So Evil My Love Page #6

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


How cautious of you.

I'm a cautious man.

Really?

I should have said quite the opposite.

Well appearances can be deceptive, you know.

Oh, would you excuse me, please.

Who's that, Olivia?

A man of some talent.

He... paints, I believe.

How clever.

He likes you. Did you notice?

Oh, nonsense.

Olivia.

Look, over there behind lord bayah.

Mrs. Courtney.

Sir John.

What a pleasant surprise.

Mrs. Harwood, may I present sir John curle.

I've heard a great deal about you.

I haven't seen you for a long time,

Mrs. Courtney.

Oh Mrs. Courtney has not been well,

but she's thriving now.

She tends to go out a good deal.

I am delighted.

Oh, how stupid of me.

I seem to have mislaid my fan.

Sir John, would you show

Mrs. Courtney the pictures

While I go and look for it.

With pleasure.

Susan?

It's so long.

I can't believe it's really you.

Standing close beside me.

Two years, without a word.

I didn't dare write before.

But now it's safe?

No.

But Olivia's given me strength.

Without her, I wouldn't have

had the courage to write to you.

I'm so terrified of Henry.

If only I could help you.

John dear, I must talk to you, properly.

This week, while Henry's away.

Where could we meet?

Saturday. My sister's giving a dinner party.

I'll see you're invited.

I think I prefer

Gainsbury's duchess of Devonshire.

I've never seen it.

It was stolen in 1876.

How wicked of someone!

Ah, wickedness abounds Mrs. Harwood.

It's as universal as love.

Where is she?

With sir John.

She's behind us. Don't look now.

I sold the bonds for 300 pounds.

Three hundred! I thought at least five.

Are you doubting me?

Oh, no.

Should I?

I should like you to kiss me.

I have an idea it might outrage

the bishop of London on my left.

So, consider yourself kissed.

I think you should run along now,

And break up Mrs. Courtney's romance.

Love thrives with frustration.

The first reunion should be short.

Goodbye, my darlinig.

Goodbye, my dear.

An old friend of ours is

casting curious glances, Mark.

I'm feeling a little parched, my dear Edgar

Would you care to join me in a glass

of something at the metro pole?

You know it's criminal leaving

these pictures behind again.

Such a suburb Market in america.

Susan.

Are you ready?

We shall be late.

You look beautiful

Thank you.

I am so excited.

This is my first new evening dress

in such a long time.

How do I look?

Lovely.

Take the hair our of your eyes.

Olivia, do you think that John...

He'll be very impressed.

Susan.

Come into the drawing room.

I want to talk to you.

You, too, Mrs. Harwood.

Henry.

When did you get home?

Why didn't you tell me?

A very lovely dress, Mrs. Harwood.

Thank you.

I wasn't expecting you for several days.

Sit down, Susan.

What a surprise.

We were just going out to dinner

with lady safer.

Mrs. Harwood.

Wasn't it nice of her to ask us?

Since when have you been

transacting business

With the firm of smathers and fortescue,

a stock broker.

Why have you never told me.

That you have shares in the kimberley mines,

And why did you sell them?

Answer me.

I wanted to buy some new dresses.

I was under the impression

that you are adequately clothed.

A woman likes to change,

to wear something new.

Who's idea was this?

Mine. You see I thought that...

Well, let's just say, that we thought...

We?

That you also decided to extend

your wardrobe, Mrs. Harwood.

No. No, of course not.

In that case it's remarkable that

you should appear in a costume

Which must have cost more

than your year's wages.

Oh, I gave it to her.

Really?

And what other gifts has my wife made you?

What else have you acquired?

Susan is my oldest friend.

If she chooses to give me these things.

I can only marvel at

your powers of persuasion

And my wife's gullibility.

Whatever Susan did for me

she did of her own free will.

It's of no importance.

Susan will be leaving for the

argyle sanatorium tomorrow night.

She won't require your services any longer.

Sanatorium?

Henry, you don't mean that.

Now, go to your room,

and try to write lady safer a note.

Telling her of you sudden indispositon.

Olivia.

But she's so much better, I assure you.

She's controlling herself...

I told you to go to your room.

You can't do this. It's inhuman.

Mrs. Harwood. I took you into my house

Believing that you were a decent,

orderly person.

I find, on the contrary,

that you're a cheat and a thief.

And that you have taken advantage

of your presence here

To corrupt my wife.

Under the circumstances your opinion

is, to say the least, impertinent.

Whatever Susan is you have made her,

With your unkindness, your intolerance,

Your complete indifference to

anybody's feelings except your own.

Make quite certain that you're out

of this house within 15 minutes.

Thank you, ma'am.

Mark.

Mark!

Mark?

Oh, Mark!

Mark.

Oh, darling.

Olivia, what are you doing here?

It's happened.

What's happened?

He knows about the shares.

He came at me like a demon.

He told me my services

weren't needed any longer

And ordered me out of the house.

He's sending her to a sanatorium.

Mark, tell me what to do!

Calm youself, darling. Calm youself.

The first thing to do

Is sit down and have a glass of wine

While you tell me all about it.

And don't worry. We'll find a way.

Mark.

Yes.

I hate the idea of going

to his office again.

I hate it for you, but it's necessary.

It's cold and musty.

I hated that first meeting.

He knew so much more about me

Than I knew about him.

Your hair's like silk.

I love you, so much.

Darling.

I've not seen these before.

They're Susan's.

Oh. You're learning.

Almost too easily.

I have her pearls, and you have her bonds.

The darling left me.

Scruples again?

No. I'm beyond that now.

It does seem, I don't know

A rather sordid way of making

a life for ourselves.

There's no other way, darling.

No.

Five minutes unpleasantness.

That's all it means.

If only I could believe that.

Ten at the outside.

Supposing he refuses?

He won't.

He can't afford to. He has no choice.

Neither have I.

How do I know these are not forgeries?

They are copies. I have the originals.

The most recent is dated over two years ago.

My wife has been foolish

But obviously it was all over long ago.

Please not the date of this one.

Sir John curle.

I take it this also is a copy?

Yes.

Who has the original?

I have.

And what does sir John have?

Another copy.

You think of everything, Mrs. Harwood.

How much?

Five thousand pounds.

In cash.

And if I refuse?

I see. An open scandal.

How will I know there aren't others?

My word.

Not exactly a guilt-Edged security.

I shall have to liquidate certain holdings.

It will take a few days.

You may have until tonight.

Tonight!

You are certainly forcing the pace.

I'm now going to your house

to collect my belongings.

I shall wait for you there.

How much?

Nothing yet. Tonight, at his house.

I told you to wait for it.

Oh, don't worry. Tonight.

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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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