All language subtitles for hangover_square_1945.Eng

Look!

It's old Ogilby's place.

Call the fire department!

Hey, look where
you're going, can't ya?

Here! What's the idea
of walking into me like that?

- Is something the matter, sir?
- Is he drunk?

Are you feeling badly, sir?

No, I'm-I'm all right now.
Thank you.

That-That's blood!

Look! You can see
the fire from here.

Oh, here you are, George.

We were beginning to wonder
what happened to you.

You didn't come home
last night, did you?

Oh, no.
I stayed with some friends.

We found the door open,
so we came in.

How did you get that cut?

I bumped into a man carrying
some baskets a little while ago.

- I'll get something to clean it.
- You sure you're all right?

- Yes, of course.
- Hmm.

Barbara's just been playing me
the opening of your new concerto.

The best work you've ever done.

I always felt
you were very gifted.

I've been waiting for you
to do something like this.

As you know, in December I have
a series of musical soirees in my house.

Now I'd like to include
a new and modern work.

So, if you can
finish this in time?

Naturally you?! be at the piano.

Well?

- And you'd be conducting, Sir Henry?
- Yes.

I'm enormously complimented.

Of course everything depends
on how you complete it.

You're already established as a musician.

If this concerto is successful...

it could mean international recognition
of all your work.

I'd like to help bring that about.

Thank you, sir.

That's all I have to say.
Put everything else aside, my dear boy.

- Finish it.
- I'm so pleased.

So am I. Good heavens!
I shall be late for the philharmonic.

I think I've just time
to see you home.

- Perhaps George will, if you're late.
- Of course.

- Thank you.
- Good-bye, Father.

- Good-bye!
- Good-bye, sir, and thank you.

- You've been exceedingly kind.
- Not at all.

I don't know how
I shall ever thank you.

There's no need.

Barbara...

I didn't stay
with friends last night.

You mean that
it's happened again?

I don't know where I've been
or what I've done.

I remember having gone out
last evening...

and then nothing more until
I found myself a while ago over in Fulham.

There's the whole day missing.

Did you... do anything this time?

Not that I can recall.

Where could I have got this?

- I'll throw it away.
- No.

I'll keep it.

Read all about the Fulham murder!

A man stabbed to death,
house set afire.

Is he shouting
something about Fulham?

Paperboy!

Yes, sir?

Here you are, sir.
Thank you, sir.

Here you are! Paper! Fulham murder!
Man stabbed to death in Fulham!

Read all about
the Fulham murder!

Fulham.

Isn't that where you were?

Could I have done this?

Oh, no.

Barbara...

something's happened lately.

These moods are getting
deeper and longer.

I mean, 24 hours.

Barbara, I'm going
to Scotland Yard.

- To the police?
- No.

I know of someone there,
a Dr. Middleton.

My own doctor suggested him.

He's very brilliant
with new ideas about the mind.

I think he may be
able to help me.

I've got to go to see him now.

- If you go, I'll go with you.
- No.

Please, George.

I want to.

All my life I've had
black little moods...

but just for a minute or two.

I've never known anything
like the one I've just had...

and certainly nothing
that's lasted a whole day.

Have you been working very hard?

He works day and night.

You see, he's writing a concerto,
and I'm sure he wouldn't eat sometimes...

if our housekeeper
didn't send meals across to him.

What I really want to know is.

Would I be likely to do anything criminal
during one of these moods?

What makes you ask that?

This man was stabbed.

And when I came to myself...

I found this in my pocket.

There was blood on my coat.

The blood came from the cut
on his head, didn't it?

What do you think
sends you into these moods?

When I'm tense or-
or worked up...

then any discordant sound
seems to do it.

I never remember
anything aften/vards.

Except that I have
an odd sensation...

like the memory of an ache... here.

He couldn't have done
anything criminal, could he?

We'll determine that very quickly.

I want a specimen of your blood,
if you don't mind.

I'll make some
preliminary tests here...

and then I'll go out to the antique shop
and make a further examination.

- Shall I wait here?
- No, you can go home, Mr. Bone.

I live close to you, and
if everything's all right...

I'll call later and
set your mind at rest.

That would be very kind of you.

We should know all about it
in a couple of hours.

- Good-bye.
- Good-bye.

- Good-bye, Dr. Middleton.
- Good-bye.

Superintendent Clay,
could you spare a moment?

If you have a couple of
plainclothesmen available.

I've just had someone here
I think should be followed...

in connection with
that Fulham case.

I don't think
I can wait any longer.

Well, I'll see you home.

Perhaps Dr. Middleton
will come in the morning.

I wonder what delayed him.

Sometimes these things
take longer than one expects.

I'm sure everything's all right.

Oh, come in, Doctor.

Well, here's your coat,
Mr. Bone.

You can clean the blood off
because it's entirely your own.

Here's your dagger.

I subjected it to every test
known to Scotland Yard.

I examined it chemically for blood stains
and microscopically for fibers.

What did you find?

I found no fibers that matched
the dead man's clothing...

and no trace of his
or anybody else's blood.

Then George had absolutely
nothing to do with the murder.

Well, I didn't say that.

But I can tell you this-

if Mr. Bone had done it,
we wouldn't be able to prove it.

As a matter of fact,
the antique dealer was...

a well-known crook
and dealer in stolen goods.

The official Scotland Yard opinion is
that one of his accomplices did him in...

and then set fire to the house
to conceal his crime.

I was afraid I'd done it.

I had a couple of plainclothesmen
following you, just in case.

I've sent them back to the Yard.

I've been thinking about
these moods of yours, Mr. Bone.

The mind is a delicate mechanism.

Now, if a man lives
completely within himself...

if he upsets the normal balance
between work and play...

the mind may rebel.

Without conscious knowledge
or volition...

it may cause him to do strange things,
even dangerous things.

Now, that's what I think
is happening to you.

There must be
something one can do.

Yes, there is.

I suggest that you
get away from your music...

as often as you can.

Find some new emotional outlet.

Go out among ordinary,
everyday people.

See how they live,
learn how they work...

and above all,
learn how they play.

But, Dr. Middleton...

music is the most important thing
in the world to me.

No, Mr. Bone.
The most important thing is your life.

Now follow my advice.

- I'll see that he does, Doctor.
- And she will.

- Good night, Mr. Bone.
- Good night, Doctor, and thank you very much.

George, I really should be going.

Perhaps I can see you home.

Thank you, but I live
just across the square.

It's only a few steps.

I can make a few steps
go an awfully long way.

It's dreadful
this should happen to George.

He's such a wonderful person.

But he's so helpless.

He really does have
a very great talent.

He's helped me enormously
to improve my piano technique.

Indeed.

You know, George has been
so depressed about his... lapses.

- Are they really dangerous?
- They could be.

When he goes into
one of his moods...

his subconscious mind has control.

There's nothing especially
dangerous about that.

But if his condition at the time is
aggravated by excessive concentration...

he'll have an urge to destroy
anything that stands in his way.

So you see how important it is
for him to follow my advice.

Yes. I'm sure you've
done a lot for him.

♪ Have you seen Joe
Where the dickens can he be ♪

♪ Have you seen Joe ♪

♪ No, where on earth is he ♪

♪ Harry's here, and Larry's here
and Jerry, Jack and Jim ♪

♪ But Joe has flew the coop ♪

♪ We ain't seen
hide nor hair of him ♪

♪ Have you seen Joe
Joe has vanished in thin air.

♪ Have you seen Joe ♪

♪ No, he ain't anywhere ♪

♪ Last time he was here he said
Let's have another drink ♪

♪ So I know, and you know ♪

Joe is in the clink.

The clink, the clink the clink,
the clink, the clink, the clink ♪

- J'The clink, ♪
- ♪ Methink, methink, methink ♪

♪ Methink that Joe
is in the clink ♪

♪ Have you seen Joe
Joe has vanished in thin air ♪

- ♪ Have you seen Joe ♪
- ♪ No, he ain't anywhere ♪

Last time he was here he said
Let's have another drink ♪

♪ 80 I know and you know
Joe is in the clink.

Oh! Saucy with the goods,
ain't she?

- They want another song.
- I haven't got another one.

- Sing anything.
- I've sung two. That'll be a guinea.

All right, I'll pay in a minute.

- Hello, George.
- Hello, Mickey.

Eddie Bates!

There you are.
Good night.

♪ Why do they wake me up
so early in the morning ♪

♪ Oh, to sleep a minute more ♪

Till they rattle on me door,

- There now, you did very well.
- In front of that audience?

- Now, now, now.
- “Have you seen Joe?”

I'll get somewhere
with that, won't I?

They're a difficult audience.
You held them every minute.

They know what they like.
They liked you.

- Well, I didn't like them.
- All the same, you were very good.

- I thought you were wonderful.
- Oh, this is George Bone.

- Netta Longdon.
- How do you do?

Netta's just moved into the square.
He writes music.

- Songs?
- No, I'm afraid not.

Oh, no, symphonies.
Classic stuff.

- How about another drink, Mickey?
- Right you are.

When I heard you singing in there,
I got an idea for a sort of tune.

Ma)! I play it for you?

Listen. That's good.

Is he important?

He's a well-known composer.
He's quite important.

Mm-hmm.

- If you had some words, you could sing that.
- Uh-huh.

Say, I've got a lyric that would fit that.
Do you remember?

- What?
- "All For You.“

♪ All for you ♪

♪ I've changed my way of living ♪

♪ My way of loving too.

♪ Come what may.

♪ My love will be all for you ♪

Oh, but that's perfect!
That suits my voice exactly.

- I brought you a drink, George.
- Oh, thank you.

You wouldn't care to work that up
into a song for me, would you?

Well, I could try.

Oh, I'd be awfully grateful,
Mr. Bone.

Oh, George! You all right?

- Huh?
- I'm afraid...

Afraid I'm a bit squiffed.

You're all right.
You're all right, old boy.

You wrote a darn good song.

Oh! Oh, Mickey. Come on!

Well, this is where I live.

Oh, that woman has
turned out my cat again.

Oh, you poor kitty out in the cold.

The landlady won't let me keep her in
the apartment. What am I going to do?

- Give her to me.
- No, no. I'll look after her.

And then you can come around
anytime you wish to see her.

That's awful nice of you, George.

What a head I'm going
to have tomorrow.

I shall call for you in the morning,
and we'll walk round the square together.

You don't know, Netta.
You're a newcomer here.

But three times round the square,
and a drink at the pub.

- That's the local recipe for a hangover.
- Oh.

- Good night, Netta.
- Good night.

- Good night, old boy. So glad to have met you.
- Good night.

Good night, Mickey.

- Good night, George.
- Good night, Netta.

I sold it!
Netta, I sold it!

- Sold what?
- The song, the one George wrote in the pub.

- "All For You.“
- Wonderful, Mickey!

Meyer's going to publish it.

I got a check for the advance royalties.
They're sending George his direct.

- But I cashed ours.
- How much?

Fifty guineas!
Half for you, and half for me.

Fifty guineas! Well!

That made him worth
playing up to, didn't it?

Well, thank heavens
I shan't have to do that anymore.

- What do you mean?
- Oh, George bores me sick.

It's not just because of this one song.
We've struck a gold mine.

You can get
other songs out of him.

Oh, I see what you mean.

You stick to him and his music
and then you really will get somewhere.

- This is just the beginning.
- You're right, Mickey.

You're very right.

Come on. Let's celebrate.

I want you to come and
meet a friend of mine, Eddie Carstairs.

Oh, I'm sorry I can't.
George is taking me to Perrier's.

Oh-Where'd he
take you last night?

- Romano's.
- And Frascati's the night before.

I don't see what you've got
to complain of.

I always have to sit through one of
those dreadful symphonies aften/vards.

Well, it's worth it.
Romano's and Frascati's and now Perrier's.

Our little Netta
is coming up in the world.

Our little Netta
is not even started yet.

Mickey, come and hook me up,
will you, dear?

And, uh- And then, darling,
I think you'd better go...

because he's coming over
to fetch me as soon as he's ready.

Are you hungry, hmm?

Come in.

George...

would you like to come with us
to the philharmonic?

Why, you're all dressed.

Father's waiting with a carriage,
if you'd like to come.

I'm sorry.

I have another engagement.

Oh. I see.

Well, good night.

Good night.

- Are you with me or with somebody else?
- What?

All evening you seem to have been
watching for someone.

Oh, no.
I was just seeing who's here.

- Coffee, sir?
- Yes, thank you.

Oh, uh, let's have coffee
in the lounge, shall we?

- Thank you.
- A liqueur, sir?

- A Benedictine for me.
- Two Benedictines, please.

There you go again.

Netta, for whom
is it you're looking?

No one, George.
I've told you that.

Then stop staring around
and pay some attention to me.

Oh, George.

- Hello, George.
- Hello, Mickey.

Oh, hello!

- How are you?
- You know Netta Longdon, don't you?

- Good evening.
- Won't you sit down and have a drink with us?

Oh, George, this is Mr. Carstairs...

the junior member of Carstairs and
Carstairs, the famous theatrical producers.

- How do you do?
- This is George Bone.

- How do you do? Please sit down.
- Thank you.

George Harvey Bone,
the composer.

He wrote that song
I wanted to sing for you.

Yes, George Bone.

I heard your “Springtime Sonata" a fine piece
of music. You write popular things too?

- I've put music to some of Mickey's lyrics.
- Oh.

Oh, Mr. Carstairs...

I do wish you could hear
some of George's songs.

- I'd be glad to sometime.
- He has the most marvelous new one.

Let me sing it for you tonight.

I'm sorry, but Mickey and I have to dine, then
go to Ruffini's. Come to the office tomorrow.

- I hope you'll come too, sir.
- Thank you.

- Good night, Mr. Bone.
- Good night!

- This way Mr. Carstairs.
- Good night, Mickey.

Good night, Mickey.

Let's go, shall we?

- Where to, a show?
- It's a little late for that. I have an idea.

Why don't you come to hear
a symphony with me at the philharmonic?

We'd just catch it.

I'll telephone to the house manager.
I'm sure he'd save seats for us.

All right, George.
That'll be lovely. Go on.

Good. I'll be right back.

- You said you were going to Ruffini's, didn't you?
- Yes, that's right-

- They have guest singers there, don't they?
- Right.

I'm sure they'd let me sing
if you'd ask them.

I'm afraid that even the guest singers
rehearse with the orchestra first.

- She only needs a pianist and I can play for her.
- Right you are, Mickey.

It wouldn't do you justice, my dear.

I'll chance that. Please let me meet you
there just in case there is a chance.

Thank you.
Thank you very much.

Then I'll go home and change-I'll meet you
at Ruffini's about-about midnight.

I can't stop you from doing that,
of course.

- I hope I'm not being a nuisance.
- You are.

But I rather like it.

- I'll, uh, see you there then.
- Hmm.

Good-bye.

- Ring off, sir. Ring off.
- What?

Turn the handle like this, sir.

Three times.

- That's called ringing off, sir.
- Thank you very much.

Oh, it's all right.
I've got the tickets.

Oh, George.
I've got the most dreadful headache.

You mean you don't
want to come with me?

I do, darling,
I want to terribly, but...

I am so tired and my head is,

Would you mind terribly
taking me home?

- Of course not, Netta.
- Thank you, George.

- Cab, sir?
- Yes, thank you.

- Here you are.
- Thank you, sir.

George.

You're cross with me.

- No, I'm not.
- But you are.

I can tell by the tone of your voice.

Don't be so far away.

If I've upset you, I'm sorry.

It's all right, Netta.

George.

Make me comfortable.

Mmm.

- George.
- Hmm?

Do you remember
that other lyric of Mickey's...

the one you're working on?

- You mean “So Close To Paradise“?
- Uh-huh.

Mm-hmm-Why?

Oh, this just...
made me think of it.

♪ So close to paradise ♪

♪ We could reach out
and gather a star ♪

♪ So close ♪

Oh, it's lovely, George.

It's lovely when you sing it.

When will you finish it?

Mmm, soon.
Maybe tomorrow.

Could you finish it tonight,
while I'm resting, I mean?

Well, I guess I could.

Well, then you could...

bring it over after a while.

But I think it'd be
awfully late, Netta.

It wouldn't matter
how late, George.

- Who is it?
- It's I, George.

I've just finished it.
You said to bring it over.

May I come in
and play it to you?

Well, it's-
it's awfully late, George.

But you said
it didn't matter how late.

Well, darling, I've just been asleep.
I'll just look at it.

But I've-I've worked
awfully hard to finish it.

I really would like
to play it over for you.

Really, George.
I have got such a head.

You have no idea.

Oh, I'm sorry.
Is there anything I can get for you?

No, I just want to be quiet.

Thanks for coming over.

I'll see you
in the morning, darling.

- Good night.
- Good night, Netta.

Send for a cab, will you?

Thank you.

Blimey, but it's hot.

I'm watching out
for a load of gas pipe.

They delivered it
to the wrong hole.

They gotta fetch that there gas pipe
here sometime tonight...

or the men won't be able to start
working in the morning.

Netta. I thought you weren't well.
Where are you going?

To Ruffini's.
They need a guest singer.

- You said you had a headache.
- I can't miss this opportunity.

Carstairs sent me a message
not 10 minutes ago.

You couldn't have dressed
like this in 10 minutes.

You must've been practically ready
when I spoke to you just now.

Sometimes you can be
an awful bore.

- I'm going with you.
- No.

- There's George.
- Oh.

Come later, if you like,
when you're in a better temper, darling.

Drive on.

George.

George!

Aren't you rather
letting yourself down?

If I am, isn't that my own affair?

Not entirely.

Because you're
letting me down too.

I wish you'd stop badgering me
about that concerto.

And I wish you'd realize
what's happening to you.

Have you considered
that I may prefer what I'm doing?

To waste your talent
on someone with no real ability...

and even less reputation?

You'll kill your inspiration,
and you'll be left flat.

Exactly as you were left just now.

Good night, George.

What happened?

Stand back. Clear out stand back please.

Stand back.
Stand back there.

Stand back.

He broke a wheel.

Are you all right, sir?

Search the square.

There's something wrong
over at Sir Henry's.

Ain't ya feeling well, sir?

You hurt yourself, sir?

Oh, no.

Everything seems to be falling
into your ditch tonight.

First those pipes and now me.

I wonder what's happened
over at Sir Henry's.

- What'd you say?
- The police just drove up.

- Police?
- There's a whole vanload.

Well, that's odd.
I didn't see them pass.

May I see?

Oh, don't!
Don't, please.

I'm sorry.

There's a deep bruise on her throat.

She says he threw
something round her neck.

It was probably a cord
with a knot in it.

That's what caused the bruise.
It acted like a thuggee cord.

Thuggee? What's that?

It's a method
of very swift and silent murder.

- But what could-
- East Indians use it.

We've had cases down at the docks.

One of them could've been
prowling around here.

Yes, he could've been thieving...

and he tried to quiet the girl.

- Williams.
- Yes, sir.

- What's all this excitement about?
- It's Miss Barbara, sir.

- Well, what's happened?
- Somebody tried to strangle her, sir!

Oh!

We'd better let the others know
the kind of man they're looking for.

I'll be back in a moment.

This is dreadful, Barbara.

Were you here all alone?

I was playing...

Because I felt so unhappy
about the things I'd said to you.

I deserve them.

I've broken my promise to you
about the concerto.

I'm sorry.

Will you keep your promise
and finish it?

Yes, I will.

Thank you.
I knew you would.

What's that you were playing?

- Something from my concerto.
- Oh?

So that's why I haven't seen you
these past few days.

Precisely.

By the way, darling,
how's my song coming?

- It isn't.
- You haven't worked on it?

Not for days.
I haven't even looked at it.

I can't write songs for you
when I'm supposed to-

Well, that's only because...
I haven't been here to help you.

No. Because I want to
get on with my concerto.

Oh, darling, couldn't you put that aside
just for a little while, for me?

I've already put my own work aside
far too long for you.

But it's-
it's just one more song.

It's always one more. They get stale so
fast I never have time to do anything else.

I won't do it.

But I must have it, dear.

- I open next week.
- Then get somebody else to write it.

I'm not the only composer
in London.

Oh, but, George...

I don't want anyone else to write it.

It's no use, Netta.

Why don't you go away
and leave me alone?

But, George, you-
you can't let me down now.

- Please.
- This goes on and on.

These songs mean nothing to me.
What do I get out of them?

You could get me.

All for you.

There's not a thing
I wouldn't or that I couldn't do.

You wrote that for me, George.

But you've never really
tried to find out...

have you?

Isn't this what you were playing
when I came in, dear?

Like this?

No.

That's not quite right.
It's like this.

That's lovely, George. But why don't
you do it like this? Try it once.

Netta, it isn't a waltz.
That's not the right tempo.

Darling, it would be for my song!

You can't have it.
It belongs to the concerto.

Oh, George. It's such a little thing.

- Your concerto would never miss it.
- But, Netta-

- You must have been thinking of me
when you wrote that... No, I wasn't-

You must have been,
because that is me.

Can't you hear that?
That's my song.

Listen. Play it once.
Waltz tempo.

Go on. Play it.

♪ When two.I'

♪ When two lips ♪

♪ Breathe aflame ♪

♪ This is our moment ♪

♪ For gay love. ♪

It is mine.

Isn't it?

Please do remember the fifth of November.

Gunpowder, treason and plot.

I see no reason why gunpowder treason
should ever be forgot.

- Pennies for the Guy Fawkes bonfire!
- Money to burn a Guy!

Please do remember
the fifth of November.

Gunpowder, treason and plot.
I see no reason why-

- Remember the Guy, sir.
- Fifth of November.

- Remember the fifth.
- I'd forgotten it was Guy Fawkes Day.

It comes every year, sir.

- What did Guy Fawkes do?
- He tried to blow up the Houses of Parliament.

Se every year
we bum a Guy of hm.

We made this one.

This one's going to be
on the bonfire in Cheyne Yard.

Well, here you are, boys.

- Crikey! A shilling!
- Hey, Governor-You're a toff!

- A whole shilling.
- He's a bit of all right.

Let's spend it
before the fireworks are gone.

- Oh, good evening, Yvette.
- Monsieur Bone.

- Is Miss Longdon home now?
- Yes.

Mademoiselle is home.
But, uh, she is dressing.

- I will tell her that you are here.
- Oh, don't bother, Yvette.

Mademoiselle!
Mademoiselle, Monsieur Bone is here!

Oh, hello, George.

Did you... want something?

I wanted to talk to you, Netta.

It's the third time
I've been here today.

Oh, really?
Why, Yvette didn't tell me.

I've, uh, just been resting.

Well, I realize you've had
a very exhausting week, Netta.

That's why I waited
until now to ask you.

Oh, no, not now, George.
Please, darling, it's so late.

I have to dress yet for the theater.

But I can talk to you
while you're dressing.

I can still hear you singing.

"All for you.

There's not a thing
I wouldn't or that I couldn't do.“

Do you remember that?

Yes, but I really can't
talk to you about that now.

I've waited for such a long time
to say this.

Please, marry me, Netta.

I'll work the rest
of my life for you.

There's nothing that I won't do.
I'll forget about everything else.

I'm afraid you're
a little late, old boy.

Netta's marrying me next week.

That's not true.

Netta...

it's not true, is it?

Why haven't you told me
about it before?

- I tried to, George.
- My dear fellow...

I don't see how it concerns you.

This has been going on
all the time, I suppose.

Now, look here, my dear Bone.

It's going to be all right
in a day or two.

- But, at the piano she said-
- My dear fellow, don't get upset.

She kissed me!
She whispered to me. She promised!

“You can have me,“ she said.
And all the while, you got her.

Oh. George! George!

- Taking advantage! Conniving against my back!
- George, stop!

Are you crazy? George, oh, let him go!
You're killing him!

Stop it, George!
George, stop it, you fool!

Oh, Eddie!

Good evening, sir. I hope you're
feeling well this evening, sir.

- What happened?
- Someone killed a cat.

Guy, Guy!
Stick him in the eye!

Throw him on a bonfire
and there let him die!

Guy, Guy, Guy!
Stick him in the eye!

Throw him on a bonfire
and there let him die!

Holler, boys! Holler, boys!
Let your voices sing!

Holler, boys! Holler, boys!

Hurry! Hurry! Hurry!

Stick your Guys on the bonfire!

It's about time to light her up.

Hurry up now. Hurry up.
Get your Guys on the bonfire!

Let's have a look
at that one, matey.

- That's a good one! Go on!
- That's a beaut! Take her up.

Lots of room up
at the top, matey.

Come on down there.
You'll get burned up.

Come on down off there.
You'll get burned up.

Here she goes!

We very nearly burned you too, matey!

Guy, Guy, Guy!
Stick him in the eye!

Throw him on a bonfire
and there let him die!

Guy, Guy, Guy!
Stick him in the eye!

Throw him on a bonfire
and there let him die!

Guy, Guy, Guy!
Stick him in the eye!

Throw him on a bonfire
and there let him die!

Guy, Guy, Guy!
Stick him in the eye!

Mr. Bone?

Mr. Bone, I'm afraid I got
a bit of bad news for you, sir.

Have a look here.
It's your cat, sir.

Some boys brought it along.

Would it be worth
a half a crown to you, sir...

if I buried the cat
in that there hole?

Thank you kindly, sir.

Crikey!

But they got the dickens of a big bonfire
over in Cheyne Yard.

All right, kitty.
No harm done.

Here, kitty, kitty, kitty, kitty, kitty,
kitty. Here, kitty, kitty, kitty.

Come on, kitty!

Here, kitty, kitty, kitty,
kitty, kitty, kitty, kitty.

Come on.

Come on, kitty!

Come on, kitty,
kitty, kitty, kitty.

Where are you, kitty?
Come on, kitty, kitty, kitty-

Evening news!
Full Mail Gazette!

Missing actress!
No suspects!

They can't find the body!

Police at their ruddy
wit's end as usual!

Sir.

- You coming down with us?
- No, I think I'll wait out here.

Well, please yourself.
We shan't be long.

Well, please yourself.
We shan't be long.

- We just dropped in again, sir.
- Hmm?

Oh, I, uh-I'll read
this through in here.

- Is there anything new?
- Nothing new at all, sir, really.

You know, this is about the most
baffling case I've ever worked on.

Women like her don't just vanish
and leave diamond necklaces on the floor.

She was murdered, of course.
There's no doubt of that.

Mr. Carstairs told us
you'd been over there quarreling.

But I told you that
myself... days ago.

Another thing, Mr. Bone.

We're informed that you
never know what you do...

in these periods
of forgetfulness of yours.

Is it possible that you could have
had one that evening?

- Well, no.
- How do you know you didn't?

Because I can account
for all my time.

After that quarrel
I came directly back here...

and I know exactly what I did.

I tried to work,
but at first I couldn't.

Then I tore up some music sheets
and threw them into the wastebasket.

That made the cat jump away.

She knocked over some violins.

I picked them up, and when
I looked for the cat, she had got out.

She was run over.

Later you tipped the watchman
to bury the cat.

So you were not here all the time.

He said you looked a bit funny

That's what made us wonder if you
could have forgotten what happened.

Netta Longdon being missing doesn't seem
to have worried you a very great deal...

after you had
asked her to marry you.

After I'd found out about her and
Carstairs, I tried to forget her.

If I'd had anything to do
with what's happened, I'd admit it.

I've answered your questions.

I've never objected to your bursting in
here at any time as you've done just now.

So if there's anything else
you want to know, please ask me.

Then be good enough to let me
continue with my own affairs.

I'm sorry, Sir Henry.

- This is beautifully inspired, my dear boy.
- Thank you.

We'll be getting along, Mr. Bone.

We can have our first rehearsal on Friday-
How would 10:00 suit you?

Well, we've been
barking up the wrong tree.

- We've got to try another angle.
- You're satisfied about him?

We were prepared to arrest him, only
we haven't any real evidence against him.

He doesn't act like a guilty man.

He got quite indignant
with us in the end.

Carstairs was the last to see her alive,
as far as we know.

I think we should
pay him another visit.

- Are you coming with us?
- No, I think I'll look around.

You're still suspicious of our friend
down there, aren't you?

I want to see if I can find out
what happened to the body.

George, what are you
doing out here?

I thought I saw you from the house.
Shouldn't you be getting ready?

I've been for a walk.

I thought you were resting.

Are you worried
about the performance?

Oh, no.
Oh, good night.

I've been thinking about Netta.

I can't get her out of my mind.

I have impressions of her,
but they're distorted...

like memories all clouded over.

It's frightening.

This is no time
to think about all that.

I can't be completely sure
until I've found out what's happened.

I wonder if I could've had
something to do with it.

You thought you had something to do
with that antique dealer in Fulham...

but you didn't.

- Put your mind on the concerto now.
- All right.

Oh, I got you this...

so you could wear these tonight.

- Camelias.
- They're beautiful, aren't they?

Oh.

I want you to know that I am deeply
grateful for all your kindnesses.

Thank you.

And when I'm playing tonight...

I'll look at you whenever I can.

And I'll smile at you.

See you in a little while.

Good evening.

I hope you don't mind
my walking in and waiting for you.

Not at all, except
that I have to change.

I shan't be in your way.

- If you'd like a drink...
- No, thank you.

You think I killed Netta, don't you?

I think it's possible.

You'd like to get to the bottom of it,
wouldn't you?

Naturally, I would.

Between us I think
we can find out what happened.

I took the liberty of looking around
while I was waiting.

You found a use for this, I see?

Yes. I've always wanted something for working
through the sound holes of violins...

and that seems to be exactly right.

That's why you picked it up.

I also found this newspaper article.

“Methods of Murder by the well-known
home office analyst Allan Middleton.“

I wonder if you kept that
because I wrote it...

or because of this picture
of a thuggee cord.

I describe where the knots
are placed and how it's used.

I wonder if that sank into your mind.

Barbara was attacked
with a cord like that.

Did you ever make a thuggee cord?

Did you?

Did you?

This has wrinkles in it...

made by knots,
like the knots in a thuggee cord.

I noticed a pair of trousers.
The cloth was singed.

I don't know how that happened.

Could it have happened
in Cheyne Yard...

where they had the bonfire
on the night that Netta disappeared?

- I wasn't there.
- But I have been there...

asking about what time
they lit the fire.

It was about the time
that Mickey rang Netta's doorbell...

and found that she'd disappeared.

The fire was blazing when you took
the night watchman to bury the cat.

But I don't remember
anything about it.

In the Fulham murder, someone used fire
to try to conceal the crime.

But you said that
I was definitely cleared of that.

I know.
I was referring to the fire.

I thought that perhaps that
might also have sunk into your mind.

In Cheyne Yard,
they remember a man on a high ladder.

He carried a Guy to the top of the bonfire
and got singed coming down.

That was you, and it wasn't a Guy
you were carrying.

It was Netta, killed with this
during one of your lapses.

- You're quite wrong.
- I'm not wrong.

You have vague memories
of everything I've said, haven't you?

I'm sorry.
I must finish dressing.

- You'd better come with me.
- But I can't.

- I've got to play my concerto.
- Not now.

I have to play. They're waiting.

Listen, my friend.
You're out of balance.

I realize that,
but I know precisely what I'm doing.

The shock of this and the strain of playing
may prove too much for you.

I warned you your mind
might break down...

and cause you to do
some terrible, uncontrolled thing.

You can't be blamed, my dear fellow,
but you're dangerous.

You better come along with me.

- To Scotland Yard?
- Yes.

- To be put away?
- Well, we'll see.

But I've told you they're waiting for me.
I have to play.

I'm sorry, but I can't let you go.

But I've worked all my life
for this one night.

I'm sorry, but you must come with me.

Very well then.

George is very late.

Dr. Middleton
hasn't arrived either.

Ladies and gentlemen...

our composer,
George Harvey Bone.

I'm glad you're here, George.

We were afraid you'd be late.

What delayed you?

I'm sorry.

Hey! Hark at this.

Hey there!
Who's in there?

Let me out.

Thank you.

- George!
- I can't continue.

Please play for me, Barbara.

It's happened to me, just as you said.

Now I know everything I've done.

You can't be blamed,
my dear fellow.

I must hear the end of the concerto.

- Well, here he is.
- Come along now, sir.

You can't take him now.
He's a sick man.

He's a dangerous man,
and we're going to take him.

Now come quiet. We know what
you've done, but you can't be blamed.

You'll never hang, sir.

- You'll be held, perhaps.
- Now come along.

I'll neither be held nor hanged.

Look out!

Grab him! Get off?

Go that way! Cut him off!
He's running away!

Get some water.

Go back. Go back.
You must hear the concerto to the end.

- Are you mad?
- Go back!

Let me out of here!

Where's my daughter?

- We've got to get out of here.
- Go away.

The whole house is burning.
George!

- Where's Barbara?
- George.

Listen.

George.

Barbara!

George!
Get George.

George!

George! Get George.

- Father.
- Barbara.

- George!
- Listen.

Why didn't he try to get out?

It's better this way, sir.