Gaslight -SD

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