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