All language subtitles for Gaslight.1944.1080p.BluRay.H264.AAC-RARBG

STAND BACK.
STAND BACK.

NO, NO, PAULA.
DON'T LOOK BACK.

YOU'VE GOT TO FORGET

EVERYTHING THAT'S
HAPPENED HERE.

THAT'S WHY YOU'RE
GOING TO ITALY

TO SIGNORE GUARDI.

HE WAS THE BEST FRIEND
YOUR AUNT EVER HAD,

AND HE'LL BE YOURS, TOO.

PERHAPS SIGNORE GUARDI
WILL MAKE YOU

INTO A GREAT SINGER,
AS SHE WAS.

WOULDN'T YOU LIKE THAT?

YOU MUST THINK
OF THE FUTURE, DEAR,

NOT THE PAST.

NO, NO.
NOW, LOOK.

WAIT A MOMENT,
SIGNORINA.

THAT IS NO USE.

PAULA, YOU ARE NOT
CONCENTRATING.

YOUR MIND'S NOT
ON YOUR SINGING.

ALL THESE YEARS,
YOU'VE WORKED SO HARD,

AND NOW WHAT'S
COME OVER YOU?

THIS OPERA IS
TRAGEDY, SIGNORINA.

YOU SEEM INCAPABLE
OF UNDERSTANDING.

DID YOU NEVER HEAR
YOUR AUNT SING LUCIA?

YOU LOOK LIKE HER.

BUT I DON'T SING
LIKE HER.

I KNOW.

SIGNORE GUARDI,
MAY I SPEAK TO YOU

SERIOUSLY...
VERY SERIOUSLY?

OH, MAESTRO.

IT IS 10 MINUTES
TO THE HOUR.

IF YOU'RE NOT
CONTINUING THE LESSON,

I SHOULD
LIKE TO BE EXCUSED.

VERY WELL,
SIGNORE ANTON.

THANK YOU.

GOOD AFTERNOON,
SIGNORINA.

NOW, WHAT IS IT YOU WISH
TO SAY TO ME SERIOUSLY,

VERY SERIOUSLY?

SIGNORE GUARDI...

I'VE TRIED.
I'VE WORKED HARD,

BUT IT'S NO USE.

I HAVEN'T THE VOICE,
HAVE I?

THE TROUBLE IS NOT
IN YOUR VOICE ALONE.

YOUR HEART IS NOT
IN YOUR SINGING ANYMORE.

EACH TIME
YOU COME HERE NOW,

YOU LOOK HAPPIER,
AND YOU SING WORSE.

TELL ME, PAULA...

YOU'RE IN LOVE?

YES.

YES. IT'S
SOMETHING...

THAT HAS NEVER
HAPPENED TO ME BEFORE,

SOMETHING I NEVER
EXPECTED WOULD HAPPEN,

BUT...SUDDENLY IT IS

AS IF NOTHING ELSE
EXISTED, EVEN MY MUSIC,

WHICH USED TO MEAN
SO MUCH TO ME.

YES,
YOU WERE RIGHT.

MY THOUGHTS
WERE WANDERING

WHILE I WAS SINGING
JUST NOW.

I'M TOO HAPPY.

THAT'S WHY YOU SAID
THE TRAGEDY

WAS SOMETHING I COULD
NEVER UNDERSTAND.

OH, I'M SORRY.
IT WAS CRUEL OF ME

TO SAY THAT,

CRUEL AND UNTRUE.

REAL TRAGEDY HAS
TOUCHED YOUR LIFE...

AND VERY DEEPLY.

BUT NOW
THERE IS A CHANCE

TO FORGET TRAGEDY,
MY CHILD.

TAKE IT. FREE YOURSELF
FROM THE PAST,

AND FORGET YOUR SINGING,
TOO, FOR A WHILE.

HAPPINESS IS
BETTER THAN ART.

OH, DEAR MAESTRO,
NO ONE HAS EVER BEEN

AS KIND TO ME AS YOU
HAVE SINCE SHE DIED.

WILL YOU LET ME MEET
THE MAN

WHO IS TAKING
MY PUPIL AWAY FROM ME?

OH, YES.

YES, OF COURSE.

AH, YOU HAVE
A RENDEZVOUS WITH HIM.

THE MOMENT
YOUR LESSON IS OVER,

YOU FLY TO HIM.

IS HE JEALOUS
OF YOUR MUSIC,

THESE HOURS YOU
SPEND AWAY FROM HIM?

OH, DEAR MAESTRO,
I...

I DON'T KNOW
WHEN WE'LL MEET AGAIN.

THANK YOU.

PAULA.

DID YOU TELL HIM?

HE TOLD ME.
HE DIDN'T KNOW WHO.

WHAT DID HE SAY?

HE SAID I SHOULD
TAKE MY HAPPINESS.

AND WILL YOU? NOW?

WHY DO YOU STILL
HESITATE, PAULA?

BUT I DON'T
KNOW YOU.

I DON'T KNOW
ANYTHING ABOUT YOU.

NOR I ABOUT YOU,
BUT I WANT TO MARRY YOU.

ARE YOU AFRAID?

I THINK I AM
A LITTLE.

OF ME?

NO. NO,
NEVER, BUT...

BUT OF HAPPINESS.

I HAVEN'T HAD
A LOT, GREGORY,

AND I FEEL LIKE
I CAN'T TRUST IT.

YOU MUST GIVE ME TIME
TO GET USED TO THE IDEA.

YOU SHALL HAVE ALL
THE TIME YOU WANT.

I'VE WAITED
FOR YOU SO LONG.

WAITED? WE'VE ONLY KNOWN
EACH OTHER 2 WEEKS.

I'VE WAITED
ALL MY LIFE TILL NOW.

I CAN WAIT
A LITTLE LONGER,

BUT IT WILL NOT BE
EASY TO WAIT,

TO BE PATIENT
SEEING YOU EVERY DAY.

NO, IT WON'T BE
EASY FOR ME, EITHER.

I SHOULD GO AWAY.

GO AWAY?

BY MYSELF FOR
A WEEK, ONLY A WEEK,

JUST TO KNOW
WHAT I'M DOING,

JUST TO BE SURE.

WHERE WILL YOU GO?

I THOUGHT PERHAPS
TO THE LAKES.

AND WHEN
WILL YOU GO?

I THOUGHT TOMORROW.

- TOMORROW?
- IS THAT TOO SOON?

NO. THE SOONER
YOU GO,

THE SOONER
YOU WILL COME BACK.

BUT WHILE YOU'RE AWAY,

NEVER FORGET FOR ONE
MOMENT THAT I'M HERE...

WAITING...AND
IN LOVE WITH YOU.

OH, MY DEAREST.

OH, MY GOODNESS!

OH, GOOD GRACIOUS!

OH, IT'S SO EXCITING.

YOUR BOOK?

YES. IT'S ALL ABOUT
A GIRL WHO MARRIES A MAN,

AND WHAT DO YOU THINK?

HE'S GOT 6 WIVES
BURIED IN THE CELLAR.

THAT SEEMS A LOT.

YES, AND I'M
ONLY ON PAGE 200,

SO I'M SURE THERE'S
STILL MORE TO COME.

IT'S A WONDERFUL
BOOK!

OH, IT SOUNDS
A LITTLE GRUESOME.

YES. WELL, I'M AFRAID
I ENJOY A GOOD MURDER

NOW AND THEN.

MY BROTHER ALWAYS CALLS ME
BLOODTHIRSTY BESSIE.

HAVE A BISCUIT, DEAR.

THANK YOU.

DIGESTIVE BISCUITS.

UNPLEASANT NAME,
ISN'T IT?

I ALWAYS CALL THEM
DIGGY BISCUITS.

I NEVER TRAVEL
WITHOUT THEM.

YOU'RE NOT ENGLISH,
ARE YOU?

NO. I WAS BROUGHT UP
THERE.

MY AUNT
LIVED IN LONDON.

ARE YOU ON YOUR WAY
THERE NOW?

NO. I'M GOING
TO LAKE COMO.

OH? ALL BY YOURSELF?

YES, ALL BY MYSELF.

OH, BUT...
BUT IS THAT WISE?

I DON'T THINK ANY HARM
WILL COME TO ME.

WELL, I'M GOING
TO LONDON.

I MUST BE IN LONDON
FOR THE SPRING--

THE CROCUSES, YOU KNOW...

AND THE DAFFODILS
AND THE TULIPS.

THE GARDENS ARE SO
BEAUTIFUL IN THE SPRING.

I GO AND SAY
GOOD MORNING

TO MY FLOWERS
IN THORNTON SQUARE EVERY DAY.

THORNTON SQUARE?

YES. THAT'S WHERE
I LIVE--NUMBER 16.

DO YOU KNOW IT?

I KNOW
THORNTON SQUARE.

DO YOU KNOW ANYONE
LIVING THERE?

I USED TO.
NOT ANYMORE.

I WONDER WHO
THAT COULD BE.

I KNOW ALMOST EVERYONE
WHO LIVES THERE NOW.

WE'RE ALL SO VERY
FRIENDLY, YOU KNOW,

POPPING IN AND OUT
OF EACH OTHER'S HOUSES.

WHAT NUMBER DID
YOUR FRIENDS LIVE AT?

I'M AFRAID
I DON'T REMEMBER.

YOU KNOW, WE HAD A REAL
LIVE MURDER THERE.

YES. I...
I'D HEARD OF IT.

UNFORTUNATELY, IT'S BEFORE
I WENT TO LIVE THERE,

JUST A YEAR BEFORE--

10 YEARS AGO
AT NUMBER 9,

A FAMOUS SINGER
CALLED ALICE ALQUIST.

HAVE ANOTHER
BISCUIT, DEAR.

NO, THANK YOU.

IT WAS A MOST
MYSTERIOUS CASE.

THEY NEVER FOUND OUT
WHO KILLED HER.

THEY NEVER EVEN
FOUND A MOTIVE.

I'VE TRIED TO GET
IN THE HOUSE

MANY AND MANY A TIME.

I THINK IT WAS
SO EXCITING. DON'T YOU?

I MEAN,
JUST TO SEE...

NOTHING'S
BEEN CHANGED--

ALL THE FURNITURE
AND EVERYTHING.

I THINK WE'RE
GETTING INTO COMO.

OH, SO WE ARE.

IS ANYONE
MEETING YOU?

- NO.
- OH, DEAR.

YOU WILL BE CAREFUL,
WON'T YOU?

I WILL. GOOD-BYE.

GOOD-BYE, MY DEAR.

COME AND SEE ME IF
YOU'RE EVER IN LONDON.

MY NAME IS THWAITES,
MISS THWAITES.

AND I'LL POINT OUT
THE WINDOW OF THE ROOM

IN NUMBER 9
WHERE IT HAPPENED.

YOU CAN SEE IT FROM
MY DRAWING ROOM.

YOU'RE NOT ANGRY
WITH ME?

ANGRY?

IF YOU HADN'T COME,

I SHOULD HAVE
SENT FOR YOU.

WELL!

COME AND LOOK
AT THE MORNING.

AREN'T YOU COLD
LIKE THIS?

WHAT WERE YOU
DREAMING OF?

OUR LIFE
TOGETHER.

AND HOW
DO YOU SEE IT?

I SAW ALL THE PLACES
WHERE WE'LL BE TOGETHER,

LOVELY PLACES
LIKE THIS.

I WAS THINKING
OF OUR LIFE TOGETHER, TOO,

ONLY I HEARD IT
IN MUSIC,

SOMETHING
THAT I WANT TO WRITE.

YES? WHAT?

THE WHOLE THING IS
ALIVE WITH HAPPINESS.

I WANT A FEELING
OF THE EARLY MORNING.

THIS MORNING.

YES. WITH THE SUN
RISING...

LIGHTING YOUR HAIR
AS IT IS NOW.

I DON'T KNOW
HOW IT ENDS.

PERHAPS IT NEVER ENDS
UNTIL I DO.

WHEN WILL YOU
START ON IT?

OH, SOMEDAY...

AFTER WE'VE HAD
OUR HONEYMOON

AND SETTLED DOWN
IN A HOME

OF OUR OWN SOMEWHERE.

WHERE?

WHERE WOULD YOU
LIKE US TO SETTLE?

I HAVEN'T THOUGHT.
PARIS, PERHAPS.

- PARIS?
- MM-HMM.

OR ROME?

HOW WOULD YOU FEEL
ABOUT LONDON?

LONDON?

PAULA, IF YOU
WON'T LAUGH AT ME,

I'D LIKE TO TELL
YOU SOMETHING.

I WON'T LAUGH
AT YOU.

WHAT IS IT?

OH, IT'S AN IDEA,
A SILLY IDEA

THAT'S BEEN
WITH ME FOR YEARS.

I WAS IN LONDON
ONCE IN THE WINTER.

IT SEEMED TO ME
THERE WAS NO CITY IN THE WORLD

THAT WAS COLDER
TO THE HOMELESS

OR THAT COULD BE
WARMER

TO THE ONES
WHO HAD A HOME.

HOW I USED TO LONG
FOR A HOME OF MY OWN

IN ONE
OF THOSE QUIET HOUSES

IN THE LITTLE
LONDON SQUARES

WITH THE WOMAN I SHOULD
ONE DAY COME TO LOVE.

COULD WE SETTLE DOWN
IN LONDON?

NOT IN A HOUSE
IN A SQUARE, PERHAPS,

BUT...PAULA.

WHY DO YOU
LOOK LIKE THAT?

BECAUSE THERE IS
A HOUSE IN A SQUARE.

WHAT HOUSE?

9 THORNTON SQUARE.

SHE LEFT IT TO ME.

SHE? OH, YOU MEAN...

ALICE ALQUIST?

SHE WAS
MY MOTHER'S SISTER.

MY MOTHER DIED
WHEN I WAS BORN.

I DON'T KNOW
ANYTHING ABOUT HER

OR MY FATHER.

I LIVED WITH
MY AUNT ALWAYS

AS IF I WERE
HER OWN.

BUT THEN
AFTER IT HAPPENED,

I NEVER WENT BACK.

OH, THAT HOUSE COMES

INTO MY DREAMS
SOMETIMES,

A HOUSE OF HORROR.

IT'S STRANGE.

I HAVEN'T DREAMED OF IT
SINCE I'VE KNOWN YOU.

I HAVEN'T BEEN AFRAID
SINCE I'VE KNOWN YOU.

AFRAID?

YES. FOR YEARS
I HAVE BEEN AFRAID

OF SOMETHING
NAMELESS,

SOMETHING...

EVER SINCE SHE DIED.

YOU'VE CAST OUT
FEAR FOR ME.

OH, PAULA,
IF IT WERE TRUE,

IT WOULD
MAKE ME VERY HAPPY.

IT IS TRUE.

I HAVE FOUND PEACE
IN LOVING YOU.

I COULD EVEN FACE
THAT HOUSE WITH YOU.

OH, NO. NO,
PAULA, BELOVED.

I WOULD NOT
ASK THAT OF YOU.

YES. YES, YOU SHALL
HAVE YOUR DREAM.

YOU SHALL HAVE YOUR
HOUSE IN A SQUARE.

GOOD MORNING,
DAFFODILS.

GOOD MORNING, TULIPS.
GOOD MORNING.

OH, DAFFODILS--

OH, PERCY!

THERE IT IS, DEAR.

GOOD MOR--

WHAT ARE YOU DOING
THERE, MY GOOD MAN?

TURNING ON THE WATER
IN NUMBER 9, MA'AM.

9? WHY 9?

ORDERS, MA'AM.

WELL, IT MUST BE GOING
TO BE OCCUPIED

AT LAST, AFTER ALL
THESE YEARS.

WOULDN'T CARE TO LIVE
IN THERE MYSELF.

I DON'T KNOW
ABOUT LIVING THERE,

BUT...OH, I WOULD LIKE
TO GET A PEEP INSIDE.

GOOD MORNING,
MR. MUFFLIN.

GOOD MORNING.

WE'RE NOT LATE,
ARE WE?

NOT AT ALL. I'VE ONLY
BEEN HERE A MOMENT.

GOOD MORNING, MR. ANTON.

GOOD MORNING.

IT'S YOU!

DON'T YOU
REMEMBER ME?

IN THE TRAIN IN ITALY
LAST MONTH.

DIGGY BISCUITS.

OH, YES,
OF COURSE I DO.

OH! DON'T TELL ME

YOU'RE COMING
TO LIVE IN NUMBER 9.

YES. I, UH...
WE--

OH, PAULA,

WE MUSTN'T KEEP
MR. MUFFLIN WAITING.

I'M SORRY. I MUST GO NOW.
PERHAPS WE CAN--

I'LL CALL DIRECTLY
YOU'RE SETTLED.

THAT'S MY HOUSE
OVER THERE,

THE ONE WITH
THE PINK CURTAINS.

GOOD-BYE
FOR THE PRESENT.

GOOD-BYE. I'M SO GLAD
WE ARE TO BE NEIGHBORS.

OH, SO AM I!

THIS LOCK
NEEDS OILING.

NOW, IF THERE'S ANYTHING
FURTHER I CAN DO,

LET ME HEAR FROM YOU.
GOOD DAY.

GOOD DAY.

GOOD DAY, MR. ANTON.

NOW, PAULA...

THIS IS
THE DINING ROOM?

YES.

THERE'S A LITTLE STUDY
BEYOND IT.

AND THE DRAWING ROOM
IS UPSTAIRS?

YES.

COME, PAULA. DON'T STAND
THERE IN THE DOORWAY.

WILL YOU LIGHT
THE GAS, PLEASE?

OH, GREGORY.

IT'S A VERY
HANDSOME ROOM.

YES, BUT...

BUT TO SEE IT
LIKE THIS...

I REMEMBER PARTIES
IN THIS ROOM

WHEN IT WAS FULL
OF FLOWERS AND LIGHT.

THOSE MUST HAVE
BEEN WONDERFUL DAYS.

OH, IT'S ALL
DEAD IN HERE.

THE WHOLE PLACE SEEMS
TO SMELL OF DEATH.

THERE.

IT WILL ALL BE FRESH
AGAIN IN A MOMENT.

THAT'S WHERE SHE KEPT
HER LITTLE TREASURES--

ALL THE THINGS SHE
COLLECTED ON HER TOURS

AROUND THE WORLD.

THE GLASS
IS BROKEN.

IT WAS BROKEN
THAT NIGHT.

ALL THE THINGS
WERE DISARRANGED,

BUT THERE WAS
NOTHING MISSING.

OH, I KNOW
ALL THESE BY HEART.

IT USED TO BE ONE
OF MY GREAT TREATS

WHEN SHE
WOULD UNLOCK

AND WOULD
TAKE THEM OUT

AND TELL ME
ALL THEIR STORIES.

CAREFUL, DEAREST.

THIS GLOVE--

SHE WORE IT
IN ROMEO AND JULIET

AT THE COMMAND PERFORMANCE
AT COVENT GARDEN.

GOUNOD SIGNED IT
FOR HER AFTERWARDS.

I NEVER KNEW WHAT HAPPENED
TO THE OTHER GLOVE.

I USED TO ASK HER
SOMETIMES,

BUT SHE'D ONLY LAUGH AND
SAY SHE'D GIVEN IT AWAY--

A VERY GREAT ADMIRER.

SHE WOULD NEVER
TELL ME WHO.

I WISH I COULD
HAVE SEEN HER.

OH, LET ME
SHOW HER TO YOU.

THAT'S AS
THE EMPRESS THEODORA.

THAT WAS
HER GREATEST ROLE.

WHEN SHE SANG IT
IN ST. PETERSBURG,

THE CZAR USED TO COME
TO EVERY PERFORMANCE.

SHE WAS
VERY BEAUTIFUL...

VERY MUCH
LIKE YOU.

IT WAS THERE
THAT I FOUND HER...

THERE IN FRONT
OF THE FIRE...

UNDER HER OWN PORTRAIT.

I WAS IN BED,
AND SOMETHING WOKE ME.

I'VE NEVER KNOWN WHAT.

I CAME RUNNING
DOWN THE STAIRS...

FRIGHTENED AS IF I KNEW
WHAT HAD HAPPENED.

SHE HAD BEEN STRANGLED.

SHE HAD BEEN STRANGLED.

HER LOVELY FACE
WAS ALL...

NO. NO, I CAN'T
STAY HERE.

WELL, THEN HOW WOULD
IT BE IF WE TOOK AWAY

ALL THESE THINGS THAT
REMIND YOU SO OF HER--

THE PAINTING,
ALL THIS FURNITURE--

SHUT IT AWAY SO YOU
CAN'T EVEN SEE IT?

SUPPOSE WE MAKE IT
A NEW HOUSE

WITH NEW THINGS,
BEAUTIFUL THINGS

FOR A NEW, BEAUTIFUL
LIFE FOR US.

YES, YES,
AND THEN LATER,

WE'LL HAVE PEOPLE HERE
AND PARTIES AGAIN.

OH, DON'T YOU WANT TO?

LATER, YES,
BUT NOT JUST AT ONCE.

LET US HAVE OUR HONEYMOON
HERE BY OURSELVES

FOR A LITTLE LONGER.

YES. I ONL--

I KNOW.

LATER.

NOW, WHERE SHOULD WE
PUT ALL THESE THINGS?

OH, THERE IS AN ATTIC
UNDER THE ROOF.

ALL HER TRUNKS ARE UP THERE
AND ALL HER COSTUMES.

WELL, THEN WE'LL PUT
ALL THESE THERE, TOO,

AND THEN WE'LL
BOARD IT UP

SO YOU'LL NEVER
HAVE TO SEE IT AGAIN,

NEVER EVEN
THINK OF IT.

OH, THAT PIANO TRAVELED
WITH HER EVERYWHERE

IN THE GREAT DAYS.

IT WILL NEED TUNING
TERRIBLY.

OH, LOOK. HERE'S
SOME OF HER MUSIC.

HER SCORE OF THEODORA,
JUST AS SHE LEFT IT.

WE'LL SEND THOSE UPSTAIRS
WITH ALL THE REST.

NO, NOT HER MUSIC.

PERHAPS LATER I MIGHT
LIKE TO STUDY AGAIN.

I'D LIKE TO HAVE HER
SCORES TO STUDY FROM.

WHAT MAKES YOU
PLAY THAT?

WHY NOT?

THAT WAS
HER GREAT SONG.

SHE ALWAYS USED IT
IN HER CONCERTS

FOR HER LAST ENCORE.

IT WAS EVERYBODY'S
FAVORITE.

HERE'S
AN OLD LETTER.

"DEAR MISS ALQUIST,

"I BEG OF YOU TO SEE
ME JUST ONCE MORE.

I HAVE FOLLOWED YOU
TO LONDON."

IT WAS WRITTEN 2 DAYS
BEFORE SHE WAS MURDERED.

WHERE DID YOU FIND THAT?

IN THIS SCORE.

SHE MUST HAVE
LEFT IT THERE.

IT WAS WRITTEN BY SOMEBODY
CALLED SERGIS BAUER.

GIVE IT TO ME!

GREGORY, WHAT IS IT?

I'M SORRY. I...

I DIDN'T MEAN
TO BE SO VIOLENT.

IT'S JUST THAT...

WHY DOES THIS LETTER
UPSET YOU SO?

OH, IT'S NOT
THE LETTER.

IT'S JUST THAT
I AM UPSET FOR YOU.

ALL THESE THINGS ARE
REMINDING YOU OF HER.

YOU SAID THAT YOU
HAD LOST YOUR FEARS,

AND NOW EVERYTHING
YOU TOUCH HERE

BRINGS THEM BACK.

OH, MY DEAREST.

WHILE YOU ARE AFRAID
OF ANYTHING,

THERE CANNOT BE
ANY HAPPINESS FOR US.

YOU MUST FORGET HER.

NO. NOT HER.

ONLY WHAT
HAPPENED TO HER.

ELIZABETH!

I SAY! ELIZABETH!

GOOD AFTERNOON,
ELIZABETH.

OH, IT'S YOU, MISS.
GOOD AFTERNOON.

GOOD AFTERNOON.

THE HOUSE IS LOOKING
VERY NICE NOW.

WHAT'S THAT, MISS?

I SAID, THE HOUSE
LOOKS VERY NICE NOW...

FROM THE OUTSIDE.

OH, YES, MISS.

I EXPECT YOU'RE GLAD

YOU GOT RID OF
THE WORKMEN AT LAST.

WELL, YES, MISS.

DO YOU THINK
THAT MR. AND MRS. ANTON

WILL BE READY
TO RECEIVE CALLERS SOON?

WELL, I COULDN'T SAY,
MISS, I'M SURE.

WE HAVEN'T HAD
NO VISITORS YET.

MASTER SAYS SEEING PEOPLE
ISN'T GOOD FOR HER.

SHE HASN'T BEEN FEELING
TOO WELL LATELY.

OH? I'M SORRY
TO HEAR THAT.

WHAT'S THAT, MISS?

I SAID, THIS FINE SUMMER
WEATHER WE'RE HAVING

OUGHT TO DO HER GOOD.

OH, YES, MISS. THEY'RE
GOING OUT THIS AFTERNOON.

FIRST TIME FOR SOME WHILE.
GOOD DAY, MISS.

GOOD DAY.

OH! WHAT LOVELY-LOOKING
STRAWBERRIES!

WHY, I NEVER GET
BIG ONES LIKE THAT.

I THINK I'LL JUST
TASTE ONE FOR LUCK.

GOOD AFTERNOON.

IF YOU HAVE
YOUR BAGS WITH YOU,

YOU CAN START IMMEDIATELY.

THANK YOU, SIR.
THEY'RE DOWNSTAIRS, SIR.

THEN EVERYTHING
IS ARRANGED.

YOUR WAGES
WILL BE £16 A YEAR.

YES, SIR. I UNDERSTAND
ALL RIGHT, SIR.

OH, JUST
ONE MORE THING--

I DON'T WANT YOU
TO BOTHER YOUR MISTRESS

ABOUT ANYTHING...EVER.

IF YOU HAVE ANY QUESTIONS,
JUST COME TO ME.

YES, SIR.

THAT'LL
SUIT ME, SIR.

WELL, THEN
YOU'LL REMEMBER IT.

YOUR PREDECESSOR
DID NOT.

THAT'S WHY SHE LEFT.

IT MAY SEEM
A LITTLE UNUSUAL,

BUT YOUR MISTRESS

IS INCLINED TO BE
RATHER HIGHLY STRUNG.

OH, ELIZABETH, COME IN.

THIS IS ELIZABETH,
THE COOK.

HELLO.

YOU'LL FIND THAT
SHE'S A LITTLE DEAF.

HELLO!

OH, ELIZABETH, THIS
IS OUR NEW HOUSEMAID.

I WAS EXPLAINING
HER DUTIES TO HER.

SHE'LL BE DOWN
IN A MOMENT.

VERY GOOD, SIR.
I'LL SEE YOU DOWNSTAIRS.

SHE'S A TARTER,
AIN'T SHE?

WHAT DO YOU MEAN
BY THAT?

OH, YOU KNOW...
STRICT-LIKE.

I'M NOT GONNA SLEEP
IN THE SAME ROOM WITH HER.

YOU SEE THE WAY
SHE LOOKED AT ME?

DON'T YOU THINK
PERHAPS YOUR COSTUME

MIGHT HAVE SOMETHING
TO DO WITH IT?

WHAT'S THE MATTER
WITH IT?

WELL, IT'S A LITTLE...
SHALL WE SAY, LOUD?

I HOPE YOU'RE NOT
A FLIGHTY GIRL, LUCY.

MY NAME'S NANCY, SIR.

OH, I'M SORRY, NANCY.

ARE YOU?

I DON'T
THINK SO, SIR.

I'M GLAD
TO HEAR THAT.

YOUR MISTRESS
IS VERY PARTICULAR

ABOUT EVERYTHING
BEING VERY CORRECT.

IS SHE, SIR?

YES.

AND SO AM I.

OH, PAULA.

THIS IS
OUR NEW HOUSEMAID.

OH. HOW DO YOU DO?

I'M ALL RIGHT,
MA'AM.

YOU CAN GO
NOW, NANCY.

VERY GOOD, SIR.

SHE SEEMS
A NICE GIRL.

I'M GLAD. I HOPE I HAVEN'T
KEPT YOU WAITING.

I HAD TO GO BACK
FOR THE GUIDEBOOK.

YOU LOOK LIKE
A SUMMER'S DAY.

BECAUSE I'M HAPPY.
WE'RE GOING OUT,

AND I'M GOING
TO SHOW YOU LONDON.

DO YOU KNOW
WHAT DAY TODAY IS?

YES.

3 MONTHS AGO TODAY,

WE CAME OUT OF THAT
LITTLE CHURCH BY THE LAKE,

MAN AND WIFE.

I HAVE A PRESENT
FOR YOU, PAULA.

GREGORY.

OH, WHERE DID YOU FIND
ANYTHING SO BEAUTIFUL?

IT BELONGED
TO MY MOTHER,

AND BEFORE THAT,
TO HER MOTHER,

AND NOW
IT BELONGS TO YOU.

OH, I SHALL
WEAR IT ALWAYS.

ALWAYS! OH, MY DEAR.

OH, HOW SWEET OF YOU
TO GIVE ME THIS.

OH, IT...

I'M AFRAID THE PIN
IS NOT VERY STRONG.

NO.

I'LL HAVE IT MENDED.

YES.

YOU BETTER NOT WEAR IT
UNTIL I HAVE.

YOU MIGHT LOSE IT.

YOU KNOW, YOU ARE INCLINED
TO LOSE THINGS, PAULA.

I AM? NO, I DIDN'T
REALIZE THAT.

OH, JUST LITTLE THINGS.

I'LL PUT IT IN YOUR BAG
FOR SAFEKEEPING.

THERE.

NOW, YOU'LL REMEMBER
WHERE IT IS?

OH, DON'T BE SILLY.

OF COURSE
I'LL REMEMBER.

OH, I WAS
TEASING YOU, MY DEAR.

♪♪ WHO WILL BUY
MY SWEET LAVENDER? ♪♪

LOOK.

♪♪ SWEET BLOOMIN'
LAVENDER ♪♪

♪♪ WHO WILL BUY... ♪♪

THAT'S LONDON.

IT'S MUSIC.

GOOD AFTERNOON,
WILKINS.

GOOD
AFTERNOON, MA'AM.

IT'S NICE TO SEE YOU
GETTIN' OUT AGAIN.

WHERE TO, MA'AM?

WE'RE GOING TO THE TOWER
OF LONDON.

VERY GOOD, MA'AM.
TOWER OF LONDON IT IS.

♪♪ WHO WILL BUY... ♪♪

WHAT'S THE MATTER
WITH THE MISTRESS?

SHE DOESN'T LOOK ILL
TO ME. IS SHE?

I DON'T KNOW.

NOT AS I CAN SEE.

BUT THE MASTER KEEPS
TELLIN' HER SHE IS.

AND HERE,
LADIES AND GENTLEMEN,

WE HAVE THE AX OF THE HEADSMAN
AND THE EXECUTION BLOCK.

THESE ARE THE ORIGINALS WITH
WHICH SUCH HISTORIC PERSONS

AS LADY JANE GREY
AND QUEEN CATHERINE HOWARD

WAS BEHEADED
WITHIN THESE PRECINCTS.

THE VICTIM, KNEELING,
LAID HIS HEAD UPON THE BLOCK,

FITTED HIS NECK INTO THE SMALL,
HOLLOWED-OUT SPACE

DESIGNED TO RECEIVE IT,
WHEREUPON THE AX DESCENDED,

SEVERING THE HEAD
FROM THE TORSO WITH ONE BLOW,

OR IN UNLUCKY CASES, 2.

MOVING TO OUR RIGHT, WE HAVE
A MODEL OF THE FAMOUS RACK,

THE INSTRUMENT OF TORTURE UPON
WHICH PRISONERS WERE STRETCHED,

THEIR LIMBS BEING FREQUENTLY
TORN FROM THEIR SOCKETS

IN AN EFFORT TO EXTRACT
A CONFESSION FROM THEM--

TRUE OR FALSE.

OH, PAULA.

YES?

THERE YOU ARE.

I WONDERED WHAT
HAD BECOME OF YOU.

OH, IT WAS
SO CLOSE IN THERE.

OH, LET'S GO OUT
INTO THE SUNSHINE.

ARE WE GOING TO SEE
THE TORTURE CHAMBER?

CERTAINLY. I THINK
IT'S RIGHT OVER HERE.

UNCLE BRIAN,
WHAT'S THE MATTER?

YOU LOOK AS IF
YOU'VE SEEN A GHOST.

THAT'S EXACTLY WHAT
I THOUGHT I'D SEEN.

THERE'S NO SUCH THING
AS A GHOST.

I KNOW. I MEANT I...

JUST THOUGHT I SAW
SOMEONE I KNOW IS DEAD.

I HAVE NO IDEA
WHO HE IS, GREGORY.

HE SEEMED
TO KNOW ME, AND--

DO YOU USUALLY BOW
TO PEOPLE YOU DON'T KNOW?

NO. I SUPPOSED I'D
MET HIM SOMEWHERE.

ARE YOU TELLING ME
THE TRUTH?

OF COURSE.
WHY SHOULD I LIE?

I DON'T KNOW
WHO HE IS.

YET YOU SMILED
AT HIM. WHY?

I TELL YOU,
I WASN'T THINKING.

I DON'T KNOW
WHY I DID IT.

LIKE THE OTHER THINGS.

WHAT OTHER THINGS?

OH, NOTHING.

ONLY, I'VE BEEN
NOTICING, PAULA, THAT...

YOU'VE BEEN
FORGETFUL LATELY.

FORGETFUL?

WELL, LOSING
THINGS AND...

OH, NOW, DON'T LOOK
SO WORRIED, PAULA.

IT'S NOTHING.
YOU GET TIRED, AND--

YES. THAT'S PROBABLY
WHAT IT IS. I GET TIRED.

I'M TIRED NOW.
CAN'T WE GO HOME?

OH, NO. WE STILL HAVE
THE CROWN JEWELS TO SEE.

THEY'RE IN THAT
BUILDING OVER THERE.

HOW DO YOU KNOW?

WHAT DID YOU SAY?

I SAID, HOW DO YOU
KNOW WHERE THEY ARE?

YOU HAVEN'T
BEEN HERE BEFORE.

THE GUIDE
TOLD US INSIDE.

ARE YOU BECOMING
SUSPICIOUS

AS WELL AS
ABSENT-MINDED, PAULA?

NO, OF COURSE NOT,
GREGORY.

THE KOH-I-NOOR,
OR "MOUNTAIN OF LIGHT."

IT'S THE MOST FAMOUS
DIAMOND IN THE WORLD.

THE IMPERIAL
STATE CROWN--

THAT'S THAT ONE.

YES, I KNOW.
IT WAS MADE

FOR THE CORONATION
OF QUEEN VICTORIA.

AMONG THE JEWELS
IT CONTAINS

ARE THE RUBY
OF THE BLACK PRINCE,

THE SIZE
OF A HEN'S EGG,

THE STUART SAPPHIRE,

WHICH WAS
AMONG THE JEWELS

JAMES II
TOOK WITH HIM

WHEN HE FLED
TO FRANCE,

AND THE DIAMONDS
AND PEARLS

FROM THE EARRINGS
OF QUEEN ELIZABETH.

JEWELS ARE
WONDERFUL THINGS.

THEY HAVE A LIFE
OF THEIR OWN.

OH, GREGORY,
CAN'T WE GO HOME NOW?

OF COURSE, MY DEAR.
I'LL TAKE YOU HOME.

THAT'S THE MISTRESS' ROOM.
THAT'S THE MASTER'S.

NOW, WE'VE GOT
ALL THIS TO SEE TO.

HAVE YOU GOT
THE SHEETS THERE?

I COULD HAVE SWORN

THAT THERE WERE
MORE THAN THAT, BUT...

WHAT'S UP THERE?

NEVER MIND
ABOUT UP THERE.

THE WHOLE FLOOR'S
BEEN BOARDED OFF.

WHY?

THAT'S THE WAY
THE MASTER WANTED IT.

WELL,
YOU WERE RIGHT.

THERE IS NOTHING
MORE BEAUTIFUL

THAN LONDON
IN SUNSHINE.

I'M SORRY
I SPOILED THE DAY

BY BRINGING YOU
HOME SO SOON.

YOU SHOULD LIE DOWN AND
REST FOR A LITTLE, PAULA.

YES.

WOULD YOU LIKE ME
TO STAY WITH YOU

AND NOT GO OUT
THIS EVENING?

OH, NO. YOU GO
AND WORK AS USUAL.

CAN YOU REALLY WORK

IN THAT LITTLE ROOM
YOU RENTED?

I WISH YOU'D
LET ME SEE IT

AND MAKE IT
ATTRACTIVE FOR YOU.

I NEVER NOTICE
MY SURROUNDINGS

WHEN I'M WORKING.

OH, PAULA...

YOU MIGHT GIVE ME
YOUR BROOCH

SO I CAN
HAVE IT REPAIRED.

WHAT'S THE MATTER?

ANYTHING WRONG?

NO.

NO. IT'S...

OH, GREGORY,

I CAN'T FIND IT.

WHAT?

I MISSED IT WHEN WE
WERE IN THE TOWER.

I MUST TURN
EVERYTHING OUT.

I KNOW
IT WAS HERE.

I CAN'T
UNDERSTAND IT.

I COULDN'T
HAVE LOST IT.

IT MUST BE HERE.

I'M SURE IT'S THERE.

IT'S NOT.

OH, PAULA,
DIDN'T I TELL YOU?

HOW DID YOU COME
TO LOSE IT?

I MUST HAVE
PULLED IT OUT

WITH SOMETHING,
I SUPPOSE.

OH, I'M TERRIBLY
SORRY, GREGORY.

PLEASE FORGIVE ME.

FORGIVE, MY DEAR? IT'S
NOT AS SERIOUS AS THAT.

IT'S NOT VALUABLE.

BUT YOUR PRESENT
TO ME--

YOUR MOTHER'S
BROOCH,

AND I WANTED
TO WEAR IT ALWAYS.

I...I...

I DON'T REMEMBER
OPENING MY BAG.

WELL, I SUPPOSE
I MUST HAVE.

YOU DID PUT IT
IN THERE?

DON'T YOU EVEN
REMEMBER THAT?

YES.

YES, OF COURSE,
I DO.

BUT SUDDENLY
I AM BEGINNING

NOT TO TRUST
MY MEMORY AT ALL.

OH, PAULA.
I TELL YOU,

YOU'RE JUST TIRED,
THAT'S ALL.

IT DOESN'T MEAN
ANYTHING.

I'M SURE IT DOESN'T.

DON'T WORRY SO,
PAULA.

DON'T WORRY.

NANCY, HAS
THE MASTER LEFT?

YES, MA'AM.
A LITTLE WHILE AGO.

PLEASE SEE THAT HE
HAS PLENTY OF COAL

ON THE FIRE IN
HIS ROOM, WON'T YOU?

YOU ALREADY TOLD ME
THAT, MA'AM.

NANCY, DID YOU TURN
THE GAS UP IN THERE?

TURN IT UP?
NO. WHY?

I THOUGHT IT
WENT DOWN IN HERE

AS IF YOU HAD.

I NEVER TOUCHED IT.

BUT THIS WENT DOWN.

WELL, PERHAPS ELIZABETH LIT
ANOTHER JET IN THE KITCHEN.

COULDN'T HAVE
BEEN HER, MA'AM.

SHE'S BEEN IN BED
FOR AN HOUR.

I COULD HEAR HER
SNORING.

WELL, THAT'S ODD.

GOOD NIGHT, NANCY.

GOOD NIGHT, MA'AM.

YES, THAT'S IT.

I BEG YOUR PARDON?

I SAID, THAT'S IT.
THAT'S THE ALQUIST HOUSE.

OH. YES. YES.

IT HAPPENED
IN THE DRAWING ROOM,

UPSTAIRS.
THAT WINDOW.

I LIVE JUST
ACROSS THE SQUARE.

MY NAME IS THWAITES,
MISS THWAITES.

HOW DO YOU DO?

HOW DO YOU DO?

PERHAPS YOU COULD
TELL ME,

HAS THE HOUSE
BEEN OCCUPIED LONG?

OH, ABOUT 4 OR 5
MONTHS NOW.

COME ALONG.

YOU DON'T HAPPEN
TO KNOW

WHO'S LIVING
IN THE HOUSE, DO YOU?

YES. A FOREIGN COUPLE.

ANTON'S THE NAME.

SOMETHING
MYSTERIOUS THERE.

WHAT DO YOU MEAN,
MYSTERIOUS?

NEVER HAVE VISITORS,
NEVER GO OUT ANYWHERE--

AT LEAST, SHE DOESN'T.

I THINK YOU'RE
WRONG, MADAM.

THERE DON'T SEEM TO BE AS
MANY AS USUAL HERE TODAY.

COME ALONG, PIGEONS!
COME ALONG, SPARROWS!

WHAT DID YOU SAY?

I SAID, YOU SEEM
TO BE WRONG

ABOUT HER
NOT GOING OUT.

HOW VERY SURPRISING.

OH, IT'S YOU, MA'AM.

I NEVER KNEW
YOU'D GONE OUT.

WELL, I JUST
WENT FOR A WALK,

BUT IT LOOKS
AS IF IT MIGHT RAIN,

SO I THOUGHT I SHOULD
HAVE MY UMBRELLA.

OF COURSE, MA'AM.

SUPPOSE THE MASTER COMES BACK
AND ASKS WHERE YOU'VE GONE.

WELL, TELL HIM
I JUST WENT FOR A WALK.

BY YOURSELF, MA'AM?

OF COURSE. WHY NOT?

SUPPOSE THE MASTER
ASKS WHERE?

WELL, TELL HIM I...

TELL HIM I JUST...

NOW DO YOU SEE
WHAT I MEAN?

GOES OUT,
GOES BACK, GOES IN.

ODD. DEFINITELY ODD.

IT'S AN ODD
HOUSEHOLD, TOO.

THAT MAIDSERVANT--
MOST IMPERTINENT.

I CAN'T GET
A THING OUT OF HER.

SHE WON'T TALK
TO ME,

THOUGH SHE WOULD
QUICK ENOUGH

IF I WORE TROUSERS.

THE WAY
SHE CARRIES ON

WITH THAT POLICEMAN
ON THE BEAT,

IT'S SCANDALOUS!

THERE...THERE...

THAT'S ALL THERE IS.

FLY AWAY, PIGEONS.

MORE TOMORROW.

WELL!

PAPER! THANK YOU, SIR.
THERE YOU ARE, SIR.

EXTRA! SPECIAL!
SPECIAL EDITION!

READ ALL ABOUT IT!
EXTRA! PAPER!

HERE YOU ARE,
GOVERNOR. PAPER?

VERY GOOD, SIR.
THANK YOU, SIR.

EXTRA! SPECIAL! READ
ALL ABOUT IT! PAPER!

I WANT YOU TO PUT THAT
FILE BACK WHERE YOU GOT IT.

I TELL YOU,
THE CASE IS DEAD,

AND I'M NOT GONNA HAVE IT
ALL DUG UP AGAIN FOR NOTHING.

DO YOU UNDERSTAND?

YOU HAD NO RIGHT TO GO
THROUGH THAT FILE.

BUDGE HERE HAD NO RIGHT
TO LET YOU GET AT IT.

I'M SORRY, GENERAL.

MR. CAMERON HERE
IS YOUR ASSISTANT.

WELL, THEN IT'S HIS JOB
TO ASSIST ME,

NOT GO DIGGING
INTO 10-YEAR-OLD CASES

ON WILD SUSPICIONS
OF HIS OWN.

NOW, THEN, BUDGE,
YOU GET ALONG.

VERY GOOD, GENERAL.

WHAT'S YOUR INTEREST
IN THIS CASE, ANYWAY?

WELL, IT WAS RATHER
A FAMOUS CASE,

AND IT IMPRESSED ME
VERY MUCH AT THE TIME.

BESIDES...

WELL, I ONCE MET
ALICE ALQUIST.

I WAS TAKEN TO HEAR HER
AT A COMMAND PERFORMANCE

WHEN I WAS
12 YEARS OLD,

THEN AFTERWARDS
TO MEET HER

IN THE ARTISTS'
ROOM.

I KNOW IT SOUNDS
SILLY,

BUT I STILL
THINK SHE WAS

THE MOST BEAUTIFUL
WOMAN I EVER SAW,

AND I'VE NEVER
FORGOTTEN HER.

AND NOW--

NOW YOU'VE SEEN SOMEONE
YOU THINK LOOKS LIKE HER.

LIVING IN
THE SAME HOUSE.

WELL, WHY SHOULDN'T SHE?
IF SHE'S THE NIECE,

THE HOUSE PROBABLY
BELONGS TO HER.

AND IF YOU'RE TRYING
TO MAKE THE ACQUAINTANCE

OF A PRETTY WOMAN,

YOU'VE NO RIGHT
TO USE OFFICIAL BUSINESS

AS AN EXCUSE.

OH, IT'S
NOT THAT, SIR.

BUT I TELL YOU, SIR,
I HAVE A FEELING

THERE'S SOMETHING
PECULIAR GOING ON THERE.

PERHAPS EVEN MORE
THAN PECULIAR.

NOW, LOOK HERE, BRIAN,

ONCE AND FOR ALL, THE CASE
WAS GIVEN UP AS HOPELESS.

AS FOR THE MATTER
OF THE JEWELS,

THAT WAS DROPPED
BY ORDER OF, UH...

WELL, OF MOST
IMPORTANT PERSONAGE.

JEWELS?

THERE'S NOTHING HERE
ABOUT JEWELS.

WELL, UH...

THERE WERE
SOME JEWELS.

THEY WERE GIVEN
TO HER BY, UH...

WELL, BY SOMEBODY
VERY HIGHLY PLACED--

SOME OF THE CROWN JEWELS
OF HIS, UM...

WELL, OF ANOTHER COUNTRY,
AS A MATTER OF FACT.

WHAT HAPPENED TO THEM?

THEY, UH...DISAPPEARED.

THAT'S WHY
SHE WAS MURDERED.

WELL, THAT WAS
THE OFFICIAL THEORY,

THOUGH WHAT THE MURDERER
WANTED THE JEWELS FOR

I CAN'T IMAGINE. THEY
WERE MUCH TOO FAMOUS

FOR HIM TO BE ABLE
TO SELL THEM ANYWHERE.

HAVE THEY NEVER
SHOWN UP SINCE?

NOT AS FAR AS I'VE
BEEN INFORMED.

WELL, THEN...
WHERE ARE THEY?

I DON'T KNOW.

THE MURDER PART OF THE CASE
WAS PURSUED TO THE UTMOST,

AS YOU CAN SEE FOR YOURSELF
FROM THAT FILE.

THERE WAS NEVER ANY CASE
AGAINST ANYONE ANYWHERE.

THERE WERE THE USUAL
BLIND-ALLEY SUSPECTS.

YOU'VE READ ALL THEIR NAMES
THERE IN THAT STUFF.

AND THERE WAS NEVER
ANYTHING TO PROVE

AGAINST ANY OF THEM.

NOW, RUN ALONG.
THERE'S A GOOD FELLOW.

I'M BUSY.

VERY WELL, SIR.

GOOD DAY, SIR.

AFTERNOON,
MR. CAMERON.

WILLIAMS.

WILLIAMS.

DID YOU
WANT ME, SIR?

YES.

TELL ME, YOU'RE NOT
A MARRIED MAN, ARE YOU?

NO, SIR.

WHERE ARE YOU
ON DUTY NOW?

DOWN IN THE EAST
END, SIR.

HOW WOULD YOU LIKE A MORE
FASHIONABLE LOCALITY?

I'D LIKE IT
VERY MUCH, SIR.

WELL, WE'LL SEE WHAT
CAN BE DONE ABOUT IT.

DON'T SAY ANYTHING
TO ANYBODY FOR THE MOMENT.

IF YOU WANT COAL
ON THE FIRE, PAULA,

WHY DON'T YOU RING
FOR THE MAID?

OH, I'M SORRY. I DIDN'T
MEAN TO WAKE YOU.

GO BACK TO SLEEP,
DEAR.

NO, PAULA. NOW THAT
YOU HAVE WAKENED ME,

WE MIGHT AS WELL
BE COMFORTABLE.

RING FOR THE MAID.

OH, I CAN
PUT IT ON MYSELF.

PAULA, WE'VE HAD
THIS SUBJECT OUT BEFORE.

PLEASE...

PULL THE BELL CORD.

OH, IT SEEMS
SO UNNECESSARY.

WHAT DO YOU SUPPOSE
THE SERVANTS ARE FOR, PAULA?

HMM? ANSWER ME.

WHAT DO YOU SUPPOSE
THE SERVANTS ARE FOR?

TO DO THINGS
TO SERVE US, I SUPPOSE.

EXACTLY.

IT'S ONLY THAT I THINK

WE SHOULD CONSIDER
THEM A LITTLE.

OH, GREGORY...

DON'T BE CROSS
WITH ME.

I'M NOT CROSS
WITH YOU.

OH, THERE ARE
A LOT OF THINGS...

DID YOU RING, SIR?

NO. YOUR MISTRESS RANG.

WELL, GO ON,
MY DEAR.

WHY DON'T YOU TELL NANCY
WHAT YOU RANG FOR?

A LITTLE COAL ON THE FIRE,
PLEASE, NANCY.

VERY GOOD, MADAM.

YOU'RE LOOKING
VERY PRETTY

THIS AFTERNOON,
NANCY.

YOU KNOW THAT?

I DON'T KNOW IT
AT ALL, SIR, I'M SURE.

TONIGHT IS YOUR NIGHT
OUT, ISN'T IT?

THAT'S RIGHT, SIR.

WHOM ARE YOU
MEETING TONIGHT?

YOU MIGHT LIGHT
THE GAS, TOO, NANCY.

I SEE
THEY'VE CHANGED

THE POLICEMAN
ON THE BEAT.

IS HIS HEART
GOING TO BE ADDED

TO THE LIST OF THOSE
YOU'VE BROKEN?

I DIDN'T KNOW
I'D BROKEN ANY, SIR.

OH, NOW, I'M SURE
THAT'S NOT TRUE.

AND THAT COMPLEXION
OF YOURS...

THAT'S SOMETHING THAT'S
NOT QUITE TRUE, EITHER.

OH, YOU DO IT VERY
CLEVERLY, I GRANT YOU.

IN FACT...

I WAS WONDERING WHETHER
YOU MIGHT NOT CARE

TO PASS SOME OF YOUR SECRETS
ON TO YOUR MISTRESS

AND HELP HER GET RID
OF HER PALLOR.

SURE. I'D BE VERY PLEASED
TO DO ANYTHING I CAN, SIR.

WILL THAT BE
ALL YOU'RE WANTING?

YES, EXCEPT TEA
WHEN IT'S READY.

VERY GOOD, SIR.

GREGORY, HOW CAN YOU
TALK TO NANCY LIKE THAT?

BUT, MY DEAR,
YOU SEEM SO ANXIOUS

TO REGARD THE SERVANTS
AS YOUR EQUALS.

I THOUGHT I WOULD
TREAT HER AS ONE.

BESIDES, I WAS ONLY
TRIFLING WITH HER.

NO WONDER THAT GIRL
DESPISES ME--

THE WAY
YOU ENCOURAGE HER.

DESPISES YOU?

WHATEVER MAKES YOU
THINK THAT?

HER WHOLE MANNER!
THE WAY SHE...

THE WAY SHE TALKS
TO ME,

THE WAY
SHE LOOKS AT ME.

LOOKS AT YOU?

PAULA, I HOPE
YOU'RE NOT STARTING

TO IMAGINE THINGS AGAIN.

YOU'RE NOT,
ARE YOU, PAULA?

OF COURSE I'M NOT.

I HOPE YOU'RE NOT,
BUT IF YOU START TALKING

ABOUT THE WAY
NANCY LOOKS AT YOU--

DON'T TURN AWAY, PAULA.

WE MUST HAVE THIS OUT.

DO YOU REALLY THINK
NANCY DESPISES YOU?

WELL, ANSWER ME,
PAULA. DO YOU?

NO, GREGORY.

WELL, I'M GLAD
OF THAT.

IT HURTS ME WHEN YOU'RE
ILL AND FANCIFUL.

COME IN!

WELL, WHAT
IS IT NOW?

IF YOU PLEASE, SIR,

MISS THWAITES
IS DOWNSTAIRS.

SHE WANTED TO KNOW

IF THE MISTRESS
WAS AT HOME.

YOU MEAN THAT OLD BUSYBODY
FROM ACROSS THE SQUARE?

YES, SIR. SHE HAS
HER NEPHEW WITH HER.

WELL,
I DON'T THINK

WE NEED BORE
OURSELVES WITH THEM.

TELL HER YOUR MISTRESS
IS NOT AT HOME.

OH, GREGORY, REALLY.
SHE'S BEEN--

MY DEAR, IF YOU
LET HER IN ONCE,

YOU'LL ALWAYS
HAVE HER HERE.

BUT SHE HAS CALLED
SO MANY TIMES,

AND WE'VE NEVER BEEN
AT HOME TO--

I DO NOT WANT PEOPLE
ALL OVER THIS HOUSE!

BRINGING HER
FAMILY WITH HER.

TELL, UH...
MISS THWAITES

THAT YOUR MISTRESS IS SORRY,
BUT SHE'S NOT WELL ENOUGH

TO SEE HER.

VERY GOOD, SIR.

GREGORY, WHY
DID YOU DO THAT?

I WOULD HAVE LIKED
TO HAVE SEEN HER.

BUT, MY DEAR, I THOUGHT
YOU WERE ONLY TRYING

TO BE POLITE.
WHY DIDN'T YOU TELL ME

YOU REALLY WANTED
TO SEE HER?

I--I COULDN'T
IN FRONT OF THAT GIRL.

NOW, YOU MUST GET OVER
THIS RIDICULOUS FEAR

OF THE SERVANTS.

NOW, IF YOU REALLY
WANTED TO SEE HER,

ALL YOU HAD
TO SAY WAS,

"SHOW HER IN, NANCY,"
WASN'T IT?

WASN'T IT?

YES, BUT--

I'M SORRY, MISS.
THAT'S ALL I KNOW.

THE MISTRESS ISN'T WELL
ENOUGH TO RECEIVE ANYONE.

PLEASE TELL HER
HOW SORRY WE ARE.

COME ALONG,
AUNTIE DEAR.

YOU KNOW, YOU
WOULDN'T HAVE HAD TIME

TO SEE THEM ANYWAY.

YOU HAVE TO DRESS,
DO YOUR HAIR.

WHY?

WE'RE GOING OUT TONIGHT.

WE ARE?

YOU DIDN'T TELL ME.

OR HAVE I FORGOTTEN?

DON'T YOU THINK
THIS IS CHARMING?

IT'S FROM THE NEW
OPERETTA AT THE GAIETY.

I WISH I COULD WRITE
TUNES LIKE STRAUSS.

PAULA, YOU SILLY CHILD,
DON'T LOOK LIKE THAT.

OF COURSE YOU HAVEN'T
FORGOTTEN ANYTHING.

THIS IS MY SURPRISE
FOR YOU.

WE'RE GOING
TO THE THEATER TONIGHT.

OH, GREGORY.

OH, NO!

OH, HOW WONDERFUL!

AND YOU THOUGHT I WAS
BEING CRUEL TO YOU.

NO,
YOU'RE NOT CRUEL.

KEEPING PEOPLE
AWAY FROM YOU,

MAKING YOU A PRISONER.

OH, YOU'RE THE KINDEST
MAN IN THE WORLD.

OH, I'M SORRY.
I'M SORRY.

I'M SORRY.

I'M SORRY.

I'M SORRY.

OH, GREGORY.

OH, I'M SO HAPPY.

♪♪ I'M SO HAPPY ♪♪

OH, GREGORY.

WHAT'S THE MATTER?

PAULA, I DON'T
WANT TO UPSET YOU.

IF YOU WILL PUT THINGS RIGHT
WHEN I'M NOT LOOKING,

WE'LL ASSUME
IT DID NOT HAPPEN.

BUT WHAT?
GREGORY, WHAT?

OH, PLEASE DON'T
TURN YOUR BACK ON ME.

WHAT HAS HAPPENED?

YOU MEAN
YOU DON'T KNOW?

NO. I...

LOOK.

YES.

THE LITTLE PICTURE
HAS BEEN TAKEN DOWN.

WHO TOOK IT DOWN?

WHY HAS IT
BEEN TAKEN DOWN?

WHY, INDEED?

WHY WAS IT
TAKEN DOWN BEFORE?

WILL YOU PLEASE GET IT FROM
WHEREVER YOU'VE HIDDEN IT

AND PUT IT
BACK IN ITS PLACE?

BUT I HAVEN'T
HIDDEN IT.

I SWEAR I HAVEN'T.
WHY SHOULD I?

WHY SHOULD...

DON'T LOOK AT ME
LIKE THAT.

SOMEONE ELSE
MUST HAVE DONE IT.

I...

NO, DON'T RING.
OH, PLEASE DON'T RING.

OH, GREGORY, DON'T SHAME ME
BEFORE THE SERVANTS.

PAULA, PLEASE STOP
BEING HYSTERICAL.

NOW, SIT DOWN

AND CALM YOURSELF
BEFORE THEY COME.

WE MUST GET TO THE BOTTOM
OF THIS ONCE AND FOR ALL.

PLEASE COME IN,
ELIZABETH.

ELIZABETH, DO YOU
NOTICE ANYTHING MISSING

FROM THIS ROOM?

MISSING, SIR?

NO. I...

I DON'T
THINK SO, SIR.

LOOK CAREFULLY
ON THE WALLS.

WELL?

OH, THERE'S A LITTLE
PICTURE MISSING, SIR.

EXACTLY.

DID YOU
TAKE IT AWAY?

NO, SIR.

HAVE YOU EVER
TAKEN IT DOWN

FROM WHERE
IT BELONGS?

OH, NO, SIR.
WHY EVER SHOULD I?

WHY, INDEED?

ELIZABETH...

YOU GO TO CHURCH,
DON'T YOU?

TO WHAT, SIR?

CHURCH!

YES, SIR.

PLEASE KISS
THIS BIBLE

AS A SOLEMN OATH THAT
YOU'VE TOLD THE TRUTH.

THANK YOU, ELIZABETH.
YOU MAY GO NOW.

AND SEND NANCY
IN HERE AT ONCE. NANCY.

YES, SIR.

OH, GREGORY, NO,
NOT THAT GIRL.

I'LL SAY ANYTHING.
I'LL SAY THAT I DID IT.

I DID IT, GREGORY!
I'LL NOT HAVE THAT--

PAULA, PLEASE! HAVE THE
GOODNESS TO CONTROL YOURSELF.

THIS IS PAINFUL ENOUGH
WITHOUT YOUR MAKING IT WORSE.

NOW, PAULA,
PLEASE COME BACK.

SINCE YOU HAVE THROWN
SUSPICION ON THE SERVANTS,

THEY MUST BE
CLEARED OF IT.

NOW, SIT DOWN.

DID YOU HEAR
WHAT I SAID?

WELL, SIT DOWN.

COME HERE, NANCY.

NANCY, A PICTURE
HAS BEEN TAKEN DOWN

FROM THE WALL THERE.

COO! SO IT HAS.

THAT'S ANOTHER
RUM GO.

I DID NOT ASK FOR
ANY COMMENTS ON YOUR PART.

I WANT TO KNOW
WHETHER IT WAS YOU

WHO TOOK
THE PICTURE DOWN.

OF COURSE
IT WASN'T, SIR.

WHAT WOULD I WANT
TO TAKE IT DOWN FOR?

SHALL I ASK HER
TO KISS THE BIBLE, PAULA,

OR WILL YOU
ACCEPT HER WORD?

OF COURSE I'LL
ACCEPT IT. LET HER GO.

VERY WELL.
YOU MAY GO, NANCY.

GIVE ME THAT BIBLE!

THERE. DO YOU SEE?
I SWEAR ON THE BIBLE

I DIDN'T TAKE
THAT PICTURE DOWN.

GO LOOK FOR THE PICTURE.

SO YOU KNEW WHERE
IT WAS ALL THE TIME.

NO.

OH, I DIDN'T KNOW.

I ONLY LOOKED THERE
BECAUSE THAT'S

WHERE IT WAS FOUND
TWICE BEFORE.

I DIDN'T KNOW, GREGORY.
I DIDN'T KNOW.

I DIDN'T.

NOW, PAULA, I THINK YOU
BETTER GO TO YOUR ROOM.

OH, WE'RE NOT GOING
TO THE THEATER?

OH, MY DEAR,
I'M AFRAID

YOU ARE FAR FROM WELL
ENOUGH FOR THE THEATER.

NOW, COME.

GREGORY, IF IT WAS I WHO
TOOK THAT PICTURE DOWN--

IF?

IF IT WAS I WHO TOOK IT
DOWN THE OTHER TIMES,

IF I DO ALL THESE SENSELESS,
MEANINGLESS THINGS...

IT'S SO MEANINGLESS.

WHY SHOULD I TAKE
A PICTURE DOWN?

OH, THEN I DON'T KNOW
WHAT I DO ANYMORE.

I KNOW, PAULA.
THAT'S JUST THE TROUBLE.

BUT THEN
IF THAT'S TRUE,

THEN YOU MUST BE
GENTLE WITH ME.

YOU MUST BEAR
WITH ME, PLEASE.

OH, PLEASE,
GREGORY, PLEASE.

NOW, COME, PAULA.

YOU BETTER GO
TO YOUR ROOM.

WHAT ARE YOU
GOING TO DO?

I'M GOING OUT TO WORK,
FORGET ALL THIS.

NO. PLEASE DON'T
LEAVE ME HERE

ALL BY MYSELF NOW.

I GET SO FRIGHTENED
WHEN I AM HERE ALONE

AND YOU GO OUT
NIGHT AFTER NIGHT.

FRIGHTENED?

YOU NEVER TOLD
ME THAT BEFORE.

I'M TELLING YOU NOW!

I'M FRIGHTENED
OF THE HOUSE!

I HEAR NOISES
AND FOOTSTEPS.

I IMAGINE THINGS,

THAT THERE ARE PEOPLE
OVER THE HOUSE.

I'M FRIGHTENED
OF MYSELF, TOO.

GREGORY, PLEASE!

PLEASE DON'T LEAVE ME.
STAY WITH ME.

GREGORY, TAKE ME
IN YOUR ARMS, PLEASE!

PLEASE, PLEASE. TAKE ME
IN YOUR ARMS, GREGORY.

PLEASE! PLEASE!

I HOPE TO FIND YOU
BETTER IN THE MORNING.

SHE SEEMS TO BE
GETTING WORSE,

DOESN'T SHE, SIR?

YOU WILL PLEASE NOT REFER
TO YOUR MISTRESS AS "SHE."

THANK YOU, NANCY.

GONNA WORK ON YOUR TUNES
AGAIN TONIGHT, SIR?

YOU'RE ALWAYS
WORKING, AREN'T YOU?

YES.

WHAT ARE YOU DOING
WITH YOUR EVENING OUT?

OH, I'M GOING
TO A MUSIC HALL.

♪♪ UP IN A BALLOON, BOYS,
UP IN A BALLOON ♪♪

I'VE NEVER BEEN
TO AN ENGLISH MUSIC HALL.

OH, YOU DON'T KNOW
WHAT YOU'VE MISSED, SIR.

♪♪ UP IN A BALLOON,
BOYS ♪♪

♪♪ UP IN A BALLOON ♪♪

YOU'D LIKE IT
A LOT, SIR.

OH? WE MUST SEE
ABOUT THAT.

AND WHOM ARE YOU GOING
TO THE MUSIC HALL WITH?

GENTLEMAN FRIEND,
SIR.

OH, NOW, YOU KNOW,
NANCY, DON'T YOU,

THAT GENTLEMAN FRIENDS
ARE SOMETIMES INCLINED

TO TAKE LIBERTIES
WITH YOUNG LADIES?

OH, NO, SIR,
NOT WITH ME.

I CAN TAKE CARE
OF MYSELF...

WHEN I WANT TO.

YOU KNOW, NANCY,
IT STRIKES ME

THAT YOU'RE NOT AT ALL
THE KIND OF GIRL

THAT YOUR MISTRESS SHOULD
HAVE FOR A HOUSEMAID.

NO, SIR? SHE'S
NOT THE ONLY ONE

IN THE HOUSE,
IS SHE?

LET PEOPLE FIND
THEIR OWN PLACES

FOR THE CONCERT,
MURDOCK.

JUST SIT WHERE
THEY LIKE.

THOSE WHO DON'T
CARE FOR MUSIC

CAN GO INTO
THE SMOKING ROOM.

MAY I COME IN?

OH, BRIAN.

GOOD EVENING.

GOOD EVENING,
LADY DALROY.

HOW ARE YOU,
SIR?

HOW ARE YOU, MY BOY?
NICE TO SEE YOU.

AM I THE FIRST
TO ARRIVE?

I HAVE A LITTLE
FAVOR TO ASK YOU.

ARE YOU HAVING
A SIT-DOWN SUPPER

AFTER THE MUSIC?

YES, AND I'VE PUT YOU
NEXT TO LAURA PRITCHARD.

OH, I DON'T LIKE
LAURA PRITCHARD.

SHE'S GOT
ADENOIDS.

NONSENSE. SHE'S
A MOST AGREEABLE GIRL,

AND I WANT YOU TO BE
VERY NICE TO HER.

HAVEN'T YOU LEARNED YET

THAT MILDRED IS
AN INCURABLE MATCHMAKER?

I'LL BE NICE
TO MISS PRITCHARD

ANOTHER TIME.

TONIGHT I WANT YOU
TO BE VERY KIND

AND PUT ME NEXT
TO MRS. ANTON. WILL YOU?

OH, IT'S MOST TIRESOME
OF YOU. ALL RIGHT.

WELL, WHO'S
MRS. ANTON?

SHE'S THE NIECE
OF ALICE ALQUIST.

SHE USED TO COME
HERE AS A CHILD.

BRIAN TOLD ME SHE
WAS BACK IN LONDON

NOW AND MARRIED,

SO I INVITED THEM
TO COME TONIGHT.

WHO'S MR. ANTON,
BY THE WAY?

WHAT DOES HE DO?

WHERE DOES HE
COME FROM?

PUT ME NEXT TO HER TONIGHT,
AND I'LL FIND OUT FOR YOU.

I'M SORRY, BRIAN,
BUT YOU'LL HAVE TO

SIT NEXT TO THE PRITCHARD
GIRL AFTER ALL.

- THE ANTONS CAN'T COME.
- NO.

LETTER FROM HER?

NO. FROM HIM.

HIM?

YES. APPARENTLY,
SHE'S ILL.

VERY TIRESOME
OF HER.

HERE, READ IT
IF YOU WANT TO.

I MUST GO AND
ORDER THE TABLES.

COME ON, FREDDY.
I WANT YOU.

IS
THAT YOU, PAULA?

YES.

WHY ARE YOU
DRESSED UP LIKE THAT?

BECAUSE TONIGHT IS
LADY DALROY'S RECEPTION.

BUT I SENT A NOTE.

I KNOW.

I SENT A NOTE TO SAY THAT
YOU WERE NOT WELL ENOUGH.

I'M QUITE WELL ENOUGH,
AND I WANT TO GO.

LADY DALROY WAS VERY KIND
TO ME WHEN I WAS SMALL,

AND...
AND I AM GOING.

I MUST GET OUT OF
THIS HOUSE, MEET PEOPLE,

AND SEE A LITTLE

OF WHAT'S GOING ON
IN THE WORLD.

I AM GOING TO THIS
RECEPTION, GREGORY.

WELL, THEN I'M AFRAID
YOU'LL HAVE TO GO ALONE.

WELL, THEN...
I MUST GO ALONE.

PAULA.

PAULA...
I DIDN'T REALIZE

THIS PARTY MEANT
SO MUCH TO YOU.

I'LL GO AND CHANGE
IMMEDIATELY.

YOU DIDN'T
REALLY THINK

I WOULD LET YOU GO
ALONE, DID YOU?

I DON'T KNOW.

I SHAN'T BE
A MINUTE.

COME IN.

COO!

DID YOU RING
FOR SOMETHING, MA'AM?

YES. PLEASE
FETCH A CAB.

BUT I THOUGHT
YOU WERE G--

GET A CAB, NANCY.

IS THE MASTER
GOIN' OUT, TOO?

YES, HE IS.

PLEASE HURRY.

VERY GOOD, MA'AM.

OI, CABBY! OI!

BECKONIN' A CAB
ON YOUR EVENING OUT, EH?

OH, YES. I'M GOING
OUT TO DINNER

AT BUCKINGHAM
PALACE, I AM.

I'M GONNA HAVE
A LOVELY EVENIN' OUT.

HERE, NOW. WHAT'S
THE MATTER WITH YOU?

FIRST THEY'RE GOIN' OUT,
THEN THEY'RE NOT.

CHANGIN'
ALL MY PLANS.

NEVER A WORD
TO ME FROM HIM.

HERE, YOU BETTER
GET ALONG.

THEY'LL BE OUT
IN A MINUTE.

SEE YOU SUNDAY?

PERHAPS.

USUAL PLACE?

USUAL PLACE.

GOOD NIGHT.

GOOD NIGHT.

DRAW YOUR CLOAK
AROUND YOU. IT'S DAMP.

DALROY HOUSE.

GOOD NIGHT, NANCY.

HAVE A NICE
EVENING, SIR.

YOU'RE PAULA ANTON.

I'M SURE YOU DON'T
REMEMBER ME.

I DO, INDEED,
LADY DALROY.

IT WAS AT THE CHILDREN'S
PARTY HERE,

AND THERE
WAS A MAGICIAN.

MAY I INTRODUCE
MY HUSBAND, LADY DALROY?

HOW DO YOU DO?

I HOPE YOU WILL FORGIVE
ALL THE CONFUSION, LADY DALROY,

BUT MY WIFE SUDDENLY
FELT MUCH BETTER,

AND WE WERE
SO ANXIOUS TO COME.

BUT OF COURSE.

YOU'LL FIND SOME
SEATS OVER THERE.

SERATSKY HASN'T
PLAYED YET.

I'LL SEE YOU
LATER AT SUPPER.

THANK YOU.

What
are you looking at?

NOTHING.

I THOUGHT I SAW SOMEONE
I KNEW, THAT'S ALL.

Paula.

Paula.

My watch is gone.

NO.

I...

I DIDN'T
PUT IT THERE.

I SWEAR
I DIDN'T PUT--

WOULD YOU BE
QUIET, PLEASE?

PAULA.

PAULA...

PLEASE CONTROL
YOURSELF.

BEING SEEN LIKE THIS
IN PUBLIC.

NO!

COME.

I'M VERY SORRY,
LADY DALROY,

BUT I'M AFRAID MY WIFE'S
ILLNESS HAS RETURNED.

CAN I SEND
FOR A DOCTOR?

NO, NO. IF I CAN
JUST GET HER HOME...

WE SHOULDN'T
HAVE COME TONIGHT,

BUT SHE WAS SO ANXIOUS.

I'M SO SORRY,
LADY DALROY.

I THINK IT
THE MOST EXTRAOR--

I'VE TRIED SO HARD TO KEEP
IT WITHIN THESE WALLS,

IN MY OWN HOUSE.

NOW BECAUSE YOU WOULD
GO OUT TONIGHT,

THE WHOLE OF LONDON
KNOWS IT.

IF I COULD ONLY GET
INSIDE THAT BRAIN OF YOURS

AND UNDERSTAND
WHAT MAKES YOU DO

THESE CRAZY,
TWISTED THINGS...

GREGORY, ARE YOU TRYING
TO TELL ME I AM INSANE?

THAT'S WHAT
I'M TRYING

NOT TO TELL
MYSELF.

BUT THAT'S WHAT
YOU THINK, ISN'T IT?

THAT'S WHAT YOU'VE BEEN
HINTING AND SUGGESTING

FOR MONTHS NOW,
EVER SINCE...

HMM? SINCE WHAT?

SINCE THE DAY
I LOST YOUR BROOCH.

YES, THAT'S
WHEN IT ALL BEGAN.

NO, NO. NO.

NO, IT BEGAN
BEFORE THAT--

THE FIRST DAY HERE WHEN
I FOUND THAT LETTER.

WHAT LETTER?

THE ONE I FOUND
AMONG THE MUSIC

FROM THAT MAN
CALLED BAUER.

YES. SERGIS BAUER.
YES, I REMEMBER.

YES, YOU'RE RIGHT.
THAT'S WHEN IT BEGAN.

YES.

I CAN SEE YOU STILL,
STANDING THERE AND SAYING,

"LOOK...LOOK
AT THIS LETTER,"

AND STARING
AT NOTHING.

WHAT?

YOU HAD NOTHING
IN YOUR HAND!

WHAT?

I WAS STAGGERED,

BUT I DIDN'T
KNOW THEN

HOW MUCH REASON
I HAD TO BE.

I--I DON'T--NO.
I--WHAT--WHAT REASON?

I DIDN'T KNOW THEN
ABOUT YOUR MOTHER.

WHAT ABOUT
MY MOTHER?

YOUR MOTHER WAS MAD.

GREGORY.

SHE DIED IN AN ASYLUM
WHEN YOU WERE A YEAR OLD.

THAT'S NOT TRUE.

I'VE BEEN MAKING INQUIRIES
ABOUT ALICE ALQUIST'S SISTER.

I'VE TALKED TO THE DOCTOR
WHO TENDED HER.

WOULD YOU LIKE
TO SEE HIM?

NO.

HE DESCRIBED
HER SYMPTOMS TO ME.

WOULD YOU LIKE
TO HEAR THEM?

IT BEGAN WITH HER
IMAGINING THINGS,

THAT SHE HEARD NOISES,
FOOTSTEPS, VOICES,

AND THEN THE VOICES
BEGAN TO SPEAK TO HER.

AND IN THE END,

SHE DIED IN AN ASYLUM
WITH NO BRAIN AT ALL.

NO! PLEASE STOP!

OH, NO, NO.

NOW PERHAPS
YOU WILL UNDERSTAND

A LOT OF THINGS
ABOUT YOURSELF AND ME.

NOW PERHAPS
YOU WILL UNDERSTAND

WHY I CANNOT
LET YOU MEET PEOPLE.

YOU MUST HAVE BEEN
RATHER DISAPPOINTED

THAT YOU LEFT BEFORE
HE COULD TALK TO YOU.

WHO?

THE MAN WHO WAS
SITTING BEHIND US.

WHERE?

TONIGHT.

YOU ONLY WENT THERE

BECAUSE YOU KNEW HE
WAS GOING TO BE THERE.

WHAT, GREGORY?
WHO? WHO?

THE MAN WHO BOWED TO YOU
THAT DAY AT THE TOWER.

WHO IS HE? SOMEONE
FROM THE PAST?

SOMEONE YOU REFUSED,
PERHAPS?

I NEVER MET HIM.

I HAVE NO IDEA
WHO HE IS.

WHO IS HE?

WHY IS HE DOGGING
MY FOOTSTEPS?!

I DON'T KNOW
THAT HE IS.

YOU LIE! WHY
DO YOU LIE TO ME?!

I NEVER LIE
TO YOU.

I'M SORRY.

I SHOULD NOT
HAVE SAID THAT.

I KNOW. I KNOW
YOU NEVER LIE TO ME.

I BELIEVE YOU.

YOU'RE NOT LYING.

IT'S WORSE THAN LYING.

YOU'VE FORGOTTEN.

YOU'VE FORGOTTEN HIM
AS YOU FORGET EVERYTHING.

BUT PERHAPS I'M WRONG
TO TRY TO HANDLE THIS MYSELF.

THE CASE IS ONE
FOR PEOPLE

WHO KNOW
ABOUT THOSE THINGS.

PAULA, WE SHALL
HAVE VISITORS...

AND SHORTLY.

A DOCTOR?

TWO. I BELIEVE TWO
IS THE REQUIRED NUMBER.

YES?

OH, IT'S YOU, CONSTABLE.

GOOD EVENING,
MR. ANTON, SIR.

NASTY NIGHT TO BE
OUT, ISN'T IT?

VERY NASTY, SIR.
VERY NASTY, INDEED.

WHERE'D HE GO?

HE DIDN'T
GET PAST ME

AS I CAME THROUGH
THE ALLEY, SIR.

HE CERTAINLY TURNED
IN HERE.

YOU MUST HAVE
MISSED HIM IN THE FOG.

I'D HAVE HEARD
HIS FOOTSTEPS

AS HE PASSED,
MR. CAMERON.

HE MUST HAVE GONE
INTO THE REAR

OF ONE
OF THESE HOUSES.

YES, BUT WHICH?
AND WHY?

YOU DON'T SUPPOSE
HE COULD HAVE GONE

INTO HIS OWN HOUSE,
DO YOU?

WELL, IF HE DID, SIR,
THAT'S NOT AGAINST THE LAW.

NO, BUT IT'S
AGAINST COMMON SENSE.

WHY SHOULD A MAN WALK
OUT OF HIS OWN HOUSE

AND ALL THE WAY
AROUND THE CORNER

JUST TO GET BACK
TO THE SAME PLACE

WHERE HE STARTED FROM?

BUT THE SERVICE ENTRANCE
TO NUMBER 9 IS OUT FRONT.

THERE'S NO WAY INTO NUMBER 9
FROM BACK HERE.

WELL, THEN
WHERE DID HE GO?

NUMBER 5 IS EMPTY.

BUT WHAT WOULD HE WANT TO GO
INTO AN EMPTY HOUSE FOR?

I DON'T KNOW,
WILLIAMS.

I DON'T KNOW.

ELIZABETH!

ELIZABETH!

ELIZABETH!
ELIZABETH!

ELIZABETH! ELIZABETH!

JUST COMING, MA'AM.

WHAT IS IT, MA'AM?

I...

I...I WANT YOU
TO HELP ME.

I'M SO TIRED.

OH, YES'M.

ELIZABETH...

ELIZABETH, DID YOU
TURN ON THE GAS?

DID YOU TURN ON
THE GAS ANYWHERE

DOWNSTAIRS JUST NOW?

WHY, NO, MA'AM.

I'VE HAD IT ON
IN THE KITCHEN

ALL EVENING,
THAT'S ALL.

I THOUGHT IT
WENT DOWN IN THERE

AS IF SOMEONE
HAD TURNED IT ON

IN SOME OTHER PART
OF THE HOUSE.

THERE'S NO ONE IN
THE HOUSE BUT ME, MA'AM.

NANCY'S NOT BACK YET.

BUT THE GAS COMES
IN PIPES, MA'AM,

AND I EXPECT
THEY GETS MORE GAS

IN THE PIPES
AT SOME TIMES

THAN THEY DOES
AT OTHERS.

YES.

YES, I SUPPOSE THAT
COULD EXPLAIN IT.

YES.

ELIZABETH,
DO YOU HEAR ANYTHING?

HEAR ANYTHING,
MA'AM?

YES. UP THERE.
LISTEN.

LISTEN TO WHAT,
MA'AM?

THOSE SOUNDS...

THOSE NOISES
UP THERE.

OH, NO.
NO, MA'AM.

BUT THERE ARE SOUNDS,

SOUNDS LIKE SOMEONE
MOVING ABOUT.

LISTEN. ELIZABETH,
LISTEN, PLEASE.

THERE ARE NO NOISES
UP THERE, MA'AM.

HOW COULD
THERE BE, NOW?

THE WHOLE FLOOR
IS BOARDED UP.

YOU KNOW THAT
AS WELL AS I DO.

NO ONE CAN'T
GET IN UP THERE.

YOU KNOW, MA'AM,
YOU JUST IMAGINE THINGS.

AND INTO THE MEWS.

OH, WILLIAMS,
COME IN.

YOU'RE EARLY. GET
ANOTHER CUP, WILL YOU?

SIT DOWN. MAKE
YOURSELF COMFORTABLE.

THANK YOU, SIR.

WELL?

WELL?

WELL, SIR, I DON'T
KNOW WHAT IT MEANS,

BUT THIS MORNIN'
AROUND 3:00,

I WAS STANDIN'
ON THE CORNER

OF THORNTON SQUARE,
LOOKING BOTH WAYS-LIKE,

AND SUDDENLY WHO
SHOULD I SEE TURNIN' UP

OUT OF THE FOG
BUT OUR FRIEND AGAIN,

COMIN' OUT OF THE MEWS,
IT LOOKED LIKE.

YES?

I MANAGED TO GET
A GOOD LOOK AT HIM

AS HE WALKED
UNDER THE LAMPPOST,

AND I TELL YOU,
MR. CAMERON,

THAT MAN HAD BEEN
UP TO SOMETHING.

WHAT?

I WOULDN'T UNDERTAKE
TO SAY WHAT EXACTLY,

BUT HE WAS KIND OF
IN A MESS--

CLOTHES UNTIDY,
TIE ALL ON ONE SIDE,

DIRT AND DUST ALL OVER HIM,
EVEN ON HIS FACE.

HAD HE BEEN
IN A FIGHT?

HE DIDN'T LOOK
LIKE THAT, SIR.

MORE AS THOUGH HE'D BEEN DIGGIN'
IN A CELLAR OR SOMETHIN'.

HAVE SOME COFFEE,
WILLIAMS.

THANK YOU, SIR. I'VE HAD
MY BREAKFAST ALREADY.

HAD IT IN THE KITCHEN
OF NUMBER 9,

AS A MATTER OF FACT.

NANCY TELL YOU
ANYTHING THIS MORNING?

IF YOU ASK ME, NANCY'S
GETTIN' IDEAS ABOVE HER STATION.

SEEMS THE MASTER TOLD
HER THAT HER MISTRESS

MIGHT BE GOIN' AWAY
FOR QUITE A LONG TIME

AND THAT HE WANTED HER
TO STAY AND LOOK AFTER HIM.

THE MASTER TOLD HER
HER MISTRESS

MIGHT BE GOING AWAY?

THAT'S RIGHT, SIR.

A LONG TIME, YOU SAID?

YES, SIR.

WELL, WHAT DO YOU
THINK THAT MEANS?

FROM ALL YOU'VE TOLD ME
THESE LAST WEEKS,

I SHOULD SAY IT COULD MEAN

ANY ONE OF A NUMBER OF
QUITE UNPLEASANT THINGS.

I'VE GOT TO GET
INTO THAT HOUSE TONIGHT.

NOT WHILE
HE'S THERE.

NO. HE GOES OUT
AFTER DINNER EVERY EVENING.

THAT'S RIGHT, SIR.

THEN TONIGHT
AFTER DINNER.

NANCY SAYS
HE'S TOLD HER

NOT TO LET HER MISTRESS
SEE ANYONE.

THEN YOU'LL HAVE TO
SEE TO IT

THAT NANCY
ISN'T HOME TONIGHT.

ANY LITTLE THING I CAN DO
FOR THE YARD, SIR.

I THOUGHT
YOU WOULDN'T MIND.

THERE'S JUST ONE THING
MORE, THOUGH, SIR.

HOW DO YOU KNOW THE LADY
HERSELF WILL SEE YOU?

I DON'T KNOW.

YES.

I THINK THERE'S A WAY.

"I SUPPOSE PEOPLE
WHO GO EVERY NIGHT

"TO PLACES
OF PUBLIC AMUSEMENT

CAN HARDLY ENTER
INTO THE FRESH--"

YOUR MOTHER
WAS MAD. YOUR MOTHER WAS MAD.

"I SUPPOSE PEOPLE
WHO GO EVERY NIGHT

"TO PLACES
OF PUBLIC AMUSEMENT

CAN HARDLY ENTER
INTO THE FRESH..."

SHE DIED IN AN ASYLUM.

SHE DIED IN AN ASYLUM
WITH NO BRAIN AT ALL.

"I SUPPOSE PEOPLE
WHO G-G-G--GO

EVERY NIGHT TO..."

YOU'LL BE IN AN ASYLUM.
YOU'LL BE IN AN ASYLUM.

I'M SORRY, SIR, BUT
THE MISTRESS WON'T SEE ANYONE.

DID SHE TELL YOU
TO SAY THAT?

YOU'RE ELIZABETH,
AREN'T YOU?

HOW'D YOU KNOW
MY NAME?

I KNOW A LOT OF THINGS
ABOUT THIS HOUSE.

YOU'RE FOND OF YOUR
MISTRESS, AREN'T YOU?

YES, SIR.

YOU'D LIKE TO HELP
HER, WOULDN'T YOU?

THIS IS YOUR CHANCE,
BECAUSE I'M A FRIEND,

AND THAT'S WHY YOU'RE
GOING TO LET ME SEE HER.

NO. I DON'T DARE, SIR.
I'D LOSE ME PLACE.

I DON'T DARE. REALLY,
I DON'T DARE. I...

HE ISN'T HERE.
MY HUSBAND ISN'T HERE.

I KNOW THAT,
MRS. ANTON.

IT'S YOU
I WANT TO SEE.

GO AWAY. I'M ILL.
I CAN'T SEE ANYONE.

ELIZABETH, STOP HIM.

I DIDN'T ASK HIM
TO COME.

MRS. ANTON, MY NAME
IS BRIAN CAMERON.

YOU MUSTN'T
COME HERE. GO AWAY.

OH, NOT UNTIL
I'VE GIVEN YOU THIS.

LOOK AT IT.
LOOK AT IT, PLEASE.

ALICE ALQUIST
GAVE IT TO ME

YEARS AGO
AT COVENT GARDEN.

I WAS A LITTLE BOY
OVERCOME WITH ADMIRATION.

NOW YOU'LL TRUST ME,
WON'T YOU?

YOU.

SHE GAVE IT TO YOU.

AFTER ALL
THESE YEARS,

THE GREAT ADMIRER
SHE USED TO MAKE

SUCH A MYSTERY OF--
A LITTLE BOY.

TELL ME SOMETHING,
MRS. ANTON.

ARE YOU PLANNING ON
GOING AWAY SOMEWHERE?

GO AWAY?

WHY, NO. I HAVE
NOWHERE TO GO...

UNLESS MY HUSBAND
SENDS ME AWAY.

IS THAT WHY
YOU CAME HERE?

TO TAKE ME AWAY?

ARE YOU AS FRIGHTENED
AS ALL THAT?

OH, I'M SORRY. I...

I--I HAVEN'T
TALKED TO ANYONE

FOR A LONG TIME.

I--I CAN'T TALK
TO YOU, EITHER.

I'M AFR--I'M NOT...

I'M AFRAID I...

YOU'RE AFRAID YOU'RE
GOING OUT OF YOUR MIND.

WELL, I'M HERE TO PROVE
TO YOU THAT YOU'RE NOT.

TO HELP ME DO THAT,

YOU'VE GOT TO ANSWER
MY QUESTIONS. TELL ME, NOW,

WHERE IS YOUR HUSBAND
NOW?

WHERE HAS HE GONE?

HE HAS TAKEN A STUDIO

WHERE HE CAN WORK
ON HIS COMPOSING.

HE CAN'T WORK
IN THIS HOUSE.

HE HAS TO HAVE IT
QUIET.

TELL ME, IS THERE ANYONE
ELSE IN THE HOUSE NOW

EXCEPT US AND ELIZABETH?

NO. WHY?

THE GAS
JUST WENT DOWN.

YOU SAW THAT, TOO?

WHY, YES.

OH, THEN IT
REALLY HAPPENS.

I THOUGHT
I IMAGINED IT.

THAT ONLY MEANS THAT SOMEONE
ELSE HAS TURNED IT ON.

NO, NO, NO, NO.
I THOUGHT THAT, TOO,

BUT EVERY NIGHT I'VE BEEN
ALL OVER THE HOUSE,

AND THERE'S NEVER BEEN
ANOTHER LIGHT TURNED ON.

AT LAST I CAN TELL
THIS TO SOMEONE.

EVERY NIGHT WHEN
MY HUSBAND GOES OUT...

THE LIGHT GOES DOWN?

YES.

AND THEN WHAT?

WELL, THEN...I THINK
I HEAR THINGS.

I WATCH AND WAIT.

LATER ON, THE GAS
GOES UP AGAIN.

AND HE COMES BACK.

YES.

QUITE SOON AFTER.

ALWAYS QUITE
SOON AFTER.

YOU SAY YOU THINK
YOU HEAR THINGS.

WHAT THINGS?

SOUNDS...

NOISES
OVER MY ROOM.

WHAT'S UP THERE?

A WHOLE FLOOR OF
TRUNKS AND FURNITURE.

IS THAT WHAT
YOU MEANT?

- YES, YES, YES!
- SHH!

BUT WHO?

MRS. ANTON,
YOU KNOW, DON'T YOU?

YOU KNOW
WHO'S UP THERE.

NO.

NO.

ARE YOU SURE
YOU DON'T?

NO, NO.

HOW COULD HE BE?

THERE'S AN ALLEY
BEHIND THESE HOUSES.

HE GOES IN THE BACK
OF NUMBER 5--

THAT'S
THE EMPTY ONE--

AND THEN
ACROSS THE ROOF.

WHY?

WHY?

YOU SAID THERE'S
OLD FURNITURE UP THERE.

MY AUNT'S.

AND HER CLOTHES,

STAGE COSTUMES,
TRUNKS--

ALL OF HER THINGS.

ALL OF HER THINGS?

AND THEY SAID
THE CASE WAS DEAD.

TELL ME, HAS HE ANY
WEAPONS IN THE HOUSE?

HE HAS A REVOLVER.
WHY SHOULDN'T HE?

DO YOU KNOW WHERE
HE KEEPS IT?

I...I THINK HE HAS IT
IN HIS DESK IN THERE.

NO.

NO, NO, NO. YOU CAN'T
OPEN HIS DESK.

NO. YOU HAVE
NO RIGHT TO!

WHOEVER YOU ARE,
YOU HAVE NO RIGHT TO!

HE'LL KNOW WHAT
YOU HAVE DONE.

HE'LL THINK THAT I--

WHAT SHOULD I
SAY TO HIM? OH!

YOU WON'T HAVE TO
SAY ANYTHING.

PERHAPS IT'S A GOOD THING
I CAME TONIGHT.

WELL, I...
I WAS RIGHT.

THERE WAS A LETTER.

AND IT WAS
FROM SERGIS BAUER.

WHAT WAS THAT?

WHAT WAS THAT NAME
YOU JUST SAID?

SERGIS BAUER.
I FOUND THIS,

BUT MY HUSBAND
SAID I DREAMED,

AND NOW IT'S HERE.

BAUER.

IT'S BEEN HERE
THE WHOLE TIME.

BAUER. THERE WAS
A SERGIS BAUER

CONNECTED WITH
ALICE ALQUIST. HE WAS...

HE WAS
A YOUNG PIANIST

WHO PLAYED FOR HER
IN PRAGUE.

LET ME SEE THAT.

"DEAR MISS ALQUIST,

"I BEG OF YOU TO SEE
ME JUST ONCE MORE.

I FOLLOWED YOU
TO LONDON."

LOOK.

"DEAR LADY DALROY"...

WELL, THIS IS
MY HUSBAND'S WRITING.

SO IS THIS.

MRS. ANTON, YOUR HUSBAND
AND SERGIS BAUER

ARE ONE AND
THE SAME PERSON.

AND THIS LETTER
FROM SERGIS BAUER

TO ALICE ALQUIST

WAS WRITTEN 2 DAYS
BEFORE HER MURDER.

BUT HE SAID THERE
WASN'T ANY LETTER!

HE SAID I WAS
GOING OUT OF MY MIND!

YOU'RE NOT GOING
OUT OF YOUR MIND.

YOU'RE SLOWLY
AND SYSTEMATICALLY

BEING DRIVEN
OUT OF YOUR MIND.

BUT WHY?! WHY?!

PERHAPS BECAUSE
YOU FOUND THIS LETTER

AND KNOW TOO MUCH.

OR BECAUSE...THEN
HE WOULD HAVE CONTROL

OF YOUR PROPERTY,
OF THIS HOUSE,

AND COULD SEARCH
IN THE OPEN

INSTEAD OF THE DARK
LIKE THIS.

SEARCH? WHAT IS THERE
TO SEARCH FOR?

FOR THE THINGS
FOR WHICH

ALICE ALQUIST WAS
MURDERED--HER JEWELS.

I HAVE HER JEWELS.

THEY'RE THE JEWELS
YOU DIDN'T KNOW SHE HAD,

FAMOUS JEWELS,

JEWELS FOR WHICH HE WAS
SEARCHING THAT NIGHT

WHEN HE WAS
FRIGHTENED AWAY

BY HEARING SOMEONE
COME DOWN THE STAIRS,

SOMEONE
HE NEVER SAW...

A LITTLE GIRL.

ME.

SO HE WAS...

SO HE WAS HERE
THAT NIGHT,

BUT HE NEVER...
HE NEVER KNEW HER.

YOU'RE WRONG.

YOU'RE--
YOU'RE WRONG.

YOU'RE MAKING
A MISTAKE.

I KNOW HIM.
HE'S MY HUSBAND.

I'VE LIVED IN THE SAME
HOUSE WITH HIM.

YOU'RE TALKING ABOUT
THE MAN I'M MARRIED TO.

MRS. ANTON...
THERE'S NOT A DETAIL

OF THE ALQUIST CASE
THAT I DON'T KNOW,

AND UNLESS
I'M MORE MISTAKEN

THAN I'VE EVER BEEN
IN MY LIFE,

THE MAN CALLED
SERGIS BAUER

HAS A WIFE LIVING
IN PRAGUE NOW.

SO YOU SEE, MRS. ANTON,

HE MUST HAVE PLANNED
THE WHOLE THING,

STEP BY STEP,
FROM THAT NIGHT.

OH, IF THAT WERE TRUE,
THEN FROM THE BEGINNING,

THERE WOULD HAVE
BEEN NOTHING.

NOTHING REAL

FROM THE BEGINNING.

I'M SORRY TO TAKE
EVERYTHING AWAY

FROM YOU LIKE THIS.

NO, NO, NO.

BUT YOU MUST BELIEVE ME.
YOUR WHOLE LIFE

DEPENDS ON WHAT
YOU'RE GOING TO DO NOW--

NOTHING LESS THAN
YOUR WHOLE LIFE.

DON'T YOU SEE THE WAY
EVERYTHING FITS IN?

THE GAS.

HOW LONG
HAS IT BEEN UP?

ELIZABETH, WHATEVER
HAPPENS TONIGHT,

HAVE HER WELFARE
IN MIND.

YOU CAN COUNT
ON ME, SIR.

BUT WHAT AM I GONNA
SAY TO THE MASTER

WHEN HE COMES BACK?

HE WON'T COME BACK
ANYMORE, ELIZABETH.

PAULA?

WHAT ARE YOU DOING?

I WAS LYING DOWN.

FULLY DRESSED?

DID YOU HEAR
WHAT I SAID?

YES.

THEN WHY
DON'T YOU ANSWER?

I DON'T KNOW.

YOU DON'T KNOW?

DO YOU KNOW ANYTHING
ABOUT ANYTHING YOU DO?

I WILL BE OBLIGED IF YOU
WILL COME WITH ME TO MY ROOM.

SIT DOWN IN THIS
CHAIR, PAULA.

YOU KNOW WHAT YOU
REMIND ME OF

AS YOU WALK
ACROSS THE ROOM?

HAVE YOU EVER SEEN
ANYONE

WALKING
IN THEIR SLEEP?

BUT YOU'RE NOT ASLEEP.
NO, YOU'RE NOT ASLEEP.

YOU CAN'T DECEIVE ME.

YOU'RE AWAKE, FULLY AWAKE,

OR YOU WOULD NOT HAVE
BROKEN OPEN MY DESK!

NOW, BE CAREFUL
HOW YOU ANSWER.

WHY DID YOU OPEN
MY DESK?

I DIDN'T OPEN
YOUR DESK.

NANCY?

NANCY'S OUT.

WHO, THEN? ELIZABETH?

NO, IT WASN'T
ELIZABETH.

PLEASE DON'T
QUESTION ME ANYMORE.

LET ME GO BACK TO--

NO, NO, NO.
STAY THERE, PAULA.

WHY DID YOU OPEN
MY DESK?

I DIDN'T OPEN
YOUR DESK.

WHY DID YOU OPEN
MY DESK, PAULA?

I DIDN'T OPEN IT.
IT WAS HE--

HE... OPENED IT.

WHAT ARE YOU
TALKING ABOUT?

WHO IS HE?

A MAN...

A MAN WHO CAME
TO SEE ME.

WHEN?

WHILE
YOU WERE OUT.

WHO LET HIM IN?

- ELIZABETH.
- ELIZABETH!

YES, SIR?

WHO WAS THE MAN WHO CAME
TO SEE YOUR MISTRESS

WHILE I WAS OUT?

WHAT MAN, SIR?

OH, COME, COME,
ELIZABETH.

YOU MUST HAVE
ANSWERED THE BELL.

NO ONE WAS HERE, SIR,
WHILE YOU WERE OUT.

OH, BUT, ELIZABETH...

BUT YOU SAW HIM.

YOU OPENED THE DOOR
FOR HIM YOURSELF.

ELIZABETH, SAY IT!
ELIZABETH, SAY IT!

NO, MA'AM.

I DIDN'T SEE
ANYONE AT ALL.

BUT HE...HE WAS...
HE WAS HERE.

I...I KNOW IT. I...

BUT I KNOW IT.

BUT HE WAS HERE.
I KNOW IT! I KNOW...

I SAW HIM.

I SAW HIM.

YOU SEE HOW IT IS,
ELIZABETH?

YES, SIR.

I SEE JUST
HOW IT IS.

I COULDN'T
HAVE DREAMED IT.

I COULDN'T. I COULDN'T
HAVE DREAMED IT.

NO, I COULDN'T
HAVE DREAMED IT.

I COULDN'T
HAVE DREAMED IT!

DID I DREAM?

DID I REALLY...
REALLY DREAM?

DREAM...

DREAM...

YES, PAULA,
YOU DREAMED IT.

YOU DREAMED
ALL ALONG.

ARE YOU TELLING ME
THAT I'VE DREAMED...

EVERYTHING, PAULA.

ALL THAT HAPPENED?

ALL THAT
DID NOT HAPPEN.

THEN IT'S TRUE.

MY MIND IS GOING.

HAVEN'T I
TOLD YOU, PAULA?

IT WAS A DREAM.

LIKE ALL THE REST.

THEN TAKE ME AWAY. I
CAN'T FIGHT IT ANYMORE.

I WILL TAKE YOU AWAY.
YES, I WILL.

TAKE ME AWAY.
TAKE ME AWAY.

WAS I ANY PART

OF THIS CURIOUS DREAM
OF YOURS, MRS. ANTON?

YOU.

PERHAPS
MY PRESENCE HERE

MIGHT HELP YOU
TO RECALL IT.

WHO THE DEVIL ARE YOU?

APPARENTLY A MERE FIGMENT
OF YOUR WIFE'S IMAGINATION.

HOW DID YOU GET
INTO THIS HOUSE?

THROUGH THE SKYLIGHT,
LIKE YOU...

AND DOWN
THESE STAIRS.

YOU MADE IT
VERY EASY.

WOULD YOU BE KIND
ENOUGH TO TELL ME

WHAT YOU
ARE DOING HERE?

MRS. ANTON,
DON'T YOU THINK

YOU'D BETTER
GO TO BED?

YOU MUST
BE VERY TIRED.

DON'T YOU THINK
YOU'D BETTER EXPLAIN

YOUR BUSINESS, SIR?

WELL, AS
A MERE FIGMENT,

AS A MERE GHOST

EXISTING
IN YOUR WIFE'S MIND,

I COULD HARDLY
BE SAID

TO HAVE
ANY BUSINESS.

PAULA, GO TO YOUR ROOM.

WELL, I--

PLEASE, PAULA.

SO YOU FOUND
THEM AFTER ALL.

I WAS RIGHT
ABOUT YOU.

I KNEW FROM THE FIRST
MOMENT I SAW YOU

THAT YOU WERE
DANGEROUS TO ME.

AND I KNEW FROM THE
FIRST MOMENT I SAW YOU

THAT YOU WERE
DANGEROUS TO HER.

I SHOULD HAVE FOLLOWED
MY INSTINCT ABOUT YOU...

AS YOU FOLLOWED YOURS.

I THOUGHT SHE WAS
ALICE ALQUIST

COME BACK TO LIFE.

I DIDN'T KNOW THEN THAT
SHE WAS WALKING WITH...

SERGIS BAUER.

I'M AFRAID I DON'T
KNOW YOUR NAME.

CAMERON. SHALL I TELL
YOU MY ADDRESS, TOO?

NO. I THINK
I CAN GUESS IT.

SO WE BOTH ENDED
OUR SEARCH TONIGHT.

AND THIS IS WHERE
ALICE ALQUIST HID THEM,

WHERE ALL THE WORLD
COULD SEE THEM,

AND YET NO ONE WOULD
KNOW WHERE THEY WERE

EXCEPT THE MAN WHO
GAVE THEM TO HER,

WATCHING
FROM THE ROYAL BOX.

PRETTY CLEVER OF HER TO
PUT 4 PRICELESS JEWELS

AMONG A LOT
OF PASTE AND TAPE.

FOR THE LAST TIME,
WHAT DO YOU WANT OF ME?

THE JEWELS...
AND JUSTICE.

HOW DOES IT FEEL, BAUER,
TO HAVE PLANNED

AND KILLED AND TORTURED
FOR SOMETHING

AND THEN TO KNOW
IT'S BEEN FOR NOTHING?

FOR NOTHING?

ELIZABETH!

ELIZABETH!

WHAT IS IT, MA'AM?

I THOUGHT
I HEARD A SHOT.

HELP! MR. WILLIAMS,
COME QUICK!

UP THERE!

ANYBODY AT HOME?

WELL, MRS. ANTON,
YOU BELIEVE ME NOW.

PERHAPS YOU'D LIKE
TO SEE THESE THINGS.

THEY COST
A WOMAN'S LIFE.

THEY COST YOU
SOMETHING, TOO.

I WANT TO SPEAK
TO MY HUSBAND.

MRS. ANTON, I DON'T THINK
THAT'S ADVISABLE.

I WANT TO SPEAK
TO HIM ALONE.

I'M AFRAID
THAT'S IMPOSSIBLE.

I ASSURE YOU,
I'M QUITE HELPLESS.

PLEASE.

WELL...

I'LL BE WAITING
ON THE STAIRS.

LOOK, GO AND SEE
IF HE'S LISTENING.

HE IS NOT
LISTENING.

YOU HAVE GOT
CONFIDENCE IN HIM.

HE TOLD YOU A LOT OF THINGS
ABOUT ME, DIDN'T HE?

YES.

THEY WERE LIES.

WHY SHOULD HE
LIE TO ME?

BECAUSE HE'S
IN LOVE WITH YOU.

I CAN TELL. I FEEL IT.

DO YOU? DO YOU
REALLY, GREGORY?

OR SHALL I
CALL YOU SERGIS?

OH, SO HE TOLD YOU THAT,
TOO. WELL, WHAT OF IT?

HAVE YOU NEVER HEARD
OF AN ARTIST

TAKING A STAGE NAME?

SERGIS BAUER'S MINE.
IT WAS A PART OF MY LIFE

I DIDN'T CARE
TO TELL YOU ABOUT.

I WAS A FAILURE THEN.

THEY DON'T HANG A MAN
FOR THAT, DO THEY?

NO, THEY DON'T HANG
A MAN FOR THAT.

PAULA...

YOU REMEMBER
OUR FIRST DAYS.

YOU REMEMBER ITALY.

THERE HAVE BEEN TIMES

WHEN I THOUGHT I ONLY
DREAMED THOSE DAYS.

COME CLOSER,
PAULA.

CLOSER.

LOOK INTO MY EYES.

IF I EVER MEANT
ANYTHING TO YOU,

AND I BELIEVE I DID,

THEN HELP ME, PAULA.

GIVE ME ANOTHER CHANCE.

LOOK...IN THE DRAWER OF
THAT CUPBOARD OVER THERE,

THERE IS A KNIFE.

GET IT AND CUT ME FREE.

BE QUICK, PAULA.

GET ME THE KNIFE.
CUT ME FREE.

WOULD YOU
GET IT, PAULA?

WOULD YOU
GET IT FOR ME?

YES, I'LL GET IT.

I'LL GET IT FOR YOU.

HURRY, PAULA.

THERE'S
NO KNIFE HERE.

YES. I PUT IT THERE.

I DON'T SEE
ANY KNIFE.

I PUT IT THERE TONIGHT.

NO, IT ISN'T HERE.

YOU MUST HAVE DREAMED
YOU PUT IT THERE.

ARE YOU SUGGESTING
THAT THIS IS A KNIFE

I HOLD IN MY HAND?

HAVE YOU GONE MAD,
MY HUSBAND?

OR IS IT I
WHO AM MAD?

YES, OF COURSE.
THAT'S IT.

I AM MAD.

I'M ALWAYS LOSING THINGS
AND HIDING THINGS,

AND I CAN NEVER
FIND THEM.

I DON'T KNOW
WHERE I PUT THEM.

THAT WAS A KNIFE,
WASN'T IT?

AND I
HAVE LOST IT.

PAULA--

I MUST LOOK FOR IT,
MUSTN'T I?

IF I DON'T FIND IT,

YOU WILL PUT ME
IN THE MADHOUSE.

WHERE COULD IT BE,
NOW?

PERHAPS IT'S
BEHIND THIS PICTURE.

YES, IT MUST
BE HERE.

NO. NO. WHERE
SHALL I LOOK NOW?

PERHAPS I PUT IT
OVER HERE.

YES, I MUST HAVE
DONE THAT.

MY BROOCH...

THE BROOCH I LOST
AT THE TOWER.

I FOUND IT AT LAST!

YOU SEE? BUT IT DOESN'T
HELP YOU, DOES IT?

AND I'M TRYING
TO HELP YOU, AREN'T I?

TRYING TO HELP YOU
TO ESCAPE.

HOW CAN A MADWOMAN HELP
HER HUSBAND TO ESCAPE?!

BUT YOU'RE NOT MAD!

YES, I AM MAD,
AS MY MOTHER WAS MAD!

NO, PAULA!
THAT WASN'T TRUE!

HELP ME.

IF I WERE NOT MAD,
I COULD HAVE HELPED YOU.

WHATEVER YOU HAD DONE,

I COULD HAVE PITIED
AND PROTECTED YOU,

BUT BECAUSE I AM MAD,
I HATE YOU.

BECAUSE I AM MAD,
I HAVE BETRAYED YOU,

AND BECAUSE I AM MAD,

I AM REJOICING
IN MY HEART

WITHOUT A SHRED
OF PITY,

WITHOUT A SHRED
OF REGRET,

WATCHING YOU GO
WITH GLORY IN MY HEART!

MR. CAMERON, COME!

COME, MR. CAMERON!
TAKE THIS MAN AWAY!

TAKE THIS MAN AWAY!

YOU READY?

QUITE READY.

I DON'T ASK YOU
TO UNDERSTAND ME.

BETWEEN US ALL THE TIME
WERE THOSE JEWELS...

LIKE A FIRE...

A FIRE IN MY BRAIN
THAT SEPARATED US...

THOSE JEWELS WHICH
I WANTED ALL MY LIFE.

I DON'T KNOW WHY.

THE CAB
IS COMING, MR. CAMERON.

GOOD-BYE, PAULA.

GOOD-BYE,
GREGORY.

THIS NIGHT WILL
BE A LONG NIGHT.

BUT IT WILL END.
IT'S STARTING TO CLEAR.

IN THE MORNING,
WHEN THE SUN RISES,

SOMETIMES IT'S
HARD TO BELIEVE

THERE EVER WAS A NIGHT.
YOU'LL FIND THAT, TOO.

LET ME COME HERE AND
SEE YOU AND TALK TO YOU.

PERHAPS I CAN
HELP SOMEHOW.

YOU'RE VERY KIND.

WELL!