So Evil My Love Page #7

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
158 Views


Are you positive?

Absolutely.

I had the whip hand, and he knew it.

I was utterly in command.

You enjoyed yourself.

Yes, the power of it.

It was a wonderful sensation.

I've never had it before.

I was quite calm,

My heart wasn't pounding,

My mouth wasn't dry.

I was utterly in possession.

I'm beginning to know you, Olivia.

I'm beginning to know myself.

The boat train leaves at 8:30.

I'll meet you at the station.

We're going tonight?

Your ticket.

Cabby, stop here.

Mark, it's happening.

I never really believed it.

Charing cross. Eight o'clock.

Well, thank you, Mr. Smathers for your help.

You can rely on Mr. Jarvis' descretion

in this matter, sir.

He's helped me on several occasions.

Good day, sir. Good day.

I suppose there's no doubt

about this man, bellis.

Not a shadow, sir.

He goes by various names.

Robert Campion, Gilbert Lemoin

and Kenneth Arrow.

It's all here.

They could hang him with that little lot.

When they know where to look for him.

But they don't know.

Not yet, sir.

I'll go on to scotland yard from here.

You'll make no charges nor take

any proceedings whatever

Without my authority. Is that understood?

But murder is involved...

This enquiry was made at my request

It will remain in my hands.

I have my duty, sir.

With which I promise

I shall not interfere, in due course.

Come in.

Oh, curtis.

Yes, ma'am.

Did you give my message to Mrs. Courtney?

I did, ma'am, but I daren't let

you see her, the masters orders.

Is she well?

She's wretched, ma'am.

He's taking her to Scotland tonight

to a sanitorium, or something.

It's to be the death of her.

Well tell the coachman to take these

things to charing cross at once, please.

The station, ma'am?

The boat train to dover.

You're going abroad, ma'am?

Yes.

Come in.

Yes, Roger?

Mr. Courtney would like

to see you immediately, madame.

Downstairs.

Thank you.

I only won't keep you a moment,

Mrs. Harwood.

I've very little time, Mr. Courtney.

I agree. In fact I should say

you have not time at all.

A fascinating character, your Mr. Bellis.

He seems to have committed

almost every crime in the calendar.

What are you talking about?

Forgery, larceny, murder.

Murder!

You seem surprised.

Burglary, theft,

We'll exclude painting, though

I gather his is outrageious enough

To be considered a crime by the critics.

It's all here in detail.

Much of it unknown to the police, as yet.

What do you want?

My wife's correspondence.

The originals, this time.

In exchange for this.

Who else have you told?

No one.

How do I know I can trust you?

You don't.

This may be...

Just a copy.

It may and it may not.

That's your gamble.

He'll hang, Mrs. Harwood.

It's a fair exchange.

My good name for his life.

There were nine.

Oh, yes, by all means.

By the way. You were quite right.

It is just a copy.

Mr. Courtney's had another attack.

A bad one.

So sudden.

Darth, please.

We were talking quietly.

Take him up to his room and

fetch doctor. I'll come up.

Have a nice trip, ma'am.

How is he?

He's still unconscious, madame.

Mrs. Curtis is with him, madame.

I'm going for Dr. Pound.

Who has the key to Mrs. Cournety's room?

What? I have it ma'am.

Give it to me.

Quickly, please.

What do you think of this spectacle?

Listening at keyholes.

Locked in like a child.

He's very ill.

Is he? I'm glad. I hope he dies.

With all my heart. I hope he dies!

Stop it, Susan.

If I had the power to save him.

I wouldn't, I wouldn't.

Sorry, dear.

It's all right now.

It's all right now.

Susan, listen to me.

I know you didn't mean

what you said just now.

But, if he should die.

It's the one thing you'll remember.

You'll remember wishing it.

It'll seem like your doing.

But I didn't mean it, not really, Olivia.

It's just that I'm so overwrought.

Of course you are.

But he's ill, desperately ill.

You must help him, if you can.

What can I do for him?

He's had these attacks before.

Think, think, Susan. What did you do then?

Last time you helped him,

with that medicine.

D'you remember?

Yes.

It did help.

It might again.

I'll try. Shall I?

Take care of her, Mrs. Harwood.

It is over.

It was a bad attack.

He always had a weak heart.

Heart failure was not the cause of death.

Not the heart.

No, Mrs. Harwood.

Papers sir. Paper sir. Papers.

Mark.

The new lady?

Yes, please.

There you are, lady. All set for dover.

Hope the king's fine for you.

Here you are.

Thank you, sir. Thank you very.

He's dead.

Dead?

He knew everything about us.

About you.

Go on.

He was in bed ill. It was absurdly easy.

I had to, Mark. I had to.

Room for Lidland? That's the ticket.

Sorry to trouble you.

Pshew! Thought I wasn't gonna make it.

Clocks stopped.

I must have forgotten to wind her.

I can't think why?

Do it every morning me life.

First thing as I get outta bed.

Regular as clockwork.

Ha, ha, that's good. Hear that?

Clock-Clockwork.

Ha, ha. What a one I have!

Hello. Going to paris, eh?

Me, too.

Elywell's my name. Joe Elywell, commercial.

Gilbert Lemoin.

Ha, ha, ha. Mr. And Mrs.?

That's the stuff. Always take the Mrs.

I would have brought mine if I could,

Only she's been dead and gone now

on two years, poor soul.

Got a quinsy, you know.

Snuffed out like a candle.

Excuse me, must get a paper.

Quickly. Who knows?

Nobody, yet. I think the doctors suspect.

You?

No.

I never went near him.

It was Susan.

I made her give him...

Tickets, please.

The lady's not traveling.

All rightie, sir.

Mark.

There's bound to be an inquiry.

An inquest, perhaps.

You just can't disappear.

They'd suspect you at once.

If they'd gone throuh what I have..

They'll discover you within 24 hours.

You must go back and face them.

You must go back.

No, I'm going with you.

You'll ruin everything for both of us.

Mark, I need you. I've no strength left.

That's when you're strongest.

Now listen carefully.

You must account for your movements tonight.

You were going abroad.

You had sent your luggage to the station.

You had to collect it.

Susan needed you.

You'd canceled you journey.

Do you understand?

Mark, I implore you.

You know nothing about

the cause of his death.

You had no motive.

You know nothing about me.

I was your boarder, and that's all.

You don't even know when I've gone.

Is that clear?

I'll write to you from paris.

Send letters to the

cafe Durand Montparnasse.

And keep you head, darling, and use it.

You'd better finish that inside,

friend. We're just off.

Goodbye, darling.

For three days, gentlemen

You've heard the testimony

Regarding the death of Mr. Henry Courtney.

It has been established that he had

become morose and ill

Largely owing to his lack

of issue to his marriage.

You may consider this sufficient motive

For a man to take his own life.

It is for you to decide whether he did.

Whether, indeed,

it was possible for him to do so.

As to the second alternative

That the antimony was

deliberately introduced

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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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