Original subtitles

(reel ticking)

(lion roaring)

(lively classical music)

What a beautiful film.

- Greg. - Oh.

Sorry, what did you say?

I said Brooke Ashley was a beautiful dancer,

- don't you think? - Yes.

But she had something, something.

She made you feel part of it.

It's uncanny.

What is?

The similarity between you two.

And I can dance like her too (laughs).

You all right?

You didn't say a word all the way home.

Oh, just thinking about meeting Willmer tomorrow.

Would you like a drink?

Love it.

Scotch.

Hello, Max.

Come on, old boy, come on, come on.

Come on, there.

- Here you are. - Thanks.

She really was incredible, wasn't she?

Yes, she was.

What ever happened to her?

I never heard of her before.

Hold on.

What are you doing?

For someone who had to be dragged there,

you're certainly showing a lot of interest.

She's been dead for nearly 50 years.

What?

It says here that everyone believed her to be destined

for greatness as a prima ballerina

until her untimely death.

Untimely death?

Yes, she died October 27th, 1935, age 27.

Jesus, what a waste.

Come here, you.

Go on, Maxine.

(giggling)

(gentle instrumental music)

Couldn't you sleep?

No, I had a restless night.

I couldn't get Brooke Ashley out of my mind.

Is she coming to Brighton as well?

Well, I won't be coming down straightaway.

Why not?

You promised.

Darling, I know this is a big break for you

and I want to be with you and all that,

but seeing that film last night,

it's given me a wonderful idea for a screenplay.

Oh, well, why can't you write it in Brighton?

Because I have to do some research here

but that'll only take a couple of days

and then I'll join you.

I promise.

Hey.

(people chattering)

Sorry I'm late, Dick.

Oh, no problem.

I bumped into an old friend, David Lewin.

- Pleased to meet you. - Hello.

David writes for the Daily Mail.

- Oh yes. - What are you having?

Vodka and tonic.

Same again, please, and a vodka and tonic.

How's the new book going?

Fine, but I want to put it off for a while.

You can't do that.

I've already received the advance.

All he cares about is money.

Listen, I want to write a screenplay.

What on earth for?

You've had three bestsellers in a row.

Maggie took me to see this film last night

and it's given me a great idea.

Oh, I see.

She put him up to this.

What does she want to play, the lead?

That's a good idea.

She's a great dancer.

Oh, you're writing a musical?

No, but I want to base the main character

on Brooke Ashley, the ballerina in the film.

You don't even like ballet.

She became a star overnight

and died suddenly and I can't find anything about her.

Do you know when?

October 27th, 1935.

Well, if it helps, I'll arrange library privileges

for you at the Daily Mail.

If you go there and ask to see the file

on the day after she died, that should do it.

That's a great idea.

- Thank you. - Okay.

Thanks for your help.

I hope to see you again.

Oh, sure.

[Willmer] Hey, what shall we tell the publishers?

Same as usual, it's on schedule.

I'll call you in a couple of days.

Greg, I'm going upstairs to pack.

Please don't work too late.

No.

Oh, Willmer thought you'd be the perfect lead

for the picture.

Dick's not so bad after all.

(mysterious instrumental music)

(keys clicking)

[Michael] I enter the party with some trepidation

and with good reason.

I, Michael Richardson, was the youngest choreographer

the Royal Ballet had ever signed,

and Bill Tanner considered it his personal coup

in securing me.

(gentle instrumental music)

This is going to be our greatest season.

Michael's just created a new ballet, Sigida.

It's quite fascinating.

Ah, here she is.

Brooke, you look magnificent.

[Brooke] Thank you.

Darling, may I introduce our guest

of honor, Michael Richardson.

Bill has told me so many wonderful things about you.

It's a privilege, Miss Ashley.

Please call me Brooke.

Dear, I must talk with you alone.

Would you like to dance?

I'd love to.

(lively instrumental music)

(music drowns out speech)

I think I love you.

Do you say that often?

I've never said it before in my life.

That's good.

Please, leave with me now.

I don't want to lose you.

Jackson, could you get my wrap?

[Jackson] Yes, Miss Ashley.

Please wait here, my dear.

I must tell Bill.

(music drowns out speech)

Yes.

Thank you, Jackson.

Good night, Miss Ashley, Mr. Richardson.

What did you say to him?

That I'd just fallen in love with you.

(tense instrumental music)

(rattling)

Max, you made me jump, old fellow.

(tense instrumental music)

(groaning)

(thunder cracking)

(suspenseful music)

Maggie, something...

(doorbell ringing)

- Car for Miss Rogers? - Right.

She won't be a minute.

Can you put these in the car?

Maggie, car's here, darling.

I'm coming.

(tense instrumental music)

Greg, I'm leaving.

Well, I'll see you tomorrow night hopefully.

[Maggie] We're getting married soon so don't be going out

for a last fling.

- Don't you trust me? - No.

Don't forget to call me with the hotel number.

As soon as I get there.

There you are.

October the 28th, 1935, right?

Right, thank you.

(mysterious instrumental music)

Michael Richardson.

Are you all right, sir?

Yes, yes, it's just...

- Are you sure? - Yes.

Do you have a piece of paper?

Yes, of course.

Thank you.

Is there anything else I can do for you?

No, no, thank you.

Miss Nabakov?

Madame Nabakov.

And who, who are you?

Madame Nabakov, my name is Gregory Thomas.

I am writing a screenplay

and I'd like to base the central character on Brooke Ashley.

I wonder, could you spare me a little of your time?

I really need to find out more about her.

About Brooke, well, perhaps.

Come in, come in.

- Amusing, yes? - Yes.

Mr. Thomas, Mr. Gregory Thomas.

You make yourself comfortable, yes,

and please, you excuse me for one moment.

(mysterious instrumental music)

Mr. Thomas, perhaps you would like a little vodka, yes?

It's a bit early for me, thank you.

Oh, all right.

Well, what can I do to help you, hmm?

Sit.

Madame Nabakov, how well did you know Brooke Ashley?

Intimately.

I first met her in America.

She was a very young member of the Corps de Ballet.

I toured often with Brooke.

Could you tell me about the woman,

rather than the dancer and artiste?

Brooke was so very beautiful,

but she was not obsessed with her talent and her beauty

like so many other artists.

What did she think about?

What did she believe in?

There was a very strong spiritual side

to Brooke's nature.

Her dreams were very vivid

and they left her with a strange sense of foreboding,

so she attended a series of seances I had

at that time here in London.

I think she was trying to reach her father.

So we spoke of such things.

It was her beautiful dancing

and her strong spirituality

that brought us so very close.

Within Brooke's mind, she began to perceive reality

in a strong transcendent manner.

She began even to think her dancing was frivolous, immature.

Do you understand what I am saying?

Not quite.

In what sense?

Well, in the sense of life, love, death.

(mysterious instrumental music)

Mr. Thomas...

Will you please, you excuse me for one moment, yes?

Hello?

Hello, Mabel.

Mabel, Madame Nabakov here.

May I speak with him?

Yes.

Hello, how are you?

I remember tomorrow, tomorrow night, yes,

but would you mind if I come over now?

There is a young man here I want you to meet.

Yes? Good.

In about one half hour, yes?

Goodbye.

Who was that?

Oh, a very old, old friend.

He at one time was the artistic director

of the Royal Ballet.

- Bill... - Tanner?

Yes.

He's alive?

Of course.

Sir William, Madame Nabakov.

Nabakov, Mabel.

- Olga, my dear. - Hello.

I want you to meet a young man, Gregory, Gregory Thomas.

[Greg] How do you do?

Please, sit down.

He is a young writer who is writing a play.

No, no, a screenplay, yes,

and Brooke, Brooke will be the pivotal character.

Oh, that's wonderful.

How can I help?

Sir William, would you mind telling me

about your relationship with Brooke?

Well, there isn't much to tell, I'm sorry to say.

Anything, anything at all.

[William] Well, I arranged for Brooke Ashley.

Vodka for me, Mabel.

To come from America and join us for a season

as I was taken with her immediately.

In fact, I fell in love with her,

and she, I believe, was in love with me,

though sadly in a different way,

and shortly after her arrival,

a young choreographer was drawn to my attention.

He'd created the most amazing work.

Even I thought it impossible to translate.

When they met, it was clear to me

and to others as well,

they were destined to be together.

Sigida, needless to say, was then,

as it is to this day, a masterpiece.

(mysterious instrumental music)

William Tanner, is this not Brooke's locket?

[Ghostly Voice] Yes, it is.

(thunder cracking)

It burned me.

Gregory, you sit down, yes?

I join you in a moment.

(mysterious instrumental music)

Michael?

Michael Richardson?

Yes.

What's happening?

Please, please, you excuse me.

Yeah, I had to do it.

I sensed it the moment I saw you,

but I was not sure.

This is why I brought you to Bill's house.

Gregory, do you not understand what is happening?

You, you have been through here before.

- What? - Yes.

You have, I believe as

Michael Richardson.

Gregory, you are now not experiencing a sense of deja vu?

In your whole life, you did not think

of the possibility of reincarnation?

I don't know.

I was intrigued by it at one time.

And?

I decided it was a load of nonsense.

Then, Gregory, how do you explain this?

The locket?

I truly did not expect anything like this.

That was the most powerful manifestation I ever witnessed.

Gregory...

You know that Michael and Brooke and her mother,

they died, they all died in a terrible and strange fire.

(mysterious instrumental music)

I think you...

You must go now, yes.

Gregory, you will think about all of this, yes?

Yes.

And we will talk of all this again, yes?

Goodbye.

- Goodnight. - Goodnight.

Time, time, time, time, time, time.

(bell ringing)

Mr. Thomas.

Gregory, I did not expect you till tomorrow here.

How did they perish?

Oh, I'm afraid that, to this day,

no one knows exactly what happened,

but you know, it is becoming clear to me

that glimpses of your past life are coming

into your conscious mind,

and I think more will come back now.

When?

How much more?

No one knows the answer to this question,

but I believe I can help you retrieve more, if you want,

but Gregory, how much more you want to remember

is your choice and your choice alone.

I do want to know more.

All right, then we will try.

Relax, relax.

Good, relax, relax.

Gregory, you must trust me.

You must trust me completely.

(tense instrumental music)

Now, concentrate.

Concentrate.

Concentrate.

Go find Brooke.

Go find her.

Go find her.

Find Brooke.

Find, find her.

Go find her.

Find Brooke.

(lively classical music)

No, no, stop!

That was terrible.

God almighty, sometimes I feel like I'm talking

to a brick wall.

I don't know how many times we've done this.

It was nowhere near big enough.

Now, on the last pirouette, I want the arms to go up,

then down again,

and then up for a really strong finish, all right?

Shall we try it again?

Music.

(lively classical music)

Darling, that was beautiful.

That was wonderful.

Come here. (Laughing)

(lively classical music)

(audience applauding)

But the audience loved it.

I know they loved it, but for me,

it lacked the spontaneity and pace

that we'd found in rehearsals.

Bill thought it was the best performance he'd ever seen.

Well, he's wrong, and anyway,

he's not seen what you're capable of.

I think you're becoming very conceited, Michael,

and I don't like it one bit.

Like it or not, I know what I'm talking about,

and tonight was far from perfect.

Can we discuss something else?

Forgive me, your table is ready, Mr. Richardson.

Thank you.

(gentle instrumental music)

- Thank you. - Please, Madam.

It wasn't perfect, but this is.

Oh, Michael, it's beautiful, beautiful.

Thank you.

Must you?

You know I don't want to but it's late

and mother will be worried.

Stay with me.

Don't make this anymore difficult than it already is.

She must be told.

It's ridiculous, you reporting home every night

like a schoolgirl.

Please, Michael.

Let me handle this my own way.

- Please. - Fine, when?

Soon.

I promise you, soon.

(metal clanking) (gentle instrumental music)

Soon.

Soon.

Come back, Gregory.

Gregory, Gregory, Gregory.

Oh.

Gregory, come back. (Groaning)

Why did you?

Because I sensed you had enough.

Enough for now.

(sighing)

(answering machine beeping)

[Maggie] Hi Greg, it's 5:30 and I'm at the Grand Hotel.

The number is 02738962.

Talk to you soon.

(answering machine beeping)

It's ♪:30 now.

I'm going out to supper.

I'll call you when I get back.

Bye.

(answering machine beeping)

Greg, it's 9:45, where are you?

(answering machine beeping)

[Willmer] Hi, Willmer here.

No point in having an agent if you don't speak to him.

(answering machine beeping)

[Ghostly Voice] Leave her alone.

I'm warning you.

Leave her alone.

(answering machine beeping)

[Maggie] It's me again and it's 11:15

and I'm going to sleep.

(answering machine squeaking)

[Willmer] No point in having an agent

if you don't speak to him.

(answering machine beeping)

[Maggie] It's me again and it's 11:15.

(answering machine squeaking)

[Willmer] In having an agent if you don't speak to him.

(mysterious instrumental music)

(phone ringing)

Hello.

- Where have you been? - Oh, Maggie, I...

[Maggie] Were you with someone else?

Darling, don't be ridiculous, I've...

[Maggie] Then what's going on?

I've been working very hard.

[Maggie] On that terrific idea of yours?

Yes, and I'm getting very confused about it all.

[Maggie] Please, Gregory, confused?

I'm the one who's confused.

Darling, darling, please, I'm very tired.

Can we talk...

Scene 36...

Night.

(eerie instrumental music)

Exterior, Brooke's apartment.

Michael approaches door, knocks.

Cut to Michael's point of view.

Brooke's door opens.

Hello.

I'll get my coat.

- Brooke. - Yes.

I think you should be back no later than 9:30.

Yes, mother, I know.

It's been a pleasure seeing you again, Mrs. Harvey.

You could have told me earlier that you had

to be back by 9:30.

Well, she didn't tell you until just before you came.

[Michael] Well, I suppose dinner is out.

Your drinks, sir.

- Here we are, now. - Thank you.

I've been as patient as I can.

Please, Michael, let me handle this my own way.

I'm sorry.

You know I can't just walk out.

And what happens when we get married?

Is she gonna live with us?

That's entirely different.

Anyway, it's more than that.

You know it is.

She doesn't like me

and she doesn't think I'm good enough for you.

Now, that's not fair.

She's never said anything to give you that impression.

She doesn't have to.

I can sense it every time I call round for you.

It would be better for us both

if you took a place of your own.

(gentle instrumental music)

Even though I've only been here for a short time,

I've grown to love this city at night.

All those people down there.

I sometimes wonder who they are and what they dream about.

I dream about you, night and day.

[Eleanor] Do you know what time it is, darling?

[Brooke] Yes, mother, I do.

[Eleanor] Did you mean to miss his call?

[Brooke] No, I didn't.

I had a wonderful evening with Michael tonight

and I just forgot about the time.

[Eleanor] This man is nothing.

He's not even... No, mother, you're wrong.

He's everything and I'm in love with him.

(door banging)

(suspenseful music)

(tense instrumental music)

Maggie, what are you doing here?

The schedule changed, so I got a few days off.

Please, forgive me?

I'm sorry about what I said on the phone last night.

Oh.

- You look exhausted. - Oh, I am, I am.

Up to bed.

I'll bring you some hot chocolate.

(rattling) (Maggie yelling)

[Maggie] Ah!

- What's the matter? - Max attacked me.

Poor baby, baby.

Sit down.

What happened?

Well, I

I opened a can of his food, and as I

put it down for him, he came up behind me

and started clawing at my arm.

I don't understand it.

I don't either.

It doesn't look too bad.

Oh, come on, some plaster's upstairs.

It's not like Max.

[Maggie] I know it.

I don't know what got into him.

Where is he?

(suspenseful music)

(mysterious instrumental music)

Max?

Max?

Max?

Max?

Max?

Maggie, Maggie. (Sighing)

I've just found Max.

What do you mean?

He's dead.

How?

He

I don't know.

Maggie, what is it?

First, the book, then the answering machine, then Max.

What's happening to me, Maggie?

Am I going mad?

No.

You know what it could be?

Greg, it could be that you're just becoming a victim

of your own imagination.

Haven't you been telling me how this new project

has been taking over your life?

Yes, but...

And you've been spending quite a bit of time

with that old man who fancies herself a spiritualist, right?

Yes, but she's, I mean...

Now, for the book, well, it probably just slipped

from your lap while you were sleeping, fell into the fire.

The next thing is the answering machine.

It's a machine.

I mean, machines have been known to foul up, haven't they?

But what about Max?

He attacked you.

He scratched my arm, that's all.

He was probably mad because he was hungry.

I don't know.

I simply don't know any longer.

Perhaps I'm tired and run down

and letting my imagination run away with me.

Why don't you go upstairs and lie down for a little while?

Yeah.

(mysterious instrumental music)

Now, we know you were first attacked

on a purely psychic level,

the message on your phone machine.

But now with these letters, you are being threatened

by an actual physical level.

Michael Richardson, I think you have returned.

But it seems as if Eleanor Harvey,

she has returned too in some form or manner.

Some form or manner?

What does that mean?

I do not know, but I think the jealousy and hatred for you

that she had so many years ago,

it has some how carried over into this life.

Gregory, that is...

This must be very frightening for you, yes?

Yes.

But Gregory, I think that the safest thing for you, dear,

is to learn as much as you can about this hatred

so you can understand Michael's life.

Gregory, you think you have the strength to continue?

I don't know, but I must.

Yes, here, sit, sit.

Now, you relax.

Relax, Gregory, and concentrate.

Concentrate.

Concentrate.

Concentrate.

Concentrate.

Michael, go to Brooke.

Go to Brooke.

Find her.

(mysterious instrumental music)

Michael, find Brooke.

Go.

(gentle piano music)

(knocking on door)

- Mr. Richardson? - Yes.

Good morning, sir.

These are for you.

Who are they from?

I'm not sure, sir, but...

This is also for you.

Put them in the hall, please.

Yes, sir.

Good night, George.

Good night, Miss Ashley, good night, sir.

Take us home, my darling.

Didn't she try to stop you?

- At first. - It's me, isn't it?

No, it's not you.

She would resent any man I was in love with.

Why?

She doesn't want to share me with anyone else.

You know, sometimes I think she enjoys my performances

even more than I do.

I love you.

My love will always be yours.

Only yours, all yours, always.

Let's go.

(gentle instrumental music)

I just knew you wouldn't want to go out tonight.

Michael...

How beautiful.

Do you believe in intuition, a sixth sense?

Haven't you ever had the feeling that you knew something,

something wonderful was gonna happen to you,

that the timing was absolutely right for it to happen.

Once, perhaps.

Why?

Because I knew when I first saw you

that I was gonna fall in love with you.

(laughing)

What's so funny?

What's so funny is the only time

I've ever had that feeling was the first time I was you.

(laughing)

(lively instrumental music)

(energetic instrumental music)

I wish I didn't have to go.

It's only for a couple of days.

Please change your mind and come with me.

Darling, I can't.

Thank you.

(gentle instrumental music)

(knocking on door)

May I come in?

May I get you anything, Mrs. Harvey?

No, no thank you.

This is not a social call.

I'm here to speak to you about my daughter.

I want you to stop seeing her, is that clear?

Mrs. Harvey, may I call you Eleanor?

No, no, I'd rather you didn't.

Mrs. Harvey, I fail to see that my relationship

with Brooke has anything to do with you.

Anything to do with my daughter's career concerns me.

I've guided her well.

You must admit that.

I've protected her, advised her.

She has a brilliant career ahead of her.

I'm not going to let her jeopardize what I,

what we have worked so hard for all these years.

Any involvement with a man that involves marriage,

or, heaven forbid, children,

is absolutely out of the question.

She knows what she wants,

and if those wants fail to coincide

with your ambitions for her, you may have to step aside.

She is a woman now, with her own life to live.

You can't manipulate her forever.

You've poisoned her mind against me.

I won't stand for it.

- Mrs. Harvey. - You're not good enough

- for my daughter. - I would never try

to influence her to give up her career for me,

but if she does decide to abandon her dancing

after we're married, that will be her choice

and her choice alone, and I will fully support her

in whatever she decides to do.

Please let me finish.

Though I believe I am better than most at what I do,

I also know that my name evokes little if any response

in the world of dance compared to Brooke Ashley.

Ah, there I agree with you.

But you must understand this.

I am in love with Brooke Ashley, the beautiful woman,

not with Brooke Ashley the famous dancer,

and she loves me

and there's nothing you can do to change that.

That's where you're wrong.

I'll stop you in any way I can.

We love each other very much.

If you continue to interfere,

you run the risk of losing her.

Please don't force her to choose between the two of us.

As you will find out, I never lose.

(tense instrumental music)

Michael, Michael.

Michael...

Come back, Gregory.

Gregory, come back.

Why did you bring me back?

Please, give me some time.

Please, give me time.

What happened after Brooke left her mother

and moved in with me?

She moved in with you?

Yes, we were going to get married.

Married?

No.

She never told me this.

Never.

After this, my beautiful Brooke was destroyed

in this terrible fire.

What happened?

I have to know.

I need to know.

I have a right to know.

You were all destroyed.

(tense instrumental music)

(groaning)

[Ghostly Voice] How does it feel

to know you're about to die?

How do you like it?

I warned you but you refused to listen.

Now you're going to pay for what you did to Brooke.

Murderer, murderer, murderer.

(groaning) (tense instrumental music)

First and the most important, you must not panic.

Fear breeds fear.

If this thing appears again, you must recognize it

for what it is.

It is your enemy.

Your enemy.

It's not a dream.

It is not a figment of your imagination.

It is an enemy attacking you.

But the only power it has is the power that you grant it.

So, you must command it.

Command it, Gregory.

You show your face.

(gentle piano music)

[Maggie] Do you know who Edgar Cayce is?

No.

Well, he was known as the sleeping psychic.

He would put himself into self-induced trances every day

of his life for 43 years,

and while he was in these trances,

he would discuss all sorts of things

from archeology to complex medical problems.

The odd thing is, Greg, he had no formal education

past the eighth grade.

I now know that when people find themselves

in situations similar to yours,

when they can't logically explain the events

that are happening to them,

they go to someone to help them find out,

and that's exactly what you've done, Greg.

You've gone to that old woman.

- Olga Nabakov. - Right, and I think that...

Why did you choose this restaurant?

I just told you.

Weren't you listening?

Please come back to location with me.

It'll do you good to get away for a while.

Yes, I think you're right.

[Maggie] Oh good, good.

(tense instrumental music)

(thunder cracking)

(groaning)

[Olga] First and most important, you must not panic.

Fear breeds fear.

And next time it appears,

you must recognize it as your enemy attacking you.

It is not a figment of your imagination.

It is not a dream.

But the only power it possesses over you

is the power you grant it.

Will it to show its face.

Order it, Gregory.

Not only must you battle it, you must win.

[Ghostly Voice] You were never good enough for her.

Never good enough, never good enough, never.

(grunting)

Maggie.

Maggie.

(yelping) (fist thudding)

(glass breaking)

(phone ringing)

- Hello. - Hello, Gregory.

Is you?

Listen.

Eleanor is very close to you now.

You are in grave danger, and Maggie.

Maggie is too.

Yes, you come here now.

Don't, don't..

Please, don't ask me any questions.

You just come.

Yes, Greg, immediately.

Please hurry.

(tense instrumental music)

Gregory, quickly bring her in the house.

No, no, no.

Bring her in here, my bedroom.

Put her down.

Get a drink for her.

Oh, oh God.

Oh God.

(mysterious instrumental music)

Brooke, my beautiful Brooke.

You're here.

I'm not your beautiful Brooke.

Maggie, Maggie, darling.

I did it all.

The book, the answering machine, that letter, and Max

I'm in no danger from Eleanor Harvey.

I am Eleanor Harvey.

Brooke, my love, you've returned a day earlier

than we'd anticipated.

- How marvelous. - How did you know?

- I know I didn't make a sound. - Male intuition.

Come on, how did you know?

My darling, whenever you enter any room,

I'm immediately aware of it.

Actually, it was your perfume that betrayed you.

(gentle instrumental music)

What is it?

What are you thinking about?

About us.

How extremely fortunate I've been to find you

and have fallen in love with you, and you with me.

Let's get married.

- Right this minute? - Well, no.

- Let's get married tomorrow. - Let's get married tomorrow.

It's so wonderful when we're together like this.

Hmm.

I am famished.

(laughing)

I thought being in love was supposed

to take away your appetite.

As a matter of fact,

I wouldn't mind having some eggs myself.

[Greg] My thoughts exactly.

[Brooke] I think I'll take a quick shower.

(suspenseful music)

Who's there?

What the hell are you doing?

I told you I'd stop you.

I warned you.

I gave you every chance.

Don't.

Don't come any closer.

I was hoping you'd be asleep,

but it makes no difference, does it?

You're mad.

No, not to protect myself against a man

who wants to take everything from me,

who wants to destroy my life

by taking my daughter away from me.

Brooke's here.

I swear to you, she's here.

Turning a daughter against her mother.

That's a crime punishable by death.

Brooke!

(tense instrumental music)

Brooke!

(laughing)

Liar.

You're staring at your own death, Mr. Richardson.

She's upstairs.

Why the hell do you think I haven't made a run for it?

Mother, Michael.

Get back!

(tense instrumental music)

Gregory, Gregory, you have, we have won.

Maggie has rid herself of Eleanor,

from her subconscious mind.

Come, come, we let her rest.

(mysterious instrumental music)

Can it ever be the same?

Oh, I do not think she will remember anything.

She will be confused for a short while,

but I can help her with this.

Gregory, I think you should go be with her.

Perhaps it is better you are there when she wakes up, yes?

Thank you, thank you.

Olga, quickly, come here!

(suspenseful music)

- What, what? - She's gone.

What?

[Greg] She's slashed my tires.

Get the keys, we'll take your car.

(tense instrumental music)

This time I'll get my revenge.

Maggie, darling.

I'm not your Maggie, you fool.

I told you before.

I'm not your Maggie.

(groaning)

Maggie, Maggie, shouldn't we?

[Olga] Eleanor had what we all long for, a second chance,

but the hatred was too strong

and so she became its victim again,

and poor little Maggie, it destroyed her too.

Her love for you was not strong enough.

I love Maggie.

God, I loved her.

I know.

Oh, Gregory, these last few days have been terrible for you,

but you are a survivor.

You will see this will all fade in time

and Brooke...

Well, perhaps you will not meet her in this life,

but someday, someday you will meet her.

I don't want to hear anymore.

(gentle instrumental music)

(lively classical music)

(speaking French)

(Pardonne-moi)

(mysterious instrumental music)

(gentle instrumental music)