Endless Night Page #6

Synopsis: Michael Rogers is a chauffeur with little money, but big dreams. Foremost of these is building his dream house on the perfect piece of land. Michael gets his chance when his new girlfriend, Ellie, turns out to be an extremely wealthy heiress. The two are wed and are soon living in a modern home on Gipsy's Acre. Their idyllic life shatters around them with a series of bizarre events and threats. Micheal comes under the disapproving eye of both Ellie's greedy family and her interfering best-friend Greta. On top of that, local legend says their property is cursed. What danger lurks for the young newlyweds, and is it a human plot or something supernatural?
Genre: Crime, Drama, Horror
Director(s): Sidney Gilliat
Production: Anchor Bay Entertainment
 
IMDB:
6.0
NOT RATED
Year:
1972
95 min
115 Views


We're leaving.

Ellie's stepmother has made

it too embarrassing for us.

You mean, for you?

Darling, you don't understand ...

Cora insulted her.

Well is that any reason why you

and I should have to leave?

It is impossible to stay after that!

You don't decide!

Ellie agrees.

Does she think she can run

my life as well as yours?

Darling, everybody's looking.

Well what do I care, I've

had a bellyful all week!

Move that down, take that,

put that there ...

who the hell does

she think she is?!

It's all my fault.

I admit it is my fault,

I should have said nothing ...

asked for nothing.

Oh, Greta ...

Greta, of course you

mustn't shut up ...

I only want to help ...

to be of use.

- Oh, crikey ...

- Shut up!

I knew from the beginning that ...

Michael hated me

being here with you.

He didn't trust me!

I should never have come to stay ...

Oh, Greta ...

Oh my God, now it's

the two of them!

Women's first and last

bloody refuge ... tears!

For heaven's sake

let her stay!

Make it permanent

for all I care.

Oh no, no you're

creasing them.

And anyway ... I'm going!

- You're staying.

- No I'm not, I'm going.

Oh no, you're not!

Well what's so bloody funny?

It's you, Darling ...

you look so funny!

He is so funny.

She's bloody staying!

And get something for

those blasted wasps!

I'm terribly sorry, Michael.

Will you please forgive me?

Let's forget it.

Oh, come on let's open

a bottle of champagne.

Achoo!

- Hello Darling ...

- Hello Darling.

Could you stop-off on your way

home and pick up my capsules?

I'm sneezing my head off

and I'm all out of them.

Sure.

Anything, anytime, anywhere.

Miss me?

Mmm ... can't keep my

mind on my work.

I'm almost inclined

to call it a day.

How is business?

Oh well, believe it or not I think

I can hear a real, live customer.

Don't let him get away!

I won't. So long now, bye.

Bye.

#... Through the world

we safely go ...

# Every night and every morn ...

# Some to misery are born.

Santonix!

How marvellous!

What a surprise, how are you?

I looked in to say

goodbye to Ellie.

He's off tomorrow to the States

to build another house.

This time my last.

Oh no, now please

don't say that!

Darling Ellie, I've had my ...

final treatment.

There cannot be anymore.

Sorry I've been so long ...

How are you?

Err, thank you ... we have

exhausted that subject I think.

Greta, dear ...

fix us some tea,

would you mind?

'Course, Darling.

Why did you let

Greta stay here?

Ellie hurt her ankle,

anyway she'll be going soon.

No ...

You have let her

take possession!

'Course I haven't!

Look, I've already had one

flaming public row ...

what else do you

expect me to do?

Have you any idea

where you are going, Mike?

What? Look I'm going

the way I want.

I can't reach you.

Can I?

I can't reach you.

# Man was made

for joy and woe ...

# And when this

we rightly know ...

# Through the world

we safely go ...

# Ah, ah, ah ...

# Every night and every morn ...#

# Some to misery ...

Don't stop. Go on.

Why were you looking

at me like that, Darling?

Like what?

As if ... as if you love me so

much it made you sad.

You looked ... I dunno, fragile

and beautiful.

Almost out of another century.

Like the song.

It's from your poet, Blake.

# Some are born

to sweet delight ...

# Some are born

to endless night.

You're crying.

Perhaps because it's true.

Oh, Ellie!

Ellie, Darling ... where

are you?

You're always looking

through those binoculars.

As if the place were besieged.

Well it is in a way ...

by old Reuben.

After all, he's our

neighbour now.

Fifteen miles away!

Why is he always

riding around here?

What is it?

Oh, nothing.

Thought for a moment

he was going to fall off.

Unfortunately, he didn't.

Mike ...

You saw her, didn't you?

Alright, Mike ...

I'm not a child.

No point in worrying

you, was there?

Well ...

I guess she has the right

to stand in a field ...

staring at us all day if

she gets a kick out of it.

Why don't you come with

me to the sale after all.

You know you don't want me to.

Well, I had my reasons,

but what the hell.

No, I'm alright.

Besides, I'd only have

to change back again.

I'll meet you at the

Crown for lunch.

Fine.

- Morning, Michael.

- Not riding with Ellie today?

Of course not, Darling ...

Greta's going up to London ...

shopping with

Mrs Philpott, remember?

Yeah ... 'course.

God, it's time I was leaving.

Hey ... what's all this about?

You look especially

elfin this morning.

See you later, Darling.

Take care.

Mr Degenhart.

Next lot's the one you're after.

Lot thirty-two. A Mother-of-Pearl

inlaid, Victorian, Papier-mch table.

Yes, I marked it down for Ellie.

It's her birthday on Sunday,

that's why I didn't want her to come.

Sixty ... sixty-five ... seventy ...

seventy-five ... eighty ...

eighty-five ... ninety ...

ninety-five ...

one hundred.

One hundred and ten ...

One hundred and twenty ...

One hundred and thirty ...

One hundred and forty ...

One hundred and fifty ...

One hundred and fifty ...

At one hundred and fifty pounds ...

Going ... going ...

gone.

One forty-five ...

Woman's privilege, you know.

Not like Ellie though, she'd

have left a message.

You're wanted on the

phone, Mr Rogers.

Ahh ... that's her now,

probably got held up.

Order for me too,

Doctor, will you?

Hello?

Have you heard anything

of Mrs Rogers, sir?

She hasn't come back yet.

Hasn't come back yet?

Come back from where?

From her ride, sir ... I haven't

seen her since.

Ellie!

Ellie!

No. No, Mike.

Doctor Philpott has told us ...

that he considers Mrs. Rogers

had been dead about two hours ...

- and Dr Shaw agreed.

- Ellie.

That no injury was found that

could have caused her death.

Stomach contents were normal ...

and deceased's internal

organs perfectly healthy.

In my opinion, death was due to cardiac

failure, probably resulting from shock.

- Associated with her fall?

- That is difficult to say for certain ...

but it would be consistent ...

The capsules she was taking

were standard antihistamine ...

without side-effects ...

and could not have

been responsible ...

I can't get it out of my mind ...

You see ... Ellie would

have been with me ...

if I hadn't have planned a

surprise for her birthday.

Well she looked ... well

and happy before I left...

before I ...

she ...

sh ...

Give Mr Rogers a glass of water.

Do please, sit down and,

wait a little if you like.

No, no, no, I'm, I'm alright.

I'm alright, thank you.

She was alone, you see...

Ellie.

She ...

El ...

Ellie ... died alone.

Most ... distressing.

Thank you, Mr Rogers.

May I say something, sir?

Certainly.

Well I'm ... I'm not

satisfied, sir.

Oh?

Why?

Well, things have happened ...

things have happened before,

the things I told you about.

She was ... she was

well that morning ...

she was per ...

I'm ... I'm just not satisfied, sir.

I see, thank you Mr Rogers, I

can understand your distress.

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Sidney Gilliat

Sidney Gilliat (15 February 1908 – 31 May 1994) was an English film director, producer and writer. He was the son of George Gilliat, editor of the Evening Standard, born in the district of Edgeley in Stockport, Cheshire. In the 1930s he worked as a scriptwriter, most notably with Frank Launder on The Lady Vanishes (1938) for Alfred Hitchcock, and its sequel Night Train to Munich (1940), directed by Carol Reed. He and Launder made their directorial debut co-directing the home front drama Millions Like Us (1943). From 1945 he also worked as a producer, starting with The Rake's Progress, which he also wrote and directed. He and Launder made over 40 films together, founding their own production company Individual Pictures. While Launder concentrated on directing their comedies, most famously the four St Trinian's School films, Gilliat showed a preference for comedy-thrillers and dramas, including Green for Danger (1946), London Belongs to Me (1948) and State Secret (1950). He wrote the libretto for Malcolm Williamson's opera Our Man in Havana, based on the novel by Graham Greene. He had also worked on the film. more…

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Submitted on August 05, 2018

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    "Endless Night" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/endless_night_7660>.

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