Original subtitles

[music]

[music]

I [singing] am [music]

[music]

Hallelujah.

[music]

>> [music]

>> I know she's in there, doctor. She's

always in there with her cursed mirrors.

[music]

Go away. Oh, go away.

Leave me alone. Can't you leave me alone

with my mirror?

A beautiful young face in the mirror, a

pitiful old face at the door. Could they

have been one and the same? Some people

say that mirrors never lie. Others say

that they do, that they lie, they cheat,

they kill. Some say that every time you

look in one, you see death at work.

But most of us see only what we want to

see. And perhaps it's better not to see

too deeply into the darkness behind our

mirrors.

For there live things beyond our

imagination as sure as my name is Boris

Carlo. But if you're skeptical, stay

with me and watch the hungry glass with

those others who doubt. William Shatner,

Joanna Hayes, Russell Johnson, and

Elizabeth Allen. Oh, you'll be perfectly

safe. That is if you turn your own

mirrors to the wall and make sure that

your television screen casts no

reflection.

[music]

Storm warnings are still hoist along

most of the New England coast, though

the weather bureau now reports that the

gale has spent itself and is sweeping

harmlessly out to sea. Damage cannot yet

be estimated, but power failures have

plunged many areas into total darkness.

The northern tip caution is among those

affected.

We return you now to recorded music.

[screaming]

>> Hello there.

Uh my name is Thrasher. This is my wife.

Has Mr. Thomas been in yet?

>> Thrasher

be the young couple took on the old

Bellman place?

>> Yes, that's right. Mr. Thomas said he'd

meet us with the keys.

>> Then I see no reason to doubt. But what

he will

calculate to do the old place anyhow.

>> Well, I live in it.

>> You can look forward to a heap of

visitors out that way.

>> Thank you. That's neighborly. T

neighborly that tarnation property comes

fully equipped with visitors.

Appears Mr. Tommy has never told you

about that, eh?

>> Well, he did say something about some

local superstition.

>> Superstition.

That be the word.

>> Hush up. O bed.

>> No, please.

What are you saying?

>> You bought the house lock, stock, and

barrel furnishing too.

>> The whole shebang. And it never struck

you curious to find ner a looking glass

in the hall of it.

>> Not especially should it have?

>> You better ask your Mr. Thomas ma'am.

He's from out of state as you be. Likely

he'll find some good reason for it. Like

uh superstition.

>> Oh, I'm sorry to keep you waiting,

folks. You been here long?

>> Not too long. How have you been, Adam?

in the pink. Except for I'm turning blue

with this New England autumn. I went by

your house and I got struck with a

sudden horrible thought. I went inside

to check. Sure enough, empty sockets,

not a light bulb in sight. Mr. Kat, how

about a couple dozen light bulbs? Say

12, 100 waters and the rest 150s.

>> Just so you don't expect them to work

without electricity.

>> Well, I had the electricity turned on a

week ago. Storm had it turned off again.

Still want bulbs?

>> Well, yes, of course. Say, I'm awfully

sorry. I didn't know the lights going on

again in town and I thought that we

expect a few inconveniences at first.

>> You'd be have to have a few and a few

you don't expect. Hey, Mr. Tomage.

>> Here you bulbs. 7:46.

My wife's waiting in the station wagon.

She insisted on coming along. She wants

to meet you and give you some sort of

welcome.

>> How nice of her.

>> Well, it's the only one you'll get

around here.

Let me put the heater on. I'll throw

these bags in the back.

Introduce yourself.

>> Hello, I'm Liz Tal and I think you're

both terribly brave. Why? Moving to the

Cape in autumn or buying the old Bellman

place.

>> So, the local gossips have already been

at work.

>> Oh, bird inside had us thinking the

place was built by vampires.

>> Vampires? That's a new one.

>> This is why the place had no mirrors.

Now everybody knows vampires don't cast

reflections. So,

>> so what else? The only explanation.

>> Adam, the truth. Now, the people who

built that place, where were they from?

>> The Bellmans. Uh, Pennsylvania, I think.

>> Sure wasn't Transennsylvania. [laughter]

>> The mirrors. Now, that's what the old

coups were bending your ears about.

>> Now, look, I'll admit that you warned us

of the roof leaks and the cellar floods

and the shutters go bang.

>> But what's this about no mirrors?

>> Didn't I tell you why you got the place

so cheap?

>> You said the local characters think it's

unlucky.

>> Unlucky because of the broken mirrors.

Gil, you have no idea how these people

can build up a story. Seems there were

some nasty accidents up there years ago.

A couple of people killed by shattered

glass. So now the yarn's been worked

around to where they were actually

murdered by the mirrors with malice of

forethought.

>> Seems logical.

>> Sure. Some mornings when I'm shaving,

the guy in the glass looks pretty

deadly, especially with a razor in his

hand.

>> Well, I hadn't thought about it, but I

better get you some sort of mirror. At

least till you get settled.

>> Never mind. There's one in my traveling

case.

>> Marsha couldn't live without her

mirrors.

>> What woman could Here's

the key. You go ahead, open up. I'll

bring in the bag. And watch your step.

The movers put everything just inside

the door.

>> This is the only one of Adam's

properties I've never seen from the

inside. The outside was efficient.

>> Here it is. Shine up this way.

Well, well,

>> early moselum.

>> But Liz, what a challenge.

Granted, if you choose a house to pick a

fight with,

>> Marsha is a decorator. I'm a

photographer. We'll do a before and

after layout that'll cover the down

payment.

>> You'll see. It'll be a show place like

Madame Tusos.

>> Well, Liz, now do you believe I can sell

anything?

>> Darling,

I'll never doubt you. Actually, he tried

to sell us any house with this one. I

think he was trying to keep it for

himself.

>> Right. I needed a place to keep my whole

razor blades. Right this way, I build a

fire in the living room.

>> Oh, I love a fire.

>> And if you're lucky, it might spread.

>> Of course, we use the term living room

rather loosely. Your husband doesn't

believe in the hard cell.

>> Who needs it? Behold.

>> Now, I ask you,

wide screen. Is that too much? Our own

private ocean. And by a startling

coincidence, here's a bottle that came

all the way across it.

>> Hey, champagne and chill, too.

>> Yeah, I put it on ice when I built the

fire. Now, how many real estate agents

would supply these sensitive little

touches?

>> Only those with a guilty conscience,

dear.

>> Actually, Liz, we practically had to

force him to take our money. Here's what

really sold us.

>> You never have heard my pitch, have you?

>> Well, better late than never.

I propose a toast to your new home at

Cape Caution, folks.

that year round playground where there's

never a dull moment, something stirring

every second. For example, in the winter

time, you can sit on the east side of

your house and follow the sun around to

the west. And in the summertime, you can

sit on the west side of your house and

follow the shade around to the east.

[screaming]

>> Yes. What is it behind you in the

window? There's nothing there.

>> But there was somebody standing there

reaching for you.

Impossible. It's a sheer drop down

there. Over 100 ft down to the reef.

>> But I saw him.

>> Fine. Fine. You saw him. In the

meantime, I'm bleeding to death.

>> Oh, Adam, what happened?

>> When you let out that howl, I dropped

the blasted bottle and cut my hand.

>> Let's take a look at it.

>> Can you flex your fingers?

>> Oh, it's nothing serious.

>> Yeah, but you might have some broken

glass in it.

>> Broken glass?

>> Sure.

>> Now, just a minute, Marcia.

>> Oh, forget it. I just cut my hand. And

that's all there is to it,

>> Liz. Just what was it you thought you

saw?

>> Well, I I don't know now. It was a face.

A a man's face with a beard

>> in a jolly red suit with a pack on his

back.

>> I didn't imagine it.

>> Probably saw my reflection

>> or items.

>> No, no, it was moving and and blurring.

>> Fire light would have done that.

Flickering

>> maybe, but

I don't know.

Well, there goes our celebration.

Anyway, your carpet's been christened.

>> I'm so terribly sorry. Never cry over

spilled champagne.

>> It's good for the rug.

>> You better have a doctor look at that.

>> But if it was the fire light.

>> Oh, Liz, drop it.

>> But he had a hook. A hook for a hand.

>> Fine. Fine. Next time we'll get him to

open the champagne.

[laughter]

I feel like such a fool.

>> Now, now, now, my little Liz is nobody's

fool, except maybe mine. Well, it's one

thing for me to knock you, but don't let

me hear you doing it or you'll have a

fight on your hands.

>> But I spoiled our party. Oh, and your

precious hand. And all that champagne.

I'll grow a new hand and we can get more

champagne. In fact, we will tomorrow

night. Beware of geeks bearing bubbles.

>> Now, that's a promise. Make it eight

sharp and I'll spoil some stakes.

>> Oh, I think it's only fair to tell you

that uh when my wife is having a real

good time.

She's have to scream a little.

>> Fine. Fine. I'll hike down the hill two

miles and warn the neighbors. Come on,

woman. Let's quit while we're ahead.

>> Marsha, let me bring something. I fix a

marvelous potato salad without potatoes.

Fine. Fine. And I had a beautiful table

without a table.

>> That's what floors are for.

>> What else?

>> Welcome home, dear. I really mean it.

>> Thanks, Lyn.

>> Right in the left hand, Gil with lots of

life.

>> Thanks. I'm be sure and have that looked

at.

>> Well, I'm going to get fitted for a

hook. [laughter] Oh,

>> now run for your eyes.

>> Well, honey, we finally got ourselves a

house.

Oh, Gil, it's going to be all right,

isn't it?

I mean, it's going to be a good place to

live.

Gil.

>> Sure, honey. Sure.

It's going to be fine.

[music]

[music]

>> [music]

>> I'm sorry, honey. I started you.

>> Oh.

>> Oh, Gil, I saw your reflection and I I I

thought

>> What did you think, Marcia?

>> What have you done to yourself? Oh, I

cut myself shaving. Guess we both got

the shakes.

>> But that's a terrible girl.

>> It wasn't your fault, honey.

>> My fault.

>> Well, next time will you whistle or blow

a horn or something? I mean, don't just

pop your head in while I'm all tensed up

over that two bit pocket mirror. I could

have cut my throat.

>> Oh, you you saw me in the glass.

>> So, now we're even. One good turn

deserves another.

>> Gil.

>> Mhm. I haven't been out of this room

since you left it.

[music]

>> Well, I thought I saw you or something.

>> I mean, just for a second, it seemed to

be moving behind me.

>> Must be that cheap glass. Some sort of

reflect.

>> Gil, do you believe what you're saying?

>> Of course I do. What little light we get

on that side of the house bounces in off

the ocean reflects all over the place.

like the fire light [music] last night.

>> But let's level with each other.

We've both been having some pretty

[music] peculiar sensations, right?

>> All right.

>> They've all had to do with mirrors,

[music] glass.

And there's nothing more powerful than

the power of suggestion. If you let it

take hold of you.

When I had the fever in Korea, I saw

things you wouldn't believe. They said I

was delirious. But I knew better. What I

saw was real. The doctors were

delirious.

>> But you're not delirious now, and

neither am I.

>> No, but the point is, we're both very

susceptible to suggestion.

All was garbage about no mirrors. I

mean, just because some oddball couldn't

stand a sight of himself, had them all

jerked out, even the medicine cabinet.

>> Why? Why would anybody do that?

>> I still stick to my original theory. It

was Dracula.

>> Now, Gil, be serious. Liz Talmage saw

something too.

>> How do we know that?

Really? What do we know about Liz? I

mean, she's bright, attractive, built,

but she could also be a cook. Who knows?

Maybe maybe she's jealous. Maybe she

wants the place for herself.

>> It's It's true. Adam didn't want to sell

it.

>> Oh, I'm not saying that, honey. I'm not

saying anything except

>> what?

>> Except let's not jump to conclusions.

There's never been a question that

didn't have an answer. I mean, a plain

common sense answer.

>> Yet, it's as if somebody doesn't want us

here. I never felt so unwelcome.

>> Well, if anybody's staging these things

to get us out.

>> Well, that's ridiculous. Who'd want the

place?

>> We did.

>> Hey, don't use the past tense. We still

do. And whether we do or not, we're

we're stuck with it. It's simple

economics. We got the place cheap

because nobody else would have it. We

couldn't sell it. We couldn't give it

away.

There you go. Electricity's on. There's

a good omen.

>> Gil, I never had the slightest intention

of giving up this place. Why? What could

we tell our friends or even ourselves

that there were boogey men in the

looking glass?

>> Okay, that's settled.

Let's make a pact. We don't holler till

we're hurt. Deal.

>> Deal.

>> Now, we've got 10 million things to do

before Liz and Adam get here. So, let's

not be tripping all over each other. You

start setting up your dark room in the

cellar, and I'll look around for places

to put things. I

>> think I'll take a few horrible shots of

the interior first before you turn it

into a Joan Crawford set.

>> That's me. Nightmares and daydreams and

pants pressed while you wait.

[music]

>> [music]

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>> Hallelujah.

>> [music]

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[music]

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[music]

[music]

>> All right.

[music]

Heat. Heat.

[music]

[music]

[music]

>> [music]

[music]

[music]

>> Well, Well, hello there, Marsha. You're

not afraid of mirrors, are you? Why

should you be? You have nothing to fear.

>> Not yet, anyway. Not Not for a few more

years,

>> Marsha. Where are you?

>> I'm up here, darling. In the attic. I

found the mirrors.

>> What?

>> I found the mirrors.

I found the mirrors. Big mirrors, little

mirrors, fat mirrors, thin mirrors. It's

like the fun house.

>> Hey, look at all the junk.

Somebody sure pulled out in a hurry.

>> But it's not all junk. You'll see. We'll

find enough authentic antiques up here

to pay for the place. But I've already

found a screen that'll buy us a car.

>> Hey, I'll bet old Adam didn't know about

this.

Maybe we did latch onto a bargain after

all. Huh?

>> You want to see the monkeys more fun

than a barrel of? Have a look inside.

Go ahead. They don't bite.

[laughter]

>> Ever see so many funny faces?

>> I don't like to look in one mirror, let

alone 50. Those three-way things in the

clothing store are bad enough. That's

because you're not a woman. You know,

darling, I didn't realize what I'd been

missing around this house until I

stumbled into that room. Why? Mirrors

bring a house to life.

>> Well, you ought to know. You spent half

your life looking into one.

>> All right. I'm vain, foolish, and

female, and I like mirrors.

>> And they like you, baby.

>> First thing I'm going to do is dust them

all off again. And put them off again

all over the house. Well,

>> let's not lose our heads.

You know the old saying, people who live

in glass houses shouldn't.

>> And my old granddad used to say that if

I didn't stop staring at myself in the

mirror, I'd go blind. You know what I

said to him?

>> What?

>> I said I'd quit when I needed glasses.

>> Say, um, speaking of little girls, did

you take a picture of one with my

camera?

>> Me? Of course not.

>> You know I can't tell a shutter from a

tripod. Why? Oh, I got a double exposure

in one of my negatives. I can't figure

it out. It's supposed to be brand new

film.

>> Well, you'll just have to hike right

back to New York and get yourself a

refund.

>> Yeah, I'll do that right after dinner.

>> Dinner? What time is it?

>> It's getting on towards 6.

>> Liz and Adam, they'll be here any

minute.

>> Be 2 hours yet.

>> But but I've got to start the charcoal

for the steak. Set the floor. Bathe,

dress, makeup. Oh, Gil, be a doll. Help

me move that that big standup mirror

down to the bedroom. I just can't get

dressed in that traveling case.

>> She want to take that chance.

>> Chance?

>> I mean, somebody did think he had a

reason for putting them all out of sight

up there.

>> And I once knew a lady who had three

French telephones pulled out of her

apartment because they kept her awake

singing them RCA.

>> All right, we'll stick by the deal. We

don't holler till we're hurt.

I'll start rustling that thing through

the door. You get some blankets and rope

to wrap it up in.

>> Right.

>> [music]

[music]

[music]

>> Yeah. What is it?

[music]

>> God knows, Marsha. God knows.

Get out. Get out. Get out. [screaming]

[music]

[music]

>> [music]

>> Now tell me, Gil, what was it? What

happened?

>> I told you

the attic.

Stuffy little room. Got a sweating

couple of shakes.

It was the old trouble.

>> But you've been over that for years.

>> Gil, you saw something, didn't you?

>> No,

I mean, I don't know.

I can't remember now if I saw it before

I passed out or afterwards.

>> But you did see something

>> in my mind. Yes. Ever since we got to

this place last night, my imagination's

been working overtime, playing tricks.

Listen, believe me, this is nothing to

what I went through before

when I was really sick.

>> Gil, you got to see a doctor.

>> What for? The army doctor told me I'd

have to expect recurrences now and then.

You never get the stuff completely out

of your system.

When I was burning up with the fever,

all my friends used to come calling on

me.

All my buddies from Korea.

All the dead ones.

I could see them playing.

And And was it one of them you thought

you saw upstairs?

>> No.

But it wasn't any more real than they

were.

[music]

It looked like an old woman

with a fan.

You see,

I've just been doing too much. I'm all

keyed up, over stimulated. I've just got

to take it easier, that's all.

>> I'll call Liz and Adam and tell him not

to come.

>> You no such thing. They're no strain.

They'll help me unwind. They'll be good

for me. For you, too.

>> Are you sure? Are you sure you're up to

it?

>> I'll tell you the truth, Marcia. I wish

we had a whole house full of people

coming tonight. Here's

champagne to our real friends and real

pain to our sham friends.

Well, I don't know if it's the

sentiment, the food, or the champagne,

but it's very satisfying.

I feel so so neighborly. And in this

house, too, you know, Marca, I'm

beginning to think you can work

miracles. There's really nothing to it.

All it takes is a little concentration,

plus a bell, a book, and a candle.

>> Oh, don't forget the pinch of hogweed

ground up with a writer of a bat killed

by the dark of the moon.

Adam, stay off the spooky talk, even in

fun.

>> Oh, I'm sorry, dear. Aren't you in good

voice tonight? [laughter]

>> Liz had an offer from the Met today.

They heard that high note of hers in New

York.

>> Oh, Adam, aren't you awful?

>> He won't let me forget it.

>> Why should I? I'm proud. I've got the

only stereophonic wife in Cape Caution.

>> Come on, Liz. You don't have to listen

to that. Let me show you what I'm going

to do with the rest of the house.

Well,

if we don't come back, it's been fun.

>> I'll go with you.

>> No, no. Stay put. You boys can talk

about girls.

>> If you want anything, dear, just scream.

>> A barrel of chuckles, that boy.

>> Kind of quiet tonight, Gil. You in a

reflective mood?

>> Reflective? That's a funny word to use.

>> Is it? Never got a laugh with it.

>> I mean, this house has a reputation for

reflections, hasn't it? Oh, you've been

listening to the local prophets of doom

again.

>> No, Adam, I've been waiting for you to

tell me the story.

>> Story?

You know what I mean. What is it about

this place? What do they say? You've

skipped around the subject long enough.

[snorts]

>> Gil, listen,

I've been giving a lot of thought to

this deal of ours. I haven't felt quite

right about it from the start. So, if

you want to back out, I'll refund your

down payment. Fair.

>> Why? Why would you do that? Well, it's

more important to me to make a friend

than to make a deal.

>> Pardon me if I don't think that's the

reason.

>> Well, what other reason would I have?

>> You're the businessman. Suppose you tell

me.

>> If I were a businessman, I'd have never

taken on this place. No local agent

would touch it. Just another reason for

the town's people to resent me.

>> And that's why you want it back.

>> I don't want it back. I'm giving you a

chance to get out.

>> Thanks. But we're staying.

>> Well, that's your privilege. Oh, what's

wrong, Gil? Really?

>> Why do you keep evading the issue? I've

asked for the truth about this place.

I'll find it out anyway, so I try to

hide it. It's not a question of hiding

anything. I didn't see the point of

repeating a lot of careless talk. I did

tell you the place had a reputation for

being unlucky. You laughed. I expected

you to laugh. But just the same. That's

why the place hasn't been occupied for

the last 20 years. That's why it's been

standing here just like this without a

single living soul inside it.

>> Living solo or you're clever with words,

Adam.

>> All right. You want the story? Then keep

quiet. Let me tell it.

>> Your wife says she can turn this house

into a showplace. Well, it was a

showplace in the 1860s when it was

built. A man named Jonah Bellman built

it.

He said he'd make it a jewel box. Pulled

the sunlight and silver off the sea.

He built it for the most beautiful bride

in New England. The most admired, the

most desired woman he'd ever known,

Laura. Laura Bellman. He was madly in

love with her.

She was madly in love with herself.

It was more than vanity. It was a tragic

sickness. But she was so beautiful that

he was blinded to that. He couldn't

blame [music] her for loving him less.

And she never did belong to him, only to

her own reflection in [music] the glass.

They say he died of a broken heart.

Then she was alone.

Alone with the house, the servants, and

the mirrors.

The years passed. The house grew old.

The servants grew old. But Lara,

Lara never grew old. Not in her mirrors.

She never saw herself [music] as

anything but young and beautiful.

When the last servant died of old age,

Laura's nephew brought a doctor to take

charge of her. She was very old, very

ugly, painted and powdered like a bad

[music] job of inbombing.

The doctor said she belonged in a mad

house, but they kept her here. They

locked her in her room, away from her

mirrors.

But she wasn't beaten. Not yet. She

found she could still see herself in the

window glass as beautiful [music]

as ever.

One night, she danced happily toward

that glass.

She danced right through it.

That was how she died.

But the story goes that she lives on in

her mirrors because there have been more

of her living there than there had been

in her own body.

They say that she still guards her

privacy.

They blame her for the the other

accidents. What other accidents?

Well, there have been several.

Right after she died, the nephew took

over the house. He was taking down one

of the mirrors. It fell on him, killed

him. But of course, he was a seafaring

man. He was clumsy around the house and

he lost one hand to a shark.

>> Now tell me he had a hook in place of

it.

>> It's a fact, Gil. Now look,

I'm not saying my wife saw him.

Certainly she's heard the story, too.

Well, she saw something and imagined the

rest.

>> And I suppose I imagined the old lady in

the mirrors.

>> What mirrors?

>> Mirrors in the attic. Oh, yes. I forgot

you don't know about that.

>> So that's where they are.

No, I didn't.

>> Adam,

I'm getting so I don't know who my

friends are or my enemies.

I've been driven half crazy with

suspicion. Just plain fear. Maybe you

didn't know about the attic, but

somebody did.

Somebody rigged a pretty good trick up

there.

You know the kind of illusion they do

with mirrors.

>> But that doesn't make sense, Gil.

>> What does that saw something

supernatural that I imagined it?

>> I don't know. I really don't. But try to

believe this. I'm on your side. If

there's any human agency behind this,

let me help you uncover it.

>> You haven't said anything about the

little girl.

>> Little girl?

>> I suppose she's been dead for 50 years,

too. A pretty little girl. Blonde, about

five or six.

>> Maryl Dempster? But that's not ancient

history. Well, I was living here on the

Cape when she disappeared.

Wasn't two years ago. She was playing

here near the house.

>> She'd been warned against it, but well,

I say she just stumbled and fell from

the cliff.

The local people blame it on the house.

I say the sun shining on the windows

must have blinded her.

>> Anyway, I never found a trace of her.

>> No.

Well, I took a picture of her this

afternoon.

>> [music]

[music]

>> It's her beyond a shadow of a doubt.

>> You're awful positive.

The police would never accept anything

as blurred and washed out as that for

any kind of identification.

>> What are you saying? That I'm lying?

That I don't recognize her?

>> I don't know. I don't know what I'm

saying.

Adam,

tell me I'm not losing my mind.

That I'm not back in Korea somewhere

having myself a nightmare.

Better still tell me that I am.

>> Well, you didn't imagine this skill, but

it has to be some sort of hoax, hasn't

it? I mean, a camera couldn't photograph

a a

>> Go ahead, say it. The ghost. That's what

we're talking about, isn't it? Why do we

keep dodging the word?

>> All right, then. Answer the question.

>> The answer is yes.

>> You've heard of spirit photography. It

was all the rage a few years back.

>> Easy, girl. You're working yourself into

a nervous breakdown.

>> I'm sorry. I'm sorry. I'll be all right.

I I'll pull myself together.

>> Well, we can't allow ourselves to accept

that kind of evidence. I mean, there has

to be a trick,

like you said, a double exposure and all

the rest of it. There are ways of

getting those effects. Uh, projected

images on the window, slides, something

like that. I don't know how they do it,

but they do it.

>> Sure. They they sit up in the attic

for 20 years

in a stuffy little room with a slide

projector, and they wait. They wait for

somebody to pry the catch off the door.

>> Gil, please get out of this house. Don't

stay another night.

What's the point? What do you have to

prove?

You're right.

There's nothing else I can do now.

[snorts]

They say if you can't lick him, join

him.

I don't think I want to do that either.

Do me a favor, would you?

Don't tell Marsha about the picture.

I've already destroyed the negative.

>> I understand.

Poor Marca.

She had her heart set on this place on

doing it over

and those mirrors.

She fell in love with them at first

sight. Almost like,

>> "What can I tell her? I can't tell her

the truth."

>> What is the truth, Gil?

The truth is, we don't know.

But nothing is worth this.

>> Hello down there.

How exclusive can you guess?

>> Oh, hello, Liz.

>> We're fresh out of cigarettes. Marsha

sent me down to bum a couple.

>> Done from where?

>> We've been up in the attic having a

party of our own. Nobody there but us

chickens.

>> You and your alone up there?

>> Why, sure, but that's one place you can

be alone and still have a crowd. I've

never seen so many mirrors. What's the

matter with him?

Stand is for God's sake.

[screaming]

[screaming]

Save me.

My soul.

Let me go, you fool. Let me go.

They've got Marsha. Can't you see them?

I've got to go after them. Stop it. Stop

it. You don't know what you're doing.

Look, they've got her. I've got to go

after her.

>> Elsie's here. Marsha's here. Look, look

down. Look at the floor. Look at the

floor.

Oh my god.

Oh my god.

What have I done?

I've killed him. How? How did it happen?

Marsha.

Marsha, baby. I was trying to break

through, trying to reach you

through the glass.

[laughter]

You see how it was?

There was this

this mad woman

and she saw herself

in the glass.

It was vanity.

All vanity. Nothing but vanity.

And you see,

she danced herself

into the glass

and died there.

But somehow

she stayed on

and pulled others in there with her

into the glass.

And that's how it happened.

That's how I

happened to

kill my wife.

>> Don't talk about it, Gil.

You didn't know what [music] you were

doing. You You thought she was in

danger. You tried to help her. Thought

you saw her in the glass.

>> But I did see her, Adam.

She was there.

She's there now

in the window.

>> No, Gil. None of that ever happened. Not

really.

>> She is there.

She needs me.

>> Easy kill. You must rest. You need a

long rest.

>> Don't worry, Marca. I'm coming.

>> No, don't go without me. Marsha, wait.

Marshall, wait.

Marsha.

This is crazy.

[music]

>> [music]

[music]

[music]

>> Oh,

yeah. [music]

[music]

>> [music]

[music]