Murder! (1930) - full transcript

[CHATTER]

[CREAK]

[BIRDS CHIRPING]

CAPTIONING MADE POSSIBLE BY
LIONS GATE ENTERTAINMENT

[BELL CHIMING]

[SCREAM]

[POUNDING
THROUGHOUT]

[DOG BARKING
IN BACKGROUND THROUGHOUT]

PEOPLE OUGHT TO BE
ASHAMED OF THEMSELVES.

KICKING UP
ALL THAT RACKET

AT THIS TIME OF NIGHT.



[BANGING
IN BACKGROUND]

WHAT IS IT?

IS IT A FIRE?

[BANGING GROWS LOUDER]

WELL, WHY CAN'T THEY
KNOCK QUIETLY?

OH, BLAST IT.
WE NEVER...

IT'S ABOUT
3 DOORS DOWN.

[MAN MUMBLING]

THAT'S WHERE
DIANA BARING IS STAYING.

THERE'S A POLICEMAN
COMING OVER I THINK.

WELL, JUST COMING
AROUND THE CORNER.

WELL, THAT'S FUNNY.
I COULD'VE SWORN.

NO, YOU'RE RIGHT.
LOOK. THERE HE IS.

COMING DOWN THE SIDE
OF THE ROAD.



THAT'S
DRUCE KNOCKING.

LOOKS AS THOUGH
HE'S TIGHT AGAIN.

HERE. HERE.
WHERE'S MY SHOES?

I BETTER GET DOWN.

AYE. I'M ON MY WAY.

[OVERLAPPING YELLING]

Woman: WHAT, AT THIS
TIME OF NIGHT?

Man: MY WIFE EDNA!

[SLURRED]
...WITH DIANA BARING.

SHE'S A--

YEAH, WAIT FOR ME.
I'M COMING.

I GOTTA GO SEE WHAT'S
THE MATTER WITH DRUCE.

SAY, WHAT'S THE MATTER,
MR. DRUCE? ANYTHING WRONG?

Woman: WILL YOU PLEASE
TAKE THIS MAN AWAY?

COME ALONG NOW, DRUCE,
THERE'S A GOOD FELLOW.

Druce: NO. STOP IT.

[WOMAN SCREAMS]

OPEN THIS DOOR,
WILL YOU?!

OPEN THIS DOOR!
[BANGING]

HOLD ON.
ONE SECOND.

OPEN THE DOOR.

LET GO. NOW,
WAIT A MINUTE NOW.

I CAN'T WAIT TO SEE
WHAT'S GOING TO HAPPEN.

OPEN THE DOOR
FOR THE LOVE OF GOD!

OPEN THE DOOR,
FOR GOD'S SAKE.

ONE OF YOU RUN
DOWN TO THE STATION

AND ASK THE INSPECTOR
TO COME ALONG.

TELL HIM IT'S SERIOUS.

[SOBS]

IS THIS WOMAN
A LODGER OF YOURS?

NO, BUT MISS BARING IS.

AND SHE HAD MRS. DRUCE
TO SUPPER WITH HER TONIGHT.

AS A MATTER OF FACT,
IT WAS ABOUT--

WELL, YOU SEE,
MR. CONSTABLE,

BOTH THESE LADIES ARE--

THAT'S PLAYING AT THE THEATRE
ROYALE THIS WEEK.

AND AS I WAS LEAVING
THE THEATRE,

YOU SEE I'M
THE STAGE MANAGER,

AND MR. DRUCE HERE,
HE'S THE GENERAL MANAGER.

WELL, YOU SEE, WHEN I LEFT
THE THEATRE TONIGHT,

I WAS INVITED
TO JOIN THEM.

WAIT. WAIT A MINUTE,
WAIT A MINUTE.

ONE AT A TIME, PLEASE.

THEY KILLED
YOU, EDNA.

THEY KILLED YOU.

TELL ME, DARLING.

WHO, DARLING?
DID SHE DO IT?

YOU ALWAYS
HATED EDNA.

THOUGHT YOURSELF
TOO GOOD FOR US...

WITH YOUR HIGH AND
MIGHTY LADYLIKE WAYS.

NOW, PULL YOURSELF
TOGETHER.

OHH! LEAVE ME ALONE.

IS THERE ANY
BRANDY IN THE HOUSE?

YOU'LL FIND SOME BRANDY
IN THE FLASK ON THE TABLE.

I WAS JUST GIVING
SOME TO EDNA WHEN...

WHEN...

I CAN'T THINK.

I CAN'T REMEMBER.

[COUGHS]

WELL, THERE'S NONE
THERE. IT'S EMPTY.

I'LL RUN BACK
AND FETCH SOME.

PERHAPS YOU'D LIKE
A CUP OF TEA, DEAR.

IT'LL WARM YOU UP.

I'LL GO AND MAKE IT.

I'LL GIVE YOU
A HAND, DEAR.

SHALL I LIGHT
THIS GAS, DEAR?

PLEASE, DEAR.

IT ONLY WANTS
A DROP MORE IN IT.

LIGHT THE STOVE,
WILL YOU, DEAR?

I, UH...

I SUPPOSE MRS. DRUCE
REALLY IS DEAD,

YOU KNOW, UH...

YOU KNOW, DIANA
NEVER DID GET ON WELL

WITH POOR EDNA DRUCE,

AND I KNOW FOR A FACT

THAT THEY HADN'T
BEEN ON SPEAKING TERMS

FOR THE LAST 7 WEEKS.

MISS DIANA SAID
NOTHING TO ME ABOUT IT.

WELL, IT'S A FACT. YOU
CAN TAKE IT FROM ME.

I DON'T BELIEVE
SHE COULD HAVE DONE IT,

THOUGH THERE'S NO DENYING
SHE IS HEADSTRONG.

I SHOULD SAY SO.

WHY, SHE GAVE
IN HER NOTICE

THE OTHER DAY
OVER EDNA.

WHO, MISS DIANA?

YES, BUT, UH...

JINX DIDN'T WANT
TO LOSE HER,

SO EDNA WOULD'VE
BEEN GLAD ENOUGH

TO SEE HER GO.

THEN SUDDENLY...

SUDDENLY, LAST NIGHT,
SHE CHANGED,

ASKED IF THEY
COULD MAKE IT UP.

DIANA WAS PUZZLED

BUT ASKED HER
HOME TO SUPPER.

NOW, I CAN'T
HELP FEELING NOW

THAT SHE HAD
SOME REASON

FOR GETTING
DIANA HERE ALONE.

OF COURSE,
PERHAPS IT'S BEEN...

HOT STUFF LIKE SHE IS,

SHE THOUGHT
ONE OF HER MEN

WAS GETTING TOO KEEN
ON DIANA BARING

AND WANTED HER
OUT OF THE WAY.

WHAT KIND OF TEA
DID YOU USE, DEAR?

OH, MY DEAR, I'VE TRIED
SO MANY KINDS,

I DON'T REALLY REMEMBER
WHICH THIS IS.

I'LL GET THE DOOR, RIGHT?

OPEN THE DOOR, YES,
IF YOU DON'T MIND.

HERE. I SAY,
I'VE JUST MADE TEA.

THAT'S ALL RIGHT, MA.

WE'LL GET SOME DOWN
AT THE STATION.

[BELL CHIMING]

Man: THIRD ACT
BEGINNERS, PLEASE.

YOUR CALL,
MISS BARING.

[LAUGHTER]

[APPLAUSE]

Man: THAT'S
MISS BARING'S UNDERSTUDY.

THERE YOU ARE, SEE?
GOING ON NOW.

Woman: YOU ARE
ANSWERING THE DOOR?

Man: ANSWER THE DOOR?
OF COURSE.

WELL, I DON'T KNOW
WHERE WE SHALL GO.

OH, TOM. TOM.

THE INSPECTOR WOULD LIKE
TO HAVE A WORD WITH YOU.

THIS IS MR. TOM DRUID,
INSPECTOR.

IT'S ABOUT THE
MURDER, MR. DRAKE.

NOW, THERE ARE
ONE OR TWO POINTS

I SUPPOSE YOU DIDN'T
HAPPEN TO SEE

MRS. DRUCE
AND MISS BARING

LEAVE THE THEATRE
TOGETHER LAST NIGHT.

[AUDIENCE LAUGHTER
AND APPLAUSE]

YES, I DID.

AS A MATTER OF FACT,

I REMARKED TO FANE, OUR
LEADING MAN, ABOUT IT.

HE SAW THEM,
AS WELL, YOU KNOW.

WHY? IS IT VERY UNUSUAL?

UNUSUAL? I SHOULD SAY SO.

IT'S AN ABSOLUTE MIRACLE.

AS I WAS SAYING TO MY WIFE,

I SAID, "ANNIE, WE MET--"

HOLD ON, OLD BOY. MY CUE.

[AUDIENCE LAUGHTER
AND APPLAUSE]

[AUDIENCE LAUGHTER
AND APPLAUSE]

SAY, WHICH OF
THE 2 WOMEN IS THIS?

MRS. DRUID?

OH. HA HA HA.

YOU'RE UNLUCKY THIS TIME,
INSPECTOR.

THIS IS HANDEL FANE,
100% HE-WOMAN.

MR. FANE'S
OUR LEADING MAN.

I ASSURE YOU,
INSPECTOR,

I'M NOT
THE OTHER WOMAN

IN THE CASE.

I KNOW THAT, MR. FANE,

BUT I UNDERSTAND YOU SAW

THE 2 WOMEN TOGETHER
LAST NIGHT.

YES, JUST BEFORE
I LEFT THE THEATRE,

THEN I WENT STRAIGHT
TO MY ROOMS.

YES. WELL, ION STEWART
CAME WITH ME.

HE CAME AND HE WANTED TO
BORROW SOME CIGARETTES.

HE'D LOST HIS CASE
OR SOMETHING,

AND THEN I WENT
STRAIGHT TO BED.

SAY, EXCUSE ME, I'M ON.

[FALSETTO]
REGINALD, DARLING,

HAS THAT CAT GONE YET?

[AUDIENCE LAUGHTER]

OOH, IT'S YOU,
COUSIN YETTIE.

DON'T YOU DARE TO TRY
TO RUN AWAY FROM ME.

COME HERE WHEN
I SPEAK TO YOU.

NO, NO, YOU DON'T.

THAT'S THE BATHROOM.

COME HERE,

OR ARE YOU AFRAID
OF A POOR, WEAK WOMAN?

Man: HE PROMISED
TO MEET, DEAR.

[DIALOGUE CONTINUES
INDISTINCTLY]

SAY, WHO'S THAT MAN?

OH, THAT'S
OUR HEAVY LEAD.

ION STEWART.
VERY SOUND ACTOR.

IS HE MARRIED?

HOW DID HE GET ON
WITH THE PRISONER?

EXCUSE ME, INSPECTOR.

SAY, HOW
DID HE GET ON

WITH THE PRISONER
MISS BARING?

SO-SO, YOU KNOW?

WAS HE POPULAR
WITH THE LADIES?

YOU TALKING
ABOUT THE JERK?

HE'S A BIT TOO POPULAR
IF YOU ASK ME.

PLEASE, IF YOU COULD
CALL HER A LADY.

SHH. NOW,
DOUCIE, REMEMBER,

SHE'S ONLY JUST DEAD.

OH, ALL RIGHT,
ALL RIGHT.

I'VE NEVER HEARD YET
THAT TELLING THE TRUTH

WAS A DISGRACE.
ONLY BEEN ONE YEAR

ABOUT EDNA
AND STEWART ANYHOW.

AND THE WAY I TAKE IT,

MR. STEWART
AND MRS. DRUCE...

EXCUSE ME. MY LINE.

OH! DON'T BOTHER
TO SHOW ME THROUGH.

I KNOW MY WAY.

THIS IS NOT THE FIRST
TIME, REGINALD.

Man: EVERYTHING'S
GOING SPLENDID.

WELL, PERHAPS
I OUGHT NOT TO SAY

EDNA AND STEWART
LIKE THAT.

BUT, TED, YOU KNOW
WHAT EDNA WAS LIKE,

ANYONE SHE LIKED
HAD TO BE WROTE IN.

Man: I CAN'T WAIT
ANY LONGER.

QUICK! IN HERE!

EXCUSE ME
A MINUTE, INSPECTOR.

SHAN'T BE LONG.
THERE'S A QUICK CHANGE.

Man: HOW DO YOU DO?

NO, I'M SORRY.
HE'S NOT HERE.

WHAT HAVE
THEY DONE WITH HER?

WHY, SHE'S DOWN AT
THE STATION, I EXPECT.

DID SHE SAY ANYTHING,
DO YOU KNOW?

IS THERE ANYTHING
I CAN DO?

MARKHAM, YOU DON'T
REALLY THINK

SHE'S DONE IT, DO YOU?

WHY HAVE
THEY ARRESTED HER?

SAW IT WITH ME OWN EYES.

SHE WAS WITH THE POKER
IN HER HAND

JUST BY HER SIDE ANYWAY.
BLOOD. COVERED WITH BLOOD.

WHY, WHAT'S
THE MATTER WITH YOU?

BLOOD ALWAYS MAKES
ME FEEL SICK,

EVEN THE MENTION
OF IT.

WELL, THAT'S ALL RIGHT.
HERE'S YOUR HELMET.

READY?

[DIALOGUE CONTINUING
INDISTINCTLY]

[APPLAUSE]

YEAH.
HURRY UP, MARKHAM.

THERE YOU ARE.

OK?

YEAH.

YEAH. WHY NOT?

MEMBERS OF THE JURY,

DIANA BARING IS INDICTED
AND STANDS CHARGE

WITH THE WILLFUL MURDER
OF EDNA DRUCE.

FOR THIS INDICTMENT,

SHE HAS PLEADED
NOT GUILTY.

IT IS YOUR DUTY
TO INQUIRE

WHETHER SHE
IS GUILTY OR NOT.

I NEED NOT REMIND YOU

THAT IN THE EYES
OF THE LAW,

MEN AND WOMEN ARE EQUAL.

THE CRIME OF MURDER
IN ENGLAND, AT LEAST,

IS JUDGED DISPASSIONATELY.

NEITHER BEAUTY
NOR YOUTH NOR PROVOCATION

CAN MITIGATE...

SHE GAVE ME
THE STRANGEST LOOK.

HALF-SURPRISED...

AND HALF-ANGRY.

AND SHE SAID,

HOW DARE YOU!

AND I DON'T
REMEMBER ANYMORE.

I JUST DON'T REMEMBER.

MUST HAVE HAPPENED WHEN
I WAS NOT CONSCIOUS OF MYSELF.

THAT'S ALL I CAN SAY.

OUR DEFENSE IS
A COMPLETE DENIAL

OF ALL RESPONSIBILITY.

YOU'VE BEEN ABLE TO OBSERVE

THE BEHAVIOR OF THE PRISONER
IN THE DOCK...

AND IN THE WITNESS BOX.

MY LEARNED FRIEND HAS
REFERRED TO HER BEHAVIOR

AS HARDENED.

GENTLEMEN AND LADIES
OF THE JURY,

IS THERE ANYTHING SO HARDY

AS THE BEHAVIOR
OF SHEER INNOCENCE?

IF YOU'RE CONVINCED
THAT THE STORY

OF THE DEFENSE
REPRESENTS THE FACTS

IT IS YOUR DUTY TO
DISCHARGE THE ACCUSED.

I SHALL LIKE
TO REMIND YOU

THAT TRUTH IS OFTEN
STRANGER THAN FICTION.

IF, ON THE OTHER HAND,

YOU ARE CONVINCED
THAT THE EVIDENCE

IS INDEED FICTION,
THEN I MUST TELL YOU

IN THE WORDS
OF THE COUNSEL

OF THE PROSECUTION

THAT NEITHER
YOUTH NOR BEAUTY

NOR PROVOCATION
CAN BE HELD TO MITIGATE

THE CRIME OF MURDER.

GO AND CONSIDER THE
FACTS FOR YOURSELVES.

WELL, UH, LADIES
AND GENTLEMEN,

WE CAN'T TALK STANDING.

WOULD YOU LADIES LIKE
TO SIT TOGETHER?

ANYWAY...

[CHATTER]

Man: WHY, I SAY,
MAY WE LOOK?

YES. I DON'T
SEE WHY NOT.

THAT IS, IF THE LADIES
HAVEN'T ANY OBJECTION.

NO. NOT AT ALL.

NOW, I THINK
THE BEST THING TO DO...

IS TO ALLOW ME TO GO OVER
THE BROAD FACTS OF THE CASE.

BECAUSE AFTER ALL,
I THINK IT'S PRETTY CLEAR

AND I REALLY DON'T THINK
IT'LL BE NECESSARY

FOR US TO EXAMINE

ALL THE EVIDENCE AGAIN
IN DETAIL.

NOW, IN THE FIRST PLACE,

THE PROSECUTION.

THEY SAY THAT THE GIRL
AND THE DEAD WOMAN

WERE ON BAD TERMS.

THEY MAKE IT UP.

EDNA DRUCE COMES TO SUPPER,

THEY BOTH HAVE
A DROP TOO MUCH

AND BEGIN QUARRELING
ABOUT SOME MAN.

FOR INSTANCE, YOU HEARD
HOW THE LANDLADY SAID

THAT SHE HEARD
RAISED VOICES.

AND THE GIRL
ADMITS AS MUCH

BUT WON'T GIVE
THE NAME OF THE MAN.

NOW THAT
IN ITSELF IS FISHY.

THE GIRL GETS HOLD
OF THE POKER,

LOSES HER TEMPER,

AND THERE'S THE END
OF EDNA DRUCE.

THE PROSECUTION ARGUES
THAT IT HAS PROOFS.

PRACTICALLY
CAUGHT RED-HANDED.

GIRL'S DRESS
ALL OVER BLOOD,

THE POKER AT HER FEET,

BRANDY FLASK EMPTY,

AND THE GIRL HALF-SILLY.

AND IN ADDITION TO THAT,

NO OTHER PERSON WAS KNOWN
TO HAVE ENTERED THE HOUSE.

I THINK THAT'S PRETTY CLEAR.

I THINK YOU OUGHT TO
MENTION THAT THE GIRL

COMES OF A GOOD FAMILY.

YES, BUT IT'S
THOSE SO-CALLED

WELL-BRED PEOPLE

WHO ARE ABLE
TO REMAIN SO BRAZEN

IN THE FACE OF
A THING LIKE THIS.

WELL,
LOOK AT THE WAY

SHE BEHAVED
IN THE BOX.

HALF A MINUTE, LADIES.

LET'S GET ON.

NOW, TAKE THE DEFENSE.

THEY DON'T DENY SHE DID IT

BUT ARGUE
THAT THEIR CASE IS

THAT THE THING
HAPPENED WHEN...

SHE WAS IN A FIT
OR SOMETHING.

SURELY IT
IS CLEAR TO YOU

THAT IN THE EVIDENCE
FOR THE DEFENSE

THE DOCTOR PUT
FORWARD A THEORY

THAT IT WAS DUE
TO THE INDEPENDENT

ACTIVITY OF THE
SUPPRESSED EXPERIENCE.

IN OTHER WORDS,
DISASSOCIATION,

WHICH IN THIS
PARTICULAR FORM

IS CALLED A FUGUE.
SO THAT A PERSON

DISPLAYING THE
STRANGEST BEHAVIOR

FOR A CONSIDERABLE
PERIOD OF TIME

WOULD BE QUITE
UNAWARE OF THIS

WHEN HE OR SHE
REGAINED NORMALITY.

WELL, I THINK THE BEST THING
FOR US ALL TO DO

IS TO WRITE DOWN
OUR OPINIONS

AND THEN WE CAN SEE
HOW WE STAND.

WHICHEVER
IN THE MINORITY...

CAN THEN GIVE
THEIR INDIVIDUAL REASONS

AND THE THING CAN BE
WORKED OUT THAT WAY.

THAT MAKES 7 GUILTY...

AND 3 NOT GUILTY.

THERE ARE 2 NOT IN.

I TAKE IT YOU
HAVEN'T COME

TO ANY DECISION
AT ALL.

I THINK THE WHOLE
BUSINESS IS HATEFUL.

THERE'S TOO MUCH
RESPONSIBILITY

PUT ON OUR SHOULDERS.

EITHER WE'VE GOT
TO LET HER GO FREE--

THAT'S NOT FAIR
TO THE REST OF THE WORLD

IF SHE'S GUILTY--
OR WE GOT TO HANG HER

Woman: BUT IF WE
RECOMMEND HER TO MERCY.

MERCY? IS THAT WHAT
YOU CALL IT?

20 YEARS
CUT OUT OF LIFE.

THE BEST YEARS
AND TO SPEND THEM IN HELL.

HAVE YOU EVER BEEN
INSIDE A PRISON?

IT TAKES
A CIVILIZED COMMUNITY

TO THINK OUT
A PUNISHMENT LIKE THAT.

I THINK
YOU EXAGGERATE.

IT'S NO USE
CONFUSING

THE ISSUE
LIKE THIS.

PEOPLE WHO DO WRONG

HAVE GOT TO BE
PUNISHED SOMEHOW.

YOU CAN'T RUN THE
WORLD ON SENTIMENT.

NO, BUT THAT'S WHAT
WE'VE TRIED TO DO.

SAVE THE UNFIT.
GET MORE CHILDREN

AND MAKE GLORIOUS WARS
TO BE RID OF.

THE WHOLE WORLD'S
A REEKING PIT OF SENTIMENT.

YOUR VERDICT,
MR. SHACKLETON.

GUILTY, I SUPPOSE.

WHO'S THE OTHER ONE?

YOU, MR. MATTHEWS?

IS THERE ANYTHING
SPECIAL TROUBLING YOU

SO THAT YOU CAN'T
MAKE A DECISION?

WHAT IS IT PREVENTS YOU
FROM MAKING A DECISION?

WELL, NOTHING REALLY.

UH, WELL, UH...

HAVE YOU MADE UP
YOUR MIND AT ALL

WHAT IT'S GOING TO BE?

Man: YOU HEARD THE CASE
FOR THE PROSECUTION.

THAT'S PRETTY CLEAR,
ISN'T IT?

AND YOU KNOW WHAT THE
DEFENSE IS, DON'T YOU?

YES, BUT I, UH...

DON'T QUITE UNDERSTAND
WHAT THE LADY MEANT

WHEN SHE SAID NO.
[CLEARS THROAT]

WHEN, UH...
WHEN SHE SPOKE.

MY DEAR MAN,

MRS. WARD WAS ONLY
TRYING TO TELL YOU

THAT THE DEFENSE WAS

THAT MURDER
WAS COMMITTED

IN A FIT OF DAYTIME
SLEEP WALKING.

YES. BUT, UH...

THE MURDER TOOK
PLACE AT NIGHTTIME.

CAN YOU WRITE?

WELL, WILL YOU
PLEASE WRITE DOWN

WHETHER YOU THINK THE
PRISONER GUILTY OR NOT?

NOW THAT LEAVES
ONLY 3 FOR NOT GUILTY.

I'LL GIVE YOU MY REASONS
FOR NOT GUILTY.

THE EVIDENCE FOR THE
DEFENSE BY THE DOCTOR

IS TO MY MIND
CONCLUSIVE.

ANYONE WHO'S FOLLOWED
THE MODERN TREND

OF PSCYHOLOGICAL
INVESTIGATIONS

MUST BE AWARE
THAT ANY PERSON

SUFFERING FROM SEVERE
MENTAL STRAIN,

SUCH AS THE PRISONER
MAY HAVE BEEN

FOLLOWING ON SO MANY
REHEARSALS AND THINGS,

MAY BRING ABOUT
A SUDDEN CONDITION

IN WHICH THE PATIENT
IS NO LONGER EITHER

CONSCIOUS OF OR RESPONSIBLE
FOR THEIR ACTIONS.

WE'VE ALREADY
HAD EVIDENCE

THAT THE
PRISONER'S MIND

IS A DELICATELY
BALANCED ONE

AND QUITE LIABLE THROUGH
SOME HIDDEN FLAW

IN THAT MIND
TO BECOME DEPRIVED

OF ALL CONSCIOUSNESS

AND READILY ENTER
INTO A STATE

WHEREIN THE BODY
IS STILL FUNCTIONING,

THOUGH NO LONGER UNDER
THE CONTROL OF THE WILL.

AND IT IS
ON THESE GROUNDS,

THAT I FEEL
THAT DIANA BARING

MUST HAVE BEEN THE
VICTIM OF CIRCUMSTANCE.

I HAVE NO DOUBT THAT
MRS. WARD IS RIGHT.

THAT BEING THE CASE,

IT IS QUITE
LIABLE TO RECUR,

POSSIBLY WITH
THE SAME RESULTS.

WELL, THAT'S A POINT
I HADN'T CONSIDERED.

WELL, IT'S REALLY
IMPORTANT.

BECAUSE WITH
THIS POOR GAL,

YOU HAVE TO CONSIDER NOT
ONLY THIS ONE TRAGEDY

BUT OTHERS
THAT MAY FOLLOW IT.

THERE MAY
BE OTHER CRIMES

YOU MEAN, THERE'S A SORT
OF DUAL PERSONALITY IN HER.

ONE OF THESE PERSONS
IS VIOLENT AND CRUEL

AND THE OTHER,
JUST AN ORDINARY WOMAN.

IF WE SET THIS BAD
PERSONALITY FREE,

WE MUST BE PREPARED

TO SHOW HER
THE RESPONSIBILITY.

IF WE LET HER GO AND
ANYTHING SHOULD HAPPEN...

THE BLOOD WOULD BE
ON OUR HANDS.

DO YOU WISH TO ALTER
YOUR VERDICT, MRS. WARD?

NOW, MR. DANIELS...
AFTER ALL YOU'VE HEARD,

DOES YOUR OPINION STILL
REMAIN THE SAME?

WELL, YOU KNOW, I FIND IT
VERY DIFFICULT TO BELIEVE

THAT A GIRL OF THAT SORT
SHOULD DO SUCH A THING.

AFTER ALL, SHE LOOKS PERFECTLY
RIVETING, YOU KNOW.

WELL, YOU KNOW
WHAT I MEAN?

A SORT OF GIRL ONE
WOULD LIKE FOR A DAUGHTER.

I PRESUME, SIR,
THAT AN UGLY WOMAN

WOULD STAND VERY LITTLE
CHANCE AT YOUR HAND.

THE THING YOU'VE
GOT TO DECIDE,

MR. DANIELS,
HAS NOTHING TO DO

WITH THE QUALITIES
OF THE YOUNG LADY

AS THEY APPEAL
TO YOU.

YES, OF COURSE.
I KNOW THAT.

BUT, THAT'S ALL, WELL,
YOU KNOW WHAT I MEAN.

IT'S...IT'S PRETTY
AWFUL AND ALL

THAT SORT OF THING.

BESIDES THE THING
YOU'RE THINKING OF,

WHAT'S YOUR VERDICT?

WELL...

WELL...

OH...

GUILTY, I SUPPOSE.

WELL, NOW WE'RE
PRACTICALLY COMPLETE.

THERE'S JUST SIR JOHN.

WELL, DON'T DISMISS ME AS
EASILY AT THAT, MR. FOREMAN.

YES? WE MUSTN'T BE LONG.

TIME IS MONEY, YOU KNOW?

TIME IN THIS CASE,
MAY I REMIND YOU, IS LIFE.

IF I'M DELAYING YOU ALL,
I APOLOGIZE.

I ADMIT THAT I AM NOT...

A MAN OF BUSINESS.

I'M A POOR ACTOR.

OH, COME NOW,
DEAR SIR JOHN.

I REPEAT...

THE POOREST
OF POOR PLAYERS.

AND MY TIME ON THE STAGE
WILL BE SHORTENED

HAD I NOT FOR YEARS
TRAINED MYSELF TO...

HOW SHALL I PUT IT...

TO APPLY
THE TECHNIQUE OF LIFE...

TO THE PROBLEMS
OF MY ART.

BUT TODAY,
LADIES AND GENTLEMEN,

THAT PROCESS IS REVERSED.

I FIND MYSELF APPLYING
THE TECHNIQUE OF MY ART

TO A PROBLEM
OF REAL LIFE.

AND MY ART
IS NOT SATISFIED.

IN THE FIRST PLACE,

I AM FAIRLY CONVINCED
THAT DIANA BARING

WHEN SHE SAID
SHE REMEMBERED NOTHING.

IN FACT,
I HAVE BEEN IMPRESSED

BY HER BEHAVIOR
ALL THROUGH THE TRIAL.

BUT MY DEAR SIR!

OH, I SAY, SIR JOHN.

OH, PLEASE DON'T
THINK I'M TAKING

THE SAME LINE AS OUR
FRIEND MR. DANIELS HERE.

HE MADE A VERY
GALLANT ATTEMPT,

BUT I ASSURE YOU MY REASONING
GOES A LITTLE DEEPER.

I AM CONVINCED FURTHER

THAT SHE WAS AGAIN
TELLING THE TRUTH

WHEN SHE SAID SHE HAD
DRUNK NO BRANDY.

BUY YOU'VE FORGOTTEN
THE EVIDENCE

OF THE POLICE SARGANT.

HE SAID SHE
SMELLED OF DRINK

AND APPEARED DAZED
ON ARREST.

THAT WAS NOT THE WINE
SHE HAD AT DINNER?

WHAT ABOUT
THE EVIDENCE

OF MARKHAM,
THE STAGE MANAGER?

HE FOUND THE EMPTY
BRANDY FLASK

RIGHT ON THE SPOT.
YES, BUT--

WHAT ABOUT THE EVIDENCE
OF THE ACTOR, STEWART?

HE SAID THE WOMEN

HAD BEEN ENEMIES
FOR SOME TIME.

AH, HE WAS THE ONE
WHO SAID

PRISONER WAS ROUGH
TO MRS. DRUCE

ALL POINTING TO HER VIOLENT
NATURE, SIR JOHN.

YES, BUT THAT
WAS NOT ALTOGETHER

BORNE OUT BY FAME.

YOU KNOW, THE, UM...

WELL, THE FEMALE
IMPERSONATOR MAN.

BUT HIS EVIDENCE WAS
OF LITTLE USE.

HE WAS SO OBVIOUSLY IN
LOVE WITH THE PRISONER.

IN ANY CASE, EVERYTHING
WAS PERFECTLY CLEAR

WHEN THE BODY
WAS DISCOVERED.

WHY, THE WOMAN
WAS ACTUALLY CAUGHT

IN THE ROOM
RED-HANDED.

AND FOUND WITH A POKER
BY HER SIDE.

AND HER DRESS
ALL OVER BLOOD.

AND QUARRELLING
OVER A MAN.

THAT'S RIGHT.

ANY ANSWER TO THAT,
SIR JOHN?

THINK OF HER PERSONALITY.

SHE'S NOT THE KIND
OF GIRL TO GET DRUNK.

BRANDY IN THE FLASK,
WAS THERE?

SHE DOESN'T DENY IT.

THAT'S RIGHT.

ANY ANSWER
TO THAT, SIR JOHN?

NOT AT THE MOMENT.

WAS THERE ANYONE ENTERED
THE HOUSE THAT NIGHT?

LANDLADY SAYS NOT.

GIRL SAYS NOT.

THEY WERE ALONE.

All: ANY ANSWER
TO THAT, SIR JOHN?

NOT AT THE MOMENT.

BUT HAVE WE TAKEN IT
TOO MUCH FOR GRANTED

THAT NO ONE ELSE
COULD'VE DONE THE MURDER?

THEY WERE ALONE.

SAYS THEY QUARELLED.

ADMITS IT.

All: ANY ANSWER
TO THAT, SIR JOHN?

SHE DOES NOT ADMIT IT.

SHE SAYS SHE
DOESN'T REMEMBER.

IS THAT
A GUILTY WOMAN'S ANSWER?

Woman: AND HER DRESS
ALL OVER BLOOD.

Man: MAKE AN EXHIBITION
OF YOURSELF.

Second man: WASTE OF
TIME, WASTE OF MONEY.

Woman: QUARELLING.

Man: HANDS ALL OVER BLOOD.

All: ANY ANSWER?
ANY ANSWER?

ANY ANSWER
TO THAT, SIR JOHN?

WELL, NOW THAT WE'VE ALL
AGREED ON OUR VERDICT,

I CAN INFORM THE JUDGE
THAT WE'RE READY.

Man: STAND UP.

Judge: LADIES AND GENTLEMEN
OF THE JURY,

HAVE YOU AGREED
UPON YOUR VERDICT?

AND DO YOU FIND THE PRISONER
GUILTY OR NOT GUILTY?

Foreman: GUILTY.

Judge: DIANA BARING,
HAVE YOU ANYTHING TO SAY?

MY SENTENCE OF DEATH

SHOULD NOW
BE PASSED UPON YOU

ACCORDING TO LAW.

Diana: IT'S ABSURD,
I TELL YOU.

IT'S ABSOLUTELY ABSURD.

Man: ♪ OH, YES,
OH, YES, OH, YES ♪

PRAISE SILENCE,
ALL OF YOU,

ON THE PAIN
OF IMPRISONMENT

WHILE SENTENCE OF DEATH

IS PASSED UPON THE PRISONER
AT THE BAR.

[KNOCK ON DOOR]

[MAN ON RADIO
SPEAKING INDISTINCTLY]

ADJOURNED
UNTIL TOMORROW.

THE BARING MURDER TRIAL

CAME TO
A CONCLUSION TODAY

WITH A VERDICT
OF GUILTY,

AND SENTENCE OF DEATH
WAS PASSED ON DIANA BARING.

AND THAT
IS ALL THE NEWS.

BUT HERE IS AN S.O.S.,

WHICH HAS JUST BEEN
BROUGHT INTO THE STUDIO.

WE'VE BEEN ASKED BY THE
COMMISSIONER OF POLICE

TO BROADCAST
THE FOLLOWING--

BRANDY COCKTAIL
YOU ORDERED, SIR.

RIGHT.

RING UP MR. BENNETT,
WILL YOU?

DETAILS OF THE PARTICULARS
FOR THE LAST 3 NIGHTS.

FOR THE LAST 3 NIGHTS.

ALSO, PLAN ON LOOKING
AT THE FLASK.

WITH NEWS CUP IN JAR TO
TELEPHONE VICTORIA 7000

OR WITH
ANY POLICE STATION.

THIS IS
THE NATIONAL PROGRAM.

OUR CONCERT TONIGHT
IS AN ORCHESTRAL ONE,

GIVEN BY THE RADIO
SYMPHONY ORCHESTRA.

THEY START BY PLAYING
THE OVERTURE

TO TRISTAN UND ISOLDE
BY WAGNER.

[THINKING]
FUNNY THAT S.O.S.

COMING ON TOP OF THAT OTHER.

SAVE HER SOUL.

SAVE HER.

IF I'D STOOD UP LONGER,

I MIGHT HAVE WORN THEM DOWN.

WHY COULDN'T THEY SEE
THE GIRL AS I DID...

THE REST OF THE FELLOWS
ON THE JURY.

BUT ANYONE STANDING
IN THE DARK

ON A CHARGE LIKE THAT...

PROBABLY LOOKS DIFFERENT
FROM THE SAME PERSON

SOMEWHERE ELSE.

AH, AMUSING THE WAY
SHE STOOD UP TO EVERYBODY.

THERE'S NO DOUBT
THAT DID HER A LOT OF HARM.

YET, IT WAS THAT
MANNER OF HERS THAT...

VERY ATTRACTIVE I THOUGHT.

AND I WONDER WHAT
HER FEELINGS ARE NOW.

WHO DRANK THAT BRANDY?!

WHY DIDN'T I FORCE
THAT POINT HOME TO THEM?

EASY TO FIGURE THESE
THINGS OUT AFTERWARDS.

THE GIRL SAID
SHE DIDN'T DRINK IT.

YET SHE ADMITS SHE MIGHT
HAVE KILLED EDNA DRUCE.

THAT'S QUEER.

WHY ADMIT A BIG
THING LIKE THAT

AND YET BE SURE SHE
DIDN'T DO A SMALL THING

SUCH AS DRINK
A DROP OF BRANDY?

ALL THAT CAME
TO LIGHT TO ME TODAY.

I'M SURE I WAS RIGHT
WHEN I RAISED THAT.

QUITE FRANKLY,
MORE CERTAIN NOW.

HOW DO WE KNOW THAT SOMEONE ELSE
DIDN'T DRINK THE BRANDY?

PERHAPS THERE
WAS SOMEONE ELSE,

THAT'S THE WHOLE THING.

WHOEVER DRANK THAT BRANDY!

MR. BENNETT HAS COME UP
TO SEE YOU, SIR JOHN.

SIR BENNETT.

GLAD YOU'RE BACK,
SIR JOHN.

BEEN READING
ABOUT IT ALL.

PLENTY OF PUBLICITY.

BEEN AWFUL
FOR YOU, THOUGH.

YOU HAVING
MET DAYS BEFORE.

WELL, SHE WANTED
TO BECOME A STAR,

A YEAR AGO THAT WAS.

I SUPPOSE YOU CAN SAY
IN A SENSE THAT SHE HAS.

A STAR IN A MURDER--

BENNETT, PLEASE.

LOOK HERE.

GET HOLD OF MY UNDERSTUDY.

TELL HIM HE HAS
TO GO ON AGAIN TONIGHT.

PRAY GOD THAT I GIVE HIM
A BETTER ROLE.

GET ON THE TELEPHONE
STRAIGHT AWAY

TO MY LAWYER,
MR. VICE SENIOR.

OH, I CAN GIVE IT TO YOU.

TEMPLE BAR.

5-9-9-3.

YES.

I WANT YOU, AS WELL,

TO GET HOLD OF
AS MANY AS YOU CAN

OF THE MEMBERS
OF THAT COMPANY.

YOU KNOW,
THE TOURING COMPANY

AT THE TIME
OF THE MURDER.

IN PARTICULAR,
THE, UM...

FUNNY LITTLE MAN,
THE STAGE MANAGER.

I FORGET HIS NAME.

I'LL SEE HIM AT THE
OFFICE IN THE MORNING.

TEMPLE BAR,
5, DOUBLE 9, 3.

BUT I THOUGHT
THE TRIAL

WAS OVER, SIR JOHN.

NO, MY DEAR, BENNETT,

THE TRIAL IS NOT OVER,

BY A HELL OF A LONG WAY.

WELL...IS IT CONSCIENCE,
SIR JOHN?

CONSCIENCE.
A LYING MAN'S CONSCIENCE.

OH, THEY'RE--
THEY'RE ENGAGED, SIR.

OK. I'LL TRY LATER.
DON'T WAIT.

I AM.

NO, DON'T WAIT. GO.

[DOOR CLOSES]

DIANA BARING...

WHY DID I SEND HER AWAY?

TOLD HER IT'D
BE GOOD FOR HER

TO GAIN EXPERIENCE
IN THE PROVIDENCE.

GOOD FOR HER.

AND NOW SHE'S COME BACK.

[DOOR OPENING]

UH...

I THINK, UH...

BOILING IT
ALL DOWN, DEAR,

I THINK PERHAPS
WE BETTER, UH...

ACCEPT SIR JOHN'S
OFFER AFTER ALL,

DON'T YOU?

OH, YES.
EITHER THAT ONE

OR ONE OF THE OTHER 2.
IT'S ALL THE SAME TO ME.

[BELL RINGS]

THAT WOULD BE
SIR JOHN HIMSELF.

I DON'T THINK.

SEEMS SHE WON'T LET US
STAY ON HERE ANY LONGER.

THAT MEANS LUCY
WILL HAVE TO GO BACK

TO HER AUNT'S--
OH, I MEAN, UH--

SOPHIE WILL HAVE TO GO
BACK TO HER AUNT LUCY.

I DON'T WANT TO GO
BACK TO AUNT LUCY.

I WANT TO GO ON TOUR
WITH YOU.

I CAN'T LET YOU GO
BACK TO SIR JOHN'S.

I REALLY THOUGHT YOU WERE
KIDDING ME, I REALLY DID.

WHAT IS THIS?

OOH. IT'S FROM
SIR JOHN HIMSELF.

IF WE COULD BE IN
HIS OFFICE AT 12:00.

DO YOU THINK
WE COULD GET THERE

IN TIME TODAY?

IF WE TRY.

I'LL TURN
THE KETTLE OFF.

THIS JUST NEEDS
A LITTLE BENZINE.

DEAR, I DON'T THINK...

PETROL WILL GET
THE SHINE OUT OF THIS SUIT.

I'LL SAY! THERE'S
A JOB FOR YOU!

LOOK SHARPER.

I THINK IT MUST BE
AN ANKIE.

YEAH. I THINK SO SOMEWHERE.

TED?
YES, DEAR?

WHAT HAVE YOU DONE
WITH ME NAIL POLISH?

I HAVEN'T SEEN IT.

HERE.

HOPE THIS...HOPE THIS SMELL
OF PETROL GOES OFF.

OH, WELL, YOU CAN BLAME
IT ONTO THE CAR.

I THINK WE SHALL
JUST ABOUT DO IT.

ACTUALLY, MY DEAR,
IT WON'T BE.

OH, THAT'S
ALL RIGHT, MISSUS.

I PROMISE
YOU YOUR BILL

SHALL BE PAID
THE FIRST.

I'M NOT REFERRING
TO BILLS.

IT'S DRUCE I'M AFTER.

2-6 TO THE FIRST 10.

ALL RIGHT. WE'LL SEE.

HOW DO YOU DO,
MR. MARKHAM?

NICE.
THANKS, SIR JOHN.

OHH. HOW DO YOU DO,
SIR JOHN?

WON'T YOU SIT DOWN?

THANK YOU.

YOU KNOW, IT SEEMS
TO ME, MR. MARKHAM,

THAT WE AS ARTISTS
HAVE A DOUBLE FUNCTION.

WE USE LIFE
TO CREATE ART

AND WE USE ART TO,
HOW SHALL I PUT IT...

TO CRITICIZE LIFE.

OH, CERTAIN,
MR. JOHN.

UHH!

YES. I KNEW YOU WOULD.

NOW, MR. MARKHAM,

BETWEEN ARTISTS...

DO WE ALWAYS FULFILL
OUR DOUBLE FUNCTION?

ARE WE NOT
SO MUCH OCCUPIED

IN USING LIFE
TO CREATE ART

THAT WE FORGET
OUR OTHER FUNCTION?

I FORESEE
YOUR OBJECTION.

YOU'RE GOING TO SAY,

WHAT OPPORTUNITIES DOES
THE ROUND

OF DAILY LIFE OFFER?

I WONDER IF...

IF YOU EVER SAW

A PROBLEM PLAY
I ONCE DID.

PISTOLS FOR TWO.

OH, YES.

WHAT THE CRITICS DESCRIBE
AS A HIGH-BROW SHOCKER.

WHEN A HIGH-BROW SHOCKER
OCCURS IN REAL LIFE,

DOES THE PUBLIC
CALL IN THE ACTOR?

NO.

UH...

MR. MARKHAM,
I READ YOUR THOUGHTS.

YOU KNOW, YOU'RE
SAYING TO YOURSELF,

THIS MAN IS, UM,
TALKING TO HIS HAT.

OH, NO.

OH, OF COURSE YOU ARE.

OTHERWISE, YOU WOULDN'T
BE THE PRACTICAL MAN

I TAKE YOU FOR.

YOU'RE ALSO WONDERING
TO YOURSELF,

WHY ON EARTH
I'VE BROUGHT YOU HERE.

WELL...

THAT BRINGS ME AT LAST...

TO MY OBJECT.

NOW...

YESTERDAY AND
THE DAY BEFORE,

I WAS ON THE JURY
AT THE BARING TRIAL.

YOU IMPRESSED ME BOTH AS
AN ARTIST AND AS A MAN.

BY THE WAY YOU GAVE
YOUR EVIDENCE.

NOW, I WANT FROM YOU,

IF I'M NOT BEING
TOO INDISCRETE--

THE INNER HISTORY
OF THAT CASE.

OH, WHAT IS
IT THAT, UH...

SEE, NOW, OF COURSE, UM...

BENNETT TALKED OVER WITH YOU

THE QUESTION
OF THAT ENGAGEMENT?

YOU SEE, WE'D RATHER, UH...

RATHER HOPED THAT YOU'D
BE FREE TO TAKE ON

THE STAGE MANAGEMENT
WHEN I SEND OFF

THIS TOUR AT CHRISTMAS
OF THE GREEN EYE.

I ALSO THOUGHT OF WORKING
OUT SOME ARRANGEMENT

BUT WE COULD EASILY
TALK THAT OVER LATER

OH. THANK YOU VERY
MUCH INDEED, SIR JOHN.

I, UH...

WELL, I AM FREE
AT THE MOMENT.

AND I'VE HAD
A LOT OF EXPERIENCE

THAT I'M SURE
WILL COME IN VERY HANDY.

THEN THAT'S
SETTLED, HUH?

UH, YES.

WHAT? WHAT IS IT,
MR. MARKHAM?

WELL, IT'S MY WIFE,
SIR JOHN.

YOU SEE, WE'VE ALWAYS
BEEN JOINT,

AS YOU MAY SAY AND, UH...

WELL, WOULD IT BE
ASKING TOO MUCH, SIR JOHN,

IF A PART, I MEAN,
ANY PART THAT YOU--

OHH. I SEE.
MRS. MARKHAM ACTS.

ACTS, SIR JOHN?

HEH. WELL, UH...

PERHAPS IT'S NOT FOR ME
TO SAY, BUT...

WELL, YOU MAY SAY I'M
PREJUDICED, SIR JOHN,

BUT I'VE BEEN STAGE MANAGER
NOW FOR 10 YEARS,

AND IT IS A FACT THAT
A WIFE, EVEN A GOOD ONE,

IS NOT ALWAYS THE RIGHT THING
TO HAVE IN A COMPANY,

IF YOU UNDERSTAND
WHAT I'M GETTING AT,

SHE'S--WELL, PROFESSIONALLY,
SHE'S BEEN MY RIGHT HAND.

AND THERE'S NO ONE SHE CAN'T
PLAY 24 HOURS' NOTICE.

FROM A GLADYS COOPER
TO A MOLLY LLOYD PART.

HAS SHE EVER--
SHE HAS HER--

I WAS GOING TO SAY SHE HAS
HER OFF DAYS, OF COURSE.

WELL, WHO HASN'T?
[CHUCKLES]

YES. I MEAN,
ONLY LAST SUMMER

I HAD TO SPEAK TO HER
SERIOUSLY ABOUT IT.

SHE HAD A QUICK
CHANGE-OVER FROM A BARMAID

TO A SALVATION ARMY LASS.

AND IT TOLD ON HER,
THERE'S NO DOUBT ABOUT IT,

AFTER ABOUT A WEEK,
I SAID TO HER STRAIGHT OUT,

NOW LOOK HERE, MY DEAR,

IF YOU CAN'T
PULL YOURSELF TOGETHER,

WE SHALL HAVE
TO GO INTO SHAKESPEARE.

WELL, SHE DIDN'T SAY MUCH.

NOT ONE THAT WAS REASONABLE.

BUT SHE THOUGHT IT OVER.

AND FOR THE REST
OF THAT TOUR

I'LL GIVE YOU
MY WORD, SIR JOHN,

SHE WAS TALLULAH.

PURE TALLULAH.

WHERE IS MRS. MARKHAM NOW?

SHE'S DOWNSTAIRS
WAITING IN THE--

OH. ONE MINUTE THEN.

LET'S SEND
FOR HER TO COME UP.

WHAT, IS THAT YOU, BENNETT?

OH, NO, NO. I'M SORRY. NO.

WAIT.

HELLO, BENNETT, MRS. MARKHAM
IS SOMEWHERE DOWNSTAIRS.

WOULD YOU HAVE HER
SENT UP, PLEASE?

YES. YES, OF COURSE.
UP TO MY ROOM.

NOW, MR. MARKHAM...

ABOUT THIS TRIAL...

I CONFESS TO FEELING
VERY UNEASY ABOUT IT.

YOU SEE, I PLAYED
A PART IN THE THING,

THE PART OF A JURYMAN.

AND IT WAS NOT UNTIL
THE CURTAIN WAS RUNG DOWN

ON THE DEATH SENTENCE,
THAT I SAID TO MYSELF...

THIS IS NOT A PLAY,
THIS IS LIFE.

LIFE CAN BE LESS KIND

THAN YOUR DRAMATISTS,
MR. MARKHAM.

LIFE PERMITS A BEAUTIFUL
AND UNFORTUNATE GIRL

TO GO TO THE GALLOWS.
UNLESS--

ART FOR ONCE CAN BRING
ITS TECHNIQUE TO BEAR.

GOOD LORD,
DO YOU MEAN TO SAY

INNOCENT,
MY DEAR MARKHAM, YES.

IT WAS ASSUMED
SHE WAS GUILTY

BECAUSE SHE COULDN'T
DENY IT.

YES, BUT I SAW THE--

DIANA BARING SITTING
BESIDE THE DEAD BODY.

SHE WAS DAZED YOU SAY.

WHAT WAS
THE CAUSE? DRINK?

SHE HARDLY EVER
TOUCHED ANYTHING.

AND WHO DID? THINK
IT OVER, MR. MARKHAM.

THEN THERE WAS THE PAIN
IN HER HEAD.

WAS SHE EXAMINED
BY A DOCTOR?

MIGHT HE NOT HAVE FOUND
TRACES OF A BLOW

IF HE'D EXAMINED HER?

BUT NO, HE DIDN'T.

HE ASSUMED
LIKE EVERYONE ELSE

THAT SHE WAS GUILTY

BECAUSE SHE
DIDN'T DENY IT.

AND THERE WAS NO
PRIVATE INVESTIGATION,

NO INQUIRY,

THINK IT OVER,
MR. MARKHAM.

[SIGHS]

I FEEL THE MOST
TERRIBLE RESPONSIBILITY.

I WAS ONE
OF THE 12 PEOPLE

WHO DECIDED THE FATE
OF THIS POOR GIRL.

I'D FOUND MYSELF
CAUGHT UP

WITH THE MACHINE THAT--

THAT MAKES
THESE THINGS...

AH, MRS. MARKHAM,
SO GOOD OF YOU TO COME

WITH YOUR HUSBAND
THIS MORNING.

OH, I WAS
QUITE GLAD,

GLAD AS A BREATH
OF FRESH AIR.

OHH. WHAT A CHARMING
PLACE YOU HAVE UP HERE,

SIR JOHN.

AND PICCADILLY,

WITH ALL
THE SHOPS SO NEAR.

[NO AUDIO]

YOU'LL, UM...

YOU'LL STAY
TO LUNCH, OF COURSE.

I FIND IT DIFFICULT
SOMETIMES TO WAIT

TO A REASONABLE HOUR
FOR MY LUNCHEON.

I FEEL
THE SAME WAY MYSELF.

THAT I CAN DO
WITHOUT MY LITTLE

TIDBITS
IN THE MORNING...

OH, JAVIER, A COCKTAIL
AT ONCE, PLEASE,

AND SERVE LUNCH.

HE'S ENGAGED US
TO SEE HIM.

JOINT.
NO.

YES. I FIND MR. MARKHAM
IS FREE TO JOIN ME.

SO...PLEASE.

SO I THOUGHT
HE COULD, UM...

OH, WE CAN SETTLE
ALL THAT LATER,

CAN'T WE? YES, PLEASE.

THANK YOU.

OH, THANK YOU.

OH, ONE MORE, PLEASE.

IN THE MEANTIME, SUCCESS
TO OUR RESEARCHES.

YOUR HUSBAND AND I HAVE
BEEN DISCUSSING

THE BARING CASE.

AND WE FEEL THAT
IF THE MURDER

WERE APPROACHED
FROM ANOTHER ANGLE,

IT--OH, SORRY.
WE SHALL BE ABLE

TO ARRIVE
AT A DIFFERENT RESULT.

WHAT? AND GET DIANA
OFF YOU MEAN?

BUT SHE CAN'T
GET AWAY FROM THAT POKER.

IF YOU DON'T SHARE
OUR CONVICTIONS

THAT MISS BARING
IS NOT GUILTY--

[COUGHS]

WELL, I MEAN TO SAY
DIANA BARING

WAS SUCH
A NICE GIRL.

I NEVER THOUGHT
FOR ONE MOMENT

SHE COULD'VE DONE
A THING LIKE THAT.

DIDN'T
I ALWAYS SAY, TED,

NEVER COULD'VE THOUGHT
IT FOR ONE MOMENT?

OH, SIR JOHN, HAVE YOU
FOUND ANYTHING OUT?

ARE YOU GOING TO TAKE IT
UP YOURSELF?

OH, WE WOULD BE SO GLAD

TO HELP,
WOULDN'T WE, TED?

SHALL WE NOW?

I REALLY DON'T KNOW
WHERE TO BEGIN

THIS THING,
DO YOU, MARKHAM?

WELL, UH...
WELL, YES, SIR JOHN.

OH, I SEE. UH...

YES. I WISH I KNEW
WHERE TO BEGIN.

HERE.

YES, CAN I HELP
YOU THERE?

SIR JOHN DIDN'T KNOW
WHERE TO BEGIN, TED.

NO, NO. LET'S
HEAR IT, MRS. MARKHAM.

SEE, I'M COMPLETELY
IN THE DARK.

IF YOUR HUSBAND
COULD SHOW THE WAY,

I SHALL BE MORE
THAN GRATEFUL.

GO ON.
WHAT IS IT, MARKHAM?

WELL, SIR JOHN...

I SHOULD SAY
THE BEST PLACE

WOULD BE THE BACK
OF THE TOWN

WHERE THE MURDER
WAS COMMITTED.

YES. DO YOU THINK
YOU COULD SPARE ME

A DAY OR TWO
OF YOUR TIME?

WHY, YES, OF COURSE
WE COULD, SIR.

SEE, IF I MIGHT SUGGEST

THAT WE COULD
GO OVER THE GROUND

AND YOU COULD SHOW ME
ONE OR TWO PLACES

CONNECTED
WITH THE MURDER.

BUT, YOU MEAN, IT
MIGHT HAVE BEEN

SOMEONE ELSE
ALTOGETHER,

WHAT KILLED
EDNA DRUCE?

IT MIGHT'VE BEEN
SOMEBODY FROM OUTSIDE.

HOW DO YOU MAKE
THAT OUT?

WELL, I DON'T KNOW.

MISS MITCHAM
DIDN'T DO IT.

AND MISS DIANA DIDN'T.

SO IT MUST'VE BEEN
SOMEBODY FROM OUTSIDE.

IF IT WAS,
THEY'D HAVE TO GET IN.

AND THEY'D HAVE
TO GET OUT AGAIN.

HEH. THAT'S CLEVER.

WELL, ALL
I CAN SAY IS...

THE FIRST THING
WE GOT TO DO

IS TO FIND OUT
WHO SAW SOMEBODY,

APART FROM DRUCE,
ANYWHERE NEAR THERE

AT HALF-PAST ONE
THAT MORNING.

WELL, TED, FOR START,
THERE'S THAT CHAP

WE THOUGHT WAS
THE POLICEMAN

COMING AROUND
THE CORNER.

OH, THAT WAS NOTHING.

I SHALL LIKE
TO HEAR SOMETHING

ABOUT THIS POLICEMAN.

WELL, YOU SEE,
SIR JOHN,

IT WAS LIKE THIS...

ONLY AFTER
THE MURDER,

WHEN THE KNOCKING
WOKE US UP,

I WAS OVER
BY THE WINDOW

AND I POPPED MY HEAD
OUT OF THE WINDOW

TO SEE WHO IT WAS MAKING
ALL THAT NOISE.

AND I SAW THE POLICEMAN

COMING AROUND
THE CORNER.

SO I SAID TO TED,

I SAID,
HEY, IT'S THE POLICE.

AND THEN I TOOK
MY EYES OFF HIM

TO TELL TED HERE...

AND WHEN I LOOKED AGAIN,

THERE WAS
NO ONE IN SIGHT.

AND THEN TED SAID,

YES, YOU'RE RIGHT.
HERE HE COMES.

AND WHEN
I LOOKED AGAIN,

IT WAS A DIFFERENT
POLICEMAN ALTOGETHER.

WHAT HAD BECOME
OF THE FIRST ONE?

HE MUST HAVE TURNED
THE CORNER AND COME BACK.

IS THAT THE CORNER
DOWN THERE?

YES, THAT'S IT, SIR.

YOU'RE SURE IT
WASN'T THE SAME MAN?

WE ONLY TOOK OUR EYES OFF
OF HIM ABOUT 2 SECONDS.

UH...IS THERE ANYMORE
HERE DO YOU THINK, SIR?

I SHOULDN'T
THINK SO.

[BANGING]

MY GOD, THAT'S DRUCE.

HE MUST BE CRAZY.

YEAH, WE BETTER GET DOWN.

Mrs. Mitcham: YOU ARE
NOT GOING IN MY HOUSE.

[OVERLAPPING
ARGUING]

TAKE HIM AWAY, PLEASE.

HE'S DONE THIS BEFORE.

PLEASE, PROMISE TO STOP IT.

YES, THAT'S
ALL RIGHT.

NOW COME ALONG,
DRUCE.

MY WIFE'S...

BUT YOU'RE MUCH
BETTER AT HOME.

[TALKING AT ONCE]

COME ON.
COME ON NOW.

[HORN HONKS]

[MUTTERING]

OH, THIS IS TERRIBLE

FOR ME THIS BUSINESS IS.

I SHALL HAVE TO MOVE.
I'M SURE I SHALL.

YES. WELL, UH...

MRS. MITCHAM,

WE'D LIKE
TO SHOW

THIS GENTLEMAN
AROUND.

THAT IS, IF YOU
DON'T MIND.

MAY I?

OH. YES, SIR.
OF COURSE.

YES. CERTAINLY.
WILL YOU COME IN?

WELL, SIR JOHN,

THAT'S WHERE
THEY FOUND THE BODY.

RIGHT IN FRONT
OF THE HEARTH THERE.

AND, UH...

MISS BARING WAS SITTING
JUST ABOUT THERE.

OH, BY THE WAY, DID YOU EVER
GET YOUR POKER BACK, MISS--

OH, I CAN'T BEAR
TO TALK ABOUT IT,

ESPECIALLY WITH
POOR MISS BARING

BEING WHERE SHE IS.

WHY, YOU MIGHT AS WELL
CONVICT CLEOPATRA.

YOU THINK ANYBODY
COULD'VE GOT IN

FROM THE BACK
OF THE HOUSE?

YOU SEE JUST BEYOND
THE BACKYARD

THERE'S AN ALLEYWAY,

AND JUST
BEYOND THERE

THERE'S THE THEATRE.

AND LOOK, SIR,
THE DRESSING ROOMS

ARE OFF THE BACK.

YES, IT WOULD
TAKE QUITE AN ATHLETE

TO GET IN THAT WAY.

I DON'T SEE HOW

ANYONE COULD
GET IN HERE

WITH THIS
ASPEDSTRIA

FILLING UP
THE WINDOW.

ANYWAY, WITHOUT
UPSETTING IT,

AND LOOK
AT THE SIZE OF IT.

YES. IT'S A FINE PLANT.

UNLESS, OF COURSE,
IT WAS SOMEBODY

BUT MISS BARING DID NOT
HAVE ANY VISITORS,

ONLY MRS. MARKHAM
EVERY NOW AND AGAIN,

AND MR. FANE AND
MR. STEWART TO TEA

AND MISTER--
WHAT'S HIS NAME--

THE LITTLE MAN WITH
THE SQUEAKY VOICE.

OH, TOM DRUID.

YES. YES, THAT'S HIM.

SQUEAKY VOICE,
THAT REMINDS ME.

IN YOUR EVIDENCE,
MISS MITCHAM,

YOU SAID YOU HAD HEARD
ANGRY WOMEN'S VOICES.

YES, SIR, I DID.

OH, YES, SIR. YOU CAN'T
MISTAKE A WOMAN'S VOICE.

YOU KNOW, I HAD
KNOWN A CONTRALTO--

OH, YES, BUT THIS
WAS HIGH, QUITE HIGH.

[FALSETTO] MISS MITCHAM.
MISS MITCHAM.

OH, MY GOD, MISS MITCHAM.
WHERE ARE YOU?

THE KITCHEN CHIMNEY'S
ON FIRE, MISS MITCHAM!

THAT'S ALICE.

ONE MOMENT, MISS MITCHAM.

EXCUSE ME, SIR.
I CAN'T STOP JUST NOW.

THAT ALICE
OF MINE HAS SET

THE KITCHEN CHIMNEY
ON FIRE.

DIDN'T YOU HEAR
HER CALLING?

NO, NO, NO.
THAT WAS ME.

OR DID I...

YOU KNOW, MARKHAM,
I NEVER KNOW.

I PLAYED A TRICK
ON YOU, MISS MITCHAM.

NOW, THE HIGH VOICE
YOU HEARD THAT NIGHT

MAY NOT HAVE BEEN A WOMAN'S.
YOU'VE JUST ADMITTED IT.

NO. I HAVE NOT
ADMITTED ANYTHING.

AND I DON'T HOLD TO
PLAYING SUCH TRICKS.

AND I'D LIKE
TO ASK YOU, SIR,

WHAT YOU MEAN BY IT.

[INDISTINCT]

AND YOU, TOO,
MR. MARKHAM.

STANDING THERE,
GRINNING.

YOU REALIZE THAT
YOUR EVIDENCE AS IT STANDS

MAY HANG MISS BARING?

NOW, I'M NOT BLAMING YOU.

NOT BLAMING YOU,
MISS MITCHAM.

BUT YOU SWORE
THAT YOU HEARD

WOMEN'S VOICES CALLING.

AND I HAVE
TO PROVE TO THEM

THAT IT MIGHT HAVE
BEEN A MAN'S VOICE,

ESPECIALLY A HIGH-PITCHED
MAN'S VOICE--

JUST LIKE MR. DRUID'S.

OHH! I'D DO ANYTHING
FOR MISS BARING.

OH, CAN'T SOMETHING
BE DONE NOW?

YES, YES. NOW YOU'RE
GOING TO HELP US FURTHER.

FIRST OF ALL,
COULD YOU SHOW US

SOME MORE OF THE HOUSE?

MISS BARING'S BEDROOM,
FOR EXAMPLE?

YES. CERTAINLY, SIR.

THIS WAY, PLEASE.

I DON'T THINK YOU'LL
FIND MUCH IN HERE, SIR.

THERE'S A FEW
OF HER THINGS

OVER THERE
ON THE WINDOWSILL.

I DIDN'T LIKE
TO SEND THEM

TO WHERE SHE IS NOW.

OH, I THINK
SHE'D LIKE THEM.

WELL, LET ME
HAVE THEM

AND I'LL SEND
THEM ON.

WHY, IT'S
ONE OF YOU, SIR.

UH...LOT MORE PLACES
TO GO TO, SIR JOHN.

THANK YOU.

THANK YOU
VERY MUCH INDEED.

THANK YOU.

THANK YOU
VERY MUCH.

YES. LOT MORE
PLACES, SIR JOHN.

AND THEN WE'LL GO ROUND
TO STEWART'S LODGINGS

AND THEN
WE MIGHT GO ALONG

TO THE POLICE
STATION,

HAVE A CHAT
WITH THE INSPECTOR.

HE KNOWS ME.
AND THEN, UM...

WELL, THEN WE CAN GO
ACROSS THE RED LION,

HAVE A SANDWICH
WHILE WE'RE TALKING

TO JOE
THE PROPRIETER.

AND THEN--OOH,

AND THEN
THERE'S STEVENS,

IF THE POLICEMAN'S
STILL ON HIS BEAT.

YES, I THINK THAT'S
ABOUT ALL WE CAN DO.

OH, YES, WE'LL FIND
OUT SOMETHING

IF IT TAKES US
ALL NIGHT.

I THOUGHT PERHAPS, UM...

A LITTLE DINNER...

OH. OH, THAT'S ALL
RIGHT, SIR JOHN.

DON'T YOU WORRY
ABOUT DOUCIE AND ME.

WE'VE HAD TO GO
WITHOUT BEFORE,

DIDN'T WE, DEAR?

WELL, SHALL WE BEGIN,
SIR JOHN? THIS WAY.

[NO AUDIO]

I'VE COME TO SEE
IF ANY OF MY PEOPLE

LEFT ANYTHING BEHIND.

Man: NO, NOTHING,

EXCEPT THAT THERE
BROKEN BASIN

IN NUMBER 4
DRESSING ROOM.

OF YOUR CHAPS
AFTER THEY LEFT.

THEY NEVER PAID
FOR IT NEITHER.

UH, FANE'S AND STEWART'S,
I BELIEVE, SIR.

NO, NONE OF OUR PEOPLE
BROKE THAT, MATE.

OH, THERE IS
SOMETHING FOR YOU.

THIS CIGARETTE CASE LEFT
BEHIND IN NUMBER 4.

YOU'LL KNOW
WHO IT BELONG TO.

OH, RIGHTO. WHEN
I FIND OUT WHO IT IS,

I'LL FORWARD IT.

CAN WE SEE
THAT DRESSING ROOM?

UH, I'D LIKE TO SEE
THAT BROKEN BASIN.

I'LL TAKE YOU LONG.

WHERE DOES THAT WINDOW
LOOK OUT TO?

THE PRIVATE HOUSES
ROUND THE CORNER.

I WISH I KNEW
WHO BROKE THAT BASIN.

LOT MORE PLACES TO
GO TO, SIR JOHN.

THANK YOU, MATE.

GOOD DAY.

DID YOU FIND ANYTHING?

NO, NOTHING MUCH.

OH, HONESTLY.

[FOOTSTEPS]

[SIGHS]

WELL, HERE WE ARE,
SIR JOHN.

AND, UH, I HOPE
YOU SLEEP WELL.

SHE'S LEFT SOMETHING
COLD OUT FOR YOU.

I'LL BE ALONG
FIRST THING IN THE MORNING.

I'M AWFULLY SORRY BUT...
GET TO BED MYSELF.

I MUST SAY, THIS STREET
GIVES ME THE CREEPS.

WELL, GOOD NIGHT, SIR JOHN.

COME ALONG, DEAR.

[YAWNS]

[COUGHS]

[WHISPERS]
I say, Markham.

MARKHAM...

YOU DON'T THINK
THAT I'D BETTER

EAT AT THE RED LION
AFTER ALL, DO YOU?

WELL, THAT'S, UH...

JUST AS YOU LIKE,
OF COURSE, SIR JOHN,

BUT, UH...

I THOUGHT YOU
WANTED TO SLEEP

I MEAN, THAT'S WHY
I MADE THE ARRANGEMENTS.

CONSIDERING
WE HAVEN'T FOUND OUT

VERY MUCH TODAY,
I THINK THAT...

IT'D BE BETTER
IF YOU DID, SIR.

PERHAPS
YOU'RE RIGHT.

GOOD NIGHT,
MRS. MARKHAM.

OH, GOOD NIGHT,
SIR JOHN.

EXCUSE ME, SIR.

[BABY CRYING]

[WOMAN COOING]

BE QUIET.
YOU, TOO, CHILDREN.

TAKE IT.

OHH.

WE MUSTN'T PLAY
ON THE BED.

SIR, SHALL I PULL
OVER THE TABLE?

LEAVE THEM THINGS BE!

OH, PLEASE,
DON'T TROUBLE.

JUST PUT THE PLATE
ON SOMEWHERE.

I'LL SEE TO IT.
I'LL DRESS FIRST.

OH, DON'T SAY THAT, SIR.

I KNOW WHAT
YOU GENTS LIKE.

"A NICE CUP OF TEA AND
A KIPPER BEFORE I GET UP.

AND I'M A NEW MAN."

THAT'S WHAT MY LAST
LODGER USED TO SAY.

[GIRL YELLING]

Woman: STOP PLAYING
ON THAT BED!

DAMN CHILDREN.

THEY FOLLOW ME ABOUT.

MA THIS AND MA THAT.

ON MY WORD, I DON'T
HAVE A MOMENT'S PEACE

MORNING OR NIGHT.

WHAT DO YOU
TWO BE DOING?

THAT'S QUITE
ALL RIGHT, REALLY.

HE'S GOT MY BOOTSY!

WELL, I NEVER DID.

WAIT TILL I
GET YOU DOWNSTAIRS.

AND DON'T YOU
BRING IT UP HERE AGAIN.

IF YOU COULD PUT
THIS PLATE ON THE TABLE

AND BRING UP SOME
HOT WATER AT ONCE,

JUST AS YOU
LIKE, SIR, BUT...

[BABY CRYING LOUDLY]

NOW, GO DOWNSTAIRS AND
GET THE WATER ON. GO ON.

NOW, WHY CAN'T
YOU LEAVE HIM BE?

I'VE TOLD THEM NOT TO MESS
WITH THE LODGER'S LUGGAGE.

I'LL HAVE YOUR FATHER TAKE
YOU TO THE POLICE STATION

IF YOU CAN'T STOP TOUCHING.

THEY DO KEEP ON TOUCHING.

SOME LODGERS
DON'T LIKE IT.

PRINCETON, I HAD A COUPLE
A LITTLE WHILE BACK

AND ONE OF THEM GIVE THEM
A GOOD CLIP FOR DOING THAT.

YOU KNOW
THE BARING CASE?

WELL,
THEY WAS IN IT.

IT WAS MY HUSBAND
WHAT FOUND THE BODY.

HE WAS PART
OF THE BARING CASE.

[LAUGHING] OHH.
WELL, I NEVER.

HA HA! SHE'S TAKEN
A FANCY TO YOU.

THERE AIN'T MANY
SHE TAKES TO.

YOU'RE NOT
COMING AROUND NOW,

I SUPPOSE.

YES, OH, YES.

YOU WERE SAYING...

ABOUT HOPPING
ON THE LUGGAGE...

OH, YES. WELL,

ARTHUR
WAS MESSING ABOUT

WITH ONE
OF THEM'S LUGGAGE

WHEN HE COME ACROSS
WHAT HE THOUGHT

WAS HIS FATHER'S
HELMET AND UNIFORM.

AFTERWARDS,
I WENT UP.

AND I SAID I DON'T
LIKE THE IDEA

OF HAVING THIS
IN MY HOME.

JUST BECAUSE HE HAD
A UNIFORM IN THE BAG

IT WAS HIS FATHER'S
OUTFIT.

I FELT A BIT OF A FOOL
WHEN I FINISHED

BECAUSE HE SIMPLY
TURNED AROUND

AND HE SAID
I DIDN'T KNOW

WHAT I WAS
TALKING ABOUT.

WELL, I SAID
IF IT WASN'T YOU,

IT MUST HAVE BEEN
THE OTHER ONE

WHO WAS HERE--
MR. STEWART.

I SPOKE TO MR. STEWART
AFTERWARDS

BUT IN THE EXCITEMENT
OF THE MURDER

I FORGOT ALL ABOUT IT.

[KNOCK ON DOOR]

[BABY CRYING]

COME IN, MY DEAR MARKHAM.

I THOUGHT
I'D DROP BY, MISS.

I'LL SEND
THE WATER UP, SIR.

DON'T ENCOURAGE HER TOO
MUCH, SIR. THAT'S RIGHT.

HERE, ARTHUR.
JUST COME ON, COME ON.

NOW GO
IN THE STREET AND PLAY.

DON'T YOU GET
RUN OVER. GO ON.

THAT'S RIGHT, GO ON.

DOUCIE AND ME FOUND OUT
SOMETHING, SIR JOHN.

WON'T YOU SIT DOWN?

THANKS.

YOU KNOW THAT CIGARETTE CASE
YOU FOUND IN THE THEATRE?

WELL, LAST NIGHT I WENT
TO SMOKE IN BED

JUST BEFORE I WENT OFF,
YOU SEE?

SO I TOOK OUT THAT CASE.

DOUCIE SAW IT WASN'T MINE.

SAID, I'VE SEEN IT
BEFORE SOMEWHERE.

I SAID, WHOSE IS IT?
SHE SAID STEWART'S.

SHE NOTICED WHAT I THOUGHT
WAS A BEER STAIN ON IT...

SHE SAYS, WAIT A MINUTE.
THAT'S BLOOD ON IT.

AND SURE ENOUGH. WELL,
LOOK, SEE FOR YOURSELF,

SIR JOHN. LOOK.

I BELIEVE YOU'RE RIGHT.

STEWART.

WHO WORE
A POLICEMAN'S UNIFORM

IN THE PAST
WHO LIVED HERE?

FANE AND STEWART, SIR.

STEWART HAD
A QUICK CHANGE-OVER

BUT FANE HAD A SPECIAL
UNIFORM MADE TO FIT HIM

SO WE HAD 2 UNIFORMS
IN THE COMPANY, SIR JOHN.

YOU'RE AN IMPORTANT FACTOR
IN THIS CASE, MARKHAM.

IN FACT, MOST IMPORTANT
AT THE MOMENT.

WELL, UH...

WELL, IF IT HELPS, SIR JOHN.

NO, THE MOST
IMPORTANT FACTOR

SEEMS TO BE
A POLICEMAN

WHOM YOU DID NOT SEE

ON THE NIGHT
OF THE MURDER.

YOU REMEMBER YOUR
WIFE SAW A POLICEMAN

YOU WENT TO THE WINDOW
AND YOU COULDN'T SEE ONE.

THEN SUDDENLY THERE
WAS A POLICEMAN.

NOW, MARKHAM...

THAT POLICEMAN WAS
2 DIFFERENT PEOPLE.

AND FOR ALL WE KNOW...

THE FIRST ONE
WAS NOT A MEMBER

OF THE COUNTY
CONSTABULARY.

YOU MEAN, THE FIRST ONE
WAS A FAKE, SIR?

A CHAP IN
POLICEMAN'S CLOTHES?

OUR NEXT JOB IS TO FIND
OUT THE NAME OF THE MAN

WAS HE A MEMBER
OF THE COMPANY?

DID HE WEAR
A POLICEMAN'S UNIFORM?

IF SHE STILL REFUSES
TO GIVE THE NAME...

PERHAPS THE CIGARETTE CASE
WILL HELP HER TO REMEMBER.

THEY WERE CALLING ABOUT
ON THE NIGHT OF THE MURDER?

THIS END, PLEASE.

WON'T YOU SIT DOWN?

OH.

THANK YOU.

IT'S VERY GOOD
OF YOU TO HAVE COME.

BUT I CAN'T HELP SAYING...

I'M EXTREMELY SURPRISED.

WELL, YOU SEE, I...

I'VE TAKEN A VERY GREAT
INTEREST IN YOUR CASE.

DON'T LET'S TALK ABOUT IT.

HOW'S YOUR PLAY GOING?

OH...PRETTY FAIR.

OF COURSE YOU KNOW I WAS
AWAY FROM IT SOME TIME

BECAUSE I WAS ON
THE JURY OF YOUR TRIAL.

I KNOW.

MY COUNTRYHOUSE IS
IN THAT DISTRICT.

AS YOU KNOW, I CAN'T
DISCUSS WITH YOU

WHAT HAPPENED
ON THE JURY...

IS MURIEL HEATHERLY STILL
PLAYING THE LEAD WITH YOU?

I DO THINK
SHE'S SUCH A GOOD ACTRESS.

DON'T YOU?

MISS BARING...

YOU REMEMBER
OUR MEETING?

OH, YES.

YOU DO REMEMBER.

OF COURSE.

VERY WELL.

IF I HADN'T SENT
YOU AWAY ON TOUR

TO GET EXPERIENCE...

YOU WOULDN'T BE
IN THIS POSITION NOW.

THAT'S, IN A WAY,

WHY I FEEL...

SORT OF...

RESPONSIBILITY.

THAT'S WHY I'VE COME.

THERE MUST BE SOME
GROUNDS FOR AN APPEAL.

I KNEW THAT WOULD HAPPEN.

I KNEW SOMEONE WOULD TRY
AND GET ME OFF

AND THINK THEY WERE
DOING ME A KINDNESS.

IMPRISONMENT FOR LIFE.

WHY, A WEEK OF IT'S
NEARLY DRIVEN ME CRAZY.

IF THEY WANT TO DO
THE OTHER THING...

THEY CAN.

I THOUGHT IT
AND GOT OVER IT.

IT'LL BE NO WORSE
THAN THE DENTIST.

AND IF I HAVE DONE
THIS THING,

AS THEY SAY I HAVE,

I'M BETTER OUT
OF THE WAY.

AS FOR THE OTHER THING,

IF YOU'RE A FRIEND TO ME,
YOU COULDN'T DO IT.

LOCK YOURSELF UP
IN YOUR OWN ROOM...

FOR ONE DAY.

ONLY FOR ONE DAY AND SEE.

TELL ME WHAT
I WANT TO KNOW,

I'LL HAVE YOU OUT
OF HERE ALTOGETHER.

WHAT IS THAT?

I CAN TELL YOU.

TELL ME
THE NAME OF THE MAN

DISCUSSED BY YOU
AND EDNA DRUCE.

I'VE SAID
SO MANY TIMES BEFORE.

HE HAS NO CONNECTION
WITH THE CASE.

BESIDES,

I DIDN'T QUARREL.

EDNA DRUCE TRIED TO SAY
POISONOUS THINGS ABOUT HIM.

AND I JUST PUT
MY FINGERS IN MY EARS

AND KEPT THEM THERE.

SO THAT YOU ACTUALLY
COULDN'T HEAR A SOUND.

YOU COULDN'T HAVE HEARD
OF ANY OTHER PERSON

THAT HAD COME
INTO THE ROOM.

NO. I SUPPOSE I COULDN'T.

WHY WOULDN'T
YOU LISTEN TO HER?

BECAUSE...

I KNEW WHAT EDNA WAS
TRYING TO TELL ME.

WHAT WAS SHE TRYING
TO TELL YOU?

I CAN'T ANSWER THAT.

IT INVOLVED...

SOMEBODY ELSE.

PLENTY OF OTHER PEOPLE

HAVE BEEN INVOLVED
IN THIS CASE.

MARKHAM, STEWART,
DRUCE...FANE.

WHY SHOULDN'T THIS ONE
MAN'S NAME BE KNOWN?

THERE WAS SOMETHING...

SOMETHING HE DAREN'T
HAVE KNOWN.

BUT WHICH YOU KNEW.

YES.

WHAT WAS IT?

YOU REALIZE
WHAT YOU'RE ADMITTING

BY YOUR SILENCE?

BECAUSE YOU KNOW YOU'RE
IN LOVE WITH HIM.

OH, BUT THAT'S IMPOSSIBLE.

IMPOSSIBLE? WHY SHOULD
IT BE IMPOSSIBLE?

I SEE NO REASON WHY IT
SHOULD BE IMPOSSIBLE.

WHY, THE MAN'S
A HALF-CASTE.

WHAT'S THAT?

WHAT DID YOU SAY?

A HALF-CASTE?

WHY HAVEN'T YOU
SAID SO MUCH?

TELL ME THE REST.

WHAT WAS HIS NAME?

I WON'T TELL YOU THAT.

WILL THIS HELP YOU
TO REMEMBER THE NAME

OF THE MAN YOU WERE
QUARELLING ABOUT?

STEWART'S
CIGARETTE CASE?

THAT'S NOT ONE
OF STEWART'S THINGS.

YOU MUSTN'T GIVE THE
PRISONER ANYTHING HERE, SIR.

AND THE TIME
FOR THE INTERVIEW

HAS NEARLY ENDED, SIR.

OH, SIR JOHN.

FOR THESE LAST
FEW MOMENTS,

LET'S TALK
ABOUT SOMETHING ELSE.

YES.

THERE WAS A PHOTOGRAPH
OF ME IN YOUR ROOM.

HOW DID YOU KNOW?

I WENT THERE
TO MAKE INQUIRIES.

HOW DID YOU
COME TO GET IT?

I'VE ALWAYS BEEN
KEEN ON THE STAGE

EVER SINCE I WAS
A LITTLE GIRL.

ONE HAS ONE'S HEROES.

THAT'S WHY I CAME
TO YOU FOR A JOB.

AND I SENT YOU AWAY.

OH, LET'S TALK
SOME MORE QUICKLY.

DIANA, I...

MISS MITCHAM SENT ME
SOME OF MY THINGS.

YOUR PHOTOGRAPH WITH THEM.

I'VE GOT IT IN MY CELL NOW.

THEY LET US KEEP SOME--

COME. TIME'S UP PLEASE.

GOOD-BYE.

I'M GOING
TO FIND FANE.

HANDEL FANE.
HANDEL FANE.

WHAT'S BECOME
OF HANDEL FANE?

ANY NEWS OF FANE
YET, MARKHAM?

NOT YET, SIR JOHN.

I'M TRYING SOME MORE
OF THE AGENTS THOUGH.

HAVEN'T YOU FOUND
FANE YET, TED?

I CAN'T BEAR
THE SUSPENSE.

WE SHALL BE UP ALL
NIGHT, YOU KNOW.

OH, FOR GOD'S SAKE.

HELLO? HELLO?

HELLO? IS THAT
LAMBERSEE AGENTS?

YES. YOU FOUND FANE YET?

HE'S WANTED FOR AN
IMPORTANT JOB, YOU KNOW.

YES, AT ONCE.
WHAT'S THAT?

GONE BACK
TO HIS OLD JOB?

WHAT? TRAPEEZE ARTIST?

UNDER WHAT NAME?

WHERE?

NO, CAN'T STOP NOW.

GOT HIM AT LAST.

YES, THAT'S HIM ALL RIGHT.

DRESSED UP AS A WOMAN, EH?

ALWAYS WAS GOOD AT THAT.

AN EXTREMELY CLEVER
WAY OF HIDING.

MARKHAM?

YES, SIR?

I'VE AN IDEA.

YOU KNOW YOUR HAMLET?

EVERY LINE OF IT, SIR.

THEN LET ME SUGGEST
FOR YOUR CONSIDERATION

THE SERIES OF EVENTS
EMBODIED IN ACT 3, SCENE 2.

THAT'S THE PLAY SCENE,
ISN'T IT, SIR?

YES. THE PLAY SCENE.

DO YOU REMEMBER
THE TITLE...

THE MOUSETRAP?

YES.

WELL, WHEN HE COMES
TO MY THEATRE

TO READ A PART
I SHALL OFFER HIM,

THERE'LL BE 3 OF US.

2 CATS TO ONE MOUSE.

YES, BUT WHAT
ABOUT THE CHEESE, SIR?

THE CHEESE, YES.

THE CHEESE WILL BE
A FAT PART, MARKHAM.

A VILLAIN'S PART
IN THE BLOOD AND THUNDER

IN A PLAY THAT I'M GOING TO
WRITE ESPECIALLY FOR HIM.

A PLAY BASED ON A RECENT
WELL-KNOWN MURDER CASE.

I IMAGINE HE WILL
PLAY HIS PART,

AS I HOPE WE SHALL
CONVINCE HIM...

TO THE LIFE.

[KNOCK ON DOOR]

COME IN.

CAN YOU GIVE ME
A MINUTE?

CERTAINLY.

OH. WHO IS THAT
YOU HAVE WITH YOU?

OF COURSE, I REMEMBER.

THIS IS THE GENTLEMAN
YOU SUGGESTED.

YES, SIR JOHN.
MR. HANDEL FANE.

OH, YES.
DO COME IN?

HOW DO YOU DO?

HOW DO YOU DO?

SIT DOWN.

HERE YOU ARE.

OH, THANK YOU.

OH.

THANK YOU.

NO, BENNETT, DON'T GO.

I MAY NEED YOU.

YOU SEE, I ALWAYS CONDUCT
THESE INTERVIEWS SO BADLY,

I'M JUST AS LIKELY
AS NOT TO LEAVE OUT

THE REALLY IMPORTANT POINTS.

NOW, I SUPPOSE I BETTER
BEGIN BY AN EXPLANATION.

I DARE SAY
MR. BENNETT HAS TOLD YOU

THE AUTHOR OF THE PLAY?

NO, SIR JOHN.
I UNDERSTAND YOU WISH

THAT TO BE KEPT A SECRET
FOR THE TIME BEING.

WELL, I WROTE THE PLAY.

THAT WAS A SIMPLE MATTER,

BUT IT'S PROVING
ASTONISHINGLY DIFFICULT

TO FIND THE RIGHT PERSON
FOR ONE PARTICULAR PART.

MIGHT I ASK YOU TO STAND
UP FOR ONE MOMENT?

OF COURSE.

YOU KNOW, BENNETT,
HE LOOKS IT.

HE LOOKS IT
QUITE PERFECTLY.

EXACTLY WHAT I'VE
BEEN THINKING, SIR JOHN.

WOULD YOU MIND--
OH, SIT DOWN, DO.

WOULD YOU MIND READING
ONE OR 2 LINES?

YOU KNOW, JUST
TO GIVE ME SOME IDEA?

TELL--WHAT'S HIS NAME--
BALDWIN TO BRING ME

A CLEAN COPY OF ACT 3.

THANK YOU.

SIR JOHN?

MIGHT I ASK YOU...

WHAT KIND OF PLAY
IS THIS EXACTLY?

WELL, YOU MAY
QUESTION MY TASTE,

BUT AS AN ARTIST,

YOU'LL UNDERSTAND
MY TEMPTATION.

MY SUBJECT, MR. FANE,

IS THE INNER HISTORY
OF THE BARING CASE.

OHH. THANK YOU.

REALLY? YOUR...

YOUR INDIFFERENCE
ASTONISHES ME.

AREN'T I RIGHT
IN THINKING

THAT YOU WERE A MEMBER

OF THE DRUCE COMPANY
AT THE TIME?

THEN YOU KNEW
BOTH WOMEN CONCERNED.

YES, I KNEW THEM
BOTH QUITE WELL.

NOW, LET'S BEGIN.

OH, BY THE WAY,
MR. FANE,

I UNDERSTAND YOU'RE
APPEARING AT PRESENT

AT THE CIRCUS.
WOULD THAT INTERFERE?

NO, IT WAS MY OLD JOB,

AND I'VE GONE BACK TO IT

BECAUSE TIMES HAVE BEEN
A LITTLE DIFFICULT AND--

HOWEVER, I UNDERSTAND
YOU WOULDN'T BE STARTING

FOR 2 OR 3 WEEKS.

NO, I DON'T SUPPOSE SO, NO.

LET ME GIVE YOU...

SOME IDEA OF THE SCENE.

HERE IS A TABLE IN FRONT
OF A FIREPLACE,

MORE OR LESS A VISAGE.

ON THE TABLE THERE'S
THE REMAINS OF A MEAL.

AND, OF COURSE,
THE BRANDY FLASK.

YOU KNOW, MR. FANE,

OF COURSE, YOU KNOW ALL
THE DETAILS OF THE CASE.

I CAN'T HELP WONDERING,

WHY NOTHING
SPECTACULAR DEVELOPED

IN CONNECTION
WITH THE BRANDY.

THINKING AS A DRAMATIST,

I CAN'T HELP FEELING
THAT THE BRANDY

WAS NOT EXPLOITED WITH
SUFFICIENT IMAGINATION.

THEN, OF COURSE,

THE LAW HAS NO SENSE
OF DRAMA, HAS IT?

NO.

NO.

THEN AGAIN,
LET ME SEE.

I THOUGHT IT BEST
TO BEGIN FROM A POINT

JUST BEFORE
THE ACTUAL MURDER.

THERE'S A SHORT SCENE
BETWEEN THE 2 WOMEN...

WHICH TURNS
INTO A QUARREL.

IN THE MIDDLE OF IT,

YOU MAKE YOUR ENTRANCE,

ON THE WORDS--I GOT
THIS FROM THE EVIDENCE--

"FRIENDS? I CAN TELL YOU
THINGS ABOUT YOUR FRIENDS

THAT YOU DON'T KNOW."

JUST CARRY ON FROM
THAT POINT, WOULD YOU?

NOW, HOW ON EARTH
DID YOU KNOW

THE ENTRANCE WAS
FROM THE WINDOW?

THAT'S HIGHLY CLEVER.

AND LOOK, MR. FANE,

YOU'VE FORGOTTEN
YOUR SCRIPT.

THE SCRIPT.

NOW, WHERE ARE WE?

"FRIENDS? I CAN TELL
YOU THINGS..."

WOULDN'T IT BE BETTER IF
I WERE TO PICK UP THE POKER

BEFORE I MADE THE ENTRANCE
TO THE ROOM?

EXCELLENT IDEA.
I'LL PUT THAT IN.

THANK YOU.

MAY I HAVE THE POKER?

NO, I'M TERRIBLY SORRY.

WE ONLY HAVE
ELECTRIC FIRES HERE.

WOULD THIS PENCIL DO?

VERY WELL.

WE MUST GET ON
WITHOUT THE POKER.

YOU CAN USE
YOUR IMAGINATION, EH?

NOW THEN...

THROUGH THE WINDOW,

INTO THE ROOM.

YOU CREEP THROUGH
THE DOUBLE DOORS.

THE 2 WOMEN ARE
FACING EACH OTHER.

YOU COME SLOWLY AROUND,

TAKING CARE
NOT TO BE HEARD

AND GRADUALLY YOU
APPROACH THE ONE

WHOSE BACK IS TO YOU.

NOW, YOU RAISE THE POKER
THAT IS IN YOUR HAND

AS THE OTHER WOMAN
SAYS...

"YOU FOOL! DON'T YOU KNOW
THAT HE'S A HALF--"

WHAT A PITY, SIR JOHN.

THE SCENE ISN'T FINISHED.

I WAS GETTING QUITE
WORKED UP TO IT.

I THOUGHT PERHAPS...

YOU MIGHT BE ABLE
TO COLLABORATE WITH US.

I'M SO SORRY, SIR JOHN.

I'M AFRAID I UNDERSTAND
SO LITTLE ABOUT PLAYWRITING.

PERHAPS LATER ON...

WHEN THE SCRIPT
IS FINISHED...

YOU'LL ALLOW ME TO GIVE
YOU ANOTHER READING.

FIND OUT WHAT TIME
FANE COMES ON TONIGHT.

[FESTIVE MUSIC PLAYING]

I SHAN'T BE...

[AUDIENCE LAUGHTER
IN BACKGROUND]

HOW DO YOU DO, SIR JOHN?

WHO'D HAVE THOUGHT
OF SEEING YOU HERE?

WELL, YOU SEE,
I'M, UH...

I'M WORKING FOR
SIR JOHN NOW.

YES. MR. MARKHAM
IS HELPING ME

WITH MY NEW PLAY.

I SUPPOSE
YOU FIND BRANDY

STEADYING
FOR THE NERVES?

MINE'S VERY NERVING WORK,
YOU SEE, SIR JOHN?

YOU NEVER KNOW
WHAT MAY HAPPEN.

HURRY UP. YOU'RE NEXT.

I PRESUME YOU'VE COME
TO TALK TO ME ABOUT...

THAT PART AGAIN, SIR JOHN.

YOU KNOW PERFECTLY WELL
WHAT I'VE COME HERE FOR.

[DOOR OPENS]

HURRY UP, FANE.

THERE'LL BE A WAIT

IF YOU'RE
NOT CAREFUL.

IF IT ISN'T....

HOW ARE YOU,
SIR JOHN?

COME TO SEE
THE SHOW?

NO, NOT EXACTLY.

I'VE REALLY COME
TO SEE MR. FANE.

SIR JOHN,
IF YOU WOULDN'T MIND

COMING DOWN TO SEE ME
AFTER MY ACT,

I SHALL ONLY
BE TOO PLEASED

TO TALK OVER
THAT LITTLE MATTER

WE WERE DISCUSSING.

[AUDIENCE LAUGHTER
AND APPLAUSE]

[MUSIC PLAYING
THROUGHOUT]

[APPLAUSE]

[CROWD MURMURING]

[MUSIC RESUMES PLAYING]

[NO AUDIO]

[NO AUDIO]

[CROWD SCREAMING]

FOR GOD'S SAKES,
PLAY SOMETHING!

[CROWD SCREAMING]

[MUSIC PLAYING]

[INDISTINCT]

FANE SAYS HE HAS
DECIDED TO COLLOBORATE

IN MY PLAY AFTER ALL.

HE SAYS...

"THE 2 WOMEN
ARE STANDING

"FACING EACH OTHER
IN DEAD SILENCE.

"THEY ARE SO LOST IN THE
TENSION OF THE MOMENT

"THAT THEY DO NOT HEAR
THE MURDERER CREEP THROUGH

"THE DOUBLE DOORS
INTO THE ROOM.

"THE MURDERED WOMAN
IS AT THAT INSTANT

"THE MURDERER
SPRINGS FORWARD.

"HE HURLS
THE FIRST WOMAN ASIDE.

"SHE IS STUNNED
BY THE FALL,

"BUT HE DOESN'T
NOTICE IT.

"INFURIATED,

"HE STRIKES OUT
AT THE OTHER WOMAN

"WITH THE POKER.

"SHE FALLS
BY THE FIREPLACE,

"SHE'S DEAD.

"HE NEARLY FAINTS
AT THE SIGHT OF THE BLOOD.

"HE DRINKS THE BRANDY,

"THEN HE SEES THE OTHER
WOMAN BEGINNING TO STIR.

"HE MUST GET AWAY...

"THROUGH
THE BACK WINDOW.

FINALLY, A CLIMB INTO
THE THEATRE DRESSING ROOM."

THAT ACCOUNTS
FOR THE BROKEN BASIN.

"BUT HOW TO GET HOME
UNDETECTED FROM THE THEATRE.

THE POLICEMAN'S UNIFORM
HE WORE ON THE STAGE."

THERE'S YOUR POLICEMAN,
MARKHAM.

"HE WALKS HOME
A MURDERER.

"A MURDERER
ON AN IMPULSE.

"THE SILENCE OF
THE MOUTH OF A WOMAN

"WHO KNEW HIS SECRET AND
WAS GOING TO REVEAL IT

"TO THE WOMAN
HE DARED TO LOVE.

THERE'S A MELODRAMA
FOR YOU, SIR JOHN."

WELL, MARKHAM...

YOU HAVE IT ALL.

POOR DEVIL.

AND DIANA BARING...

SHE KNEW ALL THE TIME...

HE WAS A HALF-CASTE.

[APPLAUSE]

CAPTIONING MADE POSSIBLE BY
LIONS GATE ENTERTAINMENT