All language subtitles for Another.Time.Another.Place.1958.eng

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(gentle orchestral music)

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(rocket blasting)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle orchestral music)

(shovels thudding)

- This is Mark Trevor speaking to you

from the site of the
unexploded rocket bomb.

100 yards from where I'm standing now,

the sappers have begun to dig down

to the exploding mechanism of the V2,

which only an hour ago struck down

from the black London sky.

This is the first bomb of its kind

to land without detonating.

You can hear the sappers
reporting on their progress.

- We are nearly down
to the warhead already.

The dirt is coming away fast.

We're going to have to
take it easy for a bit.

There's a good chance the
bomb might shift suddenly.

- The sappers know that in a small chamber

behind the warhead of the V2,

is the Sterg unit.

The wires leading from
this complicated mechanism

to the firing bridge,

will have to be cut to
prevent the explosion.

- How's it coming through, Alan?

- Fine.

- Thank you, miss.

- I'm sorry, miss.

I'm afraid I can't let you through.

There's an unexploded bomb out there.

- I know, but I want to
get over to that barricade.

- You can't do it.

Your paper doesn't want you to get killed

for a story, does it?

- It practically demands it.

- Well, it's your risk.

- Thanks.

- [Man] We have uncovered
the hinged panel,

which we shall have to open somehow

before I can get to the Sterg unit.

- I thought the angels
came after the explosion.

- Thank you, Sergeant.

But I'm from the New York Standard,

and that's hardly heaven.

Do you think this will take long?

- Well, it's a delicate job.

If you're still here,

we might be having morning tea together.

- Fine.

I take two sugars.

- If I were you, I'd take a
couple of jumps out of here.

There's no telling when that
thing will decide to go up.

- [Sara] Oh, it looks so peaceful.

"Gone to bed.

Do not disturb."

- What are you doing here, Miss Scott?

- The same thing you are,
Mr. Trevor: getting a story.

- Don't you realize that
thing can blow this place

to pieces any second now?

- That's the story.

(rain pattering)

- Blast.

Rain's just what we need.

- I want to talk to you.

Call me when they get to the warhead.

- Right.

- Hello.

- I told you not to come down here.

This rain is going to make
it twice as dangerous.

- I'll admit it would
be cozier in my flat.

- You'll catch cold,
sneeze, and shake that bomb.

Then we'll have had it.

- The sergeant said we
could be here until morning.

Do you know, if we sit here till then,

it'll be the longest we've been together

in the last three weeks.

- We might even get killed together.

Doesn't that frighten you?

- The day I met you, I promised myself

that I'd spend the rest
of my life with you.

No matter how short it is.

Does that frighten you?

- No.

(knuckles rapping)

- Just as they expected.

They cleared the head completely,

then the thing slipped down another foot.

- Can't he wait until the rain lets up?

- This job's A1 category.

That means "Do it now."

- Now.

- Well, it's all yours, sir.

- Right.

You'd better get out of it.

Well, we've opened the panel
at the back of the warhead.

There are all kinds of electrical gadgets,

and I can see the Sterg unit.

- I understand there's a chance

the sapper can be electrocuted,

working with the wires in the rain.

- That's right.

- Right, let's have a go at it.

- You're all wet.

- I've heard that before.

- When?

- You may recall standing
on the dock waiting

for an air-sea rescue launch to come in

when it hit a mine.

No casualties, only some
men swimming for shore,

one of them being me.

- (laughing) Oh, you looked so funny.

- I'm sure I did, with half
of my clothes blown off

in the explosion,

and all you could do was laugh
and say, "You're all wet."

- It was your angry expression.

Oh, Mark, it's crazy, isn't it?

You spend your life looking for love

in all the proper places,

and among all the proper people.

And then there's a war,

and you find what you were looking for,

just swimming around in the ocean.

- Half drowned.

You didn't help any, either,

asking what it was like to be rescued,

after coming back from
rescuing somebody else.

- Oh, you must have hated me.

- Professional jealousy.

After all, I went out on
the launch for a story,

and you got the scoop.

- Most important, I got you.

- For which I'm eternally grateful.

- For which I'm eternally grateful.

- Mark, he's going to cut the wires now.

- There's a double core
cable running fore and aft.

The cable is insulated,

and I'm having to cut the insulation

so that I can separate the four wires.

Then I'll have to cut each
of the four wires separately.

Now I've cut the insulation.

Here comes the tricky bit.

- The sapper is now
going to cut the wires.

- One.

Two.

Three.

One more.

Four.

Now that's it.

(both sighing)

I think I'd better try
that again sometime.

I'm not quite sure I got the hang of it.

(phone ringing)
(gentle orchestral music)

- [Jake] Hello?

Hello?

Sara?

Hello!

Sara, this is Jake.

Hello?

Sara?

- How long before they call back?

- They may not.

- (laughing) No one's that lucky.

- What's the matter?

- Nothing.

- Why are you looking at me like that?

- I was thinking about
how well I know you,

and yet how little.

- What is there to know,
except that I love you?

- [Sara] I want to know everything.

Where you were born, where you grew up.

- I was born in a
village called St. Giles.

It's in Cornwall.

And I grew up there.

That's all.

- That's only the beginning.

Tell me about it.

- I'd rather-
- Please, Mark.

Tell me.

- St. Giles?

It's a place about the size of my hand.

- I like small places.

I was born in a town like that.

- All day long you can
hear the lonely sound

of the gulls overhead,

and set your watch by the
coming and going of the tides.

- What did you do there?

- I went to school, got older,
and went to work for the BBC.

When the war started, I
tried to go into the Army,

but they insisted I'd be more useful

with a microphone than a gun.

- You've just jumped a dozen years.

- The ones in Cornwall?

- Uh huh.

- They weren't very exciting.

I worked on the fishing
boats and studied at night,

and lived in a cottage on Tregenna Hill.

- Oh, Mark, take me there.

I want to see all the places you loved.

Meet all the people you knew.

- You'd be bored.

- No, I wouldn't be.

(gentle orchestral music)

Oh, Mark, never let me go.

- Never.

- [Sara] Do you know how much I love you?

- I know.

- Only half.

I still have worlds of love to show you.

- I love you more than I've
ever loved anything in my life.

- Tell me again.

- You're a greedy woman, Sara.

- Oh, yes.

Mark, there's something I
haven't told you before.

- What?

(gentle orchestral music)

- About my boss, Carter Reynolds.

I've worked for him for a long time.

Almost 10 years.

And when I left New York, he,

he asked me to marry him.

- I see.

- It wasn't the first time he'd asked me.

- But this time you said "yes."

- Out of gratitude for so
many things he's done for me.

Things that I'll tell you about one day.

But now I want to tell him
that I've found you, Mark.

- Sara, look-

- Just tell me one thing,

that we'll always be together.

Tell me.

- Yes, always.

(phone ringing)

How long can you listen without answering?

- You'll give in first.

(phone ringing)
Oh, it sounds anxious.

- Weakening?

- It must be Jake.

I should get down to the office.

- I'll take you down.

- Kiss me first.

(gentle orchestral music)

- See you tonight.
- Yes, darling.

Goodbye.

(gentle orchestral music continues)

Jonesy.

- Hello, Miss Scott.

- What are you still doing here?

You should have gone home hours ago.

- I've had a telegram, Miss Scott.

About my boy.

The one in the Army.

- Oh, Jonesy, he isn't...

- Is there anything you'd like me to do?

Filing, or typing?

- I'll give you some stuff
I did this afternoon.

(phone ringing)

Hello, Nancy.

- Hi, Miss Scott.

- Four copies, and I want them clear.

- Yes, Miss Scott.

- I'm so sorry, Jonesy.

- Four copies, clear.

I'll do them right away.

(gentle orchestral music)
(keys clacking)

(keys clacking)

- Haven't you finished yet?

- Just this second.

- Then what are you sitting around for?

Don't you know what's happening in there?

- Darn!

I forgot.

- Forgot?

You can say that without shame?

- I'll be right with you.

- Pair of kings.

- Fold.

- Well, what's the top?

- Sky's the limit.

A shilling.

- That's not a very high sky.

- Just play.

- You're happy.

- We sent the stuff in

so they could put the
rag to bed in New York,

we're here knocking ourselves out,

and you're somewhere
kibitzing with a bomb.

- Ante sixpence.

- Anything wild?
- Nothing wild but the losers.

- Anything new?
- I'll take three.

- Two.

- She's got three of a kind.

- Suffer it.

(phone ringing)

- Sara.

- Oh.

I bet a shilling.

Yes?

- Somebody fell out of a plane
and wants Sara to catch him.

- Who?

Oh, that's wonderful, Jonesy.

Thanks.

The butcher's promised
my housekeeper two chops.

- You know what those butchers
are, full of promises.

- What time you eating?

- 9:00.

- Better make it 8:00.
- Okay, what have you got?

- Full house.

Kings and 4s.

Why 8:00?

- Because you've got to
be at the airport at 9:30.

- Sorry, I have a date.

- The boss is flying in.

- Well, he can't be.

- Why not?

He can afford the fare.

It should happen to a dog.

- I thought he was at
Regensburg with Patton's army.

- He was.

Now he's in a plane coming here.

- Well, I've had it.

Count me out.

- She plays one hand and collapses.

- [All] Oh.
- Sorry.

Tomorrow night.

- Yeah, count me out, too.

And keep your hands off my money.

- [All] Aw.

- When the boss flies in, he
expects his slaves to be there.

- I told you, I have a date.

- With Mark.

- Yes.

So I'll see Reynolds here.

- You'll see him at the airport.

Sara, what's the difference?

Sooner or later you've got to tell him.

- I know.

I'm just being cowardly, Jake.

What do you think he'll do

when I tell him I'm going to marry Mark?

- You're what?

- That's right.
- When did this happen?

- Well, I almost asked him tonight.

- I think maybe I won't
go to the airport, either.

- But he'll understand.

- Reynolds?

He's been known to string
people up by the thumbs

for a lot less.

- You're a great help.

- Well, you asked me.

I'll be seeing you.

(gentle orchestral music)

(gentle orchestral music)

- Only today I said to Mr. Bunker, I said,

"When I listen to Mr. Trevor's broadcasts,

they affect me so, I
could burst out crying."

- Well, that's nothing to
be ashamed of, Mrs. Bunker.

They're so good,

sometimes even Mr.
Trevor bursts out crying.

- Very funny.

Thank you, Mrs. Bunker.

- Not at all, I'm sure.

It's 9:00, Miss Scott.

- Thank you for reminding me.

I'm sorry, Mark, but I have to run.

- Just a minute, Sara.

- But I can't, darling.

I'll change in a hurry, then
we'll have coffee together.

Come on, don't look so glum.

Ready for coffee, Mrs. B.
- Yes, Miss Scott.

Here's your coffee, Mr. Trevor.

If you don't mind my saying so,
sir, you look ever so tired.

- Yes, I am a bit.

- Well, never mind.

The war will soon be over,

and then we'll all have a nice long rest.

- Mark, I'm going to have
to miss your broadcast.

- You won't be missing a thing.

- [Sara] You know you're
not supposed to talk

about your work that way.

That's my privilege.

- [Mark] You're sure you
have to go to the airport?

- When the boss flies in,

the whole office goes to the airport.

Besides, I'm going to tell him.

- What?

- About us.

And how disgustingly happy I am.

He'll throw a few fiery glances at me,

and whittle away with his usual sarcasm.

But I'm ready for him.

In fact, I'm even dressing up for it.

- You know, I've got to meet a trainload

of returning prisoners of war.

- Oh?

Can't you come back later?

- No.

I won't be coming back.

- When the war's over, we'll
take a holiday together.

We'll drive to Spain and
rent a villa by the sea.

And every morning I'll
wake you up and drag you

into the water for a swim.

Did you say you won't
be coming back tonight?

- Yes.

- Oh.

Will you be back late?

- Sara, come and sit down
with me for a minute.

- I don't dare, darling.

I haven't time.

- It's important.

- All right.

(phone ringing)

That's probably Jake.

Hello?

Yes, Jake, I'm still here.

Well, actually, I'm in the tub

and I won't be ready for hours.

Okay.

Just wishful thinking.

You'll pick me up?

I'll be ready.

- Sara, I can't come back
tonight, or any other night.

- Well, if that's a joke...

- I'm married.

My wife's in Cornwall with my son, Brian.

- I don't believe it.

(door clicking)

- Is there anything more you want done

before I go, Miss Scott.

- No, thank you, Mrs. Bunker.

- Very well, then, I'll say good night.

Good night, Mr. Trevor.

I'll be listening to you on the wireless.

(door clicking)

- It can't be true.

- I've got no excuses, Sara.

None.

- Why didn't you tell me?

- I said I had no excuses.

Unless being so much in
love with you is an excuse.

I couldn't make myself say it.

I didn't want to lose you.

- Hmmm.

And here I was, going to the
airport to tell Carter that I-

- I've though about this
until I felt I'd break apart.

Every time I saw you, I
knew I'd have to tell you.

- Mark, Mark, what are we going to do?

- [Mark] I don't know.

I don't want to hurt you, Sara.

- I know, darling.

- And I don't want to
hurt my wife and child.

What can I say?

- Do you still love her?

- I don't know.

- You don't know?

But you can make love to me, you can say-

- Every word I said to you was true.

- Oh, that's funny, Mark.

That's very funny.

- [Mark] I don't expect you to understand.

- No, don't expect it.

- Just tell me to go.

- Why?

To make it easy for you?

- It won't be easy.

- When you decide what you
want to do, you let me know.

(doorbell buzzing)

- Is Sara ready?

- In a minute.

- She used to be everywhere five minutes

before anything happened.

Suddenly she's late all the time.

Come on, Sara.

Snap it up.

Well, how goes it, Mark-boy?

- Couldn't be better, Jake.

- Glad to hear it.

- How are we for time, Jake?

- Lousy.

Drop you off at your hotel?

- Thanks, but someone's coming by for me.

- Yeah.

- Goodbye, Mark.

- Goodbye.

(door clicking)

(Sara sniffling)

- What's the matter with you?

- Nothing.

- That guy, Mark...

- What about him?

- I like the way he looks at you.

Like he's waiting for something to happen

so he can save you.

How long since you've seen the boss?

- Not since I've been in Europe.

- I saw him about four weeks ago.

He was passing through on
a quick flight to India.

He mentioned your name.

- What did he say?

- He said, "If you see Sara, tell her that

if she doesn't get shot in Italy,

or run over by a tank in Africa,

I'll raise her salary."

- He said all that?

- Every last word.

- Somebody must've been holding him down

to keep him still that long.

(Sara sniffling)

- Let me in on it, Sara.

What's happened?

- Well, you can tell the
boss I want that raise.

Only the tank that ran over
me was right here in London.

(engine rumbling)

- Nothing.

- It's never going to come in.

- Look, it's not going
to get here any quicker

because you're nervous.

Have some more coffee.

- No, thanks.

- You got it all figured,

what you're going to tell Reynolds?

- I thought I had.

- Why don't you smoke a
cigarette while you're waiting?

(engine rumbling)

Hold it.

There's more than one plane coming in.

I'll see if it's him.

(engine rumbling)

- What are you doing in
London, Mr. Reynolds?

- Waiting for the next plane out.

- Out to where, sir?

- Paris.

- How much longer do you
think the war's gonna last?

- When's your birthday, son?

- In a few weeks.

- We'll celebrate it in
Berlin with General Patton.

Hi, Jake.

- Hi, boss.

- Your dispatches are coming in

to New York too close to the line.

Watch them.

Where's Sara?

- Inside.

- Hello.

- What did your fine
Presbyterian upbringing

teach you, Sara?

- To turn the other cheek.

How are you, Carter?

How's New York, and old Finlay, and Mike?

- Fine, fine.

- As you know, I've been
working like a fiend.

- Yes, your column's been improving.

- It's wonderful to see you again, Carter.

You've never looked better.

- All ready, boss.

- Just like old times,
catching you between planes.

- Patton's striking south
along the Bavarian fringes

of the Bohmer Wald.

He's got an arc of armor and infantry

immediately above Regensburg.

- You talk to him while you were there?

- I managed to get a few words in.

- How was the old boy?

- Happy.

- When is he going to
meet up with the Russians?

- He's in radio contact now.

Should be any day.

- Carter, have you got any
word as to when Marshal Zhukov

is gonna close in on Berlin?

- You know the Russians, they
don't tell anybody anything,

including Ike and the President.

- How many miles a day are they advancing?

- [Carter] It's fantastic.

They're advancing 40 to 50 miles a day.

- [Man] Just how much fight
is there left in the Germans?

- [Carter] Not much.

They're surrendering by the thousands.

- Why are you going to Paris, boss?

- I'm dropping over to talk to
McLellan about reorganizing.

Then I'm heading for San Francisco.

That's the spot to watch
for the big news now.

- Not a new League of Nations?

- Why not?

Because the first one failed?

Well, I'll tell you this.

By nature I'm a pessimist.

A man hands me a buck, I
hold it up to the light.

But this time, I've got a
feeling it's going to work.

It's got to.

- Why does it have to work, Carter?

Who are you going to have

sitting around the conference table?

The same old people?

- This paper is gonna
stand for the necessity

of the conferences to work.

We'll slap them when
they run off the rails,

and break our hands applauding

when they run straight and smooth.

There's been enough slaughter.

A dead man lying face down in the mud

of a field is no answer to peace.

That's all for now, thank you.

I'll be back from Paris
tomorrow afternoon.

I want you to get everybody together

for a conference tomorrow afternoon.

And I want to talk to you.

All right, Jake, what's going on?

- We're keeping the place running.

- I mean, about Sara.

- She's just getting a little
tired, like the rest of us.

Look, Mr. Reynolds, I just work here.

- [Mark] Below was a new wilderness,

the wilderness created by the bombing.

As far as the eye could see,

smoke and flame reached
for the jet-black sky.

And in the light thrown...

Could still watch for the enemy.

Flight Lieutenant William Briggs-

- You were keeping me informed about her.

A month ago you stopped.

Is that why?

- Mr. Reynolds, I told you,

this has nothing to do with my job here.

- It has everything to do with it.

What's his name?

- Mark Trevor.

He's a reporter for the BBC.

- We'll talk about it on
the way to the airport.

- [Mark] Another broadcast in the series

of Recordings and Observations of the War,

written, narrated, and produced by Mark-

(door clicking)

- That sounded like a good broadcast.

I didn't catch the man's name.

- Mark Trevor.

- I'll remember it.

His stuff might make a
good column for the paper.

Where can I get a hold of him?

- You don't have to check on him, Carter.

I'll tell you all there is to know.

In fact, I'll introduce you.

- How long have you known him?

- [Sara] Almost a month.

- How well have you known him?

- Very well.

- I'll have to look through your letters.

Maybe I missed something.

- [Sara] I was going to tell you tonight.

- Why didn't you?

Do you think you could let
me in on the latest now?

- I wanted to marry him.

- Outside of the fact that you
were coming back to marry me,

what's stopping you?

- His wife and son.

Give me a cigarette, please.

(lighter clicking)

- How long have you know that?

I found out about it
a couple of hours ago.

- You've had a big night.

- That's right.

A big night.

- Get a few things ready.

I'll take you to Paris with me.

- No, Carter.

- Why not?

Didn't he say he was married?

That means he just said goodbye.

You're free to travel.

- I can't make any decisions now.

- I'm making one for you.

I'm ordering you to go to Paris.

Remember, you still work for me.

- Well, I just quit!

I'm finished.

Do you hear that?

- I hear it, but that
doesn't change your contract.

You have three years to go.

I'm holding you to it.

- But he loves me, Carter.

Don't you understand?

- I'm sure he loves his wife, too.

You haven't been punched
enough, is that it?

You want to climb back into
the ring and really get hurt.

- I want time to figure this out.

- And what about him?

Is he going to help you?
- Yes.

- Did he tell you that?

- I know it.

I feel it.

- That's fine.

You feel it.

If I were you, I'd get it in writing.

- Carter, don't.

- You know I'm right, baby.

It's no use.

Come to Paris.

- I can't go anywhere now.

- Then I'll pick you up on my way back,

and we'll head for New York together.

What do you say?

- What can I say?

- A simple "yes" will do fine.

- You really think I'm kidding myself?

- I know you are.

- Sure, I'm just looking for a beating.

You're right, Carter,
I should know better.

Only-

(door clicking)
- The car's waiting.

- I'll be right there.

(door clicking)

I'll be back tomorrow at 4:00.

- I'll be packed.

- Travel light, because we move fast.

(gentle orchestral music)

- What have you got?

- So far, nothing but a headache.

- Take an aspirin.

You've got half an hour.

- There.

- Is it good?

- No, it's terrible.

If you give me some more
time, I can make it worse.

- What's the matter with you?

- I'm sorry, Alfy.

I just couldn't get going tonight.

- Look, if you don't think
it's really up to par-

- No, I think it'll get by.

How are you feeling, Jonesy?

- I feel a bit hollow, Miss Scott.

But I'm all right.

Good night.

- Good night.

(gentle orchestral music)

- Are you sure you won't come
over to my flat for a drink?

- Thanks, but I don't think so.

- Look, Mark, about Sara-
- Forget it.

- I know how tough it must have been.

- Yes.

- What time do you want to cut
the tapes tomorrow morning?

- I'm going to sleep till 9:00,

unless the building falls in.

Good night.

(engine revving)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle orchestral music continues)

(phone ringing)

Sara?

- Alan here.

The building just fell in.

The Germans surrendered in Italy.

- What?

Where are you now?

- [Alan] Back at the office.

They've accepted all the
Allied demands unconditionally.

- What's our job?

- We fly to Paris in three hours,

and from there, on to Rome.

I'll pick you up in front
of your hotel at 6:00.

- I'll be ready.

- Can I help you?
- Sloane 3718, please.

(phone ringing)

- Would you call Mr. Trevor for me?

- Yes, sir.

- Tell him Mr. Thompson is waiting.

- I'll do it right away, sir.

- Hello, Sara.

- Where's Mark?

- Coming down.

He told me that you'd both
decided to call it quits.

- I didn't know you were concerned.

- I've been a friend of
theirs for a long time.

- If you were so concerned,

why didn't you tell me he was married?

- I should have, but-

(dramatic orchestral music)

- Oh, darling.

I tried to stay away.

I did everything I could.

- I've been ringing you.

When you didn't answer-

- I don't want you to leave me.

We'll find a way out of this.

Tell me you feel the same.

Please!

- Yes, we'll find a way out.

- How about shoving off?

- Where're you going?

- The Germans have surrendered in Italy.

We're flying to Paris, and then to Rome.

- No.

No, let them send someone else.

- Darling, I have to go.

- But what about us?

- We've got to move, Mark.

Goodbye, Sara.

- Just remember this, I love you.

- You will come back
to me, won't you, Mark?

- I promise.

(gentle orchestral music)

Don't catch cold.

Just catch my broadcast, tomorrow morning,

11:00, from Paris.

(gentle orchestral music)

(gentle orchestral music)

- Shall I make you some
more toast, Miss Scott?

- No, that's plenty, thanks.

- I had a terrible night.

I dreamed I'd lost me ration books.

And there was me and Mr.
Bunker just wasting away.

- (laughing) That was a nightmare.

- It was!

Well, I think I'll go
and do me kitchen now.

(doorbell buzzing)

- I'll get it, Mrs. Bunker.

Carter, what are you doing back so soon?

- I managed to finish my
business quicker than I thought.

I caught an early plane.

- Well, you're just in time for coffee.

Sit down.

I have a lot to tell you, Carter.

I saw Mark just before he left for Paris.

- Sara-
- Please don't be angry,

but I'm not going to New York with you.

We're going to work it out, Mark and I.

- Sara, listen-

- He promised that-
- Miss Scott, it's 11:00.

- That's Mark's broadcast.

- No, wait.

- What do you mean?

I don't want to miss it.

- Sara, before it comes on,

I didn't finish my work in Paris.

I flew back to tell you myself.

- [Man] This is the BBC Home Service.

We regret to announce

that the broadcast originally
intended for this time,

has been canceled, owing
to the tragic death

of our reporter, Mr. Mark Trevor.

Mr. Trevor was one of a
number killed in an air crash,

at Le Bourget early this morning.

- No.

It's a mistake.

No, no, no!

It's a mistake!

- [Man] A list of other
victims of the crash

will be broadcast later in the day.

There will now be a short interlude.

(switch clicking)

- Carter, you've always told me,

"Check and recheck a story."

- I've checked and rechecked.

The story's gone to press.

(Sara sighing)

(marching band music)

(gentle orchestral music)

- Well, how is she, Doctor?

- Better, but not well.

- She's been here six weeks.

- Six weeks is a short time in this case.

Grief does different
things to different people.

In Miss Scott's mind, she knows he's dead.

But emotionally, to her, his
death is like a bad dream,

from which she'll awaken
and find him again.

However, there's a more immediate problem.

- Yes, what's that?

- She insists on leaving.

I've prevailed on her to
stay on here another week.

But after that, there's nothing
I can do to keep her here.

- Doctor, did she tell
you what she'd like to do?

- No.

Just that she wants to go back to work.

- Can she travel alone?

- Oh, yes, I think so.

- All right.

May I see her now?

- Yes, of course.

Come along.

(gentle orchestral music)

(gentle orchestral music)

- Hello, Sara.

- Hello.

- I understand you're ready to leave.

- At the end of the week.

- Good girl.

- What's my next assignment, Carter?

- Getting on a ship for home.

- I thought I'd stay
in London for a while.

- Not a chance.

We need you back in New York.

I'd take you with me, but
I have to leave tonight.

There's a ship going from
Plymouth on Saturday.

I'll have Jake put you on it.

- Plymouth?

- That's right.

The sea air will do you good.

You'll have nothing to do
on board but eat, sleep,

and get completely rested.

Sara, Sara, I know how
tough it's been on you,

but that's all finished now.

Do you understand that?

- Yes.

- Mark is dead.

When somebody dies, you
have to pick yourself up

and get going again, fast.

- I know.

- Because if you don't, you can make a lot

of trouble for yourself.

What do you say?

- I'll do my best.

- And I'll give you all the help I can.

I love you, Sara.

I'll be waiting for you.

Is it a deal?

Saturday, from Plymouth?

- It's a deal.

- Take care of yourself.

I'll see you in New York.

(gentle orchestral music continues)

(door clicking)

- Hi.

- Ready to go?

- All packed.

- I got you a nice slow
ship with a nice big bar.

- I'll need it.

I wish I could offer you a drink now-

- Who taught you how to pack?

You should always leave a bottle out.

- I can give you a cigarette, American.

There's some coffee.

- Relax, I'm fine.

Now, look, you're not
sailing until tomorrow,

so we can spend the evening together,

and I'll tell you all about how I used

to beat up my dad when I was a kid.

- Sorry, Jake.

But I'm leaving today.

I don't want to face the
crowd on the boat train,

so I'll sleep in Plymouth tonight

and go aboard early in the morning.

- I'm supposed to keep you in
chains till they ship anchor.

- Well, I'm as good as gone.

From now on, I'll take care of myself.

- Okay.

I'm flying out myself tomorrow
for a briefing in New York.

Next stop, Japan.

So, goodbye.

- So, goodbye.

And thanks.

- Cor!

I waited for hours in the queue

for these tickets, Miss Scott.

You know, Mr. Klein, it
was just like old times,

seeing all them people buying
tickets for the seaside.

Me and my husband used to
spend our holidays in Cornwall.

Here they are, Miss Scott.

- Thanks, Mrs. Bunker.

I think there's still
some stuff in the fridge,

if you'd like to take it home.

- Oh, thanks, Miss Scott.

- So long, Jake.

- Cornwall.

Seems I heard about that
place somewhere before.

Isn't that way down in
the west of England?

- Mind your own business, huh?

- Wasn't there a guy
we both knew that used

to live down there?

- So what?

- So what are you trying to do?

- I just want one look at his house.

- Sure.

That ticket to Cornwall

is like buying a round
trip to the hospital.

- Really when I found
out how near Plymouth

was to St. Giles-

- You thought you'd just drop down there

and get yourself in some real trouble.

- All right, Jake.

Hang it up.

- Do me a favor, sweetie.

Don't go.

- Aren't you going to be late?

- Look, Sara, please.

- I told you I just want to
see the town he was born in.

- Just one look, Sara.

Then get out of there.

(gentle orchestral music)

(gentle orchestral music)

(gentle orchestral music)

(birds squawking)

(children laughing)

(birds squawking)

- [Man] All the boarding
houses is full up.

Every train from London
brings more of them.

- It's nice having the town full again.

We'll have to get the boats
out for the shark fishing.

- Aye.

- Remember that whopper we
caught just before the war?

- James.

- Good afternoon, madam.

- Good afternoon.

Are you the manager?

- That's right, what can I do for you?

- I'd like a room and bath for tonight.

- I'm sorry, ma'am.

I'm afraid we're full up.

- You haven't anything?

- I'm very sorry.

You see it's been so long since
people could visit this part

of the coast, that
we're completely booked.

- I see.

Well is there a train
back to Plymouth tonight?

- Yes.

There's the 8:57.

- I wonder, may I leave
my bag and coat here?

- Why, certainly, madam.

I'll put them in my office.

- How do I find the old part of town?

- Go out there, turn right,
and straight up Tregenna Hill.

- Tregenna Hill.

- That's right.

Cross the quay, then straight up the hill.

- Thank you.

I'll find it.
- Thank you, madam.

(dramatic orchestral music)

(dramatic orchestral music continues)

(dramatic orchestral music)

(birds squawking)

(dramatic orchestral music continues)

(dramatic orchestral music continues)

- Hello.

- Hello.

- I've never seen you before.

Are you a tourist?

- Yes, I guess I am.

- My mother says tourists
grow in the summer.

- She's right.

- You're an American, aren't you?

- Yes.

- Brian, tea's ready.

I hope he wasn't bothering you.

(dramatic orchestral music)

Are you all right?

Look, come inside and
sit down for a minute.

It's no trouble.

(gentle orchestral music)

Come and sit over here.

Would you like a cup of tea?

- Thank you.

- Good.

I've got the kettle on.

(dramatic orchestral music)

Are you feeling any better?

You looked so pale.

- I did a bit too much today.

I was ill recently in London,
and I'm still getting over it.

- Oh.

My name's Kay Trevor.

- Mine's Sara Scott.

- Is this your first visit to St. Giles?

- Yes.

- What do you think of it?

Or haven't you made up your mind yet?

- Well, I've only been
here for about an hour.

- Oh, that means you've been right round

the town and back again.

Show me.

Hmm.

The left one's not bad, but
the right managed to escape.

- My father said there's a
building in New York so high,

they have lights on it to warn airplanes

not to come too close.

- That's the Empire State Building.

- I should like to build
something that high.

Then I'd stand on the top of it,

and put my head in the
clouds that came by.

- Brian's inherited his
father's imagination.

You've finished your milk, darling.

You can go and play.

Are you staying in St. Giles

or are you just here for the day?

- No, I'm going back to Plymouth.

I meant to stay the night
tonight, but I can't get a room.

- Oh, that's a shame.

I know some people who take in guests.

I could give them a ring and
ask them if they've got a room.

- Thank you, but it's probably better

for me to be in Plymouth.

My ship sails for New York in the morning.

- Oh, I see.

- The manager at the hotel said that there

was a train back about 8:30.

- What will you do in the meantime?

- I'll stay at the Inn.

My suitcase is there.

- Oh, that's no fun!

Why don't you stay here and relax,

and have dinner with us?

- Thank you, but-

- Look, the restaurants
are going to be just

as full as the hotels.

And I can get a lobster.

Do you like lobster?

- Yes.

(dog barking)

- I've got him to bed.

I'm still bigger than he is.

I hope he didn't bother
you too much over dinner

with all his questions.

- I enjoyed them.

- Good, because he asked
if you'd go upstairs

and say good night to him.

You've made quite a conquest.

- Oh, do you think so?

- He can't talk of anything
else but getting me

to pack his things,

so that he can go back with you

and climb the Empire State Building.

- Well, I couldn't refuse after that.

- I'll take you up.

- Is New England the same as England?

- Well, it's a little the same.

Only it's awfully cold in winter,

with snow that comes
right up to your ears.

- To yours, or mine?

- Yours.

And in the summer, the sky spreads out

like a tall, blue sail.

- What did you do there?

- Well, when I was a little girl,

I used to watch the men
printing my father's newspaper.

There always was the smell
of ink, and the whirring

of the machines.

- [Brian] What does "whirring" mean?

- That's the sound the machines make.

- If I went to America, who
would I play with there?

- There are lots of
boys and girls your age.

- Do you have any?

- No.

- Lights out, Brian.

It's past your bedtime.

- I'll sleep later in the morning.

- No, you won't.

Come on, now.

Good night, darling.

Say good night to Miss Scott.

- Good night, Miss Scott.

- Good night, Brian.

- Would you like a drink before you go?

- Yes, thank you.

- Come on down to the study.

(gentle orchestral music)

Is anything the matter?

- No, it's just that music.

- I'll turn it off.

Music has such a way of bringing
back memories, hasn't it?

Did it remind you of someone?

You know, I think the most difficult thing

about losing anyone is
to be taken off guard.

- The feeling of things
half-said, half-finished,

- I can tell you something that helped me.

I found it wasn't any
good to resist grief.

I just let it have its way,

and after a while,
something inside me said,

"Very well, you can bear that."

It was easier then.

How about that drink?

For a while after my husband's death,

I couldn't come in here
without crying like a baby.

Do you know a line from the Bible,

"And the places that knew
them shall know them no more?"

- Yes.

I know it.

- My husband was with the BBC.

Those are copies of his broadcasts.

Perhaps you heard some of
them when you were in London?

- Yes, I did.

- He did a series of
on-the-spot recordings.

The best thing he did was

to describe how they took
an unexploded bomb apart.

I was so frightened just listening to it.

- How long were you in London?

- About three months.

I work for an American newspaper.

I've been here writing articles
about the people in London.

- Did you come straight from the States?

- No.

I was in France first.

Paris.

- Oh, Mark and I were
there a lot before the war.

It's a lovely city.

We nearly settled there for a while.

Life has a strange way

of standing back until you're happiest,

and then, when you've got a
great big smile on your lips,

it gives you a solid whack across the jaw.

Do you know what I mean?

- Well, I'm a newspaper woman.

What life does to people is my business.

I report it.

- Well, cheers.

- Cheers.

I'd better go.

I don't want to miss
the train to Plymouth.

- I'm afraid you're not going to make it.

I didn't realize what the time was.

- Can't I take a taxi?

- Not at this hour.

- But my ship leaves early in the morning.

- Look, why don't you stay here tonight,

catch the early train?

- Oh no, I couldn't.

- But you'll get there in plenty of time.

And I am sure that Brian
has a lot of questions,

he'd be delighted to ask you at breakfast.

Come on, I'll show you the room.

(dramatic orchestral music)

(bell tolling)

(wind howling)

(dramatic orchestral music continues)

(dramatic orchestral music)

(wind howling)

(dramatic orchestral music continues)

- Mark.

(men chattering and laughing)

- [Sam] Well, goodnight, Mr. Polworth.

- [Mr. Polworth] Good night, Sam.

(dramatic orchestral music)

(dramatic orchestral music continues)

(glass shattering)

(dramatic orchestral music)

(Sara sighing)

(dramatic orchestral music continues)

(wind howling)

(Sara sobbing)

(dramatic orchestral music continues)

(knuckles rapping)

- Miss Scott?

(phone ringing)

- Ship Inn.

- Oh, good morning, this
is Mrs. Trevor speaking.

I wonder if you could help me.

- [Man] Yes, Mrs. Trevor?

- Did a Miss Sara Scott
check in with you last night?

- No, nobody's checked in, Mrs. Trevor.

We've been full up for days.

- I see.

Thank you.

- Number, please.
- Hello.

Four-seven, please.

(phone ringing)

- Hello.
- Alan, it's Kay here.

- Oh, hello!

- Listen, something rather odd's happened.

Could you come round?

- It's nothing serious, is it?

- I'm not sure.
- I'll come right away.

- So I asked her to stay the night.

- When do you think she left the house?

- I don't know.

Her bed's not slept in.

I'm really worried, Alan.

She seems so strange.

Her nerves are raw.

She looks like I looked
after Mark's death.

- What's her name?

- Scott.

Sara Scott.

- Well, I'm, I'm sure
everything's all right.

- It was the way she looked at things.

As if she were seeing
everything for the last time.

- I'll go down to the police station.

(dramatic orchestral music)

Kay.

(dramatic orchestral music continues)

- I'll call the doctor.

Hello?

Eight-five, please.

Hello, Dr. Meade?

This is Mrs. Trevor speaking.

Yes.

I wonder if you could possibly
come over to the house.

There's been a bit of an accident.

(dramatic orchestral music)

Thank you so much.

Goodbye.

(waves crashing)
(dramatic orchestral music)

(gentle orchestral music)

(birds squawking)

Well, Dr. Meade says in a few days

you'll be as right as rain.

- Is that a diagnosis or a weather report?

- He's really very efficient,

although he does bumble about a bit.

(Sara laughing)

He's written to your doctor in London

and given him a full report.

- I don't remember telling
him who my doctor was.

- Dr. Aldridge.

You told him on the first day.

- Oh.

- Are you warm enough?

- Yes, fine, thanks.

- You know, I'm going to
miss you when you leave.

During the war, Brian
and I were here alone,

but we were always expecting Mark,

and that helped to fill in the days.

- And now I've filled
your days with extra work.

- I didn't mind that.

When Mark was here,

I used to think St. Giles
was the most perfect place

in the world.

Odd, isn't it, how the
presence of someone you love,

can make a whole place beautiful?

- Yes, I know.

- It's done me good to have
someone here to look after.

I felt useful again.

And Brian's had a holiday
away from too much attention.

He wants you to stay on.

Why don't you stay?

- Well, I'd like to, but all
of my things are on the way

to New York.

At least they made the ship.

Besides, when the office
finds out I'm not on board,

they'll really be after me.

- You've got your job.

- My job's got me.

- Yes, I see.

Well, first, you can buy anything you need

in the shops here.

And second, you can write to New York,

and tell them that you're covering

the most tremendous story,

and you can't leave
until you've finished it.

- And what do I hand in when I get back?

- I'll let you figure that one
out while I get some paper.

(gentle orchestral music)

(birds squawking)

- How are you feeling, Miss Scott?

- Fine, thank you.

- Good.
- I've spilled the glue!

- On what?
- On me!

- Excuse me while I unstick him.

- I wanted to come and
see you before this.

But then I thought, perhaps
it wasn't very wise.

I know what a shock it
was when you saw me here.

- Yes, I thought-

- That I died with Mark?

Almost.

I was in hospital for a month.

- On the plane,

did Mark say anything?

- About you?

- Yes.

- I don't remember.

- Or you don't want to remember.

- Does it matter?

Kay tells me she's asked
you to stay on for a while.

- Yes, she did.

- You told her you couldn't.

Look, if you think you can travel,

I haven't enough petrol
to get you to London,

but I can manage Torquay.

There are some good hotels there.

And while you're there, you
can arrange a passage home.

- How would I explain that to Kay?

- I'll do the explaining.

- Why do you think you have
the right to interfere now?

- I'm only trying to
prevent Kay from being hurt.

- I'm not going to hurt her.

- If you stay here,

sooner or later she'll
find out who you are.

And not from me.

- And not from me.

- If you don't feel up to it,

I'll contact your office to
book your passage for you.

- You're very kind.

- Don't mention it.

- But I think I can handle this myself.

- Let me know what you decide.

- Alan.

Tell me.

What did Mark say?

- Nothing.

(dramatic orchestral music)

Stick the pin around the strut.

Not in my finger!

- You said you'd take me sailing.

- Name the day.

- Today.

- Okay, today.

- I'll get my boots.

- What are you doing this evening, Kay?

- I think I'll stay at home.

- Isn't Sara well enough
to stay by herself?

- No, not really.

- Let me pick you up at 7:00.

We'll go to the pictures.

- Another time, Alan.

Please.

- I'm ready!
- Good boy.

Well, I'll call you tomorrow.

Come on.

(gentle orchestral music)

(machine whirring)
(intercom buzzing)

- Yes?
- Mr. Reynolds,

I have your call to London, sir.

- Dr. Aldridge?
- Yes, this is Dr. Aldridge.

- This is Carter Reynolds.

I got your cable.

- I'm afraid I've got some
rather disconcerting news

about Miss Scott.
- I don't understand.

She's on her way to New York.

- No.

It seems she went to a
village called St. Giles,

in Cornwall.
- Well?

- Well, the point is, St. Giles
is where Mark Trevor lived.

She's actually staying in his house.

- What?

- I received a letter from a
Dr. Meade, who attended her.

He said she suffered some kind of shock

and is remaining to recuperate.

- We've got to get her out of there.

- I'm afraid I really have
no right to interfere.

I simply felt it was
my duty to get in touch

with a responsible person.

Of course, I agree.

She should leave there
as soon as possible.

- All right, Doctor.

Thanks.

You'd better think fast.

- About what?

- Sara's still in England.

- She can't be.

- She's living in Trevor's place.

Did you know she was going there?

- She said she was just
going to take a look at it.

How could I know she was
figuring on moving in?

- Get me air reservations, please.

- Yes, sir.
- I think I'll hang myself.

- Let me know when, so I can watch.

- [Jake] What do you think she's doing?

- What does any woman want
to do when a man dies?

- Yeah, what?

- Put flowers on his grave.

(dramatic orchestral music)

- [Mark] As far as the eye could see,

smoke and flame reached
for the jet-black sky.

And in the light thrown
by this angry fire,

the young face of the dead
copilot could be seen,

his eyes still open, as though even

in death he could still
watch for the enemy.

Flight Lieutenant
William Briggs, the pilot

who had spent so many summer holidays,

in the countryside he had just smashed

to pieces with his bombs,

stared silently ahead

as he turned the plane back for England.

- Oh.

I hope you don't mind.

- Of course not.

- That's one of the broadcasts
I heard when I was in London.

- It was almost the last.

- How many did he do altogether?

- One a week from the time
the first bombers came over.

- The ones I heard were very good.

- I thought they were all good.

He wanted to turn some
of them into a book.

Occasionally, he would come
home and try and work on it,

but he never had enough time.

- Have you ever thought of
doing anything with them?

- Yes, I've thought about it,

but I don't really know
how to put them together.

- Did he leave any notes
on how he wanted to do it?

- [Kay] No.

He threw everything away.

- I wonder if it would be a good idea

to use the scripts as
part of a bigger story.

- How do you mean?

- Well, almost his own story.

Tying one script to another,

with descriptions of
the man who wrote them,

his life here at home,

and then how different
it became during the war.

- [Kay] That's wonderful!

But you'll have to help me with it.

(gentle orchestral music)

- [Sara] Brian was my guide

through the days and years of Mark's life

before we met.

Through his eyes I saw
the village of St. Giles

as Mark had known it.

I saw the people who lived there,

the people he had grown up with,

and I felt I knew them.

(gentle orchestral music)

Here was his boyhood school,

where the man who had taught
him was now teaching his son.

(gentle orchestral music continues)

It was becoming my village,

my people,

my life.

(gentle orchestral music)

What was it Mark had said?

"All day long, you can hear
the sound of the gulls,

and you set your watch by the coming

and going of the tides."

(birds squawking)

Our time together was short and hurried,

but now I was seeing his
timeless world of ocean and sky.

(gentle orchestral music continues)

Even the joy of warm evenings

in front of the cottage fire was mine.

I've turned the clock
backwards and fooled time.

I'm putting together
all the years I missed.

They belong to me now.

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle orchestral music continues)

- It's so vivid, Sara, and alive.

- I think I've done enough for today.

- Strange, you're even
showing him in a light

that I hadn't seen before.

- I've been trying to get
every side of his character.

- You've done more than that.

You see, his work in London,

first of all took him away from me,

and then his death
seemed to make it final.

But now you're bringing him back.

(dramatic orchestral music)

(birds squawking)

(doorbell ringing)

- I'll answer it.

Hello.

- Oh, good morning, young man.

Is Mrs. Trevor in?

- She's gone shopping.

But Miss Scott is here.

- Would you go and tell her
there's someone to see her?

- Yes, sir.

(keys clacking)

There's someone to see you.

She's coming.
- Thank you.

- Carter!

- Hello, Sara.

- When did you-

- I just got off the train from London.

You look fine, Sara.

The air here must agree with you.

- I'm sorry, Carter.

I should have wired you I was all right.

- I was planning to
come over again anyway.

I thought while I was here I'd pick you up

and take you back with me.

After all, now that you've
lost your sense of direction,

I don't want to let you out of my sight.

- Well, I can't leave just yet.

Maybe in a few days.

- I understand this was
Mark Trevor's house.

- [Sara] Yes.

- His wife and son still
live here, don't they?

- Carter, I didn't plan to stay.

I only wanted to look at the village

and the house, and then go.

- That was some time ago.

You're still here.

- Yes, I'm still here.

- So that's what he looked like, huh?

I never met him in London.

I didn't think I'd ever
have the chance to see him,

or his wife.

I suppose it's foolish
of me to ask if she knows

who you are.

- She doesn't know.

- Sara, what are you doing?

Waiting around for her to find out?

- I said I was leaving soon.
- What's holding you?

- Well, I have something to finish.

Oh, Carter, this is Kay Trevor.

This is Carter Reynolds.

- How do you do?
- How do you do?

- Carter's my boss.

He owns the paper I work on.

- I hope you're not
going to take her away.

- Well as a matter of fact,
we were just talking about it.

We may have to close down

if we don't get Sara's column going again.

- I'm sure that's true.

She's a wonderful writer.

- One of the best.

- Have you told Mr. Reynolds

about the work you've been doing here?

- No, I haven't had time.

- What work is that?

- Kay's husband was a
broadcaster with the BBC.

He was killed in an airplane accident

just before the end of the war.

- I'm sorry to hear that.

- And I'm helping to make
the broadcasts into a book.

- I see.

- Sara's spent hours gathering information

about my husband's life.

- That's very interesting.

I'd like to see what you've done.

- Well, it won't be
finished for a few days.

- I suppose you'll be going then.

- Yes.
- I'm afraid she might even

have to finish it in New York.

- [Kay] I'm going to miss her.

- I'm sure you will.

- Can you stay to dinner, Mr. Reynolds?

- I'd be delighted.

Are you sure it won't be too much trouble?

- Not at all.

- Didn't you say you had work
to do this evening, Carter?

- Nothing important.

I'll just send a few cables and come back.

- Good.

Let's have a party.

I'll get hold of Alan.

And I must check the larder.

(door clicking)

- Carter, I want you to get out of here.

- That's exactly what I want to do.

As soon as you're ready, we'll go.

- I can't leave yet.

- Why not?

You can finish your work in New York.

- Kay asked me to help
with the broadcasts.

I'm doing it for her!

- Sara, you can think faster than that.

- It's true.

- You're just doing a job of work, eh?

Nothing personal?

All right, since we're pressed for time,

I'll tell you what I'll do.

I'll help you with them.

I'm a pretty good writer.

- I don't need your help.

- Is it too private?

- Please, Carter, leave me alone.

- Sara, I didn't come
3,000 miles to say hello.

I came to take you back with me.

Say goodbye to Mrs. Trevor for me.

I'll be back for dinner.

(door clicking)

What was your job during
the war, Mr. Thompson?

- I was with the BBC.

- Is that so?

- Alan worked with my husband.

- I see.

- Outside broadcasting.

I was Mark's assistant.

- [Carter] Must have
been very exciting work.

- It was, sometimes.

- Mrs. Trevor tells me that she and Sara

are turning some of her
husband's broadcasts into a book.

- That's right.

- [Carter] Are you helping them with it?

- No.

- I'd have thought Mr.
Thompson might be very helpful.

He could give you
valuable technical advice.

- I can still use it.

- I don't know that I could find the time.

- Don't you think the book's a good idea?

- Oh yes, fine.

How long do you think you'll
be in England, Mr. Reynolds?

- Only a short while this trip.

I wish I could stay longer.

I'd like to watch London
recovering itself,

starting to live again
without the blackout.

- They must have a wonderful
sense of freedom there now.

- Did you spend time in
London during the war?

- [Kay] Hardly at all.

I had to stay here in St. Giles

to keep Brian away from the raids.

There wasn't anyone to
look after him but myself,

so I was pretty well stuck here.

- I'm not sure that isn't
the greatest cruelty of war,

the separation of people,
husbands and wives.

- Yes, the waiting for the
mail to arrive each day.

Most of the time waiting in fear.

- Did your husband
manage to get home often?

- Quite often when he started his work,

but not much the last months.

- Nobody had time then.

- I suppose not.

- They were hectic days for everyone.

- Yes, I know.

I don't think I've ever felt,

as lonely as I felt then.

When Mark first began on his broadcasts,

his letters used to be full of excitement.

He was stimulated by everything he saw,

and he would write to me so
that I would feel part of it.

And then towards the end, the
letters got less frequent.

Just short notes.

I think he was under some terrible strain.

- Yes.

Yes, we all were.

Did you say there was some brandy?

- Yes.

I forgot about it.

Come and help me with the glasses.

- [Alan] Right.

- What are you trying to do, Carter?

- If you don't know,
Sara, I didn't succeed.

- You think I don't feel
guilty enough, is that it?

Because Mark was with
me during those days,

that I kept him away from her?

- I want you to stop trying to
take him away from her again.

- I'm not trying to-

- Sara, can't you see it?

- I'd like to propose a toast.

- Mr. Reynolds.
- Thank you.

- To Sara.

(birds squawking)

- Landlord.

- Sir?

- Do you have some telegraph blanks?

- I'm sure we have some somewhere, sir.

- Mr. Reynolds?

- Hello, there.

Sit down.

- Thanks.

- Have a drink?

- Here you are, Mr. Reynolds.

- Thank you.

What will you have?

- I'll have a beer, please.

- Make it two.

- Two beers, sir.

Certainly.

- What's on you mind?

- If you've got a minute,

I'd like to talk to you about last night.

- What's bothering you, Mr. Thompson?

- Sara.

Why did you let her come down here?

- Let her come?

I instructed one of my employees

to put her on a ship for New York.

- Maybe he didn't understand,
because she missed it.

- She won't miss the next one.

- Can I count on that?

- Uh huh, I'm going to
put her on it myself.

- Two beers, gentlemen.

- Thank you.

- Thank you.

- Cheers.

- Cheers.

- Exactly what's your concern in all this?

- Kay Trevor.

- Yes, I thought so.

- I don't like standing around

while everything's shaping up to hurt her.

A few more evenings like
the one we had last night-

- All right, let's get to the point.

What about it?

- While Mark and Sara
were together in London,

his letters to Kay got
shorter and shorter.

- So she said.

- She sensed that something
pretty deep was wrong,

but before she could get
at the truth, he died.

Of course, she took it very hard,

but she managed to get to her
feet and start living again.

She didn't let herself
think about the last days.

Only about the good times,
when they were together.

- Well?

- Well, now Sara is
stirring it all up again.

- You mean this writing she's been doing.

- Writing?

That's grave-digging.

- And you're afraid Kay's

getting too close to the truth, eh?

- You've got to get Sara out of here.

- Look Mr. Thompson,
you're worried about Kay

finding out who Sara is,

because you don't want her to get hurt.

Well, I'm here to tell you

it wouldn't do Sara any good, either.

She isn't staying in
that house for the view,

or because she wants to hurt Kay.

If she knew what she was doing,

she'd be out of there like a shot.

- Now-

- Mr. Thompson, we're in the same shoes,

and neither one of us
knows which way to walk.

There's a dead guy called Mark Trevor

who's holding on to two women.

That's a tough rope to cut.

I'm trying to figure it out.

You try too.

If you come up with anything
bright, let me know,

because I haven't got much time.

(thunder rumbling)
(rain pattering)

- Oh.

- Give me your coat.

I'll hang it up to dry.

- I'm drenched.

I've often wondered how you manage

to keep this place so neat.

- I have a woman come in daily
to throw my things around.

Make yourself at home.

(thunder crashing)

Did you enjoy the picture?

- Oh yes, I love films that end

with the dying criminal slowly climbing up

the church steps.

- Riddled with holes, like a Swiss cheese.

This'll be warm in a minute.

- It was a lovely evening, Alan.

Thank you.

- It was good to see you laughing again.

Can I get you anything.

A drink?

- Not for me.

It's funny being in this room again.

I remember when Mark
and I used to come here,

and the three of us
used to argue and laugh.

- Yes, they were nice evenings.

- Alan, why do you do that?

- What do you mean?

- Turn away as soon as
I mention Mark's name.

- I'm sorry.

I didn't know I was doing that.

- You know, I've been thinking
so much about the last weeks,

when Mark wrote those
short, restless letters.

Alan, you were his friend.

Don't keep anything from me, now.

What happened to him?

(thunder crashing)

- I don't know.

- But you were always with him.

- Well, he was working
very hard, day and night.

He never had a moment to himself.

- You don't sound very convincing.

Tell me the truth, please.

- I've told you.

- No, you've avoided it.

Why?

What are you hiding?

- There's nothing to hide.

- Was there someone else?

- Don't be silly.

- I want to know!

Was that it?

- Kay, please.

- Did he fall in love with someone else?

- Listen to me, Kay.

Mark loved you.

Don't start torturing yourself.

- No!

(thunder crashing)

No!

- Mommy!

Mommy! (crying)

- Brian!

Brian, what is it?

Tell me what it is.

- I was dreaming.

- Oh, don't cry.

Tell me what you were dreaming about.

- I saw Daddy, and there
was a light in his study,

and he was there.

- Well, that's nothing
to be afraid of, dear.

- [Brian] I wanted him to talk to me,

but he wouldn't. (sobbing)

- Shh, don't.

Now, you lie down, Brian,
and try to go to sleep.

There.

- But if he really isn't gone away,

why wouldn't he talk to me?

- What do you mean, darling?

- Mommy always talks about him,

and you always talk about him.

He is coming back, isn't he?

- No, Brian, he's not coming back.

Now, I'll tuck you in and
you'll fall asleep right away.

That's a good boy.

- [Brian] Where's Mommy?

- She'll be back soon.

She went to the pictures.

You're all right now, aren't you?

- I don't know.

- Well, of course you are.

And you won't have any
more dreams like that.

I promise.

Good night.

- Good night.

(thunder rumbling)

- Well, sir, you might try shark
fishing for your amusement.

- I'm afraid that'd be more
for the shark's amusement.

(phone ringing)
- (laughing) Excuse me.

Ship Inn.

Yes, certainly.

Will you hold the line?

Mr. Reynolds?
- Hmm?

- Phone.

- Thank you.

Hello?

- Carter?
- Sara?

- Yes.

I want you to come up
and get me out of here.

- What's happened?

- I can't tell you now.

Please hurry.

- I'm on my way.

(dramatic orchestral music)

(dramatic orchestral music)

(door clicking)

- Kay?

- It started to rain.

We went to Alan's place
to wait until it stopped.

(dramatic orchestral music)

- What's wrong, Kay?

Can you tell me?

- I found out why Mark stopped writing.

He met someone in London
and fell in love with her.

It was really very obvious.

Alan didn't say anything, but
I could see it in his eyes.

I can't think of anything
except, "What was she like?"

Did she work with him?

Was she beautiful?"

- Kay, listen to me.

- I can't help it, I've got to know!

(door clicking)

I won't see anyone.

(footsteps thudding)

- What's the matter?

- She's found out.

- What?

- No, not about me, just
that there was someone.

(footsteps thudding)

Carter, I have to tell her.

- Stay away from her.

Don't do it.

- But I must!

- Get hold of yourself, Sara.

Let's get out of here.
- No.

- What do you want to do,

stay and watch her suffer?

- I'm going to tell her who I am.

- Why, what good would it do?

- If I hadn't come here, none
of this would have happened.

I brought him back to her.

- All right, you did and
she found out about it,

but why tell her it was you?

What could be more cruel?

- To let her torture
herself about who it was.

To go on wondering, not knowing.

- If you tell her, she'll flay you alive.

- [Sara] I know.

- Well?

- I'll tell her.

- Want me around when you do it?

- But I want you waiting when I come out.

- With a big net?

- The biggest.

(door clicking)

(bell tolling)

- [Sam] Good night, Mr. Polworth.

- [Mr. Polworth] Good night, Sam.

(door clicking)
(gentle orchestral music)

(footsteps thudding)

- Sara.

I'm sorry if I embarrassed you.

- You didn't.

- I felt frightened.

- I know.

Kay, remember the first
night I stayed here?

You told me about Mark's death,

and how you'd found a way to face it.

- Yes, I remember.

- You told me because you felt
I was suffering the same way.

You were right.

I was.

Mark and I met three months ago in London.

(dramatic orchestral music)

- Mark and you met?

- We fell in love.

- Why are you telling me this?

- I want you to know who it was.

- What are you doing here?

Why did you come to my house?

- Kay, I knew so little about him.

I had to see where he lived, just once,

before I left England.

- I asked you what
you're doing in my house.

- I didn't mean to come
inside, believe me.

I walked through the village
and passed the house.

Then I saw Brian,

and when he talked to me, I
couldn't seem to move away.

Then you asked me in.

Kay, I couldn't help it.

Don't you understand?

- Oh, yes, I understand.

I understand a lot of things now.

Why you wanted to be friends,

why you helped with the broadcasts,

and why you stayed in the house.

- Kay, please.

- What are you trying to do?

Take Mark away from me
even after his death?

- Say anything you want.

- I'm sorry, Sara.

I didn't give you enough assistance.

No one could expect you to
write properly about him

without knowing all the intimate details.

I'll try and make that up to you now.

We were married in that village.

The reception took place in this room.

We spent our wedding night in this house.

Do you want to know what
he said to me that night,

and all the other nights we were together?

And when Brian was born.

Shall I tell you about that,

or did you find out about it in London?

- I didn't know Mark was married

until the day before he died.

- Of course not.

And I was the one who
invited you into this house.

You didn't want to come in.

And Mark's picture got
smashed by accident.

You brushed up against it,
you weren't holding it.

I've heard about as much as I can stand.

I don't want any more lies.

I want you to go.

(dramatic orchestral music)

- Not before I tell you this.

I loved Mark with all the love I had.

He was coming back to you and Brian.

I was just someone he had
met and was going to leave.

He wanted to be here
with everything he loved,

the way I loved him.

- [Kay] Please go.

- I'll get my things.

(dramatic orchestral music)

- We'll have a few minutes wait, sir.

I'll find an empty compartment for you.

- Thank you.

Well, we'll spend a few days in New York,

and then fly to San Francisco.

I want you to see how the
conferences are working.

- And after that?

- The East.

The finish is coming there soon,
and I want you to cover it.

Do you feel up to it?

- It'll be good to be working again.

- [Man] Would you come this way, sir?

- [Kay] Sara!

- Wait inside for me, Carter.

- Sara.
- What is it?

- I wanted to say goodbye.

- Goodbye, Kay.

- Send Brian a photograph of
the Empire State Building.

(whistle blowing)

- I will.

(gentle orchestral music)

Goodbye.

(gentle orchestral music continues)

(gentle orchestral music)