Original subtitles

What we see...

...and what we seem...

...are but a dream.

A dream within a dream.

(SLOW, ETH EREAL ROMAN IAN PAN PI PE M US IC)

"Meet me, love, when day is ending ."

"I Iove thee for thy highborn grace,

"Thy deep and Iustrous eye,

"For the sweet meaning of thy brow,

"and for thy bearing so high ."

Six

and seven ...

...and eight

and nine

and ten

and eleven .

"I love thee

"Not because thou art fair,

"Soffer than down , smoother than air,

"Nor for the cupids that do Iie

"I n either corner of thine eye.

"Wouldst thou then know what it m ight be?

"'Tis I Iove thee 'cause thou Iov'st me."

Tighter.

Is that tight enough?

Not too tight.

(PAN P I PE M US IC CONTI N U ES)

(SPEECH I NAU D I BLE)

(M USIC FAD ES)

♪ See the Iittle horse,

♪ My little horse,

♪ Trotting down the paddock On his fine white feet

♪ BIack horse, white horse,

♪ Brown horse, grey

♪ Trotting down the paddock On a bright, sunny day. ♪

Someday, Sara, you shall have to come home with me to the station .

To Gueensland .

And meet my sweet, funny family for yourself.

Would you like that?

(MOUTHS WORDS)

You must Iearn to Iove...

someone else apart from me, Sara.

I won't be here much Ionger.

What do you think?

M iranda, somebody had the nerve to send M iss McCraw a card on squared paper

covered with tiny sums.

(CHATTI NG)

Girls! Girls!

U nless you all deport yourselves with rather more grace

and considerably Iess noise,

M rs Appleyard will see to it that none of you go to Hanging Rock today.

Bonjour, M iss Lumley.

Good morning , Mademoiselle de Poitiers.

I believe M rs Appleyard has decided you're not to go on the picnic, Sara.

That makes two of us.

Off you go!

To St Valentine!

- (CH EERI NG) - Shh !

(QU I ET CHATTER)

♪ Frére Jacques, Frére Jacques, Dormez vous. . . ♪

(CLOCK TICKI NG) (S I N G I NG CAN BE H EARD)

Tais-toi , Irma. M iss McCraw vient d'arriver.

- (WH ISPERS) She wants algebra today. - Today?

(WH ISPERI NG)

(BELL RI NGS)

(CHATTI NG AN D LAU G H I NG)

- Good morning , girls. - Good morning , Mrs Appleyard .

Well , you ng Iadies,

we are indeed fortunate in the weather for our picnic to Hanging Rock.

I have instructed Mademoiselle

that as the day is Iikely to be warm , you may remove your gloves

once the drag has passed through Woodend .

You will partake of Iuncheon at the picnic grounds near the rock.

Once again Iet me remind you that the rock itself is extremely dangerous

and you are therefore forbidden any tomboy foolishness in the matter of exploration ,

even on the Iower slopes.

I also wish to remind you the vicinity is renowned for its venomous snakes

and poisonous ants of various species.

It is, however, a geological marvel ,

on which you will be required to write a brief essay on Monday morning .

That is all.

Have a pleasant day, and try to behave yourselves

in a manner to bring credit to the college.

M r H ussey?

Mr H ussey!

I shall expect you back, M iss McCraw and Mademoiselle, at about eight

for a Iight supper.

Come, girls.

(♪ BACH : "Prelude No 1 in C")

This we do for pleasure

so that we may shortly be at the mercy of venomous snakes and poisonous ants.

How foolish can human creatures be?

(M US IC CONTI N U ES)

(CH I LDREN SHOUTI NG)

(WH ISTLI NG)

- There she is, Iadies. Hangin' Rock. - (G I RLS GASP)

(M US IC STOPS)

The mountain comes to Mohammed . A hanging rock comes to M r H ussey.

More than 500 feet high she is. Volcanic, of course. Thousands of years old .

A million years old , M r H ussey, or thereabouts.

Yes, well, of course that'd be right.

Thousands, m illions.

Devil of a Iong time, anyway, in a manner of speakin'.

Only a million years ago. Quite a recent eru ption , really.

The rocks all around Mou nt Macedon itself must be all of 350 million years old .

Siliceous Iava...

...forced up from deep down below.

Soda trachytes extruded in a highly viscous state,

building the steep-sided mametons we see in Hanging Rock.

And quite young , geologically speaking .

Barely a million years.

Waiting a million years...

just for us.

(B I RDS TWEETI N G)

(FLY BUZZI NG)

More cake, M ichael?

No, thank you , Aunt. I'm ...

I think I'II just, um , stretch my Iegs a bit.

Oh , don't go too far.

And be careful - there could be snakes.

(BUZZI NG)

(U N EVEN BUZZI NG)

- How's it goin'? - AII right.

They finished eating , have they?

Pardon?

The colonel and the missus.

- They finished eating , have they? - Oh , yes, they have.

Expect me u p there in a minute, I suppose. CIear away.

- Can't be more'n midday. - No.

(BI RDSONG AN D I NSECTS BUZZI NG)

I thought it was a Iittle early for Iunch myself.

Yeah .

Drink?

Thanks.

You know, they always allow an hour Ionger than it takes to get 'ere,

and then they got 'ere straight away.

Thanks.

Ta!

Not that they got anything else to do.

I mean , they never go for a walk or nothin'.

M R H USSEY: Get oni Come onl

(SHOUTS OF EXCITEM ENT)

(LOW, HAU NTI NG PAN PI PE M US IC)

- (B I RDS TWEETI N G) - (HORSES WH I N NY)

M I RAN DA: To St Valentine!

- ALL: To St Valentine! - (M US IC FADES)

(CH EERI NG)

(LOW RU M BLE)

(G I RLS CHATTI NG)

(DOOR CLOSES)

I hope you have Iearned your poetry, Sara.

Sit up straight, child .

Hold your shoulders back. You're getting a dreadful stoop.

Well, have you got your Iines by heart?

Well , have you?

I can't. It doesn't make sense.

Sense? You Iittle ignoramus!

Evidently you don't know

that Mrs Felicia Heymans is considered one of the finest of our English poets.

I know another piece of poetry by heart.

It has ever so many verses, much more than 'The Wreck of the Hesperus'.

Would that do?

What is the name of this poem?

'An Ode to St Valentine'.

I'm not acquainted with it. Where did you find it?

I didn't find it. I wrote it.

You wrote it?

"Love abounds, Iove surrounds. . ."

Oh , no thank you , Sara. Strange as it may seem , I still prefer Mrs Heymans.

Give me your book and proceed to recite to me as far as you have gone.

Your book, please, Sara.

Thank you .

Go on .

I can't.

Not one Iine?

I shall Ieave you now, Sara.

I expect you to be word perfect when I send Miss Lumley in in half an hour.

Otherwise, I'm afraid I shall have to send you to bed

instead of Ietting you stay up until the others return from the picnic.

(WH ISPERS) Bertie! Bertie!

Jesus, where are you?

Oh , M iranda!

(I NSECTS CH I RPI NG)

I like this one.

"Shall I compare thee to a summer's day?

"Thou art more Iovely and more temperate.

"Rough winds do shake the darling buds of May,

"And summer's Iease hath all too short a date. . ."

(CONTI N U ES READ I NG SON N ET)

(MAM'SELLE RECITI NG I N FRENCH )

M R H USSEY: That's funnyl

BIowed if me watch hasn't stopped .

Dead on 1 2.00.

That's real funny.

(FI N ISH ES RECITI NG)

C'est trés jolie, n'est-ce pas?

You would n't have the time, I su ppose, miss?

Ah , Miranda, your pretty little diamond watch .

Don't wear it any more.

Can't stand the ticking above my heart.

Ah !

If it were mine...

I'd wear it always, even in the bath .

Would you , Mr H ussey?

Stopped at twelve.

Never stopped before.

M ust be something magnetic.

Well after two, I'd say.

We'd better be careful .

I promised M rs Appleyard I'd have you Iot back at the college by eight.

Except for those people down there...

we might be the only Iiving creatures in the whole world .

(ETH EREAL PAN PI PE M US IC)

- Excuse me, Mam'selle. - Yes, Marion?

I should Iike to make a few measurements at the base of the rock if we have time.

With M iranda and I rma.

I RMA: Oh , please, Mam'selle.

We'II be back Iong before tea.

Et bien . AIIez!

May I come too, please?

MARION : So Iong as you don't complain .

I won't. I promise.

And don't worry about us, Mam'selle.

We shall only be gone a Iittle while.

(M US IC CONTI N U ES)

Ah !

Now I know.

What do you know?

I know that M iranda is a Botticelli angel .

(G I RLS LAUGH I NG)

ED ITH : Wait!

I'd better take a flying Ieap.

- M I RAN DA: Can you manage it, Edith? - I don't know.

I don't want to get my feet wet.

(M USIC FAD ES)

Oh !

(H E WH ISTLES)

Thought the Iittle fat one was gonna take a bath .

Some of them are real Iookers.

Have a Iook at the shape of the dark one with the curls.

Built Iike an hourglass.

And 'ave a go at the last one! The blonde!

Oh , she'd have a decent pair a' Iegs.

AII the way up to her bum .

I'd rather you did n't say crude things Iike that, AIbert.

I say the crude things. You just think 'em .

ED ITH : M iranda!

Take my word for it.

The Sheilas are all alike when it comes to fellas.

Doesn't matter if it's a bloody college you come from

or the Ballarat Orphanage where me and me kid sister was dragged up.

Did n't know you were an orphan .

Jeez! I haven't thought of that bloody dum p in donkeys' years.

(PAN PI PE M USIC)

(ECHO) Mirandal

I think I'II just, er. . .stretch my Iegs a bit before we go.

(M USIC FAD ES)

(WATER RUSH I N G)

(LYRICAL M US IC WITH PIANO M ELODY)

Look!

Not down at the grou nd , Edith . Way up there in the sky.

(M US IC BU I LDS WITH CHORAL ELEM ENT)

(M US IC CONTI N U ES)

(M USIC FAD ES)

Why can't we just sit on this Iog and Iook at the ugly old rock from here?

It's nasty here!

I never thought it would be so nasty, or I wouldn't have come!

(EERI E DRON I NG)

(TAPPI N G)

(WI N D RU M BLES)

(WI N D RU M BLES)

We can't go much further.

We promised Mam'selle...

...we wouldn't be Iong away.

(PAN P I PE TH EM E)

If only we could stay out all night. . . and watch the moon rise.

ED ITH : BIanche said Sara writes poetry in the dunny!

She found one there on the floor all about M iranda.

She's an orphan .

I RMA: Sara reminds me of a Iittle deer Papa brought home once.

I Iooked after it...

...but it died .

Mama always said it was doomed .

Doomed? What's that mean , Irma?

Doomed to d ie, of course.

"The boy stood on the burning deck, whence all but he had fled , tra Ia. . ."

I forget the rest.

I think I must be doomed .

I don't feel at all well .

I do wish you'd stop talking for once.

Poor Edith . We'II go back soon .

(PAN P I PE M US IC CONTI N U ES)

(M US IC CONTI N U ES)

Irma! Look at them !

Where in the world are they going?

Without their shoes!

I rma, wait! Wait for me! PIease wait!

Wait, Irma, wait!

(M USIC FAD ES)

Whatever can those people be doing down there?

Like a Iot of ants.

A surprising number of human beings are without purpose.

AIthough it is probable they're performing some function unknown to themselves.

M I RAN DA: Everything begins and ends...

...at exactly the right time and place.

Look!

(LOW RU M BLI N G)

(LOW RU M BLI NG CONTI N U ES)

(LOW RU M BLI NG CONTI N U ES)

(B I RDS CAWI N G)

ED ITH : Oh , M iranda, I feel awful . . . really awful .

M iranda, I feel perfectly awful .

When are we going home?

When are we going home?

(RU M BLI NG CONTI N U ES)

M iranda?

M iranda!

(CRI ES) M iranda!

(SHOUTS) M iranda, don't go up there! Come back!

(SCREAMS LOU DLY)

(CONTI N U ES SCREAM I N G)

(EERI E ECHOES)

(CLOCK TICKI NG)

(BELL RI NGS)

I've gotta go. That's M rs Appleyard .

Let someone else go.

They won't. No. I'm on .

Right. What time is it?

(SH E G IGGLES)

It's time to go!

What've you got to do? I've got to go.

M rs Appleyard'II skin me.

We got plenty of time.

(BELL RI NGS)

You'd better go.

(BELL RI NGS)

(CLOCK TICKS)

(I NSECTS CH I RPI NG)

(WH ISPERS) Why are they so Iate?

(HORSES' HOOVES)

(BELL RI NGS)

God be praised !

Mademoiselle, why are you so Iate?

Madame...

something terrible has happened .

What?

What do you mean?

I can't...

And where in heaven's name is M iss McCraw?

We Ieff her behind at the rock.

You Ieft her behind?

(G I RLS CRYI N G)

Has everyone taken leave of their senses?

M iss Lumley, get these girls to bed immediately.

And Cook, Cook! Hot soup, please, for all of them .

M rs Appleyard ...

I must speak to you alone.

Very well .

Straight up the stairs, girls. Come along , quickly as you can .

Cook, I asked you for hot soup!

Well, ma'am . . . ma'am ,

the strength of it is this.

Three of your young Iadies...

...and , er. . . M iss McCraw...

...are m-missing ...

on the rock.

What happened?

Well, now, Mrs Appleyard ...

That's just the trouble.

Nobody knows what happened .

How soon after the girls did M iss McCraw Ieave?

Don't know. No one knows.

No one saw her Ieave. We were asleep.

And the Iittle one?

Edith Horton .

Like I told ya...

...she come tearin' out of the bushes, dress all torn ...

...screamin' fit to...

Well, after we'd shushed her screamin', all we could get out of her

was that she'd Ieft the other three somewhere up on the rock.

That's about all I can tell ya.

(I NSECTS BUZZI N G)

Mirandal

Mirandal

(DRU M M I NG)

Marionl

Marionl

lrmal

(CALLI NG AN D DRU M M I NG)

(DRU M M I N G STOPS)

Go on , get out of it.

Ah , stop it!

Come on .

M iranda!

(FLY BUZZI NG)

Try to remember, Edith ...

...what it was that frightened you on the rock.

Think carefully, darling . Carefully!

Did you speak to anyone?

There must have been something .

Was there a man?

Her legs were quite severely scratched .

From running through the brambles, I should imagine.

Nothing else?

Nothing I could detect.

She had n't been ...

...molested?

No, no, nothing Iike that.

I have examined her.

She is quite intact.

Since you won't tell me all the details, how can I give you an opinion , Lionel?

There are no details.

People just don't disappear, my dear.

Not without good reason .

There's talk, is there?

Not just gossip.

People have...

- ...theories. - Go on .

Well , it couldn't be Iocal .

What couldn't?

No one around here would do a thing Iike that.

I've just told you , Sergeant.

I simply noticed these three young ladies crossing the creek.

What did they Iook Iike?

H m?

The girls. Describe them to me.

U m ...

The first one was tall and dark.

U m . . . Then there was the Iittle dumpy one.

U m . . .then a girl with glasses...

and ...

the Iast one was. . .slim and fair.

That's four.

Pardon?

A few minutes ago you said there was only three of them .

Oh , oh , yes.

That's because the. . .dumpy one was back a Iittle.

Then they. . .er. . . moved off into the trees

and that's the Iast we saw of them .

Perhaps we could go a Iittle higher.

I was tired .

I sat down on a Iog .

Which Iog , Edith? This one?

Look around you , darling .

Maybe you can see it now.

Is that the one? You went that way?

I don't know. I was tired . I'm tired now.

There is one thing I remember.

What do you remember, Edith? Tell us.

It was when I was coming down , when I was running .

It was a cloud .

What sort of a cloud?

It was red .

I remember it clearly. It was just affer I passed M iss McCraw.

Who d id you say you saw?

M iss McCraw. She was going up the hill as I was going down .

Did she stop?

Did you speak?

No. She was too far away.

She was about as far away as those dead trees are over there.

(G IGG LI NG)

She was funny.

Funny?

How?

I'd rather not say.

You must, Edith . It could be very im portant.

It's rude.

Les pantalons.

She had no skirt. Just Ies pantalons.

Drawers?

You mean she was just wearing d rawers?

One Iast go.

For the bloodhound .

(♪ BEETHOVEN : "Adagio" from 5th Piano Concerto)

M iranda.

(DOG BARKS)

Hello!

(DOG BARKS)

(DOG BARKS)

(M US IC EN DS)

Why didn't you tell us you followed the four girls?

Because...

... I d idn't exactly follow them .

I just jumped across the creek and walked towards the rock for a Iittle way.

I was curious.

I n England young Iadies like that wouldn't be allowed to go walking in the forest.

Not alone, anyway.

But they'd gone by the time I'd come out of the trees

so I turned back.

As the girls were jumping the creek...

...what were you thinking of?

U h ...

U h ...

H m?

(STRI NG QUARTET PLAYS MOZART: "Romance: Andante" from "Eine KIeine Nachtmusik")

Ah , M ichael!

(QU I ET CHATTER)

Oh , M ichael ! I ...

The old man hired me to look affer the horses.

I'm buggered if I'm gonna be a lackey at a bloody garden party.

That's what I bloody well told 'im .

More or Iess.

Had the bloodhound out the other day.

I wake up every night in a cold sweat.

Just wondering if they're still alive.

Yeah , well , the way I Iook at it is this.

If the bloody cop and the bloody abo tracker and the bloody dog can't find 'em ,

well, no one bloody can .

(QUARTET PLAYS TCHAI KOVSKY: "Andante Cantabile" String Quartet No1 , Op 11 )

People have been bushed before today,

and as far as I'm concerned , that's the stone end of it.

Well , it's not the end of it as far as I'm concerned .

They may be out there...

...dying of thirst on ...

...on that infernal rock and ...

...you and I are sitting here d rinking cold bloody beer.

That's where you and me's different.

If you want my advice, the sooner you forget the whole thing , the better.

Well , I can't forget it, and I never will .

- (GUARTET PLAYS "God Save the Queen") - (ALBERT LAUG HS)

I'm not great shakes on music, but I reckon the governor must be Ieavin', eh?

Your auntie'II give you hell if you're not on show.

AIbert...

(QUARTET FI N ISH ES)

I want to go back to the rock.

To Iook for them .

Will you come with me?

Beautiful birds, them swans.

A week in the bush .

They'd be dead by now.

Then I'Il go alone.

(LYRICAL M US IC WITH PIANO M ELODY)

(M US IC BU I LDS)

Coo-ee!

Hello?

(M USIC FAD ES)

Coo-ee!

Mikel

Michaell

Michaell

We'Il have to be goin' soon .

Dark before we get back.

I'm staying here.

You're what?

I'm staying here.

- Here? On the rock? - Yes.

What the hell for?

- You're mad . - Yes, perhaps I am .

But I'm still staying , because somebody has to.

- J ust because you lot are Australians. . . - You're a funny bugger.

What the hell am I gonna tell 'em when I get back there without ya?

You can tell 'em what you Iike.

H m? What? Woodend?

The Victoria, sir. The Iittle pub near the corner.

M r M ichael's pretty knocked out, sir.

He's sleepin' there.

The pub.

Yeah . Yeah .

I'm dashed if I know how his aunt'II take it.

Yeah .

AII right. Carry on , Crundall .

Thank you , sir.

(PAN P I PE TH EM E)

(M USIC FAD ES)

(B I RDSON G)

(LOW, RHYTH M IC BOOM I NG)

(HAU NTI NG , ATONAL M US IC)

M ISS McCRAW: Stopped at 12. Never stopped before.

M I RAN DA: Everything begins and ends...

...at exactly the right time.

I RMA: Waiting a million years, just for usl

M I RAN DA: Lookl Way up there in the skyl

MAM'SELLE : Now l knowl

M ISS McCRAW: What do you know?

MARION :A surprising number of human beings are without purpose...

...although it is probable...

...that they are performing some function unknown to themselves.

M I RAN DA: Everything begins and ends...

...at exactly the right time and place.

(SCREAM I NG)

(WH ISPERS) Miranda.

M iranda!

M iranda!

M iranda!

(M US IC BU I LDS)

(H E M U M BLES)

(M USIC FAD ES)

Jesus!

Coo-ee!

ECHO : Coo-eel

Coo-eel

Coo-eel

Coo-eel

(LOU D BUZZI NG)

(LOW, RHYTH M IC BOOM I NG)

(SCREAM I NG ECHO)

Let me have him now, son .

I've had 30 years' experience

puttin' them in so they don't fall out back on the road .

Eh , now Iean back.

There. That's it.

Take her qu ietly, Sergeant.

(LYRICAL M US IC WITH PIANO M ELODY)

(B I RDS CAWI N G)

(M USIC FAD ES)

(WI N D WH ISTLI NG)

Oh , Jesus! Jesus!

Help me!

(LYRICAL M US IC WITH PIANO M ELODY)

Help mel

Mademoiselle, they found I rma.

What did you say?

They found Irma, and she's still alive.

Oh !

No one else?

No.

Now go home.

There's nothing you can do.

Go on , now. Go home!

This is a police matter.

Well , go on .

We 've got a bloody right to know. We 'd like to know what's going on.

He 's right.

We simply want something done about it.

Where 's Bumpher?

What we should do is go to the bloody rock ourselves.

We 've got our own self-respect to think about.

He 's right, there.

Get Bumpher out here. Come on.

Come out, Bumpherl

Let's have another meeting .

Go back.

BU M PH ER: Go on, go home.

The bloody lot of you.

Nothing you can do.

(M USIC FAD ES)

We can thank the Lord for this merciful deliverance of our dear classmate, I rma

and pray that Marion and M iranda

and our beloved M iss McCraw will be Iikewise spared .

It has been seen fit

that I rma should convalesce at the home of Colonel Fitzhubert in Mount Macedon .

AIthough you'II be delighted at these good tidings,

I would ask you to remem ber, please,

that of the three remaining Iost members of the party, there is, as yet, no trace.

Would you come with me to my study, please, M iss Lumley?

You may carry on , Mademoiselle.

(EXCITED CHATTI NG)

Wonderful news, M rs Appleyard .

Don't be so foolish , woman !

If all of them had been found but only one?

This makes it worse. Far worse.

This tragedy is Iittle more than a week old

and already three - three, mark you - sets of parents have written

advising me that their daughters will not be here next term .

Now the newspapers have something further to sensationalise about.

Newspapers all over the world have headlined our morbid affair, M iss Lumley.

I mean , you realise that, I suppose.

The three who have been withdrawn , plus the three still missing on the rock...

Two, M rs Appleyard , only two now. I'm quite sure I rma will be coming back...

That makes six, M iss Lumley...

will not be with us next term .

I n addition , there are several sets of tuition fees impossibly overdue.

Sara Waybourne, for instance.

Most inconsiderate, if I may say so, M rs Appleyard .

Yes.

Well , I ...

I expect we shall see our way through somehow.

Don't Iet me detain you , M iss Lumley. You have a class in a few minutes, I believe.

Senior needlework.

Just ask the Waybourne girl to come in to see me, please.

After Iuncheon will be convenient.

Yes, M rs Appleyard .

Oh , and M iss Lumley.

Do your best to forbid any idle and morbid gossip about this whole wretched business.

Yes, M rs Appleyard . I will .

(♪ BEETHOVEN : "Adagio" from 5th Piano Concerto)

Who? What? Who is it?

Shh !

Ah !

Remarkable. H mm .

A week out in the bush and nothing more serious than shock and exposure.

Extraordinary!

No bones broken .

Some cuts and bruises to the face and hands.

To the hands especially.

Quite scratched .

The fingernails are all torn and broken .

There are several other unusual features.

Her head is quite badly bruised .

Probable concussion .

A blow, maybe?

Or a fall?

But then if she fell ...

...why is the rest of the body unmarked?

It's quite unblemished .

And the feet, too, are qu ite unmarked , which is very strange

as she was not wearing shoes or stockings when she was found .

We fou nd no trace of 'em up on the rock.

She's quite intact.

I'd give my head to know what really happened up there.

She's quite intact.

(MUSIC FADES)

What is it, my girl?

Well , ma'am , it's M iss Irma.

Yes?

Well, it's about her clothing .

What is it, my dear?

Well , I d idn't know whether the sergeant should be told .

There's. . . There's no corset.

M iss Irma's corset. It's missing .

You did right, my dear. It can't possibly be of any interest.

(TOM S I NGS) ♪ The north wind brings me no rest. . . ♪

Any number of unsolved murders there are.

Take. . . Take Jack the Ripper, for instance.

The police are u p there again , naturally.

Thick as flies.

Someone reported seein' a Iight flashing around a pigsty

on a place about a mile from the rock.

There's some questions got answers and some haven't.

No. There'II be a solution turn up d irectly, more'n likely.

A kid nappin'.

Or, you know, something Iike that.

They might have fallen down a hole.

No, no. There's a solution somewhere, all right.

There's gotta be.

Come over here. Come on . Over here.

Did you know, Iad , there are some plants that can move?

No.

(LAUG H I NG)

M iss Lu mley said you wanted to see me, M rs Appleyard .

That is correct.

Come in .

(I M PATI ENTLY) CIose the door, please.

I have written several Ietters to your guardian , M r Cosgrove, Sara,

but I have not been favoured with a reply thus far.

I n fact, it is all of six months since I have received a letter...

...or a cheque.

I , therefore, have no alternative but to cancel all your extras.

This means that, as of today,

you can no Ionger partake in dancing or drawing Iessons.

And unless all you r outstanding fees are paid by Easter,

I'm afraid we shall have to make other arrangements.

You know what that means, don't you , Sara?

You will have to go away.

There are places for girls in your predicament.

Institutions.

Now off you go.

Sara.

Sara! What's wrong with you?

Are you feeling ill?

People don't sit on cold steps in the dark unless they're weak in the head .

You heard the bell . Go and wash for supper.

Aren't you hungry?

Then you'd best go straight to bed .

Quickly.

Tell Mam'selle I don't want it. Thank you .

But you must eat. You'II get sick if you don't.

I'm sick already. If I eat that, I'Il be even sicker.

Nonsense. Now come on , Miss Sara.

Do you know what, M innie?

No. What?

I was in an orphanage once.

Were you , Sara?

I had a brother then ...

...called Bertie.

I told the matron I wanted to be a Iady circus rider

on a white horse in a spangled dress.

She was afraid I'd run away, so she shaved my head .

I bit her arm .

It bled .

So she painted my head with gentian violet.

(TOM S I NG I NG QU I ETLY)

♪ AII through the forest

♪ The north wind brings me no rest

♪ And death is in the sky

♪ I Iove you , M innie. ♪

I love you , darlin'.

I feel sorry for them kids.

The ones on the rock, you mean?

Yeah , them too.

I was thinkin' of them other poor little devils. . . here at the college.

Them . They're all right.

Rollin' in cash , most of them .

Or at Ieast their mothers and fathers are.

Some of them are orphans.

Or wards or...

You know.

(PAN P I PE TH EM E)

Now l know.

What do you know?

(WHISPER) What do you know?

I know that Miranda is a Botticelli angel.

(M USIC FAD ES)

(CHATTI NG)

Hold it right there, thanks, gentlemen . That's it.

Smile, please. Come on . Big sm ile.

Thank you , thank you .

Lindsay! Lindsay! Get those women over here, please.

Now they crossed the creek down there?

(I N BACKG ROU N D) The rope. Not that stuff. The other.

(I N BACKG ROU N D) Give me that rope over here.

(I N BACKG ROU N D) What about a cup of tea up here ?

Ah , tea.

Hello!

(CHATTI NG I N BACKGROU N D)

Will you all gather over here, please? AII searchers over here.

AII those not engaged , come over here, please.

Good , good .

As if Iooking up. Right up.

That's it. Looking for a cave or something Iike that.

Little more expression in the face, sir.

(♪ BEETHOVEN : "Adagio" from 5th Piano Concerto)

Hello, I rma .

Madame Fitzhubert showed me in .

How do you feel?

Oh , Irma! Oh , I rma.

We thought you had gone for ever.

Let me Iook at you , chérie.

You are so pale.

But prettier than ever.

Has the nephew paid you a visit yet?

The one who found you?

Yes.

And then the policeman .

And you couldn't...

I , I remember...

... nothing .

Nothing ! I remember nothing !

(M US IC CONTI N U ES)

(WI NGS FLAPP I NG)

(M USIC FAD ES)

(ORGAN PLAYI N G HYM N : "O Hear Us When We Cry to Thee")

(CHATTI NG)

(M USIC AN D CHATTI N G STOP)

(DOG BARKS)

Morning .

Send that reporter packing .

Girls, girls, get inside at once!

(WH ISPERS) There you are, M iranda dear.

You Iike these best.

M r Whitehead gave them to me, to give to you .

My dear...

My sweet M iranda.

(SH E GASPS)

She Iikes daisies best of all.

Oh , Sara! Oh , Sara!

You do know that M iranda might not come back.

M iranda knows Iots of things other people don't know.

Secrets.

She knew she wouldn't come back.

(SH E PLAYS P IANO)

Fanny, you are ridiculously out of step.

Pay attention to the music, please!

(I NSECTS CH I RPI NG)

Excuse me, M iss Lumley.

Voilá, mes enfants! See who we have with us today?

Our dear I rma is with us but for a few hours.

She is leaving soon to join her parents in Europe.

AIors, mes enfants. For ten minutes, you may talk as you choose.

If you approve, M iss Lumley.

(I NSECTS CH I RPI NG)

(SH E BEG I NS TO PLAY)

- Tell us, I rma! Tell us! - Yes, Irma, tell us!

- Tell us, I rma! Tell us! - What happened to M iranda, I rma?

- You know what happened . Tell us! - Tell us, Irma!

(HYSTERICAL SCREAM I N G)

Tell us, I rma!

- Why won't you tell us, I rma? - You know where they are.

Just tell us, Irma, tell us.

They're dead ! AII dead and gone! In a filthy dam p cave full of bats.

They're going rotten and you know where!

Edith , you are a Iiar and a fool!

(ED ITH SCREAMS)

(G I RLS QU I ETEN DOWN )

(ED ITH CRYI N G)

Mam'selle?

Mam'selle?

It's for her own good !

To cure her terrible stooping !

Mon dieu !

(CLOCK TICKI NG)

(KNOCK ON DOOR)

Come in .

Well? Come in .

My notice, ma'am .

(SH E G ROANS)

Have we an invalid in the house?

M iss Sara's supper, ma'am .

Mademoiselle asked me, seeing as the child's feeling poorly.

Oh .

M innie.

H m?

Kindly tell M iss Sara not to put her Iight out until I've had a word with her.

Yes, ma'am .

(WH ISPERS) This is not a charitable institution .

You recall our recent discussion , Sara.

Answer me when I address you , child .

Yes.

I have considered your situation most carefully,

and I have searched my mind and my conscience for a solution .

But this is not a charitable institution .

And as your fees have not been forthcoming, I have...

been forced to make certain arrangements on your behalf.

You will be returned to the orphanage.

(DOOR CLOSES)

(CLOCK TICKI NG)

(SOBB I NG)

God , help me!

(SOM BRE M US IC)

(SH E SOBS)

(RUSTLI NG)

(DOOR CLOSES)

(SOM BRE M US IC FADES)

You still thinking about that bloody rock?

I can't help it.

It comes back at night in dreams.

I had a funny dream Iast night.

There was this smell . Real strong .

It was Iike. . . Iike I was wide awake.

Dead quiet.

Pansies. That's what it smelt Iike.

And the whole place was all Iit up, bright as day.

Pitch black outside.

- And there she is. - Who?

Who was it?

It was only a bloody dream !

My kid sister.

Haven't seen her since the orphanage.

She always Iiked pansies.

And she went. . .all sort of...

misty-like.

I calls out,

"Sara, don't go yet."

"Goodbye, Bertie," she says.

"I've come a Iong way to see ya, and now I must go."

And she went.

CIear through that wall over there.

Sit down , please, Mademoiselle.

Merci .

We were speaking Iast night about the Waybourne girl .

You expressed concern over the state of her health .

Yes, Madame.

We have been relieved of any further responsibility.

Her guard ian , M r Cosgrove, arrived this morning and took her away with him .

But...

But was she fit enough to travel?

Apparently.

I should have been here to supervise her packing .

I , myself, helped Sara put a few things she especially wanted

into her little covered basket.

M r Cosgrove was in a hurry to get away.

I shall not be coming into Iuncheon , Mademoiselle.

Kindly tell them not to Iay a place for me.

Nor for Sara?

Nor for Sara.

Is that rouge I see on your cheek, Mademoiselle?

Powder, Madame. I find it becom ing .

(WH ISPERS) Oh , God !

(LIVELY CHATTER)

Thank you very much for the Iovely breakfast!

Bye-bye! Au revoir! Bye-bye!

Hope you have a nice holiday!

Bye-bye! Bye-bye! Au revoir!

Au revoir, mes enfants.

♪ Frére Jacques, Frére Jacques Dormez vous? Dormez vous? . . . ♪

Au revoir!

Arthur, my Iate husband , and I ,

always took our annual holidays in Bournemouth .

M m m . It's a delightful place.

Absolutely delightful .

Nothing changed . Ever.

For 40 years.

The pier, the sands and the people.

And that guest house.

So dependable.

Completely and utterly dependable.

- A Iittle more, Mam'selle? - No, Madame.

As you wish .

(GLASS SMASH ES)

I came to depend so much on Greta McCraw.

So much masculine intellect.

I came to rely on that woman . Trust her.

How could she allow herself to be spirited away?

Lost.

Raped .

M urdered in cold blood Iike a silly schoolgirl on that...

wretched Hanging Rock.

Will Sara Waybourne be coming back this term , Madame?

Oh !

Now where was I?

Oh , yes!

Bournemouth .

What a delightful place!

Nothing changed .

Ever.

BIoody kids!

(BUZZI NG)

Oh ! (CRI ES)

- (WOMAN SCREAM I N G) - (KNOCKI NG)

(CLOCK TICKI NG)

Sara!

Sara!

(TICKI NG STOPS)

The body of Mrs Arthur Appleyard, principal ofAppleyard College,

was found at the base of Hanging Rock on Friday 27th March, 1 900.

Although the exact circumstances of her death are not known,

it is believed she fell while attempting to climb the rock.

A search for the missing schoolgirls and their governess

continued spasmodically for the next few years without success.

To this day, their disappearance remains a mystery.

(♪ BEETHOVEN : "Adagio" from 5th Piano Concerto)