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Possession (2002)
[Birds Chirping]
[Man] | They say that women change. 'Tis so, but you are ever-constant | in your changefulness. Like that still thread | of falling river, one from source to last embrace | in the still pool. Ever-anewed | and ever-moving on. From first to last. | " From first to last, a myriad water drops. | "a myriad water drops. "And you... | I love you for it... are the force that moves | and holds the form." Now, ladies and gentlemen, | you've just heard a snippet... from one of only two copies | of this poem... by Mr. Randolph Henry Ash, poet laureate | to Queen Victoria herself. And this gorgeous ode | to his nuptial bliss, written in his own hand, | begins our bidding today. May we start the bidding | please at L40,000. - Bit of an old monster. | - Yeah. But an important monster. | It's Randolph Ash's. Yes. Who are you | with again? I'm, uh, Roland Michell. | Who? - Professor Blackadder's | research assistant. | - Isn't that Dr. Wolfe? Was. Fergus got the lectureship | at SaintJohn's... over me. Of course he did. | Oh, yes, Dr. Wolfe | mentioned you. You're that American | who's over here. [Chuckles] | Well, I'm sure | there are others. I mean, after all, | you are our favorite colony. [Man] | L10,000. Any further | offers on L10,000? L11,000. So when do your little | suffragist trinkets | come up for the... Look, Maud, | it's Mortimer Cropper. [Maud] | Oh, yes. That's someone | you should know. - You know him? | - Of him. Suffered through | a lecture or two. | That sort of thing. | Really. Mm-hmm. | He's a voracious collector | from what I hear. Yes. His penchant | for conquests | is well documented. It's | a very male quality. | Mm. I know it's vulgar, | but I have to introduce myself. Oh, all right. Oh, uh... Damn. | Let's begin the bidding | please at L4,000. L4,000. L4,000. | Excuse me. Sorry. L4,500. | Um, Professor Cropper, | Fergus Wolfe. Um, we spoke actually | after one of your papers | at, uh, at Trinity. You wouldn't remember. | I'm sorry, I don't. | Nice coat though. Oh, thank you. | Uh, James Blackadder. | You're with? Ah, you're one of | Blackadder's boys | from the British Museum. Hello. | Hildebrand Ash, man of leisure. | Oh, hello. [Cropper] | I don't know why Blackadder | comes to these things. [Chuckles] | He hasn't got any money. Well, he's Irish, you see. | He enjoys feeling persecuted. [Randolph's Voice] | Dear Madame: : Since our pleasant conversation, | I have thought oflittle else. I write with a strong sense | of the necessity... of continuing our talk. Dear Madame: : | I know that you came only | to honor Crabb-Robinson... at his small, | informal party... because he had been | of assistance | to your illustrious father. Excuse me, sir. Meal is served. Thank you. - Well, hello. | - Hello. Ah, my tenant. | Your evening sherry. Thank you. Candy, this is Roland. | Roland, Candy. - Hello again. | - Be a love | and check on the duck, eh? - Okay. | - So, coming in? So how do you | always know it's me? I'm a solicitor. | I know everything. Candy, huh? | Oh, no, no, no, | please. Candy's just a friend. | Why, are you interested? I told you | I'm off women. | Yeah, but... it isn't a reason | to be off women. Why do we always | sit in your hall? 'Cause it's the best room | in the house, really. I bought | this place for the hallway. So, I found something today | I think is pretty incredible | in the London Library. - A place to sit. | - No. I found something of Ash's. | You know Randolph Ash? Ash. Oh, doesn't he have | some sort of celebration going? It's the centenary | of his love poems. | Terribly mushy ones. Found after his death | or something, weren't they? Is the table laid, | darling? Listen. | What's it cost an hour? No, no, Candy's a friend | I told you. Not her, you. | What do you charge an hour, | roughly? Oh, uh, I don't know. | Five hundred. - Pounds? | - Mm-hmm. - Jesus, no wonder | you have a nice hallway. | - Thank you. Okay, I wanna buy seven minutes | of attorney/ client privilege | right now. Step into my office. Ash wrote those. | They're not the originals. - Yeah. | - Oh, my God. How much time we got left? | I've got to think of | a defense for you. They're practically | love letters. Well, they're racy, | actually. | See, Ash... supposedly never even looked | at another woman. I mean, not even glanced at one | his entire marriage. Can you imagine | what would happen | if I could prove... that Mr. Perfect Husband had | this, like, Shakespearean-type | dark lady thing going? Darling, the duck's done. Would you be a sweetheart | and do the sauce? Yes, yes. - Duck, huh? | - Yeah, Peking. - It's from around the corner. | - [Snickers] Yeah, but that | would be extraordinary. It would be rewriting | history, old chap. Yeah, it would be. [People Chattering] Morning. | Morning. Roland. | Professor. I think | I made a discovery. It'll turn out to have been | discovered 20 times already. - I don't think so. | - Surprise me. Ash's copy of Vico | in the London Library. It's full of his own notes | on loose bits of paper | all the way through. - Useful? | - Very. Better have a look. | See what's what before... people turn up | with his checkbook. | I also found... Professor. They made a mockery | over at Sotheby's yesterday. | L1900 for a toothpick. - [Scoffs] | - Fergus. Where is Fergus? - He's supposed to be teaching. | - I'll come with you. No need. | The novice blunders | on the discovery. The scholar investigates. You get on with | those wretched requests | for Ellen's stuff. I'll go straight from there | to my class. Thank you, Roland. | What a wonderful discovery. | They're magically delicious. - He's a meany. | - That's a very nice name | for what he is. Wretched requests, please. [Chuckles] | " How many jars | of gooseberry jam... did Ash's wife, Ellen, | make in 1850?" Hmm. This is not | a job for a grown-up. Gooseberry. Cooking. | Gooseberry jam. Cooking, 143. What about a small, | informal party? 1859. [Ellen's Voice] My headache | last night prevented me | from accompanying Randolph... to dear Crabb-Robinson's... for a dinner honoring | the poetess Christabel LaMotte. He was reluctant | to attend without me, | but I was persistent... and finally persuaded him. Ash, you know | Professor Spear. I'm delighted. Mrs. Jameson. | Mrs. Jameson. Charmed. Miss Glover. Oh, Miss Glover. - And Miss LaMotte. | - Miss LaMotte. The highest pleasure. [Ellen Narrating] | Randolph reported the party went | off very well, indeed. The discussion of poetry | was animated, with Miss LaMotte | speaking more forcibly | than anyone expected. Surprises me, madame, | that a lady who lives | as quietly as you do... wouldn't be aware | of my modest success. Oh, I'm very aware | that the papers | herald you weekly. It is you, however, | who surprise me. - And why is that? | - Judging from your work, I'm surprised you'd even | acknowledge my existence... or any woman's for that matter | since you show us such | small regard on the page. You cut me, madame. I'm sorry. I only meant to scratch. Hey, Fergus. [Running Footsteps] | Ah, hello, Roland. What is it you chaps always say, | " How's it hanging?" Well, we usually | just say "hey." | Unless you're gay. Oh. | Listen. Let me ask you something. | Do you know a Dr. Maud Bailey? Maud! Oh, yes, | I know Maud very well. She teaches Gender Studies | at Lincoln. Oh. Would she be helpful? | I'm checking out | Christabel LaMotte. She's a poet, | writing around about 1859. Yes, yes. Why would you | be interested in her? Oh, nothing. It's just | I had some requests | about Ellen Ash's papers. But LaMotte's name | came up, so... The keeper of Ellen's flame. | I mean, that's the bottom | of the food chain, old sport. Yeah, but I got to stay | on the food chain, old sport. | That's why I do it. Right. Well, | " Publish or perish," | as they say. Or in your case, | " Perish or perish." So would she... | this Maud Bailey person? Oh, yes, but I'd be careful | if I were you. Why? What's she like? | Well, she thicks men's blood | with cold. Oh, great. | Or if you prefer | the American vernacular... she's a regular ballbreaker. ## [Headsets: Jazz] Mr. Michell? What? I'm sorry. | Roland Michell. Yes. You're Maud. | Bailey. Dr. Bailey, yes. There's nothing in my index. | No mention of Ash at all. Well, Ash and LaMotte | definitely met. Really? When? | June, 1859. At a dinner party | given by Crabb-Robinson. It's in his diary. | [Scoffs] And you jumped | from that to the idea | that they corresponded. I found an unfinished draft | of a letter in a book... Addressed to LaMotte? | No, just " Dear Madame." But there were three women | at Crabb-Robinson's | dinner party, and out of the three | it's likeliest to be LaMotte. [Roland] | So maybe there's something | in LaMotte's letters. There aren't many | from the Richmond period... | the time you're interested in. I'm descended | from Christabel, actually. | I'm her niece, thrice removed. Three grades. | That's what "thrice" | usually means. Oh, maybe | I shouldn't have come. It does seem | rather pointless. Well, I supposed since you're | here, you could have a look | through Blanche's diary. Who's Blanche? | Blanche Glover. Christabel's companion. | Her lover. Oh, you look surprised. I didn't know she was... | Didn't know | she was a lesbian. No. I mean, | don't get me wrong, | I like lesbians. Yes, well, unfortunately, | they didn't have | video cameras in those days, so you're out of luck. Now I see why you think | it's so unlikely. Not from that point of view. | I mean, God, she could | have been bisexual. There's no evidence she was, | but in theory... Did you not do any reading | before you came? Is this like an oral exam? | Yes, I suppose it is. I mean, you don't know | the first thing about her, | and yet you make these leaps. Hey, you're the one | who called her a lesbian, | not me. [Blanche's Voice] | Letters, letters, letters. Not for me. Letters I am not meant | to know or see. Thank you, Jane. - You do not have to | hide them from me. | - I'm not hiding them. You say they are not hidden, | but they are. Tucked away... | as if they were | from Cupid himself. What does he want? To be my friend. | Friend. They always try | and give what they want | a decent name. Blanche, no. | No, Blanche, listen. What we have... | is ours. No one can change that. 'Tis already changed. - Find anything? | - Maybe. So what are | those bookmarks then? Blanche writes about letters. Letters, letters that Christabel | wrote and received. And it nearly | drove Blanche crazy. Where are they? Lost. Destroyed. Who knows? | There's lots we haven't got. Not one of Blanche's | paintings has ever | turned up, for instance. So who do you think | wrote the letters? We've never been able | to verify who he was, but Ash certainly | isn't one of the candidates. You've got nothing. | I mean, | it's just a thought. Of course, I've thrown out | a lot of thoughts today, and you've pretty much | shot them all down, so... Yes, well, | it seems like a bit of | a wild-goose chase to me. I'd like to do | some more reading. [Sighs] | I suppose you'll wish to | stay here overnight then? Well, I can't really afford | to stay overnight. Unless you want me huddled | downstairs in your doorway. I suppose I could put up | with you for one evening, | couldn't I? No doubt you know | Fergus Wolfe then. I'm sorry. | Uh, yeah, we're in | the same department. I imagine that | he told you that we're... occasionally | on together. - No, he didn't. | - Well, did he... Did he say anything... | about me? Uh... No. Right. I'll use | the bathroom first. | Get out of your way. Please. I'm just sort of | a brush and flush | kind of guy, so... Forget I said that. Maud. | [Clears Throat] Can I show you something? Are these... | How did you get... | Those are the originals. I took them. | I sort of stole them. | Took them? Where from? | The London Library. How could you do that? | It was on impulse. Impulse? Right. I've seen that | take-what-you-want attitude | in other... What, in other Americans? [Scoffs] | God, what is it with | you people and Americans? Look, I know that | I shouldn't have taken them. | I know that. But, Maud, I want to | find out what happened? Did he or didn't he | send the letter? You might not buy | into my theory, | but to me, Blanche's diary | suggests that it's possible. Wouldn't someone | have unearthed | a thing like this? - That's what makes it so big. | - Potentially so big. - Well, no one has. | - Probably because | those were never sent. Are you doing your homework? No, I'm just... | writing stuff. Stuff for me. | It's nothing. You're a closet poet. | Uh... more like basement, | really. I'm just, uh, | just fooling around. Is that what | you want to be | when you grow up? No, I'm gonna | be safe and teach | like everybody else. Besides, | there's no such thing | as poets anymore. Well... poet, do you want a secret | about his family home | before you go? Michell's late again. Roland asked for | another day off, Fergus. Oh, really? | Where's he gone? I didn't ask, | and he didn't say. He's American, for God's sake. | He's probably off | trafficking drugs. Did his new discovery | lead to anything? Ash's Vico. | Are you dreaming? Vico? | No, no, this had something | to do with Christabel LaMotte. He went to see | Dr. Bailey in Lincoln... | a woman. LaMotte. Hmm. No. - Well, it probably came | to nothing then. | - Exactly. Or he would have told you. Wouldn't he? Seal Court's | over there. So how long | did Christabel live at | this Seal Court place? Ages. The last 20 | or so years of her life. Excuse me. | Sorry. "To a dusty shelf | we aspire." You should drop by Seal Court | before the train. And what do you do | in London, Mr. Michell? Are you a teacher as well? | No, not yet. | I'm doing a fellowship. - Which means what exactly? | - On the dole. - [Chuckles] | - [Chuckles] Um, my field's | Victorian poetry. We had ourselves a poet | in this house once. Terrible, sentimental stuff | about God and death | and the dew and fairies. Why don't you show | this young man | Christabel's room, Maud? And why don't you | stay tonight? You're under no obligation | to stay, of course. It's justJoan's way. | Misses our daughter. Quite a drive back, | actually. | No, we're fine. Oh, well. Hardly ever come up here. With the wheelchair, | of course, we bunk down | on the ground floor. I haven't been up here | since I was a child. Maud, is this the photograph | at your house? Yes, that's | Christabel's niece, May. That's my | great-great-grandmother. Christabel wrote dozens of poems | about this place. [Maud Reading] "Haunted | are they who haunt our dreams | and weaken our desires... "and turn us | from a solid face. 'And in the depth | of wintery night, they slumber | in the night and bright. "Dolly keeps a secret | safer than a friend. "Dolly's silent sympathy | lasts without end. "No rush of action, | this is our doom. To live a long life out | in a dark room. " Maud. It's pretty | incredible, huh? Fergus, it's me. l-I'm out of town tonight | on business. I've stumbled onto a connection | between Christabel | and Randolph Ash... and have a few questions | for you. Call me on 0 15-2263 2 416. Roland. - Roland. | - [Groans] Roland. Roland. | No! Roland, it's me. | It's Maud. - What is it? | - Listen. " Dolly keeps a secret | safer than a friend. Dolly's silent sympathy | lasts without end. " [Sighs] | God. I was so sure. Sympathy. | Sympathy. Sympathy, meaning what? Mutual affection | or understanding. Favor pity or even accord. | But that's not it, is it? That's what she told her. She uses silent sympathy | in a more classical context. Like structural support. | Dolly conceals it. Yes, but not within, | beneath. There's a door. | There's a door. - I can't believe it. | - Let me see. Be-Be careful. | They're very precious. | I'll be very careful. Oh, God, we shouldn't | be doing this. What do you mean, | we shouldn't be doing this? | Why'd you drag me up here then? What are you doing? | I'm going to read. Stop. We've got to | ask the Baileys. You ask, | and the next time you see these | is under glass in New Mexico. Stop it. | Stop. Stop. Stop. | All right. All right. But can we please | at least do it properly? Let me run downstairs | and get some note cards | and some pencils. All right. | Go, go! Hurry! Look at this. We've got | Ash and Christabel's | letters here. Look. Come here. | Listen. | What? "Dear Miss LaMotte: : "It was a great pleasure | to talk to you... "at dear | Crabb-Robinson's party. " May I hope that you too | enjoyed our talk. And may I have the pleasure | of calling on you." [Gasps] She says, " No, | but you may write. "Would you rather | not have a letter, | however imperfect, "than a plate | of cucumber sandwiches, "however exquisitely | fine cut? Know you would, | and so would I. " [Roland] "I was entranced | and moved by your brief | portrait of your father. " "I write nonsense, | but if you can't write again, "you shall have a sober essay | on what you will. "Yours to command | in some things. [Roland] | "Where I was born, | Christabel Lamotte." "was a small place too. " Not like this. | Not bare. [Roland And Randolph] | 'A brilliant, dusty hutch | of mystery"... [Randolph] | is a cabinet of curiosities. What did my eyes | first light on? [Christabel] | I am a creature of my pen. My pen is the best part | of me. I send you now | two more poems. [Randolph] | I eagerly read | your mythic tales of mire... and found them | both charming and sad. Your verse is rich, | but perhaps the metaphor | is richer. [Christabel] | Dear Mr. Ash: : I live circumscribed | and self-communing. It is best so. Not like a princess | in the thicket, more like | a spider in her web. "Inclined to snap at visitors | or trespassers, "not perceiving the distinction | until too late. Thus, it is unwise to call. " [Randolph] | I know you live very quietly. but I could be very quiet. I only want to discuss | Dante and Shakespeare, Wordsworth, Coleridge, | and Goethe. Not forgetting, of course, | Christabel LaMotte... and the ambitious | fairy project. [Man, Indistinct] [Christabel] | Oh, sir, things flicker | and shift. All spangle and sparkle | and flashes. I have sat all this long evening | by my fireside, turning towards | a caving in, the crumbling | of the consumed coals, to where I am leading myself... to lifeless dust, sir. [Randolph] | My dear friend... for I may | call myself a friend, may I not? I speak to you as I would | speak to any person... who possesses my true thoughts. For my true thoughts | have spent more time | in your company... than in anyone else's | these last few weeks. Where my thoughts are, there am I in truth. "My dear friend: : | It has been borne in upon me... that there are dangers | in our continued conversation." [Christabel] | The world would not look well | upon letters... between a woman living | in shared solitude as I do... and a man. Even if that man | were a great poet. And if one is to live | in this way, it is imperative | to appear respectable | in the eyes of that world... and your wife. It is a sealed pact. It is a chosen way oflife | in which I have been | wondrously happy... and not alone in being so. "I have chosen a way, | dear friend, "I must hold to it. " Be patient. | Be generous. Forgive. "May I also request | that you return | my correspondence to me. "In this way, | at least our letters | will remain together. "I have known incandescence... "and must decline | to sample it any further. "This now goes to the post. Forgive its faults | and forgive me. | Christabel." [Randolph] | My dear Christabel: : Your letter came as a shock | to me, I will confess. I was at first | not only shocked, but angry | that you should write so. As you've asked about my wife, | however, I will tell you. I love Ellen, | but not as I love you. There are good reasons | which I cannot discuss | why my love for you... may not hurt her. I do not feel I have been | a proper wife to you, Randolph. Without children, | without ever | any kind of physical... Nonsense, Ellen. Nonsense. There are many | types of love. All sorts. And ours | are good between us. It has been most profound. [Randolph] | I must say to you | what is in my mind. I have called you my muse, | and so you are. I could call you | with even greater truth... my love. Whoa, whoa, whoa. | What? What? | Don't do that. What? So he sends his response. | He sends her more letters. She doesn't answer them. | She ignores them. [Scoffs] | Typical. No. She-She chose her life | with Blanche. It's not typical. | It's remarkable. "I shall hope against hope | that this note is the dove... "which will return with | the wished-for olive branch. My letters are like | Noah's ravens... they have | sped out across the Thames. " [Randolph] They have | sped out across the Thames | and yet have not returned. I send this note by hand | in the hope that | you might receive it. Where are the letters? They're gone. I tore them up. | I burned them. And the others | from my desk? The same. I beg for us | to be as we were, | Christabel. Sweetheart, please. [Christabel] | This house, so happy once, is full of weeping and wailing | and black headaches. I ask myself | to whom I may turn... and think of you, | my friend... the unwitting cause | of all this grief. [Randolph] | I shan't forget the first | glimpse of your form... illuminated as it was | by flashes of sunlight. I have dreamt nightly | of your face. To walk to the landscape | of my life with the rhythms | of your writing... ringing in my ears. [Christabel] | I shall never forget | our shining progress... towards one another. Never have I felt | such a concentration | of my entire being. I cannot let you | burn me up, nor can I resist you. No mere human | can stand in a fire | and not be consumed. You mind reading | that last part out | one more time? "I cannot let you | burn me up, "nor can I resist you. "No mere human | can stand in a fire... and not be consumed." - That? | - Yeah. Thank you and... "And I took your hand. | Mine rested in yours... with trust and relief." Do you have regrets? I should regret venturing out | to Crabb-Robinson's party | that evening. I should regret it, | but I do not. Not even in that | most sensible corner | of my heart. What are we to do? [Roland] | "I do not wish to | damage your life. "Nonetheless, I shall | be in the church | at noon tomorrow, "with what strikes me | as the holiest of prayers... "that you should join me | on a journey to Yorkshire... and journey out of time | beyond our lives | here on Earth." This is unbelievable. | That was the last one. You're kidding me. | No. Well, did she go | with him or not? | Hands up! You two? - What's this then? | - [Joan] There's been | no harm done, George. How do we know | if harm's been done? I think it was very clever | of Maud to find your treasure. Yes. Well, must | take advice, Joanie. How long before Sir George | takes advice? He'll dither around for | a while, but not long. Blanche's diary has nothing | for that period. What about Ellen Ash? | Did she keep a journal? Yeah, in London, | but it's mostly just | boring housewife stuff. God is in the boring | housewife stuff. | We should check it. [Touch-Tones Beeping] Bailey here. | Bailey. Is that Dr. Heath? No. Um, I'm a friend | of Maud Bailey's. I was wondering, | is she there? No, she isn't. | Could you get off the line? | I'm expecting the doctor. Oh, um, have you seen | Roland Michell? Not since | this morning, no. But his work | went well, did it? The fairy poem? | I haven't the foggiest idea. Do you mean | Christabel LaMotte? Get off the line! | [Hangs Up] I looked in Ellen's diary. | There's nothing. But, uh, this should | cheer you up. It's in her correspondence. I'm not going to ask | if this is the original. I wouldn't. " Dear Mrs. Ash: "I'm at present | totally unknown to you, "but I have something | to impart to which... "closely concerns both of us | and is in my case a matter | of life and death. "May I trespass on your time | and come to see you? "You would do wrong | to keep this evidence | which I send to you now. "It is not mine, | it is also not yours. "What I say is true and urgent | as you will come to see. Yours sincerely, | Blanche Glover. " Mrs. Ash. [Maud] Maybe Blanche didn't | tear the letters but kept them | and showed them to Ellen. [Roland] | It all fits beautifully. Well, perhaps, um, | both of our departments | should work on this together. - Is that what you want? | - I don't know. Do you? No. I wanna go after them. | I wanna find out what happened. I wanna go to Yorkshire | and follow their trail. | I need to know. I thought you were mad | when you came to Lincoln | with your stolen letter. Now I feel | exactly the same. [Maud] | I haven't really thanked you. I mean, properly, | for all of this. I have difficulty | with compliments and such. Giving or receiving? Both, actually. Well, I won't tell you | you're amazing-looking then. You're probably | sick of hearing it. | Thank you. It's... I'm the last guy | who'd act on it, | with Fergus and all. - What does "and all" mean? | - Nothing. Just a little | problem that I have socially. Do you take anything for it? It's not that kind | of a problem. It's just relationships | on the whole. They're | not really for me. - Anyway... | - Yes... anyway... thank you. You're welcome. Thank you for agreeing | to meet me, Professor. Well, you made me | rather curious. | Drink, sir? Scotch with | just a dash of soda. Sir? Thank you. | Uh, I'll have the same. | Thank you. Um, I wanted to learn | of the connection... between Ash | and Christabel LaMotte. LaMotte and Ash? | There isn't any. Well, Roland Michell | has made a discovery... with a colleague of mine, | Maud Bailey. I'm sorry. | Who the hell | is Roland Michell? Oh, Blackadder's | research assistant. | American. Blondish. | Well, anyway, | he seems to know you. And he thinks | it's important. And does Blackadder agree? I don't believe | he knows anything about it. Do you wish to | be lunched separately? Respectably, | elsewhere from me? I want to be with you. | [Train Whistle Blows] I understood that was | what we had decided. These four weeks | only are ours... but ours alone. Oh, l, uh... I hope you will | accept this ring. I have brought a ring too. You see? Proof of my resolution. You take my breath away. Not yet. No. Not yet. Shall we go out, | then, to explore? There's your bathroom. Bluebirds. Your lovely view. And, of course, the bed. We'll look | for another hotel. But this is | where Ash stayed. Well, then we'll | have to share a room. I can bring up | a folding bed for one of you, | if that's your problem. [Both Chuckle] We work together, actually. | It's not... We were expecting | two rooms. | Right. I'm sure it's more complicated | than I can imagine. [Birds Squawking] That's a lovely brooch | you're wearing, miss. I reckon it could be one of | Issac Greenberg's designs. I'll, uh, get the book | and see if I can tell. Where did you get this? I've had it for ages. | It was in the family | dress-up box. Don't you see? | Ash bought the brooch | for Ellen. The clasped hands. | Here in Whitby. | We knew that. And this for Christabel. | Oh, right. So while he was buying this, | he said, um, "Yes, I'll have | the eternal embrace | for my wife." No, he wouldn't have said | anything. He would have | just bought the brooch. Christabel would have seen. | It was accepted between them. Are you writing | fiction now? Maybe. I'm having fun. Are you? Yes, I suppose I am. Don't grimace | when you say it. | It's more convincing. I suppose | I can be a touch... empirical at times. Just a touch. Hey, you wanna | go for a walk | or something? I mean, | out in the hills. [Clerk] For sure | it's earlier than the death | of Victoria's Albert. Probably late '50s. | 1860s maybe. 1859? Ish? I think we're getting | near Thomason Falls. Cropper mentions it... | Mortimer Cropper? Yeah, Ash's biographer. | All-purpose asshole. He's literally trekked | every step of Ash's life. He's happy to tell you | that too. | More than happy, I'm sure. You know him, huh? | [Groans] That is beautiful. | [Sighs] Maud. What? I think Christabel | did come here. Listen. "Three elements combined | to make the fourth. " But above the water | and the light, | together made... a halo | in the darkened cave. " That poem's dated | 1859,July. See if there's | a cave behind it. That might be | all the proof we need. Ah... I know this is | an awfully repressed | sort of English thing to say, but what the hell | are you doing? There's only one way | to find out. Of course, we could | have just asked someone. [Whooping, Laughing] Whoo! Maud! Maud! [Laughing Continues] | I found it! Your hands are shaking. Are you afraid? No. A little. [Roland] | "These are and were there. "The garden and the tree, | the serpent at its root. "The fruit of gold, the woman | in the shadow of the boughs. "The running water | and the grassy space. They are and were there." I don't mind that. See, you could grow | to like Ash. [Laughs] | Yes. He's sort of a soft-core | misogynist. [Laughs] Why do you always | tie your hair up like that? It has to do | with Fergus Wolfe mostly. Fergus? | How to do with Fergus? When we met, | he drove me mad quoting Yeats. "Who could love you | for yourself alone | and not your yellow hair?" Yes. And then I was accused once | by my sister feminists | at a conference... of dyeing it | to attract men. Really? | Yes. So I shaved it off, | all of it. [Laughs] | And did he? Did who what? | Fergus love you | without your yellow hair? No. We thought of that. We drove each other mad. | I don't even like him, but I can't seem to... | Freud. "On the other side of attraction | lies repulsion." Or was that Calvin Klein? [Laughing] - Do you believe that? | - Uh, I wouldn't know. I don't really allow myself | to do that Ash/Christabel | grand passion kind of thing. Allow? | Yeah. Jealousy, obsession, all that. | Not anymore. You're lucky then. It all gets so... | just such a tangle. It's a tangle | most people want. Not me though. My antics made | a lot of people unhappy. One horribly so. For me, whenever I feel | anything for anyone, l... I go cold all over. - What makes you do that? | - Fear, I suppose. Fear of being burned up... | by love. [Sighs] | Listen to us. Yes. Aren't we just maudlin? | [Laughing] Maud, you should | let your hair out. You should let it breathe. | And don't do the ice thing, 'cause you have nothing | to worry about from me. Christabel said, | " Fear all men." Well, Christabel | didn't know me. I don't want to take | anything from you. So, then, we're both... | perfectly safe. Right. How can we bear it? Every day | we will have less. [Shuddering] Would you rather | have had nothing? No. I thank God | that if there had to be | a dragon it was you. Wait. Wait. No. I was just trying to get out | from under the covers. | No. No. This is... We shouldn't | be doing this. | It's dangerous. Well, I really... | No, because I like you. | I like you a lot. I just don't want | to blow it here, and... Well, it doesn't matter | to me, honestly. What do you mean | it doesn't matter? Sorry. I think | we're probably just... [Sighs] | In these cramped quarters. | It was a mistake. Maud. Maud! [Door Closes] I didn't mean that. Let's not beat | the thing dead. It happened, it's over | and we're adults. Speak for yourself. I can't imagine | what you're like after you | actually sleep with someone. [Sighs] Maud, I think | that you are very... You know? No, I don't know. So, what, we're friends | now, is that it? Yeah. That's a lot. No, I agree. | It's fine. Yeah. It's perfect. Anyway, we're getting | off the track here. We came to investigate | them, not us. [Sea Gulls Squawking] So what ever happened | to Blanche? | Blanche drowned. Oh. Where was Christabel? | We don't know | where she was. The year before's | a bit blank too. You don't know where she was | that entire year? There's some speculation | that she went to France, but I have nothing | to support that. Okay, so... Christabel | comes here with Ash | and then disappears. On paper, at least. Yes. | And Blanche suicides. Jesus. - What are you doing? | - [Sighs] It's a poem. | I've been writing it | as I've watched you. You're not pleased with it? On the contrary. | I think it perfectly expresses | thejoy I have felt with you. Then why that? These feelings... | I want them to survive. I know I can never | declare all this... this love. There. I've said it. | I know it cannot be declared | to the world. What I may do is scatter | these words from the train... and hope that | they somehow take root. They will flourish. | I swear it. [Train Whistle Blows] [Train Chugging] [Sighs] So... what next? I mean, for you. I suppose I'll check | through the archives... and see if there's | any clue at all where Christabel | might have been that year. Good. I guess I'll just, uh... hell, I don't know... go look up shit | on the microfiche. Suffer over you. Good-bye. See ya. Lost your way? | Don't do tours here. Sir George Bailey? | Who wants to know? Professor Mortimer Cropper, | curator of the Stan Collection, Robert De Leon University, | Harmony City, New Mexico. And this is Dr. Wolfe. | Good morning. I'm a busy man. | My wife's ill. I can quite understand | that, sir. Sources have led me to believe | that you may be in possession... of some documentation | by Randolph Henry Ash. Whoa. | Don't shoot, please. Get off my land. Do you have any idea | what we're talking about here? Do you? Do you have | any idea how much... such pieces, | if they existed, how much | they would be worth? Worth? Do you mind if we swing | past the university? Bit of unfinished | business. Miss Bailey, I presume. | The accomplice. The very same. [Man] | Good God, you're | like Bonnie and Clyde. Come on. | I need a picture of her. I've never seen you | like this. Just go. Take the Porsche | and go. [Engine Starts] [Doorbell Buzzes] Fergus, what? Uh, if Fergus went out | to get Indian food, I'm gonna... | I'm gonna feel really stupid. [Laughs] | No, he didn't. India wouldn't be | far enough away, actually. [Chuckles] Come inside. I'll explain. You sure? I mean, | about me coming in. Yes, very. | [Laughs] So I left Fergus a message | from Seal Court, which apparently | put him on our trail, and he came here looking | for answers... he and Cropper | from the sound of it. So that was Cropper's | car outside? I think Fergus | has found something. He's been spooking | around the museum, sending out | a bunch of faxes. I wouldn't be | so quick to do that. Yeah. The British Museum | fax log sheet. "To the University of Muntz | from Fergus Wolfe. "Subject: Christabel LaMotte. | Information on LaMotte | genealogy. Request loan of journal | of Sabine de Concasse." Unfortunately for Fergus, | we have to log our faxes. You're shameless. [Sighs] So what are we | gonna do now? We gonna try to beat 'em | to France, or... or are we just | gonna stare at each other? That is the question, | isn't it? Mm-hmm. I have another one | for you. | What's that? What are you really | doing here? Well, l, uh... I needed to see your face. I just want to let you know | that whatever happened | in Whitby, which unfortunately | was not much, is not because | anything that you did. Not at all. I just didn't want | to jump into something. I mean, I did | and I do... want to. Badly. I just didn't | want to mess this up. And I just want to see... | [Clears Throat] I want to see if there's | an us in you and me. Would-Would you like that? I'll take that | as a yes. [Woman Speaking French] Ah, oui. Excusez-moi. | Nous sommes confrres. | [Continues In French] When will she be back? Could you check for us? - She will return on Thursday. | - Okay. Au revoir. | Merci. You and your shoplifting, huh? | I can't take you anywhere. " Dear Professor Wolfe: | Since I wrote to you last, | I've made another discovery. "Amongst Sabine's papers | was her journal... "in which she writes | about LaMotte's visit | to Brittany in 1859... and the subsequent arrival | of a mysterious visitor. " [Man Speaking Latin] I know how things are. | I wish to help you. You know how things are, do you? | Tell me, Cousin Sabine, how do you think | things are with me? I'm a grown woman. | You are a girl. I do not desire | any help from you. [Sabine's Voice] | Christabel's condition | became worse... after she received word | from London... that her close friend | had died. She left England | because she was pregnant, and Blanche | committed suicide. What happened to the baby? It must have been stillborn. Or died. Maybe it was taken in | by nuns or a local family. And brought up here. I'd like to think that, | but I wonder. - You wonder what? | - I don't know. I just... She comes here alone, hears | that Blanche has killed herself. She's pregnant, distraught. Geez. I mean, I've no | evidence for it. Can you imagine | how she must have felt? Yes, I can. So when do we see | Christabel next? Autumn, 1860, | in her references | to the Vestal Lights. It was a group of women | who used to meet with mediums | on a regular basis. Really? You know, | Ash hated spiritualists. | Pretty openly. You think | that's a connection | we're tracking down? I don't know. Please, make a circle | with your hands. Close your eyes. White earth. Valley. A waterfall. A child. Love. Two people. Deception. Letters. Two people. Words. Death. What have you done? A field. Where is the child? What have you done | with the child? You have made | a murderess of me. [Roland Reading] | "I understood at the time | that Mr. Ash was inquiring... "after the spirit of | a departed child ofhis own, "but I am told that | this could not be the case... as Mr. Ash is childless." Was there any mention | of Heloise in your research? I don't know... | nor do I care. [Sighs] | Look, I've got to get back. What's going on? | Nothing. I'm just tired, | that's all, so I should... Come on. | What's wrong, seriously? I don't actually | want to discover | anything else about them. You know? I'm finding things out | that are just... It's horrible when you | think about it really... | men and women together. [Sighs] She gave up her life, | didn't she? A perfectly decent life | that I've always admired. | And for what? For nothing. No. Not nothing. Oh, really? For what then? | A child who died, a lover | drowned, and to what end? She and Ash, | my own parents... and every relationship | I've ever had... It's all doomed. | We can't seem to help but | just tear each other apart. Well, what about us? | You didn't include us. | What about that? Look, l... I can't think about | anything right now. [Sighs] | So, okay. So this is the, uh... | this is the icy pull-back | part then, huh? - What? | - You know, you get close, | you pull away, you get... I mean, this is part | of the pattern, right? - What are you talking about? | - Your fear of men mantra | from Yorkshire. That's what | I'm talking about. I get it. It's cool. | If that's the way you play it, | that's the way play it. Do you honestly believe that? Is that what you think | this is to me? A game? Is it? [Scoffs] Well, finally, then, | all this talk of us really | comes to nothing, doesn't it? Yes, I guess you're right. | It's nothing. [Door Slams] [Sighs] [Sobbing] [Roland's Voice] | Dear Professor Blackadder: : I did try to tell you | about my discovery before... but found that I couldn't. Please read these two letters, and you will begin | to understand. I'm sorry for deceiving you. Sincerely, Roland Michell. [Creaking, Clattering] And it's well documented | that Ellen Ash set a box | on Ash's coffin... a kind of sealed container. We'd always imagined | it was just trinkets, but in the light of Michell's | discovery, who knows what | treasures might be buried there. [Sir George] | That box is mine, isn't it? | It's my property. [Cropper] | Once you get it from Lord Ash, | it's absolutely yours. Until then, | we keep it a secret. Any discovery amongst | Lord Ash's things, and, uh... | and I purchase it from you. It's all above board, | no one the wiser. Cropper, are you | absolutely sure of that? Listen. | Uh, where is it? Yeah. "I place this | letter in his hands, "and if ghouls | dig it up again, then perhaps justice | will be done when I am | not here to see it. " [Christabel's Voice] | Dear Madam: : We are older now | and my fires at last are out. I know that you are | more than aware of my name, but I find you must see it | in print one last time. It has been made known to me | that your husband | is near to death, so I have writ down, | for his eyes only, some things. I find I cannot say what things | and have sealed the letter. If you wish to read it, | it is in your hands, though I must hope that he | will see it first and decide. I have done great harm, | though I meant none to you. I'll see they get back, | no questions asked. You're more enterprising | than I gave you credit for. Was there a compliment | in there somewhere? Hmm? Yes, probably. | [Laughs] What I can't believe | is Fergus Wolfe | conniving with Cropper. I thought I was | a better judge of men. Well, see, that's | where you went wrong. You | gave him credit for being one. [Whispering] Thank you. Hi. | Hi. Thank you | for coming. | Sure. I believe | that may be her. l, uh... I'm sorry. | No, I'm sorry. No, listen. | I lost it totally. | It wasn't you. So, why don't we all | talk some strategy? Let me introduce | you to, uh... | All right. [Clears Throat] | Professor Blackadder, Paola, | this is Dr. Bailey. Maud. | Maud. How do you do? So, do we really think that | Cropper's capable of something | like this, of robbing a grave? [Man Grunting] It's creepy, the idea | of opening a grave. Let's just keep going. [Sighs] | Jesus. "The moping owl does | to the moon complain." | Complain. Are you ready? Yeah. | Hold the light up. [Grunting] [Thudding] Fergus! Fergus! | [Fergus] | Is that it? Yes. It's gotta be. I found it, Fergus. | I found it. Oh, my God. | I found it, Fergus. Great! Hey, Cropper! | Cropper! This has nothing | to do with you people. Wait! | Get off of me! | Get off of me! No you don't! | [Grunts] Traitor! | Bloody conniver! | Please! [Grunting Continues] Wait! What are you doin'? | [Grunts] [Chuckles] [Gasping] | Oh, shit. [Maud] | Are you sure | we should be doing this? [Roland] | I told Blackadder | we'd just take a look... before we handed it over | to the museum. Can you hold that there? Maud, look at this. It's her handwriting. [Clears Throat] " My dear, my dear: "They tell me | you are very ill. "Perhaps I am wrong | to disturb you at this time... "with unseasonable memories, "but I find I have, after all, | a thing which I must tell you. "You will say it should have | been told 20 years ago, "but I could, or would, not. "You have a daughter... "who is well and married... "and the mother | of a beautiful boy. "I've sent you a picture. "You will see she resembles | both her parents, "neither of whom she knows | to be her parent. "When I said | at that terrible seance that | you had made a murderess of me, "I was speaking of poor Blanche, | who then torments me daily, "and I thought, | 'Let him think so then... "ifhe knows me so little. ' "I had a secret fear, you see. "I was afraid that | you would wish to take her... "you and your wife... | for your own. But I could not let her go." Over here. [Christabel's Voice] | And so I hid her from you... and you from her. She loves her adoptive | parents most deeply. Me, she does not love. So I am punished now, | living at Seal Court with them | and watching her grow. I have been angry | for so long... with all of us, and now, near the end, I think of you again | with clear love. Did we not... Did you not flame | and I catch fire? Was not the love | that we found... worth the tempest | that it brewed? I feel it was. | I know it was. "If you are able or willing, | please send me a sign | that you have read this. "I dare not ask | if you forgive. Christabel LaMotte." Ash had never read this. He never knew | he had a child. You're descended from both | Christabel and Ash. My God. | [Sobbing] All these clues, | they're for you. For us. You're so beautiful. [Randolph's Voice] | There are things that happen, | not spoken or written of. Apoet walked out | one summer's day... seeking forgiveness | from a love long lost. He found | something else instead. This is how it was. Morning. | Good morning. What's your name? May Bailey, but I have | another name I don't like. Do you? What's that? Maya Thomason Bailey. Well... Maya was the, uh... the mother of Hermes, and I know a waterfall | called Thomason. A waterfall? Really? | Yes. In Yorkshire. | With a lovely cave | hidden behind it. Where do you live? I live in that house | down there. And my mother lives there | and my father... and my two brothers. Oh, and my Aunt Christabel too. Yes, I think | I know your mother. You have | the true look of her. No one else says that. | I think I look like my father. You look like | your father too. Can you make daisy chains? Yes. Yes, I'll make you a crown. But, um... will you | give me a lock of your hair? Like fairy story. Just so. Now, would you | take this note... to your aunt. Tell her that | you saw a poet... who was coming | to meet her... but met you instead. I'll try to remember. Thank you. [Boys Laughing] |
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