All language subtitles for Não Olhe Agora

Action Man patrol, open fire!

This is your commandant speaking.

Mortar attack. Dig in.

What are you reading?

I was just trying to find
the answer to a question
Christine was asking me:

"If the world's round,
why is a frozen pond flat?"

That's a good question.

Aha! "Lake Ontario curves
more than three degrees...

from its easternmost shore
to its westernmost shore."

So frozen water isn't flat.

- Nothing is what it seems.
- My cigarette ‒

Did you put
all the window slides together?

No, I put the duplicates
in my tray.

Action Man patrol, fall in.

Enemy in sight.
Range: 1,000.

Oh, shit! Oh.

What's the matter?

Nothing.

Dad! Dad!

Tutto è marcio.

La pietra è come tabacco.

Scavo ancora?

No, è tardi. Andiamo via.

Mia moglie
mi aspetta al ristorante.

- Ci vediamo domani a San Nicolò.
- Sì, domani, sì.

Grazie tante, eh?

Ciao.

- Hi.
- Hi.

- What are you doing?
- Just writing to Johnny.

- What did you say?
- Nothing. It's just a letter.
How did it go?

Oh, God. The deeper we get,
the more byzantine it gets.

I'm restoring a fake.

- It's incredible
you can't change your course.
- They haven't got the bread.

The options are restore the fake
or let it sink into the sea.

What did you say?

Well, I said, "Daddy's still hard at work
on the windows at St. Nicholas...

our beautiful
16th-century church.

He's done incredible stuff.
I can't tell the difference...

between his repaired windows
and the originals.

I'm going to try to get slides
of the two and send them to you.

Hope my friend Ellis is being
more reasonable this term."

That's his group captain
or something.

"I'm enclosing the money
for your gym shoes.

Buy ones with padded soles.
The others hurt your feet.

Ask Matron for those especially.
Might as well be kind to yourself."

- Just another boring letter.
- God, it's cold.

Oh. Oh, dear.

I've got something in my eye.

- Can I help?
- No, no, no.

It smarts. No, no, no.

Want me to put something
on the end?

No. Why don't you send him
a card yourself?

It's so cold in here,
the waiters don't come. Senta!

I must take some time off and ‒

Signori?

Uh ‒ What do you want?

Uh, I'll have what I had last night.

Pollo soppresso...

and a scampi ai ferri.

Vino bianco.
Due insalate verdi?

- Okay.
- It's okay? Sì, va bene.

- Did you see the bishop this morning?
- No ‒

I'm terribly sorry.

Sorry.

What?

No, she's got something
in her eye, that's all.

I don't know what he's talking about.

I think I'd better go
and help them.

Excuse me. Excuse me.

Perhaps I can show you
where it is.

It's a bit well-disguised.

Thank you so much.
Very kind.

I hope you don't think us rude.

- "Rude"? Why?
- Staring at you out there.

We're frightful starers,
the two of us.

Comes from living in the country.
Country people always stare more.

- I'm frightfully sorry.
- I didn't notice, so don't worry.

- You've been very kind. Which eye is it?
- Here. The left one.

- Let me help.
- How can you help?

- I can try.
- No. You nearly put
Jocelyn's eye out...

the last time you tried
poking about.

Well, perhaps ‒

Perhaps I can help.
Do you think?

Oh, that's awfully kind of you.

Oh, dear.

My sister is blind, you see.

- Oh, I see.
- Yes.

I see it. Ooh.

A little tiny black speck.

- I think I got it.
- Well done.

Thank you very much.
Goodness!

You do remind me of my daughter.

Oh, really?

- Only her hair is darker.
- Oh.

Well, here,
take your handkerchief.

You're sad.

You're so sad,
and there's no need to be.

- My sister's psychic.
- She wants you to know ‒

I've seen her...

and she wants you
to know that she's happy.

I've seen your little girl...

sitting between you
and your husband...

and she was laughing.

Yes. Oh, yes.

She's with you.
She's with you, my dear.

And she's laughing!

I'm sorry if we stared.

She's wearing a ‒

a shiny little mac.

Christine!

Oh, but she's laughing,
she's laughing.

She's happy as can be.

Oh, you're very like her.

The forehead and the eyes ‒

- Is that better?
- Yes.

- Shall I fetch your husband?
- No, no, don't ‒

- I'm all right. Thank you.
- Good. Jolly good.

I think if you just leave me alone,
I'll be fine.

All right, my dear.

Did you ‒

Did you really see her?

She was there.

She was there.

I felt you were right.

I felt we should.

Signore.

Ah. I sent your food back
to get it warm.

- The mastic that works
is number three. Senta!
- Oh, God.

- I've got to stand up.
- You okay?

I'm sorry.

Signore. Signore.

Grazie tante, eh?

There's nothing
but children out there.

It was the nearest hospital.
How are you feeling?

- Fine. I've been playing with them.
- I talked to the doctor ‒

- John, Christine is still with us.
- Christine is dead, Laura.

- Christine is dead.
- Of course, of course. I know.

But you know the two ladies
in the restaurant?

They were watching us eating.
They kept staring.

They told me this,
'cause they could see...

Christine sitting between us.

This is two people
we don't even know!

Listen, listen, now.

There's one who's blind.
She's the one that can see.

She's the one that has
the second sight. She's blind.

She described to me
Christine's red plastic mac.

Laura ‒

- John, listen, I'm perfectly all right.
- Laura ‒

I haven't felt as good
in months and months.

I feel really fine.
I don't need pills.

I'm not going crazy.
I feel really great.

When did the doctor say
you could leave?

Oh, anytime.
I only fainted.

John, I wish you'd believe me.
I really feel fine.

- I really feel good at last. I feel fine.
- I believe you.

Seeing is believing. I believe you.

Put your shoes on.

- Via, via!
- Fermo! Fermo!

Dobbiamo passare di là.
Devo passare.

Un omicidio!
Sta' fermo!

Che è successo?

C'è stato un omicidio.
Sta' fermo.

- What did he say? "Homicide"?
- Yeah.

I thought this was the place ‒
Isn't this where you were ‒

No.

I want to stop at this church.

It's closed.

Why that one?

Just ‒ Just wanted to.
I want to say a prayer.

Oh, Laura.

- I don't like this church at all.
- Well, I do.

- Do you have any change?
- Yeah.

I'm going to light
a candle for her.

- How much are candles?
- Fifty.

I don't have any fifties.

Maybe I'll light six.

Laura.

Thank you, my love.

The Madonna
is by Antonio Rizzo in about 1490.

The grille work is also by Rizzo.

Note the flowers woven into the motif.

Ahh!

- Jesus!
- I doubt it, hypocrite!

The bishop!
I'm an hour and a half late.

- How are you, John?
- Sorry.

Please forgive us. It was entirely my fault.
Nothing to do with John.

A woman to share
your sins with.

Laura, you're looking
much better.

- I'm really terribly sorry.
- Oh, please.

These workmen took me
around the church.

You have made
some great advances.

I'd like you to look at the mosaics.
They need to be refired.

I've already been much too long.

Now, when are you both
coming to stay with me?

Thursday, if that's all right.
Is that all right?

I'll look forward to it.

I've taken samples from the pilings.
We're in trouble down there too. If I can ‒

The churches belong to God...

but he doesn't seem
to care about them.

Does he have other priorities?

We have stopped listening.

Are you Christian, Laura?

Ah... I don't know.

I'm kind to animals and children.

St. Nicholas of this church...

is the patron saint
of scholars and children.

An interesting combination,
don't you think?

Uh ‒

We must talk, John.

Thursday.

- I'll have your room ready.
- Thank you.

I'll have the mastic samples
by then.

The acidity in the air
is breaking down all the adhesive.

I look forward
to hearing about it Thursday.

- Ciao.
- Bye.

You have the sensation
he doesn't give an ecclesiastical fuck
about the church?

Why did he ask me
if I was a Christian?

Because you kissed his ring.

What in God's name
made you do that?

- Ciao, Giorgio.
- Ci vediamo domani.

Sì.

No, seriously.

You know...

your bishop really makes me
feel quite uneasy.

He probably makes God feel
slightly less than immaculate.

- No, I don't mean that.
- Signori!
- Signore!

- La chiave ‒
- La chiave ce l'ho io.

Good!

I'm gonna get down
to some work tomorrow.

Enough of this idling around.

What?

Are you absolutely sure we don't
have to book at this place tonight?

I don't want that same performance
that happened last time.

- What place?
- Oh, John!

The place
we're going to be eating at.

Yeah, I'm sure.

I didn't bring
any Neutrogena again.

Wow!

You'll have to read this.

What are you doing?

- I can't hear what you're saying.
- I'm shouting!

- I still can't hear.
- What are you doing?

I'm having a bath.

You heard me that time.

Those lumps are coming back
on the side of your waist.

See?

I weigh 85 kilos,
which is 190 pounds.

Are you okay?

Yeah, I'm okay.

Uh, come in.

- Posso rifare la stanza?
- Sì, sì.

Oh.

Scusi. Torno più tardi.

Isn't it a miracle I didn't hurt myself
when I fainted today?

No, the unconscious body reacts
faster than the mind ever can.

- Perhaps.
- Hmm?

You've got toothpaste
all over your mouth.

Eat it off.

I can't get it off.

This.

That was a long time
before we came back.

No, it wasn't.

- Yes, it was.
- It wasn't.

- Was it?
- Mm-hmm.

Signori, you will be eating
here tonight, I hope.

No, thank you, signor Alexander.
We're going to eat out tonight.

Ah, peccato. Buona serata.

- Grazie a lei.
- Buona sera.

Hey.

Come here.
I think I've found the way.

No, we've been
over this bridge already.

Uh ‒

Well, I never minded
being lost in Venice.

We go down here,
take the second left...

and we end up
right in front of San Zaccaria.

- Oh, yeah?
- Yeah... I think.

Nice dark little alley.

- Yes, this is it.
- It isn't.

- Yes, it is.
- It isn't, though.

Come on.

No, it isn't.

Oh! Rats!

I'm getting out of here.

I know this place.

This is it.
It's the Ponte Giretto.

What?

- This is it.
- No, it's on ‒

What's that, John?

It's okay. I found the real world.
It's down here. Come on.

- What on earth was that?
- It was a cat or a rat or something.

- Maybe it was something I did.
- How could it be a rat?

What? This ‒

This was just around the corner
from where we were.

I know where we are now.

Sta' attento!

Più in alto.

Adagio.

Sì. In alto.

Va bene. Sì.

- Pronti?
- Attenzione!

Pronti?

Hello?

- Hello.
- Hello.

How extraordinary to see you!
Oh, it's Mrs. Baxter.

- Yes, yes, I know.
- My husband's restoring this church, you know.

Sì, sì, sì, sì, sì.

Ecco qua.

- Espere.
- Un momento. Lo sfaccio.

Yes. Yes, I do.
I remember her hair.

Light hair, and silky soft...

and she ‒ she tossed it
as she laughed.

- Did she die suddenly?
- Heather, you've no right to!

No, I really wouldn't mind
talking about it, actually.

I'll just get my coat.
Would you mind waiting?

I won't be a second, all right?
Thank you.

Sunday afternoon.

We'd just finished lunch.

Oh, I used to smoke then.

And I remember
I had this cigarette when ‒

You know something strange?
John just suddenly got up...

and rushed down to the pond...

almost as if he knew
something was going to ‒

- Well, it was too late.
- Yes.

- It was strange.
- Yes, of course.

- What?
- Of course.

He has the gift.

That's why the child
was trying to talk to him.

He has the gift.

Even if he doesn't know it.

Even if he's resisting it.

It's a curse as well as a gift.

It's off center.

You can't...

ever contact people, can you?

We're often asked.
She's quite famous around Elgin.

They all want
a lot of mumbo jumbo...

about ectoplasm
and holding hands.

Second sight is a gift
from the good Lord, who sees all things...

and I consider it an impertinence
to call his creatures back from rest...

for our entertainment.

It wouldn't be
for my entertainment.

Would you care to come back for tea
when your husband's finished?

Just for a little while?

Yes, I'd like that.
Thank you very much. Is that all right?

I make no promises.

No.

- It's ridiculous!
- They only want to meet you.

I'm not gonna get involved
with two neurotic old women...

in a session
of mumbo jumbo ‒ no way!

I've been trying very hard
to hang on to myself...

and to forget
about what happened...

to get rid of this emptiness.

It's been with me like some pain.
And finally...

finally, through these two women,
I've discovered how.

They disapprove
of mumbo jumbo too.

- They use that very word.
- Of course they do.

- They just want to help, that's all.
- Laura, do you not see that what ‒

She's gonna try and reach her.

Okay, Laura, that's enough.

- Now, listen to me.
- I've listened to you.

You were the one who said,
"Let the children play where they want to."

You let her go near that pond.

Thanks for the memories, Laura.
Thank you.

You said you'd give your life
in exchange for hers.

- Well, you can't do that.
- Jesus H. Christ!

John, she's trying
to get in touch with us.

Maybe to forgive.

Okay, go on.
Go on to your crazy women.

They can have their victim.
Go on. Go on.

Here. Drink this.
Whiskey.

Thank you.
I don't really need it, but thank you.

You may, child. You may.

I'll be back in a jiffy.

Here you are.

Where are you?

Me? Oh, I'm here.

Oh, the children.

- Who are you looking at?
- Um ‒

There's a boy here
with rolled-up shirtsleeves.

- Difficult to tell how old he is.
- Yes, yes, yes. That's Anthony.

And then there's Charles
next to him in his uniform.

- And then the three girls.
- Mm-hmm. Yes.

And then there's Angus.

- What? This little bust?
- Yes.

Oh, that's lovely.

Yes.

He ‒ He was a gentle child.

Oh. You haven't touched
your drink.

Uh, no.

Oh, is that Angus?

I was just looking
at the pictures of your family.

They're wonderful.

It jars you, losing one like that.
But I had two more.

So can you, I daresay.

Nothing can take the place
of the one that's gone.

Now, then.

Oh, it's all right.

It's all right.

Are your legs crossed?

Yes.

Switch the light out.

Yes!

Yes! Yes!

Yes!

Yes! Yes!

Yes!

- Cosa fai?
- English.

John! Yes!

English.

- Cosa fai qui?
- John! Yes! Yes!

- Ma chi sei?
- English.

- English.
- Mario, che succede?

- Yes! Oh!
- Delinquente!

What did she say?
What did she say?

What did she say?

What did she say?
What did she say?

What did she say?
What did she say?

What did she say?

I got scared for you.

I told you it was all right.

I was snooping.

Goddamn sisters.

How much have you been drinking?

You got scared for me, eh?

- You're not going to be sick, are you?
- Screw them.

- You're just not listening.
- I am not going to be sick.

All right, John, now, listen:
Heather, the blind one...

she is really psychic.

She has second sight.

I mean, you'd understand
completely if you'd ‒

Today when I was there, she...

she went into
the most incredible trance.

- Really, absolutely ‒
- Concentrate.

- Now, John ‒
- Yes?

She said that ‒

that your life is in danger
while you're in Venice.

- She kept on and on saying it.
- I am going to be sick.

I wouldn't go in there
for a couple of minutes if I were you.

I haven't thrown up
for ten years.

John...

I really think
we have to leave Venice.

- It was a warning. It was Christine.
- Oh, Laura ‒

She was trying to warn us.
How can I ‒

We must leave, John.

John, do you hear what I say?
It was Christine, our daughter!

My daughter is dead, Laura.

She does not come
peeping with messages...

back from behind
the fucking grave!

Christine is dead!
She is dead!

Dead, dead, dead,
dead, dead!

You must think I'm ill, then.

Yeah.

If I'm ill...

I should be seeing Dr. Jameson.

Yep.

Maybe I am.

Maybe I left England
too soon or something.

Maybe ‒ Maybe those women
were influencing me.

Maybe I shouldn't see them again.
That's what you want, isn't it?

Yep.

Maybe I should start
taking my pills again.

They're on the desk right there.
There.

Here.

Here.

W-would ‒ You could ‒

You could get a couple of weeks
or so off, couldn't you?

Yeah.

Could you?

Yes.

Do you really think
you could, John?

All right, Laura.

All right.

- Hello.
- Hello.

- Pronto?
- Who on earth is that?

- Hello?
- Hello?

What's the time, for God's sake?

Operator?

- Operator?
- What's the time?

Operator ‒

Hello.

Operator,
where is this call coming from?

Uh, hello?

- Hello?
- Where in England?

- Oh, hello. Is that Mr. Baxter?
- John Baxter, yes.

Oh, good. Look, this is
Anthony Babbage here.

- Yes?
- Headmaster at Porton School.

Yes. Yes, that's right.

I'm awfully sorry to get you
so late at night, but, uh ‒

What time is it
with you out there?

Oh, I see. Look,
we got your telephone number...

from your London people,
you see?

Yes, well, the fact of the matter is
there's been a bit of an accident.

Mm-hmm.
It's your son, Johnny.

He's been to the san
and he's in very capable hands...

but Matron thinks, well,
just poss‒

Hello, Mr. Baxter?
It's Mandy Babbage here.

Poor little Johnny.
It was an accident during fire practice.

There's nothing to worry about,
but we did feel you ought to know.

Good. Yeah.

Mm-hmm.

Tell them I'm catching
the next plane home.

What ‒ What was that?

My wife will be there
this morning.

Yes. That's very kind of you,
Mrs. Babbage.

Thank you.
Yes. Good night.

Good morning. Uh ‒

Bye.

This is what they meant about leaving Venice.
They were right, you see?

This is it. This is what they meant.

You see?

Pronto? Pronto?

Will you get me Alitalia, please?

Well, get me the airport, then.

What time do they open?

Oh, Christ.
Thank you. Yes, good night.

Darling, she said that she's sure
that he'll be okay.

A charter flight.
We got the last seat.

Oh, fantastic!

He's just finding out
where they go from.

- Don't forget to ask the bishop.
- What?

What we were talking about last night,
about staying over in England.

- Oh, yeah. Three weeks?
- Whatever you can do.

'Cause I really feel I need time
in England, away from Venice.

- I'll tell him today.
- You can't come with me now?

No.

You phone me tonight,
and I'll get away by the weekend.

Ten minutes.

The boat leaves in ten minutes
from Riva degli Schiavoni.

Ten minutes, Mr. Baxter.

- Mr. Baxter?
- Sì?

You are coming back?
We are closing.

Uh, I'll collect 'em this morning.

Give Johnny my love.
Hold tight.

I'll phone you tonight, okay?

Beautifully done.

- Hello, John.
- Good morning.

Morning.

I'm sorry, but this church
means a great deal to him.

You have all worked
so hard, huh?

- Are those the mosaics?
- Yes, they arrived this morning.

Is something the matter?

Our son had
an accident and, uh...

Laura flew to London to see him
at 4:00 this morning.

I will pray for you.

Oh, he'll be okay.

Laura's had
some complications since...

Christine, and ‒

You should have gone with her.

- Can I see the mosaics?
- Of course.

They're marvelous.

The firm has worked for my family
for over 200 years.

- Will they be able to match those?
- Oh, sure.

May I compare them?

Lower me down.
Tirami giù.

Adagio, eh?

Sì, va bene.

- Tutto bene, architetto?
- Sì, sì, sì.

Would you like to sit down
a few moments?

No, I'm gonna walk for a bit.

May I walk with you?

Please.

My father was killed in a fall.

Yes?

Yes.

It's unbelievable.

What?

My wife was warned...

that I was in danger.

"Warned"?

It was, uh ‒

It was like, um ‒

It was a kind of prophesy.

I wish I didn't have
to believe in prophesy.

I do, but I wish I didn't have to.

Che è successo?

Abbiamo trovato un corpo.

I hope it's not another murder.

We should go.

Mi scusi, sa,
ma è già dopo mezzogiorno.

Pronto?

The bishop's driver will come by
and pick up my things.

Thank you.

Laura!

Laura!

Eh, vai piano!

Ah. Where is the manager?

Ah, signor Alexander.
Has Mrs. ‒

Ah, signor Baxter.
I-I thought you'd ‒

The end of the season,
you understand?

It's my holiday.

Has Mrs. Baxter come back here?

- The signora?
- My wife, yes. Has she come back here?

Come back?
But she left this morning.

No, no, no.
I just saw her on the Grand Canal.

Has she, uh‒
Has she come back here?

She missed the plane?

No, I'm just asking
if my wife has come back here.

No, signore.
We are closed.

We are closed.

- My luggage get away all right?
- Yes.

- You didn't see my wife, did you?
- Uh, no.

Sì. Qui.

- Sì.
- Signore, è pronto.

Hello.

Sit down, Mr. Baxter.

- This is your wife?
- Yes.

And these are the sketches.

How are they?

Well, I guess
you'd recognize them from them.

Age makes women grow
to look more like each other.
Don't you find that?

Old men decay
and each becomes quite distinct.

Women seem to converge, hmm?

I hadn't thought about it,
but, uh ‒

The skill of the police artist...

is to make the living appear dead.

Yeah.

You are no longer staying
at the Europa?

No. No, it closed for the winter
this morning.

Now, tell me what happened,
from the beginning.

My wife met these two women...

a couple of days ago,
and, uh...

one of them, the blind one...

claimed to have seen Christine,
our dead daughter.

She said Christine was happy.

My wife collapsed...

and when she came round,
she was totally changed.

She was happy.
She had come to terms with the death.

Uh, we ‒ She, uh ‒

She was her whole self again.

Did you have a row?

A row? No. Uh, well, yes.

Uh, I was only trying
to protect her.

It was, uh ‒ But it was ‒

It didn't make any difference because
she went to see the women anyway...

and then she came back,
and, uh ‒

last night.

Then we went to bed.
There was a call from England.

Our son goes to school in England,
and the school phoned...

to say that he had, uh ‒
had an accident.

My wife said that
she had been warned...

so I put her on the first plane
to England this morning...

and I saw her go.

I put her on the boat.

I saw her leave at 8:30.

Have you called the airport?

Yes. The plane was full.
That's all I know.

Please go on.

And then I saw her...

between 10:30 and 11:00
on a boat.

I was on a vaporetto.

She's here in Venice
with those two women.

What is it, Mr. Baxter?

I do not understand.

If she's in Venice...

surely she will get
in touch with you.

If she can.

What is it you fear?

Uh ‒

The killer on the loose,
the murderer.

My wife is not a well woman.

Yes.

Yes, of course.

I hadn't thought.

There must be more.

No, no, there's nothing more.

My wife got something
from these two women ‒

something that doctors couldn't
give her, that I couldn't give her...

something that she needed,
so she went with them.

Where ‒
Where, I don't know.

I was outside ‒

inside ‒ the pensione last night,
where they lived.

And today before I came here,
I went to look for it...

and it's ‒ it's vanished.

So now she's with them?

Why should one criticize you
for being worried?

Thank you, Mr. Baxter,
for talking to me.

I am grateful.

Okay, I'll be
at the Palazzo Vendori.

I want you to help me,
Mr. Baxter.

Try again.
Try and find the pensione.

It will make me feel...

we have your cooperation
in a real way.

I, uh ‒

I don't even know
where to start. I-I ‒

Start from where...

you saw them the last time.

- Okay.
- Good luck.

- Thank you.
- Where did you say?

San Nicolò dei Mendicoli.

Ah, yes.

Pronto? Sabbioni?

Segua il signor Baxter
dalla chiesa di San Nicola.

Hello?
C'è nessuno qui?

Hello?

Oh. Signora, buongiorno.

- Scusi. Parla inglese?
- No.

Due signore vecchie.
Due sorelle. Una ‒

Mina? Mina?

Signora, buongiorno.

- Uh, due ‒ Parla inglese?
- No.

Due signore vecchie.

Sorelle.

Una... come ‒

Come si dice? Così.

- Ah!
- Sì? Sì?

- Venga, venga.
- Scozie.

Sono uscite
questa mattina presto.

- Una giovane signora è venuta a trovarle.
- Sì! Mia moglie!

Venga, venga.

Ma dove sono?

- Sono andate via.
- Ma dove?

Sono andate via questa mattina.
Vuole la stanza?

Io no. Grazie, no.

Dove?

- Non lo so. Mina?
- Non lo so.

Scusi, signora.
Thank you, Mr. Baxter.

- Chi è lei?
- Sabbioni.

Sezione omicidi. Murder squad.

They're not here.

Yes. Very nice.

Very nice.

- Sì, signore?
- Il vescovo mi aspetta.

- Il suo nome, per favore.
- Baxter. John Baxter.

Oh, Mr. Baxter.
Yes, of course.

He's got some people with him
at the moment.

- I'll just go tell him you're here.
- Thank you.

Eccellenza, c'è il signor Baxter.

I referti medici sono pronti?

Sì, Eccellenza.

- Oh, Sister ‒
- He won't be long now.

I have to make a telephone call
to England, which is urgent.

- Could I use that telephone?
- To England?

You'll just have
to complete this form.

Thank you.

- Press this button?
- Yes.

Pronto. Sì, per Inghilterra.

Mrs. Babbage? John Baxter.

- Oh, hello, Mr. Baxter.
- Hello.

I'm so glad you called.
We've been trying to reach you...

but the wires are down
or some such silly nonsense.

Now, the main thing is
Johnny's absolutely fine.

- That's terrific.
- Quite right as rain.

He woke up this morning
with no headache, no aftereffects...

- Good.
- and fit as a fiddle.

The doctor's let him get up,
and now he's playing around.

He's quite something
of a hero at school.

The doctor doesn't even think
it's concussion...

because Johnny's aware
of the events that led up to it.

- That's marvelous.
- That's something they have
to watch out for, apparently.

- Yes.
- I suppose you ‒

- I expect you'd like to speak to your wife.
- Sorry?

- Here she is.
- What?

- I've lost you. What?
- Hello, darling. What?

- Laura?
- John, isn't it ridiculous?

It's perfectly all right.
Doctor James says
there's nothing wrong with him.

Absolutely nothing. He just has
this little bump on his forehead.

- Laura, wh-where ‒
- Are you all right? Where are you?

- I'm at Alberto's.
- Listen, darling.

I'm catching
the 9:00 plane over, so, um ‒

I don't know what time it gets in,
but we can have a late dinner.

- I thought I saw you in Venice.
- And everything's very good.

- Huh?
- John's fine, and I'm ‒

I'm okay, okay?

I thought I saw you here today.

I thought I saw you with the two sisters,
with the two women.

I was certain. I swore it.

Darling, it's all right.
Don't worry, sweetheart.

Listen, I've just found
the flight number.

- It's, uh ‒
- Laura, where are you?

I'm at Porton, John.

Johnny and I
just got back from having tea.

Now, my arrival time is 11:00. It's ‒

Just a second.
I've got a pencil.

- You stay at Alberto's. I'll come there.
- Okay.

- Okay, I'll wait ‒
- Stay there...

and I'll see you
about 11:00, all right?

- Yeah.
- Is that all right?

- Okay. Yes.
- Is that all right?

Yeah. I love you. Bye.

- All right, darling. Bye.
- Good-bye.

Amen.

John, are you feeling all right?

Yeah, I'm ‒ I'm fine.
Excuse me, Alberto.

Uh, I think.

I just ‒
I have some things to ‒

- May I use your telephone?
- Sure.

I really don't blame you,
moving in here.

- I would have done the same.
- Yes, it's very nice.

You do want to see Johnny again
to say good-bye?

No, I've already said good-bye.

Mrs. Baxter, I think
it would be probably quicker ‒

Oh, yes, much.

Yes, I don't want
to miss that plane.

Le due sorelle inglesi?

Sì, signore.
Su per le scale, a destra, su di là.

Wendy?

Answer me.

It's me, John Baxter. Laura's husband.

What's happened to Wendy?
Where is she?

I don't know. I'll find out.
Are you all right?

- I-I don't know what's happening.
- Yes, I know.

Your sister has gone
to the British consul.

Oh, yes,
but that was hours ago.

It's half past 9:00 now.

I don't know this room.
I want to go home, back to the hotel.

This is a police station.
I don't want to stay here, Mr. Baxter.

I-I can't tell you how sorry I am.

It was a misunderstanding.

Yes, well, they took us
out of our hotel.

We were arrested,
and they asked us about your wife.

I know.
I'm-I'm truly, truly sorry.

I'm going to take you
back to your hotel, all right?

- Yes, please take me back.
- Può andare?

If I could just...

- Oh, please.
- take your arm.

You see,
you can't understand...

the noises in a place like this.

I know. I'm so sorry.

I just feel ‒

Well, yes, if you could
just take me back.

Signora Baxter?

One of the things I love about Venice...

- is that it's so safe for me to walk.
- Steps.

Thank you.

The sound changes, you see,
as you come to a canal.

And the echoes
from the walls are so clear.

My sister hates it.

That's too bad.

She says it's like
a city in aspic...

left over from a dinner party...

and all the guests
are dead and gone.

It frightens her.

Too many shadows.

We are almost there.

Yes.

Milton loved this city.

Did you know that?

No. That's interesting.

This isn't the right way, is it?

- The Palazzo di Conte Barbarigo?
- Sì, sì.

This is the wrong way.

I was told to take you
to signor Baxter.

- Yeah?
- He is at the police station.

It is just on the way.

Puss, puss, puss, puss.

Puss, puss, puss.

I've tried to keep them.
They never stay.

Well, they're very wild in Venice.
They, uh ‒

- Do you like cats, Mr. Baxter?
- Oh, yeah.

Yes, I like them, all right.
They don't like me very much.

Yes, I like them.

- Here's the hotel.
- Thank you.

- These are swinging doors.
- Yes, I remember.

I'll keep them open.

So reassuring to have a man.

We changed hotels because Wendy said
there were prowlers, and it was dirty.

- Careful of the steps.
- Thank you.

Uh... here's the key, Mr. Baxter.

- Thank you.
- Room 307.

307, yeah.

Okay, it's here.

They said you'd left when the consul
took me back to the police station.

Oh, Wendy, you're back.
Mr. Baxter has been looking after me.

- Oh, has he?
- Well, uh...

she was at the station
and had been there for a while.

I thought that probably
the best thing was to, uh ‒

- They found your wife, then?
- Yes. With the killings and ‒

He's explained everything to me.
Have we a drop of whiskey to offer Mr. Baxter?

- You will stay a minute?
- Yes.

There's the miniatures
we got for Jessie.

We're leaving tomorrow, Heather.
The airplane's been arranged.

- Have you put the photographs out?
- Here, on the dressing table.

None of that for me, thank you.
Just a glass of water.

- I'll fetch it. Do take a seat, Mr. Baxter.
- Thank you.

So...

you will be able
to find it quite easily.

Thank you.

Thank you.

- Doesn't really look like her.
- It doesn't matter.

- No?
- No.

Hmm.

Please. Your photograph.

What?

My God.

Um, thank you very much.

And thanks for your help.
Bye-bye.

Good-bye.

Oh, thank you.

- You're wearing odd socks.
- You put out my clothes.

I know. I was merely informing you.

Thank you. Laura's plane gets in.
I'd better be going.

- Let Mr. Baxter be off, Wendy.
- Wait. Wait!

- Is there anything I can do?
- No, it's all right.

- Good-bye. It'll be all right.
- Good-bye.

- Wait. Wait!
- Fetch him back!

- Wait!
- Please! Please!

Let him not go!

Please, fetch him back!

Let him not go!

Please, let him not go!

Fetch him! Fetch him!

Fetch him, woman! Fetch him!

Fetch him! Fetch him!

Fetch him back!
Fetch him back!

Oh, fetch him!

Mr. Baxter? Mr. Baxter?

Mr. Baxter!

Mr. Baxter!

- Hello. Is John here?
- Quickly! Come quickly!

- What is it?
- Quick! Hurry!

What is it?

Go on!

- Hurry! Hurry!
- Is this it?

- Please, Mrs. Baxter.
- Is it Heather?

Please.

- It's Mrs. Baxter.
- Where is he?

I couldn't find him.

Christine. I saw Christine.

- He left.
- Find him.

- He just left.
- Warn him.

You must find him.
You must warn him.

- She told you.
- When did he leave?

- Where did he go?
- She told you.

- Where did he say he was going?
- She told you...

- "Leave Venice."
- Oh, God!

She told him.

- Beware! Beware!
- Wait!

Laura! Mrs. Baxter!

Hey! Hey! Hey!

Venga qui!

Qui, qui, qui.
La barca. Qui.

No, no, no, la barca.

Espéreme, espéreme.

Espera.

Hey!

Brutto mostro!

Se ti acchiappo, ti ammazzo!
Maledetto!

Dove vai?

- Hey!
- Acchiappatelo! Corri!

Bastarda!

Disgraziata!

Hey!

Va bene.

Tutto va bene. Io amico.

I'm coming.

It's okay. It's okay.

I'm a friend.

I won't hurt you.

Come on.

Darlings!

Wait. Wait.

Wait.

Laura!