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Short filmTranscript
00:00:00To be continued...
00:00:30THE END
00:01:00I've got to hear something's going to happen I ain't going to like.
00:01:15You won't mind this.
00:01:19That's right.
00:01:21Careful, Mark.
00:01:22You know I'm delicate.
00:01:23Oh, there's a kind of a monotony about this.
00:01:31You're not hurt, are you?
00:01:32No.
00:01:33I'm getting so I enjoy it.
00:01:36What you just saw is my triple McNasty.
00:01:39It should be a must for all of us detectives.
00:01:42Marty is a sucker for it.
00:01:44Oh, I've got another little item that I think you coppers should know.
00:01:46Come on, Herman.
00:01:47You'll pardon me?
00:01:49Oh, it won't hurt you.
00:01:50Peter.
00:01:51Come on, let's try it.
00:01:52I have your gun.
00:01:55There.
00:01:57What's the matter with you, Friday?
00:01:59It's all right.
00:02:00He's a minion of the law.
00:02:04Now, come on.
00:02:06Put the gun in my back.
00:02:08I'm walking along.
00:02:10I hope my insurance is paid out.
00:02:17You see, it's all in the timing.
00:02:19Hey, will you get this Malamute off me?
00:02:22Relaxing, ain't it?
00:02:24Let him up, Friday.
00:02:26Excuse me, boys.
00:02:27Come on, Friday.
00:02:32Can't see anybody today, Alistair.
00:02:34Friday.
00:02:35Alistair will answer this time, if you don't mind.
00:02:37Can't you get it through your head?
00:02:39Dogs don't answer dough bells.
00:02:46Yes, ma'am?
00:02:47I'm Mrs. Laurie.
00:02:48Is Captain McLean in?
00:02:49I'm sorry, ma'am.
00:02:50Captain McLean is not receiving today.
00:02:53He's consulting.
00:02:55Oh, but I'm an old friend.
00:02:57I'm sure he'd want to see me.
00:02:59I'll just wait.
00:03:01I know, ma'am, but...
00:03:02He said, don't let nobody in.
00:03:04And if I don't let him in, he says, do let him in.
00:03:06Dog, where is you going?
00:03:08Innocent as a lamb, ain't you?
00:03:10Well, if you entertaining any ideas about getting into my department,
00:03:13you is treading on the edge of disaster.
00:03:16What are you looking at?
00:03:18Very cunning.
00:03:20Now, what is you looking at?
00:03:25So das it.
00:03:27Why, are you double-crossing canine?
00:03:35I'll disconnect you.
00:03:39Boss, I'm a man with patience.
00:03:41But that dog...
00:03:42Never mind that.
00:03:43Who was at the door?
00:03:46That blamed dog has even gotten me forgetting what I'm supposed to be doing.
00:03:50All right, all right.
00:03:51Who was at the door?
00:03:52It's the lady, sir.
00:03:53The lady.
00:03:53Yes, sir.
00:03:54All right, give me the blue coat and the polka dot tie.
00:03:57And your tan shoes?
00:03:58And the tan shoes.
00:04:00Yes, sir.
00:04:09At it again, right under my nose.
00:04:15You really should tell new servants about old friends, Captain McLean.
00:04:19Norma.
00:04:20Hello, Friday.
00:04:21We even brought you some roses.
00:04:25Ah, they're lovely.
00:04:27You know, too few ladies bring me roses these days.
00:04:29Ah, Mac, old friend.
00:04:30It's good to see you.
00:04:31Ah, it's good to see you too, Norma.
00:04:36You're just as beautiful as ever.
00:04:38The only time I mind not having eyes is when you're around.
00:04:41Well, let's sit down.
00:04:49Can't keep your sniffer out of roses, can you?
00:04:53I'd forgotten that Friday was allergic to them.
00:04:57So you've given up the theater for good, huh?
00:04:59Mm-hmm.
00:05:00And do you think Laurie is worth it?
00:05:02Being married to Stephen is the most exciting career I ever had, Mac.
00:05:07He's a great man.
00:05:09Mm-hmm.
00:05:09A great man, indeed.
00:05:12He's one of the best scientific minds we have today.
00:05:16And heaven knows we need him.
00:05:26I'm glad you came to me, Norma.
00:05:29I think your father would have expected me to help you.
00:05:31You do need help, don't you?
00:05:35Yes, but how did you know?
00:05:37Oh, the tone of your voice, the way you tapped your cigarette.
00:05:42Serious trouble?
00:05:43Pretty serious.
00:05:45Need a detective?
00:05:46What I really need is someone to commit a murder for me.
00:05:49Oh, I can do that for you any time you want.
00:05:53Who is the victim?
00:05:55Do you remember Paul Garenti?
00:05:57Yes.
00:05:58The dreariest leading man you ever had.
00:06:00And when you told me that you were engaged to him, I wanted to take you over my knee.
00:06:04Well, he's back.
00:06:06He's back in my life again.
00:06:08He's a leading man in that summer theater near our home.
00:06:11And he's making love to my stepdaughter, Barbara.
00:06:14She's 17.
00:06:15She's very headstrong.
00:06:17Well, she's completely gone on him.
00:06:20She's Stephen's only child.
00:06:21He adores her.
00:06:22And for Stephen's sake, as well as for her own, I felt I simply had to tell her what a rotter Paul is.
00:06:30But Paul has poisoned her mind against me already.
00:06:35He's made her believe that I am still in love with him.
00:06:38That I'm playing the role of the discarded woman.
00:06:40Imagine me burning up with jealousy because he happens to prefer a younger woman.
00:06:45Well, that's what he's told her.
00:06:47And worse than that, he's convinced her that I married her father for his money.
00:06:52By now, of course, the child hates me.
00:06:54I don't know if I can help you or not.
00:06:57I'm only a gumshoe.
00:06:59But offhand, I would say one thing, though.
00:07:02What?
00:07:02You've got to have a talk with Giretti.
00:07:05Oh, Mac, you don't seem to understand at all.
00:07:09I loathe the man.
00:07:10My dear, you seem to be forgetting one thing.
00:07:13You're not just another woman that's been treated badly by Giretti.
00:07:16You're this girl's mother now.
00:07:18And your husband expects you to look after her.
00:07:20She's your responsibility.
00:07:22What would I say to him?
00:07:24Go to him.
00:07:25Tell him you're going to fight him.
00:07:26Show him that you mean it.
00:07:29Well, try it.
00:07:30If it doesn't work, we'll figure out something else.
00:07:35Oh, Mac.
00:07:37I never even come to see you except when I'm in trouble.
00:07:40What are old friends for?
00:07:42Goodbye, darling, and thank you.
00:07:44I'll go to see him right away.
00:07:45There, the girl.
00:07:46Goodbye, dear.
00:07:48Finally, show the lady to the door.
00:07:49Oh, I beg your pardon.
00:08:09Oh, it's you, Paul.
00:08:11Norma, darling.
00:08:13Here, wait a minute while I turn on the light.
00:08:15I'm the last one out.
00:08:16I was just leaving for town.
00:08:22There.
00:08:23With the footlights, we'll both feel at home.
00:08:26Oh, but won't you sit down?
00:08:31Well, my flower, it is good to see you again.
00:08:35How's married life?
00:08:37Boring, I trust?
00:08:38I'm very happy, Paul.
00:08:40Splendid.
00:08:41Did you come for Barbara?
00:08:42She left some time ago.
00:08:44No, I didn't come for Barbara.
00:08:46I came to see you, Paul.
00:08:47So?
00:08:49How very nice.
00:08:51You know, Norma, you're still very attractive.
00:08:53You age more cheerfully than I.
00:08:56I'm getting frightfully worried about my looks.
00:08:59Cigarette?
00:09:00You spoke just now of age.
00:09:04Barbara's only 17.
00:09:07Surely you can see that you could never make her happy.
00:09:13Don't hurt her, Paul.
00:09:14I have no intention of hurting her.
00:09:17Why should I hurt her?
00:09:19Because you're a vicious, self-centered man
00:09:21who's incapable of a decent, clean emotion.
00:09:24Because...
00:09:25I'm sorry I said that, Paul.
00:09:30Forgive me.
00:09:31No, you're not sorry, darling.
00:09:33You meant every word.
00:09:35I love Barbara, utterly and devotedly.
00:09:37If she'll have me, I'll marry her.
00:09:40All my life I've waited for someone like her,
00:09:43beautiful and talented,
00:09:44alive as a breath of spring.
00:09:47Now that I've found her,
00:09:49I'll never let her go.
00:09:51I'll never let her go.
00:09:55Bravo.
00:10:01You ham.
00:10:08Thank you, Hanson.
00:10:10Where's Mr. Lorry?
00:10:11I think you'll find him in the laboratory, madam.
00:10:13Oh?
00:10:14Oh, Stephen, I thought you promised me
00:10:26you'd be out of this old lab before I got home.
00:10:29Darling, you're not going to work all night again, are you?
00:10:32No more night work.
00:10:34In fact, no more work.
00:10:36I've finished.
00:10:37Oh, Stephen, you haven't.
00:10:39Oh, yes.
00:10:40It's all over now.
00:10:42That is, uh, all except one thing.
00:10:45What's that?
00:10:46I don't know if it'll work.
00:10:48I mean, nothing.
00:10:49Trifle.
00:10:50When will you find out?
00:10:53Right away.
00:10:56How would you like to come on a little airplane trip?
00:10:59I'd love it.
00:11:00Where to?
00:11:01Can't tell.
00:11:02Big mystery.
00:11:04We fly south to a private plane.
00:11:06Then, early in the morning,
00:11:07I'll leave you at the hotel for a few hours.
00:11:09And when I come back,
00:11:11I'll either be immortal
00:11:12or else just another crackpot
00:11:14who should have stuck to teaching.
00:11:16And we won't care which, will we?
00:11:19Darling, you've been an angel these past few months.
00:11:22Never once have you asked me what I was doing.
00:11:24Never even complained.
00:11:26No matter how badly I neglected you.
00:11:29I can't tell you now what I'm doing.
00:11:31I don't want you to carry the responsibility of knowing.
00:11:34But I can tell you this.
00:11:35If it works,
00:11:37it'll be an important contribution to the war.
00:11:39So you see, it's beyond my personal satisfaction.
00:11:42It'll work.
00:11:44I know it will.
00:11:46I wish you gave out Nobel Prizes.
00:11:49We leave tonight at 7.30.
00:11:51So just pack an overnight bag.
00:11:54Oh, uh,
00:11:55Barbara won't be able to see this after.
00:11:57She has a date in town with some girlfriends.
00:11:58I wish.
00:12:09Hello, Barbara.
00:12:11Hello.
00:12:13My, your roses are lovely.
00:12:15Yes, Paul sent them to me.
00:12:18Going out tonight?
00:12:19I am.
00:12:21Would you mind too much telling me with whom?
00:12:23I wouldn't mind telling you at all, dear.
00:12:27Except that you know perfectly well.
00:12:31Your father thinks you have a date with some girls.
00:12:34If you think that's wrong,
00:12:35then by all means,
00:12:36tell him the truth.
00:12:37Mother.
00:12:40You and your father are such wonderful friends, Barbara.
00:12:43Don't you think you could be honest with him?
00:12:45In what way?
00:12:46Well,
00:12:47about Paul, I mean.
00:12:48What about him, dear?
00:12:49Oh, Barbara,
00:12:50you know as well as I
00:12:51that you shouldn't be seeing him.
00:12:53Really, darling?
00:12:55I don't see why not.
00:12:56Because
00:12:57he's not good.
00:12:59He's hard and cruel.
00:13:01He's...
00:13:02How dreadful.
00:13:04Seems to me that your duty
00:13:05is perfectly clear, then.
00:13:07You should go to my father
00:13:08and tell him
00:13:08that I'm going out with a bad man.
00:13:10And when he asks you
00:13:11how you know he's a bad man,
00:13:13you tell him.
00:13:15Tell him that you know
00:13:16from personal experience,
00:13:18won't you?
00:13:19Barbara.
00:13:19Oh, why do you insist
00:13:22on misunderstanding me?
00:13:24I'm older than you.
00:13:25I made a great mistake.
00:13:27And I'm only trying
00:13:28to keep you
00:13:28from suffering as I did.
00:13:33Darling,
00:13:33do you want to know
00:13:34what I think?
00:13:36I think you've come
00:13:37to the same conclusion
00:13:37that I have.
00:13:39That there isn't enough room
00:13:40in this house
00:13:40for both of us.
00:13:41I think you're trying
00:13:42to turn my father against me.
00:13:44You're trying to run my life
00:13:45to dominate every movement
00:13:46I make.
00:13:47Oh, that isn't true.
00:13:48But you haven't won yet,
00:13:49my sweet,
00:13:50because I'm going to stay.
00:13:52And as long as I'm here,
00:13:54you're not going
00:13:55to be happy.
00:13:57I'm going into town tonight
00:13:58and I'm going to have dinner
00:14:00with Paul Durante.
00:14:01Alone.
00:14:03Well, you're not going
00:14:03to his apartment.
00:14:05Apartment?
00:14:06Operator,
00:14:15get me Murray Hill
00:14:1644598, please.
00:14:20Hello, Paul?
00:14:22Look, darling,
00:14:23I've changed my mind
00:14:24about dinner.
00:14:25Let's not go
00:14:25to a restaurant.
00:14:27I think I like
00:14:28your original invitation
00:14:29better.
00:14:31Let's have dinner
00:14:31in your apartment.
00:14:32Why, of course
00:14:35I care, Paul, dearest.
00:14:37All right.
00:14:38I'll meet you
00:14:39at your apartment
00:14:39at 8 o'clock.
00:14:42Goodbye, sweet.
00:14:45Well, darling,
00:14:46we are off
00:14:46on the big adventure.
00:14:48Stephen.
00:14:49Yes, dear?
00:14:51I don't think
00:14:52I should go with you.
00:14:53What?
00:14:54I thought it was
00:14:55all agreed.
00:14:56Well, it's just
00:14:56occurred to me.
00:14:58We shouldn't be
00:14:58flying together.
00:14:59If anything happened,
00:15:00Barbara would be
00:15:02left all alone.
00:15:03I never thought
00:15:03of that.
00:15:04Of course,
00:15:05you would.
00:15:06It isn't easy
00:15:07being a stepmother,
00:15:08Norbert.
00:15:09You've done
00:15:09a wonderful job.
00:15:10I haven't had to
00:15:11worry about Barbara
00:15:12since you came.
00:15:13You'll never know
00:15:14how grateful I am.
00:15:16Ready, Mr. Lowry.
00:15:17Good luck, darling.
00:15:23You're all the luck
00:15:24a man could ask for.
00:15:47Paul.
00:15:56Paul.
00:15:56Oh, my God.
00:16:26Barbara.
00:16:31Let it go.
00:16:55Try to take hold of yourself.
00:16:57We must get away from here.
00:16:59Come on, darling.
00:17:01Why you?
00:17:06Barbara, you're asking me to run away with you?
00:17:09We've got to get out of here, don't you understand?
00:17:12I have no reason to run.
00:17:13Why should I run away?
00:17:15I didn't kill anybody.
00:17:17You don't think...
00:17:18I don't have to think.
00:17:19That...
00:17:20That upstairs proves everything.
00:17:23Oh, you don't know what you're saying.
00:17:25I had nothing to do with it.
00:17:26Then what were you doing here?
00:17:27I came to try to stop you.
00:17:29To tell Paul he was like that when I came in.
00:17:35You're dull, darling.
00:17:36That's such a feeble story.
00:17:39But it's true.
00:17:42Barbara.
00:17:44Barbara, I couldn't.
00:17:45You're a liar.
00:17:46You killed him because you were jealous.
00:17:48You're going to pay for it.
00:17:49If you're innocent, you won't mind my calling the policeman.
00:17:59No, don't.
00:18:00You're terrified, aren't you?
00:18:02Barbara, think of your father.
00:18:03The newspapers would go mad.
00:18:05He couldn't bear it.
00:18:06That phony nobility of yours really makes me sick.
00:18:08All right.
00:18:13I won't call the policeman.
00:18:16All you have to do is one thing.
00:18:18Oh, anything.
00:18:18What is it?
00:18:19Leave my father's house.
00:18:22Barbara.
00:18:23Take your choice, darling.
00:18:26Well, shall I call him?
00:18:30Very well.
00:18:31I'll go.
00:18:32By tomorrow morning?
00:18:33Yes.
00:18:34Good.
00:18:35You understand, don't you, that if you're not going by tomorrow morning, I call the police.
00:18:40Yes, I understand.
00:18:44Taxi!
00:18:47Oh, by the way, you might be interested to know that I was never really interested in Paul Durante.
00:18:52Oh, at first he amused me, but then I realized that he was sort of upsetting.
00:18:58So you see, my dear, you killed a man for nothing.
00:19:01Bob, are you listening?
00:19:05No, Norm, I won't.
00:19:07Because I don't have to listen to you anymore.
00:19:10Good night.
00:19:19Now, let's see if we got the facts straight.
00:19:21The body was lying on the floor in front of the fireplace.
00:19:26The skull was bashed in.
00:19:29Door was ajar.
00:19:30There was a good fire burning in the fireplace.
00:19:33No signs of violence.
00:19:37Did anyone see you enter the apartment or leave it?
00:19:40Not that I know of.
00:19:41About how long ago were you there?
00:19:43It must have been an hour.
00:19:48That must have been about eight o'clock.
00:19:51Is there anything else?
00:19:52I can't think of anything.
00:19:54And then Barbara came in and she thought you killed her.
00:19:58Mac, what can I do?
00:19:59I can't tell the police.
00:20:00No, no.
00:20:02The jury would massacre you.
00:20:05Well, go home and get some sleep if you can.
00:20:10Friday.
00:20:12Wake Marty up.
00:20:15Now, you sit tight until you hear from me.
00:20:17All right, Mac.
00:20:18Wait a minute.
00:20:20In case I've got to call you, what is your phone number?
00:20:22Rossmo 555.
00:20:24Rossmo 555.
00:20:25All right.
00:20:27Friday and I will get on this right away.
00:20:29And don't worry.
00:20:31I won't.
00:20:31Hey, hey.
00:20:45What is this?
00:20:48Oh, it's you.
00:20:50You ought to take it easy when you wake a man up.
00:20:53You're liable to give him a bad shot.
00:20:56All right, all right.
00:20:57Don't rush me.
00:20:58Don't rush me.
00:21:01It's locked.
00:21:10Watch the stairs.
00:21:27Inside.
00:21:31Lock the door again.
00:21:36Well, come on.
00:21:37Let's get started.
00:21:42Here's Sonnet.
00:21:43About 18 by 26.
00:21:45Studio type.
00:21:46There's a big sofa alongside of you to your right.
00:21:49Wall on your right.
00:21:50Big full-length window.
00:21:51Small table with a lamp on it.
00:21:53Big fireplace.
00:21:54Wall ahead of you.
00:21:55A glass cabinet.
00:21:57Door leading to a bedroom, I guess.
00:21:58Big chair.
00:21:59Over the chair is a picture of a reclining tomato.
00:22:06Wall to your left.
00:22:07Baby grand piano.
00:22:08Small round table with a lamp on it.
00:22:10Another chair.
00:22:11Wall behind you.
00:22:12Wooden chair.
00:22:14There's some kind of a screwball statue sitting in a hole in the wall.
00:22:18It stinks.
00:22:19Go on.
00:22:20Go on.
00:22:21Well, that's about all, I guess.
00:22:22I'll take a look in the other room.
00:22:24Haven't you forgotten one important item?
00:22:26What?
00:22:27The body.
00:22:28Nobody here.
00:22:30Nobody.
00:22:33It's gone.
00:22:34She said it was in front of the fireplace.
00:22:36It ain't here now, Mike.
00:22:37I assure you.
00:22:38Any bloodstains on the rug?
00:22:40The rug is like the body.
00:22:41There ain't any.
00:22:42Not in front of the fireplace.
00:22:44Take a look in the other room.
00:22:45Okay.
00:22:46Polished floor.
00:23:04A lot of dust.
00:23:05Seems to form a curved line.
00:23:12There was a rug here and it was taken away.
00:23:14Recently.
00:23:15After he was killed.
00:23:16If he ain't in there, they must have carted him away.
00:23:20I don't get it about the rug.
00:23:22I catch bloodstains.
00:23:24They're going to get it cleaned.
00:23:26Did it ever occur to you that they might have used the rug to carry the body out?
00:23:29Right.
00:23:30Right.
00:23:31Get a hold of the janitor.
00:23:32See if we can get a line of Geretti's friends who might have visited him tonight.
00:23:35Right.
00:23:36And I'll see if a stiff was taken out in the rug.
00:23:38Now, don't mention anything about a stiff.
00:23:40You want us both thrown into jail?
00:23:42Don't you know what we're doing?
00:23:43Maybe turn conspiring to defeat justice?
00:23:46Certainly I know it.
00:23:47Turn out the lights.
00:23:52Now, Friday, through the door.
00:23:53Let's see what we can find out about the late departed, Mr. Geretti.
00:24:06Ah, here's the clothes closet.
00:24:26When Marty gets back, we'll look through Geretti's effects.
00:24:40Under the bed, Friday.
00:25:03Keep your mouth shut.
00:25:03Okay.
00:25:04Keep your mouth shut.
00:25:34I want Rossmoor, 555.
00:25:53My number?
00:25:55Murray Hill 44598.
00:25:57Hello, Rossmoor, 555.
00:26:01This is Gabriel.
00:26:02Is that you, Vera?
00:26:04Yes, I'm all right.
00:26:07I know, but somebody has to do the dirty work.
00:26:09It's part of the job.
00:26:11All right, I'll be back soon.
00:26:14Now, baby, stop worrying about me.
00:26:22Just a minute.
00:26:23I don't know yet.
00:26:23Call you back.
00:26:24I don't know yet.
00:26:46Get away.
00:26:48Get out of the way!
00:26:55Get up.
00:27:14My neck.
00:27:16You better lay quiet.
00:27:17We're all disconnected for you.
00:27:21Thank you, sir.
00:27:22Now go get Marty.
00:27:23Quick.
00:27:24Get up on your feet.
00:27:24up on your feet and face that wall come on who hired you i bet you've been questioned a lot
00:27:41you know how to keep your mouth shut don't you what's this marty this is gabriel he gossips
00:27:48like a magpie charming mac you're gonna have to give her popcorn you get the dizziest prizes come
00:27:56on gabriel tell us what you did with the body you ought to know better than to go around knocking
00:28:01people's brains out gabriel what did he do to you steal a tire from you all right see if i can guess
00:28:08you planned to kill jurenti someplace else there was a sudden quarrel and you had to do it here
00:28:13to shut him up you didn't want the body found here so you took it away in a rug
00:28:16you rang the bell that time max now maybe you'll tell us why you didn't want the body found here
00:28:22huh all right that means they're gonna make a trip friday
00:28:28go get the harness you take him up to our house entertain him maybe you can influence him to talk
00:28:38friday where you going up to normal lorry's house gabriel telephoned someone up there
00:28:44if you'll find out anything call me take me outside friday you can turn around now gabriel
00:28:51well you got the hat friday there we are thank you sir
00:28:59is that guy blind demoralizing heinous
00:29:04well mrs lorry i thought you were going with mr lorry i changed my mind at the last minute
00:29:17is miss barbara home no madam miss chelly scott phoned a few minutes ago there's an emergency
00:29:22rehearsal thank you handsome the lyrics are just novelty but novelty they're trial
00:29:33here's miss larry scott oh hello barbara i'm sorry i'm late chelly that's all right barbara
00:29:40come down here a minute i have something to tell you the rest of you can relax
00:29:45come and sit down here
00:29:51something unpleasant has happened barbara
00:29:56paul giarente what about him
00:29:58he's quit the show he did
00:30:02when he telephoned at seven o'clock
00:30:06he didn't give us a moment's notice he said he was going away for a while
00:30:11barbara
00:30:15i know you were interested in him but perhaps it's just as well
00:30:20he couldn't be depended on and your new leading man is a much better actor
00:30:25you have a brilliant career ahead of you barbara
00:30:29you mustn't let anything come between you and the realization of that career
00:30:34i'm very fond of you
00:30:36i want you to know that what happens to you is of the deepest concern to me
00:30:40thank you chelly
00:30:43all right everybody
00:30:45we concentrate on the scenes between miss lorry and mr boyd
00:30:50mr anderson mr bush we won't be getting to you gentlemen tonight you can be dismissed
00:30:54thank you miss car
00:30:55all right mr boyd start with the scene in the garden pick it up on
00:30:58i'm afraid i'll never understand peggy
00:31:01come in
00:31:08well
00:31:13is everything all right all set captain
00:31:15how did the lorry girl take the story about your auntie
00:31:18there's no trouble
00:31:19chelly will keep her rehearsing till we're through
00:31:21good
00:31:22come on
00:31:25let's get started
00:31:27no noise
00:31:48got to work quietly
00:31:50we're alone in the house aren't we
00:31:52well not quite
00:31:55mrs lorry changed her mind she came home at the last moment
00:31:57that's not good
00:31:58we are supposed to have the house to ourselves
00:32:00mrs lorry has gone to bed she's a sound sleeper we'll go ahead as planned
00:32:04it's pretty risky
00:32:05i think i
00:32:07there's a paper in that safe it's worth ten armored divisions to us we're going to get it
00:32:11now
00:32:13as you say captain
00:32:14as you say captain
00:32:20here
00:32:27what are you doing up
00:32:28i wanted to talk to you
00:32:30what about
00:32:31about gabriel
00:32:33he hasn't called back yet like he said
00:32:35what
00:32:36now don't worry about gabriel
00:32:37something's happened to him he would have called if he could
00:32:39i know my husband he's in trouble
00:32:41i know he's in trouble i'm gonna help him
00:32:43you're becoming hysterical
00:32:44i don't like this what if the police caught him
00:32:46if he talks he are finished
00:32:47gabriel won't talk he's a good soldier
00:32:49i don't care i want to do something i want to find him and you can't stop me
00:32:54control yourself
00:32:59that's better
00:33:04go ahead
00:33:17hide these two men in your room
00:33:24i'll ask the door
00:33:25is laurie live here
00:33:43why yes sir she does
00:33:45oh we made it boy come on
00:33:46excuse me sir but may i ask who you are
00:33:48who are you
00:33:50i'm hanson mrs laurie's butler
00:33:52well i'm her uncle i came to make a call
00:33:54at this time of night sir
00:33:56day or night what difference does it make to a blind man
00:33:58oh you're blind sir
00:34:00blind is a bad
00:34:01excuse me sir i'm terribly sorry
00:34:04what is there to be sorry about
00:34:06many great men were blind milton homer they were blind weren't they
00:34:10yes sir but they complained about it
00:34:12oh they did yes sir
00:34:13oh loss of sight of thee i most complain
00:34:16blind among enemies
00:34:18oh worse than chains dungeons or beggary
00:34:21or decrepit age
00:34:23milton
00:34:25say you're quite a butler
00:34:27tell mrs laurie i'm here
00:34:30don't stand around spotting poetry
00:34:31yes sir immediately sir
00:34:33what is it handsome
00:34:34mac darling
00:34:36well what kind of a two-bit perception is this anyway
00:34:41your butler didn't even know i was coming
00:34:43what is your uncle mac an old shoe
00:34:45i heard the taxi pull up and i
00:34:47yes yes yes well does your uncle mac get a kiss or doesn't he
00:34:49of course uncle mac
00:34:51where's that educated butler of yours
00:34:54he's right here
00:34:55well send him away i haven't seen you for two years
00:34:57and one servant's gawking in on a family reunion
00:35:00that would be all handsome
00:35:01yes ma'am
00:35:01shall we go in the living room uncle mac
00:35:03rooms don't bother me
00:35:04just so they have a door
00:35:05two steps down here
00:35:07mac what have you found
00:35:19there's a piano in here isn't there
00:35:23we have an organ
00:35:24it's over here
00:35:26lie down party
00:35:31now listen carefully to what i have to say
00:35:46mac
00:35:46who was in this house a couple of hours ago
00:35:50why
00:35:51hanson myself and the upstairs maid vera
00:35:54where does vera come from
00:35:55barbara engaged her and the butler about
00:35:58two months ago
00:35:59uh-huh you don't want to think about him
00:36:01no but i could find out
00:36:03no no
00:36:03anybody else at home now
00:36:06no barbara's at the theater rehearsing
00:36:08rehearsing
00:36:09this hour of the night
00:36:12it was an emergency rehearsal
00:36:14oh
00:36:15oh mac what is going on
00:36:19don't ask any questions now
00:36:21keep your eyes open you must not
00:36:23take orders
00:36:24have the maid vera show me up to my room
00:36:26vera's probably asleep by now
00:36:28you heard what i said about taking orders
00:36:30vera i very distinctly warned you about trying to leave this house
00:36:34please i want to go look for gabriel
00:36:36i know something has happened
00:36:44watch it
00:36:47vera remember what i said
00:36:49hanson will you please ask vera to show mr mclean to the second guest room
00:36:59excuse me madam but i'm quite sure that vera has retired
00:37:02may i show the gentleman to his room
00:37:03i want the maid
00:37:05i a button came off my shirt and i i wanted to sew it on
00:37:09well if you'll pardon me sir i'm rather good at sewing on buttons myself
00:37:12and if it comes to a pinch can even darn socks
00:37:14i'd be happy to do the job for you
00:37:16oh horse collar
00:37:17it's quite true sir really can you do a crow's foot
00:37:20the what sir
00:37:22i thought so don't even know the fundamentals
00:37:25it's a design you make when you sew a button on
00:37:28i bet you can't even hemstitch can you
00:37:31ah of course you can
00:37:33you'd better get her hanson
00:37:34of course get her
00:37:35if she's asleep wake her up
00:37:37she'll be grateful
00:37:38sleep is a form of unconsciousness anyway
00:37:40yes sir
00:37:41come in
00:37:56i'm vera the maid sir
00:38:00oh well vera
00:38:02will you turn the coverings down on my bed please
00:38:05yes sir
00:38:07what's your last name vera
00:38:09hoffman sir
00:38:11mm-hmm
00:38:12you got a husband vera
00:38:14oh
00:38:15oh
00:38:16yes sir
00:38:30come here a moment will you please
00:38:32i've got a little job i want you to do
00:38:37i want you to sew a button on that shirt
00:38:40now there's the needle and thread
00:38:46it's all threaded
00:38:47did it myself
00:38:48pretty good for a blind man don't you think
00:38:51i warn you i want my buttons just sew
00:38:54you you sew like a boilermaker
00:39:00i can do better myself
00:39:01go on get out of here
00:39:03sorry sir
00:39:03you should be
00:39:04good night sir
00:39:05good night
00:39:06well maybe now we can get a few of these pieces to fit old pal
00:39:36well mrs laurie should be asleep by now
00:39:43and the blind uncle won't be awake long
00:39:45he had to pick this night to come visiting
00:39:47it's all right i think i'll go to bed now
00:39:59you may be excused
00:40:00good night
00:40:02good night
00:40:03good night
00:40:04good night
00:40:05good night
00:40:06good night
00:40:07good night
00:40:08good night
00:40:09good night
00:40:10good night
00:40:11good night
00:40:12good night
00:40:13good night
00:40:14good night
00:40:15good night
00:40:16good night
00:40:17good night
00:40:18good night
00:40:19good night
00:40:20good night
00:40:21good night
00:40:22good night
00:40:23good night
00:40:24good night
00:40:25good night
00:40:26good night
00:40:28good night
00:40:29good night
00:40:30good night
00:40:31good night
00:40:32Well, Friday, I guess this is the green house.
00:40:56Shh, Friday, quiet, quiet.
00:41:02I'm sorry, Vera, but our job is bigger than you or Gabriel or anybody else.
00:41:32But here's my hut.
00:41:44She's dead.
00:41:45Pick her up and put her in the car.
00:41:47Come on.
00:41:49Come on.
00:41:51Come on.
00:41:54Who's there?
00:42:20It's Hanson, the butler, sir.
00:42:22Oh, Hanson.
00:42:24What are you doing up this other night?
00:42:26I thought I heard a noise, sir, and I got up to investigate.
00:42:29Oh, I heard nothing. Nothing but the crickets.
00:42:32Say, do you know you can tell the temperature of the air
00:42:35by counting the number of cricket chirps per minute?
00:42:38Oh, really, sir?
00:42:39Yes.
00:42:40Is there anything wrong, sir?
00:42:42I mean, you're being up so late.
00:42:45No, no.
00:42:46And don't worry about me moseying around at night.
00:42:48I'm somewhat of a night owl.
00:42:51Insomnia.
00:42:51Oh, I'm terribly sorry, sir.
00:42:53Perhaps if I might be so bold, sir, a sip of brandy might help you sleep.
00:42:57Now, my good friend Hanson, you're cooking with alcohol.
00:43:01What, sir?
00:43:02I mean, you're the perfect butler.
00:43:04Always considerate, watchful, and attentive.
00:43:07I'll hound my niece until she gives you a raise.
00:43:10Thank you, sir.
00:43:10Oh, and getting back to the brandy.
00:43:14One of the few things I like to get back to.
00:43:16Do you suppose you could spare a bottle and put it beside my bed
00:43:19in case I get restless later?
00:43:21Why, yes, sir.
00:43:22I think that could be arranged.
00:43:24Oh, thank you.
00:43:25I'll remember you in my will.
00:43:28Thank you, sir.
00:43:29Come on, Friday.
00:43:33What's the matter with you, Friday?
00:43:35Are you liverish or something?
00:43:37Come on.
00:43:38Friday, that nose of yours is going to get us both into trouble someday.
00:43:54I know he hit Vera.
00:43:56What do you want to do?
00:43:57Draw a blueprint for him?
00:43:58Come in.
00:44:13Your brandy, sir.
00:44:14Ah, welcome, messenger.
00:44:16Where is it?
00:44:16Where is it?
00:44:17Here, sir.
00:44:23Divine broth.
00:44:25Oh, Hortgaron, 1904, if I'm not.
00:44:28I'm not mistaken.
00:44:29Ah, monumental vintage.
00:44:35Your dog seems to have taken a dislike to me, sir.
00:44:39Oh, no.
00:44:39He's a bit crotchety.
00:44:40He hasn't been getting his exercise.
00:44:43Well, good night, Hanson.
00:44:44Good night, sir.
00:44:45I think I'll go to bed.
00:44:46Yes.
00:44:48And, Hanson, turn out the light, will you?
00:44:50Yes.
00:44:50I think I'll read a while.
00:44:54What, sir?
00:44:54Why, sure, I read with my fingers.
00:44:56That's the blind man's advantage.
00:44:58He can read in bed with the lights out,
00:45:00or even under the covers if it gets cold.
00:45:03Oh, I see, sir.
00:45:07Good night, sir.
00:45:08Good night.
00:45:18He flatters me, Friday.
00:45:20There's enough sodium amatol in this to put three men to sleep.
00:45:33Who's there?
00:45:33Shh.
00:45:34Don't be frightened, baby.
00:45:35It's your Uncle Mike.
00:45:37I want to talk to you.
00:45:37Keep your voice down.
00:45:38What have you found out?
00:45:44Turn that light out.
00:45:47What is there in this house that somebody might want?
00:45:51Nothing that I know of.
00:45:53No, I don't think you're telling me the truth.
00:45:57Now, come on.
00:45:58Tell me.
00:46:00You're forcing me to tell you some very unpleasant news.
00:46:02Oh, Mac.
00:46:04Sorry, Mac.
00:46:05What is it?
00:46:06Vera is dead.
00:46:09She was killed because she knew too much about the Durante murder and was going to talk.
00:46:13Two people have been killed.
00:46:15Their nets are linked up in some way with something that is in this house.
00:46:20Now, come on.
00:46:20Tell me.
00:46:21It's in the safe.
00:46:23In the library.
00:46:26It's the formula of Stephen's new invention.
00:46:29The one he's trying out tonight.
00:46:31If it works, he's going to turn it over to the government.
00:46:33It's so important Stephen didn't even give me the new combination.
00:46:37I'm going to get the police.
00:46:38No, that's the worst thing you can do right now.
00:46:40Well, why?
00:46:41If we call in the police now, they'll get the gang downstairs, yes.
00:46:44But there are others.
00:46:46And they're following your husband.
00:46:47Well, Mac, what are we going to do?
00:46:49There's nothing we can do but stall.
00:46:50Stall until Stephen gets home.
00:46:52Then we'll send for some help.
00:46:53Until then.
00:46:56Well, they can pull the switch any time they want to.
00:47:00Run it again, Barbara.
00:47:02With just a little more anger.
00:47:06I've been told there were selfish and greedy men like you in the show business.
00:47:10But I didn't believe it until now.
00:47:12I was only repeating what Hanson said.
00:47:15He was worried.
00:47:16It wasn't coming off as we'd planned.
00:47:18It sounds as if you'd lost your heads.
00:47:20That's up to you.
00:47:21Get back to the house.
00:47:22Tell Hans we'll meet in Vera's room in 30 minutes.
00:47:25Yes, madam.
00:47:26I'm not going to miss any opportunity to put this song over.
00:47:29That's better, but it's just a little bit ragged.
00:47:31I don't know about the rest of you, but I'm tired.
00:47:34Let's call it a night and get a fresh start in the morning.
00:47:37Oh, that's music to my ears.
00:47:39It's for me.
00:47:40Good night.
00:47:41Barbara, I wonder if you'd mind putting me up for the night.
00:47:44I'd enjoy a little luxury for a change.
00:47:46Of course, I'd love to.
00:47:48Just a minute.
00:47:48I'll get my coat.
00:47:50Thank you, darling.
00:47:52I assure you, it was absolutely necessary.
00:47:54She was becoming hysterical.
00:47:55I'm afraid I don't agree.
00:47:57You could have kept Vera in her room, guarded her.
00:47:59Impulsive killing makes more danger than it cures.
00:48:02What about Gerenti?
00:48:03That was different.
00:48:04He became emotional about his job.
00:48:06He fell in love.
00:48:07If we hadn't acted, everything we'd accomplished for Vera,
00:48:11our connection with the lorry home to the girl,
00:48:14every one of our legitimate fronts would have been destroyed.
00:48:17We disposed of Gerenti out of necessity.
00:48:19And so did we with Vera.
00:48:21She was left on the highway several miles away.
00:48:23It will look like a hit-and-run accident.
00:48:25Brilliant.
00:48:29Gabriel invents a technique, and you use it to kill his wife.
00:48:32Have you thought what a danger he'll be when he finds out?
00:48:38Excuse me, madame.
00:48:40But I was in charge at the house here.
00:48:42It was my responsibility.
00:48:43Things weren't going as planned.
00:48:44Mrs. Lowry returned.
00:48:46Vera got out of hand.
00:48:48The blind man arrived and...
00:48:49Why, yes, the blind man.
00:48:50You checked on him.
00:48:52What harm can there possibly be in a blind man?
00:48:54Absolutely harmless.
00:48:55I gave him a sleeping potion and...
00:48:56Victor, call New York.
00:48:57Have them check on this man.
00:48:59What's his name?
00:48:59Why do that?
00:49:00What's his name, Hanson?
00:49:02McLean.
00:49:04Duncan McLean.
00:49:05Check every Duncan McLean in the telephone book.
00:49:07Yes, madame.
00:49:11You seem to have forgotten fundamentals, captain.
00:49:13I must remind you, madame, that my record entitles me to respect.
00:49:16And I must remind you that I am in command.
00:49:19And you'll do as I say.
00:49:22That's your command, madame.
00:49:32Get the detector.
00:49:57Stand watch in the hall.
00:49:58Oh.
00:49:59Oh,いい.
00:50:15Oh, yeah.
00:50:16That's what we forget.
00:50:27Oh, yeah.
00:50:27Nineteen left, as near as I can make out.
00:50:55What?
00:50:57Nineteen left.
00:50:59Hurry.
00:51:00Yes, ma'am.
00:51:09Wait.
00:51:15Now.
00:51:23Hurry.
00:51:29The experiment is a success.
00:51:33Well?
00:51:35He's leaving immediately.
00:51:36He should be here in half an hour.
00:51:37Hurry.
00:51:38By tomorrow, this place will be swarming with government guards.
00:51:48Come on, Mr. McLean.
00:52:00Why Mr. McLean, sir?
00:52:15Oh, Hanson, my good friend.
00:52:17Come over here and listen to my pint.
00:52:19It's terribly late, sir.
00:52:20Oh, Hanson, is it ever too late for good music?
00:52:24The whole world is aflame and you asked me to deprive it of good music.
00:52:29Oh, no.
00:52:30Hanson.
00:52:31Here.
00:52:32Here, sir.
00:52:33Sit down here.
00:52:34Now, you're a man of culture, my dear friend.
00:52:37Perhaps you have some favorite selection.
00:52:40You just name it and I'll play it.
00:52:42My repertoire is very extensive.
00:52:45Don't you think you'd better go to bed, sir?
00:52:47Oh, Hanson, you're an old stick in the mud.
00:52:50Hanson.
00:52:51Yes, miss.
00:52:52What's going on here?
00:52:54Watch it to you.
00:53:03Who is this man?
00:53:04It's Mrs. Laurie's uncle, miss.
00:53:06Uncle?
00:53:07Well, I've never heard of any uncle.
00:53:09Oh?
00:53:10Well, who are you, pray?
00:53:12Why, he's drunk.
00:53:14From the tone of your voice, I take it that you are my niece's step before.
00:53:19Uncle?
00:53:20Uncle?
00:53:21Oh, my dove.
00:53:23Welcome.
00:53:24Well, this promises to be a galler occasion.
00:53:28What's this man doing in this house?
00:53:30I never knew you had an uncle.
00:53:32Oh, there are a lot of things that you don't know, my little girl.
00:53:35And the first thing that you should learn is to respect your elders.
00:53:39Otherwise, somebody's liable to paddle your canoe.
00:53:41But he's blind.
00:53:43Oh, clever girl to see that I don't see.
00:53:46Why wasn't I told that he was coming?
00:53:49I didn't know myself.
00:53:50Well, get him to bed.
00:53:51Oh, I think I understand.
00:53:54With a relative in the house, it would be bad taste to carry on a family quarrel.
00:53:58Oh, Barbara.
00:53:59Well, it won't work, Norma.
00:54:01A drunken uncle.
00:54:03Who's drunk?
00:54:04Where's the chalk line?
00:54:05Show me the chalk line, that's all.
00:54:06Now, don't hold on to me.
00:54:07Let me go.
00:54:08Now, there's the chalk line, you see?
00:54:09There you see.
00:54:10Hanson, where are you?
00:54:11Here, sir.
00:54:12Oh, Hanson, what have you been doing?
00:54:13Hanson, you've been at the grave.
00:54:17You want to be ashamed of yourself, Hanson...
00:54:27Hanson, where are you?
00:54:33Here, sir.
00:54:35Oh, Hanson, what have you been doing?
00:54:39Hanson, you've been at the grave.
00:54:42You ought to be ashamed of yourself, Hanson.
00:54:45Staggering all over the place and falling in everybody's lap.
00:54:49Yes, sir.
00:54:51Perhaps, madam, if I got some coffee, it might sober him up.
00:54:54Sober yourself up, you rumpat!
00:54:56Yes, sir.
00:54:58Mmm, coffee.
00:55:01That's a dazzling idea.
00:55:04We'll get some coffee and sandwiches and we'll gather around and we'll have a sunrise concert.
00:55:10What do you say, Friday, my friend?
00:55:15No, how about you?
00:55:16Barbara must get some sleep. She's worked very hard tonight.
00:55:21Oh, who are you?
00:55:22This is Charlie Scott, Uncle Mac, a playwright.
00:55:25A playwright?
00:55:26Oh, you're just the person I want to see.
00:55:32Kimmy, I want to talk to you.
00:55:34I got the greatest idea for a play.
00:55:36No, I'm a liar.
00:55:40I got three great ideas for a play.
00:55:42Oh, tremendous.
00:55:44Let me tell you about them.
00:55:46We'll take more than an hour.
00:55:47Not an hour, Mr. McClain.
00:55:49Some other time.
00:55:50Oh?
00:55:52Anytime, you say.
00:55:53It's all right with me.
00:55:54Well, how about an encore?
00:55:58What?
00:55:59Oh, good.
00:56:08Now, this is the quintet from Martha.
00:56:11Oh, gorgeous, Mrs.
00:56:19Don't you like it, Norma?
00:56:21Well, I'm going to bed.
00:56:22And I want it quiet.
00:56:26Come along, Uncle Mac.
00:56:27Let's get to bed now.
00:56:28Hmm?
00:56:28Is there anything I can do, Mrs. Lorry?
00:56:33You don't care for my music.
00:56:35Of course I do, dear, but not now.
00:56:37Well, go away for me.
00:56:38Don't bother me.
00:56:39I'm going to play you until the sunrise.
00:56:40Oh, no, you're not, Uncle Mac.
00:56:42Come on, now.
00:56:44You insist?
00:56:45I insist.
00:56:48Bourgeois dullards.
00:56:49Here's your cane.
00:56:51Righty.
00:56:52Go along upstairs now, and I'll get some aspirin for you.
00:56:55But with brandy.
00:56:57Aspirin and brandy.
00:56:58Never mind that.
00:56:59Now, Hanson.
00:56:59Watch the steps.
00:57:00Two up.
00:57:14If you drank enough brandy to make it that drunk,
00:57:17what happened to the sleeping potion?
00:57:19Madame, I'm quite sure.
00:57:20Cut the telephone wires.
00:57:22Hurry.
00:57:22Yes, madame.
00:57:26I had to get you away to tell you that Stephen phoned.
00:57:29He's coming home.
00:57:30Good.
00:57:31Well, now we can send for the police.
00:57:38It's dead.
00:57:39Obviously.
00:57:40Now, sit tight and don't say a word.
00:57:42I've got an idea.
00:57:43It's a hundred to one shot.
00:57:44And don't pay any attention to what I say.
00:57:46Come on, Friday.
00:57:47Outside.
00:57:51All right, if that's the way you feel about it.
00:57:54You think I'm drunk, huh?
00:57:55Well, I'm not.
00:57:56I'll guarantee you that.
00:57:57I just feel a little exonerated, that's all.
00:57:59I've got a little job for you to do.
00:58:18It all depends on you now, Friday.
00:58:46Get behind the bed.
00:59:00Oh, I didn't hear you knock.
00:59:01Your drunken act didn't fool me or anybody else, McLean.
00:59:04You won't interfere again tonight.
00:59:07Keep an eye on him, Boyd.
00:59:09If he gets playful, you know what to do.
00:59:10Right.
00:59:11Rather a hectic night, eh, Boyd?
00:59:18Do you mind if I play a little solitaire?
00:59:21Solitaire?
00:59:22Yeah.
00:59:23No, I don't mind.
00:59:28You like cards, Boyd?
00:59:30Want Snowell?
00:59:34What's so funny?
00:59:35I was just thinking.
00:59:36Never play poker with a blind man.
00:59:38Not with his cards, anyway.
00:59:40Why not?
00:59:41His cards are marked.
00:59:43Really?
00:59:44Oh, sure.
00:59:45They're marked in Braille.
00:59:47So he can read his cards.
00:59:49Of course, the hitch comes when the blind man is dealing.
00:59:51He knows what the other person has.
00:59:53Well, that's very interesting.
00:59:57Come here, I'll show you.
01:00:04I'll call the cards as I deal them out.
01:00:10Now, there's the Jack of Diamonds.
01:00:13There's the Eight of Clubs.
01:00:15There's the Four of Hearts.
01:00:17There's the Deuce of Spades.
01:00:19And the Eight of Spades.
01:00:22That right?
01:00:24That's wonderful.
01:00:26Now, come here. I want to show you a trick.
01:00:27Now, I'm going to deal out three piles of cards.
01:00:44There.
01:00:45I want you to look at the top card on the end pile.
01:00:48You got it?
01:00:51Yes, I got it.
01:00:52I remember them now.
01:00:54Now, put your hands flat on the cards.
01:00:58Go ahead.
01:01:00This is really a great trick.
01:01:03Now, let's see.
01:01:05Now, the trick is this.
01:01:06Friday, come here. Up on the window.
01:01:19Home.
01:01:21I want you to hit Marty.
01:01:22Do you hear me?
01:01:23Go on home.
01:01:27You're on your own now, boy.
01:01:28Go on.
01:01:29Out.
01:01:36Out.
01:02:01You made very good time, thereby earning yourself an extra couple of bucks.
01:02:04You must have had some good luck tonight.
01:02:06The best.
01:02:07Now, if you'd play a little tune in that horn, you can make another dollar.
01:02:11You'll wake up the whole joint.
01:02:12That's the idea. Go ahead.
01:02:18You're very talented.
01:02:19Good night.
01:02:27Stephen, darling.
01:02:30Stephen, listen. Hello, Father.
01:02:32Hello, Jake.
01:02:33Stephen, listen to me.
01:02:34Darling.
01:02:35You're trembling.
01:02:36I can tell you why she's trembling, Father.
01:02:38Stephen.
01:02:39You must get away from here at once.
01:02:40You're giving a bad performance, Norma.
01:02:42Oh, Barbara, your father's really in danger.
01:02:44We're all in danger.
01:02:45We must get out of this house right away.
01:02:48Norma, what's happened?
01:02:49Excuse me.
01:02:53Will you please step into the library, Mr. Lorre?
01:02:55Not just now, Hanson.
01:02:57What the devil's going on here?
01:02:59It will all be explained in the library.
01:03:02Will somebody please tell me...
01:03:03Mr. Lorre!
01:03:05No trouble, please.
01:03:06No trouble, please.
01:03:07Is this some sort of a joke, Chaley?
01:03:10Stop gaping and do as you're told.
01:03:14Do as they say, Stephen.
01:03:15I presume you know what we're after, Mr. Lorre.
01:03:27I have a pretty good idea.
01:03:30Dad!
01:03:40I caught the blind man trying to get away.
01:03:41Where's Boyd?
01:03:43He's...
01:03:44He's upstairs trying to figure out the card trick I showed you.
01:03:46See what happened.
01:03:47Quickly.
01:03:49Norma, who is this man?
01:03:51Oh, you must be Stephen Lorre.
01:03:53Well, I'm your wife's long-lost uncle.
01:03:55Dr. McLean, call me Uncle Mac.
01:03:57But don't be dismayed.
01:03:58I'm one of those relatives.
01:03:59Don't stay more than a month.
01:04:00We've had enough of this nonsense.
01:04:03What do you mean nonsense?
01:04:04I don't like your tone, Miss Scott.
01:04:06I have a perfect right to shake hands with my nephew.
01:04:08What's the matter with me anyway?
01:04:09Am I a leper or something?
01:04:10Sit down and keep quiet, McLean.
01:04:16Boyd!
01:04:17How'd you like that card trick I showed you?
01:04:19Fouled you, didn't I, Boyd?
01:04:20Bush, stand watch outside.
01:04:22Yes, ma'am.
01:04:23Mr. Lorre, I want the combination of that safe.
01:04:34Well?
01:04:37I'll have to look for it.
01:04:38I changed it just before I left.
01:04:41Let me see.
01:04:58414 right.
01:05:00324 left.
01:05:02No.
01:05:03Well, that was the old one.
01:05:11I was hoping you'd be reasonable, Mr. Lorre.
01:05:20I hate to ruin that nice safe.
01:05:22And leave a lot of messy evidence around.
01:05:24I can't remember, I tell you.
01:05:25I've forgotten it.
01:05:26That's quite conceivable, Miss Scott, the man forgetting.
01:05:28Start in.
01:05:41Take a look at this.
01:05:55This is it.
01:05:58You're...
01:05:59You're sure, Victor?
01:06:01Quite sure, madame.
01:06:04Check it thoroughly.
01:06:05We've got to be positive.
01:06:06Yes, madame.
01:06:11We've got to be positive.
01:06:12I don't know.
01:06:13That's right.
01:06:14Would you have to wait for me?
01:06:15You're only a bit more.
01:06:16I promise.
01:06:17I'll be happy for you.
01:06:18I'm here.
01:06:19I'll be happy for you.
01:06:20Get back to the window.
01:06:21I will be happy for you.
01:06:22You'll be happy for you.
01:06:23You're happy for your work.
01:06:24I'll be happy for you.
01:06:25Go to see you, Miss Scott.
01:06:26Go.
01:06:27Go home and leave your tasks,
01:06:28if you're happy for me.
01:06:31for me, Miss Scott.
01:06:32I don't know.
01:07:02Let's go.
01:07:32What's the matter?
01:07:42The final step is missing.
01:07:44We'll be weeks working it out.
01:07:46And even then, we might be wrong.
01:07:49We're not going to finish it.
01:07:52Mr. Lorry has it in his head, and he's going to write it out for us.
01:07:55I have no intention of writing it down, Miss Scott.
01:07:58Now you're being heroic, Mr. Lorry.
01:08:00I intend to get that formula.
01:08:03The lengths to which I will go depend entirely on your will to resist.
01:08:06Do you understand?
01:08:07You're wasting your breath.
01:08:09I'd really rather not be violent.
01:08:14All right, Hanson.
01:08:15Just a moment, Miss Scott.
01:08:21There's no need for all this, and you know it.
01:08:24Once you get a hold of the complete formula, you won't let us live ten minutes.
01:08:27You have no intention of allowing witnesses to stop your activities.
01:08:30Take him out.
01:08:31You're mighty smug, Miss Scott.
01:08:33But you made one mistake in this well-oiled scheme of yours.
01:08:38Yes?
01:08:38Yes.
01:08:39You slipped up on the killing of Paul Giretti.
01:08:42It may even surprise you to know that I have positive proof that you ordered him to be killed.
01:08:55What positive proof do you have?
01:08:57A man by the name of Gabriel.
01:09:03Go on.
01:09:04He's now being held in New York.
01:09:06Just before you cut the phone wires, I got word to him that his wife was murdered.
01:09:10And who did it?
01:09:11Gabriel is out for revenge.
01:09:16If I'm not home in time for breakfast, the police will be notified, and Gabriel will start talking.
01:09:23What's your proposition?
01:09:24Life is sweet, Miss Scott.
01:09:26Even to a blind man.
01:09:28If you let us go, I'll try and persuade Mr. Lorry to turn over the balance of the formula to you.
01:09:33But mind you, we must have positive proof that you will let us go unharmed.
01:09:41Let us go.
01:09:45Boyd, take Mr. McLean to the basement.
01:09:49Go ahead.
01:09:50Don't be afraid.
01:09:51Come on.
01:09:52There's no use of wasting your energies.
01:09:54You can't influence me.
01:09:57Hanson.
01:09:58Yes, sir?
01:10:00Watch these people.
01:10:05Gabriel will see him.
01:10:07What?
01:10:07You don't suppose he knows, do you?
01:10:09Let me do the talking.
01:10:11Yes, madame.
01:10:15Only Gabriel.
01:10:16Yes, madame.
01:10:20Only Gabriel.
01:10:21The rest of you stand, watch.
01:10:24I've been through the mill.
01:10:25A blind man and another guy caught me in Giretti's apartment.
01:10:31Where's Vera?
01:10:32She isn't here, Gabriel.
01:10:34She went looking for you.
01:10:35She did, but she didn't know where I was.
01:10:37Yes, I tried to tell her that, but you know, Vera, she can be very stubborn.
01:10:41We tried to stop her, but she walked to the station.
01:10:45If it's all right, I think I'd better go look for her.
01:10:47Yes, as soon as we're finished.
01:10:48But I'm kind of worried.
01:10:49Vera's all right.
01:10:52We need you here.
01:10:55Well, all right.
01:10:57Stand watch outside.
01:10:59Yes, madame.
01:11:00The key, please.
01:11:07You handled it admirably, madame.
01:11:09Thank you, captain.
01:11:11If the blind man should get a chance to talk to Gabriel, it might be unpleasant.
01:11:15Yes, madame, it might.
01:11:46You haven't got a chance, blind man.
01:12:16That's a .38 caliber belly gun you got there, Hanson.
01:12:31It's a six-shooter.
01:12:32And you fired your last shot.
01:12:35Where are you?
01:12:37In the dark, Hanson.
01:12:38In the dark.
01:12:39In my kingdom.
01:12:46In the dark.
01:12:47Maybe.
01:12:48In the dark.
01:12:49In the dark.
01:12:50Come here.
01:12:51Let's go.
01:12:52Let's go.
01:12:53Oh, honey.
01:12:55Let's go.
01:12:56Ah.
01:12:57Ah.
01:12:58Ah.
01:12:59Oh.
01:13:00Oh.
01:13:01Oh.
01:13:02Oh.
01:13:03Oh.
01:13:04Oh.
01:13:05Oh.
01:13:06Oh.
01:13:11Oh.
01:13:12Oh.
01:13:13Oh.
01:13:14Oh, you.
01:13:15Oh.
01:13:16I don't know.
01:13:46I don't know.
01:14:16I don't know.
01:14:46I'm afraid I've made a mistake.
01:14:52You're a brave man and I'm convinced I'll get nothing from you.
01:14:58So you leave me no choice.
01:15:03They have nothing to do with this.
01:15:04You'd better take a good look at your wife as she looks now.
01:15:16Wait.
01:15:17I'll give it to you.
01:15:21Don't give in to them, Stephen.
01:15:29Let them do anything they like.
01:15:30Keep a tight grip on that dog.
01:15:36If he gets away, they tip them off.
01:15:39We grab those guards off quietly so we can get inside and surprise the others.
01:15:43We don't want any innocent people getting hurt.
01:15:44You understand?
01:15:45Now take the east side.
01:15:46What do you want me to do?
01:15:47You better stay here so you won't get hurt.
01:15:49What do you mean?
01:15:50I can take care of myself.
01:15:51I can take care of myself.
01:15:51I can take care of myself.
01:15:51I can take care of myself.
01:16:21Madam, I saw the dog outside. Is the blind man loose?
01:16:24No, Hanson took him to the basement.
01:16:26Get Hanson. I want him up here.
01:16:28Yes, ma'am.
01:16:51The police.
01:17:21Mac, it's you.
01:17:44This is getting kind of monotonous.
01:17:47Get the car, Marty. These people are going to the airport.
01:17:51They're going to Washington.
01:17:52Right. The colonel's jeep coming up.
01:17:56You sure you won't come along, Barbara?
01:17:58Uh-uh.
01:17:59Aren't you going, Barbara?
01:18:00No, Uncle Mac.
01:18:02A new man is coming to my life.
01:18:04And I'm going to stay here in New York to see what it is about him that intrigues me so.
01:18:08Oh, what's he like?
01:18:10Oh, he's big and strong.
01:18:12And he's the kind of a man that tells women what to do and makes them like it.
01:18:15In fact, he told me that if I didn't behave, he'd paddle my canoe.
01:18:19And he'll do it.
01:18:22Well, now you're being selective.
01:18:24Come on. Let's get these elderly people down to the airport.
01:18:28Here we go.
01:18:29After that, we'll do the town.
01:18:35Oh, not tonight, old boy.
01:18:39You're on your own tonight, fellas.
01:18:41Just so one of you stay home and watch the place.
01:18:43Yes, sir.
01:18:55Well, I don't know about you, dog, but me, personally, I'm off to the Harlem Squashin' Tennis Club to meet my dream gal.
01:19:03You know, what am I telling you this for?
01:19:06Why, that's romance.
01:19:07You wouldn't know nothing about that.
01:19:09Well, I'm off.
01:19:10You stay here and watch the house.
01:19:19Why, you wolf.
01:19:21Why, you wolf.
01:19:36Why, you wolf.
01:19:36You're welcome.
01:19:38Why, you wolf.
01:19:40Why, you wolf.
01:19:40You hope you, wolf.
01:19:41You don't know nothing about that.
01:19:42Well, I'm off to the house.
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