- 5 weeks ago
Welcome everyone, in today's feature from 1945 called My Name Is Julia Ross. We have a woman in what I like to called the thick of it. Julia is looking for work, in doing so she goes to an employment agency. Mrs. Sparkes the head of the so called agency learns from Julia that she has no relations living near by. So Mrs. Sparkes offers her a job as a live-in secretary to a wealthy widow, Mrs. Hughes. Ah, the Hughes, now there's a family with a few skeletons in their closets. Julia accepts the job offer and moves in that night. There's just one thing, there is no job and now Julia is not Julia. I mean she knows she's Julia, we know she's Julia but to Mrs. Hughes and her whack-a-do son, she's Marion. Mrs. Hughes son Ralph wife. She winds up not only his wife but in English countryside of Cornwall. Even the servants/staff ignore her pleads. So Julia decides to fight to not only keep her sanity but to survive. She comes up with a plan but will it work. Staring in this gaslighting tale we have...Nina Foch as Julia Ross, Dame May Whitty as Mrs. Hughes, George Macready as Ralph Hughes, Roland Varno as Dennis Bruce, Anita Sharp-Bolster as Sparkes, Doris Lloyd as Mrs. Mackie, Joy Harington as Bertha, Queenie Leonard as Alice, Olaf Hytten as The Reverend Lewis, Leonard Mudie as Peters, Harry Hays Morgan Jr. as Robinson, Ottola Nesmith as Mrs. Robinson, Reginald Sheffield as McQuarrie, Evan Thomas as Dr. Keller, Leyland Hodgson as Policeman, Marilyn Johnson as Nurse, Charles McNaughton as Gatekeeper and Milton Owen as Policeman. So lets make some Gaslight Cocktails (yes this is a real cocktail), sit back and enjoy. Thanks so much for watching.
(No copyright infringement intended, this film is in the public domain. If Dailymotion wishes me to remove this film, I will. For entertainment purposes only)
(No copyright infringement intended, this film is in the public domain. If Dailymotion wishes me to remove this film, I will. For entertainment purposes only)
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Short filmTranscript
00:01:00I'm not trying to unnerve you. I'm just getting you ready for today's film.
00:01:17My name is Julia Ross, a 1945 offering from Columbia Pictures.
00:01:23Nina Foch, in one of her first starring roles, plays a young woman in England who answers an advert for a secretarial job, only to awaken in a seaside mansion with an entirely different identity.
00:01:37It's a nightmarish scenario in which our heroine has a brisk 65 minutes to get to the bottom of her predicament.
00:01:45The Gaslight-style storyline and the setting may seem more like gothic melodrama than noir, but for me, the film fits right in with one of noir's dominant themes, the crisis of identity.
00:01:59Noir is filled with stories of men and women struggling to reclaim their identity due to amnesia, losing their identities to schizophrenia, or having their identities stolen for some nefarious reason.
00:02:13Such plots are a cornerstone of noir fiction.
00:02:17The script is based on a 1941 novel called The Woman in Red by prolific British mystery writer Anthony Gilbert.
00:02:26In another case of identities not always being what they seem, Gilbert was the pen name of Lucy Beatrice Mallison, who wrote more than 60 mystery novels, many of them featuring an extraordinary character named Arthur Crook, an eccentric barrister with a penchant for breaking the law to save his clients.
00:02:48Screenwriter Muriel Roy Bolton, also a woman, drastically altered the book, keeping only its first half.
00:02:56Jettisoned entirely was the character of Arthur Crook, who dominates the book's second half and solves a much bigger mystery, one involving World War II espionage.
00:03:07None of that appears in this more tightly honed movie version.
00:03:12My Name is Julia Ross is an extraordinary example of what could be accomplished by studio's B units.
00:03:18The film effectively recreates London and the Cornwall seaside without straying more than a few miles from Gower Street, the Hollywood home of Columbia Pictures.
00:03:30Credit for that goes to director Joseph H. Lewis, who called the script damn near perfect, mainly because it gave him a chance to show off his talent and get noticed by the studio bosses.
00:03:42Lewis often referred to himself as an artist without diploma, meaning he was entirely self-taught as a filmmaker.
00:03:52Only a few years earlier, he'd conned his way into an editing job without ever having spliced two pieces of film together.
00:04:00But Lewis was a quick study who soaked up everything and had boundless enthusiasm.
00:04:05His most valuable quality was fearlessness.
00:04:10During the several years he spent making no-budget westerns, he'd constantly find inventive ways to enliven pedestrian material,
00:04:19whether it was with dynamic compositions, complex camera movements, or startling transitions.
00:04:26Lewis was a natural and instinctive storyteller.
00:04:29On this film, he worked for the first time with an equally inventive collaborator, director of photography Burnett Guffey, who, like Lewis, was just coming into his own.
00:04:40He'd been a camera operator for many years, but had only recently begun getting DP credit on a string of forgettable Bs.
00:04:49Julia Ross would put both men on the map.
00:04:52Columbia gave them a $150,000 budget and a 12-day shooting schedule, typical for a B.
00:04:59But Lewis felt they were making something a cut above the usual, and he unapologetically spent an extra $25,000 and added eight days to the schedule.
00:05:11Not something Columbia's production boss, Max Arno, ever tolerated.
00:05:16But the ultimate boss, studio chief Harry Cohn, loved what he saw in Lewis' dailies, and he told Arno to lay off the new kid.
00:05:26Cohn's instincts were spot on.
00:05:28The film premiered in New York as a B, but the reviews were so strong that in many markets it was soon the top draw, being presented as the A half of the double bill.
00:05:40Co-starring Dame Mae Whitty and George McCready as a highly suspicious mother and son, here's one of the most gripping and cleverly made B movies of the 1940s.
00:05:52My name is Julia Ross.
00:05:54My name is Julia Ross.
00:05:55My name is Julia Ross.
00:05:56My name is Julia Ross.
00:05:57My name is Julia Ross.
00:05:58My name is Julia Ross.
00:05:59My name is Julia Ross.
00:06:00My name is Julia Ross.
00:06:01My name is Julia Ross.
00:06:02My name is Julia Ross.
00:06:03My name is Julia Ross.
00:06:04My name is Julia Ross.
00:06:05My name is Julia Ross.
00:06:06My name is Julia Ross.
00:06:07My name is Julia Ross.
00:06:08My name is Julia Ross.
00:06:09My name is Julia Ross.
00:06:10My name is Julia Ross.
00:06:11My name is Julia Ross.
00:06:12My name is Julia Ross.
00:06:13My name is Julia Ross.
00:06:14My name is Julia Ross.
00:06:15My name is Julia Ross.
00:06:16My name is Julia Ross.
00:06:17My name is Julia Ross.
00:06:18My name is Julia Ross.
00:06:19My name is Julia Ross.
00:06:50You have awakened to find yourself in Noir Alley.
00:06:56I'm your host, Eddie Muller.
00:06:58Or at least, I claim to be.
00:07:01I might be someone else altogether.
00:07:03There's really no way for you to know.
00:07:06In fact, you may not even be who you think you are.
00:07:10I'm not trying to unnerve you.
00:07:12I'm just getting you ready for today's film.
00:07:14My name is Julia Ross, a 1945 offering from Columbia Pictures.
00:07:20Nina Foch, in one of her first starring roles, plays a young woman in England who answers
00:07:26an advert for a secretarial job, only to awaken in a seaside mansion with an entirely different
00:07:33identity.
00:07:35It's a nightmarish scenario in which our heroine has a brisk 65 minutes to get to the bottom
00:07:41of her predicament.
00:07:43The gaslight-style storyline and the setting may seem more like gothic melodrama than Noir,
00:07:50but for me, the film fits right in with one of Noir's dominant themes, the crisis of identity.
00:07:57Noir is filled with stories of men and women struggling to reclaim their identity due to
00:08:03amnesia, losing their identities to schizophrenia, or having their identities stolen for some nefarious
00:08:10reason.
00:08:11Such plots are a cornerstone of Noir fiction.
00:08:15The script is based on a 1941 novel called The Woman in Red by prolific British mystery
00:08:21writer Anthony Gilbert.
00:08:23In another case of identities not always being what they seem, Gilbert was the pen name of
00:08:30Lucy Beatrice Mallison, who wrote more than 60 mystery novels, many of them featuring an
00:08:36extraordinary character named Arthur Crook, an eccentric barrister with a penchant for breaking
00:08:43the law to save his clients.
00:08:45Screenwriter Muriel Roy Bolton, also a woman, drastically altered the book, keeping only its first
00:08:52half.
00:08:53Jettisoned entirely was the character of Arthur Crook, who dominates the book's second half
00:08:59and solves a much bigger mystery, one involving World War II espionage.
00:09:04None of that appears in this more tightly honed movie version.
00:09:09My Name is Julia Ross is an extraordinary example of what could be accomplished by studios B units.
00:09:16The film effectively recreates London and the Cornwall seaside without straying more
00:09:22than a few miles from Gower Street, the Hollywood home of Columbia Pictures.
00:09:27Credit for that goes to director Joseph H. Lewis, who called the script damn near perfect, mainly
00:09:34because it gave him a chance to show off his talent and get noticed by the studio bosses.
00:09:40Lewis often referred to himself as an artist without diploma, meaning he was entirely self-taught
00:09:47as a filmmaker.
00:09:49Only a few years earlier, he'd conned his way into an editing job without ever having spliced
00:09:55two pieces of film together.
00:09:57But Lewis was a quick study who soaked up everything and had boundless enthusiasm.
00:10:03His most valuable quality was fearlessness.
00:10:07During the several years he spent making no-budget westerns, he'd constantly find inventive ways
00:10:13to enliven pedestrian material, whether it was with dynamic compositions, complex camera
00:10:20movements, or startling transitions.
00:10:23Lewis was a natural and instinctive storyteller.
00:10:27On this film, he worked for the first time with an equally inventive collaborator, director
00:10:32of photography Burnett Guffey, who, like Lewis, was just coming into his own.
00:10:38He'd been a camera operator for many years, but had only recently begun getting DP credit
00:10:43on a string of forgettable B's.
00:10:46Julia Ross would put both men on the map.
00:10:49Columbia gave them a $150,000 budget and a 12-day shooting schedule, typical for a B.
00:10:57But Lewis felt they were making something a cut above the usual, and he unapologetically
00:11:02spent an extra $25,000 and added eight days to the schedule, not something Columbia's production
00:11:10boss, Max Arno, ever tolerated.
00:11:13But the ultimate boss, studio chief Harry Cohn, loved what he saw in Lewis's dailies, and
00:11:19he told Arno to lay off the new kid.
00:11:23Cohn's instincts were spot on.
00:11:26The film premiered in New York as a B, but the reviews were so strong that in many markets
00:11:31it was soon the top draw, being presented as the A half of the double bill.
00:11:37Co-starring Dame Mae Whitty and George McCready as a highly suspicious mother and son, here's
00:11:44one of the most gripping and cleverly made B movies of the 1940s.
00:11:49My name is Julia Ross.
00:11:51Blue and George McCьяery as a gost Migration.
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00:12:03which is 18-85 tide of the storage.
00:12:04But there were so stars within any of where the logic was
00:12:06a velder.
00:12:07They're use 16-ocalyptic laws.
00:13:07Here, wipe your feet, will you, and oblige me that I have to clean up after you.
00:13:13Largesers can't pay their rent, coming and going all day, popping in and out the house, lies.
00:13:20And don't put your umbrella where it'll make a puddle, either.
00:13:22I didn't take my umbrella this morning.
00:13:24Oh, sure, you don't know our London weather yet?
00:13:27No, down in Sussex, where I come from. It only runs every other day.
00:13:31There's a letter for you on the table.
00:13:33Nobody writes it to me. It must be an ad.
00:13:36That letter looks like a wedding invitation to me.
00:13:39Yes, that's what it looks like.
00:13:40Who's it from? Dennis Bruce?
00:13:56Yes, it's from Mr. Bruce.
00:13:58When's it gonna be?
00:13:59It was yesterday.
00:14:04Cool, you could have knocked Mrs. Mackey and me down with a feather when he told us he was leaving to get married.
00:14:10He told me two months ago when I first met him here. He told me he was engaged to a girl in Edinburgh.
00:14:13Oh. Well, I expect Mrs. Mackey thought that you'd make him forget about her.
00:14:20It's ridiculous. I didn't even try to make him forget her.
00:14:24If you had, you wouldn't have to be looking for work now, would you?
00:14:27Or bother about the three weeks' rent show, Mrs. Mackey.
00:14:31She's beginning to get worried.
00:14:34I've applied at all the employment agencies.
00:14:37I'll have a job soon.
00:14:38Of course, if you ain't aiming too high, I know plenty of places you could get a job like mine.
00:14:46But I suppose a fine lady like you was trained for something better.
00:14:53The doctor said I've got to be careful for a few months.
00:14:56Oh.
00:14:58My sister had her appendix out, too.
00:15:02She was scrubbing and cleaning the very next week.
00:15:05Doesn't it bother her now?
00:15:08Nothing bothers her now.
00:15:10She's dead.
00:15:13But it wasn't good, honest work that killed her.
00:15:18Bertha.
00:15:19Here's a new agency I haven't been to.
00:15:22Secretaries wanted.
00:15:24Excellent positions available.
00:15:26Applied the Alison Employment Agency.
00:15:29Secretaries.
00:15:30Sitting right in all day.
00:15:32Call that work.
00:15:33If I go there right now, perhaps I'll get it.
00:15:36I've got to get it.
00:15:38Why did you come to London, Miss Ross?
00:15:43A London doctor was recommended to me.
00:15:45And you've quite recovered from your operation by now?
00:15:47Oh, quite.
00:15:48Quite.
00:15:49I'm strong as an ox.
00:15:50Don't look it.
00:15:51You live with your family?
00:15:52No, I have no family.
00:15:53No husband?
00:15:54No young man?
00:15:55No.
00:15:55You're sure?
00:15:56Well, of course I'm sure.
00:15:57I ask these personal questions because I have one very lucrative position open to a young woman
00:16:02with no family responsibilities.
00:16:05No romantic attachments.
00:16:06Mrs. Williamson Hughes, 190 Henrik Square.
00:16:12Mrs. Hughes has already had three secretaries from this office this year.
00:16:16Just as she was getting accustomed to each one, the girl would leave her because of a sick mother or a sister to care for or a young man.
00:16:23This time, Mrs. Hughes wants a girl who could definitely promise to stay at least a year.
00:16:28Oh, I'm sure I could.
00:16:30I have no ties and no young man.
00:16:32I'm absolutely alone.
00:16:34Your references seem to be in order.
00:16:37You just might suit, Mrs. Hughes.
00:16:38Well, there's no harm in trying.
00:16:43I hope you're not lying in order to get the job.
00:16:46I need a job, but I'm not lying.
00:16:48My parents are dead.
00:16:50The closest relative I have is an aunt in America.
00:16:53Mrs. Hughes, I think I found an excellent girl for you.
00:16:57May I send her along for an interview?
00:17:01Oh, you'll be driving past here anyway?
00:17:05Certainly.
00:17:07I'll ask Miss Ross to remain and you could interview her here.
00:17:15I think we shall suit each other very well indeed.
00:17:18Don't you, Miss Ross?
00:17:19I'll certainly try, Mrs. Hughes.
00:17:21Miss Ross seems to answer all her requirements, doesn't she, son?
00:17:25Well, that's for you to decide, Mother.
00:17:27Well, I think we'll consider the matter settled.
00:17:31That is, if the salary is satisfactory.
00:17:33Oh, indeed, it's more than generous.
00:17:35Then we'll expect you to move in tonight.
00:17:38Tonight?
00:17:39Oh, I see no sense in dilly-dallying.
00:17:41Once we've made up our mind, do you?
00:17:43The sooner you get settled, the better.
00:17:45I didn't know I was to live there.
00:17:47Mrs. Hughes always makes her secretaries very comfortable.
00:17:50They've all told me what a lovely house you have, madam.
00:17:53I'm sure we shall do our best to make you happy with us.
00:17:56Now, you run along, pack your things, and we'll expect you in this evening.
00:17:59And, uh, just a little advance on your salary, just to bind the bargain.
00:18:05I really shouldn't.
00:18:06Oh, nonsense, my child.
00:18:07You take it and go shopping this afternoon.
00:18:11You're very kind, Mrs. Hughes.
00:18:13Thank you, Miss Allison.
00:18:15Good day, Mr. Hughes.
00:18:17Goodbye, Miss Ross.
00:18:18We'll see you this evening.
00:18:19Oh, we live very quietly.
00:18:21I expect everyone to be in the house by nine o'clock.
00:18:23I shall try to be there before that, Mrs. Hughes.
00:18:26Good.
00:18:27Have a nice time shopping.
00:18:28Thank you, I will.
00:18:29She's perfect.
00:18:32Mm-hmm.
00:18:32There's even a small resemblance.
00:18:34You've done very well, Sparks.
00:18:36Thank you, madam.
00:18:37It does.
00:18:42Yes, Mrs. Hughes?
00:18:43Do you think she saw you?
00:18:44No, ma'am.
00:18:45No, I know she didn't, Mrs. Hughes.
00:18:47Well, see that you keep it that way, especially at the house.
00:18:50Well, we'd better hurry and close up the agency now.
00:18:53We shan't need it any longer.
00:18:59Dennis.
00:19:15Julia.
00:19:16What are you doing here?
00:19:17Well, I was hanging up my second-best suit.
00:19:20Where's your wife?
00:19:21Didn't you get married?
00:19:22Well, yes and no.
00:19:24We took out the license and sent out the announcements.
00:19:26Paid calls on all our friends and relatives.
00:19:29Somebody gave her a linen shower.
00:19:30I had a bachelor dinner.
00:19:32And I guess by that time, we were too tired of each other to get married.
00:19:35She didn't like it when I kept calling her Julia.
00:19:39What'd you call her that?
00:19:41Force of habit or something.
00:19:44Then she wanted to know who Julia was.
00:19:45So I told her how crazy she'd be about you if she knew you.
00:19:50I don't know why she should get so upset about this, do you?
00:19:53Well, yes, I do.
00:19:57No, I don't.
00:20:00Julia, come out with me tonight and help me figure out why I'm not more upset.
00:20:05I'd love to, Dennis.
00:20:07Oh, but not tonight.
00:20:09Any other night, but not tonight.
00:20:10I've got a new job and I've just about time to pack and get there.
00:20:14I'm living on the place, you see.
00:20:16What kind of a job?
00:20:17Secretary to a Mrs. Hughes and her son.
00:20:21Nurse mate to a child?
00:20:21No, he's about your age.
00:20:24Oh.
00:20:26Well, I'll take you there.
00:20:27What is it?
00:20:28190 Henrick Square.
00:20:30Oh, but I don't think you'd better take me there.
00:20:33You see, only this afternoon I told them I had no family and no young man.
00:20:39Well, I'm not your young man.
00:20:42Or am I?
00:20:45I don't know.
00:20:47Are you?
00:20:47Are you?
00:20:51Bye, Dennis.
00:21:01I'll see you tomorrow night.
00:21:02Friday.
00:21:03In the square at 7.30.
00:21:04Right?
00:21:05Right.
00:21:06Mrs. Mackey.
00:21:08Mrs. Mackey.
00:21:11Mrs. M's gone to the cinema.
00:21:13Leaving me with the dirty dishes.
00:21:15I'm leaving tonight, Bertha.
00:21:17This will explain to Mrs. Mackey why I left.
00:21:19I got a job at that new agency.
00:21:21She can send the receipt to this address.
00:21:24Now I've got to fly.
00:21:26Goodbye and good luck, Bertha.
00:21:27Thanks.
00:21:30For nothing.
00:21:31Nothing.
00:21:31Thanks for something.
00:21:43Thanks for something.
00:21:43Ah, good evening, Miss Ross.
00:22:04Good evening.
00:22:04I'm the doorman tonight.
00:22:06Mother's gone to bed.
00:22:07The maids have gone to the cinema.
00:22:08And, well, I hope you don't mind my showing you up to your room.
00:22:12Not at all.
00:22:13Please.
00:22:14Let me help you.
00:22:38How long will you sleep?
00:23:03Well, all the time when need.
00:23:05These are all her things.
00:23:06I want all her clothing destroyed.
00:23:09Every bit of it.
00:23:10The bag, too?
00:23:11The bag, too.
00:23:13Mrs. Hughes.
00:23:14Ralph.
00:23:17Ralph.
00:23:25Put that knife away.
00:23:27Knife away.
00:23:30Try to remember that weren't for your temper,
00:23:34you wouldn't be in this awful trouble today.
00:23:35I'm sorry.
00:23:39Very well.
00:23:40Now, we've all got jobs to do.
00:23:42Let's do them.
00:23:43Let's do them.
00:23:43Good, Mr. Hughes.
00:24:08Come on, sir.
00:24:09Let's go.
00:24:39Let's go.
00:25:09Let's go.
00:25:40But Julia, she would have left word.
00:25:42Her relative, sir?
00:25:43My girl.
00:25:44Would you care to come down to the station and make a statement, sir?
00:25:47No, no, it's probably nothing. There must be a simple explanation.
00:25:50Why, of course, sir. You'll probably be hearing from her in the morning, I hope.
00:25:53Thank you, officer. Good night.
00:25:55Good night, sir.
00:25:55But, Mrs. Mackey, are you sure Julia didn't leave a forwarding address with you?
00:26:00You see, I may have made a mistake in the number of the house.
00:26:03Miss Julia Ross left nothing with me, and I made a great mistake in trusting her for the rent.
00:26:07She ups and sneaks out of me without paying when my back was turned.
00:26:10I don't believe that.
00:26:12You'd believe it fast enough if it was you that was being done out of two pounds, Tim.
00:26:16Why, the wicked girl only left two pounds.
00:26:19What did you say?
00:26:21I said she was a wicked girl to leave Owen an honest dad.
00:26:26Hand it over.
00:26:28Go on.
00:26:33It's you that's the wicked one.
00:26:35I was only keeping it for you.
00:26:38Yes, well, I'll be keeping a call for the police if you do it again.
00:26:41I won't, Mum. I won't. I'm sorry.
00:26:45Didn't you leave a note with a new address on it?
00:26:47I tore it up.
00:26:49But you remember the number, don't you?
00:26:50What, may you read someone else's letters?
00:26:56Bertha, you've got to remember.
00:26:59Well, she got the job through the Allison Employment Agency from an advertisement in the paper.
00:27:03Well, they'd know the address, wouldn't they?
00:27:05Ah, good girl, Bertha. Allison Agency.
00:27:08Well, they won't be open at this hour.
00:27:20Hello, chum. You know, you're wasting your time on that dear door.
00:27:26Well, I've got to find them tonight.
00:27:28Tonight, then?
00:27:29Flew the coop, they have.
00:27:31It comes and goes here faster than the favourite at Aintree.
00:27:34Perhaps I could get that forwarding address from the landlord.
00:27:36Oh, I'm the landlord, and when they fly as the coop, I'm always the first that knows about it.
00:27:39There's one thing about this here building, you know, there ain't no questions asked.
00:27:43What a body doesn't know, don't hurt them, I always say.
00:27:45I don't know where else to look.
00:27:47Why don't you literally go till morning?
00:27:49Night's no time for looking for a job or work.
00:27:52Night's for play.
00:27:53Night's for play.
00:28:23Night's for play.
00:28:53Night's for play.
00:29:23Night's for play.
00:29:25Night's for play.
00:29:26Night's for play.
00:29:27Night's for play.
00:29:28Night's for play.
00:29:29Night's for play.
00:29:30Night's for play.
00:29:31Night's for play.
00:29:32Night's for play.
00:29:33Night's for play.
00:29:34Night's for play.
00:29:35Night's for play.
00:29:36Night's for play.
00:29:37Night's for play.
00:29:38Night's for play.
00:29:39Night's for play.
00:29:40Night's for play.
00:29:41Night's for play.
00:29:42Night's for play.
00:29:43Night's for play.
00:29:44Night's for play.
00:29:45Night's for play.
00:29:46Night's for play.
00:29:47Night's for play.
00:29:48Night's for play.
00:29:49Oh, my God.
00:30:19Oh, my God.
00:30:49Good morning, Mum.
00:30:59I hope you feel better today.
00:31:01Who are you?
00:31:02My name's Alice, Mum.
00:31:04Now, here's your breakfast.
00:31:06No, I don't want any thank you.
00:31:07That calendar over there, that says Saturday.
00:31:12It isn't Saturday, is it?
00:31:14It's Friday.
00:31:15It must be Friday.
00:31:17No, Mum.
00:31:17It's Saturday, all right.
00:31:19You slept all day Friday.
00:31:20I expect you was tired out after your journey.
00:31:24Well, how did I get here?
00:31:25Where is this?
00:31:26Why, Mum, you're right here in your new home that's been ready and waiting for you for over a week.
00:31:31Expecting you every day I was after getting the wire to say your folks had taken Seahouse and wanted it scrubbed and clean.
00:31:38I expect they had to wait until you was well enough to travel.
00:31:41But Cornwall's a good, healthy place, and the sea air will soon get you well.
00:31:47Cornwall?
00:31:48But that's miles from London.
00:31:50In our village, that's Beverton, you know.
00:31:53There's just as good and better in London.
00:31:56Now, have a sip.
00:31:57I must get back to London.
00:32:00No, you mustn't get up, Mrs. Hughes.
00:32:02Mrs. Hughes?
00:32:04Please stay in bed, Mrs. Hughes, or you'll make yourself worse.
00:32:08Oh, I'd better get your husband.
00:32:09He's been that worried about you.
00:32:11My husband?
00:32:15Mrs. Hughes?
00:32:27Marion, darling, how do you feel?
00:32:32Well, you look better this morning.
00:32:34Much better, doesn't she, Mother?
00:32:36Indeed, she does.
00:32:37My name isn't Marion, and I'm not married to you or anyone.
00:32:40I was engaged as a secretary.
00:32:42Now, what does this all mean?
00:32:43Why did we leave London?
00:32:44You haven't forgotten us again, have you, Marion?
00:32:47I'm not Marion, and you know it.
00:32:49All right, dear, let's not argue.
00:32:51Let's just have our tea and perhaps another nap and then you'll feel much better.
00:32:56I'm afraid it's cold.
00:32:57Oh, Alice, bring some more hot water quickly, please.
00:33:00Yes, ma'am.
00:33:01I don't know what this is all about, but I promise you some very serious trouble unless you stop it immediately.
00:33:06You know perfectly well I'm Julia Ross.
00:33:08Marion, dear, please don't excite yourself so.
00:33:12You'll just bring on another attack.
00:33:14Attack? Attack of what?
00:33:16Nerves, dear, just nerves.
00:33:17Oh, we do so want you to know you're with your own family.
00:33:21Oh, nonsense.
00:33:22Marion, darling, control yourself.
00:33:25Let me go.
00:33:26We are doing everything in our power to make you well again.
00:33:30Let me go.
00:33:31If you don't stop this, I'll have you arrested.
00:33:35Why are you doing this?
00:33:37It's so stupid.
00:33:38It's so silly.
00:33:39That's the woman from the agency.
00:33:46What's she doing here?
00:33:47Alice, bring the hot water quickly.
00:33:49Yes.
00:33:52Alice, you live in the village, don't you?
00:33:54Then help me.
00:33:55I'm not his wife.
00:33:56I don't know what's happening or why.
00:33:57But please, call the police.
00:33:59Call someone.
00:34:00Help me.
00:34:01Well, of course, Alice will help you.
00:34:03We'll all help you.
00:34:04Now, just have your tea.
00:34:06Alice, we've got some errands for you to do in the village.
00:34:09Yes.
00:34:10I won't have it.
00:34:12It's probably got sleeping powders in it like the other did.
00:34:16Drink your tea, Marion.
00:34:17Who'd she say you were?
00:34:20Oh, some woman from some agency.
00:34:22Last week, she said I was the queen.
00:34:24Coming down in the world, aren't you?
00:34:27It's a fair caution.
00:34:28If you didn't know she was, well, like she is,
00:34:31you'd swear she was telling the truth.
00:34:33It's a heavy burden on Mr. Roush and his mother.
00:34:35They've spent a fortune on doctors.
00:34:37Will she always be barmy?
00:34:39We just say she's ill.
00:34:42And when you go into the village,
00:34:43I don't want you gossiping about the family.
00:34:45Oh, no, Mrs. Sparks.
00:34:47I'm a close-mouth, I am.
00:34:49Of course we don't want to appear standoffish
00:34:51so you can answer any questions about...
00:34:53Oh, I won't breathe a word about her being barmy.
00:35:17Who is it? Who's there?
00:35:25Who's there?
00:35:25Who's there?
00:35:34Who's there?
00:35:37Who's there?
00:35:38Help!
00:35:55Don't come near me! Don't come near me!
00:36:04Marion.
00:36:05Marion, what is it?
00:36:07Well, what happened to that?
00:36:10I threw something at him.
00:36:12At home, dear. I thought it was you.
00:36:14Darling, I've been asleep. You've had another nightmare.
00:36:17But he was real. I saw his eyes right there, glaring at me.
00:36:20That's what you saw.
00:36:23Why, of course. It was the cat.
00:36:26You saw his eyes in the mirror and thought it was someone.
00:36:29I saw a man's hand right here on the bed.
00:36:32But no one could have got into the room.
00:36:34I locked the door. In case you walked in your sleep and hurt yourself.
00:36:39Then the man must still be in here somewhere.
00:36:41Well, you'd better have a look.
00:36:45If no one could get into the room, where did the cat come from?
00:36:49Perhaps the window.
00:36:50Not even a cat could climb those walls.
00:36:59Ralph, stop that!
00:37:03You see, there's no one here.
00:37:04You'd better take the cat away.
00:37:05Clear up that glass in the morning.
00:37:06Yes, madam.
00:37:07If you're nervous, Marion, would you like me to stay the rest of the night with you?
00:37:15Why did you bring me here?
00:37:17What are you planning to do with me?
00:37:20Are you trying to drive me crazy? Is that it?
00:37:23Tell me what you're planning to do with me!
00:37:26Nothing, Marion.
00:37:27Nothing, Marion.
00:37:28Nothing but try to make you well, dear.
00:37:30That's all.
00:37:32Why don't you leave the light on if you're frightened?
00:37:37Good night.
00:37:38Good night.
00:37:52Oh, Mrs. Mackey.
00:37:53Anything for me?
00:37:54Nothing for you.
00:37:55Are you sure?
00:37:57She ain't had time to write a letter yet.
00:37:59It's only Monday.
00:38:00You're gonna make yourself late at the office for nothing.
00:38:02The legal profession doesn't keep me that busy, Mrs. Mackey.
00:38:05She's had three days to explain.
00:38:06Women never explain, especially if they're wrong.
00:38:09It'll probably come in the afternoon post here.
00:38:12Oh.
00:38:13If it does come this afternoon or any time, call me at the office.
00:38:15You know the number, and I'll give you another five shillings.
00:38:17Oh, thank you.
00:38:19Thank you very much, Mr. Bruce.
00:38:36May I take the breakfast tray, Mrs. Hughes?
00:38:37Oh, Alice, I didn't hear you.
00:38:38Were you looking for something, Mum?
00:38:39Is there another entrance to this room?
00:38:40Another entrance?
00:38:41They keep my door locked, but...
00:38:42That's to protect you, Mum.
00:38:43Against yourself.
00:38:44But someone gets in here.
00:38:45Oh, if they want to kill me, why haven't they already killed me?
00:38:47Oh, if they want to kill me, why haven't they already killed me?
00:38:50Headache, Mum?
00:38:51And why not?
00:38:52Sleeping pills to keep me down and prowlers to keep me awake.
00:38:55Alice, I'm going to take the breakfast tray, Mrs. Hughes.
00:38:56Oh, I'm going to take the breakfast tray, Mrs. Hughes.
00:38:57Oh, Alice, I didn't hear you.
00:38:58Oh, I'm going to take the breakfast tray, Mrs. Hughes.
00:38:59Oh, Alice, I didn't hear you.
00:39:00Were you looking for something, Mum?
00:39:01Is there another entrance to this room?
00:39:02Another entrance?
00:39:03They keep my door locked, but...
00:39:04That's to protect you, Mum.
00:39:05Against yourself.
00:39:06But someone gets in here.
00:39:07Oh, if they want to kill me, why haven't they already done it?
00:39:08Headache, Mum?
00:39:09And why not?
00:39:10Sleeping pills to keep me down and prowlers to keep me awake.
00:39:12Alice, will you help me?
00:39:13Will you do something for me?
00:39:14Of course, Mum.
00:39:15If you'd go to the police for me on your day off, I'd promise to send your money back from London.
00:39:18You're making yourself ill, Mum.
00:39:19It's not right, begging your pardon, Mum.
00:39:20You have a beautiful home, nice relations, pretty clothes, and you'll have to be in the
00:39:35You have a beautiful home, nice relations, pretty clothes, everything a woman would want.
00:39:40Oh, nonsense.
00:39:41Of course you have, Mum.
00:39:43You're letting yourself be took up by illusions.
00:39:45Letting it gnaw at you and gnaw at you.
00:39:48It's all in the mind.
00:39:50People can think themselves into anything.
00:39:52Why don't you think you're getting well, Mum?
00:39:55I tell you, I'm not ill.
00:39:57Alice, if you do as I ask.
00:39:59You may go, Alice.
00:40:00Yes.
00:40:01Well, Marion, up and about.
00:40:04I'll go crazy if you don't let me out of this room.
00:40:07Forced to drink that tea, my arm all bruised.
00:40:09Bruised?
00:40:10I'm going to dress and go downstairs.
00:40:12Well, of course, dear.
00:40:13No one will stop you.
00:40:15The change might do you good.
00:40:19My size.
00:40:20Naturally.
00:40:21It was made for you, Marion.
00:40:23You needn't call me Marion when we're alone.
00:40:25I know perfectly well you only do it to impress Alice.
00:40:27And if there was a Marion Hughes, where is she?
00:40:31Do hurry in and come downstairs, dear.
00:40:34Do hurry in and come downstairs, dear.
00:40:38I know perfectly fine.
00:40:39Let's go.
00:40:40Look out, Harry.
00:40:41I'd love you.
00:40:42I know.
00:40:43All right, I am a barber.
00:40:44You are a barber.
00:40:45You are an barber.
00:40:46I'd love you.
00:40:47You are an barber.
00:40:48I'm a barber.
00:40:49I'd love to have a barber.
00:40:50You're an barber.
00:40:51I don't know.
00:40:52You come downstairs.
00:40:53You're an barber.
00:40:55You're an barber.
00:40:56I'm a barber.
00:40:58You have a barber.
00:40:59Ralph, you must try to be more cautious and not let your temper sway you.
00:41:12All right, Mother.
00:41:14It's lucky I saw those bruises before someone else did.
00:41:17I had to force her to drink the tea, didn't I?
00:41:19You don't have to leave evidence.
00:41:24Stop it! Stop it!
00:41:29No. I'm not going to have this.
00:41:59Marianne is going toward the road.
00:42:21Be careful.
00:42:22Well...
00:42:23Come on.
00:42:53Good morning. I'm Mrs. Hughes. I'm going for a walk. Please open the gate.
00:43:02I'm sorry, Mum, but I've got my orders.
00:43:05Listen. It's all wrong what they've told you about me. I'm not crazy. I don't look crazy, do I?
00:43:13Well, nobody ever said that, Mrs. Hughes. It's just that you, well, need a bit of looking after, like.
00:43:20I'll go and find the house, Mum. They'll be frightened about you.
00:43:23Oh, please don't do that.
00:43:53I'll go and find the house, my wife.
00:43:54I'll go and find the house.
00:43:55I'll go and find the house.
00:43:56I'm not sure.
00:43:57I'm not sure how to do that.
00:43:58Mario!
00:44:19What are you doing away out here?
00:44:21Hi, nothing. I wanted to go for a walk.
00:44:24I was just calling the aspers to use.
00:44:25Thank you. It's all right now.
00:44:28I'd enjoy your walk, too, dear.
00:44:30Let's have a look at the grounds.
00:44:37Thank you, Evans.
00:44:46Ralph?
00:44:47Yes?
00:44:48I've been wondering if maybe you and your mother aren't right about me.
00:44:52I've been thinking maybe I really have been ill.
00:44:55Have you, Marion?
00:44:56Yes.
00:44:58So I've been trying to look back and remember things.
00:45:01What was my name before we were married?
00:45:03Campbell.
00:45:05Marion Campbell.
00:45:07And what about my family? Where are they?
00:45:08Your parents are dead, Marion.
00:45:10Haven't I any family at all?
00:45:13No one to visit me?
00:45:14No.
00:45:15Or to write?
00:45:16Beautiful, isn't it?
00:45:19Beautiful, isn't it?
00:45:22Would you like to listen to the sea and hear what it says?
00:45:26It doesn't say anything, does it?
00:45:29That's what I like about the sea.
00:45:30It never tells its secrets.
00:45:34It has many.
00:45:36Very many secrets.
00:45:39I'd like to go to a doctor.
00:45:41Alice says there's a good one in the village.
00:45:43I'm sure he could help me.
00:45:44You've been to the best specialists in London.
00:45:49Now I'm a very lucky man to find such an attractive wife.
00:45:52Where did you find me? I can't remember.
00:45:54Switzerland.
00:45:56What were we doing there?
00:45:57Visiting some people. You were in school.
00:45:58At school.
00:46:00Why not try to remember more pleasant things?
00:46:02Like our honeymoon.
00:46:27Honey, why not?
00:46:29First, have you come from the house and walk.
00:46:30Oh, come.
00:46:31We'll take it.
00:46:32Want me?
00:46:33Why don't you go from the house?
00:46:35I was just going to get a stop.
00:46:38You never went on.
00:46:39You are back.
00:46:41No, I was just joking.
00:46:45And...
00:46:47You were waiting for me to go.
00:46:49I was just joking.
00:46:50You were waiting for me to see how I came.
00:46:52See you who had me.
00:46:53Yes?
00:47:07Someone from the village to see us.
00:47:09Tell him not to let them in.
00:47:10No, no. Better to look out.
00:47:13Let them through, Evans.
00:47:15Yes.
00:47:19I'd better keep Marion in her room while they're here.
00:47:23Come on.
00:47:53I'm the one you're looking for.
00:48:09I'm so glad you got my note.
00:48:10You're not a policeman.
00:48:18No, I'm afraid not.
00:48:23Marion, dear, please.
00:48:25Oh, how do you do?
00:48:26I'm Mrs. Hughes.
00:48:27This is my daughter-in-law.
00:48:29I'm the vicar, Jonathan Lewis.
00:48:30This is my sister, Mrs. Robinson, and her husband.
00:48:33How do you do?
00:48:34Perhaps we've come calling at a bad time.
00:48:35But we did want you to feel that the village welcomes you, and that you have friendly neighbors.
00:48:39Oh, won't you come in?
00:48:40Oh, thank you.
00:48:43This is my son.
00:48:44Ralph, this is our vicar.
00:48:45How do you do?
00:48:46Mrs. Robinson.
00:48:47How do you do?
00:48:48How do you do?
00:48:48Mr. Robinson.
00:48:49How do you do, sir?
00:48:50How do you do?
00:48:52Please listen to me.
00:48:53They're holding me here by force.
00:48:55I don't know why, but you must call the police.
00:48:58I'm terribly sorry, but my daughter-in-law is upset today.
00:49:01Ralph, it's so nice of you, vicar, to come and call so promptly.
00:49:04And Mr. and Mrs. Robinson, too.
00:49:06Indeed, the whole village is so friendly and charming.
00:49:09We're quite in love with it.
00:49:11No, it's not true.
00:49:12Why doesn't somebody listen to me for once instead of believing her all the time?
00:49:16I'm so sorry.
00:49:17I missed going into church yesterday.
00:49:19Both my son and I wanted to go, but poor Marion was quite exhausted with the journey,
00:49:23and we couldn't leave the poor dear alone.
00:49:25Won't you come and sit down?
00:49:26Mrs. Robinson, sit here, won't you?
00:49:29Vicar.
00:49:34Suppose they've already heard about me in the village, haven't they?
00:49:36I suppose so.
00:49:38Gossip travels very quickly.
00:49:40There isn't much they don't know about my little wife.
00:49:42There's one thing you don't know.
00:49:44The police will be here today, and you'd better see to it that I'm all right when they come.
00:49:48You mean because of this note?
00:49:51The one the gatekeeper found?
00:49:56Isn't that an awful exhibition?
00:50:04But how did a poor Mrs. Hughes in the face?
00:50:06A poor Mr. Hughes, I was thinking.
00:50:08I'll crawl in back.
00:50:10There's plenty of room up here, dear.
00:50:12The young husband doesn't say much, but you can see he feels it deeply.
00:50:16He talks about her in such a gentle way.
00:50:19So touching.
00:50:20Perhaps a rest in a quiet place like this will do her good.
00:50:44They made Alice told our cook the poor girl is steadily getting worse, though the family refused to admit it.
00:50:49Susan, you shouldn't listen to gossip.
00:50:51But how did it happen?
00:50:52There was a breakdown about a year ago.
00:50:54They've been to every doctor in the country.
00:50:57Jonathan, do be careful of those girls.
00:50:58Jonathan, where are you going?
00:51:20Oh, I forgot to ask Mrs. Hughes something.
00:51:22It won't take a moment to drive back.
00:51:23I beg your pardon, sir.
00:51:45Have you seen my wife?
00:51:47Yes, she's here.
00:51:48You'll find her in the back seat of the car.
00:51:50She couldn't have made a better impression for us if we'd planned it ourselves.
00:51:58Now, everyone knows she's not responsible for anything she may do.
00:52:01Then why don't we get it all over with right now?
00:52:03Because there's still one last step, the most important.
00:52:08What's that, Mother?
00:52:09Our best alibi.
00:52:16What do you want?
00:52:20That's not a very friendly way for a wife to greet her husband.
00:52:24Wife?
00:52:26Please don't be afraid of me.
00:52:28For a while today, I thought we were going to be friends, the way we used to be.
00:52:32Why don't you stop this farce?
00:52:34It's not a farce.
00:52:35I've always loved you, Marion.
00:52:37Would it make any difference if I called you Julia?
00:52:40Get out of here.
00:52:42Stop it.
00:52:43Alice!
00:52:44Alice!
00:52:44Alice!
00:52:44Alice!
00:52:44Alice!
00:52:44Alice!
00:52:45Alice!
00:52:45Alice!
00:52:46Alice!
00:52:46Alice!
00:52:47Alice!
00:52:48Alice!
00:52:49Alice!
00:52:50Alice!
00:52:51Alice!
00:52:52Alice!
00:52:53Alice!
00:52:54Alice!
00:52:55Mr. Ora!
00:52:56Mary, how could you do such a thing?
00:53:00Mrs. Hughes trying to throw us up out of the window.
00:53:03Get my mother.
00:53:04Hurry.
00:53:05Yes, sir.
00:53:06And then get someone from the village to come up here and put some bars in these windows.
00:53:08It isn't safe to leave my wife alone any longer.
00:53:10Quick!
00:53:11Good morning, Mum.
00:53:12Good morning.
00:53:13My goodness, Mum.
00:53:14Didn't you go to bed at all last night?
00:53:18No, and why should I?
00:53:19I can't sleep and I can't eat either.
00:53:20Take that away.
00:53:21Take it away.
00:53:22It's probably poisoned.
00:53:23Oh, no, Mum.
00:53:24You mustn't excite yourself like this.
00:53:25Why not?
00:53:26Locked up like an animal with someone trying to kill me.
00:53:27Don't say that, Mum.
00:53:28You're like all the rest of them.
00:53:29What's going on here?
00:53:30Shut up.
00:53:31I'm so good.
00:53:32Shut up.
00:53:33You're welcome, Patsy.
00:53:34What are you doing?
00:53:35Come on down.
00:53:36First of all, Patsy.
00:53:37We need to go.
00:53:38First of all, Patsy.
00:53:39A little bit later, where we can find a light.
00:53:42First of all, Patsy.
00:53:43We can find a light.
00:53:44It's a light.
00:53:45Have a light.
00:53:46Helps.
00:53:47I've got to be messed up in this room.
00:53:49It's about to be.
00:53:50The light is, Miss.
00:53:51It's about to be.
00:53:52We're not good.
00:53:53I can't see your eyes and ill-spoken.
00:53:54what's going on here she's all upset mum and who wouldn't be how would you like to be in my place
00:54:02never allowed out of here for a moment they're afraid to let me out they're afraid of what i'll
00:54:07tell about them they don't even dare let me take a drive through the village for fear people will
00:54:11find out how they treat me they'd love to take you out for a drive mum if that's all you want
00:54:15it's a doer good of that i'm sure why of course i think it's a wonderful idea you can drive along
00:54:23the coast road up to observation point i want alice to go along too i have a good deal of work to do
00:54:28please alice run along alice your work can wait go down and tell sparks to bring the car around
00:54:34yes ma'am i'll be ready in a moment well there's no great rush dear you must give her out time to
00:54:39have his breakfast i think it's another scheme to get away sure it is
00:54:53so
00:54:58so
00:55:04so
00:55:13Now you can let her post it, and no harm done.
00:55:28But why let her think she succeeded?
00:55:29Why not?
00:55:30It's what the villagers think that counts now.
00:55:33I want them to see how kind you are to her,
00:55:35especially after yesterday.
00:55:43I want them to see how kind you are.
00:56:13Don't huddle her way over there in the corner.
00:56:25You should sit closer,
00:56:26so that people can see what a handsome couple we are.
00:56:29Shouldn't she, Alice?
00:56:34Riding to someone?
00:56:35Yes, a friend in London.
00:56:37You haven't sealed it.
00:56:39What difference does it make?
00:56:41I know you won't let me send it.
00:56:43What an imagination.
00:56:48Why should I stop you?
00:56:49As soon as we get to the village, you can post it.
00:56:52Hello, Mrs. Robertson.
00:57:09Hello, Mrs. Robinson.
00:57:21Oh!
00:57:26Good morning, Mr. Hughes.
00:57:27Good morning.
00:57:27And Mrs. Hughes.
00:57:29Nice to see you out.
00:57:30And are you feeling a little better today?
00:57:32I've never been ill, thank you.
00:57:34Uh, give me your letter, dear.
00:57:35I'll mail it for you.
00:57:36I'd rather mail it myself.
00:57:38Good day, Mrs. Robinson.
00:57:39Good day.
00:57:43Just a moment.
00:57:48Wave to Mr. Robinson, dear.
00:57:58When will this letter get to London?
00:58:00Tomorrow.
00:58:01That's fine.
00:58:03It was a pleasure, my dear.
00:58:04Thank you,
00:58:05Let's go.
00:58:10Come on.
00:58:40Come on.
00:59:10Come on.
00:59:40Come on.
00:59:42Come on.
00:59:44Come on.
00:59:46How much longer is it going to be?
01:00:02The whole plan had to be convincing.
01:00:04Now we can make it look like suicide.
01:00:06But when?
01:00:07Tonight.
01:00:09If by chance that Dennis Bruce should come, I don't want us still here.
01:00:13How could he find his way here?
01:00:15The postmark, of course.
01:00:16The postmark on the letter?
01:00:18I never thought of that.
01:00:19Why did you take such a chance?
01:00:23It wasn't much of a chance.
01:00:25Nobody in Beverton ever heard of Julia Ross.
01:00:28That's true.
01:00:29Nobody but Sparks and Peters.
01:00:32I'd like to throw them in the sea, too.
01:00:35Oh, no, they're all right.
01:00:37We know too much about them.
01:00:39It's all Marion's fault.
01:00:41She shouldn't have cried.
01:00:43Ralph, you never told me.
01:00:47Was it an accident?
01:00:49Or did you intend to kill her after she'd made her will?
01:00:53I didn't plan it.
01:00:55I liked her well enough.
01:00:57But when she found out I'd been lying about my income, she accused me of marrying her for her money.
01:01:02I said, of course, that's what I married her for.
01:01:05Then she cried.
01:01:05She was always crying.
01:01:09Then she slapped me.
01:01:11I had my knife in my hand and I...
01:01:16Stop it. Stop it.
01:01:19Don't do that.
01:01:25Put that away.
01:01:35Ralph, I'm trying to help you.
01:01:45I still say we should have called the police and told them a prowler broke in and killed her.
01:01:50With the marks of your fingers on her, the scratches on your face.
01:01:56No, we couldn't let anybody see her.
01:02:05Come on.
01:02:11Let's go.
01:02:41Oh, my God.
01:03:11Oh, my God.
01:03:15Mrs Hughes, call the doctor.
01:03:17She's taking poison.
01:03:18Get the doctor quick.
01:03:19What?
01:03:19Poison.
01:03:20She's lying there on the floor.
01:03:21Better get a doctor.
01:03:22Run downstairs.
01:03:23Tell Sparks to bring egg white, milk, mustard, anything she can think of.
01:03:26Yes.
01:03:28Why try to save her?
01:03:30Let her die.
01:03:31It's what we want.
01:03:31Don't be so stupid, Ralph.
01:03:33If she's taking poison, we must act as though we cared.
01:03:36If she's taking poison?
01:03:38Maybe just a trick to get a doctor here.
01:03:39We can't let her see a doctor.
01:03:41No.
01:03:43It's easy enough to fool stupid villagers into thinking she's crazy, but a doctor would know better.
01:03:48What'll we do?
01:03:50If she's really taking something, she may die quickly.
01:03:54If she hasn't, I'll call her a doctor.
01:03:58Marion, dear, here's the doctor.
01:04:10He's come to help you.
01:04:13I want to speak to the doctor alone.
01:04:14Go away.
01:04:15Yes, dear.
01:04:23Doctor, listen.
01:04:24I haven't taken poison.
01:04:25And I'm not Marion Hughes.
01:04:27I'm Julia Ross, and I can prove it.
01:04:29If you'd only believe me for just a second and call Dennis Bruce in London, he'll tell you all about me.
01:04:34Then you really didn't take anything.
01:04:37No, I just said that to get you here.
01:04:39You've got to get me away.
01:04:41To a hospital if you think I'm crazy.
01:04:43Or anywhere just to get me away from here.
01:04:45I know I sound crazy, but that's what they want everyone to think.
01:04:51Because he killed his wife, and she's lying out there at the bottom of the sea.
01:04:55And now they have to have someone to bury in her name.
01:04:58What makes you believe all this?
01:05:00I heard them talking.
01:05:03If you can only get me away from here for a few hours, that's all I ask.
01:05:07Till tomorrow morning.
01:05:08Then Dennis will be here, and your responsibility will be over.
01:05:12My dear, this is all very puzzling.
01:05:13How do I know that this friend of yours will ever get here?
01:05:17I got a letter off to him.
01:05:19They thought it was just a blank sheet of paper.
01:05:22But I had a second letter. I fooled them.
01:05:24I really sent that.
01:05:26When did you post it?
01:05:28Yesterday. It ought to be there today.
01:05:30Enough of that, Peters.
01:05:35Peters.
01:05:39Then you're not really a doctor.
01:05:40I told you not to let her post it.
01:05:44It may not have reached him yet.
01:05:45Peters, you must hurry up to London and get that letter before it's delivered.
01:05:48Take the car and drive as fast as you can.
01:05:52I don't know where he lives.
01:05:53Dennis Bruce, 51 Carrington Street, in Romansbury.
01:05:56Dennis Bruce, 51 Carrington Street.
01:05:57I brought Dr. Keller, Mrs. Hughes.
01:06:09We're not too late.
01:06:11No.
01:06:11Did you find out what she took?
01:06:13Oh, she didn't really take anything, doctor.
01:06:15She admitted that she just meant to frighten us.
01:06:18I'm sorry you've had this wild goose chase.
01:06:21But now that you are here, perhaps you'd be good enough to take a look at her.
01:06:25You might give her something to calm her.
01:06:27Certainly.
01:06:28Oh.
01:06:30Marion, open the door.
01:06:32Go away. I don't want to see anybody.
01:06:34But Marion, dear, please, don't be afraid.
01:06:38The doctor won't hurt you.
01:06:40No, he won't hurt me. He'll just kill me.
01:06:42That's what you want him to do. You all want me dead.
01:06:43It's hopeless. Hopeless. She'll never recover.
01:06:47Oh, doctor, what are we to do?
01:06:50She thinks we're on her enemies.
01:06:52Tried to kill herself, she did.
01:06:53There's no use trying to see her now.
01:06:55She's too upset.
01:06:56I suggest taking her to the hospital
01:06:58and keeping her under observation for a while.
01:07:01Oh, but, uh,
01:07:02my son refuses to have her taken away.
01:07:05Yes, but for her own protection.
01:07:08I must try to persuade my son.
01:07:09He, he's so devoted to Marion.
01:07:11But if, if we say it's just for observation.
01:07:14Then I'll make all the arrangements.
01:07:16Possibly I could come for tonight.
01:07:18Oh, I, I think it'd be better
01:07:19if you waited till the morning.
01:07:21Oh, very well.
01:07:23I hope we can help her.
01:07:24I hope so too, doctor.
01:07:26Goodbye.
01:07:27Goodbye, Miss Hughes.
01:07:32Ralph.
01:07:33The doctor will come for her in the morning.
01:07:36She'll be ready.
01:07:41The doctor will come for her in the morning.
01:08:11Oh, old you horses, old you.
01:08:19Yes?
01:08:21You have a room for rent?
01:08:23Yes.
01:08:24Third floor bet, 20 shillings a week,
01:08:25paid in advance and no cooking.
01:08:27I'll take a look at it.
01:08:28Well, I'll send the girl up with you
01:08:30because the doctor says I've got to spare myself
01:08:31as much as I can.
01:08:32Bertha!
01:08:39Bertha!
01:08:40You know, that girl's never around when she's wanted.
01:08:43Anyway, it's a very tidy room
01:08:45and as quiet as a tombstone.
01:08:46That's fine.
01:08:47I'll take it.
01:08:47I don't have to see it.
01:08:48The children and I will move in tonight.
01:08:50Yeah, what children?
01:08:51My two little girls.
01:08:52Oh, you'll like them.
01:08:53They're full of life.
01:08:53Sorry, sorry, but I never take children anyway.
01:08:56The room's taken.
01:08:57But I've got to have a room.
01:08:58I've been turned out in my last place.
01:08:59Well, you can try and lure down the street.
01:09:00Miss Ellingsworth, I think she takes them.
01:09:02It's just around the corner.
01:09:03Oh, I'll rush down there at once.
01:09:04Thank you very much.
01:09:07Children and dogs.
01:09:08Who ever heard of such a thing?
01:09:12Mr. Bruce.
01:09:14Miss Fanny.
01:09:18Miss Fanny, why, that letter was here a minute ago.
01:09:21Why, there was only him and me.
01:09:24Here, wait a minute.
01:09:28Hey!
01:09:29Hey there!
01:09:30Here, stop that man!
01:09:32Stop him!
01:09:33Stop that man!
01:09:34Police!
01:09:51I'm sorry, I'm sorry.
01:10:18Julia...
01:10:18Julia Ross.
01:10:23Julia.
01:10:25Dennis.
01:10:27Julia, hurry.
01:10:36Dennis?
01:10:37Yes, I'll wait for you downstairs.
01:10:40Oh, yes, I'll hurry.
01:10:48Where are you, Dennis?
01:10:50Dennis?
01:10:52Down here.
01:10:58Julia, hurry.
01:11:00You're not Dennis.
01:11:02Who are you?
01:11:04Who are you?
01:11:06Where are you, Dennis?
01:11:08Dennis?
01:11:09Down here.
01:11:12Julia, hurry.
01:11:22You're not Dennis.
01:11:24Who are you?
01:11:27Why are you calling me, Julia?
01:11:32Why don't you answer?
01:11:56No, no.
01:11:57No, no, no, no.
01:11:58No, no, no, no, no.
01:11:59No, no, no, no, no.
01:12:00No, no, no, no.
01:12:01No, no, no, no, no.
01:12:02No, no, no.
01:12:03No, no, no, no.
01:12:05No, no, no, no, no.
01:12:06Oh, no, no.
01:12:12Don't be polite.
01:12:13We'll have to take care of God.
01:12:14I won't do this.
01:12:15Go, you're finished, D.
01:12:16I told you she'd recognize my voice.
01:12:44I thought she'd be too excited.
01:12:46Well, she saved us a lot of trouble.
01:13:11Now that this happened, I'm frightened.
01:13:13We happened a thing to fear.
01:13:15We'll be telling the truth when we say it's suicide.
01:13:18Yes.
01:13:20Who's the weak one now?
01:13:23Come, let's go down there.
01:13:24Mrs. Hughes, I've had an emergency call, which will take me away all day tomorrow.
01:13:50I'm so glad you're here.
01:13:51She must have heard us talking about taking her away.
01:13:54She's always threatened to kill herself before she'd be locked up.
01:13:56But she hasn't.
01:13:57Yes, and I blame myself.
01:13:59Well, she'll be all standing here talking and doing nothing.
01:14:01Oh, Ralph.
01:14:02Ralphie.
01:14:02How are you?
01:14:05Nurse, I'll go on down with them.
01:14:07You telephone for an ambulance.
01:14:08Yes, doctor.
01:14:12Ralph.
01:14:12Ralph.
01:14:13Hurry.
01:14:14Get down there before the doctor does.
01:14:15She'll surely be dead, but just in case she isn't.
01:14:23Well, come along, Mrs. Hughes.
01:14:24Yes, thank you.
01:14:46We thought you tried to do that.
01:15:13You're right, sir.
01:15:14We wanted to see just what you were going to do when you found her there alone.
01:15:18But I don't understand.
01:15:22She jumped from that window.
01:15:24No, I only threw my robe over to make you think I jumped.
01:15:27Then I got out through the secret door.
01:15:29It's lucky we met her on the road.
01:15:32Mary, Mary, darling, I don't know what to say.
01:15:35There's nothing for you to say. You're both under arrest.
01:15:37We caught Peters in London.
01:15:39Peters?
01:15:40Yes.
01:15:40Stop or I'll shoot.
01:15:47No! No!
01:15:49No!
01:15:57No!
01:15:58you know i've made a resolution the next time i apply for a job i'll ask for the references
01:16:23i know a good job secretary oh a combination secretary nurse companion that sounds like a wife
01:16:30well how about it i'll have to have some time to think it over how long oh about five seconds one two
01:16:37three four what
01:16:53my name is julia ross kicked director joseph lewis's career into another gear making him
01:17:03something of a golden boy at columbia which promptly signed him to a multi-year contract
01:17:09studio boss harry cone was his biggest supporter and the plan was for lewis to immediately graduate
01:17:16to a pictures he was given a plum assignment directing the jolson story one of the studio's
01:17:23big budget projects of 1946 but he took less of a role in that film preferring instead to direct
01:17:30another bee noir so dark the night which afforded him more creativity in developing his directorial
01:17:38technique that decision sort of set the tone for lewis's career by often making headstrong decisions
01:17:46to maintain a degree of creative autonomy lewis never cracked the a-list where the really good
01:17:53scripts and more challenging collaborations happen after making the undercover man in 1949 lewis butted
01:18:01heads with its producer robert rossin and issued a him or me ultimatum to studio boss harry cone
01:18:08cone well cone stuck with rossin who rewarded him with a best picture oscar that year for all the king's men
01:18:16lewis angrily broke his columbia contract and went to work for independent producer frank king making the
01:18:24noir classic gun crazy if not for his combative nature it might have been joe lewis directing from here to
01:18:32eternity at columbia instead of hired hand fred zinneman lewis never really emerged from the bee
01:18:39trenches in the 1950s where he felt safe from interference by studio executives he didn't
01:18:45respect he ended up directing lots of tv westerns before retiring altogether in 1966 at the relatively
01:18:54young age of 59. his cameraman on julia ross burnett guffey went on to become columbia's premier director
01:19:02of photography winning two oscars the first for from here to eternity and another one 13 years later
01:19:10for bonnie and clyde george macready is one of my favorite supporting players especially in film noir
01:19:18where his special brand of malevolence was brought to bear in numerous films macready had two requisites
01:19:25for screen villainy a scary face and a sinister voice i think it's another scheme to get away
01:19:31pr hacks like to claim he got his nasty facial scar from a dueling saber a very unlikely occurrence for a
01:19:39mathematics major at brown university macready did get the wound in college however when he was thrown
01:19:46through the windshield in a car accident far from ending his dreams of becoming an actor the scar
01:19:53became his calling card ensuring him a lifetime of on-screen villainy my favorite bit of off-screen
01:20:01trivia about macready is that in the early 1940s he and vincent price briefly operated an art gallery
01:20:08together in beverly hills can you imagine those two teaming up to sell you some modern art
01:20:14i'd be terrified not to buy it macready's role as ralph hughes may be a bit overwrought but it led
01:20:22directly to a major role the following year in his first a picture as rita hayworth's uber creepy husband
01:20:30ballon munson in gilda a more suave and subtle performance that is perhaps the actor's signature role
01:20:38while george macready may be synonymous with on-screen menace it was a rarity for his co-star
01:20:45in today's picture may witty she'd been a stage actress in england most of her life and in 1918
01:20:53she became the first female entertainer to be made a dame commander of the order of the british empire
01:20:59due entirely to her charitable work during the first world war while she appeared in a few silent films in
01:21:06the 19 teens her movie career didn't really start until 1937 recreating her stage role in night
01:21:15must fall opposite robert montgomery and rosalyn russell she was 72 years old by that time and the
01:21:22performance earned her an oscar nomination oddly it's the much smaller role she had the following
01:21:28year as miss froy and the lady vanishes for which she's most remembered i spoke about star nina
01:21:36foch at some length last year when i showed the dark past where she played the mall to william
01:21:42holden's escaped outlaw i don't mean to give her short shrift here but i have a feeling she'll be
01:21:48back on noir alley before too long next week we'll have something completely different in store a
01:21:55widescreen color film that's a unique hybrid of several genres you definitely don't want to miss spencer
01:22:03tracy having a bad day at black rock until then see you in the shadows
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