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00:00:05The End
00:00:50THE END
00:01:09Sir Thomas, that horse of yours is dead lame.
00:01:11You ought to get rid of me.
00:01:13I know it, Lady Keene, and I'm planning to.
00:01:15I shall leave more room in my stables for those new mayors coming in.
00:01:20And the Countess, the Lackarite, string of mounts taking up so much space.
00:01:25Oh, my stables are always at the disposal of such a gallant horsewoman.
00:01:44Look at her now.
00:01:50By Joe, she's wonderful.
00:01:53Toffee, brother.
00:01:56Oh, you're a lot of fools.
00:01:59Oh, ha, ha, ha, ha.
00:02:34How old are you, Regan?
00:02:3628, Your Ladyship.
00:02:37Six years in your service.
00:02:40I thought you were a lot older.
00:03:10Oh, gee.
00:03:11Oh, gee, what do you have to do?
00:03:18Ho, ho, ho, ho, ho, ho.
00:03:19Cocktail?
00:03:20More, Regan.
00:03:23Would you like to have a cocktail?
00:03:25Yes.
00:03:25Just a little bit.
00:03:35Here comes Lord Northmore now.
00:03:37With the Countess.
00:03:39Doesn't she look charming?
00:03:42I thought you'd left your complexion in the mud when you barged me this morning.
00:03:47I quite forgot the incident.
00:03:49And your clumsiness.
00:03:54Well, I'm afraid I'm in rather a mess.
00:03:57My horse took a compounded fall.
00:04:02Be careful, you don't repeat it.
00:04:04What?
00:04:04The fall.
00:04:06Your darling Patricia isn't here to protect you, my dear.
00:04:09A bit cold out on the coast today.
00:04:12Doesn't Patricia ever hunt?
00:04:14Quite.
00:04:15But not with horses.
00:04:16But you can't hunt foxes without horses.
00:04:19Patricia doesn't hunt foxes.
00:04:21What then, my dear?
00:04:22Ideals in London.
00:04:24Poor girl.
00:04:25All she'll find is probably trouble.
00:04:29It's easy to hunt trouble without anything.
00:04:32Except curiosity.
00:04:33Mr.
00:04:34To be careful.向炎
00:04:37Hawks
00:04:38Hawks
00:04:56Hawks
00:05:11Oh, my God.
00:05:46Patricia.
00:05:52When you play like that.
00:05:54With you for my inspiration.
00:05:57I will always play like that.
00:06:31I want you to join me in a toast.
00:06:33To my future son-in-law, Lord Northmore.
00:06:46Thank you very much.
00:06:49And in response, may I drink to the charming lady who is going to make me the happiest of men.
00:06:58Patricia.
00:07:05And may I also express the hope that absence does indeed make the heart grow fonder.
00:07:27Is Sir Thomas Hanley at home?
00:07:29Why, yes, sir.
00:07:30He's at dinner.
00:07:31Pull his hair break.
00:07:32The usual guest, Miss Patricia.
00:07:34Should I tell Sir Thomas that you're home?
00:07:36No, never mind.
00:07:40We'll be out almost in a minute now, Miss.
00:07:42Thank you, Miss.
00:07:44But Patricia, I must see your father alone.
00:07:48Now do let me handle everything.
00:07:50Oh really, my dear.
00:07:51You know, it is my place.
00:07:53Please, Paul.
00:07:54You don't know father.
00:07:55No.
00:07:57No.
00:07:57That is just it.
00:08:13Good evening, everybody.
00:08:19Hello, Patricia, my dear.
00:08:21I'm so glad to see you.
00:08:22Thanks, Percy.
00:08:24This is Lord Northmore.
00:08:27My husband, Mr. Girardi.
00:08:30Your...
00:08:31I say, what was that you said?
00:08:33Girardi.
00:08:34My husband.
00:08:35Your...
00:08:36Your husband?
00:08:38Oh, yes.
00:08:40Yes, of course.
00:08:41Yes, your husband.
00:08:43Patricia.
00:08:43Patricia.
00:08:44What was that you said just now?
00:08:48I was introducing my husband, Mr. Girardi, to Lord Northmore.
00:08:53Paul.
00:08:54This is Father.
00:08:56How do you do, sir?
00:09:00Uh...
00:09:00Quite so.
00:09:04Percy.
00:09:05Do be a good fellow, won't you?
00:09:07And introduce Paul to everybody.
00:09:09I haven't seen Father today, and I'm quite sure he wants to talk to me.
00:09:13I do.
00:09:14Rather.
00:09:15You'll pardon us, won't you, Paul?
00:09:17Certainly, my dearie.
00:09:20And don't talk about music.
00:09:22Just horses.
00:09:28Come on, Daddy.
00:09:29You can't wheedle me this time.
00:09:31I'm furious.
00:09:32I know it.
00:09:34And the library's a much better place for a scene.
00:09:37Oh, I...
00:09:44When you were a child, it was stray cats you brought home.
00:09:47But I'm older now, Father.
00:09:56Oh!
00:09:56Why say, uh...
00:09:58What did you say your name was?
00:10:00Girardi.
00:10:02Girardi.
00:10:02Oh, yes.
00:10:03Yes, of course.
00:10:04Girardi.
00:10:05Oh, Duchess.
00:10:07Uh, may I introduce Mr, uh...
00:10:10Uh, Mr, uh...
00:10:11Uh, uh...
00:10:11Girardi.
00:10:12Uh, Girardi.
00:10:13Uh, the Duchess of Rome.
00:10:15Your Grace.
00:10:16I didn't catch the name.
00:10:18Uh...
00:10:19Paul...
00:10:19Girardi.
00:10:20English?
00:10:21Uh, a British subject, shall we say, for the present.
00:10:24Not a relative to Shropshire, Girardi.
00:10:27No, no.
00:10:27I, uh...
00:10:28I do not think it is likely.
00:10:30Uh, but then, uh...
00:10:31Uh, very little is known of my father.
00:10:35I've never heard of another family by that name.
00:10:38And I, uh...
00:10:39I have never heard of them.
00:10:42What?
00:10:42Never heard of the Shropshire, Girardi?
00:10:45No, madame.
00:10:55Well, we, uh...
00:10:57We had a jolly fine run today.
00:10:59Do you hunt?
00:11:02Uh...
00:11:04Well...
00:11:05Uh, uh...
00:11:06After a fashion.
00:11:07Uh, what pack?
00:11:09Well, I, uh...
00:11:10I have been one of them so long.
00:11:12It, uh...
00:11:13It doesn't really matter.
00:11:16Oh, ho, ho, ho, ho.
00:11:18I say, how...
00:11:19How delightfully democratic.
00:11:21Where are you hunting?
00:11:22Uh, in London.
00:11:23But, uh, something more elusive than the fox.
00:11:27Well, I've hunted all my life.
00:11:29Like, do you know what that can be?
00:11:30A living.
00:11:31A trade?
00:11:33Oh, no, no.
00:11:34No, I play the, uh...
00:11:35I play the violin.
00:11:37Oh, how awful.
00:11:40I had always hoped that I was not.
00:11:43I'm sure you are.
00:11:49Oh, oh, but I, I am awful on the horse.
00:11:52Oh, ho, ho, yes, yes.
00:11:53I, I think it is so brave of you all, this, this horse riding.
00:11:56Yes, I only did it once, and I soon come off.
00:11:58Uh, fortunately for me, my horse, he was close beside the canal,
00:12:02and when the silly animal, he was off his guard, I, uh, I, I push him in.
00:12:07You pushed your horse into the canal?
00:12:10Uh, yes, madame, uh, before he bites me.
00:12:13Oh!
00:12:14Oh!
00:12:37Goodbye, Daddy.
00:12:54I'm sorry you won't give us your blessing.
00:12:57I'd sort of hope that...
00:13:06Where are you going?
00:13:09Home.
00:13:12This is your home.
00:13:14Not anymore.
00:13:15I'm married now.
00:13:17You couldn't expect Paul to let you support him.
00:13:19But you can't expect a poor violinist to support you.
00:13:23At least I...
00:13:24I presume he's poor.
00:13:26Yes.
00:13:27Our set would call it that.
00:13:29We'll have to start out rather modestly at first, I suppose.
00:13:32But I still have the money that Grandmother left me.
00:13:34Oh!
00:13:35How long do you think that's going to last you?
00:13:38Paul's going to be famous someday.
00:13:40All he needs is a star.
00:13:42He made a pretty good one marrying into our family.
00:13:45He didn't seem awed a bit.
00:13:46What?
00:13:47In fact, I had a hard time assuading him to come here tonight.
00:13:50Do you mean to say the beggar didn't want to meet me?
00:13:53Oh, he didn't want you to misconstrue his motives in marrying me.
00:13:56I love him.
00:13:58And he loves me.
00:13:59Well, I'll be...
00:14:01Goodbye, Daddy.
00:14:03I'll mail you our address.
00:14:06Patricia.
00:14:08Remember, if you do this thing,
00:14:10you not only cut yourself off from me,
00:14:12but from all decent society.
00:14:20I must come to your next recital.
00:14:24I hope you will.
00:14:26Oh, will you pardon me?
00:14:28We must be going now, Paul.
00:14:31My dear.
00:14:32Good night.
00:14:33So glad to have seen you again.
00:14:35Your Paul is quite charming.
00:14:38I think so.
00:14:40Good night.
00:14:41Good night.
00:14:42I hope I see you again.
00:14:47Very soon.
00:14:49Both of you.
00:14:51Good night.
00:14:58I have to do higher things.
00:15:00who was that woman?
00:15:02I am...
00:15:02I never can remember names.
00:15:07Oh, Countess Arga Balakarev.
00:15:09They called her London's most daring horsewoman.
00:15:12That is odd. She talked to me of nothing but music.
00:15:17Not surprising at all. The countess is very versatile.
00:15:41His darkness and mercy mild, good and sinners may reconcile.
00:15:55Joyful in angels' rise, join the triumph of the skies.
00:16:06Where the life won't go by.
00:16:13Christ is born in Bethlehem.
00:16:20And the herald that's all there, who he does on your own day.
00:16:42Who rang, madame?
00:16:43Hold this to those singers, Higgins. We wish them a merry Christmas.
00:16:47Very good, madame.
00:16:56Merry Christmas to you.
00:16:59Thank you, sir.
00:17:01Merry Christmas, the Lord has stayed.
00:17:06Leave it open, Higgins.
00:17:12Madame, it's snowing outside.
00:17:15I know it.
00:17:18You're getting more cold-blooded every day.
00:17:21Yes, madame.
00:17:22Higgins.
00:17:23Madame.
00:17:27I never knew you had pale blue eyes.
00:17:31I hate pale blue eyes.
00:17:35Funny. I never noticed it before.
00:17:38Yes, madame.
00:17:39I think I'll send you back to the kennels where you belong, Higgins.
00:17:44Thank you, madame.
00:18:07I've got a fool on a stand.
00:18:08I'd like to ask yourselves, no ladies and gentlemen.
00:18:10Thank you, sir.
00:18:10Thank you, sir.
00:18:13Please, don't we?
00:18:13Please, please, keep the light.
00:18:15It's just the text.
00:18:15Thank you, sir.
00:18:18That's a hall of honour.
00:18:21Isn't it a hall of honour?
00:18:28Merry Christmas.
00:18:32It is, isn't it?
00:18:34Even if we are as poor as church mice.
00:18:36Oh, my dear, I am so sorry.
00:18:39It must be a great come down for you after past years.
00:18:43Now you're fishing again.
00:18:45All right.
00:18:47I'm the unhappiest woman in London.
00:18:50Oh.
00:18:50Ah, but I know you are not.
00:18:53Oh, that conceit is colossal.
00:18:56Now I know that I married a genius.
00:18:58But I have the right to be conceited,
00:19:00being able to hold you at all
00:19:01through all these months of poverty.
00:19:04I think I deserve a medal or something.
00:19:08Downtrodden wife sticks to poor violinist
00:19:10through thick and thin.
00:19:12You've made me feel very heroic.
00:19:15You are heroic.
00:19:17And oh, oh, so sweet.
00:19:21For that, I'll have to kiss you.
00:19:36Now you know how happy I really am.
00:19:40A clever woman should never give herself away like that.
00:19:47Oh, it's cold in here.
00:19:48I know my fingers, they are getting stiff.
00:19:50Sit down here and I'll rub them for you.
00:19:56Oh, what should I do without you?
00:19:59Probably practice until you became unconscious.
00:20:02Well, I must be at my very best today.
00:20:04You know, it is perhaps my chance for recognition.
00:20:07Jacobson said all I needed now was someone to sponsor me.
00:20:10I know it, dear.
00:20:12Is Jacobson a good agent?
00:20:14Oh, oh, I am lucky to have him.
00:20:17You know, he arranges all the concert and musicals
00:20:19for the best people in London.
00:20:21Why, you don't know who may be there today.
00:20:23Where is it?
00:20:25Um, somewhere, somewhere in the West End.
00:20:28I don't know the name.
00:20:30Jacobson only gave me the address.
00:20:32But you can be quite sure
00:20:33it will be someone of great importance.
00:20:38Oh, you must be getting along.
00:20:40It's almost three o'clock.
00:20:41Three o'clock.
00:20:42Oh, oh, yes.
00:20:43Yes, I must not keep Serge waiting.
00:20:45No, he will be very nervous
00:20:47and then he will not be able to play his notes.
00:21:01Hello, Serge.
00:21:02Where have you been?
00:21:04You look like a snowman.
00:21:05Who wouldn't wait now out here on a pavement?
00:21:08Well, Jacobson told me three o'clock.
00:21:09It must be long after that.
00:21:11All that gas have gone in.
00:21:12Oh, Serge.
00:21:16A lot of swells.
00:21:18Who lives here?
00:21:19Nothing less than a Duke, whatever his name is.
00:21:30Mr. Girardi is here.
00:21:32Would you come in, sir?
00:21:38Mm hmm.
00:21:52Go ahead.
00:21:55Good.
00:21:55Good.
00:23:13I'm sorry.
00:23:14But if you don't let me through, I'm Mrs. Girardi.
00:23:17Clear the wine.
00:23:25I'm so sorry, my dear.
00:23:27So am I.
00:23:28Those poor women.
00:23:29I couldn't help it, you know.
00:23:30I know it.
00:23:31Any cash for you tonight?
00:23:33A button.
00:23:35That will have to be fixed before you go on.
00:23:38Those confounded souvenir hunters.
00:23:40I hope the silly girl, she swallows the button.
00:23:52The air seems charged with electricity.
00:23:54Can't you feel it?
00:23:56Certainly a bit thick.
00:23:58Oh, I'm so sorry to annoy you, my dear.
00:24:01And you don't smoke, Mrs. Polthwaite.
00:24:03No, I dare.
00:24:04I'm too highly strung.
00:24:05My friends tell me I have the artistic flair.
00:24:08You know.
00:24:09And when Girardi plays, I can't describe it.
00:24:14But he gives me something.
00:24:19Oh, he's here.
00:24:24I am Mrs. Polthwaite.
00:24:25But no introductions are necessary between us.
00:24:28Oh, madame, you are so right.
00:24:30I've done nothing but talk of your divine art.
00:24:33An inexhaustible subject, I am sure.
00:24:36I often wonder how you spend your days
00:24:38before you pour out your soul to us at night.
00:24:41Mostly on the golf course.
00:24:43You play at all?
00:24:45Golf?
00:24:46No.
00:24:47I'm afraid my whole life's taken up with art.
00:24:49That hardest of taskmasters.
00:24:51Yes, it is, isn't it?
00:24:53And one cannot serve both golf and mammon.
00:24:57I beg your pardon.
00:24:58It doesn't really matter, no.
00:25:00If you will please excuse me,
00:25:01the exigencies of my art, you understand.
00:25:25You're looking so well, my dear.
00:25:27Perfectly charming.
00:25:28Quite like Patricia Hanley again.
00:25:30It's Mrs. Girardi now, though, isn't it?
00:25:32Yes.
00:25:33We really are married, you know.
00:25:35I could sit and listen to him play for hours.
00:25:38It must be so interesting being married to a genius.
00:25:40Yes, it is.
00:25:42They make the tomorrow husband.
00:25:44So rarely home, you know.
00:25:46Still, I suppose he does belong to the public.
00:25:49Paul always says that.
00:25:51One must be generous.
00:25:57Every time it is something,
00:25:58you'd lose your head
00:25:59if it wasn't fastened to your shoulders.
00:26:01That's not the reason you should lose yours
00:26:02before our concert.
00:26:04Don't talk back to me, Zurg.
00:26:05You know perfectly well,
00:26:05I cannot play without my white silk handkerchief.
00:26:08Please be more quiet.
00:26:10They'll hear you out there.
00:26:11Oh, haven't they gone yet?
00:26:12They're going.
00:26:13But you must remember, Paul,
00:26:14you're not at home.
00:26:16But my white silk handkerchief is lost.
00:26:19I've brought one with me.
00:26:38What should I do without you?
00:26:41Probably lose your artistic temperament completely.
00:26:53What is that for?
00:26:55Your coat.
00:26:56Oh, yes.
00:27:03You are so cool.
00:27:06So calm.
00:27:08So peaceful.
00:27:12You used to be.
00:27:23I'm very nervous tonight.
00:27:25All those silly women.
00:27:26Now, who was that last one?
00:27:28Mrs.
00:27:29Uh, Mrs.
00:27:30Uh, blah, blah, blah, blah, blah, blah, blah, blah,
00:27:32something, huh?
00:27:33I didn't notice.
00:27:34Probably just one of your gallery girls.
00:27:36Ah, gallery girls.
00:27:56You're not getting jealous, are you?
00:27:58Who?
00:28:00Of all those silly women, I mean.
00:28:03What, dear?
00:28:05Patricia, you are not listening to me.
00:28:08Yes, I am.
00:28:09What was it you said?
00:28:10I asked you if you were getting jealous.
00:28:14Because you've arrived?
00:28:16Hardly, Paul.
00:28:18I know just how perceptible you are to flattery.
00:28:21Ah, no, no, no, no, no.
00:28:22No, there you are quite wrong.
00:28:23I do not know of anyone who is less influenced by that sort of thing than I am.
00:28:27On the contrary.
00:28:29I feel myself slowly degenerating into this great man's wife, in spite of myself.
00:28:34What are you talking about?
00:28:36Oh, haven't you ever noticed her tagging behind every great man?
00:28:39To her husband, she's sort of watchdog.
00:28:42Paul, and to other women, a human monster who holds her man with a cup of tea and a needle
00:28:49and thread.
00:28:50Oh, don't be so foolish, Patricia.
00:28:52I won't listen to you.
00:28:55Paul, look at me.
00:29:01Are you ill?
00:29:03Ill?
00:29:05No, why?
00:29:06Every once in a while, you'll get the most haunted look in your eyes.
00:29:10Haunted?
00:29:12Are you, are you trying to flatter me with the ghosts of the past?
00:29:16It isn't a ghost.
00:29:17It's still alive.
00:29:19What do you mean?
00:29:21Oh, I can't explain it.
00:29:23But it's there.
00:29:26And you're so pale lately.
00:29:28You have been brought up with apple-cheeked, port-ridden faces.
00:29:32Let me tell you, Patricia, there is no such thing as a musician with a fox hunter's complexion.
00:29:37Oh, and they're all pale and interesting.
00:29:40Is that it?
00:29:43What are you driving at?
00:29:44Your health.
00:29:46And I think you should see a doctor.
00:29:47No, no, no.
00:29:48No, no, no, no, no.
00:29:48He would only tell me to rest.
00:29:49And if I stop now, after working so long, I should probably be very ill and maybe I should die.
00:29:55But you're always so inscrutable.
00:29:57Oh, I'm all right, really, really.
00:29:58But if only people would let me alone.
00:30:00People?
00:30:00Yes, yes.
00:30:01I'm naturally very nervous before a concert.
00:30:03Oh, please, Patricia, don't get me all worked up like this before I go on.
00:30:08We are waiting for you.
00:30:09All right, all right, I'm coming.
00:30:12Oh, how can I play after all this?
00:30:18At your best, Paul.
00:30:20I'm sure of you.
00:30:25And I think it's better if I don't sit in the box tonight.
00:30:37You think of everything, don't you?
00:30:39It has made me very nervous lately to see you sit there.
00:30:43Yes.
00:30:45Shall I wait for you?
00:30:46No.
00:30:47Uh, no, no, no, you are very tired and I, I shall be a little late tonight.
00:30:53Jacobson again?
00:30:54Yes, yes.
00:30:54Uh, he has some new contract to discuss.
00:30:57You might as well have an owl for your agent.
00:31:00He is very wide awake, isn't he?
00:31:02I'll be tired of plotting for you in a minute.
00:31:06Good night, my dear.
00:31:19Good night.
00:32:24The concert's over early, Mum.
00:32:27I didn't go to the concert.
00:32:44Shall you be wanting anything, Mum?
00:32:46No.
00:32:48Oh, don't forget Mr. Durrani's warm milk.
00:32:50At what time, Mum?
00:32:53Well, just get it ready.
00:32:54I'll heat it.
00:32:55Very good, Mum.
00:33:30There is a great crowd here again tonight.
00:33:33It doesn't sound so formidable.
00:33:35Oh, your guests are always formidable, my dear.
00:33:38I cannot play again tonight.
00:33:41I am too tired.
00:33:43I know just how you feel.
00:33:46I have a little headache myself.
00:33:49My head feels positively empty.
00:33:52Just go in for one moment, then make your excuses.
00:33:56Oh, must I?
00:33:59I'd rather you did.
00:34:14Oh, Morten.
00:34:15Yes, my lady.
00:34:16A bottle of champagne and two glasses in my boudoir.
00:34:19Very good, my lady.
00:34:20And, Morten, bring Mr. Durrani's violin.
00:34:24Very good, my lady.
00:34:24Very good, my lady.
00:34:27Very good, my lady.
00:35:13What's the matter, Paul?
00:35:22I don't know, I have that strange dizziness again, maybe it's the wine, yes that must be it, all my
00:35:36nerves, no, no it cannot be the wine I, I didn't drink enough, come here and let me rub your
00:35:45head,
00:35:47no, no, no, no, I must make myself, remember that phrase, I, I have begun to forget lately,
00:36:05what would I do, if I could not play anymore, how absurdly you talk,
00:36:15it is so peculiarly difficult, to remember those notes,
00:36:30ah yes, yes it has come back to me,
00:36:36all right now, yes I think so,
00:36:44now that I can play, I don't want to anymore,
00:36:55Paul, look at me,
00:37:03and how can I play,
00:37:07when you are looking at me like that,
00:37:11that's rather a dubious compliment, isn't it,
00:37:15you know what I mean,
00:37:21I play, play, play,
00:37:23everyone thinks I am, I'm a machine for that amusement,
00:37:27you are tired, aren't you,
00:37:30yes I,
00:37:31I think I'm going home,
00:37:34that would be a novelty,
00:37:40good night, Paul,
00:37:44you know very well,
00:37:46I can't go,
00:37:52can't,
00:37:53or don't want to,
00:38:01all the same,
00:38:03I am going,
00:38:11good night,
00:38:12Paul,
00:38:50good night,
00:38:51please leave me alone,
00:38:55I, I am perfectly all right,
00:38:57very good sir,
00:38:59this way Pete,
00:39:11what has happened Paul,
00:39:13nothing nothing,
00:39:14if only these fellows would leave me alone,
00:39:16but it must be something,
00:39:18to bring you home in an ambulance like this,
00:39:19you just find it madam,
00:39:20it ain't no case to worry about,
00:39:22where will we take him then,
00:39:23right in there please,
00:39:32are you really all right dear,
00:39:33oh yes,
00:39:34yes I,
00:39:35I can get unbressed by myself,
00:39:36thank you,
00:39:37what happened,
00:39:39oh not nothing,
00:39:40nothing,
00:39:42Jacobson,
00:39:43he kept me very late,
00:39:44I,
00:39:44discussing the contract,
00:39:46I was very tired and I,
00:39:48I,
00:39:49I just fainted that's all,
00:39:58you better let yourself get undressed,
00:40:00now leave me alone,
00:40:00now leave me alone,
00:40:05all right,
00:40:06all right you can help me,
00:40:10yes who is this,
00:40:13I'm the doctor,
00:40:14did they bring the patient in here,
00:40:16yes in this bedroom here,
00:40:18oh thank you,
00:40:28Patricia,
00:40:29why Alan Pomeroy,
00:40:32Dr. Alan Pomeroy now,
00:40:34doctor,
00:40:35what on earth are you doing back in England,
00:40:37oh just trying to capitalize,
00:40:38on some important looking diplomas,
00:40:40they gave me in Vienna and Berlin,
00:40:42Patricia what are you talking about,
00:40:45just because I take your advice,
00:40:46and have the doctor,
00:40:47sir,
00:40:48there is no need for him,
00:40:49to verbally vivisect me,
00:40:51he's not Paul,
00:40:53better let me go in alone,
00:40:54but my husband is all right isn't he,
00:40:56oh quite,
00:40:57I'm sorry to have frightened you,
00:40:58with the ambulance,
00:40:59but it was the most comfortable way,
00:41:00of getting him home,
00:41:02his nerves are in bad shape,
00:41:03and he needs a good rest,
00:41:05but he'll be all right,
00:41:17no,
00:41:18oh it is you,
00:41:20well Gerardi,
00:41:21how are you feeling now,
00:41:22I'm all right thank you,
00:41:24well remember what I told you,
00:41:26what you need is rest,
00:41:27and quiet,
00:41:29I'll drop in and see you tomorrow,
00:41:30oh no no,
00:41:31no no,
00:41:31I should be quite all right in the morning,
00:41:33all I need now is a little sleep,
00:41:35good night,
00:41:37good night,
00:41:38good night,
00:41:44I'm Dr. Pomeroy's chauffeur,
00:41:46I think this belongs here,
00:41:48thank you,
00:42:02how is he,
00:42:03he'll be asleep soon,
00:42:05there's nothing serious the matter,
00:42:07if he obeys orders,
00:42:10think of running into you again,
00:42:12didn't you ever expect me to get married,
00:42:14oh yes,
00:42:16every time I suggested it,
00:42:17and you see I finally followed your suggestion,
00:42:20rather too literally,
00:42:21for the unselfish applause of any bitter arrival,
00:42:25when did you give up globetrotting,
00:42:27when I took up medicine as a pursuit,
00:42:30instead of you,
00:42:31you probably made a very wise choice,
00:42:33and I sincerely hope you have,
00:42:35from the bottom of my heart,
00:42:38thank you Alan,
00:43:01I go too much fun eh my favourite smile,
00:43:05I go too weird,
00:43:06there's like a good idea,
00:43:06there's like a brilliant supporter of mine,
00:43:06and I ride these two stars,
00:43:06I'll always hustle my attention,
00:43:07and then I push me on the Larry,
00:43:07and I walk along and kick away,
00:43:07my son is sparing my topicalvil now,
00:43:07and I go over there,
00:43:07my son is clark Jeris,
00:43:08and I also caused this major influence,
00:43:08in real estate lacking in a body,
00:43:08and me OH IS I HO-
00:43:18How did Paul ever happen to get you of all the doctors in London?
00:43:22Well, they called me. I live quite close.
00:43:25I see. The Countess Balakareff is a very close friend of ours.
00:43:29Oh, she was very wise not to worry you by phoning.
00:43:32Yes. The Countess has always been so thoughtful.
00:43:37What is wrong with my husband?
00:43:38Oh, just too much popularity.
00:43:42I'm glad it's something serious.
00:43:44It won't be if he does what I tell him.
00:43:46He's on the verge of a nervous breakdown.
00:43:48We just caught it in time.
00:43:50You're sure?
00:43:51If he obeys orders.
00:43:52There must be no late hours, a sane diet, and no excitement of any kind.
00:43:57But of course, you know his profession.
00:43:59Yes, and I'm afraid he'll have to give it up for the present
00:44:02if he expects to continue it in the future.
00:44:05In fact, he must give up all his present habits.
00:44:09Here's a rough diet for a starter.
00:44:12And I advise you to take him for a complete rest away from London.
00:44:17But you don't know my husband.
00:44:19Are you quite sure that you do?
00:44:21Very few know a genius.
00:44:23Except his valet.
00:44:25Or his wife.
00:44:27I think I'd better call again to see how he's getting on.
00:44:30May I?
00:44:31Of course you may.
00:44:32Anytime, Alan.
00:44:38I'm sure Paul needs medical attention until he's quite himself with me.
00:44:42Yes.
00:44:43These cases sometimes require patience.
00:44:46I'll drop by tomorrow.
00:45:02Patricia, my milk is cold.
00:45:20Patricia.
00:45:28Oh.
00:45:42Patricia, my milk is cold and my room is too hot.
00:45:50All right, Paul.
00:45:52I'm coming.
00:45:59I'm coming.
00:46:39Is that necessary at this hour?
00:46:43I said, is that necessary at this hour?
00:47:02Well, I must do something.
00:47:05How flattering you are, my dear.
00:47:08So are you, my chérie.
00:47:10I have to begin again sometime, you know, or they'll forget me.
00:47:16How will they ever forget you when you make such terrible noises?
00:47:21What if I should lose my technique?
00:47:24I'm afraid you already have, my dear.
00:47:27I only need a little practice, you know.
00:47:57I'll be right back.
00:47:57I'll be right back.
00:47:59Come on.
00:48:38Patricia.
00:48:39Daddy.
00:48:43How's my little pat?
00:48:45Little? You flatter me. I'm merely three pounds heavier.
00:48:49Glad to see me?
00:48:51If you're not here to say I told you so.
00:48:54On the contrary. I'm here to tell you that I'm proud of you.
00:48:58Because Paul and I are separated?
00:49:00No. Because you've taken your pensies like a thoroughbred.
00:49:04That's why I came to ask you to come home.
00:49:06But I can't do that.
00:49:08You don't mean to tell me that you're still in love with this?
00:49:10No. I'm quite sure that is dead.
00:49:15But my pride is still very much alive.
00:49:17Why, the papers are full of innuendo, scandal, common gossip about him.
00:49:21You've got to give up his name.
00:49:24Please. I know.
00:49:27But I must work things out in my own way. Alone.
00:49:31I rather thought you'd accept my help.
00:49:34I can't, Daddy. Not now.
00:49:39I haven't decided what I want to do. Just yet.
00:49:45Have dinner.
00:49:46Yes.
00:49:48Will you have something?
00:49:50No, thank you.
00:49:51I rather hoped you'd come and have a bite with me.
00:49:54I'm sorry.
00:49:56Some other time?
00:49:57I'd love to.
00:50:01Pardon, Mum.
00:50:02It's the same gentleman again, Mum.
00:50:04I told him you were not at home.
00:50:10Well, I'd better be going.
00:50:12Goodbye, Pat, dear.
00:50:13Good night, Daddy.
00:50:14Good night.
00:50:25Alan!
00:50:29Sir Thomas.
00:50:30How are you?
00:50:31Splendid.
00:50:32Glad to see you again, old fellow.
00:50:33How's the hunting?
00:50:35Well, I was going to ask you that.
00:50:38I guess I've forgotten how.
00:50:40Nonsense.
00:50:41One never forgets those things.
00:50:43Have you, uh, seen Patricia lately?
00:50:45Uh, Patricia's in now.
00:50:47She sent me to tell you.
00:50:49Should I go straight in?
00:50:51She's expecting you.
00:50:56Goodbye, Sir Thomas.
00:50:57And thank you.
00:50:59Good night, old fellow.
00:51:01Good night, old fellow.
00:51:13There is something about a fire that...
00:51:15I know.
00:51:19And it was positively stupid of me letting the gramophone turn itself off.
00:51:23And it took you the entire evening to find just the proper musical setting, didn't it?
00:51:28Well, you see, I have a childlike faith in, uh, soul vibration.
00:51:34And not much in gramophones anymore, I'm afraid.
00:51:37Well, they're better than radios.
00:51:40Imagine having a perfectly good proposal interrupted by, uh, the announcement of the weather forecast.
00:51:46Thought it would be better than that, wouldn't it?
00:51:49It's the only answer you've ever given me.
00:51:52Except soul vibrations.
00:51:54Yes.
00:51:55I find it much more to squeak to trust myself to them.
00:51:58You're very tantalizing at times, Patricia.
00:52:01So are you.
00:52:03But you must listen to me.
00:52:04I know it.
00:52:05That's just the trouble.
00:52:06You can't expect me to go on like this.
00:52:08I don't.
00:52:09I'm going to send you home now.
00:52:10Oh, no.
00:52:12It's twelve o'clock.
00:52:21What a reputation you'll have with the porter.
00:52:24And the first strange man to come here, too.
00:52:27Well, I should hope so.
00:52:29I think you'd better leave by the window.
00:52:33Oh, no, no.
00:52:34It would make me look much too experienced.
00:52:36And you really aren't at all.
00:52:38Maybe you're right.
00:52:40I've never tried burglary.
00:52:47I'll say it for you.
00:52:49You shouldn't have done that, Alan.
00:52:53But I have my answer.
00:52:55Alan, you're positively incorrigible.
00:52:57Well, that sounds encouraging.
00:52:58What about lunch tomorrow?
00:53:01What do my soul vibrations say?
00:53:06Yes.
00:53:08Shall we make it at one?
00:53:10Are you trying to make me fall in love with you?
00:53:12Well, you see, I have only one visiting card left.
00:53:18Who on earth could that be at this hour?
00:53:21Wait a minute.
00:53:26A telegram from Mr. Rottie.
00:53:40what is it what's the matter a telegraph from Serge Serge Paul's accompanist oh Paul was
00:53:47stricken on the stage tonight another fainting spell he's helpless may never be able to play
00:53:52again so awful Alan so horrible that would be for Paul I warned him where is he at the hospital
00:54:02he's alone and asking for me what are you going to do I must go to him and then a
00:54:09sick man has no one
00:54:10to count on but his wife and his physician you'll need my help if you can give it generously under
00:54:18the circumstances anything but generosity would be impossible I'll get my back
00:55:05patricia patricia do you hear
00:55:19I am thirsty
00:55:49do you think I do not know why you stand out there in the wind
00:55:59I was watching the ocean
00:56:05it is very beautiful today
00:56:10so blue and peaceful
00:56:17what else were you watching
00:56:21there is nothing else to watch down here except
00:56:26Alan Pomeroy's car every day you are out there waiting
00:56:33is there anything else to wait for
00:56:39no not for you too
00:56:41please Paul don't stop it all over again
00:56:46if you keep yourself worked up you'll never get well
00:56:49I won't anyway
00:56:51but do not forget
00:56:54my brain is not paralyzed
00:56:57your will seems to be
00:57:00how can you improve if you don't try to help the doctor
00:57:04and why should I help him
00:57:07do you think I do not know
00:57:10why you came back to me
00:57:14you should
00:57:15oh
00:57:16I do
00:57:18it was because you could not desert
00:57:20a helpless cripple for another man
00:57:22Paul
00:57:23even your society would rebel against such a divorce
00:57:27and remember this patricia
00:57:31whatever happens
00:57:32I will always be lying here
00:57:38between me
00:57:52well here comes your gay Lothario
00:57:55go
00:57:56go quickly
00:57:58run to meet him
00:58:00tell him what I have just said
00:58:02and see how long he'll hang around here
00:58:17hello Pat
00:58:18you're late today Alan
00:58:19yes I'm afraid I am rather
00:58:22you haven't given up hope have you
00:58:24has he
00:58:26Paul doesn't seem to want to get well
00:58:28that's his greatest handicap
00:58:29I can't quite understand it
00:58:31I can
00:58:33but he must get well Alan
00:58:35for his own sake he must
00:58:37well
00:58:37it's been nearly a month since the operation
00:58:40and he can't move a finger
00:58:43is there nothing further one can do it
00:58:46there is no better surgeon than Dr Krauss of Vienna
00:58:49but
00:58:51how awful it would be
00:58:54for Paul
00:58:56if the operation proved a complete failure
00:59:00I'm afraid it has
00:59:24well Gerardi
00:59:26how's everything today
00:59:27oh marvellous
00:59:29the sea is such a beautiful blue
00:59:34at least
00:59:35so they tell me
00:59:41well I'm glad to see you so much more cheerful
00:59:43oh who would not be
00:59:45it is spring again
00:59:47and the birds are singing
00:59:49oh you've heard them
00:59:52we're having our first touch of summer
01:00:00pretty soon
01:00:01pretty soon it will be the month of lovers
01:00:04lovers
01:00:06yes
01:00:08for some people
01:00:13you feel that
01:00:16what
01:00:25feel that
01:00:26feel that
01:00:28no
01:00:30no
01:00:46try to move your fingers as you used to
01:00:48when you played the violin
01:00:51you know very well I cannot
01:00:53oh why do you torture me like this
01:00:56don't touch me again
01:00:59i'm afraid it's no use
01:01:02i'm sorry
01:01:02Gerardi
01:01:04i wish i could help you
01:01:05you can
01:01:07by going away
01:01:09and never coming back again
01:01:12i might as well
01:01:14i've done everything i can
01:01:16and all you are going to
01:01:23i'm disappointed
01:01:25we trusted too much in dr krauss's skill
01:01:29undoubtedly
01:01:31but
01:01:33in the garden of eden
01:01:35there was a serpent you know
01:01:38i'm afraid the worthy dr krauss would hardly take that as a compliment
01:01:51goodbye
01:01:52goodbye
01:02:09It's no use my coming back.
01:02:13It is hopeless.
01:02:15They're quite sure.
01:02:17For him
01:02:19and for us.
01:02:24Goodbye, Pat.
01:02:31Would you like to walk to the car with me?
01:02:33Yes, I would.
01:03:23I would like to walk to the car with me.
01:03:23I would like to walk to the car with me.
01:03:32I'd like to walk to the car with me.
01:03:51Why, you can walk.
01:04:03And play, too.
01:04:07I have known it for some time.
01:04:13And still you lay there like that.
01:04:20How long has it been since you've known?
01:04:23Ever since the doctor took off my bandages.
01:04:26I found out when he left.
01:04:28That afternoon.
01:04:31And you're all right again, Paul.
01:04:33You're all right.
01:04:34No.
01:04:36No, I have just discovered.
01:04:38I am all wrong.
01:04:40Oh, but how wonderful that the operation was in a failure after all.
01:04:44It was not.
01:04:46But I am.
01:04:48My heart, too, was paralyzed.
01:04:51With fame.
01:04:53And I cannot expect you to live here anymore.
01:04:57Among all my ghosts.
01:05:00You are free, Patricia.
01:05:04Perhaps.
01:05:06We are both free, Paul.
01:05:10Yes.
01:05:12Yes, I, I suppose we are.
01:05:16I can always go back to my violin while you,
01:05:24you, you can go to him anytime you wish to now.
01:05:33It must have taken something more than mere selfishness to make you lie motionless between me and my happiness.
01:05:44Just cowardice.
01:05:47I wanted so to hold you.
01:05:50And I only succeeded in making myself very melodramatic.
01:05:58Imagine my trying to hold you with pity.
01:06:03When love was all that was necessary.
01:06:42The End
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