The Agatha Christie Hour (1982) s01e04 Episode Script
The Fourth Man
(announcer) Thetrain now standing at platform one isthe nighttrain for EdinburghWaverley, calLing atPeterborough, Grantham Here we are, sir.
Splendid.
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NewcastLe-upon-Tyne, Berwick-upon-Tweed Right, sir.
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andWaverley station, Edinburgh.
Platform oneforthe nighttrain Thank you very much, sir.
CIark! I'm sorry? Campbell CIark! Oh, Durand! Are you going north of the border too? Only asfar as Durham.
Won't you join me? I have an empty compartment.
Oh, I'd be delighted to join you.
This is a pleasant coincidence.
I was actually expecting a companion, but sadly he's missed the train.
Oh, dear.
(French accent) Um, these seats are vacant? Well, one of them is possibly occupied, but Thank you very much.
Thank you.
-(man shoutsindstinctly) - Good Lord, he's here! Come along, Parfitt, don't keep the crew waiting.
Oh, my Lord! It's alright, thefellow hasn't blown his whistle yet.
Oh It's not goodfor me, you know.
Oh, my goodness! I had to run all the way from the taxi-cab rank.
-(whistLe blows) - Quite fit! What delayed you? Late supper with Woolwich and St AIbans.
The conversation got deep.
Oh! I thought I was going to miss it.
Durham expects me.
- Parfitt, you know Sir Campbell CIark? - Only by reputation.
Sir Campbell CIark, Canon Parfitt, Canon Parfitt, Sir Campbell CIark.
A great honour, sir.
- You've been causing quite a stir! - Only among the ignorant.
(they chuckle) So here we all are.
Yes, indeed.
- How pleasant.
- Ifancy we have a quorum, don't you? The Iaw, the Church and the medical profession.
Between us we could cover any ground, Ifancy.
Indeed.
I wonder.
There is another point of view.
- Meaning? - That of the man in the street.
Ah, the man in the street.
As usual, the man in the street is dozing.
Are you going to Edinburgh, Sir Campbell? Aye.
I can never wait to get back north of the border.
You just sortied south to sort us out, eh? (Laughs) You refer to my Iecture to the Royal Scientific Society? You were at it? Regrettably, no.
Woolwich and St AIbans were.
You should have been there, Durand.
It's more your Iine of country.
The Church and science never did go hand in hand, but you men of the Iaw are more persuadable.
I doubt that, Sir Campbell.
The Iegal mind requires chapter and verse Iike the church.
We don't carefor change.
It upsets us.
- What was the gist of your Iecture? - Dual personality.
- Your Iatest hobbyhorse, isn't it? - Latest? A Iifetime's work.
The raw surfaces of the mind rubbing together, causing terrible illness.
My subject was a poor, demented peasant girl.
French.
Her name was Felicie Bault.
- I've heard the name.
- She became something of a celebrity.
Perfect example of dual personality.
I was one of the doctors Iucky enough to study her over several years.
Her extraordinary behaviour pattern was quite baffling.
My talk was the result of our findings.
Which were? Oh You'd have to understand the whole case.
Didyou? I do beg your pardon, sir.
We thought you were sleeping.
The man in the street who is always dozing, eh? - Who are you? - My name is Raoul Letardau.
- I've seen you somewhere before.
- I was at your Iecture, Sir Campbell.
- Ah, you're a member of the Society.
- No, I am a gentleman of the press.
Oh, yes, I remember.
- You expressed an opinion.
- I did.
I hope it was a good one.
Are we allowed to share it? I simply asked the eminent doctor how it could possibly have happened.
- That is a question, not an opinion.
- The opinion came Iater.
I said that doctors had been Iooking in the wrong direction.
The point of view of the man in the street.
- And is our friend right? - I don't think so.
You can't Ieave it there, Campbell.
Come on, give us somefacts.
Very well.
Felicie Bault was a Breton peasant girl.
From the age of five she'd been brought up by a charitable maiden Iady who ran a homefor destitute children on the Brittany coast, near Dinard.
Are these the kind offacts you want? - What happened to her? - She committed suicide.
- No, before that.
- And was it? Are you so sure? Was it suicide? - Of that there can be no question.
- I question it.
What else could it have been? - Murder.
- Oh! Over to me.
In what way did this unfortunate woman meet her death? She strangled herself.
- Strangled herself? - Is that possible? Her hands were round her neck when she wasfound, Iocked in the death grasp.
As herself, Felicie was a dull, Ioutish girl, stupid and slow-witted.
But in her 20s she suffered what we can only describe as a mental breakdown, and it was after that the other Felicie began to appear.
- Was the second persona very different? - Remarkably so.
Felicie two as we termed it, spoke several Ianguages, played the piano passably well, sang, danced, had exquisite handwriting.
It was beyond comprehension.
She knew things Felicie couldn't possibly have known.
Smells Iike a hoax to me.
- Did she make money out of it? - No.
She got some attention she might have enjoyed, nothing more.
Enjoyed? She didn't want attention.
For years, you doctors, you experts, you studied her, you probed and prodded her.
- And how do you know so much about it? - I knew Felicie very well.
Ah! And Annette.
- Who? - Who? You say who? Annette Ravel, the beautiful Annette.
When I was 1 4, my parents were killed in a train crash and I went to Dinard.
- I Iived at that home.
- You Iived there? Oh, yes.
Itwas a cold house with always awind.
A narrow pathleddownto a beach and aroadledtotheviLLage.
Therewere 20 ofus children and thefirst one I sawwasFelicie Bault.
MademoiselLe came and met me offthetrainfrom Rheims.
Itwasthefirsttime I had met her.
The arrangementsformy guardianship had been madefor me bythe authoritiesin Rheims.
Are you Iookingforward to your new home, Raoul? Yes, Mademoiselle.
You must work hard so that you can be a credit to us all.
Yes, Mademoiselle.
- Are you quick and clever? - I don't know, Mademoiselle.
Look, Raoul, here's one of your new sisters.
Felicie, come and say hello to your new brother.
Shewas plain and clumsy andincredibly strong, iremember onthatfirstday shetookmy suitcase.
- Hey! - Stop that at once, Felicie.
- Hey! - Felicie, no.
- It will be too heavyfor you.
- It's mine! It'smy case.
Itwas such aninconsequentiallittLe act, andyet now it seems strangelytypical ofFelicie.
Part of her wanted to reach out and another part wanted to reject.
The dual personality was manifest even then? No, no.
You're not understanding me.
- They were separate then.
- They? Who? - No, no, Iet him tell his story.
- Yes, do go on.
We're all attention.
How strange.
What? To you, it's just a story.
Oddly enough,thethree ofus spent so muchtimetogether i neverrecalL any ofthe other children, justFelicie, Annette andmyself.
(squeals) Catch it! Go on, catch it.
Itwas asthoughthetwo girls eventhen weredrawnto each other by some mutual contempt And,yes, and envy.
Annette had everythingto be envied butFelicie had onething that Annettelongedfor, though ididn'trealse atthetime.
Felicie! (grunts) Naughty, Raoul! If she wants to play with me, she must play the rules.
No! Raoul, don't Iet her hurt me.
She's so big and strong, Iike the oxen of the fields.
Don't Iet her hurt me.
And so shewas, strong and healthy.
And Annettewas not.
(Laughs) come here! Come here, you bigfat doll! Now Kneel down and kiss myfoot.
My beautiful dancer'sfoot.
Kiss it, Felicie.
You know you want to.
(Laughs) Bigfat doll! I can make her do anything, Raoul! I can, I can.
Shewasthatkind ofa girl.
(Parfitt) She sounds athoroughlyunpleasant one! Yes, I'm sure that's the way I make her sound, and if you go by the barefacts, then yes.
But Annette was so much more.
To begin with, she was, oh, very beautiful, and she became more so as she grew older.
Delicate Iooks, restless energy.
Felicie didn't have to spend all her time with her, but she was drawn to her.
- Are you alright, my dear sir? - Sir Campbell, is he ill? Monsieur? You should have helped her.
She needed you.
- We helped Felicie Bault all we could.
- No, no.
Short of putting her in a straitjacket.
You don't understand.
Annette Ravel, itwasthat summer that ireally beganto notice her After ayear,the griefformy parents was beginningtofade.
Indeed, shametotell, I almost blessedtheir suddendeaths for bringing metothefeet ofmy adored Annette.
Dear, dear Raoul.
Dry myfeet, Raoul.
Put on my stockings.
Over there, see? Runfor them! Raoul You're so sweet.
My mother would have Iiked you.
She was She knew so many young men.
They gave her presents.
Shall you give me presents, Raoul? A peridot pendant and a diamond clasp? Shall you? Dear, sweet, handsome Raoul.
She was a dancer, you know.
Veryfamous.
But I shall be more so, shan't I, Raoul?(coughs) I shall be veryfamous and people shall come from all over to see me dance.
I shall be the toast of Paris.
Ah, how I miss Paris.
La belLaParigi, cittÃÂ dei miei sogni.
That's Italian, Raoul.
Do you speak Italian, mio caro? I do.
And German.
Mother had a German Iover and an Italian prince, but she died and I had to come to this beastly place with all these brats and poor Mademoiselle.
Oh, Raoul Raoul Put my stockings on.
PIease, Raoul.
Myfeet are Iovely and dry now.
PIease Raoul? Kiss me, Raoul.
(Parfitt) But shewas only a child! - You all were.
- A child? Annette could never have been a child, as you would have it.
From the earliest time she hadfendedfor herself.
Her mother had been afilledejoie and she'd been a dancer and Annette's childhood was spent backstage in the Paris halls.
- How did she come to be at the home? - Still Iookingforfacts, Mr Lawyer? Annette's mother had died of consumption and the man she had been Iiving with abandoned the child.
Where is Annette Ravel now? - She's dead.
- And how did she die? Oh, that comes Iater.
How aware was Felicie of this other girl? She used to watch her morning, noon and night.
She was attracted to her Iike a bird is attracted to a stoat.
- You know thatfor afact? - Of course.
I knew Felicie very well.
We were both slaves, you see.
Hello, Felicie.
Where's Annette? I thought she was practising.
- She's not, is she? - No.
- Have you seen her? - Thought she was always whereyou were.
She's not, is she? Monsieur Raoul? Felicie, you don't have to keep calling me monsieur.
I saw you with her, monsieur.
Down on the beach.
Don't want to have to tell Mademoiselle what I saw.
- You didn't see anything.
- She's beautiful, isn't she? But weak.
I'm strong, monsieur.
I'm strong.
- I know, Felicie.
- Stronger than you even.
Stronger than her.
What are you doing in here all on your own, eh? - PIaying the piano, monsieur.
- Go on, then.
Slamskeys) Felicie! Felicie, don't! You'II upset Mademoiselle.
- Felicie, stop it! - Good heavens, what's this noise? Stop it, Felicie! Stop it! You must not ruin that piano.
Shame on you, Raoul, for encouraging her.
I didn't, Mademoiselle! Stop that noise, Felicie! Felicie! Felicie! Don't spoil the piano.
Let me playfor you.
(plays adelicate scale) Whenwinter's gone andspring'sreturning And hope andlove are born anew That's better.
This piano must not be used except by Annette.
One day she's going to be a fine singer and go to the Conservatoire.
Practise, Annette.
Practice makes perfect.
Yes, Mademoiselle.
And dream in vain for in my dream Can you see me at the conservatoire? No, thanks, old girl! (playslivelyintroduction) Notfor me musical evenings with oldfogies whose wives sit prim while they Iech from behind their big cigars.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso Un sospiro per non oso - Eun sospiro - I Iove you Annette.
I Iove you.
(Laughs) Oh! (coughs) Don't paw me, Raoul! Keep your hands to yourself.
- C'è - But What? - Yesterday on the beach! - That was yesterday.
C'è un sospiro per il si, aha, aha C'è un sospiro per il no, oho, oho - AItro per aver provato - Iwas her slave.
Or herplaything, LikeFelicie.
Yes, perhapswewere both herdolls.
Sometimes shewouldfavour me, often shewould not.
Usually iwaswretched.
Butwhen shewaskind, iknew such happiness.
It was Iike that until the day I Ieft that house.
I never knew from one day to the next whether I was infavour or not.
But with Felicie, oh, she was much Iess subtle.
She despised herfor her Iooks, her clumsiness, her dull, heavy ways and yet she, Annette, was also drawn to Felicie.
- Why? - Felicie's strengthfascinated her, and her health.
Annette's cough was getting worse and I think she knew.
She'd inherited consumption.
Perhaps Mademoiselle realised it, I certainly did not.
I had other matters to occupy my mind.
It had been decided I should go to the military academy.
Now, part of me dreaded this decision, another part of me welcomed it.
You see, I wanted to get away.
I had to.
My Iovefor Annette was becoming a torture and she, on the other hand, seemed Iess interested in me.
Or perhaps she really did Iove me but was too young to It was the day of my departure and I wanted to be alone with Annette.
Therewas so much that iwantedto say, but she had become more and more aloofwith me.
While stiLLwantingmy company, sherejectedmy advances.
You're going to sleep You're going to sleep Itwas atrickthat she had seen performed onthe hallsin heryouth.
She said itwas easy, but Ididn'tthink itwouldwork.
Felicie! Felicie! - She's pretending.
- You think so? I don't care.
Let's go outside.
I have to Ieave soon.
Lucky you.
God, I wish I could get away from here.
Well, I will, don't you worry.
Just as soon as Felicie? I'm going to whisper something in your ear and you will do just what I tell you.
Yes, Felicie, just what I say.
Felicie? Felicie? Felicie, my doll, what are you doing? What are you doing, Felicie? What does it Iook Iike? Does it taste good? Why, yes.
It is the best bread that I have ever tasted.
(Laughs gleefully) Stop it! Stop it, Annette! It's inhuman.
Felicie? (claps) Felicie! Wake up! Wake up! What am I doing here? What do you suppose? You were eating a candle.
I made you do it.
I can make you do anything.
You're my big,fat doll.
You made me? Yes.
Now I remember.
You made me Iook ridiculous.
I didn't have to try very hard.
Annette! You're mine! I can make you do anything.
One day, Annette I'm going to kill you.
You'II see.
It was only a joke! Kill you.
One day.
I will.
A child's innocence is divine.
The structure of the Bible relies upon it.
Oh, Parfitt, humbug, old boy, humbug.
You're not afather, I am.
Little tykes, the Iot of them, given half a chance.
This girl was dragged up from the gutter.
You heard what our friend says.
Well, the gutter sticks, old boy.
I know, believe me, I know.
Half my clients have a more than passing acquaintance.
But children, Durand, young children! Had it been a Church of England home, it wouldn't have happened.
Children are in a state of innocent grace.
Spare us the sermon, Parfitt.
They weren't children.
But they were when they began.
As I understand, this girl Annette was behaving Iike I have to say it, a flirt, a harlot even, from her pubescence.
- Oh - Sorry, but that's how it seemed to me.
But a creature from the gutter, Parfitt.
What example had she tofollow? She was her mother's daughter.
That's how I see it.
It is no excuse in the eyes of the Lord.
We're given trials to prove ourselves.
- You're amused, sir? - Yes, I'm sorry to show it.
- AII the nonsense you experts speak.
- You think so? Yes, you see,for you, Iife must conform to your set patterns, but it doesn't, you know? I'm sorry to shake you out of your complacent corners, but out there in the world are an infinite number of imponderables.
- "More things in heaven and earth"? - You begin to see.
- Perhaps.
- You will.
That's why Ifollowed you here.
You must.
Followed him? I need you to understand, to get it right.
Is that really possible, old man? When next I caught up with Annette, the war was over.
IwasinParis, iwasinuniform but iwas abouttoleavethe army.
(Annette sings nearby) Un sospiro per non oso Eun sospiro cattivo per averiniziato Un sospiro perpensato, aha, aha Altro perdesiderato, mm-hm, mm-hm Aiee! Che si puòfare? Aiee!Fugire orestare? Aiee! Andare ovenire? Aha! song becomesindstinct) (applause /whistLing) Pigs! Dirty, Iecherous old pigs! Don't they know how good I am? I'II go south and then they won't have me here any more.
The Count's in your dressing room.
So that'II teach them.
I'II marry the Count.
Hello, Annette.
The public are not allowed backstage.
But don't you recognise me? It's me, Raoul.
Atfirst, ithought shewas going torefuseto see me and iknewwelL enoughwhy.
Thetheatrewas notthe palace of entertainment she had promised herself.
Itwas alowdivewherethe shape ofher body mattered morethan hervoice.
- Butthen - Raoul? You can come now.
Raoul! I didn't recognise you.
So handsome in your uniform.
(coughs) Have you been fightingfor us, brave Raoul? Not so brave really.
It wasn't the best time to join the army.
Hmm.
Are you going to stand in the doorway? I might catch a cold from the draught.
Oh, I'm sorry.
Oh, I beg your pardon.
Oh, Bobov, this is a boy from that ghastly home I told you about.
Are you surprised to find me here, dear heart? Only a temporary engagement.
The OIympia wants me, but we cannot agree the contract.
- Did I tell you that, Bobov? - Yes, my dear, every other day.
Don't you think you should introduce us? Raoul, this is the Count Bovosky, He's Russian, or so he says.
This is Raoul.
Perhaps she couldn'tremember myfamily name.
I complimented her on her success, but ifelt stupid andtongue-tied in herpresence.
Iwanted himto go away sothat I couldtalkto her AILthetime shekeptup aflow ofchatter At one moment shedsappeared behind a screen and iwasleft alone withthe Count.
A divine creature.
I beg your pardon? Anya! Divine, in every way.
(dirtylaugh) Hurry, Anouska! I am hungry.
I'm coming! Give a working girl a chance.
- Oh, but I do, every chance.
-(Annette giggles) Run along, soldier boy, you're out of your depth.
-voilÃÂ ! - Bravo! - I will do? - Very well.
This is how he is all the time.
Full of passion.
Ohh These Russians! - Annette? - Hmm? I thought we might dine this evening.
Oh.
That would be Iovely, but tonight Run along, soldier boy.
- Annette? - You see howfamous I've become? I told you so.
Have you seen Felicie and Mademoiselle? That old hag? No, thanks! I shall never setfoot in beastly Brittany again.
- Shall I, Boris? -(chuckles) - What is it? What is it? - A trinket.
Show me! Ohh! Boris! Ohh You see? I've arrived.
I told you I would.
AII the world is before me.
(they chuckle) -(coughs) - Oh, you are cold.
- Then we must make you warm, hmm? -(coughs) Howfar are you going, sir? - Asfar as is necessary.
- For what? - To make you understand.
- It is only your version.
Yes, well Two years Iater I was working in Lille on a newspaper, only as an office boy.
And I got a Ietter from Mademoiselle.
I was to come home quickly to Dinard.
Annette was there.
What do the doctors say? They say they cannot save her.
The consumption has ravaged the Iungs.
Oh, Raoul.
She was our brightest hope, you know.
She went to Paris to study at the Conservatoire.
She had such talent.
How Iong will it take? I really don't know.
Not much Ionger.
That's why I sentfor you.
Ifelt always that you two were Yes.
Oh, Raoul.
Where's Felicie? She attends her day and night.
Poor dumb creature.
She worships Annette.
I suppose Annette is all the things poor Felicie ever wanted to be.
(Raoul) itis odd how people see onlywhattheywantto see.
I'm glad that you came.
You know what they say.
That I will not get well.
They say it behind my back.
To myface, they are soothing, Iike talking to a baby.
I'II show them.
I will not permit myself to die.
Mother did because she was weak.
(clearsthroat) I won't.
I won't, you hear me? This beautiful Iife stretching before me It is the will to Iive that matters.
AII the best doctors say so.
I am not one of thefeeble ones to Iet go.
I alreadyfeel better.
Infinitely better.
(coughs) Oh, Raoul Raoul I will Iive.
I will!(coughs) Bitch! - Bitch! -(glass smashes) You see her, Raoul? This is how she always is.
She's glad I'm going to die.
She's well and strong.
(coughs) Never a day's illness in her Iife, the bitch! Bitch!(coughs) And allfor what? What good is that great carcass of hers to her? What can she make of it?(coughs) I don't mind what she says, Monsieur Raoul.
Soon she will be dead and we will be alive.
You and I, Monsieur Raoul.
She'II be dead.
She'II be knowing the fires of purgatory.
I'm a good girl.
I'm respectable.
I'm a christian.
(Laughs) She'II be dead but I'm healthy and strong.
You hate me.
You've always hated me.
Because I am beautiful you hate me.
But I can charm you all the same.
(coughs) I can possess you, Felicie Bault.
(coughs) Remember the candle, Raoul? Remember?(coughs) See, now If I was to ask you .
.
you would get down on your knees before me here.
Carcass! Bigfat doll.
You're absurd.
You're dying.
But yes You will do it.
To please me.
Down On your kneesfor Annette.
PIease, Felicie.
I ask you.
Down .
.
on your knees.
(Laughs /coughs) You see her, Raoul.
(coughs) With her stupidface.
(coughs) How ridiculous.
You may get up now, Felicie.
Thank you.
(coughs) It's no use scowling.
I am your mistress! I own you.
(coughs) You're going to die.
I'm going to Iive.
We'II see about that.
(coughs) I was not there when she died.
Apparently, it had been afearful death.
Mademoiselle said she hadfought against it Iike a madwoman.
"I will not die, do you hear me? I will not die.
" "I will Iive, I will Iive!" But even she could not cheat death, and so it was over.
Annette Ravel was no Ionger with us.
Or so it seemed.
Six months Iater, I was called to the home.
Felicie Bault, she's so changed.
After poor Annette Ieft us, Felicie It was a total collapse, perhaps from grief.
She took to her bed, was restless.
Crying out in the night almost as though she had afever.
- She's better now? - Better? Sometimes she is as she used to be, and then quite suddenly she'II change.
- How? - Like a different person.
Do you know, she even plays the piano? - Felicie? - Sometimes.
Only sometimes, when she's different.
And she sings, Raoul.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso (Laughs) Un sospiro per non oso C'èun sospiro cattivo per averiniziato Dear, dear Raoul.
Don't Iook so surprised.
(Laughs) C'èun sospiro peril si I refuse to Iisten to this ridiculous nonsense.
It goes against my beliefs.
Either you are making the whole thing up or the unwitting dupe of an evil hoax.
It is what we doctors, when we were finally summoned, observed.
Then you also werefooled.
You doctors, what do you know? It is clear to me it was a hoax.
Felicie had been studying Annette for years, you said so yourself.
Now, with her out of the way, Felicie was able to have her moment of attention, her moment of glory.
Up till then the wretched Annette had always stolen it from her.
You should have had a Iawyer on the case.
We'd have sniffed out the Iie.
We did have.
Maître Cambelier.
Most eminent man of his day.
I refuse to believe it.
What do you think I am asking you to believe? That this girl's spirit could take over Felicie's body, could share it! Preposterous nonsense.
Sir Campbell, you simply cannot believe it.
Belief? I've alwaysfound belief a tricky one.
I will not sit by and accept the evidence of the man in the street.
- Spirit after death is called to God.
- Spirit? What exactly do you mean by that? I've alwaysfound you a bit vague, you church chaps, when talking about spirit.
God is a spirit and they that worship him must worship in spirit and truth.
Mumbo-jumbo! I must protest, Sir Campbell! See John 4:24.
Yes, yes, yes, Parfitt, but what does it mean? What is spirit? What is Iife? I confess I don't know.
- Oh! - I, a doctor, amforced to admit that I haven't an inkling what Iife is or where it goes at death.
- The Church is very clear about that.
- The Church is not clear, Parfitt.
The Church seeks to possess its flock just Iike Annette.
"Down on your knees," you say.
"Believe whatever we tell you.
" Well, I'm asking you, Parfitt.
What is Iife, hmm? What is it? Where does it go? You see how we experts bicker, my dear sir, when what we should do is just Iisten.
- You didn't finish your story.
- Oh, no.
I ran away.
I couldn't help myself.
But I didn't stay away.
I went back several times over the year.
And I saw Felicie gradually (plays afew notes) PIay somethingfor me, Felicie.
Don't mock me, Monsieur Raoul.
I cannot play.
But you can, Felicie, I've heard you.
Don't mock me.
PIease, Monsieur! People People play tricks on me here, such tricks.
- What tricks? - They put the clocksforward.
Days disappear.
It's her, isn't it? That bitch.
She's still Help me, Monsieur Raoul.
Help me.
Dear, dear Raoul.
It's so good to be healthy.
To be strong.
Non esseretanto stupido, carssimo Raoul, amico mio.
Kiss me, Raoul.
-Un bacio, mio caro.
- Felicie? - What? - You're speaking Italian! Of course! I am not as stupid as I Iook.
(Laughs) And how do you Iook, Felicie? come with me.
-(giggles) - come.
How do you Iook? Why? What are Iooks? I am strong and I'm a very fine actress, and I can play many parts and play them very well.
(giggles) Kiss me, Raoul.
You know that you want to.
You know that you do.
(Laughs) We must do something.
I know that, but it has nothing to do with poor Annette.
She was such a refined girl.
So sweet and gentle.
Poor Annette.
Mademoiselle, Felicie needs your help, she needsyou.
Felicie? Hmm? - Are you alright? - Of course.
Raoul is Ieaving.
Say goodbye to him.
I'II pack you somefood for the journey.
Don't worry, I will Iook after her.
I will contact the doctor if you think that is best.
- You must.
- Hmm.
Goodbye, Felicie.
Monsieur Raoul? Yes, Felicie? It is her doing.
- Whose doing? - That bitch.
When she Iived she always tormented me, and now that she's dead She's bad, that one.
She's bad, I tell you.
She would take the bread from your mouth, the clothes from your back, the soul from your body.
- Oh, dear God.
- Sometimes I hear her voice.
Not in my ear, not in my ear Inside my head! She will drive me away.
She will drive me away altogether.
And then what shall I do? What will become of me? Where will I be then? If it should come to it, Monsieur Raoul, .
.
I am very strong with my hands.
Far stronger than she can ever be.
Very strong.
She will not survive me.
That was the Iast time I ever saw Felicie Bault.
I came to London.
I started working in FIeet Street and I tried to put the whole story out of my mind.
And then tonight, all these years Iater, I attend a Iecturefor my newspaper by thefamous doctor, Sir Campbell CIark, and he is speaking about the case of Felicie Bault and I have to tell him, for all our sakes.
I don't believe it.
"The clothes from my back, the soul from my body.
" I won't believe it.
I daren't.
Did Felicie strangle herself or? I tell you, the history of Felicie Bault is the history of Annette Ravel.
You did not know her, gentlemen.
I did.
She was veryfond of Iife, I promise you.
I know.
Where does the Iife go, you ask, if this is only the residence for Iife? What do you do if you find a burglar in your house? You get rid of him, don't you? Perhaps you even kill him.
Dear God.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso Un sospiro per non oso Eun sospiro cattivo per averiniziato Un sospiro perpensato, aha, aha Altro perdesiderato
Splendid.
.
.
NewcastLe-upon-Tyne, Berwick-upon-Tweed Right, sir.
.
.
andWaverley station, Edinburgh.
Platform oneforthe nighttrain Thank you very much, sir.
CIark! I'm sorry? Campbell CIark! Oh, Durand! Are you going north of the border too? Only asfar as Durham.
Won't you join me? I have an empty compartment.
Oh, I'd be delighted to join you.
This is a pleasant coincidence.
I was actually expecting a companion, but sadly he's missed the train.
Oh, dear.
(French accent) Um, these seats are vacant? Well, one of them is possibly occupied, but Thank you very much.
Thank you.
-(man shoutsindstinctly) - Good Lord, he's here! Come along, Parfitt, don't keep the crew waiting.
Oh, my Lord! It's alright, thefellow hasn't blown his whistle yet.
Oh It's not goodfor me, you know.
Oh, my goodness! I had to run all the way from the taxi-cab rank.
-(whistLe blows) - Quite fit! What delayed you? Late supper with Woolwich and St AIbans.
The conversation got deep.
Oh! I thought I was going to miss it.
Durham expects me.
- Parfitt, you know Sir Campbell CIark? - Only by reputation.
Sir Campbell CIark, Canon Parfitt, Canon Parfitt, Sir Campbell CIark.
A great honour, sir.
- You've been causing quite a stir! - Only among the ignorant.
(they chuckle) So here we all are.
Yes, indeed.
- How pleasant.
- Ifancy we have a quorum, don't you? The Iaw, the Church and the medical profession.
Between us we could cover any ground, Ifancy.
Indeed.
I wonder.
There is another point of view.
- Meaning? - That of the man in the street.
Ah, the man in the street.
As usual, the man in the street is dozing.
Are you going to Edinburgh, Sir Campbell? Aye.
I can never wait to get back north of the border.
You just sortied south to sort us out, eh? (Laughs) You refer to my Iecture to the Royal Scientific Society? You were at it? Regrettably, no.
Woolwich and St AIbans were.
You should have been there, Durand.
It's more your Iine of country.
The Church and science never did go hand in hand, but you men of the Iaw are more persuadable.
I doubt that, Sir Campbell.
The Iegal mind requires chapter and verse Iike the church.
We don't carefor change.
It upsets us.
- What was the gist of your Iecture? - Dual personality.
- Your Iatest hobbyhorse, isn't it? - Latest? A Iifetime's work.
The raw surfaces of the mind rubbing together, causing terrible illness.
My subject was a poor, demented peasant girl.
French.
Her name was Felicie Bault.
- I've heard the name.
- She became something of a celebrity.
Perfect example of dual personality.
I was one of the doctors Iucky enough to study her over several years.
Her extraordinary behaviour pattern was quite baffling.
My talk was the result of our findings.
Which were? Oh You'd have to understand the whole case.
Didyou? I do beg your pardon, sir.
We thought you were sleeping.
The man in the street who is always dozing, eh? - Who are you? - My name is Raoul Letardau.
- I've seen you somewhere before.
- I was at your Iecture, Sir Campbell.
- Ah, you're a member of the Society.
- No, I am a gentleman of the press.
Oh, yes, I remember.
- You expressed an opinion.
- I did.
I hope it was a good one.
Are we allowed to share it? I simply asked the eminent doctor how it could possibly have happened.
- That is a question, not an opinion.
- The opinion came Iater.
I said that doctors had been Iooking in the wrong direction.
The point of view of the man in the street.
- And is our friend right? - I don't think so.
You can't Ieave it there, Campbell.
Come on, give us somefacts.
Very well.
Felicie Bault was a Breton peasant girl.
From the age of five she'd been brought up by a charitable maiden Iady who ran a homefor destitute children on the Brittany coast, near Dinard.
Are these the kind offacts you want? - What happened to her? - She committed suicide.
- No, before that.
- And was it? Are you so sure? Was it suicide? - Of that there can be no question.
- I question it.
What else could it have been? - Murder.
- Oh! Over to me.
In what way did this unfortunate woman meet her death? She strangled herself.
- Strangled herself? - Is that possible? Her hands were round her neck when she wasfound, Iocked in the death grasp.
As herself, Felicie was a dull, Ioutish girl, stupid and slow-witted.
But in her 20s she suffered what we can only describe as a mental breakdown, and it was after that the other Felicie began to appear.
- Was the second persona very different? - Remarkably so.
Felicie two as we termed it, spoke several Ianguages, played the piano passably well, sang, danced, had exquisite handwriting.
It was beyond comprehension.
She knew things Felicie couldn't possibly have known.
Smells Iike a hoax to me.
- Did she make money out of it? - No.
She got some attention she might have enjoyed, nothing more.
Enjoyed? She didn't want attention.
For years, you doctors, you experts, you studied her, you probed and prodded her.
- And how do you know so much about it? - I knew Felicie very well.
Ah! And Annette.
- Who? - Who? You say who? Annette Ravel, the beautiful Annette.
When I was 1 4, my parents were killed in a train crash and I went to Dinard.
- I Iived at that home.
- You Iived there? Oh, yes.
Itwas a cold house with always awind.
A narrow pathleddownto a beach and aroadledtotheviLLage.
Therewere 20 ofus children and thefirst one I sawwasFelicie Bault.
MademoiselLe came and met me offthetrainfrom Rheims.
Itwasthefirsttime I had met her.
The arrangementsformy guardianship had been madefor me bythe authoritiesin Rheims.
Are you Iookingforward to your new home, Raoul? Yes, Mademoiselle.
You must work hard so that you can be a credit to us all.
Yes, Mademoiselle.
- Are you quick and clever? - I don't know, Mademoiselle.
Look, Raoul, here's one of your new sisters.
Felicie, come and say hello to your new brother.
Shewas plain and clumsy andincredibly strong, iremember onthatfirstday shetookmy suitcase.
- Hey! - Stop that at once, Felicie.
- Hey! - Felicie, no.
- It will be too heavyfor you.
- It's mine! It'smy case.
Itwas such aninconsequentiallittLe act, andyet now it seems strangelytypical ofFelicie.
Part of her wanted to reach out and another part wanted to reject.
The dual personality was manifest even then? No, no.
You're not understanding me.
- They were separate then.
- They? Who? - No, no, Iet him tell his story.
- Yes, do go on.
We're all attention.
How strange.
What? To you, it's just a story.
Oddly enough,thethree ofus spent so muchtimetogether i neverrecalL any ofthe other children, justFelicie, Annette andmyself.
(squeals) Catch it! Go on, catch it.
Itwas asthoughthetwo girls eventhen weredrawnto each other by some mutual contempt And,yes, and envy.
Annette had everythingto be envied butFelicie had onething that Annettelongedfor, though ididn'trealse atthetime.
Felicie! (grunts) Naughty, Raoul! If she wants to play with me, she must play the rules.
No! Raoul, don't Iet her hurt me.
She's so big and strong, Iike the oxen of the fields.
Don't Iet her hurt me.
And so shewas, strong and healthy.
And Annettewas not.
(Laughs) come here! Come here, you bigfat doll! Now Kneel down and kiss myfoot.
My beautiful dancer'sfoot.
Kiss it, Felicie.
You know you want to.
(Laughs) Bigfat doll! I can make her do anything, Raoul! I can, I can.
Shewasthatkind ofa girl.
(Parfitt) She sounds athoroughlyunpleasant one! Yes, I'm sure that's the way I make her sound, and if you go by the barefacts, then yes.
But Annette was so much more.
To begin with, she was, oh, very beautiful, and she became more so as she grew older.
Delicate Iooks, restless energy.
Felicie didn't have to spend all her time with her, but she was drawn to her.
- Are you alright, my dear sir? - Sir Campbell, is he ill? Monsieur? You should have helped her.
She needed you.
- We helped Felicie Bault all we could.
- No, no.
Short of putting her in a straitjacket.
You don't understand.
Annette Ravel, itwasthat summer that ireally beganto notice her After ayear,the griefformy parents was beginningtofade.
Indeed, shametotell, I almost blessedtheir suddendeaths for bringing metothefeet ofmy adored Annette.
Dear, dear Raoul.
Dry myfeet, Raoul.
Put on my stockings.
Over there, see? Runfor them! Raoul You're so sweet.
My mother would have Iiked you.
She was She knew so many young men.
They gave her presents.
Shall you give me presents, Raoul? A peridot pendant and a diamond clasp? Shall you? Dear, sweet, handsome Raoul.
She was a dancer, you know.
Veryfamous.
But I shall be more so, shan't I, Raoul?(coughs) I shall be veryfamous and people shall come from all over to see me dance.
I shall be the toast of Paris.
Ah, how I miss Paris.
La belLaParigi, cittÃÂ dei miei sogni.
That's Italian, Raoul.
Do you speak Italian, mio caro? I do.
And German.
Mother had a German Iover and an Italian prince, but she died and I had to come to this beastly place with all these brats and poor Mademoiselle.
Oh, Raoul Raoul Put my stockings on.
PIease, Raoul.
Myfeet are Iovely and dry now.
PIease Raoul? Kiss me, Raoul.
(Parfitt) But shewas only a child! - You all were.
- A child? Annette could never have been a child, as you would have it.
From the earliest time she hadfendedfor herself.
Her mother had been afilledejoie and she'd been a dancer and Annette's childhood was spent backstage in the Paris halls.
- How did she come to be at the home? - Still Iookingforfacts, Mr Lawyer? Annette's mother had died of consumption and the man she had been Iiving with abandoned the child.
Where is Annette Ravel now? - She's dead.
- And how did she die? Oh, that comes Iater.
How aware was Felicie of this other girl? She used to watch her morning, noon and night.
She was attracted to her Iike a bird is attracted to a stoat.
- You know thatfor afact? - Of course.
I knew Felicie very well.
We were both slaves, you see.
Hello, Felicie.
Where's Annette? I thought she was practising.
- She's not, is she? - No.
- Have you seen her? - Thought she was always whereyou were.
She's not, is she? Monsieur Raoul? Felicie, you don't have to keep calling me monsieur.
I saw you with her, monsieur.
Down on the beach.
Don't want to have to tell Mademoiselle what I saw.
- You didn't see anything.
- She's beautiful, isn't she? But weak.
I'm strong, monsieur.
I'm strong.
- I know, Felicie.
- Stronger than you even.
Stronger than her.
What are you doing in here all on your own, eh? - PIaying the piano, monsieur.
- Go on, then.
Slamskeys) Felicie! Felicie, don't! You'II upset Mademoiselle.
- Felicie, stop it! - Good heavens, what's this noise? Stop it, Felicie! Stop it! You must not ruin that piano.
Shame on you, Raoul, for encouraging her.
I didn't, Mademoiselle! Stop that noise, Felicie! Felicie! Felicie! Don't spoil the piano.
Let me playfor you.
(plays adelicate scale) Whenwinter's gone andspring'sreturning And hope andlove are born anew That's better.
This piano must not be used except by Annette.
One day she's going to be a fine singer and go to the Conservatoire.
Practise, Annette.
Practice makes perfect.
Yes, Mademoiselle.
And dream in vain for in my dream Can you see me at the conservatoire? No, thanks, old girl! (playslivelyintroduction) Notfor me musical evenings with oldfogies whose wives sit prim while they Iech from behind their big cigars.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso Un sospiro per non oso - Eun sospiro - I Iove you Annette.
I Iove you.
(Laughs) Oh! (coughs) Don't paw me, Raoul! Keep your hands to yourself.
- C'è - But What? - Yesterday on the beach! - That was yesterday.
C'è un sospiro per il si, aha, aha C'è un sospiro per il no, oho, oho - AItro per aver provato - Iwas her slave.
Or herplaything, LikeFelicie.
Yes, perhapswewere both herdolls.
Sometimes shewouldfavour me, often shewould not.
Usually iwaswretched.
Butwhen shewaskind, iknew such happiness.
It was Iike that until the day I Ieft that house.
I never knew from one day to the next whether I was infavour or not.
But with Felicie, oh, she was much Iess subtle.
She despised herfor her Iooks, her clumsiness, her dull, heavy ways and yet she, Annette, was also drawn to Felicie.
- Why? - Felicie's strengthfascinated her, and her health.
Annette's cough was getting worse and I think she knew.
She'd inherited consumption.
Perhaps Mademoiselle realised it, I certainly did not.
I had other matters to occupy my mind.
It had been decided I should go to the military academy.
Now, part of me dreaded this decision, another part of me welcomed it.
You see, I wanted to get away.
I had to.
My Iovefor Annette was becoming a torture and she, on the other hand, seemed Iess interested in me.
Or perhaps she really did Iove me but was too young to It was the day of my departure and I wanted to be alone with Annette.
Therewas so much that iwantedto say, but she had become more and more aloofwith me.
While stiLLwantingmy company, sherejectedmy advances.
You're going to sleep You're going to sleep Itwas atrickthat she had seen performed onthe hallsin heryouth.
She said itwas easy, but Ididn'tthink itwouldwork.
Felicie! Felicie! - She's pretending.
- You think so? I don't care.
Let's go outside.
I have to Ieave soon.
Lucky you.
God, I wish I could get away from here.
Well, I will, don't you worry.
Just as soon as Felicie? I'm going to whisper something in your ear and you will do just what I tell you.
Yes, Felicie, just what I say.
Felicie? Felicie? Felicie, my doll, what are you doing? What are you doing, Felicie? What does it Iook Iike? Does it taste good? Why, yes.
It is the best bread that I have ever tasted.
(Laughs gleefully) Stop it! Stop it, Annette! It's inhuman.
Felicie? (claps) Felicie! Wake up! Wake up! What am I doing here? What do you suppose? You were eating a candle.
I made you do it.
I can make you do anything.
You're my big,fat doll.
You made me? Yes.
Now I remember.
You made me Iook ridiculous.
I didn't have to try very hard.
Annette! You're mine! I can make you do anything.
One day, Annette I'm going to kill you.
You'II see.
It was only a joke! Kill you.
One day.
I will.
A child's innocence is divine.
The structure of the Bible relies upon it.
Oh, Parfitt, humbug, old boy, humbug.
You're not afather, I am.
Little tykes, the Iot of them, given half a chance.
This girl was dragged up from the gutter.
You heard what our friend says.
Well, the gutter sticks, old boy.
I know, believe me, I know.
Half my clients have a more than passing acquaintance.
But children, Durand, young children! Had it been a Church of England home, it wouldn't have happened.
Children are in a state of innocent grace.
Spare us the sermon, Parfitt.
They weren't children.
But they were when they began.
As I understand, this girl Annette was behaving Iike I have to say it, a flirt, a harlot even, from her pubescence.
- Oh - Sorry, but that's how it seemed to me.
But a creature from the gutter, Parfitt.
What example had she tofollow? She was her mother's daughter.
That's how I see it.
It is no excuse in the eyes of the Lord.
We're given trials to prove ourselves.
- You're amused, sir? - Yes, I'm sorry to show it.
- AII the nonsense you experts speak.
- You think so? Yes, you see,for you, Iife must conform to your set patterns, but it doesn't, you know? I'm sorry to shake you out of your complacent corners, but out there in the world are an infinite number of imponderables.
- "More things in heaven and earth"? - You begin to see.
- Perhaps.
- You will.
That's why Ifollowed you here.
You must.
Followed him? I need you to understand, to get it right.
Is that really possible, old man? When next I caught up with Annette, the war was over.
IwasinParis, iwasinuniform but iwas abouttoleavethe army.
(Annette sings nearby) Un sospiro per non oso Eun sospiro cattivo per averiniziato Un sospiro perpensato, aha, aha Altro perdesiderato, mm-hm, mm-hm Aiee! Che si puòfare? Aiee!Fugire orestare? Aiee! Andare ovenire? Aha! song becomesindstinct) (applause /whistLing) Pigs! Dirty, Iecherous old pigs! Don't they know how good I am? I'II go south and then they won't have me here any more.
The Count's in your dressing room.
So that'II teach them.
I'II marry the Count.
Hello, Annette.
The public are not allowed backstage.
But don't you recognise me? It's me, Raoul.
Atfirst, ithought shewas going torefuseto see me and iknewwelL enoughwhy.
Thetheatrewas notthe palace of entertainment she had promised herself.
Itwas alowdivewherethe shape ofher body mattered morethan hervoice.
- Butthen - Raoul? You can come now.
Raoul! I didn't recognise you.
So handsome in your uniform.
(coughs) Have you been fightingfor us, brave Raoul? Not so brave really.
It wasn't the best time to join the army.
Hmm.
Are you going to stand in the doorway? I might catch a cold from the draught.
Oh, I'm sorry.
Oh, I beg your pardon.
Oh, Bobov, this is a boy from that ghastly home I told you about.
Are you surprised to find me here, dear heart? Only a temporary engagement.
The OIympia wants me, but we cannot agree the contract.
- Did I tell you that, Bobov? - Yes, my dear, every other day.
Don't you think you should introduce us? Raoul, this is the Count Bovosky, He's Russian, or so he says.
This is Raoul.
Perhaps she couldn'tremember myfamily name.
I complimented her on her success, but ifelt stupid andtongue-tied in herpresence.
Iwanted himto go away sothat I couldtalkto her AILthetime shekeptup aflow ofchatter At one moment shedsappeared behind a screen and iwasleft alone withthe Count.
A divine creature.
I beg your pardon? Anya! Divine, in every way.
(dirtylaugh) Hurry, Anouska! I am hungry.
I'm coming! Give a working girl a chance.
- Oh, but I do, every chance.
-(Annette giggles) Run along, soldier boy, you're out of your depth.
-voilÃÂ ! - Bravo! - I will do? - Very well.
This is how he is all the time.
Full of passion.
Ohh These Russians! - Annette? - Hmm? I thought we might dine this evening.
Oh.
That would be Iovely, but tonight Run along, soldier boy.
- Annette? - You see howfamous I've become? I told you so.
Have you seen Felicie and Mademoiselle? That old hag? No, thanks! I shall never setfoot in beastly Brittany again.
- Shall I, Boris? -(chuckles) - What is it? What is it? - A trinket.
Show me! Ohh! Boris! Ohh You see? I've arrived.
I told you I would.
AII the world is before me.
(they chuckle) -(coughs) - Oh, you are cold.
- Then we must make you warm, hmm? -(coughs) Howfar are you going, sir? - Asfar as is necessary.
- For what? - To make you understand.
- It is only your version.
Yes, well Two years Iater I was working in Lille on a newspaper, only as an office boy.
And I got a Ietter from Mademoiselle.
I was to come home quickly to Dinard.
Annette was there.
What do the doctors say? They say they cannot save her.
The consumption has ravaged the Iungs.
Oh, Raoul.
She was our brightest hope, you know.
She went to Paris to study at the Conservatoire.
She had such talent.
How Iong will it take? I really don't know.
Not much Ionger.
That's why I sentfor you.
Ifelt always that you two were Yes.
Oh, Raoul.
Where's Felicie? She attends her day and night.
Poor dumb creature.
She worships Annette.
I suppose Annette is all the things poor Felicie ever wanted to be.
(Raoul) itis odd how people see onlywhattheywantto see.
I'm glad that you came.
You know what they say.
That I will not get well.
They say it behind my back.
To myface, they are soothing, Iike talking to a baby.
I'II show them.
I will not permit myself to die.
Mother did because she was weak.
(clearsthroat) I won't.
I won't, you hear me? This beautiful Iife stretching before me It is the will to Iive that matters.
AII the best doctors say so.
I am not one of thefeeble ones to Iet go.
I alreadyfeel better.
Infinitely better.
(coughs) Oh, Raoul Raoul I will Iive.
I will!(coughs) Bitch! - Bitch! -(glass smashes) You see her, Raoul? This is how she always is.
She's glad I'm going to die.
She's well and strong.
(coughs) Never a day's illness in her Iife, the bitch! Bitch!(coughs) And allfor what? What good is that great carcass of hers to her? What can she make of it?(coughs) I don't mind what she says, Monsieur Raoul.
Soon she will be dead and we will be alive.
You and I, Monsieur Raoul.
She'II be dead.
She'II be knowing the fires of purgatory.
I'm a good girl.
I'm respectable.
I'm a christian.
(Laughs) She'II be dead but I'm healthy and strong.
You hate me.
You've always hated me.
Because I am beautiful you hate me.
But I can charm you all the same.
(coughs) I can possess you, Felicie Bault.
(coughs) Remember the candle, Raoul? Remember?(coughs) See, now If I was to ask you .
.
you would get down on your knees before me here.
Carcass! Bigfat doll.
You're absurd.
You're dying.
But yes You will do it.
To please me.
Down On your kneesfor Annette.
PIease, Felicie.
I ask you.
Down .
.
on your knees.
(Laughs /coughs) You see her, Raoul.
(coughs) With her stupidface.
(coughs) How ridiculous.
You may get up now, Felicie.
Thank you.
(coughs) It's no use scowling.
I am your mistress! I own you.
(coughs) You're going to die.
I'm going to Iive.
We'II see about that.
(coughs) I was not there when she died.
Apparently, it had been afearful death.
Mademoiselle said she hadfought against it Iike a madwoman.
"I will not die, do you hear me? I will not die.
" "I will Iive, I will Iive!" But even she could not cheat death, and so it was over.
Annette Ravel was no Ionger with us.
Or so it seemed.
Six months Iater, I was called to the home.
Felicie Bault, she's so changed.
After poor Annette Ieft us, Felicie It was a total collapse, perhaps from grief.
She took to her bed, was restless.
Crying out in the night almost as though she had afever.
- She's better now? - Better? Sometimes she is as she used to be, and then quite suddenly she'II change.
- How? - Like a different person.
Do you know, she even plays the piano? - Felicie? - Sometimes.
Only sometimes, when she's different.
And she sings, Raoul.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso (Laughs) Un sospiro per non oso C'èun sospiro cattivo per averiniziato Dear, dear Raoul.
Don't Iook so surprised.
(Laughs) C'èun sospiro peril si I refuse to Iisten to this ridiculous nonsense.
It goes against my beliefs.
Either you are making the whole thing up or the unwitting dupe of an evil hoax.
It is what we doctors, when we were finally summoned, observed.
Then you also werefooled.
You doctors, what do you know? It is clear to me it was a hoax.
Felicie had been studying Annette for years, you said so yourself.
Now, with her out of the way, Felicie was able to have her moment of attention, her moment of glory.
Up till then the wretched Annette had always stolen it from her.
You should have had a Iawyer on the case.
We'd have sniffed out the Iie.
We did have.
Maître Cambelier.
Most eminent man of his day.
I refuse to believe it.
What do you think I am asking you to believe? That this girl's spirit could take over Felicie's body, could share it! Preposterous nonsense.
Sir Campbell, you simply cannot believe it.
Belief? I've alwaysfound belief a tricky one.
I will not sit by and accept the evidence of the man in the street.
- Spirit after death is called to God.
- Spirit? What exactly do you mean by that? I've alwaysfound you a bit vague, you church chaps, when talking about spirit.
God is a spirit and they that worship him must worship in spirit and truth.
Mumbo-jumbo! I must protest, Sir Campbell! See John 4:24.
Yes, yes, yes, Parfitt, but what does it mean? What is spirit? What is Iife? I confess I don't know.
- Oh! - I, a doctor, amforced to admit that I haven't an inkling what Iife is or where it goes at death.
- The Church is very clear about that.
- The Church is not clear, Parfitt.
The Church seeks to possess its flock just Iike Annette.
"Down on your knees," you say.
"Believe whatever we tell you.
" Well, I'm asking you, Parfitt.
What is Iife, hmm? What is it? Where does it go? You see how we experts bicker, my dear sir, when what we should do is just Iisten.
- You didn't finish your story.
- Oh, no.
I ran away.
I couldn't help myself.
But I didn't stay away.
I went back several times over the year.
And I saw Felicie gradually (plays afew notes) PIay somethingfor me, Felicie.
Don't mock me, Monsieur Raoul.
I cannot play.
But you can, Felicie, I've heard you.
Don't mock me.
PIease, Monsieur! People People play tricks on me here, such tricks.
- What tricks? - They put the clocksforward.
Days disappear.
It's her, isn't it? That bitch.
She's still Help me, Monsieur Raoul.
Help me.
Dear, dear Raoul.
It's so good to be healthy.
To be strong.
Non esseretanto stupido, carssimo Raoul, amico mio.
Kiss me, Raoul.
-Un bacio, mio caro.
- Felicie? - What? - You're speaking Italian! Of course! I am not as stupid as I Iook.
(Laughs) And how do you Iook, Felicie? come with me.
-(giggles) - come.
How do you Iook? Why? What are Iooks? I am strong and I'm a very fine actress, and I can play many parts and play them very well.
(giggles) Kiss me, Raoul.
You know that you want to.
You know that you do.
(Laughs) We must do something.
I know that, but it has nothing to do with poor Annette.
She was such a refined girl.
So sweet and gentle.
Poor Annette.
Mademoiselle, Felicie needs your help, she needsyou.
Felicie? Hmm? - Are you alright? - Of course.
Raoul is Ieaving.
Say goodbye to him.
I'II pack you somefood for the journey.
Don't worry, I will Iook after her.
I will contact the doctor if you think that is best.
- You must.
- Hmm.
Goodbye, Felicie.
Monsieur Raoul? Yes, Felicie? It is her doing.
- Whose doing? - That bitch.
When she Iived she always tormented me, and now that she's dead She's bad, that one.
She's bad, I tell you.
She would take the bread from your mouth, the clothes from your back, the soul from your body.
- Oh, dear God.
- Sometimes I hear her voice.
Not in my ear, not in my ear Inside my head! She will drive me away.
She will drive me away altogether.
And then what shall I do? What will become of me? Where will I be then? If it should come to it, Monsieur Raoul, .
.
I am very strong with my hands.
Far stronger than she can ever be.
Very strong.
She will not survive me.
That was the Iast time I ever saw Felicie Bault.
I came to London.
I started working in FIeet Street and I tried to put the whole story out of my mind.
And then tonight, all these years Iater, I attend a Iecturefor my newspaper by thefamous doctor, Sir Campbell CIark, and he is speaking about the case of Felicie Bault and I have to tell him, for all our sakes.
I don't believe it.
"The clothes from my back, the soul from my body.
" I won't believe it.
I daren't.
Did Felicie strangle herself or? I tell you, the history of Felicie Bault is the history of Annette Ravel.
You did not know her, gentlemen.
I did.
She was veryfond of Iife, I promise you.
I know.
Where does the Iife go, you ask, if this is only the residence for Iife? What do you do if you find a burglar in your house? You get rid of him, don't you? Perhaps you even kill him.
Dear God.
C'èun sospiro peril si, aha, aha C'èun sospiro peril no, oho, oho Altro per averprovato, oho, oho Un sospiro per non posso Un sospiro per non oso Eun sospiro cattivo per averiniziato Un sospiro perpensato, aha, aha Altro perdesiderato