:17:30This is the dining room.
00:17:32Yes. There's a little study beyond it.
00:17:37And the drawing room is upstairs.
00:17:39Yes.
00:18:00Come, Paula. Don't stand there in the doorway.
00:18:06Will you light the gas, please?
00:18:30Oh, Gregory.
00:18:32It's a very handsome room.
00:18:34Yes, but...
00:18:36But to see it like this...
00:18:39I remember parties in this room
00:18:41when it was full of flowers and light.
00:18:43Those must have been wonderful days.
00:18:45Oh, it's all dead in here.
00:18:48The whole place seems to smell of death.
00:18:51There.
00:18:53It'll all be fresh again in a moment.
00:18:56That's where she kept her little treasures.
00:18:58All the things she collected on her tours around the world.
00:19:01The glass is broken.
00:19:03It was broken that night.
00:19:05All the things were disarranged, but there was nothing missing.
00:19:09Oh, I know all these by heart.
00:19:11It used to be one of my great treats
00:19:13when she would unlock them and take them out
00:19:15and tell me all their stories.
00:19:17Be careful, dearest.
00:19:19This glove.
00:19:21Oh, dear.
00:19:23Be careful, dearest.
00:19:25This glove.
00:19:27She wore it in Romeo and Juliet
00:19:29at the command performance at Covent Garden.
00:19:31Garneau signed it for her afterwards.
00:19:33I never knew what happened to the other glove.
00:19:35I used to ask her sometimes,
00:19:37but she'd only laugh and say she'd given it away.
00:19:39A very great admirer.
00:19:41She would never tell me who.
00:19:43I wish I could have seen her.
00:19:45Oh, let me show her to you.
00:19:54That's the Empress Theodora.
00:19:58That was her greatest role.
00:20:01When she sang it in St. Petersburg,
00:20:03the czar used to come to every performance.
00:20:05She was very beautiful.
00:20:07Very much like you.
00:20:10It was there that I found her.
00:20:13There in front of the fire.
00:20:16Under hold.
00:20:19There in front of the fire.
00:20:22Under her own portrait.
00:20:25I was in bed and something woke me.
00:20:27I've never known what.
00:20:29I came running down the stairs.
00:20:32Frightened as if I knew what had happened.
00:20:36She had been strangled.
00:20:43She had been strangled.
00:20:46Her lovely face was all...
00:20:52No. No, I can't stay here.
00:21:02Well, then, how would it be
00:21:04if we took away all these things that remind you so of her?
00:21:07The painting, all this furniture.
00:21:09Shut it away so you can't even see it.
00:21:11Suppose we make it a new house
00:21:13with new things, beautiful things,
00:21:15for a new, beautiful life for us.
00:21:17Yes, yes, and then later we'll have people here and parties again.
00:21:23Oh, don't you want to?
00:21:25Later, yes.
00:21:27But not just at once.
00:21:29Let us have our honeymoon here by ourselves for a little longer.
00:21:32Yes, I...
00:21:34I know.
00:21:36Later.
00:21:39Now, where shall we put all these things?
00:21:42Oh, there is an attic under the roof.
00:21:44All her trunks are up there and all her costumes.
00:21:46Well, then we'll put all these there, too,
00:21:48and then we'll board it up
00:21:50so you'll never have to see it again.
00:21:52Never even think of it.
00:21:54Oh, that piano traveled with her everywhere in the great days.
00:21:59It can need tuning terribly.
00:22:01Oh, look, here's some of her music.
00:22:03Her score of Theodora, just as she left it.
00:22:06We'll send those upstairs with all the rest.
00:22:08Oh, not her music. Perhaps later I might like to study again.
00:22:11I'd like to have her scores to study from.
00:22:16What makes you play that?
00:22:18Why not?
00:22:19That was her great song.
00:22:21She always used it in her concerts for her last encore.
00:22:24It was everybody's favorite.
00:22:35Here's an old letter.
00:22:38Dear Miss Alquist, I beg of you to see me just once more.
00:22:41I have followed you to London.
00:22:45It was written two days before she was murdered.
00:22:48Where did you find that?
00:22:50In this score. She must have left it there.
00:22:52It was written by somebody called Sergius Bauer.
00:22:55Give it to me!
00:22:58Gregory, what is it?
00:23:00I'm sorry. I...
00:23:02I didn't mean to be so violent.
00:23:05It's just that...
00:23:07Why does this letter upset you so?
00:23:10Oh, it's not the letter.
00:23:12It's just that I'm upset for you.
00:23:15All these things are mourning you of her.
00:23:18You said that you had lost your fears,
00:23:20and now everything you touch here brings them back home.
00:23:23My dearest, while you're afraid of anything,
00:23:26there cannot be any happiness for us.
00:23:28You must forget her.
00:23:30No, not her.
00:23:34Only what happened to her.
00:23:38Elizabeth!
00:23:39I say, Elizabeth!
00:23:42Good afternoon, Elizabeth.
00:23:44Oh, it's you, miss. Good afternoon.
00:23:46Good afternoon. The house is looking very nice now.
00:23:49What's that, miss?
00:23:50I said, the house looks very nice now, from the outside.
00:23:53Oh, yes, miss.
00:23:54I expect you're glad you got rid of the workmen at last.
00:23:57Oh, yes, miss.
00:23:59Do you think that Mr. and Mrs. Bauer
00:24:01will be happy to see you again?
00:24:03Oh, yes, miss.
00:24:05Do you think that Mr. and Mrs. Anton
00:24:07will be ready to receive callers soon?
00:24:09Well, I couldn't say, miss, I'm sure.
00:24:11We haven't had no visitors yet.
00:24:13Master says seeing people isn't good for her.
00:24:16She hasn't been feeling too well lately.
00:24:18Oh? I'm sorry to hear that.
00:24:20What's that, miss?
00:24:22I said this fine summer weather we are having ought to do her good.
00:24:25Oh, yes, miss. They're going out this afternoon.
00:24:28First time for some while. Good day, miss.
00:24:30Good day. Oh, what lovely-looking strawberries.
00:24:33Well, I never get big ones like that.
00:24:35I think I'll just taste one for luck.
00:24:37Good afternoon.
00:24:40If you have your bags with you, you can start immediately.
00:24:43Thank you, sir. They're downstairs, sir.
00:24:45Then everything is arranged. Your wages will be 16 pounds a year.
00:24:48Yes, sir. I understand all right, sir.
00:24:51Oh, just one more thing.
00:24:53I don't want you to bother your mistress about anything, ever.
00:24:56If you have any questions, just come to me.
00:24:59Yes, sir.
00:25:01I don't, me, sir.
00:25:03Well, then, you'll remember it.
00:25:05Your predecessor did not.
00:25:07That's why she left.
00:25:10It may seem a little unusual,
00:25:12but your mistress is inclined to be rather highly strung.
00:25:18Oh, Elizabeth. Come in.
00:25:21This is Elizabeth, the cook.
00:25:23Hello. You'll find that she's a little deaf.
00:25:26Hello. Oh, Elizabeth, this is our new housemaid.
00:25:29I was explaining our duties to her. She'll be down in a moment.
00:25:32Very good, sir. I'll see you downstairs.
00:25:37She's a tartar, ain't she?
00:25:40What do you mean by that?
00:25:42Oh, you know, strict like.
00:25:44I'm not going to sleep in the same room with her.
00:25:47See the way she looked at me?
00:25:49Don't you think perhaps your costume might have something to do with it?
00:25:55What's the matter with it?
00:25:57Well, it's a little, shall we say, loud.
00:26:00I hope you're not a flighty girl, Lucy.
00:26:02My name's Nancy, sir.
00:26:04Oh, I'm sorry. Nancy.
00:26:06Are you?
00:26:08I don't think so, sir.
00:26:10I'm glad to hear that.
00:26:11Your mistress is very particular about everything being very correct.
00:26:15Is she, sir? Yes.
00:26:18And so am I.
00:26:20Oh, Paula.
00:26:23This is our new housemaid.
00:26:28Oh, how do you do?
00:26:30I'm all right, ma'am.
00:26:32You can go now, Nancy.
00:26:34Very good, sir.
00:26:38She seems a nice girl.
00:26:40I'm glad. I hope I haven't kept you waiting.
00:26:42I had to go back for the guidebook.
00:26:44You look like a summer's day.
00:26:46Because I'm happy. We are going out and I'm going to show you London.
00:26:49Do you know what day today is?
00:26:51Yes.
00:26:52Three months ago today, we came out of that little church by the lake.
00:26:56Man and wife.
00:26:58I have a present for you, Paula.
00:27:01Oh, Gregory.
00:27:04Oh, where did you find anything so beautiful?
00:27:07It belonged to my mother, and before that to her mother.
00:27:10And now it belongs to you.
00:27:12Oh, I shall wear it always.
00:27:14Always. Oh, my dear.
00:27:16Oh, how sweet of you to give me this.
00:27:19Oh, it...
00:27:21I'm afraid the pin is not very strong.
00:27:23No.
00:27:24I have it mended.
00:27:25Yes.
00:27:26You better not wear it until I have.
00:27:29You might lose it.
00:27:30You know, you are inclined to lose things, Paula.
00:27:32I am? No, I didn't realize that.
00:27:35Oh, just little things.
00:27:37I'll put it in your bag for safekeeping.
00:27:39There.
00:27:41Now, you'll remember where it is.
00:27:44Oh, don't be silly. Of course I'll remember.
00:27:46Oh, I was teasing you, my dear.
00:27:52Look.
00:27:59That's London.
00:28:00It's music.
00:28:01It's music.
00:28:02It's music.
00:28:03It's music.
00:28:04It's music.
00:28:05It's music.
00:28:06It's music.
00:28:07It's music.
00:28:08It's music.
00:28:11Good afternoon, Wilkins.
00:28:12Good afternoon, ma'am.
00:28:13It's nice to see you getting out again.
00:28:15Where to, ma'am?
00:28:16We're going to the Tower of London.
00:28:18Very good, ma'am.
00:28:19The Tower of London it is.
00:28:27What's the matter with the mistress?
00:28:29She don't look ill to me.
00:28:30Is she?
00:28:31I don't know.
00:28:33Not as I can see.
00:28:34The master keeps telling her she is.
00:28:38And here, ladies and gentlemen,
00:28:39we have the axe of the Edsman and the execution block.
00:28:43These are the originals with which such historic persons
00:28:46as Lady Jane Grey and Queen Catherine Howard
00:28:49was beheaded within these precincts.
00:28:51The victim kneeling, Lady's head upon the block,
00:28:54fitted his neck into the small hollowed-out space
00:28:57designed to receive it,
00:28:58whereupon the axe descended,
00:29:00severing the head from the torso
00:29:02severing the head from the torso with one blow,
00:29:05or in unlucky cases, two.
00:29:08Moving to our right, we have a model of the famous wreath,
00:29:11the instrument of torture upon which prisoners were stretched,
00:29:14their limbs being frequently torn from their sockets
00:29:17in an effort to extract a confession from them,
00:29:19true or false.
00:29:33Oh, Paula?
00:29:35Yes.
00:29:36There you are.
00:29:38I wonder what had become of you.
00:29:40Oh, it was so close in there.
00:29:42Well, let's go out into the sunshine.
00:29:54Are we going to see the torture chamber?
00:29:56Certainly, I think it's right over here.
00:30:02Come on.
00:30:11Uncle Brian, what's the matter?
00:30:13You look as if you've seen a ghost.
00:30:15That's exactly what I thought I'd seen.
00:30:17There's no such thing as a ghost.
00:30:19I know.
00:30:20I meant, I just thought I saw someone I know is dead.
00:30:24I have no idea who he is, Gregory.
00:30:26He seemed to know me.
00:30:27Do you usually bow to people you don't know?
00:30:29No, I suppose I'd met him somewhere.
00:30:31Are you telling me the truth?
00:30:32Of course.
00:30:33Why should I lie?
00:30:34I don't know who he is.
00:30:35Yet you smiled at him.
00:30:37Why?
00:30:38I tell you, I wasn't thinking.
00:30:39I don't know why I did it.
00:30:41Like the other things.
00:30:44What other things?
00:30:45Oh, nothing.
00:30:47Only I've been noticing, Paula, that...
00:30:51you've been forgetful lately.
00:30:53Forgetful?
00:30:55Well, losing things and...
00:30:57Don't look so worried, Paula.
00:30:59It's nothing.
00:31:00You get tired.
00:31:01Yes, that's probably what it is, I get tired.
00:31:03I'm tired now.
00:31:04Can't we go home?
00:31:05Oh, no, we still have to count jewels to see.
00:31:07They're in that building over there.
00:31:10How do you know?
00:31:11What did you say?
00:31:12I said, how do you know where they are?
00:31:14You haven't been here before.
00:31:16The guide told us inside.
00:31:20Are you becoming suspicious as well as absent-minded, Paula?
00:31:24No, of course not, Gregory.
00:31:38The Koh-i-Noor, or Mountain of Light,
00:31:41is the most famous diamond in the world.
00:31:44The imperial state crown.
00:31:46That's that one.
00:31:47Yes, I know.
00:31:48It was made for the coronation of Queen Victoria.
00:31:51Among the jewels it contains
00:31:54are the ruby of the Black Prince,
00:31:56the size of a hen's egg,
00:31:58the stewed sapphire,
00:32:00which was among the jewels James II took with him
00:32:03when he fled to France,
00:32:05and the diamonds and pearls
00:32:08from the earrings of Queen Elizabeth.
00:32:13Jewels are wonderful things.
00:32:16They have a life of their own.
00:32:19They have a life of their own.
00:32:22Oh, Gregory, can't we go home now?
00:32:25Of course, my dear. I'll take you home.
00:32:43That's the mistresses' room.
00:32:45That's the masters'.
00:32:46Now we've got all this to see to.
00:32:48Have you got the sheets there?
00:32:49Well, I could have sworn that there were more than that, but...
00:32:51What's up there?
00:32:53Never mind about up there.
00:32:54Old floor's been boarded off.
00:32:56Ah!
00:32:58That's the way the master wanted it.
00:33:01Ah?
00:33:04Well, you were right.
00:33:05There is nothing more beautiful than London sunshine.
00:33:08Well, I'm sorry I spoiled the day by bringing you home so soon.
00:33:12You should lie down and rest for a little, Paula.
00:33:15Yes.
00:33:16Would you like me to stay with you and not go out this evening?
00:33:18Oh, no. You go and work as usual.
00:33:21Can you really work in that little room you've rented?
00:33:23I wish you'd let me see it and make it attractive for you.
00:33:25I never notice my surroundings when I'm working.
00:33:31Oh, Paula.
00:33:33You might give me your brooch,
00:33:35so I can have it repaired.
00:33:37What's the matter?
00:33:39Anything wrong?
00:33:41No.
00:33:42No, no.
00:33:43No, no.
00:33:47Oh, Gregory, I can't find it.
00:33:49What?
00:33:52I missed it when we were in the tower.
00:33:58I must turn everything out.
00:34:05I know it was here.
00:34:07I can't understand it.
00:34:09I couldn't have lost it.
00:34:11It must be here.
00:34:12I'm sure it's there.
00:34:15It's not.
00:34:17Oh, Paula, didn't I tell you?
00:34:20How did you come to lose it?
00:34:25I must have pulled it out with something, I suppose.
00:34:27Oh, I'm terribly sorry, Gregory.
00:34:29Please forgive me.
00:34:30Oh, forgive, my dear.
00:34:31It's not as serious as that.
00:34:33It's not valuable.
00:34:36But your present to me, your mother's brooch,
00:34:38and I wanted to wear it always.
00:34:40I...
00:34:42I don't remember opening my bag.
00:34:44Well, I suppose I must have...
00:34:46You did put it in there.
00:34:48Don't you even remember that?
00:34:51Yes.
00:34:52Yes, of course I do.
00:34:56Suddenly, I'm beginning not to trust my memory at all.
00:35:00Paula, I tell you, you're just tired, that's all.
00:35:05It doesn't mean anything.
00:35:07I'm sure it doesn't.
00:35:10Don't worry so, Paula.
00:35:13Don't worry.
00:35:26Nancy, has the master left?
00:35:27Yes, ma'am, a little while ago.
00:35:29Please see that he has plenty of coal on the fire in his room, won't you?
00:35:32He already told me that, ma'am.
00:35:41Nancy, did you turn the gas up in there?
00:35:45Turn it up?
00:35:46No, why?
00:35:47Well, I thought it went down in here, as if you had.
00:35:50I never touched it.
00:35:52But this went down.
00:35:56Well, perhaps Elizabeth lit another jet in the kitchen.
00:35:59Couldn't have been her, ma'am.
00:36:00She's been in bed for an hour.
00:36:01I could hear her snoring.
00:36:04What's that noise?
00:36:06Good night, Nancy.
00:36:08Good night, ma'am.
00:36:37Yes, that's it.
00:36:39I beg your pardon?
00:36:40I said that's it.
00:36:41That's the Alquist house.
00:36:42Oh, yes.
00:36:44Yes.
00:36:45It happened in the drawing room, upstairs.
00:36:47That window.
00:36:49I live just across the square.
00:36:50My name is Thwaites.
00:36:51Miss Thwaites.
00:36:52How do you do?
00:36:53How do you do?
00:36:54Perhaps you could tell me your name.
00:36:56I'm Elizabeth Thwaites.
00:36:57I live just across the square.
00:36:58I'm Elizabeth Thwaites.
00:36:59I live just across the square.
00:37:00I live just across the square.
00:37:01My name is Thwaites.
00:37:02Miss Thwaites.
00:37:03How do you do?
00:37:04How do you do?
00:37:05Perhaps you could tell me, has the house been occupied long?
00:37:07Oh, about four or five months now.
00:37:09Come along.
00:37:11You don't happen to know who's living in the house, do you?
00:37:14Yes.
00:37:15A foreign couple.
00:37:16Anton's the name.
00:37:17Something mysterious there.
00:37:19What do you mean, mysterious?
00:37:21Never have visitors.
00:37:22Never go out anywhere.
00:37:23At least, she doesn't.
00:37:25I think you're wrong, Mary.
00:37:27Well, there don't seem to be as many as usual here today.
00:37:29Come along, pigeons.
00:37:30Come along, sparrows.
00:37:31What did you say?
00:37:33I said you seem to be wrong about her not going out.
00:37:52How very surprising.
00:37:56Oh, it's you, Mary.
00:37:58Never knew you'd gone out.
00:38:00Well, I just went for a walk, but it looks as if it might rain,
00:38:02so I thought I should have my umbrella.
00:38:03Of course, ma'am.
00:38:08Suppose the master comes back and asks where you've gone?
00:38:11Well, tell him I just went for a walk.
00:38:13By yourself, ma'am?
00:38:15Of course. Why not?
00:38:17Suppose the master asks where?
00:38:22Well, tell him I...
00:38:24Tell him I just...
00:38:33Now, do you see what I mean?
00:38:35Goes out, goes back, goes in.
00:38:38Oh, definitely odd.
00:38:40It's an odd household, too.
00:38:42That maid servant, most impertinent.
00:38:44I can't get a thing out of her.
00:38:46She won't talk to me,
00:38:48though she would quick enough if I wore trousers.
00:38:51The way she carries on with that policeman on the beat,
00:38:55it's scandalous.
00:38:57There, there.
00:39:00There, there.
00:39:02That's all there is.
00:39:04Fly away, pigeons. More tomorrow.
00:39:07Well!
00:39:11Paper. Thank you, sir.
00:39:13Extra. Special.
00:39:15Special edition. Read all about it.
00:39:17Extra. Paper.
00:39:20Here you are, Governor. Paper.
00:39:22Very good, sir. Thank you.
00:39:24Extra. Special. Read all about it.
00:39:27I want you to put that file back where you got it.
00:39:29I tell you the case is dead,
00:39:31and I'm not going to have it all dug up again for nothing.
00:39:34Do you understand?
00:39:36You have no right to go through that file.
00:39:38Budge here has no right to let you get at it.
00:39:40I'm sorry, General. Mr. Cameron here is your assistant.
00:39:42Well, then, it's his job to assist me,
00:39:44not go digging into ten-year-old cases
00:39:46on wild suspicions of his own.
00:39:48Well, then, Budge, you get along.
00:39:50Very good, General.
00:39:57What's your interest in this case, anyway?
00:39:59Well, it was rather a famous case,
00:40:01and it impressed me very much at the time.
00:40:03Besides...
00:40:06Well, I once met Alice Alquist.
00:40:08I was taken to hear her at a command performance
00:40:10when I was 12 years old,
00:40:12and afterwards to meet her in the artist room.
00:40:16I know it sounds silly, but I still think
00:40:19she was the most beautiful woman I ever saw,
00:40:21and I've never forgotten her.
00:40:23And now...
00:40:25You've never seen someone you think looks like her?
00:40:27Living in the same house.
00:40:29Well, why shouldn't she?
00:40:31If she's the niece, the house probably belongs to her.
00:40:33And if you're trying to make the acquaintance of a pretty woman,
00:40:35you've no right to use official business as an excuse.
00:40:37Oh, it's not that, sir.
00:40:39But I tell you, sir,
00:40:41I've a feeling there's something peculiar going on there.
00:40:43Mm-hmm.
00:40:45Perhaps even more than peculiar.
00:40:47Now, look here, Brown.
00:40:49Once and for all, the case was given up as hopeless.
00:40:51As for the matter of the jewels,
00:40:53they are...
00:40:55well, the most important personage.
00:40:57Jewels?
00:41:01There's nothing here about jewels.
00:41:05Well,
00:41:07there were some jewels.
00:41:09They were given to her by, uh...
00:41:11well, by somebody very highly placed.
00:41:15Someone to crown jewels of his, um...
00:41:18well, of another country, as a matter of fact.
00:41:20What happened to them?
00:41:22They, uh, disappeared.
00:41:24That's why she was murdered.
00:41:26Well, that was the official theory.
00:41:28Though what the murderer wanted the jewels for,
00:41:30I can't imagine.
00:41:32They were much too famous for him to be able to sell them anywhere.
00:41:34Have they never shown up since?
00:41:36Not as far as I've been informed.
00:41:38Well, then, where are they?
00:41:40I don't know.
00:41:42The murder part of the case was pursued to the utmost,
00:41:44as you can see for yourself from that file.
00:41:46There was never any case against anyone anyway.
00:41:48There were the usual blind alley suspects.
00:41:50You've read all their names there in that stuff.
00:41:52And there was never anything to prove against any of them.
00:41:55Now, run along.
00:41:57There's a good fellow. I'm busy.
00:41:59Very well, sir.
00:42:04Good day, sir.
00:42:16Afternoon, Mr. Cameron.
00:42:18Williams.
00:42:20Did you want me, sir?
00:42:22Yes.
00:42:25Tell me, you're not a married man, are you?
00:42:28No, sir.
00:42:30Where are you on duty now?
00:42:32Down in the East End, sir.
00:42:34How would you like a more fashionable locality?
00:42:36I'd like it very much, sir.
00:42:38Well, we'll see what can be done about it.
00:42:41Don't say anything to anybody for the moment.
00:42:44Don't say anything to anybody for the moment.
00:43:14If you want coal on the fire, Paula,
00:43:39why don't you ring for the maid?
00:43:41Oh, I'm sorry. I didn't mean to wake you.
00:43:43Go back to sleep, dear.
00:43:45No, Paula.
00:43:46Now that you have waken me, we might as well be comfortable.
00:43:49Ring for the maid.
00:43:51Oh, I can put it on myself.
00:43:53Paula, we've had this subject out before.
00:43:58Please.
00:44:00Pull the bell cord.
00:44:04It seems so unnecessary.
00:44:06What do you suppose the servants are for, Paula?
00:44:09Hmm?
00:44:10Answer me.
00:44:12What do you suppose the servants are for?
00:44:17To do things to service, I suppose.
00:44:20Exactly.
00:44:22It's only that I think we should consider them a little.
00:44:26Oh, Gregory.
00:44:28Don't be cross with me.
00:44:31I'm not cross with you, sir.
00:44:36Oh, to try a lot of things.
00:44:43Did you ring, sir?
00:44:44No, your mistress rang.
00:44:49Well, go on, my dear.
00:44:50Why don't you tell Nancy what you rang for?
00:44:52A little coal on the fire, please, Nancy.
00:44:55Very good, madam.
00:45:01You're looking very pretty this afternoon, Nancy.
00:45:03You know that?
00:45:04I don't know it at all, sir. I'm sure.
00:45:06Tonight is your night out, isn't it?
00:45:08That's right, sir.
00:45:09May you meet him tonight?
00:45:11I like the gas, too, Nancy.
00:45:13I see they've changed the policeman on the beat.
00:45:15Is his heart going to be added to the list of those you've broken?
00:45:19I've not broken any, sir.
00:45:21Oh, no, I'm sure that's not true.
00:45:23And that complexion of yours...
00:45:26That's something that's not quite true, either.
00:45:28Oh, you do it very cleverly, I grant you.
00:45:33In fact, I was wondering whether you might not care...
00:45:37to pass some of your secrets on to your mistress...
00:45:40and help her get rid of her pallor.
00:45:42Sure, I'll be very pleased to do anything I can, sir.
00:45:46Will that be all you're wanting?
00:45:48Yes, except tea when it's ready.
00:45:50Very good, sir.
00:45:59Gregory, how can you talk to Nancy like that?
00:46:02But, my dear, you seem so anxious...
00:46:04to regard the servants as your equals.
00:46:06I thought I would treat her as one.
00:46:08Besides, I was only trifling with her.
00:46:10No wonder that girl despises me the way you encourage her.
00:46:13Despises you? What ever makes you think that?
00:46:16Her whole manner.
00:46:18The way she... the way she talks to me.
00:46:20The way she looks at me.
00:46:23Looks at you?
00:46:26Paula, I hope you're not starting to imagine things again.
00:46:31You're not, are you, Paula?
00:46:33Of course I'm not.
00:46:35I hope you're not.
00:46:36But if you start talking about the way Nancy looks at you...
00:46:40Oh, turn away, Paula.
00:46:42We must have this out.
00:46:45Do you really think Nancy despises you?
00:46:50Well, answer me, Paula.
00:46:52Do you?
00:46:55No, Gregory.
00:46:57I'm glad of that.
00:46:59It hurts me when you're ill and fanciful.
00:47:01Come in!
00:47:04Well, what is it now?
00:47:06If you please, sir. Miss Thwaites is downstairs.
00:47:09She wanted to know if the mistress was at home.
00:47:11You mean that old busybody from Acosta Square?
00:47:14Yes, sir. She has her nephew with her.
00:47:16Well, I don't think we need bore ourselves with them.
00:47:18Tell her your mistress is not at home.
00:47:20Oh, Gregory, really. She's been...
00:47:22My dear, if you let her in once, you'll always have her here.
00:47:26But she has called so many times and we've never been at home to her.
00:47:29I do not want people all over this house!
00:47:34Bringing her family with her.
00:47:37You tell Miss Thwaites that your mistress is sorry,
00:47:41but she's not well enough to see her.
00:47:43Very good, sir.
00:47:49Gregory, why did you do that?
00:47:52I would have liked to have seen her.
00:47:54But, my dear, I thought you were only trying to be polite.
00:47:57Why didn't you tell me you really wanted to see her?
00:48:00Why didn't you tell me you really wanted to see her?
00:48:03Well, I couldn't be in front of that girl.
00:48:06Oh, now, you must get over this ridiculous fear of the servants.
00:48:09Now, if you really wanted to see her,
00:48:12all you had to say was,
00:48:13Sure, I'm Nancy, wasn't it?
00:48:15Wasn't it?
00:48:17Yes, but I...
00:48:18I'm sorry, miss, that's all I know.
00:48:20The mistress isn't well enough to receive anyone.
00:48:24Please, tell her how sorry we are.
00:48:31Come along, auntie dear.
00:48:54You know, you wouldn't have had time to see them anyway.
00:48:57You have to dress, do you, eh?
00:49:01Why?
00:49:03We're going out tonight.
00:49:07We are?
00:49:09Well, you didn't tell me.
00:49:11What have I forgotten?
00:49:26Don't you think this is charming?
00:49:28It's from the new operetta, The Gaiety.
00:49:30I wish I could write tunes like Strauss.
00:49:37Poor lie, you silly child. Don't look like that.
00:49:40Of course you haven't forgotten anything.
00:49:42This is my surprise for you.
00:49:45We're going to the theater tonight.
00:49:53Oh, Gregor.
00:49:55Oh, no.
00:49:57Oh, how wonderful.
00:50:02And you thought I was being cruel to you.
00:50:04No, you're not cruel.
00:50:06Keeping people away from you.
00:50:08Making you a prisoner.
00:50:10Oh, you're the kindest man in the world.
00:50:14Oh, I'm sorry, I'm sorry.
00:50:16I'm sorry, I'm sorry.
00:50:18I'm sorry.
00:50:28Oh, Gregor.
00:50:30Oh, I'm so happy.
00:50:52I'm so happy.
00:50:57La, la, la, la, la, la, la, la, la.
00:50:59La, la, la, la, la, la, la, la, la.
00:51:01La, la, la, la, la, la, la, la.
00:51:06Oh, Gregor.
00:51:09What's the matter?
00:51:14Oh, Lyde, I don't want to upset you.
00:51:16If you will put things right when I'm not looking,
00:51:18we'll assume it did not happen.
00:51:20But what? Gregor, what?
00:51:23Oh, please, don't turn your back on me.
00:51:25What has happened?
00:51:28You mean you don't know?
00:51:30No, I...
00:51:34Look.
00:51:49Yes.
00:51:52The little picture has been taken down.
00:51:58Who took it down?
00:52:01Why has it been taken down?
00:52:03Why, indeed.
00:52:05Why was it taken down before?
00:52:09Will you please get it from wherever you've hidden it
00:52:12and put it back in its place?
00:52:14But I haven't hidden it. I swear I haven't.
00:52:17Why should I? Why should...
00:52:20Don't look at me like that.
00:52:23Someone else must have done it.
00:52:27No, don't bring it. Please don't bring it, Gregor.
00:52:29You don't shame me before your servants.
00:52:31Oh, love, will you please stop being hysterical?
00:52:34Oh.
00:52:36Now, sit down and calm yourself before they come.
00:52:41We must get to the bottom of this once and for all.
00:52:47Please come in, Elizabeth.
00:52:50Elizabeth, do you notice anything missing from this room?
00:52:53Missing, sir?
00:52:55No, I don't think so, sir.
00:52:58Look carefully around the walls.
00:53:02Well?
00:53:04Well, there's a little picture missing, sir.
00:53:06Exactly.
00:53:08Did you take it away?
00:53:09No, sir.
00:53:10Have you ever taken it down from where it belongs?
00:53:13Oh, no, sir. Why ever should I?
00:53:16Why, indeed.
00:53:21Elizabeth.
00:53:24You go to church, don't you?
00:53:26To what, sir?
00:53:27Church!
00:53:28Yes, sir.
00:53:29Please, kiss this Bible as a solemn oath that you've told the truth.
00:53:38Thank you, Elizabeth. You may go now.
00:53:40And send Nancy in here at once.
00:53:43Nancy.
00:53:44Yes, sir.
00:53:46Oh, Gregory, no. Not that girl.
00:53:48I'll say anything. I'll say that I did it. I did it, Gregory. I'm not him.
00:53:51Paula, please. That's a good yes to control yourself.
00:53:53This is painful enough without you making it worse.
00:53:55Now, Paula.
00:53:57Please come back.
00:54:00Since you have thrown suspicion on the servants, they must be clear of it.
00:54:04Now, sit down.
00:54:07Did you hear what I said?
00:54:10Well, sit down.
00:54:13Come here, Nancy.
00:54:21Nancy, a picture has been taken down from the wall there.
00:54:24Cool. So it has.
00:54:26Where's another rum go?
00:54:27I did not ask for any comments on your part.
00:54:29I want to know whether it was you who took the picture down.
00:54:32Of course it wasn't, sir.
00:54:34What would I want to take it down for?
00:54:36Shall I ask her to kiss the Bible, Paula?
00:54:39Shall I ask her to kiss the Bible, Paula?
00:54:42Or will you accept her word?
00:54:44Of course I'll accept it. Let her go.
00:54:46Very well. You may go, Nancy.
00:54:56Give me that Bible.
00:55:00There, do you see? I swear on the Bible I didn't take that picture down.
00:55:06Go and look for that picture.
00:55:09Yes, sir.
00:55:40Paula.
00:55:53So you knew where it was all the time.
00:56:04No.
00:56:06I didn't know.
00:56:09I looked there because that's where it was found twice before.
00:56:12I didn't know, Gregory. I didn't know.
00:56:15I didn't...
00:56:17Now, Paula, I think you better go to your room.
00:56:20Oh, we're not going to the theater?
00:56:23Oh, my dear, I'm afraid you're far from well enough for the theater.
00:56:27Come on.
00:56:30Gregory, if it was I who took that picture down...
00:56:34If?
00:56:35If it was I who took it down the other times,
00:56:37if I do all these senseless, meaningless things...
00:56:41It's so meaningless, why should I take a picture down?
00:56:45Well, then I don't know what I do anymore.
00:56:48I know, Paula. That's just a total...
00:56:51But then, if that's true, then you must be gentle with me.
00:56:56You must bear with me, please.
00:57:01Oh, please, Gregory, please.
00:57:04Now, come, Paula.
00:57:09You better go to your room.
00:57:11What are you going to do?
00:57:13I'm going out to work and forget all this.
00:57:16No, please, don't leave me here all by myself now.
00:57:19I get so frightened when I'm here alone and you go out night after night.
00:57:23Frightened? You never told me that before.
00:57:26Well, I'm telling you now, I'm frightened of the house.
00:57:29I hear noises and footsteps.
00:57:32I imagine things. There are people over the house.
00:57:38I'm frightened of myself, too.
00:57:40Gregory, please. Please don't leave me. Stay with me.
00:57:44Gregory, take me in your arms, please.
00:57:47Please, please, take me in your arms, Gregory, please, please.
00:57:53I hope to find you better in the morning.
00:58:02Come on.
00:58:22Seems to be getting worse, doesn't she, sir?
00:58:24You will please not refer to your mistress as she.
00:58:29Thank you, Nancy.
00:58:31Are you going to work on your tunes again tonight, sir?
00:58:34You're always working, aren't you?
00:58:36Yes.
00:58:38What are you doing with your evening out?
00:58:40Oh, I'm going to a musical.
00:58:42Up in a balloon, boys, up in a...
00:58:45I've never been to an English musical.
00:58:47Oh, you don't know what you've missed, sir.
00:58:49Up in a balloon, boys, up in a balloon.
00:58:54You like it a lot, sir.
00:58:56Oh, we must see about that.
00:58:59And whom are you going to the musical with?
00:59:01Gentleman friends, sir.
00:59:03Oh, now, you know, Nancy, don't you...
00:59:05that gentleman friends are sometimes inclined to take liberties with young ladies?
00:59:09Oh, no, sir. Not with me.
00:59:11I can take care of myself when I want to.
00:59:15You know, Nancy, it strikes me that you're not at all...
00:59:18the kind of girl that your mistress should have for a housemaid.
00:59:21No, sir. She's not the only one in the house, is she?
00:59:28No, sir.
00:59:58No, sir.
01:00:28No, sir.
01:00:58No, sir.
01:01:18Let people find their own places for the concert, Murdoch.
01:01:21Just sit where they like.
01:01:23Those who don't care for music can go into the smoking room.
01:01:27May I come in?
01:01:29Oh, Brian.
01:01:31Good evening.
01:01:33Good evening, Lady Delroy. How are you, sir?
01:01:35How are you, my boy? Nice to see you.
01:01:37Am I the first to arrive? I have a little favor to ask you.
01:01:40Are you having a sit-down supper after the music?
01:01:42Yes, and I've put you next to Laura Pritchard.
01:01:47Oh, I don't like Laura Pritchard. She's got that noise.
01:01:50Nonsense. She's a most agreeable girl.
01:01:52And I want you to be very nice to her.
01:01:54Haven't you learned yet that Mildred is incurable matchmaker?
01:01:57I'll be nice to Miss Pritchard another time.
01:01:59Tonight I want you to be very kind and put me next to Mrs. Anton.
01:02:03Will you?
01:02:04Oh, it's most tiresome of you. All right.
01:02:07Well, who's Mrs. Anton?
01:02:08She's the niece of Alice Elquist.
01:02:10She used to come here as a child.
01:02:12Brian told me she was back in London now and married.
01:02:14So I invited them to come tonight.
01:02:16Who's Mr. Anton, by the way?
01:02:18What does he do? Where does he come from?
01:02:20Put me next to her tonight and I'll find out for you.
01:02:24I'm sorry, Brian, but you'll have to sit next to the Pritchard girl after all.
01:02:29The Antons can't come?
01:02:30No.
01:02:31Letter from her?
01:02:32No, from him.
01:02:33Him?
01:02:34Yes, apparently she's ill. Very tiresome of her.
01:02:36Here, read it if you want to. I must go and order the tables.
01:02:38Come on, Freddy, I want you.
01:02:55Is that you, Paula?
01:03:03Yes.
01:03:06Why would I step like that?
01:03:09Because that's how I feel.
01:03:11I'm sorry.
01:03:12I'm sorry.
01:03:13I'm sorry.
01:03:14I'm sorry.
01:03:15I'm sorry.
01:03:16I'm sorry.
01:03:17I'm sorry.
01:03:18I'm sorry.
01:03:19I'm sorry.
01:03:20I'm sorry.
01:03:21I'm sorry.
01:03:22I'm sorry.
01:03:23Because tonight is Lady Darlow's reception.
01:03:26But I sent a note.
01:03:28I know.
01:03:30I sent a note to say that you were not well enough.
01:03:32I'm quite well enough and I want to go.
01:03:36Lady Darlow was very kind to me when I was small and...
01:03:39and I'm going.
01:03:42I must get out of this house,
01:03:44meet people and see a little of what's going on in the world.
01:03:47I'm going to this reception, Gregory.
01:03:51Well, then, I'm afraid you'll have to go alone.
01:03:55Well, then, I must go alone.
01:04:09Paula.
01:04:13Paula.
01:04:14I didn't realize this party meant so much to you.
01:04:18I'll go and change immediately.
01:04:21You didn't know anything I would let you go alone, did you?
01:04:24I don't know.
01:04:26I shall be a minute.
01:04:49Come in.
01:04:53Come.
01:04:55Did you bring something, ma'am?
01:04:57Yes, please fetch a cab.
01:04:59I thought you'd come.
01:05:01Get a cab, Nancy.
01:05:07Is the master going out too?
01:05:09Yes, he is.
01:05:13Please hurry.
01:05:15Very good, ma'am.
01:05:18Thank you.
01:05:39Oi, cabbie! Oi!
01:05:49Back in a cab on your evening out, eh?
01:05:51Oh, yes. I'm going out to dinner at Buckingham Palace, I am.
01:05:54I'm going to have a lovely evening out.
01:05:56Yeah, now, what's the matter with you?
01:05:58First they're going out, then they're not.
01:06:00Changing all my plans.
01:06:02Never a word to me from him.
01:06:08Yeah, you'd better get along. They'll be out in a minute.
01:06:10See you Sunday?
01:06:12Perhaps.
01:06:13Usual place?
01:06:14Usual place.
01:06:15Night.
01:06:16Night.
01:06:19Well, draw your cloak, aren't you? It's damp.
01:06:22That'll do the house.
01:06:24Good night, Nancy.
01:06:26Have a nice evening, sir.
01:06:48Good night.
01:06:49Good night.
01:06:50Good night.
01:07:17You're Paula Anton.
01:07:19I'm sure you don't remember me.
01:07:20I do, indeed, Lady Dallroy.
01:07:22It was at the children's party here, and I was a magician.
01:07:25May I introduce my husband, Lady Dallroy?
01:07:27How do you do?
01:07:28I hope you will forgive all the confusion, Lady Dallroy,
01:07:30but my wife suddenly felt much better,
01:07:32and we were so anxious to come.
01:07:34But, of course.
01:07:36You'll find some seats over there.
01:07:38Saratsky hasn't played yet.
01:07:39I'll see you later at supper.
01:07:49Good night.
01:07:50Good night.
01:08:19What are you looking at?
01:08:48Nothing. I thought that I saw someone. I knew it was him.
01:09:18I knew it was him.
01:09:20I knew it was him.
01:09:50Bono.
01:09:53My watch is gone.
01:09:55No.
01:10:19No.
01:10:25No.
01:10:55I didn't put it there. I swear I didn't.
01:10:57Would you be quiet?
01:11:26Please control yourself.
01:11:35It's like this bubbling.
01:11:43Come.
01:11:46Sorry.
01:11:53I'm very sorry, Lady Delroy, but I'm afraid my wife, Sylvanes, has returned.
01:11:56What can I say for her, Doctor?
01:11:58If I can just get her home.
01:12:00We shouldn't have come tonight, but she was so anxious.
01:12:02I'm so sorry, Lady Delroy.
01:12:06I think it's the most extraordinary...
01:12:16I'm sorry.
01:12:28I've tried so hard to keep it within these walls in my own house.
01:12:32Ah, because you would go out tonight, the whole of London knows it.
01:12:36If I could only get inside that brain of yours and understand...
01:12:40what makes you do these crazy, twisted things.
01:12:44Gregory, are you trying to tell me I'm insane?
01:12:48It's what I'm trying not to tell myself.
01:12:50But that's what you think, isn't it?
01:12:52That's what you've been hinting and suggesting for months now, ever since...
01:12:55Hmm? Since what?
01:12:57Since the day I lost your brooch.
01:12:59Shh.
01:13:01Yes, that's when it all began.
01:13:03No, no.
01:13:05No, it began before that.
01:13:07The first day here, when I found that letter.
01:13:09That letter.
01:13:13What letter?
01:13:15The one I found among the music...
01:13:17from that man called...
01:13:19Bowery.
01:13:21Sergius Bowery, yes.
01:13:23I remember.
01:13:25Yes, you're right. That's when it began.
01:13:27Yes.
01:13:28I can see you still, standing there...
01:13:30and saying, look.
01:13:32Look at this letter.
01:13:34And staring at nothing.
01:13:36You had nothing in your hand!
01:13:38What?
01:13:40I was staggered.
01:13:42But I didn't know then how much reason I had to be...
01:13:44I... I don't know. I... I...
01:13:46What... what reason?
01:13:47I didn't know then about your mother.
01:13:49What about my mother?
01:13:53Your mother was mad.
01:13:55Oh, Gregory.
01:13:57She died in an asylum when you were a year old.
01:14:00That's not true.
01:14:02I've been making inquiries about Alice Alquist's sister.
01:14:05I've talked to the doctor who attended her.
01:14:07Do you like to see him?
01:14:09No.
01:14:10He described her symptoms to me.
01:14:11Do you like to hear them?
01:14:13It began with her imagining things...
01:14:15that she heard noises, footsteps, voices.
01:14:17And then the voices began to speak to her.
01:14:20And in the end, she died in an asylum...
01:14:22with no brain at all.
01:14:23No, please!
01:14:25Oh, no, no.
01:14:29Now perhaps you will understand...
01:14:31a lot of things about yourself and me.
01:14:33Perhaps you will understand...
01:14:34why I cannot let you meet people.
01:14:38He must have been rather disappointed...
01:14:40that you left before he could talk to you.
01:14:43Who?
01:14:45The man who was sitting behind us.
01:14:49Where?
01:14:50Tonight.
01:14:51You only went there because you knew he was going to be there.
01:14:53But, Gregory, who... who?
01:14:55The man who bowed to you that day at the tower.
01:14:58Who is he?
01:14:59Someone from the past?
01:15:00Someone you refused, perhaps?
01:15:02I never met him.
01:15:03I have no idea who he is.
01:15:05Who is he?
01:15:06Why is he talking my footsteps?
01:15:08I don't know that he is.
01:15:11You lie!
01:15:12Why do you lie to me?
01:15:14I never lie to you.
01:15:19I'm sorry.
01:15:21I should not have said that.
01:15:24I know.
01:15:25I know you never lie to me.
01:15:27I believe you.
01:15:32You're not lying.
01:15:34It's worse than lying.
01:15:36You've forgotten.
01:15:37You've forgotten him as you forget everything.
01:15:39But...
01:15:40perhaps I'm wrong to try to handle this myself.
01:15:44The case is one for people who know about those things.
01:15:48Paula...
01:15:50we shall have visitors.
01:15:52And shortly.
01:15:55A doctor?
01:15:56Two.
01:15:57I believe two is the required number.
01:16:02Thank you.
01:16:32Yes?
01:17:02Bobby, it's your constable.
01:17:06Good evening, Mr. Renton, sir.
01:17:07Nasty night to be out, isn't it?
01:17:09Very nasty, sir.
01:17:10Very nasty indeed.
01:17:32Good evening, sir.
01:18:03Where did he go?
01:18:04He didn't get past me as I came through the alley, sir.
01:18:06He certainly turned in here.
01:18:08He must have missed him in the fog.
01:18:09I'd have heard his footsteps as he passed, Mr. Cameron.
01:18:14He must have gone into the rear of one of these houses.
01:18:16Yes, but which?
01:18:17And why?
01:18:19I suppose he could have gone into his own house, do you?
01:18:21If he did, sir, that's not against the law.
01:18:24No, but it's against common sense.
01:18:26I don't think so.
01:18:27I don't think so.
01:18:28I don't think so.
01:18:29I don't think so.
01:18:30No, but it's against common sense.
01:18:32Why should a man walk out of his own house
01:18:34and all the way around the corner
01:18:36just to get back to the same place where he started from?
01:18:38But the service entrance to number nine's out front.
01:18:40There's no way into number nine from back here.
01:18:44Well, then, where did he go?
01:18:46Number five's empty.
01:18:49But what would he want to go into an empty house for?
01:18:52I don't know, Williams.
01:18:57I don't know.
01:19:00I don't know.
01:19:30Elizabeth!
01:19:40Elizabeth!
01:19:45Elizabeth!
01:19:47Elizabeth!
01:19:48Elizabeth!
01:19:49Elizabeth!
01:19:50Elizabeth!
01:19:54Just coming, ma'am.
01:20:01What is it, ma'am?
01:20:05I... I want you to help me.
01:20:07I'm so tired.
01:20:08Oh, yes.
01:20:26Elizabeth.
01:20:30Elizabeth, did you turn on the gas?
01:20:33Did you turn on the gas anywhere downstairs just now?
01:20:36Oh, I know, ma'am.
01:20:37I've had it on in the kitchen all evening, that's all.
01:20:41I thought it went down in there
01:20:43as if someone had turned it on in some other part of the house.
01:20:46There's no one in the house but me, ma'am.
01:20:49Nancy's not back yet.
01:20:54But the gas comes in pipes, ma'am.
01:20:56And I expect there gets more gas in the pipes at some times
01:20:59than there does at others.
01:21:02Yes.
01:21:04Yes, I suppose that could explain it.
01:21:10Yes.
01:21:20Elizabeth, do you hear anything?
01:21:21Hear anything?
01:21:22Yes, up there. Listen.
01:21:24Listen to what?
01:21:25Listen to what, ma'am?
01:21:26No sounds.
01:21:28There's noises up there.
01:21:30Oh, no, no, ma'am.
01:21:34But there are sounds, aren't there?
01:21:36Like someone moving about.
01:21:37Listen. Elizabeth, listen, please.
01:21:39There are no noises up there, ma'am.
01:21:42How could there be now?
01:21:44The old floor's boarded up.
01:21:46You know that as well as I do.
01:21:48No one can't get in up there.
01:21:50You know, ma'am, you just imagine things.
01:21:55Oh.
01:22:11And into the news.
01:22:20Oh, Williams, come in.
01:22:22You're early. Get another cup, will you?
01:22:25Sit down. Make yourself comfortable.
01:22:26Thank you, sir.
01:22:28Well?
01:22:32Well?
01:22:33Well, sir, I don't know what it means,
01:22:36but this morning around 3 o'clock
01:22:38I was standing in the corner of Thornton Square
01:22:40looking both wise like.
01:22:42And suddenly, oh, should I see,
01:22:43turning up out of the fog but our friend again.
01:22:46Coming out of the muse, it looked like.
01:22:47Yes.
01:22:48I managed to get a good look at him
01:22:50as he walked under the lamppost.
01:22:51Now, tell you, Mr. Cameron,
01:22:52that man had been up to something.
01:22:54What?
01:22:55I wouldn't undertake to say what exactly,
01:22:58but he was kind of in a mess.
01:23:00Clothes untidy,
01:23:02tie all on one side,
01:23:03dirt and dust all over him,
01:23:04even on his face.
01:23:05Had he been in a fight?
01:23:06No, he didn't look like that, sir.
01:23:08More as though he'd been digging in a cellar or something.
01:23:13Have some coffee, Williams.
01:23:14Thank you, sir.
01:23:15I've had my breakfast already.
01:23:17Had it in the kitchen at number nine,
01:23:18as a matter of fact.
01:23:20Answer tell you anything this morning?
01:23:21If you ask me,
01:23:22Nancy's getting ideas above her station.
01:23:24Seems the master told her
01:23:25that her mistress might be gone away
01:23:27for quite a long time,
01:23:29and that he wanted her to stay and look after him.
01:23:32The master told her her mistress might be going away?
01:23:34That's right, sir.
01:23:40A long time, you said?
01:23:41Yes, sir.
01:23:42Well, what do you think that means?
01:23:44From all you've told me these last weeks,
01:23:46I should say it could mean
01:23:48any one of a number of quite unpleasant things.
01:23:51I've got to get into that house tonight.
01:23:53Not when he's there?
01:23:54No.
01:23:55He goes out after dinner every evening.
01:23:57That's right, sir.
01:23:58And tonight after dinner.
01:23:59Nancy says he's told her
01:24:00not to let her mistress see anyone.
01:24:02Then you'll have to see to it
01:24:03that Nancy isn't home tonight.
01:24:05Any little thing I can do for the odds, sir?
01:24:07I want you wouldn't mind.
01:24:09There's just one thing more, though, sir.
01:24:11How do you know the lady herself will see you?
01:24:14I don't know.
01:24:17Yes.
01:24:18Yes.
01:24:21I think there's a way.
01:24:34I suppose people who go every night
01:24:36to places of public amusement
01:24:37can hardly enter into the fresh garden.
01:24:39Your mother was mad.
01:24:40Your mother was mad.
01:24:41Your mother was mad.
01:24:42I suppose people who go every night
01:24:43to places of public amusement
01:24:44can hardly enter into the fresh garden
01:24:47with which an uproar can't be recited.
01:24:49She died in an asylum.
01:24:50She died in an asylum with no brain at all.
01:24:53I suppose people who go every night to places of public amusement
01:24:56can hardly enter into the fresh garden
01:24:57with which an uproar can't be recited.
01:24:59I was not comforted after the Lord's care
01:25:00to save me from setting out
01:25:01with my companions and cheerful and friendly
01:25:02the sight of the star-mending pitfall
01:25:03in front of the keeping of the sword
01:25:04and all the man they have in them.
01:25:17Please.
01:25:30I'm sorry, sir,
01:25:31but the mistress won't see anyone.
01:25:32Did she tell you to say that?
01:25:35You're Elizabeth, aren't you?
01:25:36How do you know my name?
01:25:37I know a lot of things about this house.
01:25:39You're fond of your mistress, aren't you, Elizabeth?
01:25:41You'd like to help her, wouldn't you?
01:25:43Well, this is your chance because I'm a friend
01:25:45to let me see her.
01:25:47Oh, no, I don't, dear, sir. I'd lose me place.
01:25:49I don't, dear. Really, I don't, dear. I...
01:25:59He isn't here. My husband isn't here.
01:26:01I know that, Mrs. Anton.
01:26:04It's you I want to see.
01:26:07Go away, Emile. I can't see anyone.
01:26:10Elizabeth, stop him. I didn't ask him to come.
01:26:12I didn't want him to come here. Mrs. Anton, my name is Brian Cameron.
01:26:15You mustn't come here. Go away.
01:26:18Oh, not until I've given you this. Look at it. Look at it, please.
01:26:21Alice Alquist gave it to me years ago at Covent Garden.
01:26:25I was a little boy overcome with admiration.
01:26:31Now you'll trust me, won't you?
01:26:46She gave it to you.
01:26:50After all these years,
01:26:52the great admirer she used to make such a mystery of,
01:26:55the little boy.
01:27:03I'm so sorry.
01:27:05It's all right.
01:27:07It's all right.
01:27:09It's all right.
01:27:11It's all right.
01:27:14Tell me something, Mrs. Anton.
01:27:17Are you planning on going away somewhere?
01:27:20Go away?
01:27:22Why, no. I have nowhere to go.
01:27:26Unless my husband sends me away.
01:27:32Is that why you came here? To take me away?
01:27:35Are you as frightened as all that?
01:27:39I'm sorry. I...
01:27:41I haven't talked to anyone for a long time.
01:27:45I can't talk to you either. I'm afraid...
01:27:48I'm not...
01:27:50I'm afraid I...
01:27:52You're afraid you're going out of your mind.
01:27:56Well, I'm here to prove to you that you're not.
01:27:58To help me do that, you've got to answer my questions.
01:28:01Tell me now.
01:28:03Where is your husband now?
01:28:09Where's he gone?
01:28:12He has taken a studio where he can work on his composing.
01:28:14He can't work in this house.
01:28:16He has to have it quiet.
01:28:18Tell me.
01:28:20Is there anyone else in the house now except us and Elizabeth?
01:28:24No. Why?
01:28:26The gas just went down.
01:28:30You saw that, too?
01:28:32Why, yes.
01:28:34Oh, then it really happens. I thought I imagined it.
01:28:36That only means that someone else has turned it on.
01:28:38Oh, I'm sorry.
01:28:41Oh, no, no, no. I thought that, too.
01:28:43But every night I've been all over the house.
01:28:45There's never been another light turned on.
01:28:47At last I can tell this to someone.
01:28:49Every night when my husband goes out...
01:28:53The light goes down?
01:28:58Yes.
01:29:00And then what?
01:29:03Well, then...
01:29:05I think I hear things.
01:29:07I watch...
01:29:10And wait.
01:29:12Later on the gas goes up again.
01:29:14Until it comes back?
01:29:16Yes.
01:29:18Quite soon after.
01:29:20Always quite soon after.
01:29:22You say you think you hear things.
01:29:24What things?
01:29:28Sounds.
01:29:30Noises over my room.
01:29:40What's up there?
01:29:42A whole floor of trunks and furniture.
01:29:44Is that what you meant?
01:29:46Yes, yes, yes.
01:29:48But who?
01:29:50Mrs. Anton, you know, don't you?
01:29:52You know who's up there.
01:29:54No, no.
01:29:56Are you sure you don't?
01:29:58No, no.
01:30:01How could he be?
01:30:03There's an alley back there.
01:30:05I'm sure he's in there.
01:30:07How could he be?
01:30:09There's an alley behind these houses.
01:30:11He goes in the back of number five.
01:30:13That's the empty one.
01:30:15And then across the roof.
01:30:17Why?
01:30:19Why?
01:30:22You said there's old furniture up there.
01:30:24My aunt's.
01:30:26And her clothes, stage costumes, trunks, all of her things.
01:30:29All of her things?
01:30:37And they said the case was dead.
01:31:07Let's go.
01:31:37He has a revolver. Why shouldn't he?
01:31:39Do you know where he keeps it?
01:31:43I think he has it in his desk in there.
01:31:53No. No, no, no. You can't open his desk.
01:31:57No, you have no right to. Whoever you are, you have no right to.
01:32:01But he'll know what you've done. He'll think that I... What shall I say to him?
01:32:05You won't have to say anything.
01:32:18Perhaps it's a good thing I came tonight.
01:32:20I... I was right.
01:32:25There was a letter.
01:32:27And it was from Sergius Bauer. What was that name you just said?
01:32:30Sergius Bauer. I found this.
01:32:33But my husband said I dreamed, and now it's here.
01:32:36Bauer. It's been here the whole time.
01:32:38Bauer. There was a Sergius Bauer connected with Alice Alquist. He was...
01:32:44He was a young pianist who played for her in Prague. Let me see that.
01:32:48Dear Miss Alquist, I beg of you to see me just once more. I followed you to London.
01:32:59Look.
01:33:00Dear Lady Dalroy, this is my husband's writing.
01:33:05So is this.
01:33:06Mrs. Anton, your husband and Sergius Bauer, one and the same person.
01:33:10And this letter from Sergius Bauer to Alice Alquist was written two days before her murder.
01:33:17But he said there wasn't any letter. He said I was going out of my mind.
01:33:20Not going out of your mind. You're slowly and systematically being driven out of your mind.
01:33:23But why? Why?
01:33:24Perhaps because you found this letter not too much.
01:33:28Or because then he would have control of your property, of this house...
01:33:33and could search in the open instead of the dark, like this.
01:33:36A search? What is that a search for?
01:33:38For the things for which Alice Alquist was murdered. Her jewels.
01:33:43I have her jewels?
01:33:45The jewels you didn't know she had. Famous jewels.
01:33:48Jewels for which he was searching that night...
01:33:51when he was frightened away by hearing someone come down the stairs.
01:33:54Someone he never saw.
01:33:56A little girl.
01:33:59Me.
01:34:08That he was... that he was here that night, but he never...
01:34:12he never knew her.
01:34:14You're wrong. You're... you're wrong. You're making a mistake.
01:34:19I know him. He's my husband.
01:34:21I've lived in the same house with him. You're talking about the man I'm married to.
01:34:26Mrs. Anton, there's not a detail of the Alquist case that I don't know...
01:34:30and unless I'm more mistaken than I've ever been in my life...
01:34:33the man called Sergius Bauer has a wife living in Prague now.
01:34:40So you see, Mrs. Anton, he must have planned the whole thing step by step from that night.
01:34:46Oh, if that were true, then from the beginning there would have been nothing.
01:34:52Nothing real from the beginning.
01:34:55I'm sorry to take everything away from you like this.
01:34:58But you must believe me. Your whole life depends on what you're going to do now.
01:35:02Nothing less than your whole life.
01:35:04Don't you see the way everything fits in?
01:35:09Gas.
01:35:11How long has it been up?
01:35:25Gas.
01:35:55Gas.
01:36:25Gas.
01:36:46Elizabeth, whatever happens tonight, have her welfare in mind.
01:36:50You can count on me, sir.
01:36:52But what am I going to say to the master when he comes back?
01:36:55He won't come back anymore, Elizabeth.
01:37:22Gas.
01:37:52Gas.
01:38:22Ola?
01:38:52Gas.
01:39:22Gas.
01:39:30What are you doing?
01:39:32I was lying down.
01:39:35Fully dressed?
01:39:38Did you hear what I said?
01:39:40Yes.
01:39:42Then why don't you answer?
01:39:46I don't know.
01:39:48You don't know.
01:39:50I don't know anything about anything you do.
01:39:52I will be obliged if you will come with me to my room.
01:40:13Sit down in this chair, Ola.
01:40:15You know what you remind me of as you walk across the room?
01:40:18I've never seen anyone walking in their sleep.
01:40:22But you're not asleep. No, you're not asleep.
01:40:24You can't deceive me.
01:40:26You're awake, fully awake.
01:40:28Or you would not have broken open my desk!
01:40:31Now be careful how you answer.
01:40:33Why did you open my desk?
01:40:36I didn't open your desk.
01:40:38Nancy?
01:40:40Nancy's out.
01:40:42Who then? Elizabeth?
01:40:44No, it wasn't Elizabeth.
01:40:46Why, Ola?
01:40:48Why did you open my desk?
01:40:50I didn't open your desk.
01:40:54Why did you open my desk, Ola?
01:40:56I didn't open it. It was he.
01:41:05He opened it.
01:41:08What are you talking about?
01:41:10Who is he?
01:41:13A man.
01:41:15A man who came to see me.
01:41:17When?
01:41:19While you were out.
01:41:22Who let him in? Elizabeth.
01:41:24Elizabeth!
01:41:27Yes, sir?
01:41:29Who was the man who came to see your mistress while I was out?
01:41:34What man, sir?
01:41:37Come, Elizabeth.
01:41:39You must have answered a bell.
01:41:42No one was here, sir, while you were out.
01:41:49It was Elizabeth.
01:41:52But you saw him.
01:41:55You opened the door for him yourself.
01:42:01Elizabeth, say it, Elizabeth, say it!
01:42:03No, ma'am.
01:42:05I didn't see anyone at all.
01:42:12But he was here.
01:42:14I know it.
01:42:18I know it.
01:42:21But he was here. I know it.
01:42:23I know...
01:42:36I saw him.
01:42:38I saw him.
01:42:40You see how it is, Elizabeth?
01:42:42Yes, sir.
01:42:44I see just how it is.
01:42:49I couldn't have dreamed it.
01:42:51I couldn't... I couldn't have dreamed it.
01:42:53I couldn't have dreamed it.
01:42:55I couldn't have dreamed it.
01:43:00Did I dream?
01:43:03Did I really, really dream?
01:43:06Dream, dream.
01:43:10Yes, Paula, you dreamed it. You dreamed all day long.
01:43:13Are you telling me that I've dreamed?
01:43:15Everything, Paula.
01:43:17All that happened.
01:43:20All that did not happen.
01:43:22Then it's true.
01:43:24My mind is going.
01:43:26Haven't I told you, Paula?
01:43:28It was a dream.
01:43:30Then take me away. I can't fight it anymore.
01:43:32It was a dream.
01:43:34Take me away.
01:43:36Was I any part of this curious dream of yours, Mrs. Anton?
01:43:39You.
01:43:42Perhaps my presence here might help you to recall it.
01:43:45Who the devil are you?
01:43:48Apparently a mere figment of your wife's imagination.
01:43:51How did you get into this house?
01:43:53Through the skylight, like you.
01:43:57And down these stairs.
01:43:59You made it very easy.
01:44:01Would you be kind enough to tell me what you're doing here?
01:44:03Mrs. Anton, don't you think you'd better go to bed?
01:44:05You must be very tired.
01:44:07Well, as a mere figment, as a mere ghost
01:44:10existing in your wife's mind,
01:44:12I get hard to be said to have any business.
01:44:14Paula, go to your room.
01:44:16Please, Paula.
01:44:30So you found them, after all.
01:44:34I was right about you.
01:44:36I knew from the first moment I saw you
01:44:38that you were dangerous to me.
01:44:40I knew from the first moment I saw you
01:44:42that you were dangerous to her.
01:44:45I should have followed my instinct about you,
01:44:47as you followed yours.
01:44:49I thought you was Alice Alquist, come back to life.
01:44:51I didn't know then that she was walking with Sergius Bauer.
01:44:53I'm afraid I don't know your name.
01:44:55Cameron, shall I tell you my address, too?
01:44:57No, I think I can guess it.
01:44:59So we've both ended our search tonight.
01:45:01And this is where Alice Alquist hid them,
01:45:03where all the world could see them.
01:45:06And yet, no one would know where they were
01:45:08except the man who gave them to her,
01:45:10watching from the royal box.
01:45:12Pretty clever of her to put four priceless jewels
01:45:14among a lot of paste invitations.
01:45:16For the last time, what do you want of me?
01:45:19The jewels, Injustice.
01:45:21How does it feel, Bauer, to have planned and killed
01:45:23and tortured for something,
01:45:25and then to know it's been for nothing?
01:45:27For nothing?
01:45:36Elizabeth! Elizabeth!
01:45:39What is it, ma'am?
01:45:41I thought I heard a shot.
01:45:46Help! Mr. Williams, come quick!
01:45:50Up there!
01:46:05Anybody at home?
01:46:35Come on.
01:47:00Well, Mrs. Anton, if you believe me now,
01:47:02perhaps you'd like to see these things.
01:47:04They cost a woman's life.
01:47:06They cost you something, too.
01:47:22I want to speak to my husband.
01:47:25Mrs. Anton, I don't think that's advisable.
01:47:27I want to speak to him alone.
01:47:29I'm afraid that's impossible.
01:47:31I assure you, I'm quite helpless.
01:47:34Please.
01:47:37Well, I'll be waiting on the stairs.
01:47:49Now, go and see if he's listening.
01:47:55He's not listening.
01:47:57You have great confidence in him.
01:47:59He told you a lot of things about me, didn't he?
01:48:01Yes.
01:48:03Why should he lie to me?
01:48:05Because he's in love with you. I can tell.
01:48:08I feel it.
01:48:10Do you? Do you really, Gregory?
01:48:12Or shall I call you Serge's?
01:48:14So he told you that, too?
01:48:16Well, what of it?
01:48:18Have you never heard of an artist taking a stage name?
01:48:20Well, Serge's bar was mine.
01:48:22That was a part of my life I didn't care to tell you about.
01:48:24I was a failure then.
01:48:26They don't hang a man for that, do they?
01:48:29No, they don't hang a man for that.
01:48:31You remember Italy?
01:48:33There have been times when I thought I only dreamed those days.
01:48:35Come closer, Paula.
01:48:41Closer.
01:48:48Look into my eyes.
01:48:50If I ever meant anything to you,
01:48:52and I believe I did,
01:48:54then help me, Paula.
01:48:56Give me another chance.
01:49:01Look.
01:49:03In the drawer of that cupboard over there,
01:49:05there is a knife.
01:49:08Get it and cut me free.
01:49:16Be quick, Paula.
01:49:18Get me the knife. Cut me free.
01:49:20Will you get it, Paula?
01:49:22Will you get it for me?
01:49:24Yes, I'll get it.
01:49:26I'll get it for you.
01:49:28Hurry, Paula.
01:49:31There's no knife here.
01:49:33Yes, I put it there.
01:49:35I don't see any knife.
01:49:37I put it there tonight.
01:49:39No, it isn't here. You must have dreamed you put it there.
01:49:42Are you suggesting
01:49:44that this is a knife I hold in my hand?
01:49:46Have you gone mad, my husband?
01:49:48Or is it I who am mad?
01:49:50Yes, of course, that's it.
01:49:52I am mad.
01:49:54I'm always losing things
01:49:56and hiding things.
01:49:58I'm always losing things and hiding things
01:50:00and I can never find them.
01:50:03I don't know where I put them.
01:50:05That was a knife, wasn't it?
01:50:07And I have lost it.
01:50:09I must look for it, mustn't I?
01:50:11If I don't find it, you'll put me in the madhouse.
01:50:13Where could it be now?
01:50:15Perhaps it's behind this picture.
01:50:17Yes, it must be here.
01:50:19No. No, where shall I look now?
01:50:21Perhaps I put it over here.
01:50:24Yes, I must have done that.
01:50:26My brooch.
01:50:28The brooch I lost at the tower.
01:50:30I found it at last, you see,
01:50:32but it doesn't help you, that's it,
01:50:34and I'm trying to help you, aren't I,
01:50:36trying to help you to escape.
01:50:38How can a mad woman help her husband to escape?
01:50:40But you're not mad.
01:50:42Yes, I am mad, as my mother was mad.
01:50:44No, Fola, that wasn't true.
01:50:47Help me.
01:50:49If I were not mad, I could have helped you.
01:50:51Whatever you had done,
01:50:53I could have pitied and protected you.
01:50:55But because I am mad, I hate you.
01:50:57And because I am mad,
01:50:59I'm rejoicing in my heart without a shred of pity,
01:51:01without a shred of regret,
01:51:03watching you go with glory in my heart.
01:51:05Mr. Cameron, come.
01:51:07Come, Mr. Cameron.
01:51:10Take this man away.
01:51:12Take this man away.
01:51:14Are you ready?
01:51:16Quite ready.
01:51:28I don't ask you to understand me.
01:51:30Between us all the time were those jewels,
01:51:32like a fire,
01:51:34a fire in my brain
01:51:36that separated us.
01:51:38Those jewels which I wanted all my life.
01:51:46I don't know why.
01:51:48The cab is coming, Mr. Cameron.
01:51:53Goodbye, Fola.
01:51:57Goodbye, Gregory.
01:52:27This night will be a long night.
01:52:29But it will end.
01:52:31It's starting to clear.
01:52:35In the morning, when the sun rises,
01:52:37sometimes it's hard to believe there ever was a night.
01:52:39You'll find that, too.
01:52:42Let me come here and see you and talk to you.
01:52:44Perhaps I can help somehow.
01:52:46You're very kind.
01:52:48Thank you, Mr. Cameron.
01:52:50Thank you.
01:52:52Thank you.
01:52:54Thank you.
01:52:56You're very kind.
01:52:58Well!
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