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00:04:07Well, what's the matter?
00:05:36Yes?
00:08:09Sous-titrage ST' 502
00:08:14C'est parti.
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00:16:32C'est parti.
00:16:34C'est parti.
00:16:38C'est parti.
00:24:34C'est Steve Kepler.
00:24:35Il y a 10 dollars.
00:24:36Mais ne parlez pas.
00:24:38C'est bon.
00:24:38Oui, c'est bon.
00:24:40Bonsoir.
00:24:41C'est bon.
00:24:44Je vais passer mon petit.
00:24:56C'est bon.
00:25:00Oui.
00:25:00C'est bon.
00:25:01Je vais se laisser deà.
00:25:02Je vais faire des problems.
00:25:02Oui, certaines.
00:25:03Et ne pas c'est bon.
00:25:04D'ailleurs, l'on a à l'arrière.
00:26:21As your attorney, I advise you to keep quiet until I've taken my 10,000 bucks out of his hive.
00:26:26I thought it might be interesting to have you two along.
00:26:28So this is where our taxes go.
00:26:30You say you have something to say to the district attorney's office, Mrs. Kepler.
00:26:33Well, it's just that I think they're doing a marvelous job.
00:26:36I couldn't be more proud of them.
00:26:38I see.
00:26:40Are you sure Kepler's on the train, Tim?
00:26:42Reasonably.
00:26:43The boys I had trailing him lost him half an hour before train time.
00:26:46Oh, great.
00:26:47That keeps your record clear of any damaging successes.
00:26:50Now, look, Malone.
00:26:50Yes, sir.
00:26:51Here we are on a nonstop train to New York, while Kepler's probably on a plane to Los Angeles.
00:26:55Laughing and scratching and counting his money.
00:26:57He's on the train.
00:26:58And I want him for breaking parole.
00:27:00Tim, let's make a deal.
00:27:02Now, if you find Kepler, he'll probably have the money.
00:27:04Probably.
00:27:05He owes me 10,000 bucks.
00:27:07Let me get to him first.
00:27:08Malone, you fracture me.
00:27:10You touch any of that dough and you won't see daylight for 20 years.
00:27:13That goes for you, too.
00:27:15Incidentally, just for the record, I heard you make a threat against Kepler.
00:27:18Don't you think sometimes you talk too much?
00:27:21Yes, I do.
00:27:23Having Marina with us complicates things, doesn't it?
00:27:25You are the crown princess of understatements.
00:27:28Well, do we work together?
00:27:31Possibly.
00:27:32Let me know when you make up your mind.
00:27:33I'll be in my compartment.
00:27:34C, car 209.
00:27:42Say, do you think you could get me the compartment numbers of all the people who had dinner in their
00:27:47rooms tonight?
00:27:48I maybe know somebody who maybe could.
00:27:51For maybe another five?
00:27:53That could maybe do it.
00:27:55All right, I'll be right here.
00:28:01I'm looking for a J.J.M.
00:28:10You didn't send me no flowers, did you, mister?
00:28:12I have a wife and three children.
00:28:14Funniest thing I've ever heard.
00:28:21You ain't the one who invited me for a drink, are you?
00:28:23I'm reasonably sure I'm not.
00:28:25Yes, we're both just happy about that.
00:28:30Why, sure, I should have known J.J.M., John J. Malone.
00:28:39Thanks for the flowers.
00:28:40No, it's nothing.
00:28:41I saved my lunch money for them.
00:28:42Tell me, how did you manage to get the room next to mine?
00:28:54What'd you do with Joanie?
00:28:55Joanie?
00:28:56Yeah.
00:28:56Oh, she just came down to save me off.
00:28:59So that was it.
00:29:00Yeah.
00:29:01You ain't batting a very high average today, are you?
00:29:04I'm batting like a pitcher.
00:29:06I got stuck with your check at that club.
00:29:08Oh, I'm sorry, Miss O'Malley.
00:29:10You'd catch me at a very inopportune time.
00:29:12Oh, I ain't crowding you to pay me.
00:29:13It's kind of an honor.
00:29:16Well, what'll you have, Miss O'Malley?
00:29:17I'll have a cheese on rye.
00:29:19And I won't pull that old one about forgetting the cheese, either.
00:29:23Yes, ma'am.
00:29:26Will you catch up with this Kepler full yet?
00:29:29Huh?
00:29:29I was at the table, remember?
00:29:31It cost me $68.65.
00:29:33No, I haven't found them yet.
00:29:35How come a big lawyer like you is so broke you can't even pick up a check?
00:29:39Charity donations.
00:29:40Well, from what I read in the detective magazines, I figured you're just packing a load.
00:29:44Madam, I couldn't pay sales tax on a stick of gum.
00:29:48Well, it just won me a pot full.
00:29:50How about a loan?
00:29:52Now, Hattie, you better keep that money pinned to your course.
00:29:54And I want you to stop talking to strangers on trains.
00:29:57I either talk to strangers on trains or sit and talk to myself.
00:30:02Why should you want to lend me money?
00:30:06You ever hear of a horse thief named Sean O'Malley?
00:30:09No.
00:30:10Well, one time he was pretty well known around Butte.
00:30:12When I first met him, he was dealing crooked cards with Martin Phony Lottery Swindle.
00:30:17But after he was married, he switched to corn liquor and kettle wrestling.
00:30:20Well, what's that got to do with your lending me money?
00:30:24You kind of remind me of him.
00:30:26Thanks.
00:30:30You ever been to Proudfoot, Mr. Lone?
00:30:32I don't think so.
00:30:33What is it?
00:30:34Oh, it ain't much since O'Malley died.
00:30:36I've been saving for 30 years to get out of there.
00:30:40And up to two days ago, I had $103.
00:30:42I have the same trouble with money myself.
00:30:44But the Old West isn't quite as glamorous as it's cracked up to be.
00:30:48It is that you like plenty of dust in your food and a lot of cowboys singing through their noses.
00:30:53Sounds monotonous.
00:30:54Even monotony would be exciting in that town.
00:30:56Then you don't plan to go back.
00:30:58You're going to play that on your piano, brother.
00:31:00I'm going east and prospect for a little excitement.
00:31:04Well, here's luck.
00:31:05Have one on me.
00:31:06I don't mind if I do, Mrs. O'Malley.
00:31:08There's a list you wanted, sir.
00:31:10All right.
00:31:10Will you excuse me?
00:31:11There's a couple of things I have to attend to.
00:31:12No time for equipment?
00:31:13I'm sorry, Hattie.
00:31:14How about later on?
00:31:15I'm afraid I'll be tied up.
00:31:16Well, I'll be around.
00:31:19Oh, pardon me, sir.
00:31:20Might as well give it to me.
00:31:21I carry his money for him.
00:31:23Yes, ma'am.
00:31:35Malone.
00:31:36Well, this is the nicest thing that's happened since indoor plumbing.
00:31:39What do you want?
00:31:40Time of day, a pat on the back, five minutes alone with you.
00:31:43Nice place you've got here.
00:31:45Don't wait for an invitation.
00:31:47Just take off your shoes and sit down.
00:31:48Thanks.
00:31:49Where's your fiancé?
00:31:51Mr. Brink was tied up in Chicago.
00:31:53He asked me to make this trip for him.
00:31:55Any particular reason?
00:31:57Well, he wanted me to see if I couldn't find Steve and talk him into coming back.
00:32:02He's worried about him.
00:32:03Yeah, that Myron sure is a worrier.
00:32:07How do you know where I was?
00:32:09Well, a love like mine is psychic, Lola.
00:32:12Did you see me get on the train?
00:32:14Everywhere I look, I see you.
00:32:16It doesn't get tiresome, either.
00:32:19Aren't you going to offer me anything?
00:32:21Some fresh air in the car.
00:32:23Hob's getting ready for bed.
00:32:25At this hour?
00:32:26Why, it's the shank of the evening.
00:32:27Whatever that is.
00:32:29What would you say to a drink in about five minutes?
00:32:31No, thank you.
00:32:32What would you say to a drink in about ten minutes?
00:32:33No, thanks.
00:32:34What would you say if I told you you didn't drink enough?
00:32:36I'm really tired, Malone.
00:32:37I've already taken a sleeping pill.
00:32:39How about breakfast?
00:32:40No, thank you.
00:32:42Well, by the way, have you seen him?
00:32:45Who?
00:32:46Kepler.
00:32:46That's who you're looking for, isn't it?
00:32:48No.
00:32:49No, I haven't found him yet.
00:32:51Well, don't you think you'd have better luck if we went out and looked together?
00:32:55Malone, there's a little old button over there that I can push, and a porter shows up.
00:33:00He brings drinks, makes beds, and throws out unwelcome guests.
00:33:05You must be tired.
00:33:07Better get some sleep.
00:33:13Steve.
00:33:19He's gone.
00:33:20And if I know the type, he'll be back.
00:33:22Why should he? Nobody saw me, good on.
00:33:24I was right in the middle of a bunch of sailors.
00:33:26I still say, when Myron finds out, I've left tonight.
00:33:28He won't know where to start looking.
00:33:29We'll be married and in Paris before he knows what's happened.
00:33:32This room isn't safe now.
00:33:34Take it easy. Relax.
00:33:35I'll lose myself on the train.
00:33:37You can meet me on the boat tomorrow.
00:33:39What about the money?
00:33:40Keep it here with you.
00:33:41Steve.
00:33:42Baby, don't worry.
00:33:46We're all right.
00:33:47We're all right.
00:34:02Excuse me.
00:34:09I don't know who you think you are, pushing your way into a sick woman's room.
00:34:12Honey, I know who I am, and I'm sorry about the sick woman.
00:34:16Oh.
00:34:28Hello, Hattie.
00:34:29It's kind of dull in that drinking car.
00:34:31I'm sorry, Hattie. I'm still tied up.
00:34:32I think if you're looking for that Kepler, you might need some help.
00:34:35He travels faster, so he travels alone.
00:34:37Yeah, but he don't travel as inexpensive as you do.
00:34:43Yeah?
00:34:44Who is it, Mr. Ashenfelder?
00:34:47Sir, we're from the Department of Human Relations,
00:34:50and we're conducting a survey on the trains running from Chicago to New York.
00:34:53I wonder if you'd mind answering a few questions.
00:34:55I hope to yell for the conductor, I would.
00:34:58Any human relations that are going on between Mrs. Ashenfelder and myself are none of your business.
00:35:02That's telling them, Mr. Ashenfelder.
00:35:04Beat it.
00:35:21Don't you mind repeating that place?
00:35:43Is that clear it up for you?
00:35:47This Kepler fellow don't speak in foreign languages, does he?
00:35:51Well, it's an interesting idea.
00:35:54Well, somebody's got to make the first move.
00:35:57Ah!
00:35:58Don't you mind, Mr. Ashenfelder!
00:35:59The affair of the report is in this night of the Castillo!
00:36:02What do you say?
00:36:03What do you say?
00:36:04What do you say?
00:36:08Next time, just set fire to him.
00:36:10Well, it could have been Kepler.
00:36:11You better lay low until he decides whether or not to prosecute.
00:36:14I've got a good lawyer.
00:36:16I ain't worried.
00:36:17Well, good night, Hattie.
00:36:18Already?
00:36:19Nothing more we can do tonight.
00:36:20I'll see you in the morning.
00:36:21All right.
00:36:47Yes?
00:36:49Yes?
00:36:52What is it, Hattie?
00:36:54I just got to thinking.
00:36:55Maybe I ain't looking for this Kepler in the right place.
00:36:57You got any ideas?
00:36:58Uh-huh.
00:36:59Where?
00:36:59Look, in my compartment.
00:37:01Why?
00:37:01Well, there's somebody in there and ain't exactly alive.
00:37:13All right.
00:37:13You got a glass of water?
00:37:14Not unless you think you're going to faint.
00:37:17That's my boy.
00:37:19Why did he crawl in here to die?
00:37:21You got me, Hattie.
00:37:22He ain't exactly overdressed, is he?
00:37:25Hattie, why did you do it?
00:37:27Now, don't get any ideas like that in your head, Malone, because...
00:37:30Shh!
00:37:31Hold your horses!
00:37:32Wait a minute!
00:37:32Hold your horses!
00:37:33Quiet down!
00:37:33Wait a minute!
00:37:43Tell the grand, ma'am.
00:37:44Thanks!
00:38:03Who was that?
00:38:04Just tell Grandson to sponsor that radio show.
00:38:06She's going to meet me at the train tomorrow.
00:38:13What you doing?
00:38:14You do, sir?
00:38:15What?
00:38:16What you thinking?
00:38:17I'm thinking that Kepler was probably murdered in here.
00:38:20Uh-huh.
00:38:20And then dragged into your compartment to make him look like I did it and was trying to hide the
00:38:23body.
00:38:24Uh-huh.
00:38:25There's a little spot of blood here I hadn't noticed before.
00:38:27Uh-huh.
00:38:28Just in case that was missed, they probably planted something else in here.
00:38:31Like what?
00:38:32Like maybe the knife that killed him.
00:38:35Ow!
00:38:39Thanks.
00:38:40Don't you think we ought to call somebody?
00:38:42Who'd you have in mind?
00:38:43Maybe the police or someone.
00:38:45Hattie, there's one thing I don't want to see right now.
00:38:46It's a cop.
00:38:48Here we go again.
00:39:13You mind if I come in?
00:39:14Thanks.
00:39:15Excuse me.
00:39:28Okay, where is he?
00:39:30Now, that depends on who you mean.
00:39:32My cousin Tom's living out in San Francisco.
00:39:34I understand the president's down in Florida fishing again.
00:39:36I mean Kepler.
00:39:37Oh, you haven't caught him yet, huh?
00:39:39No, I haven't caught him yet, huh?
00:39:40This note was just stuck under my door.
00:39:43Says you're trying to hide him someplace in here.
00:39:45I've got a search warrant.
00:39:46What do you care?
00:39:47I've already searched.
00:39:47Who wrote the note?
00:39:48How should I know?
00:39:49You're a detective, aren't you?
00:39:50Have you seen Kepler?
00:39:51Could be that he's not exactly with us anymore.
00:39:54No, we only made one stop.
00:39:56He didn't get off there.
00:39:56Well, there are ways of not being on a train without getting off.
00:40:00How?
00:40:00Not getting on, for one.
00:40:03Connie Kepler probably wrote that note, Tim.
00:40:05She's got some idea that I was helping Steve get away.
00:40:07Why were you searching the train earlier?
00:40:09Why do you think?
00:40:10Find anything?
00:40:11Nothing but Lola Gilway.
00:40:12Without Myron Brink.
00:40:14You should have a talk with her.
00:40:15I will.
00:40:16Well, she's in Rome D, car 207.
00:40:18Okay.
00:40:21Look, Malone, better not let me catch you in anything.
00:40:24I'm doing the best I can.
00:40:27I'll see you later.
00:40:35Well, did you hear him?
00:40:36Some of the words came through kind of hazy, but I've got a general idea.
00:40:41Could you use some proud foot punch?
00:40:43I don't care what it is, as long as it burns.
00:40:45What I can't understand is why they stripped him down.
00:40:50Maybe he was carrying the money in a belt.
00:40:51What do they have stripped him down for that?
00:40:54No.
00:40:55Going to move him pretty soon?
00:40:57I'll let him rest a minute.
00:40:59I can't have him in here, Hattie.
00:41:00Marino might come back.
00:41:01Well, at my age, he ain't too fussy about man in my room, but he ain't the liveliest thing
00:41:06I've ever run into.
00:41:08Hattie, why don't you plead guilty?
00:41:10I've got a honey of a defense.
00:41:11I've just been saving for a case like this.
00:41:13Looks like you're going to need it.
00:41:15Why don't you turn him over to this Marino?
00:41:18No.
00:41:18I'll tell him you was with me when it happened.
00:41:20That doesn't worry me.
00:41:21Whoever killed Kepler must have the money.
00:41:23I don't want that body found until I get my cut.
00:41:33Don't you dump him out the window?
00:41:35It's air conditioning.
00:41:36Windows don't open.
00:41:37His body's just a little too big to cram at anything I got in here.
00:41:41Here, give me that knife.
00:41:44Hattie.
00:41:47Couldn't we give him to somebody else?
00:41:50Sure, why not?
00:41:51Let's give him to the great.
00:41:53No, international complications.
00:41:56That ashen feller didn't seem too particular about the company he kept.
00:42:00I think the body belongs with the next of kin.
00:42:03Who?
00:42:04Connie Kepwer.
00:42:05Well, maybe she don't want him.
00:42:06Maybe she didn't want him all along.
00:42:08Maybe that's why she murdered him in here and parked him in there with a hole in his back.
00:42:13You think so?
00:42:13Could be.
00:42:14I'll know if I can see her face when she finds the body in her room.
00:42:18How do we manage it?
00:42:19Well, I'll send her a note.
00:42:21Inviting her to meet me in the club car.
00:42:24We'll drop Kepler in a knife as soon as she's left the compartment.
00:42:27You game?
00:42:27Game.
00:42:28I ain't hit nobody since O'Malley strangled a dancing bear.
00:42:35Come in.
00:42:38A note from Mrs. Kepler.
00:42:39Oh, thank you.
00:42:40It has all been taken care of.
00:42:42Thank you.
00:42:42All right.
00:42:42Thank you.
00:43:11Oh, Mrs. Kepler's waiting in the club car.
00:43:14Oh, thank you.
00:43:15Thank you.
00:43:28Oh, my old lady.
00:43:30I just can't stand it.
00:43:31There's a drunk left in the market.
00:43:46How are the children?
00:43:47Drunk as goats.
00:43:48We had quite a party tonight.
00:44:13What are you buzzing her for, me?
00:44:14See if she wants a shower.
00:44:16She's in the club car.
00:44:17I'll see her later.
00:44:20You better get on back.
00:44:22I'm going to see if she's got the money in here.
00:44:23Maybe you better hang around in case you don't find it.
00:44:25No thanks.
00:44:26What if it ain't here?
00:44:27Well, I'll have to figure out some way to get her back with a shock treatment, but she sees the
00:44:30body.
00:44:35You looks better in them clothes than I do.
00:44:50Let's clear up one thing before we start.
00:44:52Are you pretending it's spring again, or have you finally decided to work with me?
00:44:56I had to make sure you were on the square first.
00:44:58How did you manage to do that?
00:44:59Well, I thought things over, and I realized that no one as lovely as you could possibly be mixed up
00:45:04in anything shabby or cheap.
00:45:06You've got the approach of an old-world adolescent.
00:45:09All right.
00:45:10If sincerity seems adolescent to you.
00:45:13You're a tireless little worker, aren't you?
00:45:15You keep blasting away at a girl as if she were a beachhead you were trying to take.
00:45:18It's just possible you mistake my motives.
00:45:20Nobody could mistake your motives.
00:45:22They're written all over you in neon.
00:45:23I didn't meet you here to discuss me.
00:45:25Oh, what about Steve?
00:45:27Have you found out anything yet?
00:45:28Yes and no.
00:45:30Lola Gilway's on the trip.
00:45:31I know it.
00:45:32I saw her get on.
00:45:33Is that all you dragged me down here for?
00:45:35Oh, no.
00:45:36But you mowed down my other reason.
00:45:39Malone, you'd be a nice man for some girl who likes men like you.
00:45:43But right now, I'm interested only in finding Steve.
00:45:47Well, as a matter of fact, I have found out something else.
00:45:51You have?
00:45:52Tell me.
00:45:52Well, I'd rather not talk about it here.
00:45:54Couldn't we go back to your compartment?
00:45:56Never say die, eh, Malone?
00:45:58This has nothing to do with anything except the business it has.
00:46:00Well, then why not here?
00:46:01Nobody's listening.
00:46:02Well, I'd just rather not, that's all.
00:46:03I'd pack a mean punch.
00:46:04I know.
00:46:05Oh, I really don't feel like going any rounds tonight, Malone.
00:46:08As always, Mrs. Kepler, you will find me strictly business.
00:46:12Oh, brother.
00:46:20Well, come on in.
00:46:23What did you expect?
00:46:24Silk cushions and incense?
00:46:26Oh, no, no.
00:46:28Sit down.
00:46:30You want a drink?
00:46:32No, thanks.
00:46:32I'm on the wagon.
00:46:34Since when?
00:46:35Since now.
00:46:37All right.
00:46:37Let's have it.
00:46:39Let's have what?
00:46:40Whatever it was you had to tell me.
00:46:43Oh, that.
00:46:47Nobody in there.
00:46:48Should there be?
00:46:52I think I've just discovered a new kind of DTs.
00:46:55It's just possible you got on the wagon a little too late.
00:46:58I've heard of Cure's advertised on the radio.
00:47:00Well, book me for the next one you hear.
00:47:02All right.
00:47:03What is it?
00:47:04A rather peculiar thing has just happened to me.
00:47:07Would you mind if we made this in the morning?
00:47:08I certainly would.
00:47:09First you dragged me to the club car.
00:47:11Then you dragged me all the way back here again.
00:47:12Then I...
00:47:17Miss Vaughn, you been in your room lately?
00:47:18Well, no, I haven't, Miss O'Malley.
00:47:20Anything the matter?
00:47:20There's just an outside chance.
00:47:22Might be on fire.
00:47:23I'm right with you, Miss O'Malley.
00:47:23Hey, wait a minute.
00:47:24In the morning, Connie.
00:47:25Get a good night's sleep.
00:47:26What?
00:47:46Anybody bother to take his pulse lately?
00:47:48I was in my room.
00:47:50I thought I heard something in here.
00:47:51I figured he was back, so come on in.
00:47:53There he was, big as death.
00:47:55You didn't see anyone?
00:47:57Nope.
00:47:57Worked out in the hall, too.
00:47:59This man's getting around too much.
00:48:01I think I'm getting used to him.
00:48:02Like an old friend in the family.
00:48:04Well, I'm not.
00:48:04Let's go in your room.
00:48:13Who done it, Malone?
00:48:14I don't know.
00:48:15This lets Connie out.
00:48:17She was with me when the body was moved.
00:48:18Unless her and somebody's working together.
00:48:20That's possible.
00:48:22Then again, there's the lovely little Lola.
00:48:24She just doesn't seem like the type, though.
00:48:26I've seen a mighty lovely that killed with a bare teeth.
00:48:30What you gonna do with Rover in there?
00:48:32I've got to figure out someplace to tie him down for the night.
00:48:37What about that Pullman that come through?
00:48:39What about him?
00:48:40He's got a lady's washroom.
00:48:41He's like the old days.
00:48:43He's dressed for it.
00:48:45We'd kind of top him up.
00:48:47He might last up the night.
00:48:49Well, I've got to get him out of my room.
00:48:51Marino's due back with another note any minute.
00:48:53Well, let's saddle up again.
00:48:57You're not tired, are you, Heddy?
00:48:59No.
00:48:59This ain't exactly the kind of job to get sleepy on.
00:49:26I haven't been able to locate that man yet.
00:49:28Oh, he's a slippery customer.
00:49:29Well, shall I make up your bed now?
00:49:31Wait a minute.
00:49:31I'd have anything you'd like.
00:49:32Oh, come now, Mother.
00:49:34Hardly a quart in you, and you stagger around like you're drunk.
00:49:39What?
00:49:41Disgusting.
00:49:47He's getting kind of tattered.
00:49:49The lady's lounge.
00:49:49This way you take over.
00:49:50Don't think I can handle him alone.
00:49:52Well, you'd better check first.
00:49:59Nobody home.
00:50:00Come on in.
00:50:00Well, give me a hand.
00:50:14You run on now.
00:50:15I'll fix him up.
00:50:16Well, glue him down if you have to,
00:50:17but make sure he stays put.
00:50:24Wrong room.
00:50:26Confusing things, these trains.
00:50:27I don't have to explain my actions to you.
00:50:29I shouldn't think you'd even want to try.
00:50:32He's all waxed in for the night.
00:50:33Come, dearest.
00:50:34It's a cocktail hour.
00:50:35Would you care to join us in a cup of warm gin?
00:50:42Well, order up.
00:50:44I'm still buying.
00:50:50I'm still buying.
00:51:07What puts loss is civilization's game.
00:51:10Wouldn't be a bit surprised.
00:51:12Well, what do I do now?
00:51:14Sitting here to tank up or go back to work?
00:51:17Back to work.
00:51:21Say, when you came to get me in Connie's compartment,
00:51:24didn't you say my room was on fire?
00:51:25Uh-huh.
00:51:27Sure.
00:51:28Might work.
00:51:29What?
00:51:31Well, let's assume that Lola murdered Kepler
00:51:33and has the money in her room.
00:51:34Well, why'd she undress him?
00:51:36Maybe she wanted to see if his tattoos were on straight.
00:51:39I don't know, but who cares?
00:51:40It just seems to me somebody went to a lot of trouble.
00:51:43Maybe you ought to find out why.
00:51:45I think you've got an easier way.
00:51:46Now, if you had a hundred grand in your room
00:51:48and suddenly a fire broke out,
00:51:50what would you grab first?
00:51:51Yeah, but I still think there's something funny
00:51:54about stripping him down.
00:51:56Yeah.
00:51:57If I could just get a little blaze going.
00:52:00Nothing big, mind you.
00:52:02All we'd have to do was wait outside.
00:52:04until she came running out for the money.
00:52:07How do we do it?
00:52:09First, we've got to get some newspapers.
00:52:14And a latch.
00:52:16What do we do with her while we burn the place down?
00:52:18Oh, she won't bother her.
00:52:19She'd already taken a sleeping pill when I talked to her.
00:52:22Well, only you're a lawyer.
00:52:23How many years could we get for this?
00:52:25Well, to my knowledge, there's no law specifically
00:52:27forbidding setting fire to a train
00:52:28running from Chicago to New York at 11.30 at night
00:52:32on June the 22nd.
00:52:33They'll probably plug that loophole
00:52:35after we get through.
00:52:36Come on.
00:52:45What if she's awake?
00:52:47We'll knock.
00:52:48Knock.
00:52:49But not loud enough to wake her if she's asleep.
00:52:58Like a baby.
00:53:01I just want to get it to smoldering.
00:53:03I want lots of smoke, but not much fire.
00:53:17Come here.
00:53:18Come here.
00:53:19Come here.
00:53:28Smoking like a city dump.
00:53:30What about her?
00:53:30Dead to the world.
00:53:31Didn't move once.
00:53:37All right, now, as soon as the room really gets filled with smoke,
00:53:40I want you to lean in and start yelling,
00:53:42but not loud enough to wake up the whole train.
00:53:46See, Romain.
00:53:56What's going on here?
00:53:58What?
00:53:58What's going on here?
00:54:00You trick ain't working.
00:54:02Where's Lola?
00:54:03She couldn't sleep till this.
00:54:04You didn't slug her, did you?
00:54:06I didn't touch her.
00:54:07What is it?
00:54:07What's the matter?
00:54:08I want to get out of here!
00:54:10Stop the train!
00:54:11Stop it!
00:54:12Get it!
00:54:12All right, everybody!
00:54:14Everybody out!
00:54:17Oh, you better let me handle this.
00:54:18I'm a fireman from Chicago.
00:54:23Who's the occupant here?
00:54:24She's on the bed.
00:54:25I think the smoke got her.
00:54:26You better let me handle this.
00:54:27I'm a doctor.
00:54:27I thought you were a fireman.
00:54:28Full-time fireman.
00:54:29Volunteer doctor.
00:54:30All right, everybody out.
00:54:31Everybody out.
00:54:31Oh, madam, you better stay here.
00:54:32I might need you to roll up some sutures.
00:54:33But I've got to make out a report.
00:54:35Fine.
00:54:35I'll meet you in the baggage car.
00:54:36You go right ahead, and we'll fill out the medical details later.
00:54:40All right, ladies and gentlemen.
00:54:41Everything is under control.
00:54:43All right.
00:54:44All right.
00:54:44All right.
00:54:50She's dead as a burnt boot.
00:54:54How?
00:54:55Same as kept her.
00:54:58Yeah.
00:54:58Looks like somebody found what you're looking for.
00:55:00Yeah, they got the money.
00:55:01Well, what are we going to do with her?
00:55:03Leave her right here, and now.
00:55:05Okay.
00:55:10What a waste.
00:55:19We're due to be picked up any minute, so I thought I'd keep you up to date on the killing.
00:55:23How do you figure it?
00:55:24Well, I'm pretty sure that Kepler and Lola were running away together.
00:55:28No.
00:55:29Otherwise, why would anybody bother to knock off Lola?
00:55:32But why didn't any of us spot Kepler?
00:55:34Well, the way I figure it, he must have come aboard in the disguise.
00:55:38And the murderer wanted that disguise.
00:55:40That's why he stripped him down.
00:55:42He's probably running around in it right now.
00:55:44Who?
00:55:45Well, now, who would be most upset by Kepler skipping with the money and with Lola?
00:55:50Lola's boyfriend.
00:55:51Iron Brink.
00:55:52Let's go look for him.
00:55:53We can't very well go busting into every compartment.
00:55:55Maybe the station tomorrow...
00:55:57If we knew what to look for.
00:55:58But if Kepler could get on with the disguise, then Brink can probably get off with it.
00:56:02I can't figure, Lola.
00:56:04Even with a hundred thousand, Steve was such a double-breasted schmo.
00:56:08You married him.
00:56:09I was a slow 18.
00:56:10Still believed in Cinderella.
00:56:12Well, sleep with your door locked tonight.
00:56:14Who's going to sleep?
00:56:15Come on, Addie.
00:56:16Let's turn in.
00:56:16I mean it this time.
00:56:17I ain't had a day like this since O'Malley blew up the outforce floor.
00:56:21Wait till you get a load of tomorrow.
00:56:24Thank you, Harriet O'Malley.
00:56:45It's all right, honey.
00:56:46I'm a male nurse.
00:56:48It's all right, honey.
00:56:49I'm a male nurse.
00:56:50What's the matter with her?
00:56:51She always gets spells like this when she starts drinking her cologne.
00:56:55She always gets spells like this when she starts drinking her cologne.
00:56:57Excuse me, honey.
00:56:58Excuse me, honey.
00:56:59Give her hair.
00:57:00Stand back.
00:57:01Stay calm.
00:57:01Clear out, Mike Rowe.
00:57:03Clear out.
00:57:03Give her hair.
00:57:05Give her hair.
00:57:05Give her hair.
00:57:06What are you doing to that woman?
00:57:07It's all right.
00:57:08I'm a male nurse.
00:57:08What's the matter with her?
00:57:09It's all right.
00:57:09I'm a male nurse.
00:57:12What's the matter with her?
00:57:13Oh, she always gets spells like that when she starts drinking her cologne.
00:57:17Oh.
00:57:17Let me through here, please.
00:57:18Just a minute.
00:57:19What seems to be the trouble here?
00:57:20I'm all in fainted.
00:57:22He's more trouble dead than he's alive.
00:57:26He ain't gonna stay with me.
00:57:28He'll be company for you.
00:57:29I like my man a little more crockety.
00:57:30All right.
00:57:43Oh, no.
00:57:45Like rabbits.
00:57:46Come on.
00:57:56I wish they'd distribute them papers someplace else.
00:57:59I should have taken a suite.
00:58:01You think she'll fit?
00:58:03She'd better.
00:58:03Marino's probably on his way right now.
00:58:07He's never been fussy about people dropping in.
00:58:09Didn't even mind this other fellow.
00:58:11He was kind of a nice thrason.
00:58:15That should do it temporarily.
00:58:18Price looks a lot neater.
00:58:21Addie, there's no use kidding you.
00:58:22You're in a tough spot.
00:58:24Well, just get a line on that rank fellow.
00:58:27You won't get a chance to get a line on anybody.
00:58:29See what I mean?
00:58:35Come on in, Tim.
00:58:38You don't seem surprised to see me.
00:58:40Horrified, maybe, but not surprised.
00:58:42Tim, you know Mrs. O'Malley.
00:58:44We met this afternoon.
00:58:45You two have been having quite a time for yourselves tonight, haven't you?
00:58:48It ain't been dull.
00:58:50There's a Greek on the train once you're both arrested for assault.
00:58:54Excuse me.
00:58:56I'm sorry.
00:58:57It's all right.
00:59:00I hear there was a fire in Lola Gilway's room.
00:59:02Smoking in bed, was she?
00:59:03I don't know.
00:59:04Some fireman from Chicago took care of everything.
00:59:06That is, he and some Annie Oakley character.
00:59:10This is your compartment, Mrs. O'Malley?
00:59:11That's right.
00:59:17I just stopped by to see Lola.
00:59:19She wasn't there.
00:59:20Sleepwalking, no doubt.
00:59:21The whole room was torn up.
00:59:23There were bloodstains on the bed.
00:59:24I got another note telling me to pay you a little visit.
00:59:27Why don't you pay a little visit to the guy who's sending you these notes?
00:59:29How do you know it's a guy or girl?
00:59:31Now look, Malone.
00:59:32Now look, Tim.
00:59:33Why don't you wait till we get to New York?
00:59:35I think I can give you some definite news about Keppery then.
00:59:38There's something going on around here I don't know about.
00:59:39I'm going to keep my eye on you until I find out what it is.
00:59:42You're hiding something from me.
00:59:44What can I be hiding from you?
00:59:45We're both looking for the same guy, aren't we?
00:59:47Now, if we just get out and work together, huh?
00:59:52Say, who was that in there?
00:59:53Oh, that's, uh...
00:59:54My mother.
00:59:56That's right.
00:59:56It's Miss O'Bally's mother.
00:59:57Now look, Tim.
00:59:58Oh, now, wait a minute.
01:00:01Now, don't jump to any conclusions, Tim.
01:00:03Don't jump to conclusions.
01:00:05You didn't bother.
01:00:06It's Keppler.
01:00:07And he's dead.
01:00:08What are you trying to do?
01:00:09Set a record?
01:00:10When did all this happen?
01:00:11A few hours ago, but I've got the whole thing figured out, Tim.
01:00:13Yes, he has.
01:00:14You're both under arrest.
01:00:15How do we please?
01:00:16Let me handle this.
01:00:17Now listen, Tim.
01:00:18Don't do anything hasty until you've listened to me.
01:00:19I'll have plenty of time to listen to you later.
01:00:21I said you were under arrest.
01:00:22Let me ask you one little question.
01:00:24What's the motive?
01:00:32Any more questions?
01:00:50You got anything more to say?
01:00:52I've told you everything from the time Keppler got off the train from Joliet up until now.
01:00:55That's a good story.
01:00:56Thank you.
01:00:57Come in.
01:01:00I sealed up there two rooms and the dead girl's compartment.
01:01:03Is that all, Mr. Moreno?
01:01:04No, I want you to phone ahead to New York.
01:01:06Tell him I want to squad a policeman to meet this train in the morning.
01:01:08Yes, sir.
01:01:09I'm telling you that the murderer is running around loose on the train right now.
01:01:13And every minute you keep us tied up here, you're helping him get away.
01:01:16Don't you ever run down.
01:01:17I'm just trying to tell you.
01:01:19You'll tell me nothing.
01:01:20Two dead bodies and $10,000 and stolen money in your room.
01:01:24You call that evidence?
01:01:25What do you call it?
01:01:26If you just do what I'm telling you...
01:01:27I'm not going to do a thing.
01:01:28Now shut up and let's try to get some sleep.
01:01:31That goes for you, too.
01:01:32I ain't said nothing.
01:01:33Well, don't.
01:01:34He's right, Harry.
01:01:35Now listen, Moreno.
01:01:36Say, the number of both done in on this together.
01:01:38Shut up.
01:01:39I won't shut up.
01:01:41I know my rights.
01:01:42Now, first of all, let's get one thing straight.
01:01:44I'm an American citizen.
01:01:46Mrs. O'Malley's an American citizen.
01:01:48Right?
01:01:49That's right.
01:01:49And under the Constitution and the Bill of Rights, American citizens are granted certain inalienable rights.
01:01:55And so is...
01:01:57If you think anything of your career at all...
01:02:04I say, if you think anything of your career at all...
01:02:07You'll take off these handcuffs and drop all charges.
01:02:11We've been talking for five hours.
01:02:13You want me to take over?
01:02:14No.
01:02:14No?
01:02:15I'll trip you up.
01:02:16I'll crucify you on that stand.
01:02:19I'll show you up until you'll hate the day you quit unemployment relief to go on the police force.
01:02:24You'll be the laughing stock, Moreno.
01:02:26Your kids won't be able to hold their heads up with other kids.
01:02:29Your wife will have to quit her job with the gas company.
01:02:32Won't you please shut up?
01:02:34You're letting the murderer get away.
01:02:36And here I am dumping the whole thing right in your lap.
01:02:38And what do you do?
01:02:39I arrest you and Mrs. O'Malley for murder.
01:02:42It's your last official act.
01:02:43Are you kidding?
01:02:44The city of Chicago will give me a medal 12 feet high just for getting rid of you.
01:02:48Pest control, they'll call it.
01:02:52Come in.
01:02:57We're coming into the tunnel now, Mr. Moreno.
01:02:59We'll be in any minute.
01:03:00You just had a phone call.
01:03:01The police are at the station.
01:03:03Thanks.
01:03:04It's a terrible thing.
01:03:06Such a lovely young girl.
01:03:08I don't suppose you even thought of a husband.
01:03:11What husband?
01:03:12The sailor.
01:03:12You didn't think how he'd feel, did you?
01:03:14A sailor?
01:03:15Sure.
01:03:16It's a natural.
01:03:17Did you hear that, Tim?
01:03:18A sailor?
01:03:18Just calm down.
01:03:19But, Tim, that's all you need.
01:03:20Can't you see that?
01:03:21Coming into the station now, so watch your step.
01:03:23When in doubt fail, I'll...
01:03:25Yes.
01:03:26Alone!
01:03:27Alone!
01:03:31Alone!
01:03:32Alone!
01:03:50That's one way of holding a woman.
01:03:51Quit kidding.
01:03:52Brink's running loose on the train in a sailor's suit,
01:03:54and we've got to get him as soon as the train stops
01:03:55and before he can get out of the station.
01:03:56We're stopping now!
01:03:58Give us some help, will you, Connie?
01:03:59All right, I'll do what I can.
01:04:00Let's see if the court is clear first.
01:04:01Yeah.
01:04:04It's all clear.
01:04:05If we split up, we'll have a better chance of catching him.
01:04:07A great trick if you can figure out how I'm doing, honey.
01:04:09I'll go this way.
01:04:10You go that way.
01:04:22Find the police.
01:04:23Tell them to cover all exits.
01:04:24Yes, sir.
01:04:26Mrs. O'Lally?
01:04:26Yeah?
01:04:27Yeah.
01:04:30Mr. O'Lally, in behalf of the Tracy Ship Program,
01:04:33welcome to New York City.
01:04:34Don't bother me now, son.
01:04:35I'm up for murder.
01:04:37Alone!
01:04:40Hold it!
01:04:41Come on, fellas.
01:04:58Hey, look where you're going.
01:05:02Watch out!
01:05:20Let's go, Molly.
01:05:21We'd like to welcome you.
01:05:22Later, sonny.
01:05:23I'll dust the gas chamber.
01:05:27Any locks?
01:05:27That's it.
01:05:28Well, keep looking.
01:05:28Yes.
01:05:31Let me throw.
01:05:38Come on, fellas.
01:05:45Sous-titrage Société Radio-Canada
01:06:16Here he is, Malone! Malone! Here he is, Malone! Malone!
01:06:43All right, Brink. What's the big idea? Sorry. Sorry, buddy.
01:06:51There he goes!
01:07:03I got him! I got him, Malone!
01:07:18Take a look in the bag of his uniform, Tim. If there isn't a nice lid in it, I'll leave
01:07:21my law library.
01:07:22There's a hole here, all right.
01:07:23All right, now take a look in that suitcase and you'll find the rest of that hundred grand.
01:07:27Okay, so you were lucky again.
01:07:28Lucky nothing. I had the whole thing gulped out last night, if you don't even listen to me.
01:07:31First, this fiend murders Kepler.
01:07:32Shut up, Malone. What do you mean, shut up? You deliberately killed two people in cold blood.
01:07:36I ought to retain you as my attorney.
01:07:38Drag their bodies all over a train.
01:07:40How about a $10,000 retainer?
01:07:42You're down to the jail and I'll write you a check.
01:07:44Gentlemen, this is clearly a crime of passion.
01:07:47I think that further investigation will prove that my client blanked out
01:07:50for a period of about 12 hours during which he remembers nothing.
01:07:55Absolutely nothing.
01:07:56Now, wait a minute, Malone.
01:07:57The first thing we'll fight is extradition.
01:07:59Don't say anything to anyone unless I'm there.
01:08:00They can't force you to talk unless your attorney's present.
01:08:02Get him out of here before he gets some more instructions.
01:08:04Oh, and I want you to testify that he had a rather blank look on his face when he was
01:08:07arrested.
01:08:09I'll sue.
01:08:13I take it all back.
01:08:15What?
01:08:16Sean O'Malley was a deacon in the church alongside of you.
01:08:19And now that I've got a client, I'll take you to breakfast
01:08:21and we'll discuss your late husband's estate.
01:08:23Mrs. O'Malley.
01:08:25Yeah?
01:08:26Welcome to New York City.
01:08:28Hey.
01:08:30Hey.
01:08:49Mrs. O'Malley and Mr. Malone.
01:08:52For them, J. Edgar Hoover is the perfect chaperone.
01:08:56Crime doesn't pay folks, but look what they owe.
01:08:58Mrs. O'Malley and Mr. Malone.
01:09:04Mrs. O'Malley and Mr. Malone.
01:09:04Mrs. O'Malley and Mr. Malone.
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