So Evil My Love Page #2

Synopsis: Olivia Harwood, missionary's widow, meets charming Mark Bellis, artist and rogue, on the ship taking them both back to 1890s London. When Olivia opens a lodging house Mark becomes her ...
Genre: Crime, Drama
Director(s): Lewis Allen
Production: Paramount Pictures
 
IMDB:
6.9
Year:
1948
112 min
153 Views


You've been some time

in paying your respects.

Well. I've.. I've only just learned

that you were back.

Yes. Yes, and then...

My unbounded delight was tempered

only by my desire for your safety.

How ardent. How very ardent.

You must remember that it was I, not you

That was forced to run for Jamaica.

Yet it was you...

Let us say it was both of us.

Undoubtedly that would be

the opinion of the court.

And not to put too fine a point upon it

We should both hang.

That is a prospect I am prepared

to go to some pains to avoid.

Yes, but not at my expense.

Let us have this perfectly clear, Edgar.

Whatever happens to me happens to you.

Two pints of brown ale. Right sir.

Always rooftops and always late.

Such a bore.

You need the exercise you're much too fat.

You seem to be bursting with news.

What are your plans?

Have at papillion.

The american Market in old masters

is positively at its peak.

With your talent we can

fake a nice little line in

Rembrandts, rubens

And live in comfort

for the rest of our lives.

No.

I'm the best painter in England.

I refuse to destroy the one thing

in the world I believe in.

I've told you that before.

Unfortunately, the art dealers don't share

Your enthusiasm for your work,

my dear fellow.

I do not understand you, Mark.

You steal pictures because you have to eat.

But why not fake them?

Are theft and forgery so far removed?

Your artistic opinions don't interest me.

You know nothing at all about pictures,

Except about how to dispose of them

in your rather dubious way.

Oh, very well.

The menalters canvases

return from the louvre

To lord milbrooke's on

the 14th of next month.

Good. We shall visit lord

milbrooke on the 14th.

Oh no. Not me. They now positively know.

The last time there was blood!

One paper openly referred to it as murder.

Last time I left everything to you.

This time I shall plan it myself.

To the milbrooke collection which

we shall collect on the 14th.

Unless they collect you first.

Unless they collect us first.

Cress sandwiches and ginger biscuits.

I must say I'm getting very tired

of bread and butter from for my tea.

Mr. Bellis has been ill.

His appetite needs stimulating.

Personally I don't eat

enough to keep a bird alive.

You should.

The idea. Ceylon! The very idea.

Seems nothing but fetch and carry

for your gentleman friend.

Wipe you mouth, Mrs. Shoebridge. There's

a piece of watercress on your chin.

How lovely they are.

They're so yellow this year, aren't they?

So much more yellow, when you wear them.

That color becomes you.

You should wear it more often.

I... I've been looking at some

of your new paintings.

You have?

Tell me about them.

I'm afraid I don't know very much about art.

Why not?

You know about other things.

You're warm, sensitive,

And kind to strangers.

They're unusual, aren't they?

They're not at all like photographs.

I don't believe paintings should be.

Others agree with me.

But not in England.

Here, they're steeped

in the dry rot of the past.

I'm sure they'll sell one day.

Yes. The day after my death.

As Mrs. Shoebridge would say,

So sad. He was quite, quite brilliant

Been over my head for years.

You're in high spirits today, Mr. Bellis.

You too.

You know I've never heard you laugh before.

More important. I've never seen you laugh.

You're a different person.

Different? In what way?

Usually you're so..

Forgive me but,

So reticent.

When you laugh, you're gay, very gay indeed.

I'd like to paint you.

Me? Oh, surely not.

Your hair is so lovely.

I'd like to see it down.

Down around you shoulders.

No. Please.

Nobody need know.

Come into the light.

I think I'll try a sketch first. May I?

If you really want to, Mr. Bellis.

That's all for today.

Light's gone.

Don't you want to see it?

I've told you. No.

It's almost finished.

I never want to see it.

Come here!

I want to know what you think.

Once when I was a girl

This is the way I thought I was.

I really haven't done you justice.

Your eyes are deeper

Your skin is whiter.

But I have got your carriage.

The way you hold your head way up.

That's rather good don't you think?

Do you really see me like that?

You are like that.

You jest.

The girl who gave it to me in Jamaica

Had been married in it.

She said it would make me happy and gay.

Has it?

I never dared to try in on till now.

Well, how to you like yourself?

Olivia!

Olivia!

Why did you have to paint me like that?

Why?

I paint only what I feel and what I know.

It was deliberately cruel.

Deliberate, yes. Cruel, no.

My life was to be rich

and full and complete.

I planned it all when I was young.

Oh, you wouldn't have

known me when I at school.

I was the leader of everything

I danced the best. I even looked the best.

Why did you have to bring it all back to me?

Everything that I wanted to be.

Everything!

Time lost.

I don't know why I'm talking like this.

I want to know about you, Olivia.

I want to know all about you.

Don't.

You're not afraid of me.

You're afraid of yourself.

You're sure the pictures

are going to be crated?

How else would they travel?

Well, I shall pray desperately for fog.

It's helpful, but not vital.

You know actually I shall be doing

England a great public favor

By getting rid of the monstrosities.

History will thank me.

Only if history knows the truth about you.

In which case..

In which case I and my pictures

will hang together.

Charming thought.

Getting nervous, Edgar?

Relax.

The police have long since

given up looking for me.

And as far as they're concerned

Minton street might just

as well be in Australia.

Relax.

The immediate future

Seems to me dark and forbidding.

Stand just where you are gentlemen.

We'll relieve the caretaker of his keys.

And we'll lock these gentlemen in.

I'm sorry for the inconvenience.

But it's unavoidable.

Now, get over there!

You too!

You can't do that..

Get quiet.

It'll save a lot of unpleasantness.

Don't shoot you fool!

Run for it!

It's nearly three o'clock.

I brought your lunch.

Leave it.

Mark.

Yes.

You were out all night.

Where did you go?

I couldn't sleep, so I went walking.

Why didn't you call me?

Why should I?

I heard you come in.

It was after six.

I couldn't sleep until you came in.

Sorry.

What is it, Mark?

We're out of luck, Olivia.

Something I'd depended on

Has fallen through.

Well only temporary I'm sure.

No, permanently this time.

I haven't any money. No prospect of any.

I haven't a sou.

I have to get away.

Away?

Yes. Australia, South Africa.

Somewhere.

No, Mark, no.

We'll not be parted now.

What do you suggest?

I've never really loved a man before.

Nor been loved in return.

I've never known what it was.

Now, I know.

Nothing shall take it from me.

Nothing!

Eat your lunch.

Dear Susan,

I have but lately returned

from the West Indies.

Where I was widowed by the plague

That swept the island.

You're my only friend in England

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Ronald Millar

Sir Ronald Graeme Millar (12 November 1919 – 16 April 1998) was an English actor, scriptwriter, and dramatist.After Charterhouse and studying at King's College, Cambridge, for a year, Millar joined the Royal Navy in 1940, during the Second World War. He established himself as a playwright after the war and, between 1948 and 1954, lived in Hollywood, where he wrote scripts for MGM. On his return to Britain, he successfully adapted several C. P. Snow novels – and, in 1967, William Clark's novel Number 10 – for the stage. He also wrote the book and lyrics for the musical Robert and Elizabeth. He acted as speechwriter for three British prime ministers, including Margaret Thatcher, for whom he wrote the famous line "The lady's not for turning."Millar was the son of a professional actress, Dorothy Dacre-Hill. Prior to becoming a full-time dramatist and then a speechwriter, Millar acted in a number of West End productions during and after World War II, in the company of luminaries as Ivor Novello, Alastair Sim and John Gielgud. He also appeared in the 1943 war film We Dive at Dawn directed by Anthony Asquith. One of his most well-received productions was Abelard and Heloise featuring Keith Michell and Diana Rigg. more…

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Submitted on August 05, 2018

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