All language subtitles for THRILLER.S06E03

(majestic music)

(waves crashing)

(opera music)

- (clapping) Bravo,
bravo. (speaks Italian)

- Yeah.

I used to sing pretty good.

- Senor.

Senor, (speaks Italian)

- Yeah, help yourself.

(speaks Italian)

- Grazie, senor.

- Yeah.

Tony Risanti once had a
bright future.

(ripping)

Yeah, but if you wanna
hear a real voice--

- (speaks Italian)

- Shh, shh. (speaks Italian)

- Grazie, grazie, shh, shh.

(orchestral music)

(woman singing opera)

Bellissima, bellissima.

(woman singing opera)

- She's more than beautiful.

She's an angel.

- Angel?

Oh. (speaks Italian)

(woman singing opera)

- A nightingale.

(speaks Italian)

A nightingale.

Yeah, I like that.

She's gonna be a big
star one day.

And I won't be around to see it.

- (speaks Italian)

- Put it down! (speaks Italian)

- (speaks Italian)

- Ah, forget it.

Have another drink.

(speaks Italian)

- Grazie, senor.

(waves crashing)

- That's the last one.

I think you've drunk enough.

(waves crashing)

You think I got it made,
don't you?

Big house.

Fancy clothes.

Beautiful, talented wife.

Yeah, I bet you envy me.

Fact is, I'm no better
off than you are.

I'm broke.

I'm flat broke.

I have creditors breathing
heavily down my neck.

Matter of fact,

matter of fact, you
better off than me.

You're nobody.

And nobody's chasing you.

That's why

I'm going to kill you.

(soft music)

Yeah.

I'm going to kill you.

- Grazie, senor.

(laughing)

- Grazie.

(mumbles)

I'm gonna dress you
in my clothes.

I'm gonna toss you
over this cliff.

With any luck, you won't
be found for a week,

maybe more.

The way that current runs,

there won't be much
left to find,

to identify.

(somber music)

Capisce?

- (speaks Italian)

- Yeah, I think you're
drunk enough.

Come on.

(snaps fingers)

Hey.

Vieni qui.

Vieni.

- (speaks Italian)

- Vieni.

(somber music)

(suspenseful music)

(applause)

- Brava! (laughs)

Five curtains!

- Okay Marie, you win.

She bet me we'd go to five
curtain calls, at least.

- Maybe more than that,
listen to them.

- I'm listening.

You know, I don't know
which I prefer.

Anna's voice, or the applause.

- Well of course, I always said

that she'd take London by storm.

- You always said?

Who said she was
ready for London?

I had to persuade you.

- Come on, you must be
joking, it was my idea.

- You're idea.

- Well of course it was my idea.

- For heaven sake, why
don't you two call a truce,

and count the box office
receipts, huh?

(laughing)

- That's a little
vulgar isn't it,

but very precise.

Anyway, what does it matter?

It's a sell out from here
to the end of the season,

it's a sell out, and we did it.

- Okay, Giles, we did it.

- Mm-hmm.

- Anna did it.

- You know something,
she's right.

Anna did it.

- To Anna.

Anna, magnificent!

- Sam.

(laughing)

- Oh, baby, baby!

(kissing)

You were beautiful.

- It's a sell out.

I promise you, once the
reviews are published,

it'll be a sell out.

- Oh Giles, you are
always so commercial.

- Yes, of course, that's
what I'm here for.

- How was I really?

- (speaks Italian) You
were very good.

- Good!

- Good is the kind of
phrase I understand.

- Come on, Anna, you know
Maria always underplays it.

- oh, Maria knows a lot
more about me,

and what's good for me,
than you think.

- I hope I'm on a list.

- Hello, darling.

- You were wonderful.

- Thank you.

Here, some champagne for you.

- For you.

- How lovely.

- Evening, gentlemen.

Tell me, how does it
feel to be representing

the world's greatest singer?

- Oh, now let us not
get carried away.

- Listen, you're no judge,

you weren't sitting out front.

Honestly, it was an
unforgettable experience.

- Yeah, Marie thought
she was pretty good too.

- Come on, let's have some
more champagne.

- No, no, Giles, please.

I promised Hal, do you mind?

- Anna, Sam and I were wondering

if you could spare a
few minutes.

- Tomorrow.

- Anna, baby, we have
to talk to you.

- And I wanna talk to you.

- Darling, it's important.

- What I have to say is
important too,

but let's do it tomorrow,
please.

Come on now, everybody out,

I have to change.

- All right, all right.

Goodnight.

- Goodnight, darling.

- And don't stay up too late.
- I promise, Giles.

(kisses)

- Have fun.
- Oh, I will.

- Now she wants to talk to us.

What do you think?

- Well, we'll soon find out,
wont' we?

- It couldn't be about the
Russian tour, could it Sam?

She's got to honor that.

- Of course she will.

- Yes, of course.

Ah, Mr. Bridie.

This is gonna be a very
exhausting season for Anna.

And I would, we would
appreciate it

if you could get her
home before--

- She turns into a pumpkin.

- I'm being serious, Mr. Bridie.

- Mr. Turner, I promise you,

I shall be
exceedingly responsible.

- Night, Mr. Bridie.

- Goodnight.

Be nice to Hal Bridie.

He might be president of
the Unites States one day.

So be nice to him.

- Bridie?

- That's the whisper
in diplomatic circles.

They are saying, give him a
few more years to mature--

- And he might make it.

- That's what they're saying.

- If he doesn't stumble.

If he doesn't stumble
along the way.

- (laughs) It's Uncle
Bruno, he didn't forget.

- He never does.

- (gasps) Did we remember
to send him a birthday card?

- We always do remember.

- Good.

Let's see, who's this?

- A real, live duke.

- Oh, hold still. (giggles)

- Oh, what is this?

People are absolutely
marvelous, aren't they?

Even complete strangers.

- Yes, yes.

- Best wishes for
tonight, thinking of you.

Maria, do you like London?

- Yes, si.

- Do you think that you
might like to stay here?

- To stay?

- Mm-hmm.

Did this come with the others?

- Well, I suppose so.

Yes.

What did you mean about
staying in London?

- Well whoever sent it,

wanted to remain anonymous, see?

- I always said you'd make it.

Well, it could be any
one of a hundred people.

You were always meant
to be a star, cara Anna.

- Thank you, Maria.

(suspenseful music)

He always used to send
me a single carnation.

- Que?

Who?

- Mm, someone long ago
and far away.

- An old lover, hmm?

Well, maybe he turned up again.

- No chance.

- Oh.

- Maria, I want you to
send all of these flowers

to a local hospital.

- All of these, mamma mia,

don't you want to take
some of it for your room?

- No, tonight, please.

Ciao, and thank you.

- Ciao, bone note.

(sighs)

- Where are we going?

- Well, we're gonna make a
token appearance at the embassy.

- Mm-hmm.

- Gonna shake a few
hundred hands.

- Oh, and then?

- And then,

how about an elegant
dinner for two?

Which, by sheer coincidence,

is now being prepared
at my place.

- Oh.

- Unless you'd rather stay here.

- Oh, could we skip the
token appearance?

- We could.

(kissing)

Yes, we will.

- (giggles) Good, I'm starving.

- Ah, but you love me.

- Oh, I adore you.

I just hope that you're--

(suspenseful music)

The caviar was wonderful,

and the champagne was too,
thank you.

- Where's my dessert?

(suspenseful music)

Do you know how good you
are at kissing?

(laughs)

- Come on, I'll get
you a night cap.

(suspenseful music)

Sam!

- Hello, Sam.

- I uh,

feel like a peeping Tom.

- Well, what are you doing here?

Don't tell me this is Giles
idea of checking up on me.

- No.

It was entirely my idea.

And a very stupid one.

I'm sorry.

I'll go back to my room.

See you tomorrow, as arranged.

- No, come on now.

If you thought it was
important enough

to sit up and wait.

Let's talk about it.

- I thought it was.

- I'll fix us a drink, Sam.

- Thank you, darling.

- It was what you said today

about seeing us tomorrow.

You said it was important.

I got a sort of funny
feeling in my stomach.

Important.

So I thought, if it's
that important,

maybe I should hear about
it before Giles.

Giles fixes the tours, but,

me, Anna, I've managed you

for most of your
professional life.

- It is that important, Sam.

Your drink, darling.

- A drink.

To brace me?

Anna, you're
beginning to scare me.

- Oh, it isn't that bad.

At least not for me.

(glasses clink)

Hal's gonna be assigned
to the embassy here.

It's a very
important assignment.

- Well, that's great.

Congratulations, Hal.

- Well, it hasn't been
confirmed yet, Sam.

- Oh, it's a mere formality,

it will be by the end
of the month.

It's the first step.

It means a three or four
year stay in England.

I guess you could say
he's on his way.

- She's a wonderful optimist,
Sam.

- (laughs) Well, the
point being, of course,

is that he's going to stay,

and so am I.

We're going to be married.

- Married?

- Yes.

- Now that's an announcement,
Sam.

That really merits
congratulations.

- Oh, sure.

It's just that I expected,

I don't know what I expected.

But married.

- I wanted her to tell
you more gently, Sam,

some other way, but-- (sighs)

- Thanks.

- Oh, come on, Sam.

It isn't that unusual.

Be happy for me.

- Anna, I am happy for you,
of course.

It's just that,

it changes so many things,
that's all.

Soon?

- Very soon.

- Well, you said it was
important, but,

I didn't think that,

there's a lot to do.

- I know.

- No, I mean arrangements.

Giles won't like it,
he won't like it a bit.

Of course, he'll wanna get the
maximum publicity out of it.

But that could be good.

Yeah.

The right story released
when I say so,

the public loves a love story.

It could snowball.

It could grow, and build,

and we could ride straight
into Russia on the back--

- Sam, there isn't
gonna be a Russian tour.

London is my swan song.

- Huh?

- I don't wanna sing anymore.

I just wanna get married.

- That's ridiculous.

That's the stupidest
thing I ever heard!

- Sam, when I finish here,
I finish.

I'm gonna retire and
become Mrs. Hal Bridie.

- Retire?

But Anna, you are just
hitting the heights.

You just got to the top.

- Sam, isn't that the
best time to stop?

- The Russian tour.

The Russian tour, four
months, it's all arranged.

- Sam, Sam!

When the season is over here,

it's over for the both of us.

- She is an artist.

A great artist.

The world is at her feet.

- So am I, Sam.

- Well,

if it's what you really want.

- It is.

And you can't change my
mind, Sam, it's made up.

- Anna, baby.

(kissing)

- Thank you, Sam.

- They don't come
luckier than you, Bridie.

- I know.

- No chance?

- (laughs) No chance.

Matter of fact, tomorrow
I'm gonna look at a house

that we might buy.

(wind blowing)

(items falling)

(opera music)

- Who's that?

Is there someone there?

(suspenseful music)

Who is that?

(suspenseful music)

- Anna.

My nightingale.

My little nightingale.

I brought us some good ol'
Italian brandy.

Good for the throat, like
the old days, remember?

- But you're dead.

- Back from the dead.

You sure you won't?

It's the fine house, Anna.

Not as good as Capri maybe,
but it's a fine house.

I was there last night, Anna.

I was proud of you.

The notes, just like
I taught you.

I hate to admit it,
better than I taught you.

- Tony?

- That's better.

- My God, Tony.

- I was beginning to
think you'd forgotten me.

Yeah, it's a great house, Anna.

Course, you gotta do lots
to it before you move in.

You sure you won't?

I'm not a ghost, Anna.

I'm alive.

I am very much alive.

And I'm ready to go.

I know, it's a shock.

11 years, baby.

Hey, at least I kept my hair.

Things are going good for you,
baby.

You're a star.

A great, big, shining star.

- But where have you been?

Why didn't you let me
know that you were alive?

- I had this dizzy spell, Anna.

Amnesia, yeah, that's it,
amnesia.

- But I don't underst--

I mean,

there was a body, they
pulled you out of the sea.

- Ah, probably some drifter
who broke into my house

and stole my clothes.

(laughs) Authority, how
can they make a mistake

about a thing like that?

Yeah, probably some down and out

who stole my wallet and

maybe that ring you gave me.

You remember that ring, Anna?

A little, bright red stone.

- My God, Tony.

What have you done?

Did you kill somebody?

- That'd be very difficult
to prove, Anna.

I was cremated, remember?

It's hard to prove anything

when the body doesn't
exist anymore.

- You did.

You murdered someone,
didn't you?

I protected you, baby.

Time was running out for me.

I had debts up to here,
most of them gambling.

And you know those
guys play rough.

They don't care who
gets in the way.

And you most surely
would've gotten in the way.

I protected you, baby.

I protected you.

Okay.

Now,

now it's my turn.

- What are you talking about?

- Anna.

I tried to break it
to you gently.

- Did you send me
that carnation?

- Yeah.

I always had a thing
about carnations.

I've been so happy for you,
Anna.

Me, I had a voice.

Not bad.

Not good enough.

But you--
- What do you want, Tony?

- My rights, Anna.

You're still my wife.

- You?

- Legally.

Morally.

You're still my wife, Anna.

Hey, I'm no fool.

11 years is too long.

Too far apart.

There's too much ground
to make up and

we've changed, Anna,
we've both changed.

I watched you change.

You're a star, Anna.

You're at the very top of
your profession.

And you're just a step
away from marrying

10 million dollars.

Yeah.

Hal Bridie.

You know what they say
about him, baby?

Give you a couple of breaks,

and in a few years time,

you just may wind up in
the White House.

That's why I'm here, baby.

That's why I came back.

That's the kind of action
I understand, Anna.

That's the kind of
action I wanna piece of.

One whisper from me now,

and Bridie's finished.

And a guy like me,

I'm not a whisper.

I'm a yell.

I'm a whole, lousy Yankee
Stadium shouting

in a home run.

- You wouldn't.

- I not only would,

I have to.

I haven't changed.

I'm still up to here.

I'm drowning, Anna.

Bridie's money looks
like a life raft.

I'm not wrapping it up.

It's blackmail, Anna.

It's blackmail.
- Tony, you're crazy.

$40,000, Anna, then I'm gone.

I'm dead.

I'm as dead as I've been
these past 11 years.

$40,000, Anna, and I
never existed.

- No, Tony, no.

I know you, I know you, Tony,
no.

No, no.

- For pity sake, Anna,

he probably spends that much

in feed for his race horses.

40 grand, Anna, 40 grand,
and I'm gone.

- No, Tony, because you keep
coming back again and again.

- When I make a deal,
I stick to it.

- Tony, you never stuck
to a deal in your life.

- But this time, Anna,
this time I promise.

What's the alternative?

I'll blow the story
to the papers.

And suddenly, you are not
a widow anymore,

you are Mrs. Tony Risanti,

and Hal Bridie, he's
playing around

with another guy's wife.

And he's dead.

- (yells) No!

(falls)

(panting)

(somber music)

All right.

All right.

I'll get the money.

(somber music)

I said I'll get the money,

now come on, don't play games.

Come on, Tony, come on.

(somber music)

Oh.

Tony.

Oh my God.

(somber music)

Tony.

(honking)

(somber music)

- Bridie?

Mrs. Bridie?

Mrs. Bridie.

I'm Mr. Purvell.

I hope I'm not being
presumptuous

addressing you as Mrs. Bridie,

I hope it's not bad
luck or something,

but Mr. Bridie made it
quite clear to me that

you and he,

are you feeling well?

You're looking quite pale.

- Oh, I'm fine, thank you.

- Ah.

Excitement, perhaps.

- Yes.

- I hope the house is
to your liking,

the decision to buy is
yours, I understand.

- I'm not sure.

- Oh.

But Mr. Bridie seemed
so very sure.

- Well I just haven't
had a chance

to think it over.

- Of course, another
week or two.

I want to make a sale,
naturally,

but another week or two
can't do any harm.

Nice, this cellar, isn't it?

(somber music)

- It'll dry using a low damper.

- Mr. Purvell,

it just occurred to
me that perhaps

you might be able to
keep other people

from coming to the
house and seeing it

until I've really had a
chance to make up my mind

about what it is
exactly that I--

- Now that sounds
possessive to me,

and very encouraging.

You have made up your mind,
haven't you?

(somber music)

(buzzer buzzing)

- Yes.

- Anna?

- Just a moment.

(clears throat)

Hello.

- Hello.

(kissing)

Sorry I missed ya

out at the house today.

Apparently I got there seconds
after you'd been and gone.

- Oh, I'm so sorry, I
completely forgot.

I would've stayed, I
had rehearsal.

- No, no, it was my fault,
I was late.

- No, darling, it was
a wasted trip for you.

Let me fix you a drink.

- Thanks.

- Well it wasn't really wasted,

I had another look around
our future home.

- Oh.

- It's a fine house, isn't it?

A family house.

There are a lot of
things I'd like to change

in some of the rooms,

but basically it's fine.

- Did you go into the house?

- Yeah, Purvell had a
spare set of keys.

Hey those bedrooms, they're
terrific, aren't they?

They're a hell of a size.

And that cellar.

My gracious, that cellar
is something else again.

You could turn it into anything.

A den, a fun room.

It's got lots and lots of
storage space.

Hey,

should you be doing that?

- Hmm?

- Drinking hard liquor,

I thought singers had
to be careful

about that kinda thing.

- Well, I'm not a saint,

you know that better
than anyone.

- Are you all right?

Anna, are you all right?

- I'm fine, darling.

I just, I'm running late.

I have to get over to
the theater.

- Well is it yes or no?

- What?

- What?

The house, lady, do I
buy it or not,

the final decision is up to you.

- Oh, well, I really haven't had

enough time to think about it,
darling.

I need some more time to
think about it.

All right?

(door shuts)

(orchestra tuning)

- Solo mio, what's wrong?

- Nothing.

- Come on, it's Maria you
are talking to.

Something is wrong, tell me,
what?

- Where's Sam?

- I don't know.

Oh yes, he was called
away to the phone.

Why, do you want him?

- Yes.

(orchestra tuning)

(mysterious music)

- You wanted me, baby?

- Maria, I thought I told you

to get rid of these flowers.

- Cara, I did.

These are tonight's flowers.

- Tonight's?

- Si.

- Oh, I supposed they could've
been ordered yesterday.

- Uh, I suppose so.

- Anna?

Maria said you wanted me.

- You remember Tony?

- Tony?

- Yes, big, beautiful,
dumb Tony,

who fell off a cliff
and got himself killed.

- Yeah, yeah sure I
remember him.

I didn't know him that well,
but--

What's all this about, Anna?

- Sam.

Maria, would you please--

- [Man] (knocking) One
minute, Miss Cartell.

- Anna.

If there's something
bothering you, tell me.

Anything I can do, I'll do.

(orchestra tuning)

(suspenseful music)

(Anna singing opera)

- Well thank heaven
for one thing.

- Hmm?

- She wasn't like this last time

when the critics were here.

- Like what?

- Can't you hear it?

She's off.

Pitchy.

- Anna is the best.

- She can be.

Not tonight.

She's ragged, tense, as though,

what's wrong with her?

(Anna singing opera)

(abruptly stops)

(orchestra playing)

(continues singing)

(stops singing)

(orchestra playing)

(crowd chatter)

(mysterious music)

- Darling, I promise you,
I'm all right.

- You still look pale to me.

- You spoke to the doctor,
he told you,

it isn't anything but nerves.

- That may be,

but just the same, Anna,

I am gonna stay here until--

- Darling, please.

I promise you,

it isn't anything that a good
night's sleep won't cure.

- Really?

Anna.

Anna, I was four rows back,

I could see your face
very clearly.

Anna, you were terrified.

- Oh, darling, don't be foolish.

- And whoever it was
that terrified you, Anna,

was in that box.

I couldn't see him, a man,
that's all.

Who was he?

- Oh,

I don't know what you're
talking about.

- Really?

- Now come on, you are the one

that's keeping me from a
quick and speedy

recovery to complete health.

Please go home, darling,

I just want to go to bed,
I'm so tired.

I just wanna sleep.

- Anna,

listen.

Whoever he was, whatever it is,

you can tell me.

Anything.

- It's nothing.

Now come on.

I'll call you in the morning,

or you call me, whatever.

Early, why don't you
call me early.

- Very early, Anna.

(kisses)

(somber music)

(key turns)

(music crescendos)

(man singing opera)

- Tony?

Tony.

(man singing opera)

Tony, please don't play
games like this,

please, Tony.

Tony, don't do this to me,
please don't.

Please, Tony.

(man singing opera)

Tony.

(man singing opera)

Tony.

(man singing opera)

(candlestick drops)

(door shuts)

(car engine starts)

(footsteps)

(orchestra tuning)

- (sighs)

Anna?

Anna, baby.

You wanna talk about it?

Okay,

so don't talk about it.

That's okay with me.

But there's an awful
lot of people

waiting outside to see you.

You're not gonna
disappoint them, are you?

- I don't think I can go on,
Sam.

- Of course you can.

That's foolish talk,
you're an artist.

You have a public, a
public that loves you.

You have an obligation, Anna.

You wanna rest?

You can have a rest.

We'll cancel the
remainder of the season.

But not tonight.

Not with a full house waiting.

Please, Anna.

For me.

- Sam, I--

- For me, Anna.

I never asked you a
single favor before.

- All right.

- That's my girl.

(knocking)

- Sam?

Sam, what's going on?

- Anna's fine, Hal.

Little attack of nerves.

Happens to us all,
even the best.

Now why don't you go back,
take your seat,

and listen to some of the
greatest singing you ever heard.

Please, Hal.

- All right, Sam.

- Anna, baby?

(clapping)

- Mr. Turner, is she going
on, what's happening?

- I don't know.

- Well what do I tell
the audience?

- You don't have to tell
them anything.

Miss Cartell's performance
tonight will reassure them.

(clapping)

(applause, cheering)

(orchestra plays)

(singing opera)

(applause, cheering)

(speaking Italian)

- Fantastic, Anna.

- Thanks.

- Thank you, Sam.

- Miss Cartell, another bow.

- Oh, no, no.

- I thought you were
beyond improvement.

But tonight, fantastic!

- Maria, I have to
fix this button,

it came undone onstage.

(mysterious music)

- I can't cancel now,

We booked the theater
for another five weeks.

- I said cancel, and I meant it.

Look, you tell the press,

no more performances
for Miss Cartell

until further notice.

- And what reason do it give?

- For pity sake, it's your
job to think of something.

Something serious, but
not too alarming.

- How about the black plague?

- Oh, very funny.

- Or pre-wedding nerves?

- A virus infection.

That'll work.

Look, we were out east a
couple of weeks ago, right?

So she could've easily picked
up something out there.

It's acute, but not too
debilitating.

- Come on, Sam, will the
doctor substantiate that?

I mean, the insurance
company will want to know.

- Mr. Turner,

I am beginning to wonder
if you're human.

Anna's sick, that's obvious,

and all you can do is stand here

and rant on, and on, about
tours and canceled dates.

Don't you give a damn about her?

- And don't you know
how long it takes

to set up a thing like this?

These tours, this season--

- Oh, shut up, Giles.

- What did you say?

- I said, shut up.

He's right.

Anna's all that matters.

(door shuts)

- Well how is she, doctor?

- Physically, she's as
sound as a bell.

- Ah, the press will love that.

- You don't need a medical man.

You need a psychiatrist.

- What do you mean, she
needs a psychiatrist?

- Oh that's even better.

That's great.

Opera star goes
stark raving mad.

- Giles, I told you to shut up.

- Sam, Sam.

What do you mean, she needs
a psychiatrist, doctor,

what did she say?

- She's very disturbed
about something.

I don't know what, she
wouldn't tell me.

Look, it's not my field,

but I'd say she was suffering
from an acute anxiety.

- What sort of anxiety?

- Fear.

She's scared out of her wits.

- Of what?

- It's not my field.

I've, um, given her a
couple of pills,

quieted her down.

That's all I can do
for the moment.

You need a psychiatrist.

Goodnight, gentlemen.

- Goodnight, doctor.

Thank you for coming.

- Now that's marvelous,
isn't it?

I've got to face the press,
with what?

An anxiety neurosis?

- Look, I told you.

She picked up an infection.

- Pity she didn't
give it to you.

(door shuts)

- Sam.

There's a man at the embassy,

a doctor in psychiatry.

He is brilliant and discreet.

I'm gonna call him.

(phone dialing)

- Hal, I'd rather you didn't.

- Why?

- Hotel switchboards,
you know what I mean?

This is not something we
want broadcast.

- All right, Sam.

I'll get a hold of them
at the embassy.

At least he can advise us
on the best thing to do.

I'll see you later, Sam.

I don't want her left alone.

- I'll call Marie.

I'll have her come over
and spend the night.

Don't worry, I'll stick
around 'til she gets here.

(door shuts)

(sighs)

(phone dialing)

Anna, you should be in bed.

- I want a drink.

- Anna, that's silly.

A drink won't do any good.

- I want a drink.

- The doctor gave you pills,

did he say you could
drink with them?

- He didn't say I couldn't.

Besides, I haven't taken them.

- Okay.

Just one.

I could use a drink myself.

- I'm sorry, Sam, I've
disappointed you.

All of you.

- I can take it.

And Giles?

He'll have to take it.

- No, it's not fair.

You've all worked so hard.

- Ah, it's not the end
of the world.

You were singing better than
you've ever sung before.

You'll be back.

I'll drink to that.

Are you feeling better?

- Now that I'm here, yes.

It's like some sort of
a terrible nightmare.

Bad dream, I guess, that
never happened.

- That's my girl.

- Sam, I know you wanna cancel.

But don't.

- Hmm?

- Let's try one more night.

- Well, It'd be great
if you could.

We'll talk about it in
the morning, huh?

- All right.

(buzzer buzzing)

- Babe.

Flowers for you.

No card.

(mysterious music)

Wow, they're beautiful!

- Oh, God, no, no, no! (crying)

- Anna!

I'm not playing along anymore.

No more humoring.

You are gonna tell me
what's going on.

Anna, you are going to tell me.

- It's Tony.

- Tony?

- My husband, Tony!

- Huh?

But Tony's dead, Anna.

- No, no, he isn't.

I mean, he wasn't, I mean,
I don't know.

Oh Sam, I think I killed him.

(car driving)

- Well obviously it
wasn't murder.

It was an accident.

At worst, it was manslaughter.

- But Sam, he wasn't there.

- Wasn't he?

You pushed him, right?

He tripped.

Fell down the stairs.

Then he was dead.

Put his body in the cupboard.

And when you went back,
the cupboard was bare.

- Yes.

- Are you sure?

- I told you, Sam.

- You told me what you saw.

You, Anna.

You know what I think?

I think this thing has got
all mixed up in your mind.

- What do you mean?

- I'll tell you what I mean.

I think that your mind

made you see what you
wanted to see.

An empty cupboard.

No Tony.

You couldn't bare the guilt.

So, your mind just
wiped it away.

- But what about all
those flowers tonight?

- Well what about them?

Lots of people send you flowers.

- Dozens and dozens
of carnations?

- Carnations, roses.

- No, Sam, no, when I went
back, he wasn't there.

- Maybe.

(sighs)

Right.

Well now we'll find out,
won't we?

Or, don't you wanna find out?

Come on.

(suspenseful music)

(music crescendos)

Anna!

You can't run away from
this one, Anna.

For how long?

They'll check back and
find out who he is.

Then they'll find out
that you were here.

Now I am not gonna let
you go to prison, Anna.

You told me what happened,
and I believe you.

It was an accident.

An unhappy accident.

- Yes, it was, Sam.

- Now accidents can
happen anytime.

Anywhere.

So why don't I fix it

that this accident
happened someplace else?

(suspenseful music)

(applause)

(distant applause)

- Sam?

- You're off the hook, Anna.

I took him to Barham.

That's in Kent, miles away.

There's an old mineshaft there.

Tony's at the bottom of it.

with any luck, he won't
be found for months.

Years, even.

And we could both do with
a little luck.

- Poor Sam.

Sam.

- You owe me, Anna.

You owe me the
performance of your life.

(kisses)

I'll see ya later.

(orchestra tuning)

Anna.

It's okay.

(door shuts)

- Sam.

Sam!

Oh.

Oh, I was just coming
to find you.

- Why me?

You're onstage in a few minutes.

- Oh, it doesn't matter.

All that matters is
that I love you.

- Oh, I love you too.

- More than anything
in the world,

and I'd never do
anything to hurt you.

You, or your career,

or anything like that.

- Hurt me.

My career.

Anna, what's wrong?

- Nothing, darling, nothing.

- Don't you tell me
nothing is wrong,

I know you better than that.

It has something to do
with the house, doesn't it?

Doesn't it?

Anna, I have to tell you,

the other night, I followed you.

I followed you to that house,

I watched you go in,
and I waited.

And when you came out,

you drove away as though

the devil himself
were after you.

- Oh Hal, I've done
something awful,

I don't know what to do.

Sam's tried to cover it,

but he's wrong, I just
know he's wrong.

'Cause they'll find him.

They'll find him, and
it'll lead to me,

and through me to you,

and I can't let that happen,
I just won't.

- Anna, what are you
talking about?

- Darling, if ever there
was a time for honesty--

- What are you talking about,
Anna,

you're not making any
sense at all.

- My husband Tony, I killed him.

- You what?

(singing opera)

(orchestra playing)

(applause, cheering)

(phone rings)

- Hello?

- [Hal] Anna.

- Darling, it's so late,
I've been waiting for you.

Where have you been?

I've been terribly worried.

- I'm sorry, I just managed
to a hold of O'Hara now.

Just listen. (distant
opera music)

He is down at Barham now,

but what he has to say
just doesn't add up.

Now he found Tony's
body all right,

just where you said
where Sam put it.

But the thing that doesn't
make any sense at all,

you told me that Tony,
he fell down the stairs.

(distant opera music)

Anna, he was stabbed to death.

Anna, do you hear me?

Anna?

Anna, what's wrong?

(distant opera music)

Anna, answer me!

(opera music)

(dummy falls)

(record playing opera)

- You're dead!

(yells) You're dead!

- Yes, he's dead.

Dead and hidden away where
no one will find him.

I saw to that, baby, I
look after your interests,

I always do.

You should be grateful.

Tony was a shark.

An opportunist.

You have to be grateful, Anna.

- But Sam?

Who's done all of this to me?

Why?

- You have to destroy
before you can build again.

It's like good poker playing.

You establish independency,

you get ahead,

then you have to stay that way.

You committed a crime.

And I helped you get
away with it.

You owe me, baby.

You belong to me now,
body and soul.

And voice.

Particularly the voice.

Retiring.

Stepping down off the ladder

just when I heaved you to
the top on my shoulders.

My shoulders, Anna.

I spent money, and sweat,

and a big chunk of my
life on you, baby.

You're my investment.

We're partners forever now.

Because you need me.

And I need you.

- Sam, no.

- Sam, yes!

You hit me with that
marriage news the other day

and my world rocked.

It would've crumbled right
away if Tony hadn't--

- If Tony hadn't,

if Tony hadn't what?

Did you see Tony?

But you,

you couldn't have, Sam, he was--

I didn't kill him, did I?

I didn't kill him, did I, Sam?

- Tony's dead.

He died 11 years ago, remember?

- What happened, Sam?

What really happened?

- I think you just stunned him.

I think you just stunned
him, Anna, that's all.

And he decided to exploit
the situation,

and his first thought was Sam.

The man who had most
to lose if you retired.

You were more than
willing, weren't you, Sam,

'cause you weren't gonna
let Anna go at any price.

Between them, they
cooked up a scheme

to send you half crazy.

Isn't that how it was, Sam?

You used Tony as long as
you needed him,

and then you stuck a
knife in his chest.

I'd hate to have to hit
you, Sam, I really would.

(somber music)