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00:00:00The End
00:00:30The End
00:01:00The End
00:01:29The End
00:02:29The End
00:02:59The End
00:03:29The End
00:03:59The End
00:04:04He has come home
00:04:07Who brought it, Father?
00:04:10Nobody
00:04:10There was nobody there
00:04:13Only
00:04:15The Dead Man
00:04:17Who is he?
00:04:32Did he ring the bell to say the gauntlet had come home?
00:04:35He was dead as it rang.
00:04:37Nobody was up there.
00:04:39Los Angeles, California, and American.
00:04:46So there it was.
00:04:50The miracle of the gauntlet that had come home with no one to bring it.
00:04:54Of the bell that rang with no man alive to pull the rope.
00:04:57And of course, the mystery of the dead man.
00:05:00And that was the end of the story.
00:05:03But this story had really begun many years earlier.
00:05:08August, 1944.
00:05:10The alive liberation of the south of France.
00:05:16One survivor reached the ground behind the German lines.
00:05:34Hold it.
00:05:56Hold it.
00:05:56Come here.
00:05:59Come closer.
00:06:08Come closer.
00:06:08Come closer.
00:06:09General.
00:06:17What's that?
00:06:19Those are my sketches.
00:06:21You see, I'm a newspaper correspondent.
00:06:23I draw with the papers.
00:06:25Battle scenes, impressions.
00:06:27My name's Paul Rohner.
00:06:29I see yours is Blake.
00:06:31Lieutenant Blake.
00:06:33How come a German speaks his good English?
00:06:35Who said I was German?
00:06:37No, what are you?
00:06:39I've changed passports so often, I've lost touch.
00:06:41I was educated in England.
00:06:43My mother was a Czech, my father was a Pole.
00:06:45In those days, the Poles were Russians,
00:06:47the Czechs were Austrians.
00:06:49So you work it out.
00:06:51The Americans are wasting an awful lot of ammunition.
00:06:53You'll need every shot you can get
00:06:55on the German 19th Army counter-attacks at dawn.
00:06:57They're going to be pushed into the sea.
00:06:59Oh, yeah?
00:07:01Okay, you tell that to until the end of the day.
00:07:03You're going to be pushed into the sea.
00:07:05Okay, you tell that to intelligence.
00:07:07He won't let's go.
00:07:09Come on, he said let's go.
00:07:11Determined, aren't you?
00:07:13You mind if I take this?
00:07:15Open it.
00:07:17I told you I sketched.
00:07:31Now, wait a minute.
00:07:33What else you got in there?
00:07:35It's a green glove.
00:07:37Something very valuable.
00:07:39Listen, Blake.
00:07:41If you let me go, it's yours.
00:07:43It's worth enough to make you rich for the rest of your life.
00:07:45Look at those gems.
00:07:47I told you I sketched.
00:07:49That's merely a sideline.
00:07:51In peacetime, I'm an art dealer.
00:07:53Antiques.
00:07:55I have a shop in London, Paris, even New York.
00:07:57You've probably heard of it.
00:07:59Rona's?
00:08:00Close to Tiffany's.
00:08:01Never been there.
00:08:02Blake.
00:08:03Blake, this glove's worth of a fortune
00:08:05if the one collector would be there.
00:08:06Come on, let's go.
00:08:07Come on, let's go.
00:08:37Don't shoot.
00:08:38We're friends.
00:08:39We've been looking for you.
00:08:40Ever since we saw you drop from that plane.
00:08:42Don't worry.
00:08:43The underground has helped many others before you.
00:08:46There's a German here.
00:08:47Where is he?
00:08:48Nobody here, Monsieur.
00:08:49I guess the shell must have got him.
00:08:52Hurry, please.
00:08:53Hurry.
00:08:54Wait a minute.
00:08:55The Germans are counter-attacking 19th Army.
00:08:56I've got to get a message through.
00:08:58The messenger will leave at once.
00:08:59No, no.
00:09:00No, no.
00:09:01No, no.
00:09:02No, no.
00:09:03No, no.
00:09:04No, no.
00:09:05No, no.
00:09:06I'll get it once.
00:09:07You promise?
00:09:08I promise.
00:09:09Of course.
00:09:10Let others worry now.
00:09:12OK, help him.
00:09:36Champagne, madame.
00:09:37Oh, thank you.
00:09:38Monsieur.
00:09:39You, my dear.
00:09:40No.
00:09:41First, we drink to Robert.
00:09:43Now, I know you're as happy as we are.
00:09:46To Robert.
00:09:47The American, madame.
00:09:50Oh, it is bad to leave your bed, monsieur.
00:09:53You send the message like you promised.
00:09:55Oh, my dear.
00:09:56Oh, my dear.
00:09:57Oh, my dear.
00:09:58Oh, my dear.
00:09:59Oh, my dear.
00:10:00Oh, my dear.
00:10:01Oh, my dear.
00:10:02Oh, my dear.
00:10:03Oh, my dear.
00:10:04He does not know.
00:10:06The attack will not come.
00:10:08What do you mean it won't come?
00:10:09It's coming right now.
00:10:10No, no.
00:10:11Not now or ever.
00:10:12The Germans are retreating.
00:10:13That's why we drink.
00:10:14Those are American guns.
00:10:16Pierre, champagne for the monsieur.
00:10:18We drink.
00:10:19Yes, we drink to you.
00:10:21Our first American since the war came.
00:10:23And we drink to the English.
00:10:25And to the French.
00:10:27And to Robert.
00:10:30My husband.
00:10:33Listen to the music.
00:10:35Robert's favorite tune.
00:10:38It is sad but gay, too.
00:10:41We would play it together, he and I.
00:10:44It was before the war.
00:10:46It is catchy, is it not?
00:10:48You remember, doctor, this tune which Robert loved so well.
00:10:52What...
00:10:53What is it?
00:10:55No.
00:10:56We found him.
00:10:57He had met a German patrol.
00:10:58He was supposed to be in bed.
00:10:59He could still speak when we found him.
00:11:00He said he promised an American that the message would go through the lines.
00:11:02He's dead.
00:11:03He thought he was doing something for his country.
00:11:04He died for nothing.
00:11:05That man swore the Germans would attack.
00:11:07That man swore the Germans would attack.
00:11:10He promised an American that the message would go through the lines.
00:11:15He's dead.
00:11:28Thought he was doing something for his country.
00:11:30He died for nothing.
00:11:32That man swore the Germans would attack.
00:11:35Don't you see, I...
00:11:37We're just going to help, monsieur.
00:11:40Yeah, I know.
00:11:49Are you ready, monsieur?
00:11:55Countess.
00:11:57Countess.
00:12:01Countess.
00:12:03She has not spoken since.
00:12:05Her reason is quite gone.
00:12:06Oh, it's gone.
00:12:07Who are you?
00:12:08You're forgetting your bag, monsieur.
00:12:10You found it?
00:12:11Yes, in the ruins.
00:12:12Oh, the road is hard.
00:12:13It'll be better to carry nothing.
00:12:15Then I'll keep it for you.
00:12:16Someday you can come back for it after the war.
00:12:18Yes, Pierre, you keep it.
00:12:20Thanks.
00:12:21Thanks.
00:12:22That was the end of the beginning.
00:12:34They took to the woods.
00:12:36And the story stopped dead for several years.
00:12:39It started again one fine August morning in Paris.
00:12:49The years had been tough for Michael Blake.
00:12:52Everything had gone wrong.
00:12:53So Michael came back.
00:12:55For somewhere in the south of France he knew of a glove which was worth a fortune.
00:13:08But someone had been waiting for Michael Blake's return.
00:13:12The platform on which we're now standing is 188 feet above the ground.
00:13:17The total height of the structure is 975 feet.
00:13:21And now if you'll continue with me to the northeast parapet over there,
00:13:25you'll be able to get a good look at the seine and all the bridges below us.
00:13:27This way.
00:13:53Look over your shoulder and tell me what the little man in the gray suit is doing.
00:13:56Please.
00:13:57Are you coming this way?
00:14:02Yes.
00:14:03Yes.
00:14:04Now look, I'm going to catch that elevator.
00:14:06He tries to follow me.
00:14:07Stop him.
00:14:08Ask him the time.
00:14:09Anything to delay him.
00:14:10Who are you?
00:14:11Thanks.
00:14:18Oh, please.
00:14:19Please.
00:14:20Can you tell me the time?
00:14:21Oh, it's ten minutes to twelve.
00:14:23Oh, sorry I made you miss your elevator.
00:14:25There.
00:14:26But you can walk down.
00:14:34Excuse me, please.
00:14:35I'm very sorry.
00:14:36By now, of course, you've all seen the River Seine, which flows through Paris.
00:14:40If you look to your left, you'll find the famous monument, the Arc de Triomphe.
00:14:43The trouble with you is, Jimmy, you don't drink enough. I ought to take liquor seriously or not take it at all.
00:14:52I want another night, Captain.
00:14:53You had four already.
00:14:54I'm getting a taste for it.
00:14:55Bring another Scotch, Smitty.
00:14:56Anything you say?
00:14:57Oh, Jimmy.
00:14:58Oh, Jimmy.
00:14:59Oh, Jimmy.
00:15:00Oh, Jimmy.
00:15:01Oh, I want another night, Captain.
00:15:02You had four already.
00:15:03I'm getting a taste for it.
00:15:04Drink another Scotch, Smitty.
00:15:05Anything you say?
00:15:06Oh, Jimmy.
00:15:07Oh, bourbon and water.
00:15:08Bourbon and water.
00:15:09Chuck.
00:15:10My old buddy, Chuck.
00:15:12Mike.
00:15:13That's right, Mike.
00:15:14You've heard me talk of Mike.
00:15:15Ohio State together.
00:15:16Mike, this is Chris.
00:15:17Chris Kennedy.
00:15:18Did me a big favor today.
00:15:19You know he's at a, huh?
00:15:20Uh, bourbon and water.
00:15:21Uh, bourbon and water.
00:15:22That's what I've got, Smitty.
00:15:23Anything you say?
00:15:24Oh, Jimmy.
00:15:25Oh, bourbon and water.
00:15:26Bourbon and water.
00:15:27Chuck.
00:15:28My old buddy, Chuck.
00:15:29Mike.
00:15:30That's right, Mike.
00:15:31You've heard me talk of Mike.
00:15:32Ohio State together.
00:15:33Mike, this is Chris.
00:15:34Chris Kennedy.
00:15:35Chris Kennedy did me a big favor today.
00:15:37Did you?
00:15:38Oh, you know each other, huh?
00:15:40Uh, bourbon and water, that's, uh,
00:15:41$3.50.
00:15:42Uh, Mike.
00:15:43You didn't finish your drink.
00:15:55Nice music, isn't it?
00:16:00How about a dance?
00:16:01I'd love to.
00:16:03Take it easy.
00:16:05Hello.
00:16:07Hello.
00:16:09Why were you in such a hurry to go away?
00:16:12Oh, you'd probably ask a lot of questions I wouldn't want to answer.
00:16:14You're so right.
00:16:15What was it all about this morning?
00:16:16Why was that man following you?
00:16:17I don't know.
00:16:18What are you doing tomorrow?
00:16:19Hmm?
00:16:20I'm showing tourists the site of Paris?
00:16:21Oh, I'm a stranger in town, how about giving me a guided tour?
00:16:23How about giving me a tour of a wedding?
00:16:24Why were you in such a hurry to go away?
00:16:29Oh, you'd probably ask a lot of questions I wouldn't want to answer.
00:16:33You're so right.
00:16:34What was it all about this morning?
00:16:36Why was that man following you?
00:16:38I don't know.
00:16:41What are you doing tomorrow?
00:16:43I'm showing tourists, sights of Paris.
00:16:46Oh, I'm a stranger in town.
00:16:47How about giving me a guided tour?
00:16:49Official or unofficial?
00:16:51Unofficial.
00:16:52Well, first, you're going to tell me a little more about the man who is following you.
00:16:57Nothing more to tell you.
00:16:59You know something?
00:17:01I don't believe you.
00:17:03All right, look, I haven't robbed a bank, I haven't killed anybody, and I'm not an international spy.
00:17:07You believe that?
00:17:09I'll try.
00:17:13You don't do.
00:17:16Now it's got me into more trouble.
00:17:17He went home while he still knew where.
00:17:33That isn't the new where.
00:17:35He said for his friend, Mike, to look after you, Chris.
00:17:39Oh, thanks, Millie.
00:17:40Thanks.
00:17:48Fresh air.
00:17:53When we grow old, I'll get you a guitar player who'll play for us all the time.
00:17:58We?
00:17:59Mm-hmm.
00:17:59Is that a firm offer?
00:18:00Hey, you know, I always make these rash promises about two in the morning.
00:18:04Never in front of witnesses, though.
00:18:06Mm-hmm.
00:18:08Did anyone ever tell you you weren't bad looking?
00:18:12Why aren't you married in them for?
00:18:14Why aren't you?
00:18:16Mm-hmm.
00:18:17Just one of those things?
00:18:18That's great.
00:18:20Maybe I can see you every night for a week.
00:18:22Maybe, hmm?
00:18:23Maybe.
00:18:23Mm-hmm.
00:18:25Of course, you're going to have to come to Monte Carlo.
00:18:27You're going to Monte Carlo?
00:18:29Yeah, six o'clock train tomorrow night.
00:18:31Well, I think it's very rude of you to toy with my affections like that and then leave me at night.
00:18:34Oh, come with me.
00:18:36There's your nightclub.
00:18:37That's how I met your friend, Jimmy.
00:18:39I was in buying a ticket.
00:18:40What do you mean?
00:18:41You went to Ohio State together.
00:18:43I didn't go to college.
00:18:46Well.
00:18:48That's right.
00:18:49Kind of looks like we spent the night together under false pretext.
00:18:56Thanks for saving my life.
00:19:04Mm-mm, nothing.
00:19:06Only nothing at all.
00:19:07Let's go.
00:19:08Here we go.
00:19:10Here we go.
00:19:12This port of the river.
00:19:14Yes, yes.
00:19:16Here we go.
00:19:22Here we go.
00:19:25Here we go.
00:19:26Here we go.
00:19:32Mr. Michael Blake, this porter from your hotel said you might come here.
00:19:37Well, what about it?
00:19:38Will you please return with us to your hotel?
00:19:41Why?
00:19:42I'm Inspector Faubé of the Paris Police Department.
00:19:45I desire information regarding the man who lies dead in your room.
00:19:50Please.
00:19:53Do you know this man?
00:20:14Yeah, I've seen him before.
00:20:17Some from the middle of the Eiffel Tower.
00:20:19Why do you recall having seen him?
00:20:21For the life of me, I can't remember.
00:20:24For the life of you, perhaps you had better remember.
00:20:28And what is Mademoiselle's knowledge of this matter?
00:20:31Have you seen this dead person before?
00:20:34Once.
00:20:36Also on the Eiffel Tower.
00:20:38Yes, that's where I saw him.
00:20:40I don't remember why I noticed him either.
00:20:43That is definite, Mademoiselle?
00:20:44Yes.
00:20:45You know that to lie on behalf of a criminal is to render yourself an accessory.
00:20:48Look, don't call me a criminal.
00:20:50And why should she lie?
00:20:51Perhaps your hearing's faulty.
00:20:52I didn't say she lied.
00:20:53So neither of you can recall why you noticed this man.
00:20:56It was chance.
00:20:57Or a psychic urge which drew the three of you together.
00:20:59The doctor says he's been dead from two to six hours.
00:21:00May I ask you where you were during that time?
00:21:01A little cabaret down the street.
00:21:02I don't know.
00:21:03It was a place called The Sleeping Cat or something.
00:21:04Before that?
00:21:05I was here.
00:21:06It is well you spoke the truth.
00:21:07There are witnesses to prove that.
00:21:08What are you doing in France, monsieur?
00:21:09Spending my money.
00:21:10You got any objection?
00:21:11None, if that is the reason for your visit.
00:21:12Look, all right.
00:21:13I came here.
00:21:14I came here.
00:21:15I came here.
00:21:16I came here.
00:21:17I came here.
00:21:18I came here.
00:21:19I left his body in my bedroom for the maid to find.
00:21:20Go on, arrest me.
00:21:21I cannot arrest you without further proof.
00:21:22But you will be transferred to another room whenever my men will be on hand.
00:21:23We'll call it protective custody.
00:21:26Yes, well, that's great.
00:21:27That's great.
00:21:28You can't arrest me.
00:21:29You are.
00:21:30I have a problem with you, sir.
00:21:31What do I do?
00:21:32Can you tell him?
00:21:33Number six.
00:21:34Thank you, sir.
00:21:35I have a problem with you, sir.
00:21:36Yes.
00:21:37And now you have a problem, sir.
00:21:39I am.
00:21:40I am.
00:21:41Next time, sir.
00:21:42Ask me a problem.
00:21:43Mais in France, sir?
00:21:44Well, if you have a problem, sir.
00:21:45It is you spoke the truth.
00:21:46There are witnesses to prove that.
00:21:48You see, there are three elements in your favor.
00:21:51First and strongest, of course, is this young lady's statement,
00:21:55substantiating her own.
00:21:57Second, you stayed out tonight instead of disposing of the deceit,
00:22:00while it might have been possible.
00:22:02Third, you seem to be a reasonably intelligent person.
00:22:05If you'd killed this man, I believe you would have destroyed this drawing.
00:22:09It was in a dead man's pocket.
00:22:12I believed you, monsieur, when you failed to identify him,
00:22:14because it's obviously needed a means to identify you.
00:22:17But, uh, it also indicates that there is somewhere a link
00:22:22or a connection between your presence in France and his death.
00:22:28Order of you, is it not?
00:22:30Lieutenant of United States Airborne Infantry.
00:22:37Is your coffee, monsieur?
00:22:40You've only got one there. What about one for my friend outside?
00:22:43Monsieur?
00:22:44My watchdog, the policeman, who's wearing the carpet out.
00:22:47There is no policeman, monsieur.
00:22:49Oh, yes, there is.
00:22:58Hey, you're right. He's gone.
00:23:00Is that all, monsieur?
00:23:01Well, yeah.
00:23:02Yep, thanks.
00:23:03Yeah, monsieur?
00:23:04May the police department, please.
00:23:07Inspector Faubare.
00:23:08Who is calling?
00:23:09This is Mr. Blake.
00:23:10This is Inspector Faubare's secretary.
00:23:12I'm sorry, but the inspector will be away from Paris for five days.
00:23:14Hey, wait a minute.
00:23:15You think I'm going to hang around here for five days waiting for him to come back?
00:23:17I regret, monsieur, but if you will telephone next week.
00:23:19Next week?
00:23:20Yeah.
00:23:21Yeah.
00:23:22Yeah, I will.
00:23:23Anytime after Tuesday.
00:23:24Au revoir.
00:23:25Au revoir.
00:23:26Au revoir.
00:23:27Oh, my God.
00:23:28Oh, my God.
00:23:29I'm sorry, but the inspector will be away from Paris for five days.
00:23:31I'm sorry, but the inspector will be away from Paris for five days.
00:23:33Hey, wait a minute.
00:23:34You think I'm going to hang around here for five days waiting for him to come back?
00:23:35I regret, monsieur, but if you will telephone next week.
00:23:36Next week?
00:23:37Uh...
00:23:38Yeah.
00:23:39Yeah, I will.
00:23:40Any time after Tuesday.
00:23:41Au revoir.
00:23:42Au revoir.
00:23:43Au revoir.
00:23:45Au revoir.
00:23:46Au revoir.
00:23:47Au revoir.
00:23:48Au revoir.
00:23:49Au revoir.
00:23:50Au revoir.
00:23:51Au revoir.
00:23:52Cuéntatee.
00:23:53Down happy...
00:23:55Awesome.
00:23:56All right.
00:23:57This is starting to happen.
00:23:59uellement.
00:23:59Coming down.
00:24:01It's falling.
00:24:01It's falling.
00:24:02On nuestra Hughes tunnel, you know?
00:24:03All right, guys.
00:24:04All right.
00:24:05Unine gaz.
00:24:06You're welcome.
00:24:16Honest.
00:24:19Hoof, now pardon me.
00:24:24Pardon me.
00:24:26Pardon me also, monsieur, pardon me.
00:24:36Hello.
00:26:36What does it say?
00:26:38No smoke.
00:26:39I speak not the English much.
00:26:41Not much, you don't.
00:26:43You spoke it when you bumped into me this morning.
00:26:45Who hired you to follow me?
00:26:47Follow, sir?
00:26:48Yeah.
00:26:48You little guy that was killed.
00:26:49Do you have the same boss?
00:26:51For me, you talk too quick.
00:26:52I go to Saint-Denis.
00:26:53I do not know you.
00:26:54Let's keep it that way, huh?
00:26:55You go to Saint-Denis.
00:26:56I go to Calais.
00:26:58Calais?
00:26:59That's right.
00:26:59I'm going on to England.
00:27:00Tell that to your boss, too.
00:27:01I know Calais.
00:27:02The mother of my wife, she have an hotel there.
00:27:05An English name, the Hotel Strand.
00:27:07But being an American, you would not know.
00:27:10Perhaps you are not.
00:27:11But if you would wish to stay at the hotel of the mother of my wife...
00:27:15I'll get out of here.
00:27:16Have a nice trip.
00:27:17Au revoir, monsieur.
00:27:41Good afternoon.
00:27:50Good afternoon.
00:27:55Seat 4, compartment 8.
00:27:58Deporter, where is your budget?
00:28:00I'm traveling light.
00:28:00Of course, I forgot.
00:28:02I forgot what.
00:28:03But you have a light.
00:28:11You see, it is opposite to madame.
00:28:14It was madame who said you would be traveling light.
00:28:17What are you doing here?
00:28:19Michael, please get off.
00:28:20You're going to get us both in trouble.
00:28:21Oh, it's very nice of you to come down to see me off, Chris.
00:28:22But the train's about to leave.
00:28:23Listen to me.
00:28:24I went to your hotel room.
00:28:25I found your note to Faux-Bear.
00:28:26You shouldn't read other people's mail.
00:28:27This is crazy.
00:28:28He told you not to leave.
00:28:29Well, he left.
00:28:30I don't believe it.
00:28:30Yeah, and the watchdog outside my bedroom door, he left, too.
00:28:33Michael, don't joke.
00:28:34And don't go away and leave me with all this, whatever it is,
00:28:36without telling me anything.
00:28:37I'm frightened.
00:28:38There's nothing to be frightened about.
00:28:39And there's nothing to tell you.
00:28:40Now, why don't you go back to your hotel and just try to...
00:28:42Well, I went back to my room last night.
00:28:46Somebody had already broken in and torn things all apart.
00:28:53Excuse me.
00:28:54Do you speak English?
00:28:56No, monsieur.
00:29:01You would have done that.
00:29:03That's what I'm asking you.
00:29:04You got me into all of this.
00:29:06I was leading a nice, quiet, safe life until you came along.
00:29:08It was dull, but quiet and safe.
00:29:10Look, I'm sorry.
00:29:11I don't know who it was who messed up you, Roman.
00:29:13I don't know who the little guy was who ended up on his face in my bedroom.
00:29:15You don't know anything.
00:29:16The whole thing's just one big mystery to you.
00:29:17Bodies all over the place.
00:29:19Drawings of these things.
00:29:20In the pocket of a dead man.
00:29:22Now, listen.
00:29:22You don't even know where the drawing came from, I suppose.
00:29:26Monsieur, madame, tickets, please.
00:29:29Madam hasn't got a ticket.
00:29:31Hasn't got a ticket?
00:29:32No, no.
00:29:32But it's necessary to have a ticket.
00:29:34It's provident to board a train to travel without being the holder of a ticket to a destination.
00:29:39Madam is viewing any place.
00:29:40I am a viewer.
00:29:41I'm not without a ticket.
00:29:43And the fare is 5,000, Pervinembre, and 99 francs.
00:29:47Look, madame's getting off the train right now.
00:29:50Now, listen.
00:29:51Too late.
00:29:51And no tickets.
00:29:53Where's the emergency court on this scene?
00:29:54If you put that call, you're faced with a fine of 5,000 francs.
00:29:58And imprisonment.
00:29:59It states here.
00:30:00According to regulation.
00:30:015,700 francs.
00:30:03And 99 francs.
00:30:0499 francs.
00:30:05That's 10,000 there.
00:30:07You keep the change.
00:30:08Oh, thank you, monsieur.
00:30:09I'll buy some new glasses, Mary.
00:30:11Thank you very much.
00:30:12I'll buy your tickets immediately.
00:30:14That's fine.
00:30:17How can such a little dame be such a big nuisance?
00:30:20What really happened to that policeman who was guarding?
00:30:22Look, he went out on a date or something.
00:30:23I don't know.
00:30:24Oh, that's ridiculous.
00:30:25All right, so I killed him, too.
00:30:26Do you think she can still me?
00:30:33No, we're just keeping her awake.
00:30:36Did they see your tickets, huh?
00:30:37The police walked out on me.
00:30:53But you can't run away like this.
00:30:55They'll catch up with you anyhow within two days.
00:30:57In two days, in two days, I'll be out of France.
00:30:59Out of France?
00:31:00Yeah.
00:31:00What is this?
00:31:01Anyhow, listen.
00:31:02I'll tell you what it is.
00:31:03It's none of your business now.
00:31:04I don't want any more of your help, Chris.
00:31:06I'm not offering my help.
00:31:08Hasn't it crossed your mind that I'm in this, too, as deep as you are?
00:31:10Oh, no.
00:31:11If you get away, I'll be in jail.
00:31:13Get this.
00:31:15I'm going to stick by you until I know what this is all about.
00:31:17In self-defense, I'll do it.
00:31:19Believe me, I'll be with you day and night.
00:31:21Oh?
00:31:22Who's complaining?
00:31:24Michael.
00:31:25Call me Mike.
00:31:26You're the most arrogantly stupid.
00:31:32L'amour.
00:31:34Toujours l'amour.
00:31:36Hey.
00:31:57Wait up, Mike.
00:31:58Wake up.
00:31:58What?
00:31:59Where are we?
00:32:00We're in the south of France.
00:32:00The south of France.
00:32:01You were supposed to get off last storm.
00:32:02Never mind that.
00:32:03Did you kill that man?
00:32:03What? I didn't kill any man, Chris. Now, what is all this?
00:32:06The police are on the train.
00:32:08The police?
00:32:09Yes.
00:32:11There's one just two compartments away.
00:32:13The man that I saw with Frobert after he left you last night.
00:32:15You didn't escape. They let you get away to see where you'd end up.
00:32:19I'll go past his window.
00:32:20You hop out along the corridor the other way.
00:32:22You gonna help me?
00:32:23Oh, we'll both end up in jail if I don't.
00:32:25Look, if he doesn't follow me, then I'll meet you at the warehouse in front of the station.
00:32:30Good luck, Mike.
00:32:31Hey, you call me Mike.
00:32:35Don't let it go to your head.
00:32:56She's talking.
00:33:01That detective must've lost his touch.
00:33:06Do you think he went to sleep?
00:33:07That detective must have lost his touch.
00:33:13You think he went to sleep?
00:33:14Right now, I'm not thinking.
00:33:16Chris, thanks for...
00:33:18It's all part of our service.
00:33:21Save your breath for walking.
00:33:30Hey, there's a little cafe.
00:33:31Think we can miss some coffee?
00:33:32No, but we will.
00:33:33Well, prisoner ate a hearty breakfast.
00:33:40Both prisoners.
00:33:42Well, where do we go from here?
00:33:45You might as well tell me.
00:33:47I'll be around to find out.
00:33:52All right, I'll tell you.
00:33:55I'm going to try to find an old ruined farmhouse near a chateau.
00:34:01It's on a field that's shaped like a boomerang.
00:34:03At least it looks like a boomerang from the air.
00:34:05You were flying?
00:34:06Mm-hmm.
00:34:07Well, I had to bail out.
00:34:09And it was a war, remember?
00:34:12So you want to go back and find the ruins?
00:34:13Why?
00:34:14Do you think you'll find the real killer there?
00:34:17I'm not looking for the killer.
00:34:19You're not?
00:34:20No.
00:34:22You want to call the police?
00:34:24Oh, I don't know.
00:34:25I don't know anything anymore.
00:34:26But somebody knows why you were followed in Paris, why that man was killed.
00:34:32And I've got a hunch you can guess who's behind it.
00:34:35Mm-hmm.
00:34:36I thought the guy was dead.
00:34:38What guy?
00:34:38Who?
00:34:39The phony count to talk too much.
00:34:43Kind of an art dealer.
00:34:45At least he said he was an art dealer.
00:34:54Good morning, Mr. Paul.
00:34:58Here it is.
00:34:59Huh?
00:34:59The American met Paris in the 6 o'clock last night.
00:35:10Pepe's on a train, too.
00:35:12It arrives here in Monte Carlo at 11.
00:35:15Hello, darling.
00:35:16Kirby!
00:35:18Good morning, dear Sam.
00:35:20My dear.
00:35:20Good morning.
00:35:21Paul.
00:35:22Uh, we'll find a picture.
00:35:23You make the deal.
00:35:24Paul.
00:35:25Paul, I just met Nina Howard.
00:35:27Why aren't we joining your party tonight?
00:35:29Well, you know Mr. Perrin would be there.
00:35:31I have business, Gabi.
00:35:32Well, his party is business to make.
00:35:34If I'm to get into one of his new players.
00:35:36Ah, but my business could be worth more than $100,000.
00:35:38Tax-free.
00:35:40Well, that's this.
00:35:41I promise you we'll meet Mr. Perrin before he goes.
00:35:44You're wonderful, Paul.
00:35:46Shall we go?
00:35:47Yes.
00:35:48You still want me to take you to Nice?
00:35:50No, I've changed my mind.
00:35:51I want to see Saint-Alzéar.
00:35:53Who is Saint-Alzéar?
00:35:54He's a saint.
00:35:55A saint?
00:35:55Well, he's also a place.
00:35:57But where?
00:35:57About 20 miles in distance.
00:36:00A thousand years in habit and thought.
00:36:02Years?
00:36:02I don't understand.
00:36:04Of course you don't.
00:36:06It's 20 miles.
00:36:06It's 20 miles in distance.
00:36:13It's 20 miles in distance.
00:36:15It's 20 miles in distance.
00:36:15It's 20 miles in distance.
00:36:16It's 20 miles in distance.
00:36:17It's 20 miles in distance.
00:36:17It's 20 miles in distance.
00:36:18It's 20 miles in distance.
00:36:19It's 20 miles in distance.
00:36:20It's 20 miles in distance.
00:36:21It's 20 miles in distance.
00:36:22It's 20 miles in distance.
00:36:23It's 20 miles in distance.
00:36:24It's 20 miles in distance.
00:36:25It's 20 miles in distance.
00:36:26It's 20 miles in distance.
00:36:27It's 20 miles in distance.
00:36:28It's 20 miles in distance.
00:36:29It's 20 miles in distance.
00:36:30It's 20 miles in distance.
00:36:31It's 20 miles in distance.
00:36:32It's 20 miles in distance.
00:36:33It's 20 miles in distance.
00:36:34It's 20 miles in distance.
00:36:35That's the village up there.
00:36:41Are we going to that old place?
00:36:43Come over here.
00:36:47This is a very famous spot in local legend.
00:36:50It's called the Sharp Point.
00:36:52Because it's sharp, as you can see.
00:36:54And this is where St. Elvia won his battle over the Moors.
00:36:57I thought you said he is a saint.
00:36:58He is. A very fiery one.
00:37:00But this was way in the past.
00:37:02You see, the Moors were attacking way up that road.
00:37:06It's the only road connecting the village or the outside world.
00:37:09But St. Elvia attacked the Moors from the rear.
00:37:12He led his men down to this spot by the only other route.
00:37:15An almost impossible goat track.
00:37:17Well, that was the end of the Moors.
00:37:19You can see the goat track over there.
00:37:21It starts from the village, clings to the precipice,
00:37:23and takes a very dangerous course down the face of the cliff.
00:37:27You can see the track clearly as it reaches the valley
00:37:29and zigzags across rough country to a point directly below us.
00:37:33Then it climbs again, very steeply,
00:37:35up, up, up to this point.
00:37:38What's up at this village, anyway?
00:37:40It's not what is there now.
00:37:42It's what was there once.
00:37:44Way in the past?
00:37:46Well, in the past.
00:37:48Jump here.
00:38:09Come on.
00:38:12Here we are.
00:38:14This is the tool of tenement here.
00:38:17Is that his portrait?
00:38:19Yes, with his sword and his goblet.
00:38:21Toto's not a book.
00:38:22Here we are.
00:38:24This is the tool of the nail, dear.
00:38:28Is that his portrait?
00:38:30Yes, with his sword and his gauntlet.
00:38:32What was that?
00:38:33Well, that's where the gauntlet used to be before it was stolen.
00:38:36Good morning, Father.
00:38:38Can I be of help to you?
00:38:40Oh, good morning, Father.
00:38:41Good morning.
00:38:42Your shrine is very beautiful.
00:38:43Well, it is very quiet now.
00:38:45Of course, it was not always so.
00:38:47People used to come here in their thousands.
00:38:49In the time of the gauntlet?
00:38:50Oh, you know about the gauntlet.
00:38:51Used to be over there, didn't it?
00:38:52Night and day.
00:38:53Now, who could imagine that?
00:38:54That's what the gauntlet used to be before it was stolen.
00:38:56Is that his portrait?
00:38:57Yes, with his sword and his gauntlet.
00:38:59What was that?
00:39:00Oh, that's where the gauntlet used to be before it was stolen.
00:39:03Good morning, Father.
00:39:04Can I be of help to you?
00:39:05Oh, good morning, Father.
00:39:06Good morning.
00:39:07Now, who could imagine that it would not be safe there?
00:39:10But you can't imagine what's gone into the war.
00:39:12Pictures, priceless objects have changed hands.
00:39:14Things the world still believes to have been lost.
00:39:16I know a New York collector would pay 12 million francs for a stolen Jalini vase.
00:39:20For the gauntlet, that same collector would pay upwards of $100,000.
00:39:24$100,000?
00:39:25So you see, Father, perhaps it's done quite a bit of traveling.
00:39:27Or perhaps it will.
00:39:28I believe that one day it will come home.
00:39:32And then you will ring the bell.
00:39:34Oh, you know about the bell, too.
00:39:36The bell that has never rung since the day the gauntlet was stolen will never ring again until it comes back.
00:39:42Yes, I read that somewhere.
00:39:44Well, thank you, Father.
00:39:46Thank you, Father.
00:40:03Good-bye, darling.
00:40:04You'll call me later.
00:40:05Yes.
00:40:06It's like a faux bear.
00:40:07One doesn't expect it to you in Monte Carlo.
00:40:08I flew in this morning.
00:40:09I suppose even a policeman can combine business with pleasure.
00:40:10Business?
00:40:11Rather serious business.
00:40:12But I expect we shall meet at the casino.
00:40:13Let's play a chance.
00:40:14Mr. Paul.
00:40:15This telegram arrived for you from Piffy.
00:40:16I'm sorry.
00:40:17I'm sorry.
00:40:18I'm sorry.
00:40:19I'm sorry.
00:40:20I'm sorry.
00:40:21I'm sorry.
00:40:22I'm sorry.
00:40:23I'm sorry.
00:40:24I'm sorry.
00:40:25I'm sorry.
00:40:26I'm sorry.
00:40:27I'm sorry.
00:40:28I'm sorry.
00:40:29I'm sorry.
00:40:30I'm sorry.
00:40:31I'm sorry.
00:40:32Mr. Paul.
00:40:33This telegram arrived for you from Piffy.
00:40:34I decoded it.
00:40:56Madame, this is the 14th road we've driven up since the noon.
00:41:22Now, I am an understanding man.
00:41:24But my wife who prepares my supper is not so understanding.
00:41:27I know.
00:41:28I know.
00:41:29But I have a feeling this road is different.
00:41:31Madame.
00:41:40There it is.
00:41:54There it is.
00:41:55Come on.
00:42:04Mike, wait.
00:42:05Wait for me.
00:42:10She even lost the chateau.
00:42:13It's the only thing left she loved.
00:42:19Don't you see, Chris, I'm nothing but bad luck?
00:42:22This proves it.
00:42:24Oh, no, Mike.
00:42:27You're not to blame because the place was destroyed by the war.
00:42:31All right, why come back if you weren't ready to face things?
00:42:34I was. There's nothing left to face.
00:42:38You know, when I walked out of that door years ago, things,
00:42:41well, they went from bad to worse.
00:42:44I thought that, well, maybe if I came back and found the glove, it might help.
00:42:48I don't know, it might, it might help all of us.
00:42:52That luck better pay off sometime.
00:42:54Don't go.
00:42:56I'd like a little chat.
00:43:10I did a sketching for memory.
00:43:13Rather good.
00:43:16We've met before.
00:43:19Count Paul Rona.
00:43:21Polish title.
00:43:23Come up.
00:43:29Just to clarify matters,
00:43:31I've been keeping a tavern here since the war through my New York office.
00:43:35I must say you've had a difficult time.
00:43:37Why was that man killed in Michael's room?
00:43:39Ah, yes, I did read about that in the papers.
00:43:41Conrad Verneau, the man who was beaten to death.
00:43:44I imagined he knew what you'd come for,
00:43:46and decided to double-cross somebody.
00:43:49What I'd come for?
00:43:51Perhaps he wanted to make a deal behind somebody's back.
00:43:53So you killed him.
00:43:54My dear young lady, I've never killed anyone in my life.
00:43:57Not even during the war.
00:43:58The Germans looked upon me as a Verneau collaborateur,
00:44:00whereas the French regarded me as one of their spies.
00:44:02It's a convenient arrangement.
00:44:03Well, that's beside the point.
00:44:04You're broke.
00:44:05That's why you've gone to France.
00:44:06To cash in on the glove.
00:44:07So it's still here.
00:44:08Where?
00:44:09It might be wiser to tell me, Blake.
00:44:11Do you hear me?
00:44:12Don't touch me.
00:44:13Not yet.
00:44:15It was silly, Blake.
00:44:16But it isn't the first time blood's been shed
00:44:18for the gauntlet of St. Elzea.
00:44:19What?
00:44:20The green glove.
00:44:21It's the same thing.
00:44:22Well, Mr. Phil.
00:44:23You won't get far without my help.
00:44:24Your help.
00:44:25A warrants for your arrest.
00:44:26And Miss Kenneth.
00:44:27For murder.
00:44:28The murder.
00:44:29The murder.
00:44:30The murder.
00:44:31The murder.
00:44:32The murder.
00:44:33The murder.
00:44:34The murder.
00:44:35The murder.
00:44:36The murder.
00:44:37The murder.
00:44:38The murder.
00:44:39The murder.
00:44:40The murder.
00:44:41The murder.
00:44:42The murder.
00:44:43And Miss Kenneth, for murder.
00:44:45They really believe I killed that guy in Paris.
00:44:47And the detective on the train.
00:44:49He was shot dead as you left your coach.
00:44:50A piece of stupidity to the part of something.
00:44:52The police never forget the murder of one of themselves.
00:44:55However, they think you did it, Blake.
00:44:56So it's you thereafter.
00:44:57You framed yourself.
00:44:59Opportunity, motive, flight.
00:45:01Another surprise.
00:45:02Inspector Fulbright's waiting for you in Monte Carlo now.
00:45:04But don't worry.
00:45:05I'll get you out of France.
00:45:07I'll pay you $5,000 for the glove.
00:45:09Come here.
00:45:10This is Pepe.
00:45:11You're in boxing circles of the craft.
00:45:14A rough customer.
00:45:16Get out of my way.
00:45:20Get them.
00:45:26Mike.
00:45:39Pepe, you killed.
00:45:40Uh-uh.
00:45:41You're a mess.
00:45:43There she is.
00:46:10Yes.
00:46:11Don't kill him!
00:46:21Don't kill him!
00:46:27Go out!
00:46:41I think I heard the American.
00:46:43The girl, two, get him.
00:46:45Get two men, go around to the bank.
00:46:47Yes, but you...
00:46:49What is it?
00:46:50They are here, eh?
00:46:51I did right to read, you know.
00:46:52Yes, yes, you were quite right to read.
00:47:11I know your face.
00:47:26The most ridiculous.
00:47:29I know your face.
00:47:31The most ridiculous.
00:47:33I know your face.
00:47:36The most ridiculous.
00:47:38The most ridiculous young man.
00:47:42Well, he's not lying in the ruins.
00:47:44Then he's halfway down away.
00:47:46Oh, yes.
00:47:47Oh, a half-yard more.
00:47:48And you could as well be a fish.
00:47:58Pierre!
00:47:59Mike!
00:48:00He's here.
00:48:01Please.
00:48:02Where did you get away?
00:48:03The man who held her ran away when I saw Pierre on me.
00:48:05Foolish was it not to run from a man who is old and a woman who is man.
00:48:09Oh, bring him to the village.
00:48:10An empty village.
00:48:11Oh, no.
00:48:12No, no.
00:48:13No, no.
00:48:14No, no.
00:48:15No, no.
00:48:16No, no.
00:48:17No, no.
00:48:18No, no.
00:48:19No, no.
00:48:20No, no.
00:48:21No, no.
00:48:22No, no.
00:48:23No.
00:48:24No, no.
00:48:25No, no.
00:48:26No, no.
00:48:27No, no.
00:48:28No, no.
00:48:29No.
00:48:30No, no, no.
00:48:31No, no, no.
00:48:32No, no.
00:48:33No, no, no.
00:48:36Good night.
00:48:54This is my new home.
00:48:55It is poor.
00:48:56But it is a good enough place to wait until the chateau's rebout.
00:49:00The chateau, child, it is too broad for that.
00:49:03No.
00:49:04I wait here till my son comes.
00:49:06Your son?
00:49:07Yes.
00:49:08He went to take a message through the German lines.
00:49:11Oh.
00:49:12He should be back immediately.
00:49:14We must hit Wartel for your face.
00:49:17Time has stopped for her, monsieur.
00:49:20She believes her son, Armand, still lives.
00:49:24We must get out of here.
00:49:26No.
00:49:27No.
00:49:28You said you were ready to face things.
00:49:30Yeah, I know, but she doesn't even know what's happened.
00:49:33Well, we'll be quick, and Armand must come soon.
00:49:36Surely about two.
00:49:38Oh, he will be shocked to see the bruises on your face.
00:49:46That is Armand.
00:49:48Didn't I tell you he would come?
00:49:50Over there.
00:49:52Over there.
00:49:53Yeah, exactly.
00:49:56Pardon for disturbing you madame, but we saw the light.
00:49:58We searched for a man who is wanted for murder.
00:50:01May we know who is here?
00:50:02It?
00:50:03It is Pierre, my concierge, and.
00:50:05And madame.
00:50:06Nobody else.
00:50:08Very well.
00:50:09But it's late for you to be out of your beds.
00:50:11Good night, madame.
00:50:13Monsieur?
00:50:14Monsieur?
00:50:15Wasn't I?
00:50:21He told me, d'almore.
00:50:24He talked of a man who had wanted to a murder.
00:50:28You've heard?
00:50:29Yeah, I heard.
00:50:31Listen, I didn't murder anybody.
00:50:33The police are leaving.
00:50:35Yeah, well, I guess we might as well be going too.
00:50:37You show us the way?
00:50:38Monsieur, I won't forget you.
00:50:41That little bag you left.
00:50:42Bag?
00:50:43Yes.
00:50:44Clear into the burning chateau to save it for you.
00:50:46I promised I would keep it.
00:50:47Thanks.
00:50:48You might as well give it to me then.
00:50:49What is it in there, Monsieur?
00:50:50It must be very valuable for you to have come so far.
00:50:52Nothing.
00:50:53Harmon would like to know.
00:50:54He's interested in so many subjects.
00:50:56I think she has the right to see it, Mike.
00:50:58I think you owe it to her.
00:50:59Well, there's nothing in it but a lot of drawings.
00:51:02There's a lot of drawings.
00:51:04I don't know.
00:51:05I don't know.
00:51:06I don't know.
00:51:07I don't know.
00:51:08I don't know.
00:51:09I don't know.
00:51:10But a little green glove.
00:51:13Can you tell us about Saint-Elsia up here?
00:51:15Saint-Elsia?
00:51:16Oh, it's a mountain village behind Monte Carlo.
00:51:19Very small.
00:51:20Oh, it's famous, of course, for the gauntlet,
00:51:23which was said to heal the sick.
00:51:25And...
00:51:27The gauntlet of Saint-Elsia.
00:51:33Is it...
00:51:35Is it possible?
00:51:38The gauntlet of Saint-Élysée.
00:51:42Look at her, Mike.
00:51:46I saw it once before.
00:51:50When I went to the whole church with Alma.
00:51:54The pilgrims would come in the earth's house.
00:51:58To touch the gauntlet.
00:52:02Just to touch it.
00:52:06Just to touch it.
00:52:34I remember.
00:52:36You were here when Alma died.
00:52:46But now, I know.
00:52:48You will never go.
00:52:50Ever be.
00:52:52Ever be.
00:53:06I know.
00:53:08I know.
00:53:10I know.
00:53:12I know.
00:53:14I know.
00:53:16I know.
00:53:18I know.
00:53:20I know.
00:53:22I know.
00:53:26I know.
00:53:28I know.
00:53:30I know.
00:53:32I know.
00:53:34I know.
00:53:36I know.
00:53:38I know.
00:53:40I know.
00:53:42I know.
00:53:44I know.
00:53:46I know.
00:53:48I know.
00:53:50I know.
00:53:54I know.
00:53:56I know.
00:53:58I know.
00:54:00I know.
00:54:02I know.
00:54:04I know.
00:54:06I know.
00:54:08I know.
00:54:10I know.
00:54:12I know.
00:54:14I know.
00:54:16I know.
00:54:18I know.
00:54:20I know.
00:54:22I know.
00:54:24I know.
00:54:26I know.
00:54:48Look.
00:54:49There's an inn over there.
00:54:56There you go.
00:55:01Yes.
00:55:06Good evening.
00:55:07Good evening.
00:55:08Monsieur.
00:55:09Madame.
00:55:10But you are so wet like fishers.
00:55:12Come by the fry and warm yourself.
00:55:16Oh.
00:55:17Take your chart.
00:55:18Yes.
00:55:19Mama.
00:55:20Oh.
00:55:21We have no car.
00:55:22Well, we were hiking, son Raphael.
00:55:24We thought maybe we could get a bus from here.
00:55:25But there's no bus till morning.
00:55:27But we have a room.
00:55:29And we can dry your clothes while you sleep.
00:55:33It's a warm bed.
00:55:35Recommended.
00:55:38She thinks we're married.
00:55:40Right, we are.
00:55:41Yes, we're Mr. and Mrs. Smith.
00:55:42Mr. and Mrs. John Smith.
00:55:44Why?
00:55:44Because.
00:55:45Because of the police.
00:55:45Because of them.
00:55:47The register, monsieur.
00:55:49Yes.
00:55:51Well, would you like to sign for his darling?
00:55:54Mr. and Mrs. Smith just right in the middle of the year.
00:55:59It's ridiculous.
00:56:01A robe for madame.
00:56:03And my robe for monsieur.
00:56:06If you will both come to your room and take off all of you at close.
00:56:11My wife is a little bit shy.
00:56:14Yes, you see, we just got married today.
00:56:16Today?
00:56:18Oh.
00:56:20Oh, I understand.
00:56:21Yes.
00:56:22No.
00:56:22Oh, it's gold.
00:56:26Give him a brandy.
00:56:27Yes, mama.
00:56:28So he won't catch gold.
00:56:30You can change in the kitchen.
00:56:31Come.
00:56:38I'll see you later, mama.
00:56:41Mama.
00:56:46Here we are.
00:56:47Is it that monsieur and madame spend their honeymoon walking?
00:56:55Yes.
00:56:57It's original, isn't it?
00:56:59We thought only the English did such things.
00:57:05We'll both be so comfortable here.
00:57:07And we'll serve dinner by the fire with our best wine to warm the cockles with your heart.
00:57:11They won't need warming.
00:57:13I'm sure of that.
00:57:16And my husband will dine downstairs.
00:57:20But Charles, you're uneasy.
00:57:23Oh, but you'll get used to it.
00:57:25You'll need another pillow.
00:57:26One will be enough.
00:57:30I'll give the key to your husband.
00:57:31Oh, no.
00:57:32No.
00:57:32No.
00:57:33I'll keep it.
00:57:34The young man fixed to gain courage.
00:58:00Would you like another brandy to share?
00:58:02It's good for lining the stomach.
00:58:04Well, my stomach is very well lined already.
00:58:07And it'll keep your spirits up.
00:58:09What's the matter?
00:58:10Do I look depressed?
00:58:12Oh, on your wedding night, monsieur, no.
00:58:14There you are.
00:58:15By the way, my wife said the bride has gone to bed.
00:58:19Is that a fact?
00:58:20Yes.
00:58:21No, she didn't even kiss her husband goodnight.
00:58:27Arthur!
00:58:29Chuck, old friend!
00:58:31How goes it?
00:58:32But it was said you drove into Saint-Maxime.
00:58:34I came back, a night for a duck.
00:58:36A road like a river.
00:58:37But it improved.
00:58:44How do you do?
00:58:46How do you do?
00:58:48A brandy and make it large.
00:58:49A brandy, Alfonsois.
00:58:50Have mine.
00:58:51It's nothing like brandy to do.
00:58:55Lift up the spirit.
00:58:58Thank you, monsieur.
00:59:00Alfonso, there's something I wanted to tell you.
00:59:02Madame Bertou asked for you tonight.
00:59:04You know that wee dog, she views you with an amiable eye.
00:59:08She's still fair, but friendly.
00:59:10And her bouillabaisse.
00:59:12It was a gourmet's dream.
00:59:13I tell you, Alfonso, if I were in your shoes then, I won't wear them.
00:59:17I won't wear them.
00:59:29Jacques.
00:59:30He's so shy and embarrassed.
00:59:35Just like you.
00:59:37On our wedding night.
00:59:38You're sleeping in here.
00:59:50There's a chair.
00:59:54Look at that.
00:59:55Right smack in the middle of the front page.
00:59:58And that gorgeous brunette is named Christy McKinnis.
01:00:01You're drunk.
01:00:02I'm drunk.
01:00:03What are we going to do?
01:00:04I'm going to take a bus out of here tomorrow.
01:00:06That's what I'm going to do.
01:00:07You are.
01:00:07Yes, I'm going to burn this.
01:00:09You'll be safe enough here.
01:00:11Why don't you get away with the club?
01:00:13Oh, please.
01:00:13Oh, where is it?
01:00:15Please don't wake everybody.
01:00:17I only came here to say goodbye.
01:00:20You made that quite obvious.
01:00:21Goodbye.
01:00:23Goodbye to my wife.
01:00:28Say, you know something?
01:00:30I'd like you to be my wife.
01:00:33Look, Mike, will you go in the other room?
01:00:35Take the bag with you.
01:00:37I don't want it.
01:00:39You'll want what it'll bring when you skip the country.
01:00:43I'm not skipping the country.
01:00:45Then why leave me here until you're safe?
01:00:47Until you're safe?
01:00:48Don't you see I'm leaving the bag with you?
01:00:50I don't need it where I'm going.
01:00:52Where are you going?
01:00:52To Monte Carlo to make a deal.
01:00:54Will that count?
01:00:55With Fauxbear.
01:00:57He can have me, but he's got to leave you alone.
01:00:59You're crazy.
01:01:04I'm drunk.
01:01:06It's not quite the same thing.
01:01:14Mike.
01:01:17Come back.
01:01:20If you've got anything to say to me,
01:01:22you will come to me and say it.
01:01:24Do you mind if I kiss you?
01:01:34What?
01:01:35Don't say I have to ask twice.
01:01:41I can't breathe.
01:01:44Mike, sit down.
01:01:49Now, let's try and talk some sense.
01:01:51What'd you do that for?
01:01:54You wanted to help me?
01:01:55I will.
01:01:56Oh, Mike, no, not your way.
01:01:58You can't confess to murders you haven't done.
01:02:00I've got to prove it first.
01:02:02Well, I'm not so sure that I can't.
01:02:03That's why we've got to think of a way out
01:02:05before we get in any deeper.
01:02:07I can't think anymore.
01:02:10You will.
01:02:11After you've had some sleep.
01:02:15Yeah.
01:02:18Where are you going?
01:02:19Downstairs.
01:02:20I'll answer that bottle again.
01:02:21And you are not.
01:02:23Open this.
01:02:24Yes, sir.
01:02:33The door's locked, Mike.
01:02:35Can't get out.
01:02:37You know, this is the first time in my life
01:02:39that a woman's locked me inside her apartment.
01:02:42Life is full of surprises.
01:02:44Get to sleep.
01:02:46There.
01:02:46Get to sleep.
01:02:58Get to sleep.
01:03:00Take to sleep.
01:03:00Take it.
01:03:00Take it.
01:03:00Mike, you know, I think we'd better both go to Monte Carlo.
01:03:07You stay here.
01:03:09I can handle Fulgar myself.
01:03:13Oh, no, I don't mean that.
01:03:15We should try to avoid him.
01:03:17I don't know.
01:03:18I don't know.
01:03:19I don't know.
01:03:20I don't know.
01:03:21I don't know.
01:03:22I don't know.
01:03:23I don't know.
01:03:24I don't know.
01:03:25I don't know.
01:03:26I don't know.
01:03:27I don't know.
01:03:28I don't know.
01:03:29It's a good question.
01:03:30Until we think of some way of pitting the guilt on the guilty one.
01:03:34We could get a bust a knee, split up, and meet again in Monte Carlo.
01:03:38How does that sound?
01:03:41It's fine.
01:03:45Good night.
01:03:59You know there's nothing.
01:04:01There's my bus now.
01:04:03There's another one that comes in half an hour.
01:04:05You take that one.
01:04:07All right.
01:04:08You remember the name of the hotel I told you,
01:04:10Monte Carlo, both sides?
01:04:12We both take rooms on the second floor balcony
01:04:14then we can contact each other after dark.
01:04:16What do you have a guidebook for?
01:04:18I was reading about the hotel.
01:04:20I told you, Monte Carlo, both sides.
01:04:22We'll both take rooms on the second floor balcony
01:04:24then we can contact each other after dark.
01:04:26What do you have a guidebook for?
01:04:28I was reading about San Elvia.
01:04:30What does it say?
01:04:31Mainly about the legend of the garden.
01:04:33Here's your bus.
01:04:35Now look, honey.
01:04:37Why don't you get yourself a new dress?
01:04:39Kind of messy, huh?
01:04:41Gonna fix up your hair a bit.
01:04:43All right.
01:04:44Chris, think of me, huh?
01:04:46And I keep your fingers crossed.
01:04:48I know. I'll see you soon.
01:04:50And don't forget your name still, Smith.
01:04:58I'm ready.
01:05:00How are you?
01:05:01How are you?
01:05:02I'm ready.
01:05:03I'm ready.
01:05:04Shhh.
01:05:05Oh, my God.
01:05:35Hello?
01:05:37There's a call for you, madam.
01:05:39Hello?
01:05:40Hello?
01:05:41Mike?
01:05:42Are you in your room?
01:05:43I'm in a garage at La Tourbie.
01:05:45Yeah, it's a little town above you on the mountain.
01:05:48Well, when are you coming here?
01:05:50I want you to do something for me, Chris, but it's got to be fast.
01:05:53I'm taking the glove back to St. LZR now.
01:05:55You're what?
01:05:56I want you to trick the Count into following me.
01:05:58Well, Mike, how can I?
01:06:01Well, I don't know.
01:06:04Can I?
01:06:05I've checked everything.
01:06:06The Count will be at the Cabaret of the Casino at 2 tonight.
01:06:08I want you to go there, Chris.
01:06:09Track his attention.
01:06:10Keep him interested.
01:06:11Talk to him until 3 o'clock.
01:06:13Why 3?
01:06:14Well, that's the most important part.
01:06:15At 3 o'clock.
01:06:16Now, listen very carefully, Chris.
01:06:17At 3 o'clock, tell him where I'm going.
01:06:20But Mike, he'll come after you right away.
01:06:23Well, that's the idea.
01:06:24Then you call Inspector Fulbert.
01:06:25Tell him to have his men up at the village at 5 o'clock on the nose.
01:06:28The road to St. LZR is a dead end.
01:06:30We'll have the Count and his boys right in the middle with the glove in their hands.
01:06:33What if the police are late?
01:06:34They mustn't be.
01:06:35You got it?
01:06:37I think so.
01:06:39Cabaret of the Casino.
01:06:41Tell the Count at 3 o'clock.
01:06:43Have the police up there at 5.
01:06:45But Mike, we should really talk this out.
01:06:47There isn't time.
01:06:49Goodbye, Chris.
01:06:51Wait a minute, Mike.
01:06:52Mike!
01:06:53Mike!
01:06:54Mike!
01:07:21Well, I'm joined the party.
01:07:22Whitney, please.
01:07:23No.
01:07:24The party is joining me, thank you.
01:07:25I'll wait at the bar.
01:07:26That's right, ma'am.
01:07:27Ma'am?
01:07:28Cointreau, please.
01:07:29Right away.
01:07:30You're Cointreau, ma'am?
01:07:31He's got Rona here tonight.
01:07:32But certainly.
01:07:33You wish to send him a message.
01:07:34No, but there's plenty of time.
01:07:35I don't know.
01:07:36I don't know.
01:07:37I don't know.
01:07:38I don't know.
01:07:39I don't know.
01:07:40I don't know.
01:07:41I don't know.
01:07:42I don't know.
01:07:43I don't know.
01:07:44I don't know.
01:07:45I don't know.
01:07:46I don't know.
01:07:47I don't know.
01:07:48I don't know.
01:07:49No, but there's plenty of time.
01:07:51Albany is leaving.
01:07:52Just behind you now.
01:07:53Night, Miss Saunders.
01:07:54Take you to the party.
01:07:56Bye.
01:07:57See you inside.
01:07:58Good night.
01:08:01Package of American cigarettes, please.
01:08:03It'll be fine.
01:08:04I'll join you both later.
01:08:06Right.
01:08:17My brandy, please, Felix.
01:08:18Yes, sir.
01:08:21You look different.
01:08:22Perhaps it's because we met in the dark.
01:08:25You know, you're very lovely, Miss Kenneth.
01:08:30Aren't you taking a chance?
01:08:32You and your friend are both the object of a manhunt.
01:08:37That's just why I'm taking it.
01:08:40Thank you, Felix.
01:08:41What is Blake, by the way?
01:08:42Blame the tables, or hasn't he got your daring?
01:08:44Why do you ask?
01:08:45Are you still interested in the glove?
01:08:46The glove?
01:08:47Believe it or not, no.
01:08:48I agree it's silly to give up so easily, but the whole thing's become, shall I say,
01:08:51too hot.
01:08:52That's why I'm leaving for Paris tonight.
01:08:53Do not.
01:08:54Discretion is sometimes a better part of valor.
01:08:55What about Mike?
01:08:56Mike?
01:08:57What about Mike?
01:08:58Well, you know, he's wanted for something he didn't do.
01:08:59Really?
01:09:00But who's to blame?
01:09:01He didn't have to go out of Paris.
01:09:02Tell him how badly I feel.
01:09:03If there's anything I can do to help.
01:09:04You could.
01:09:05You could get him out of this.
01:09:06Could I?
01:09:07How?
01:09:08Well, there's really nothing I can think of.
01:09:11You're very charming, Miss.
01:09:13Starrona.
01:09:14My name's Paul.
01:09:15Paul.
01:09:16Is that all you're going to say?
01:09:17What else is there to say?
01:09:18Well, don't you want to know where he is?
01:09:19I don't consider mine.
01:09:20Oh, well, surely.
01:09:21Oh, well, where is the poor fellow, is he now?
01:09:22There in the barn?
01:09:23I'll tell you later.
01:09:24Have another brandy.
01:09:25Oh, no, thank you.
01:09:26My train needs to have to be.
01:09:27No, no, no, no, no.
01:09:28No, no, no.
01:09:29No, no, no, no.
01:09:30No, no, no, no, no, no.
01:09:31No, no, no, no, no, no.
01:09:32No, no, no.
01:09:33No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
01:09:43I'm at least four past two.
01:09:44And quite frankly, I've lost interest.
01:09:45This is good-bye.
01:09:46Won't you even talk to him?
01:09:47Why not?
01:09:48If he'll see me at the station in the next ten minutes.
01:09:50No, no, he can't.
01:09:51You have to go to him.
01:09:53You sound as if you want me to go to him.
01:09:56Well, you know why.
01:09:57Oh, why discuss it?
01:09:58I have a train to cast Jane one-way, and really I must...
01:10:00He's on his way to San El Deor to take the glove back.
01:10:05Taking the glove back to San El Deor?
01:10:08Oh, well, isn't that admirable.
01:10:11But you know, I couldn't care less.
01:10:13Not with my train and the current police situation.
01:10:16But do give him my regards, Miss Cannon.
01:10:20Goodbye.
01:10:34My doctor, you're not ill, are you?
01:10:37Is Count Rona really going to take that train?
01:10:39Unless he changes his mind.
01:10:40Changes his mind? How do I find out?
01:10:42You can see for yourself. The train comes in in ten minutes.
01:10:45But Count Rona already paid by now.
01:11:12Well, tell me quickly, does this train stop at me?
01:11:13Well, of course, madame. In ten minutes.
01:11:14Oh, that's all right, then.
01:11:15That's all right, madame.
01:11:17Oh, that's all right, then.
01:11:18It's all right, madame.
01:11:19Oh, yes, yes, of course. My friend, Mr. Pizan.
01:11:20Oh, yes, yes, of course. My friend, Mr. Pizan.
01:11:22Oh, that's all right.
01:11:23Well, tell me quickly, does this train stop at me?
01:11:24Well, of course, madame. In 30 minutes.
01:11:25Oh, that's all right, then.
01:11:26Well, that's all right, then.
01:11:27It was all right, madame.
01:11:28Miss Daldi.
01:11:29Miss Daldi.
01:11:32You remember me, Mrs. Johnson?
01:11:32Yes, yes, of course. My friend, Mr. Pizan.
01:11:33How do you do?
01:11:34He's the famous playwright.
01:11:35Oh.
01:11:36I'm going to be in his new show.
01:11:37Well, that's wonderful. Tell me, is Count, is Paul on the train?
01:11:50Paul? How do you know you knew him?
01:11:54I don't know him well.
01:11:55Well, he's a little bit tired.
01:11:56He's just gone to bed.
01:11:57Excuse me.
01:11:58I've forgotten my compartment number.
01:12:01I think it's next to Count Rhondas.
01:12:03Is Gabby Saunders?
01:12:04That's right.
01:12:05It is next to the Count, number seven.
01:12:24I have been expecting you, madame.
01:12:29Where is Count Rhondas?
01:12:30He has left the train.
01:12:31He's left?
01:12:32He's gone after Mike?
01:12:33Monsieur Blake has lived too long for our safety.
01:12:35You too.
01:12:36Ah!
01:12:37Ah!
01:12:38Ah!
01:12:39Ah!
01:12:40Ah!
01:12:41Ah!
01:12:42Ah!
01:12:43Ah!
01:12:44Ah!
01:12:45Ah!
01:12:46Ah!
01:12:47Ah!
01:12:48Ah!
01:12:49Ah!
01:12:50Ah!
01:12:51Ah!
01:12:52Ah!
01:12:53Ah!
01:12:54Ah!
01:12:55Ah!
01:12:56Ah!
01:12:57Ah!
01:12:58Ah!
01:12:59Ah!
01:13:00Ah!
01:13:01Ah!
01:13:02Ah!
01:13:03Ah!
01:13:04Ah!
01:13:05Ah!
01:13:06Ah!
01:13:07Ah!
01:13:08Ah!
01:13:09Ah!
01:13:10Ah!
01:13:11Ah!
01:13:12Ah!
01:13:13Ah!
01:13:14Ah!
01:13:15Ah!
01:13:16Ah!
01:13:17Ah!
01:13:18Ah!
01:13:19Ah!
01:13:20Ah!
01:13:21Ah!
01:13:22Ah!
01:13:23Ah! Ah!
01:13:24You're in trouble.
01:13:50Well, the man, Blake, will be ahead of us.
01:13:53down.
01:14:53The two others have followed the American on foot to the village.
01:15:20Good.
01:15:23Good.
01:15:30Good.
01:15:31Good.
01:15:34Good.
01:15:35What's up?
01:15:36Good.
01:15:37good.
01:15:38Good.
01:15:39Who's there?
01:15:42It was something beyond the precipice.
01:15:44On a goat track.
01:15:45A goat?
01:15:46Or a man.
01:15:47Drive up.
01:15:48Park your car outside the village.
01:15:50Go the rest of the way on foot.
01:15:51Warn the others the American may be climbing by the goat track.
01:15:54Tell them to watch for him from the old castle walls.
01:15:56You were following your car?
01:15:57No.
01:15:58I'm going to take the goat track.
01:16:00To close the trap.
01:16:09To close the trap.
01:16:39To close the trap.
01:17:09To close the trap.
01:17:39Good night.
01:18:09I want to make a deal, I only wore the gloves.
01:18:39I want to make a deal, I only wore the gloves.
01:19:09I know these mountains.
01:19:11I've used this rail before.
01:19:13I know the shortcuts.
01:19:39There, you go!
01:20:09Better give up, Blake.
01:20:13Throw me the satchel,
01:20:15and I'll signal my friends above not to shoot you.
01:20:19I'll get you out of France.
01:20:39Oh.
01:20:47Oh.
01:20:50Oh.
01:20:52Oh.
01:20:56Oh.
01:21:00Oh, oh.
01:21:03Oh.
01:21:06Oh.
01:21:07You double-crossed me, Blake!
01:21:37You double-crossed me, Blake!
01:22:07You double-crossed me, Blake!
01:22:37You double-crossed me, Blake!
01:23:07You double-crossed me, Blake!
01:23:14Kiss me!
01:23:26Amazing!
01:23:29What a crime, wasn't it, Link?
01:23:59Do you want to make that deal?
01:24:05What kind of a deal?
01:24:06The glove first.
01:24:08Bring it out.
01:24:12Come and get it.
01:24:14You want to admit a third murder?
01:24:19Where's Chris?
01:24:21Right now she's on the train to Paris.
01:24:23The peppy of the crab.
01:24:25I think you're lying.
01:24:27Think what you like.
01:24:29Two of my men will join me in a moment.
01:24:35Here they come.
01:24:37They're going to be outnumbered.
01:24:39And so are you.
01:24:40What do you mean?
01:24:41Who do you mean?
01:24:42Come on.
01:24:51The End
01:25:21The End
01:25:51The End
01:26:21The End
01:26:51The End
01:26:52The End
01:26:53The End
01:26:54The End
01:26:55The End
01:26:56The End
01:26:57The End
01:26:58The End
01:26:59The End
01:27:00The End
01:27:01The End
01:27:02The End
01:27:03The End
01:27:04The End
01:27:09The End
01:27:10The Conflict
01:27:12It has come home.
01:27:14Too grossy for it.
01:27:15Nobody there.
01:27:17There was nobody there.
01:27:19No one except the dead man.
01:27:44Chris.
01:27:49The police followed me on the train, found me with Pepe.
01:27:54Oh, Mike, you're all right.
01:27:57Well, there's been another murder up in the tower.
01:27:59Might as well pin that on me, too.
01:28:01But you didn't do it, my friend. All the others.
01:28:03We caught Count Runner's men in the village.
01:28:05One of them has already confessed.
01:28:07Well, the Glove's come home.
01:28:10Up in the village, they're saying it's a miracle.
01:28:12It is. But the miracle is that the Glove has come home.
01:28:15Not the means I wish it came.
01:28:17Well, good luck, both of you.
01:28:19Good luck, both of you.
01:28:21Good luck, everybody.
01:28:23Good luck, Dr.
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