Original subtitles

Don't take the poison. I'll strangle her in her bed.

Even the bed she soiled.

Carol? - Mmm?

Carol, are you awake? - No.

Listen.

There's someone at the door. - At this time of night?

Well, why don't you go and see who it is?

I'm not going, you go! - Oh, Jesus Christ!

Oh my God!

Help me...

John!

Oh for God's sake, get help.

What happened?

Who is he?

Jane, he's...

Convincing performance, eh?

You stupid bastard!

That wasn't funny at all, John!

But don't you think my acting's improving?

What's the idea? Frightening the life out of us in the iddle of the night!

Giving us both heart attacks. - Stop it.

It would be manslaughter. - We were fast asleep.

Oh, I should think so. Still, with a strange gentleman in the flat.

Gentleman?

I was deep in my role.

My flatmate Jane Frewin, John Thurloe.

Now you're here, and we've had our beauty sleep disturbed, I might as well make us some coffee.

Great! I'm sorry girls, it won't happen again.

It's probably still hot.

We know you've just done a horror movie

but there's no reason to come here in the middle of the night to rehearse.

And scare the pants off two working actresses trying to get some rest.

Don't you mean two resting actresses trying to get some work?

Very funny, who is he?

Some weirdo I met when I did a day on that horror film.

I'll have you know we're both in another job.

What sort of a job? - Stage, darling.

Back to the boards. Sounds fun.

We both got a contract from a company called Theater Group 40.

Go on.

Well, we're to go down to Eastcliff-on-Sea next Monday and start rehearsing.

Start improvising, they said. - [chuckle] Improvising.

You know, I haven't done any stage work since I left drama school.

Should be rather interesting, if not macabre...

It's called... - The Flesh and Blood Show.

That's right. How do you know?

Because I've been offered it too.

You?

Anyone else exciting in this company?

Oh, an Australian chap called Anthony Weller. A new bloke with my agent.

We're rehearsing in an old disused theater at the end of the pier.

And opening in the West End after a short tour. They hope.

[chuckle] They hope.

Who are "Theatre Group 40"? - Search me.

Without a doubt we shall all find out when we get down to Eastcliff.

No doubt.

Beth my love. - Captain Troy, you've returned.

How beautiful you are.

How very beautiful.

Arnold, that profile shot, that 3/4 profile shot, I'm a bit worried about that.

There's nothing wrong with the shot.

You're not suggesting there's anything wrong with my profile, are you?

I just thought perhaps I was looking a bit too macho.

Like "Victor". - "Victor"?

Don't knock it. He had a long run.

Your rough cut's considerably better

than most of the finished products I've suffered lately, Arnold.

Yes, of course we've got a lot to do to it.

I hope it won't jaundice your opinion when it comes to the official press show.

On the contrary, I feel privileged.

I wanted you to see the girl, Julia Dawson.

Yes, quite a find.

I hope she won't go unnoticed.

No, she won't, Arnold, she won't.

We'll have a little chat.

They've taken up the option I expected.

We've got the O'Toole picture. Starts in 8 weeks.

Hello Jerry. - Hi!

It's all happening so fast.

That's the trouble.

Did you check that out for Julia?

It's OK. - Good.

Going to lose you for a few weeks.

Get some stage experience.

Pre-London tour, before opening in the West End.

West End? - New management. It'll never happen.

After six weeks you're gone again.

That's a little unfair, isn't it? - Let me worry about that.

Mm, lovely sea air.

What? It smells like rotten fish.

But it's really nice here in summer.

Come on.

Should I maybe ask him?

Um, excuse me. Could you tell us say where the domed theater is, please?

Certainly my dear. It's on the pier.

Straight out of the station.

Down Station Road till you get to the sea front and the pier's right in front of you.

Thank you very much. -Thanks.

Hi! Hello. - Oh, hello girls.

You got down here quick. - Have a good journey, did you?

Was okay. - Oh look.

This is that Australian guy I told you about. Tony Weller.

Jane Frewin and Carol Edwards. - Hello.

Let's go in before we freeze.

There's the door. We'll try that. - OK.

And open! - Thank God for that.

We're in business, girls.

No stage door keeper. - Well, he's left his tea.

If he exists. - That's been there for years.

What about the switchboard?

It's dead, nothing.

Henry Watson. Wonder who he is?

Or was.

Some poor actor, long since dead.

No better place to die.

There we are, stage through there.

Any lights? A switch?

Come on girls, this way.

The heating's on anyway. - Well, I suppose that's something.

If we've got to rehearse in this morgue.

Let's hope the dressing rooms are warm.

You think we're the first here? - We start rehearsals officially tomorrow, we could be.

That's enough.

He's ok, but we could do with some more blankets.

Hello! More customers?

Welcome to the morgue.

Jesus, I was fast asleep.

You come to join us?

We traveled down from Manchester, it's a little bit tiring.

Come on, Angela. Wake up. Wake up!

Oh, bloody hell! Look at me.

Well I take it you've come to join the party then?

Theater Group 40? - Well, so I gather. That's the management, isn't it?

I'm Mike Archer, this is Angela Wills, Simon Forrest, two of our cast.

Tony Weller. We met this morning. Carol Edwards and Jane Frewin.

You know, it sounds a bit silly, but we got a little bit of a shock then.

Yes, I know what you mean. It's got a funny atmosphere this theatre.

It's probably because it hasn't been used for years.

Well, what's the score then, Mike? Is everybody here?

There's one girl missing. Julia Dawson.

Sounds familiar. - I don't know anything about her.

My instructions were, to report to this theater

meet you lot and start improvising this review, entertainment, happening.

Call it what you like.

With a cast of 8, including yourself? - Exactly.

And we've checked the deadbeat town.

There's about one hotel open and that's far too expensive.

No digs, of course. It's out of season.

So we decided to shack down in the theater

for the time being. anyway. Mike found some old bedding.

Oh, are the dressing rooms warm?

Yeah, sure. I've bagged a spot by the radiator installed.

Might as well join you then and save a bit of money.

That's what we thought. Sleep on the job.

And if anyone gets a great dramatic idea in the middle of the night,

we can all get up and start improvising on the stage while it's still fresh in the mind.

Oh and there's a toilet up in the front there, as well.

Great. I suppose Theater Group 40 will visit us eventually.

Whoever they may be. - Yeah, exactly.

We can do that for use the second act.

OK, great. How late?

After eleven. - Bedtime, surely.

Anyone want to go and eat? - I am tired.

Jump into your sleeping bags my loves and get some shut-eye.

And we'll pick it up again tomorrow, okay? - I'll turn off the lights off.

As your director, and ever wishing to ensure that my cast gets a proper night's shut-eye, I suggest

that the dolls bed on the prompt side, the guys on the OP side.

Those are only suggestions of course.

And only the bare stage between us? Call that segregation? - That's the best we could do.

Sometimes it's not enough because we are only three men.

Let's hope the missing Miss Dawson arrives tomorrow.

Yeah.

I put my things in dressing room 3.

Personally, I like a little privacy. - So do I.

I hoped you would.

Because I've put you up in there too. - So that we can be private together.

That's the general idea.

That was quick.

Carol, don't you think...

Obviously she doesn't. Good night.

Well, looks like I'm your new roommate then, doesn't it?

You're not going to sleep in that costume, are you?

Let me help you.

I can't quite reach the pin.

You're wasting time.

I should keep something on.

And you're overdressed.

That's better.

What is it?

I thought I heard a scream.

Might have been a seagull, they make...

Hear that?

Oh yeah.

That came from somewhere inside the theater.

Probably one of the girls.

Stay here. I'm going to have a look.

Anyone else hear that?

What's happening?

I thought I heard a noise coming from the dress circle.

Someone moving about. - When?

About an hour ago. - Anyone seen John?

No, isn't he here? - Well his bedding's empty. - Where's Angela?

Did anyone hear her get up then?

What, what was the scream? - We do not know.

You want me to find out? - That was the idea, anyone got a torch?

Yes.

The noise came from under the stage.

Under the stage? - Seemed to, yeah.

That's what I thought. - Come on, bring the torch.

Seems like the scene dot prop room and wardrobe all in one go.

Place smells like an old museum.

Some of this stuff must have been here for years.

As if you would find anything here.

They must have produced "A Tale of Two Cities" here at one time.

We'll probably find Sydney Carton. - Or Marie Antoinette.

It's worse than the chamber of horrors.

The prop man obviously had a macabre sense of humor.

Look at that.

What is it?

A witch's cauldron. - Oh, call for Annette then.

Well there's nothing much here.

Oughtn't we check the auditorium as well?

Yeah, go and have a look in stores, circles and boxes. Ok? -Right.

And you look into the the corridors outside the dressing rooms.

Leave me the torch will ya, I'll have another look around down here.

Hello!

What are you doing down here?

Take a look at this.

No, don't, come on.

You better put your coat on if you're coming.

Where to? - How?

We're going to the police.

You're kidding.

Alright, I'll go. You go back to the others

but don't tell them anything yet.

OK.

What was that scream?

Found anything? - Nothing along that corridor.

There's nothing up here no corpse or anything.

Sorry to disappoint you.

Then what could it have been then? - I've no idea.

Mike might be able to help you.

I wish I knew where Angela was.

Probably in the loo. She'll turn up.

Hi blokes. Bedtime.

Good night. - Good night.

What the hell's Mike doing?

He went rushing out of the theater.

What the hell for?

I honestly couldn't tell you. Probably to find Angela.

Aren't you going to get some sleep then?

Half a minute. I think I'll have a smoke before I turn in.

Restless fellow, aren't you?

What do you mean?

Well, we've been up half the night already.

Well...

Sweet dreams.

After all that hullaballoo, you have to be joking.

It was nothing, like you said. Probably a seagull.

I feel something isn't right.

It's this bloody theater. It's got a feeling of doom and death.

And you're tired, that's your trouble.

Tony

I want to leave and go back to London.

You cannot. You've signed a contract.

It shall be fun once we get started.

I suppose so.

Oh no.

I'll see who it is. - Ok.

Yes? Sorry to disturb you, but could somebody tell me...

Where I can find a Michael Archer?

Oh, he's gone out for the moment.

Are you going to be joining the company? - That's right.

Then you must be... - Julia Dawson.

Carol Edwards, and I'm Tony. - We arrived down here yesterday.

Well it must be 4:30 in the morning. That's a funny time to arrive.

Yes. I was at a party last night

It didn't seem worthwhile to go to bed so I thought I'd drive straight down here.

The roads were pretty clear. I honestly didn't expect to find anybody here.

We all sleep here in the theater.

Carol and I in here, the others are on stage.

Perhaps I can have a corner here, I promise to keep out of your way.

I don't want to disturb the others tonight.

It's only a couple of hours. - Why not.

I'll find you some bedding. - Thank you.

Do you smoke? - No thanks.

I've outgrown it.

I warn you, it's not a pleasant sight.

We're used to that, sir.

Whoever decapitated her

must have thrown that French Revolutionary dress over her too.

A rather macabre joke, don't you think?

I agree. A very macabre joke, Mr. Archer.

I'm sorry?

I suggest in future you refrain from playing games with the the police in the middle of the night.

I don't get you. - Don't you?

We don't investigate...

waxwork murders.

"Secret Island" won't be released for about 3 months.

Did you read any of the free publicity?

No.

They were embarassingly flattering.

You know the kind of rubbish they write:

"Star material", "Great performance",

"We shall be seeing a lot more of Julia Dawson".

Well, if you're going to be a big movie star

what are you doing joing a tinpot theater group like this?

Found this lot for you.

Should be ok for the time being. - Thank you.

Um, corner here alright?

Has our producer come back yet? I think I ought to report my arrival.

Let's find out. I'll introduce you. Come on.

Let's just say I'm prepared to give you the benefit of the doubt, Mr. Archer.

I'll accept it was a mistake and forget all about it.

Good night.

What the hell are you playing at?

Just trying to keep you out of trouble. - What do you mean?

Why didn't you tell him it was the truth?

Look Mike...

it's one thing to stage a good gag like that dummy in the guillotine, right?

It's quite another to drag the fuzz out in the middle of the night.

You went over the top, man.

It is real. It was real.

Come off it, Mike. Don't belabor it.

That's page 1 of the joke manual.

Alright then. Where's Angela Wills?

Oh, turning on in the loo or something.

Hey, what's that?

"...decided to pull out. Not my scene.

Hope you improvise without me. Please forgive. Angela Wills."

So there we are. That's the answer. - How about the scream?

She made a great improvised exit.

No, I think Mike can answer that one.

Mike? This is Julia Dawson.

THE Julia Dawson.

I'm sorry to arrive at such an awkward hour but I gather you've been disturbed anyway.

I'm Mike Archer. Yes we were a little disturbed earlier on, but that's all over now.

One of our group's just left, and we were 1 girl short.

But we start rehearsals about 9 in the morning. Is that okay?

Fine.

And if you've got any idea about being the star of the show, forget that.

We work here as a team, without stars. - That suits me.

We've got no script either. We're improvising. It's pretty hard work.

I'm not afraid of hard work.

That's good.

Ok. Well I suggest we all get a good night's sleep.

Good night. - Good night.

If I must die...

dear God, give me the strength to face it with courage.

And gather me up swiftly into your arms.

Let it not have been in vain.

For if only one drop of my blood

can serve to free a single family

from oppression, terror and degradation,

then I am content.

Lead me to the place now, gentlemen, and do not flinch from

carrying out your solemn duty.

For I forgive you.

Thank you Julia. That was very good. - It was fantastic.

Great. - Right. Coffee everyone.

Ok. -I just want to have a word with Julia. We'll meet you down there. Ok? - Fine.

Well she's not bad, is she? - You think so?

Did you make that up?

Yes, I convinced myself

I was a revolutionary about to face the firing squad.

The words just came out. - It's very good. Come on.

Thank you.

I'm looking forward to working with you and the others. They seem a nice lot.

Yeah, they're ok. But I got to get a replacement for Angela.

It's ridiculous not having a phone.

But I'll call my agent when we go for coffee.

Good idea.

There's a little cafe down by the front.

I'll just go and get my coat It's in the dressing room.

You look as though you've seen a ghost.

Just then in the dressing room, I had a very strange feeling of

What do you call it, having seen it all before.

Déjà-vu? Really?

The mirrors, how they seemed familiar, and the carved flowers on the frame.

Ah well, that's all been explained by Professor Dunne.

We just jump for a split second into a subconscious,

where there is no time. - Is that it?

It's the illusion of repetition.

We see the past present and future all at once,

because our fourth-dimensional view of it doesn't fix it in time.

Possible. I still feel a strange atmosphere in the theater.

Yeah?

Well I'll tell you what happened last night.

You mean the scream we all heard? - It was more than just a scream.

How do you mean?

Well if I tell you, will you promise not to mention it to the others?

Of course.

Well after we heard the scream, we searched the theater.

Then I went down the passage under the stage again.

It was very dark. And Simon left me the torch.

And the rest of them went to search the theater upstairs.

CONDEMNED FLOOR KEEP OUT

Hand sandwich, Jane.

Oh, it's revolting! - John, really.

Oh it's horrible.

Where'd you get it? - Souvenir shop next door.

Oh you're such a pig. You disgust me!

Sorry love.

I didn't think it was possible to disgust you.

Now then.

Five coffees please. - Beans and toast.

I would like ham...

Sorry, are we making too much noise?

Not at all.

Oh we do apologize. - I've no objection.

Helps to cheer the place up a bit.

'Tis a bit deserted, isn't it?

Deserted? Eastcliff in the off season is dead, like a morgue.

Isn't it Jenny?

Oh you've got a labrador. i love labradors.

There, you've got a fan.

You young people down from London?

Yes, we're rehearsing a show.

Ah, theatrical people are you?

Yes.

Yes, we're putting a show on, in London eventually,

We're rehearsing down in the Dome Theater.

Oh yes?

Been closed for a good many years, the Dome has.

Glad to hear it's being used again.

Always been fond of the theater myself.

Nothing like a good play.

I acted a bit myself once.

Amateur stuff, you know, out in India, in the thirties.

We had a small dramatic society in the garrison.

A place called Mangapur, in the hills.

Very happy times those.

My house is called Mangapur, you know, just up Northcliff Road.

My late wife's idea to call it that after the old garrison.

Can I open the door for you?

Oh, thank you.

If any of you young people feel like dropping in for a cup of tea anytime,

I'd be so pleased. Bell my name is, Major Bell.

But then I expect you'll be too busy with your play.

Come on Jenny, we must go.

Poor sot.

I hope I'll never be reduced to holding conversations with a dog.

Any coffee left? - No, we'll order some more.

Make room for Julia, will you?

We do. Don't we?

Waitress, two more coffees, please.

That's more like it.

I want a little see more body movement.

That's better, fine, right.

Jane, don't worry.

Well done, all right.

Oh, Mr Archer? - That's me.

I'm Sarah Hales. I had a message from my agent to report here.

Already?

Come in.

I don't get this at all.

You must have come down by rocket.

No, I'm staying in Eastcliff, with my aunt.

And your agent called you?

Are you any good? - I think so.

Well, we'll soon find out.

My aunt runs a guest house in Marine Drive. Westley. Perhaps you know it?

Would she be able to provide digs for us all?

We've been having a damn lot of difficulty.

Can always ask her. There's plenty of room.

That's good.

This is Sarah Hales. - Hello!

Where are you off to? - Picking up my bed and walking.

How come?

Why? - I'm going to join Jane in the prompt corner. See you.

You haven't upset her, have you?

Maybe she thought there were enough bodies around already.

And what exactly do you mean by that?

You randy bastard.

The trouble with you darling is you put yourself around too much.

Oh that's great from a raver. Britain's open champion.

Where the hell are you going now? - Out! For some fresh air!

Fresh air? Where?

Out on the pier! Or on the front maybe!

Perhaps catch something.

Sod off!

Ah, go to hell!

Here. - Thanks.

You tired, too?

Body all aching and wracked with pain. -Yeah, me too.

What's the time? It's nearly midnight.

I must get home.

Good night Mike, Julia.

Don't forget tea with my aunt tomorrow.

Good night. - Good night, love.

Do you think I'm pushing them too hard?

I need it. Or so my agent says.

"Go down there and stretch yourself.

Use your body and your imagination until the next picture comes up."

That's what she said.

So here I am

being whipped into shape by a very exacting slave master.

Hello Tony.

Listen to that wind.

It's scary.

Wind whistles round the struts under the pier.

Shouldn't be surprised if we all finish up in the sea.

Oh don't.

Have I made you scared enough to want to hold my hand?

Where's Carol?

She went out. - What for?

To prove something. She'll be back.

At least I hope she'll be back.

Hope who will be back? - Carol.

She shot out into the night in a temper.

You're crazy.

Terrible night, isn't it?

You ought to find somewhere for you.

You shouldn't be out in a night like this.

You pick yourself up here a pneumonia.

Go away! No no no.

No, don't!

You should stop doing that!

She could have gone either way.

Listen. I thought I heard a scream.

Carol! Carol!

Who was that? - Carol, what happened?

Well she's ok. But it's no thanks to you, Tony.

We go to the police now. - Just a minute...

I dunno how to say this, but has anyone seen John?

Oh Christ.

Jesus...

We still oughta go to the police. - It's not that simple.

Just leave it with me overnight, and I'll think about it.

He's a member of the company. We've got to be sure.

So you think that's why he's run away.

He's gone too far this time and can't face us.

I'm certain, the guy is a paranoiac.

His morbid obsession with gruesome practical jokes

is just a subonscious cloak to hide a dangerous obsession with violence.

It's an outlet. - You mean a kind of safety valve? - Yeah, if you like.

And you really think that he dragged that poor girl...

What was her name? - Angela Wells.

Angela Wells down to the guillotine in the night...

for a joke, and got carried away? - Yeah, I'm sure of it.

They were fooling around down there.

John saw the guillotine and he pushed her under the knife.

And she carried on with the joke.

Then the excitement went to his head and the fantasy took over.

And he pulls the... - Don't!

Sorry.

Anyway, he's not here now.

Still, it doesn't help having to sleep in that theater.

Maybe we'll have a bit of luck with Sarah's aunt, at tea and crumpets this afternoon.

It would mean opening up the bedrooms, you see and staff's impossible this time of year, out of season.

There's what, 7 of you, Sarah making 8...

Too much for me.

But I'll see what I can do if you'll give me a day or two.

Quite understand. Very kind of you to let us have a bath.

And the tea.

When Sarah told me that you were camping in the dome

it sounded so cold and drafty, and it must be filthy dirty.

'Tis a bit.

I've lived here for 30 years

and that theater hasn't been properly used since the war.

Oh, the odd dramatic society thing, of course. Used to be very popular in the old days.

Was it a rep[ertory theater]? - Yes, before the war.

And then of course we had army concerts and things like that during the war.

Yeah, of course.

Then... When was that again?

Must have been during the flying bombs because

I remember one landed in the sea during a performance.

A performance of what, Mrs. Saunders?

"King Lear" I think.

It was the Arnold Gates Company. Oh my.

Arnold Gates?

You are all too young to remember Arnold Gates, I expect.

He was a very fine Shakespearean actor.

Had his own company, you see.

They gave a short season of Shakespeare,

during one War benefit week or something.

It was quite an occasion, we didn't have many big shows here.

And then, quite suddenly it all came to an end.

There was some mysterious scandal I believe.

But that was a long time ago.

Ah, that must be the Major.

Sarah dear, let him in.

An old friend of mine who lives round the corner.

A rather sad lonely man who comes to tea every week.

I hope you don't mind. - Ah, you sure we're not...

Oh no, I asked him today specially.

Well, well there they are. Bunny, my dear, this is very kind of you.

This is Major Bell.

Well, we've met, haven't we, at the tea room.

That's right. How are you, sir?

Well where are all the other pretty girls?

Julia?

Sorry, they're having a bath. You'll have to forgive me, dressed like this.

Not at all. - Sit down, Major.

Make yourself comfortable. - Thank you my dear.

I twas just telling them about the old days at the Dome. - Oh yes?

When Arnold Gates used to be there with his company.

Oh, the Shakespeare fellow. - Yes.

I seem to remember that he suddenly disappeared one night with his wife.

She acted in the plays with him.

And another young man from the company.

Caused quite a stir. Nobody ever knew what became of them.

Of course, wartime.

What year was this? - 1944, I think.

Ah yes, I'm afraid I was too preoccupied keeping the Japs out of India.

Too busy to worry about missing actors.

So sorry that we're like this.

My hair is still wet. - Come and sit down.

I believe you know Major Bell? - Oh yes.

Yes, from the cafe. How do you do? - Sit down dear.

How do you like your tea?

Well we're only rehearsing. There wouldn't be very much to see.

Oh that wouldn't worry me. I'd be very interested.

Well later perhaps when we've got something fixed.

Oh all right. Goodbye. - Bye.

I'll collect my mob now, Mrs. Saunders.

Come on you lot, will ya. - It's been so nice to meeting you all.

Well thank you for having us. - It was a lovely tea.

Where's Julia?

Can I help you?

Do you have back numbers of the local newspaper?

The Eastcliff Echo? - Yes, that's right.

What year and date did you want?

1944, '45.

Yes, I think we've got them for those years.

And a copy of Who's Who in the Theatre about the same time?

That'll be in the reference library.

I saw her go out of the gate when we were playing golf.

Well maybe she made her own way there.

Why does she always have to act so difficult?

The film's gone to her head and given her a star complex.

I think she's entitled to one.

ACTOR VANISHES AFTER OTHELLO TRIUMPH

HAS ACTOR-KNIGHT LEFT COUNTRY ?

SIR ARNOLD GATES MYSTERY

Actor, wife and member of cast vanish

Gotcha.

Ah look, don't get too settled folks. We've got some work to do, you know.

Oh no!

Yeah, that witchcraft scene needs a lot of work done yet.

Am I in it too, Mike? - Yes, indeed you are.

Practice costumes please. - Ok, I left my case in the foyer.

Back on stage in 10 minutes everybody. We'll take it from the top. Ok?

Uh, Carol? - Yes, Mike?

Would you put a costume on this time? You know, for the mood.

Oh, long skirt? - That's right.

There should be something down in the prop room. There's bound to be something there.

They must have "The Crucible" or something like that.

Okay, I'll find something.

Well?

Well what?

Well, I better go down and find myself something to wear.

I'll come with you.

Look who's being concerned for little Carol now?

I thought after the other night you might be a trifle nervous.

You're right.

Come on.

Tony, this is very stimulating.

Marie Antoinette, Queen of France.

On the way to the guillotine.

To be driven through the cobbled streets in a tumbrel.

Looking with proud contempt

at the jeering, mocking, spitting, mob.

To the marketplace.

There to march the Place.

To be blindfolded.

To feel the cold rough hands of the executioner,

rip away my embroidered gown

to bare my shoulders and neck.

I am ready to feel the cold steel blade.

Fear, the ecstasy of terror...

Come on.

Tony?

Tony, where are you?

Tony!

It's not funny, Tony.

Come on, let me out.

Tony! Look, I've had enough from John. Don't you start.

Come on, Tony. Let me out.

Tony?

Mike?

Simon?

Who is it?

It's all right, my dear. Just a minute, I can't find the...

Major Bell?

Oh dear. I'm so sorry, it's you, is it.

I lost myself looking for you all.

I seem to have reached the front entrance.

You have. The others are all on the stage.

I was just changing.

So I see...Well, I'll turn away if you want to put that thing on.

Thanks.

I was going to ask your young producer if he'd mind if

I took him up on his invitation to come and watch you all at work.

Oh I'm sure he'd be delighted.

I'm okay now.

If you'd like to take a seat, I'll go and find Mike.

Come on Tony!

Well you won't have locked the other one.

All right Tony, I know you're there.

If you think I'm dying of fright, Tony dear, you're quite mistaken.

Tony! Did you see that?

I just dropped in on the off chance, happened to be passing.

You can attend a rehearsal very soon,

it's just that I rather not ask you today.

Fair enough. -And we'll let you know when you can.

Would you like to come up through here? -Yes indeed.

It's easier going through the theater.

Well I'll be in touch. - Thank you.

Oy! There's a lady in trouble over there!

Quickly, before she gets washed away!

You can reach her by the steps!

Where? - Under the pier!

Right. Come on!

Is she alright?

She's still breathing, we'll have to get an ambulance.

Is she ok? - We don't know yet.

Gonna take her to the hospital.

Thank you.

It's important to us that you shouldn't discuss any details

whatsoever of this fatal accident with any outside parties.

I must ask for your cooperation in this matter.

Accident? Are you treating this as an accident?

The man's quite obviously a dangerous paranoiac

who hid somewhere in the theater

in order to make a second and final attack on Carol.

Yes, well you've given me very full details of John Thurloe's behavior,

but it's not up to you to jump to conclusions, is it sir?

It's our job to make inquiries into

a young woman's death fall from a pier yesterday evening.

Well I must say I feel like jagging in my head.

It's all my bloody fault.

Again. - Come on Tony.

Locking Carol in that blasted prop room.

It never occurred to me that John might be looking down there.

It was only meant to be a gag.

I've no doubt we'll pick up John Thurloe.

You'll be carrying on with the rehearsals, will you?

Well our numbers are rather depleted at the moment.

but I shall be trying to contact our elusive management.

Oh yes, of course. But you'll all be here?

Or at Mrs. Saunders. - Oh yes, on Marine Drive. Good.

Oh, incidentally, that distressing business of the guillotine...

Angela Wills? Yes, I'm afraid I made a bit of a fool of myself there.

She left a note.

Angela Wills from Mitchum, Surrey.

Wanted to go home did she?

Sorry?

Neither her parents nor her fiance have seen her.

Interesting, isn't it?

Good day, Mr Archer.

Yeah, now listen Mike, I want you to keep everybody down there.

Don't let anyone leave. Do I make myself clear?

Thank you Alex. I'll talk to you tomorrow.

Well as I told the Major, you're quite welcome here

so long as you don't mind fending for yourselves.

We could give you a hand with the housework when we're not rehearsing.

If that would help. - That isn't necessary, but thanks for offering, dear.

Well now, I'll be on my way. So glad it all worked out.

Good night. - Good night.

Would you like to show the girls to their rooms?

And I'll take the - the male members of the company?

Would you like to follow me?

A bed after that stage would be Paradise.

Did you speak with the management, Mike?

Well that's the problem. I talked to my agent today.

And when are they coming down?

Well, he tried to phone Theater Group 40,

the number on the letterhead,

It was a discontinued line.

So thinking there was something wrong, he went round there.

The address turned out to be this sleazy place in Frith Street.

No sign of Theater Group 40.

There was a tart on the second floor over this dirty bookshop.

She'd lived there for 3 years.

She'd never heard of them.

So there is no management, there's no money...

and somebody is having us on.

And I don't like it.

Let's take the show to London, Mike,

and offer ourselves to another management, and we could all...

But we're nowhere near ready. We're running short as it is.

But it's not far off. We could add another 10 minutes or something.

Or we could run it through tomorrow and get a rough idea, I suppose.

Yes. And then go to London the day after tomorrow.

OK, I'll put it to the others in the morning.

Thank God for Mrs. Saunders.

At least they can sleep easier here.

Why do you say that Mike? - Well John's still at large you see.

You didn't mean John, did you?

No.

So what did you mean?

I don't know.

Ah, no sir, it's through there.

Yes. Absolutely.

Our thespian friend John Thurloe from the Dome Theater.

He's had a long voyage.

Flobbed him 23 miles from Eastcliff.

What's the path report on time and cause of death?

Cause of death: head and abdominal wounds, sharp instrument.

Secondary cause: drowning.

Time of death: estimated not later than midnight on the 17th of this month.

That's the day before yesterday.

Yes, it is, isn't it?

That's 14 hours before the attack on...

Thanks Max. - Complications?

No, not really.

I think I'll have a word with Archer. That's the show's producer.

See what he has to say.

Thanks.

Well folks, it's almost 7. Back to work, come on.

Last thing I feel like is a run through tonight...

It will be more like a stagger through, I should think. - No breaks, Mike.

That's it. - We'll do this in overdrive.

It's very sad. Still I suppose you are right to go back to London.

We must, Mrs Saunders.

There's some mystery as to who we're working for.

And until we get it sorted out we'll have to get the show together

and maybe offer it to someone else.

The Major was so disappointed when I told him this afternoon in the chemist.

He said it had cheered him up having young people in the place.

Ah well...

Good night. - Good night.

See you later.

Thank you for a lovely tea. - Thanks, Mrs. Saunders.

Will you be late tonight?

Well, it's hard to say.

Well you've got the key, haven't you. I'll leave the porch light on.

Thank you very much. Good night.

Right. First positions for the opening item: "The Birth of an Idea". Okay!

Sarah, ready with the tapes. Stand by for the effects.

Bend your body more, Jane. loosely.

Simon!

Head higher love!

Come on, where's the shooting effect?

Sarah! You missed the bloody cue. That's where the shots come in.

Let's have it now, come on!

Sarah!

Sorry kids. I'll run the tape back and we'll start again, okay?

Bloody girl, what is she doing?

For Christ's sake who's blacked us out?

What's happened? - Whatever bloody next?

We can't see anything.

What the hell are you doing up there, Sarah?

Look, switch that bloody thing off. Nobody said anything about turning on the spot!

And come back safe for Christ's sake!

You've miscued the effects as it is.

What the hell are you doing, Sarah?

What's the matter with her?

Hey dutchess, you're supposed to dress for the theater!

Wait a minute... who's working that spot?

There's nobody behind it.

Did you see that?

Mike, I must go up to that box, Sarah might be...

Wait!

Simon?

Go down to the end of the pier and find Walsh, Inspector Walsh.

Tell him the curtain's going up right now. Look, he'll understand.

And make sure that you lock the stage and foyer doors behind you.

Go and leave the stage and get up to your dressing rooms. Go.

Aye, let them rot and perish and be damned tonight.

For she shall not live.

Go and put that spot on him!

And then what? Who is it?

We're going to help someone recreate a tragedy of their own making.

Though my heart is turned to stone.

I strike it and it hurts my hand.

In all the world there is not a sweeter creature.

She might lie by an emperor's side and command him tasks.

Nay! That's not your way.

Hang her!

I do but say what she is.

So delicate with her needle, an admirable musician.

Oh, she will sing the savageness out of a bear.

From so high and plenteous wit and invention.

She's the worst for all this!

I will chop her into messes!

Cuckold me! - Nought just foul in her!

Where's my officer? - That's Fowler!

Get me some poison, Iago!

Get me some poison !

Get me some poison Iago! This night!

I'll not expostulate with her...

lest her body and beauty unprovide my mind again.

This night Iago.

Do it not with poison.

Strangle her, in her bed, in the bed she hath contaminated.

Good, good! The Justice of it pleases. Very good!

Come on, slaves, our cue. Come on! We're late.

And for Cassio, let me be his undertaker.

You shall hear more by midnight. - Excellent. Good.

What trumpet is that sound? - Something from Venice, sure.

My cue. - Later darling.

I'll come to your dressing room.

Be careful. - I will. I will.

Here is Ludovico come from the Duke. And see your wife is with him.

God save the worthy general.

With all my heart, sir. The Duke and senators of Venice greet you.

I kiss the instrument of their pleasures. - And what's the news, good cousin Ludovico?

I am very glad to see you, Signor.

Welcome to Cyprus.

I thank you, and how does Lieutenant Cassio?

Lives. - Sir?

Cousin, there has fallen between him and my lord...

an unkind breach. And you shall make it well.

Are you sure of that?

My lord?

This fail you not to do as you will.

He did not call. He's bid me in the paper.

Is there division betwixt my lord and Cassio?

A most unhappy one.

I would do much to atone them for the love I bear to Cassio.

Sir Arnold.

Looks like a clear night.

Yes, there's Robbie.

Okay, see you then Charlie.

Anything I can do for you, Sir Arnold?

How many of the company have gone?

Oh, most of them have gone sir.

Bar Lady Gates, and yourself, and Mr. Mulligan.

Stage crew have gone long ago, sir.

You can go home now. Give me the keys, I'll lock up.

Well, I'm not supposed to...

Give me the keys!

Yes, Sir Arnold.

Now go, man! Get out.

Yes, sir.

Harry, let me be your slave.

Kick me, whip me.

Be as cruel as you want to, i shall still love you.

Stand up. Let me see if your body will satisfy my lust.

Strip me naked if you will, master.

I knew it! I knew it all along!

You deceitful bitch! - No, Arnold, no!

This night I'll not expostulate with her

lest her body and beauty unprovide my mind again.

This night, Iago!

Thou faithless harlot!

You will be punished!

Where are you taking me?

Don't hurt me, please.

Let me put something on, I'm cold!

No, you shall stay naked as you were in your lover's arms.

Where are you taking me?

Kneel, girl!

On your knees in humble penance for your sins.

What are you going to do to me?

Not hack your sullied flesh to pieces, oh, no.

That would be too quick, too painless.

You and your lover shall be given time

to meditate upon the wisdom of your vile behavior.

Arnold, please! - You must be silenced whilst I fetch him.

Thus shall you remain together for the rest of your lives.

Tied to each other by your bonds of lust.

Come along, child.

It was too good for them.

Too good for that harlot I married,

and for him, young Mulligan.

They are all the same. Young actors...

Filthy and degraded lechers.

All of them!

And the females...

Flaunting their bodies, offering their thighs and breasts.

Scum! excrement!

Methinks now I shall release them from their prison.

Wherein the lustful strumpet and her lover

these long years have lain lashed naked to each other.

In the dark place where the sea doth rage below.

Have I not with the flesh and blood

of these other sex-crazed

evil and obscene young jackanapes,

exacted the price of freedom for the whore

who calls herself my Lady Gates?

But doth insult my noble name,

yielding her soft flesh to Harry Mulligan.

My Cassio, who dares to cuckold his master.

Anything I can do for you, Sir Arnold?

How many of the company have gone?

Most of them now, sir.

There's only Lady Gates Mr. Mulligan and yourself.

The stage staff have gone home too, sir.

Then you can go home now.

Thank you sir.

You shall be released together from your living death.

Depreaved and faithless creatures!

Oh my child...

What has your father done?

Would that those young eyes should not have witnessed this catastrophy.

Sir Arnold?

Or should I call you Major?

You speak in riddles, man!

Let's drop the playacting, shall we Gates?

And see if you can't help the police in their inquiries

into the deaths of two persons.

Identified with some difficulty

as your wife Pamela Florence Gates

and an actor, later identified as Henry Terence Mulligan.

Their decomposed bodies were discovered under this theater

roped together,

naked and dead.

Oh dear...

It's really quite amusing.

Is it not, Pamela?

They think that you and Harry Mulligan have died.

I don't know who you are, sir, but rest assured

they are only locked in that bare dark place like naughty children.

Until their lustful yearnings for each other cool off.

Oh, he's tiring of her now, all right.

Do you know, my friend, that they haven't spoken a word to each other for 25 years?

Think of that.

I know, because you see when I came back from my voluntary exile in South Africa

I came to live here in Eastcliff to be near them.

So that you could take them flowers.

Yes...

And to observe how he tired of her.

Do you know, I think I'll take her back.

Did you hear that, Pamela?

I'm going to take you back now and forgive you.

It wasn't your fault...

It was the filth and degradation of our profession.

The temptations of the flesh, which we are all exposed to.

They turned you...

my precious wife...

into a faithless, lying, deceitful, cursed whore!

Okay.

Sex-crazed, evil and obscene young jackanapes.

Is that us?

That's what he hired. That's what he wanted us to be.

Theater Group 40 was... - Bell, of course. Arnold Gates.

An actor who needed to kill actors in this theater.

Like you trap wasps in a jar.

Yeah.

Only his wasps were young players,

who represented in his deranged mind

one who years ago shattered his pride and dignity

and destroyed his fine career: Harry Mulligan.

And Angela and John, Carol and Sarah...

were all murdered by this madman

to avenge his wife's affairs with Mulligan in 1944.

It's so bloody tragic and horrible, it'd almost make a movie script.

It couldn't, actually, you know.

Why not?

There's a flaw in the plot, isn't there?

When Carol was dying down there underneath the pier...

Bell was in the foyer.

Asking me if he could come to rehearsals.

It's a perfect alibi...for Bell.

So, Carol, upset by John's sadistic jokes...

...and their quarreling, took her own life.

By jumping off a pier?

Unless someone else discovered

what was hidden under that stage.

And having discovered it, found Carol lurking about

looking for a costume, and had to kill her.

To cover for the Major.

So he had an accomplice.

Who?

His daughter.

Whose only blurred memory of her father was of a

babbling, blacked up actor,

carrying a whimpering child through cold streets

to abandon her on the steps of a police station.

It's been fun working with you.

Thanks, thanks a lot.

I must find my father.

He'll be needing me.