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An ex-soldier and his new girlfriend comb France for a valuable relic...which others are willing to kill for.
#crime #drama #mystery #romance

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🎈
Fun
Transcript
00:00:00THE END
00:00:31THE END
00:01:06THE END
00:01:30THE END
00:01:33THE END
00:02:03THE VILLAGE PRIEST
00:02:04ALWAYS THE FIRST AWAKE
00:02:05WAS ON HIS WAY TO THE CHURCH
00:02:07WHEN SUDDENLY
00:02:11THE BELLS WERE RINGING
00:02:13THE BELLS THAT HAD BEEN SILENT
00:02:15EVER SINCE THE DISAPPEARANCE
00:02:16OF THE GAUNTLET OF SAINT ELSAIR
00:02:18THE FAMOUS GREEN GLOVE
00:02:20WHICH HAD MADE THIS VILLAGE
00:02:21AN OBJECT OF PILGRIMGE
00:02:22TO THE SICK, THE MAIMED,
00:02:24AND THE FAITHFUL
00:02:24FOR NEARLY A THOUSAND YEARS
00:02:26TO FATHER GORON
00:02:28IT MEANT THAT THE GAUNTLET
00:02:29HAD COME HOME
00:02:29FOR THE VOW HAD BEEN MADE
00:02:31THAT THE BELLS
00:02:32SHOULD NEVER RING AGAIN
00:02:33UNTIL IT RETURNED
00:02:35BUT IT WASN'T THERE
00:02:36IN THE NICHE
00:02:37WHICH HAD BEEN EMPTY SO LONG
00:02:38WHY THEN DID THE BELLS RING
00:02:40AND WHO WAS RINGING THEM?
00:03:16THE FAMOUS GREEN GLOVE
00:03:40THE FAMOUS GREEN GLOVE
00:04:04THE GAUNTLET
00:04:04THE GAUNTLET
00:04:05HE HAS COME HOME
00:04:08WHO BROUGHT IT, FATHER?
00:04:09NOBODY, THERE WAS NOBODY THERE
00:04:14ONLY THE DEAD MAN
00:04:30WHO IS HE?
00:04:31DID HE RING THE BELL
00:04:33TO SAY THE GAUNTLET
00:04:33HAD COME HOME?
00:04:37NOBODY WAS UP THERE
00:04:41LOS ANGELES
00:04:43CALIFORNIA AND AMERICAN
00:05:12CALIFORNIA AND AMERICAN
00:05:13THE ALIVE LIBERATION
00:05:14OF THE SOUTH OF FRANCE
00:05:16THE GAUNTLET
00:05:30ONE SURVIVOR REACHED THE GROUND
00:05:32BEHIND THE GERMAN
00:06:02LIVES
00:06:07AND AMERICAN
00:06:08I'M CLOSER
00:06:13GENERAL
00:06:28GENERAL
00:06:30POOR RONA
00:06:32I SEE YOURS IS
00:06:33BLAKE
00:06:34LIEUTENANT BLAKE
00:06:34HOW COME A GERMAN SPEAKS
00:06:36SHE'S GOOD ENGLISH
00:06:37WHO SAID I WAS GERMAN?
00:06:39NO, WHAT I...
00:06:40I'VE CHANGED PASSPORTS
00:06:42SO OFTEN I'VE LOST TOUCH
00:06:44I WAS EDUCATED IN ENGLAND
00:06:45MY MOTHER WAS A CHECK
00:06:46MY FATHER WAS A POLLE
00:06:48IN THOSE DAYS
00:06:49THE POLES WERE RUSSIANS
00:06:50THE CHECKS WERE AUSTRIANS
00:06:52SO YOU WORK IT OUT
00:06:54THE AMERICANS ARE WASTING
00:06:55AN AWFUL LOT OF AMMUNITION
00:06:57YOU NEED EVERY SHELL YOU CAN GET
00:06:58ON THE GERMAN 19TH ARMY
00:07:00COUNTER ATTACKS AT DAWN
00:07:01THEY'RE GOING TO BE PUSHED
00:07:02TO THE SEA
00:07:03OH YEAH?
00:07:05OKAY, YOU TELL THAT
00:07:06TO INTELLIGENCE
00:07:07COME ON, LET'S GO
00:07:09COME ON, I SAID LET'S GO
00:07:10DETERMINED, ARN'T YOU?
00:07:12YOU MIND IF I TAKE THIS?
00:07:16OPEN IT
00:07:29I TOLD YOU WE'RE SKETCHED
00:07:33NOW WAIT A MINUTE
00:07:34WHAT ELSE YOU GOT IN THERE?
00:07:36OH
00:07:39IT'S A GREEN GLOVE
00:07:41SOMETHING VERY VALUABLE
00:07:44LISTEN BLAKE
00:07:45IF YOU LET ME GO
00:07:46IT'S YOURS
00:07:47IT'S WORTH ENOUGH
00:07:48TO MAKE YOU RICH
00:07:48FOR THE REST OF YOUR LIFE
00:07:50LOOK AT THOSE GEMS
00:07:53I TOLD YOU I SKETCHED
00:07:54THAT'S MEREALLY A SIDELINE
00:07:55IN PEACE TIME
00:07:56I'M AN ART DEALER
00:07:57ANTIQUES
00:07:58HAVE A SHOP IN LONDON
00:08:00PARIS
00:08:00EVEN NEW YORK
00:08:01YOU'VE PROBABLY HEARD OF IT
00:08:02RONAS
00:08:03CLOSER TIFFANY'S
00:08:05NEVER BEEN
00:08:06BLAKE
00:08:08LIKE THIS GLOVE IS
00:08:09WORTH OF A FORTUNE
00:08:10IF THE ONE COLLECTOR
00:08:10WOULD BE THERE
00:08:11COME ON LET'S GO
00:08:25DON'T SHUT WEAR FRIENDS
00:08:25DON'T SHUT WEAR FRIENDS
00:08:38DON'T SHUT WEAR FRIENDS
00:08:41WE WERE LOOKING FOR YOU
00:08:42EVER SINCE WE SAW YOU DROP
00:08:44FROM THAT PLANE
00:08:45DON'T WORRY
00:08:46THE UNDERGROUND
00:08:47HAS HELPED MANY OTHERS
00:08:48BEFORE YOU
00:08:50THERE'S A GEM IN HERE
00:08:51WHERE IS HE
00:08:52NOBODY CHAMS
00:08:53HERE
00:08:55I GUESS THE SHELL MUST HAVE GONE
00:08:58HURRY PLEASE
00:08:59HURRY
00:08:59WAIT A MINUTE
00:09:01GEMS ARE COUNTERATTACKING
00:09:0219TH ARMY
00:09:03I GOT TO GET A MESSAGE THROUGH
00:09:04THE MESSAGE WILL LEAVE AT ONCE
00:09:07PROMISE
00:09:08I PROMISE
00:09:09OF COURSE
00:09:10LET OTHERS WORRY NOW
00:09:11Pierre
00:09:12HELP HIM
00:09:36CHAMPING
00:09:37MADAME
00:09:38THANK YOU
00:09:38MISSIEUR
00:09:41YOU
00:09:41MY DEAD
00:09:43FIRST
00:09:44WE DRINK
00:09:44TO ROBERTE
00:09:47DARLINE
00:09:50I KNOW YOU ARE AS HAPPY AS WE ARE
00:09:52TO ROBERTE
00:09:53THE AMERICAN
00:09:55THE AMERICAN
00:10:22MADAME
00:10:23THE AMERICAN
00:10:23AND WE THINK TO THE ENGLISH
00:10:24AND TO THE FRENCH
00:10:26AND TO ROBERTE
00:10:29MY HUSBAND
00:10:33THE AMERICAN
00:10:34LISTEN TO THE MUSIC
00:10:36ROBERTE'S FAVORITE TUNE
00:10:38IT IS SAD BUT GAY TOO
00:10:41WE WOULD PLAY IT TOGETHER
00:10:43HE AND I
00:10:43IT WAS BEFORE THE WAR
00:10:46IT IS CATCHY IS IT NOT
00:10:48YOU REMEMBER DOCTOR
00:10:49THIS TUNE
00:10:50WHICH ROBERTE LOVED SO WELL
00:10:53WHAT
00:10:53WHAT IS IT
00:10:57NO
00:11:01WE FOUND HIM
00:11:02HE HAD MET A GERMAN PATROL
00:11:04HE WAS SUPPOSED TO BE IN BED
00:11:06HE COULD STILL SPEAK WHEN WE FOUND HIM
00:11:08HE SAID HE PROMISED AN AMERICAN
00:11:10THAT THE MESSAGE WOULD GO THROUGH THE LIONS
00:11:15HE'S DEAD
00:11:27HE THOUGHT HE WAS DOING SOMETHING FOR HIS COUNTRY
00:11:29HE DIED FOR NOTHING
00:11:31THAT MAN SWORE THE GERMANS WOULD ATTACK
00:11:34DON'T YOU SEE I
00:11:37WORDS CAN'T HELP MISS YOU
00:11:49ARE YOU READY MONSIEUR
00:11:55COUNTESS
00:11:56COUNTESS
00:12:00COUNTESS
00:12:01COUNTESS
00:12:02SHE HAS NOT SPOKEN SINCE
00:12:04HER REASON IS QUITE GONE
00:12:07YOU'RE FORGETTING YOUR BAG MISSIEUR
00:12:10YOU FOUND IT
00:12:10YES IN THE RUINS
00:12:12OH THE ROAD IS HARD
00:12:13IT WILL BE BETTER TO CARRY NOTHING
00:12:15THEN I WILL KEEP IT FOR YOU
00:12:16SOMEDAY YOU CAN COME BACK FOR IT
00:12:17AFTER THE WAR
00:12:19MISS PIERRE YOU KEEP IT
00:12:20MINE
00:12:21THANKS
00:12:31THAT WAS THE END OF THE BEGINNING
00:12:33THEY TOOK TO THE WOODS
00:12:36AND THE STORY STOPPED DEAD FOR SEVERAL YEARS
00:12:45IT STARTED AGAIN ONE FINE AUGUST
00:12:47MORNING IN PARIS
00:12:48THE YEARS HAD BEEN TOUGH FOR MICHAEL BLAKE
00:12:51EVERYTHING HAD GONE WRONG
00:12:53SO MICHAEL CAME BACK
00:12:54FOR SOMEWHERE IN THE SOUTH OF FRANCE
00:12:57HE KNEW OF A GLOVE
00:12:58WHICH WAS WORTH A FORTUNE
00:13:07BUT SOMEONE HAD BEEN WAITING
00:13:08FOR MICHAEL BLAKE'S RETURN
00:13:13THE PLATFORM ON WHICH WE'RE NOW STANDING
00:13:15IS 188 FEET ABOVE THE GROUND
00:13:18THE TOTAL HEIGHT OF THE STRUCTURE
00:13:19IS 975 FEET
00:13:21AND NOW IF YOU'LL CONTINUE WITH ME
00:13:23TO THE NORTHEAST PARAPIT OVER THERE
00:13:24YOU'LL BE ABLE TO GET A GOOD LOOK
00:13:26AT THE SEIN AND ALL THE BRIDGES BELOW US
00:13:30THIS WAY
00:13:51THANK YOU
00:13:51LOOK OVER YOUR SHOULDER
00:13:53AND TELL ME WHAT THE LITTLE MAN IN THE GREY SUIT'S DOING
00:13:55PLEASE
00:13:57YOU COMING THIS WAY
00:14:01YES
00:14:02YES
00:14:04NOW LOOK I'M GOING TO CATCH THAT ELEVATOR
00:14:05HE TRIES TO FOLLOW ME STOP HIM
00:14:07ASK HIM THE TIME
00:14:07ANYTHING TO DELAY HIM
00:14:08WHO ARE YOU
00:14:09THANKS
00:14:17OH PLEASE
00:14:18PLEASE
00:14:18CAN YOU TELL ME THE TIME
00:14:20OH IT'S TEN MINUTES TO 12
00:14:22OH SORRY
00:14:23I MADE YOU MISSER ELEVATOR
00:14:25THERE
00:14:25BUT YOU CAN WALK DOWN
00:14:33EXCUSE ME PLEASE
00:14:34I'M VERY SORRY
00:14:36BY NOW OF COURSE
00:14:37YOU'VE ALL SEEN THE RIVER SEIN
00:14:38WHICH FLOWS THROUGH PARIS
00:14:39IF YOU LOOK TO YOUR LEFT
00:14:41YOU'LL FIND THE FAMOUS MONUMENT
00:14:42THE ARC DE TRIONCE
00:15:01THE TROUBLE WITH YOU IS
00:15:02JIMMY YOU DON'T DRINK ENOUGH
00:15:03I OUGHT TO TAKE LIQUOR SERIOUSLY
00:15:05OR NOT TAKE IT AT ALL
00:15:06I WANT ANOTHER NIGHT CAP
00:15:07YOU HAD FOUR ALREADY
00:15:09I'M GETTING A TASEL
00:15:11BRING ANOTHER SCOTCH ME
00:15:13ANYTHING YOU SAY?
00:15:14OH JIMMY
00:15:19BERBON AND WATER
00:15:20BERBON AND WATER
00:15:21BERBON AND WATER
00:15:22CHUCK
00:15:23MY OLD BUDDY CHUCK
00:15:26MIKE
00:15:27YEAH THAT'S RIGHT MIKE
00:15:28YOU'VE HEARD ME TALK OF MIKE
00:15:29OHIO STATE TOGETHER
00:15:30MIKE THIS IS CHRIS
00:15:31CHRIS KENNED
00:15:33CHRIS KENNED
00:15:34CHRIS KENNED
00:15:34DID ME A BIG FAVOR TODAY
00:15:36YOU
00:15:37OH YOU KNOW HE'S AT EARN
00:15:40BERBON AND WATER
00:15:41THAT'S 3.50
00:15:42MIKE
00:15:43YOU CAN FINISH YOUR DRINK
00:15:55NICE MUSIC ISN'T IT
00:15:59HOW ABOUT A DANCE?
00:16:01I'D LOVE IT
00:16:03TAKE IT EASY
00:16:04TAKE IT EASY
00:16:06METCO
00:16:08HELLO
00:16:24HELLO
00:16:26WHY WERE YOU IN
00:16:27SUCH A HURRY TO GO AWAY?
00:16:29OH YOU PROBABLY ASKED A LOT
00:16:30OF QUESTIONS I WOULDN'T WANT
00:16:31TO ANSWER
00:16:32YOU
00:16:33YOU'RE SO ROUGH
00:16:34WHAT WAS IT ALL ABOUT
00:16:35THIS MORNING?
00:16:36WHY WAS THAT MAN FOLLOWING YOU?
00:16:38I DON'T KNOW
00:16:40WHAT ARE YOU DOING TOMORROW?
00:16:43I'M SHOWING TOURISTS
00:16:44SIGHTS OF PARIS
00:16:45OH I'M A STRANGER IN TOWN
00:16:47HOW ABOUT GIVING ME A GUIDED TOUR
00:16:49OFFICIAL?
00:16:49OR UNOFFICIAL?
00:16:51UNOFFICIAL?
00:16:52WELL FIRST YOU'RE GOING TO
00:16:53TELL ME A LITTLE MORE
00:16:54ABOUT THE MAN WHO WAS FOLLOWING YOU
00:16:56NOTHING MORE TO TELL YOU
00:16:59YOU KNOW SOMETHING?
00:17:00I DON'T BELIEVE YOU
00:17:02ALL RIGHT LOOK
00:17:03I HAVEN'T ROBBED A BANK
00:17:04I HAVEN'T KILLED ANYBODY
00:17:05AND I'M NOT AN INTERNATIONAL SPY
00:17:07YOU BELIEVE THAT?
00:17:09I'LL TRY
00:17:13YOU DON'T DO THIS
00:17:15NOW IT'S GOT ME INTO MORE TROUBLE
00:17:30UH HE WENT HOME WHILE
00:17:32HE STILL KNEW WHERE
00:17:33THAT ISN'T BE NEW WHERE
00:17:35HE SAID FOR HIS FRIEND
00:17:36UH MIKE TO LOOK AFTER YOU
00:17:37CHRIS
00:17:38OH THANKS MIRRY
00:17:40THANKS
00:17:43UH
00:17:43UH
00:17:44UH
00:17:53WHEN WE GROW OLD
00:17:54I'LL GET YOU A GUITAR PLAYER
00:17:55HE'LL PLAY FOR US ALL THE TIME
00:17:57WE?
00:17:58UH-HUH
00:17:59IS THAT A FIRM OFFER?
00:18:00YOU KNOW I ALWAYS MAKE
00:18:01THESE RASH PROMISES
00:18:02ABOUT TWO IN THE MORNING
00:18:04NEVER IN FRONT OF WITNESSES
00:18:05SO
00:18:05UH-HUH
00:18:08DID ANYONE EVER TELL YOU
00:18:09YOU WEREN'T BAD-LOOKING?
00:18:11WHY AREN'T YOU MARRIED IN THEN FOUR?
00:18:13WHY AREN'T YOU?
00:18:15MM-HMM
00:18:16JUST ONE OF THOSE THINGS?
00:18:18THAT'S GREAT
00:18:19MAYBE I CAN SEE YOU EVERY NIGHT
00:18:20FOR A WEEK
00:18:21MAYBE?
00:18:22MM?
00:18:22MAYBE
00:18:24OF COURSE YOU'RE GONNA HAVE
00:18:25TO COME TO MARTY CARLO
00:18:27YOU'RE GOING TO MARTY CARLO?
00:18:28YEAH
00:18:286 O'CLOCK TRAIN TOMORROW NIGHT
00:18:31WELL I THINK IT'S VERY RUDE
00:18:32OF YOU TO TOY WITH MY AFFECTIONS LIKE THAT
00:18:34WELL COME WITH ME
00:18:35THERE'S YOUR NIGHT CLUB
00:18:36THAT'S HOW I MET YOUR FRIEND JIMMY
00:18:38I WAS IN BUYING A TICKET
00:18:39WHAT DO YOU MEAN?
00:18:41YOU WENT TO OHIO STATE TOGETHER
00:18:42I DIDN'T GO TO COLLEGE
00:18:46WELL
00:18:47THAT'S RIGHT
00:18:49KIND OF LOOKS LIKE WE SPENT THE NIGHT TOGETHER
00:18:51UNDER FALSE PREDISTS
00:19:02THANKS FOR SAVING MY LIFE
00:19:04I'M NOT HERE
00:19:06I'M NOT HERE
00:19:07I'M NOT HERE
00:19:35TOGETHER
00:19:37Yeah?
00:19:38This porter from your hotel said you might come here.
00:19:40Yeah, what about it?
00:19:41Will you please return with us to your hotel?
00:19:44Why?
00:19:45What is all this?
00:19:47I'm Inspector Faube of the Paris Police Department.
00:19:49I desire information regarding the man who lies dead in your room.
00:19:54Please.
00:20:12Do you know this man?
00:20:17Yeah, I've seen him before.
00:20:18He's on for a minute on the Eiffel Tower.
00:20:20Why do you recall having seen him?
00:20:23For the life of me, I can't remember.
00:20:26For the life of you, perhaps you had better remember.
00:20:29And what is Mademoiselle's knowledge of this matter?
00:20:32Have you seen this dead person before?
00:20:36One.
00:20:37Also on the Eiffel Tower.
00:20:39Yes, that's where I saw him.
00:20:42I don't remember why I noticed him either.
00:20:44That is definite, Mademoiselle?
00:20:45Yes.
00:20:46You know that to lie on behalf of a criminal is to render yourself an accessory.
00:20:49Look, don't call me a criminal.
00:20:51Why should she lie?
00:20:52Perhaps your hearing's faulty.
00:20:53I didn't say she lied.
00:20:57So neither of you can recall why you noticed this man.
00:21:01It was chance.
00:21:02Or a psychic urge which drew the three of you together.
00:21:06The doctor says he's been dead from two to six hours.
00:21:09May I ask you where you were during that time?
00:21:12A little cabaret down the street.
00:21:14I don't know.
00:21:15It was a place called a sleeping cat or something.
00:21:17Before that?
00:21:18I was here.
00:21:20It is well you spoke the truth.
00:21:21There are witnesses to prove that.
00:21:23What are you doing in France, monsieur?
00:21:26Spending my money.
00:21:27You got any objection?
00:21:28None, if that is the reason for your visit.
00:21:32Look, all right.
00:21:33I came here.
00:21:35I came here to kill a guy.
00:21:36I left his body in my bedroom for the major fine.
00:21:38Go on, arrest me.
00:21:39I cannot arrest you without further proof.
00:21:42But you will be transferred to another room.
00:21:44One of my men will be on head.
00:21:46We'll call it protective custody.
00:21:48Yes, well, that's very generous of it.
00:21:50You see, there are three elements in your favor.
00:21:52First and strongest, of course, is this young lady's statement, substantiating her own.
00:21:58Second, you stayed out tonight instead of disposing of the deceit while it might have been possible.
00:22:03Third, you seem to be a reasonably intelligent person.
00:22:07If you'd kill this man, I believe you would have destroyed this drawing.
00:22:10It was at a dead man's pocket.
00:22:13I believed you, monsieur, when you failed to identify him because it's obviously needed a means to identify you.
00:22:18But, uh, it also indicates that there is somewhere a link or a connection between your presence in France and
00:22:26his death.
00:22:28Order of you, is it not?
00:22:30Lieutenant of United States Airborne Infantry.
00:22:38Your coffee, monsieur?
00:22:41You've only got one there.
00:22:42What about one for my friend outside?
00:22:44Monsieur?
00:22:45My watchdog, the policeman, who's wearing the carpet out.
00:22:48There is no policeman, monsieur.
00:22:50Oh, yes, there is.
00:22:59Hey, you're right, he's gone.
00:23:01Is that all, monsieur?
00:23:02Well, yeah, thanks.
00:23:04Yeah, monsieur?
00:23:10May the police department, please.
00:23:13Inspector Fulbert.
00:23:15Who's calling?
00:23:16This is Mr. Blake.
00:23:17This is Inspector Fulbert's secretary.
00:23:20I'm sorry, but the inspector will be away from Paris for five days.
00:23:23Hey, wait a minute.
00:23:24You think I'm going to hang around here for five days waiting for him to come back?
00:23:27I regret, monsieur, but if you will telephone next week.
00:23:30Next week?
00:23:34Yeah.
00:23:36Yeah, I will.
00:23:37Anytime after Tuesday.
00:23:38Au revoir.
00:23:39Au revoir.
00:24:20Thank you, sir.
00:24:22Oh, pardon me. Pardon me also, monsieur. Pardon me.
00:25:19Oh, pardon me.
00:25:22Oh, pardon me.
00:26:01Oh, pardon me.
00:26:11Oh, pardon me.
00:26:22Oh.
00:26:35What does it say?
00:26:39Oh, pardon me.
00:26:42You spoke it when you bumped into me this morning.
00:26:44Who hired you to follow me?
00:26:47Follow, monsieur?
00:26:48Yeah.
00:26:48You're the 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.
00:26:54Well, let's keep it that way, huh?
00:26:55You go to Saint-Denis.
00:26:56I go to Calais.
00:26:58Calais?
00:26:58That's right.
00:26:59I'm going on to England.
00:27:00Tell that to your boss, too.
00:27:01Oh, I know Calais.
00:27:02The mother of my wife, the mother of my wife, she has an hotel there.
00:27:04An 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.
00:27:48Good afternoon.
00:27:50Good afternoon.
00:27:55Seat 4, kapatna 8.
00:27:58The porto, where's your baggage?
00:27:59I'm traveling light.
00:28:00Of course, I forgot.
00:28:01Forgot what?
00:28:02Better travel light.
00:28:11Your seat is opposite to madame.
00:28:14It was madame who said you would be traveling light.
00:28:17What are you doing here?
00:28:19Please get off.
00:28:19You're going to get us both in trouble.
00:28:20Oh, it's very nice of you to come down to see me, ah, Chris.
00:28:22But the train's about to leave.
00:28:23Listen to me.
00:28:23I went to your hotel room.
00:28:24I found your note to Faux-Bear.
00:28:25You shouldn't read other people's mail.
00:28:27This is crazy.
00:28:27He told you not to leave.
00:28:29Well, he left.
00:28:29I don't believe it.
00:28:30Yeah, and the watchdog outside my bedroom door, he left, too.
00:28:32Michael, don't joke.
00:28:33And don't go away and leave me with all this, whatever it is, without telling me anything.
00:28:37I'm frightened.
00:28:37There's nothing to be frightened about.
00:28:38And there's nothing to tell you.
00:28:40Now, why don't you go back to your hotel and just try to...
00:28:41Well, I went back to my room last night.
00:28:46Somebody had already broken in and torn things all apart.
00:28:52Excuse me.
00:28:54Do you speak English?
00:28:55No, monsieur.
00:29:01Would you have done that?
00:29:02That's what I'm asking you.
00:29:04You got me into all of this.
00:29:05I 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.
00:29:12I 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.
00:29:18Like, drawings of you.
00:29:20In a pocket of a dead man.
00:29:22Now, listen.
00:29:22You don't even know where the drawing came from, I suppose.
00:29:25Madame, ticket, please.
00:29:29Madame hasn't got a ticket.
00:29:30Hasn't got a ticket?
00:29:31No, 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 its
00:29:38destination.
00:29:39Madame isn't going anyplace.
00:29:40I am a viewer.
00:29:41I'm not without a ticket.
00:29:43And the fare is 5,799 francs.
00:29:46Look, Madame's getting off the train right now.
00:29:49Now, listen.
00:29:50Too late.
00:29:51And no tickets.
00:29:52Where's the emergency cord on this thing?
00:29:54If you put that cord, you're faced with a fine of 5,000 francs.
00:29:57And imprisonment, it's that fear.
00:30:00According to regulation, 5,700 francs.
00:30:03And 99 francs.
00:30:0499 francs.
00:30:05That's 10,000 there.
00:30:06You keep the change.
00:30:08Oh, thank you, monsieur.
00:30:09I'll buy some new glasses with it.
00:30:10Thank 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 me?
00:30:22Look, he went out on a date or something.
00:30:23I don't know.
00:30:23Oh, that's ridiculous.
00:30:24All right, so I killed him, too.
00:30:31You think she understood me?
00:30:33No, we're just keeping her awake.
00:30:35Did they see your tickets, sir?
00:30:50The police walked out on me.
00:30:52But you can't run away like this.
00:30:54They'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.
00:31:02It's none of your business now.
00:31:04I don't want any more of your help, Chris.
00:31:05I'm not offering my help.
00:31:07Hasn't it crossed your mind that I'm in this too as deep as you are?
00:31:10Oh, no.
00:31:10If you get away, I'll be in jail.
00:31:12Oh.
00:31:13Get this.
00:31:14I'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...
00:31:31Hey, l'amour.
00:31:33Toujours l'amour.
00:31:53Wake up, Mike.
00:31:54Wake up.
00:31:55What?
00:31:56Where are we?
00:31:56We're in the south of France.
00:31:57The south of France.
00:31:58You were supposed to get off last time.
00:31:59Never mind that.
00:32:00Did you kill that man?
00:32:01Kill what?
00:32:02Don't, Hedge.
00:32:03Tell me.
00:32:03What?
00:32:04I didn't kill any man, Chris.
00:32:05Now, what is all this about?
00:32:06The police are on the train.
00:32:08Police?
00:32:09Yes.
00:32:11There's one just two compartments away.
00:32:12The man that I saw with Probeck after he left you last night.
00:32:15You didn't escape.
00:32:16They let you get away to see where you'd end up.
00:32:18I'll go past his window.
00:32:20You hop out along the corridor the other way.
00:32:22You're going to help me?
00:32:23We'll both end up in jail if I don't.
00:32:25Look, if he doesn't follow me,
00:32:26then I'll meet you at the warehouse in front of the station.
00:32:29Good luck, Mike.
00:32:31Hey, you call me Mike.
00:32:34Don't let it go to your head.
00:32:42He's down.
00:32:43He's down.
00:33:11That 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.
00:33:20Save your breath for walking.
00:33:29Hey, there's a little cafe.
00:33:31Think we can miss some coffee?
00:33:32No, but we will.
00:33:37Well, the prisoner ate a hearty breakfast.
00:33:39Both 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.
00:33:51All right, I'll tell you.
00:33:55I'm going to try to find an old ruined farmhouse near a chateau.
00:34:00It'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.
00:34:08But it was a war, remember?
00:34:11So 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.
00:34:27But somebody knows.
00:34:29Why 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?
00:34:40Phony camp that talked too much.
00:34:42Kind 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?
00:35:00Ah.
00:35:01Mm-hmm.
00:35:03Exquisite.
00:35:06The American left Paris in the six o'clock last night.
00:35:10Peppa's on a train, too.
00:35:11It arrives here in Monte Carlo at 11.
00:35:14Hello, darling.
00:35:16Kirby!
00:35:18Good morning, dear staff.
00:35:19My dear.
00:35:20Good morning.
00:35:21Paul.
00:35:21Uh, we'll buy the picture.
00:35:23You'll make the deal.
00:35:24Bye.
00:35:24Paul.
00:35:25Paul, I just met Nina Howard.
00:35:27Why aren't we joining your party tonight?
00:35:29You know Mr. Perrin would be there.
00:35:30I have business, Gabby.
00:35:31Well, this party is business to me.
00:35:33If I'm to get into one of his new players.
00:35:35Ah, but my business could be worth more than $100,000.
00:35:38But tax-free.
00:35:39Well, that's this.
00:35:41I promise you'll meet Mr. Perrin before he goes.
00:35:44You're wonderful, Paul.
00:35:45Shall we go?
00:35:46Yes.
00:35:47You still want me to take you to Nice?
00:35:49No, I've changed my mind.
00:35:51I want to see Saint Alvear.
00:35:52Who is Saint Alvear?
00:35:54He's a saint.
00:35:54A saint?
00:35:55Well, he's also a place.
00:35:56At where?
00:35:57About 20 miles in distance.
00:35:59A thousand years in habit and thought.
00:36:01Years.
00:36:02I don't understand.
00:36:04Of course you don't.
00:36:05It's 20 miles.
00:36:39That's the village up there.
00:36:40Are we going to that old place?
00:36:43Come over here.
00:36:47This is a very famous spot in local legend.
00:36:49It's called the Sharp Point.
00:36:51Because it's sharp, as you can see.
00:36:54And this is where it's in Alvear when it's battle over the moors.
00:36:56I thought you said he is a saint.
00:36:58He is.
00:36:59A very fiery one.
00:37:00But this was way in the past.
00:37:01You see, the moors were attacking way up that road.
00:37:06It's the only road connecting to the village or the outside world.
00:37:09But in Alvear, attacked the moors from the rear.
00:37:11He led his men down to this spot by the only other route.
00:37:14An almost impossible goat track.
00:37:16Well, that was the end of the moors.
00:37:18You can see the goat track over there.
00:37:20It starts from the village, clings to the precipice, and takes a very dangerous course down the face of the
00:37:25cliff.
00:37:26You can see the track clearly as it reaches the valley and zigzags across rough country to a point directly
00:37:31below us.
00:37:32Then it climbs again, very steeply, up, up, up to this point.
00:37:38What's up for this village, anyway?
00:37:39It's not what is there now.
00:37:41It's what was there once.
00:37:44Way in the past?
00:37:45Well, in the past.
00:38:30Here we are.
00:38:32This is the tool for now, dear.
00:38:39Is that his portrait?
00:38:40Yes, with his sword and his gauntlet.
00:38:42What was that?
00:38:43Oh, that's where the gauntlet used to be before it was stolen.
00:38:50Good morning, Father.
00:38:51Can I be of help to you?
00:38:53Oh, good morning, Father.
00:38:54Good morning.
00:38:54Your shrine is very beautiful.
00:38:55It is very quiet now.
00:38:57Of course, it was not always so.
00:38:59People used to come here in their thousands.
00:39:02In the time of the gauntlet?
00:39:03Oh, you know about the gauntlet there.
00:39:04It used to be over there, didn't it?
00:39:05Night and day.
00:39:07Now, who could imagine that it would not be safe there?
00:39:10But you can't imagine what's gone since the war.
00:39:12Pictures, priceless objects, have changed hands.
00:39:15Things the world still believes to be lost.
00:39:16I know a New York collector would pay 12 million francs for a stolen Chilini 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.
00:39:28Or perhaps it will.
00:39:29I believe that one day it will come home.
00:39:33And then you will ring the bell.
00:39:35Oh, you know about the bell, too.
00:39:37The bell that has never rung since the day the gauntlet was stolen will never ring again until it comes
00:39:42back.
00:39:43Yes, I read that somewhere.
00:39:44Well, thank you, Father.
00:40:03Goodbye, darling.
00:40:08You'll call me later.
00:40:10Yes.
00:40:13Inspector Faux-Bear.
00:40:15One doesn't expect it to see you in Monte Carlo.
00:40:17I flew in this morning.
00:40:18I suppose even a policeman can combine business with pleasure.
00:40:21Business?
00:40:21Rather serious business.
00:40:23But I expect we shall meet at the casino.
00:40:24With pleasure.
00:40:40Mr. Faux-Bear.
00:40:42This telegram arrived for you from Pepe.
00:40:44I decoded it.
00:41:18Madame, this is the 14th road we've driven up since the moon.
00:41:22Now, I am an understanding man.
00:41:24But my wife, who prepares my supper, is not so understanding.
00:41:28I know, I know.
00:41:29But I have a feeling this road is different.
00:41:32Madame.
00:41:40There it is.
00:41:45There it is.
00:42:00Mike, wait.
00:42:04Wait for me.
00:42:10She even lost the chateau.
00:42:12It's the only thing left she loved.
00:42:20Look, don't you see, Chris, I'm nothing but bad luck.
00:42:23This proves it.
00:42:24Oh, no, Mike.
00:42:28You're not to blame because the place was destroyed by the war.
00:42:32All right, why come back if you weren't ready to face things?
00:42:35I was.
00:42:36There'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...
00:42:45Well, maybe if I came back and found the glove, it might help.
00:42:49I don't know.
00:42:50It might...
00:42:50It might help all of us.
00:42:53Bad luck better pay off sometime.
00:42:55Don't go.
00:42:57I'd like a little chat.
00:43:10I did a sketch of you for memory.
00:43:14Rather good.
00:43:17We've met before.
00:43:19Count Paul Rona.
00:43:21Polish title.
00:43:23Come up.
00:43:29Just to clarify matters, I've been keeping a tab on you since the war, through my New York office.
00:43:35I must say you've had a difficult time.
00:43:38Why was that man killed in Michael's room?
00:43:40Ah, yes, I did read about that in the papers.
00:43:42Conrad Verneau, the man who was beaten to death.
00:43:45I imagined he knew what you'd come for and decided to double-cross somebody.
00:43:50What'd I come for?
00:43:51Well, perhaps he wanted to make a deal behind somebody's back.
00:43:54So you killed him.
00:43:55My dear young lady, I've never killed anyone in my life.
00:43:58Not even during the war.
00:43:59The Germans looked upon me as a value collaborateur.
00:44:02Whereas the French regarded me as one of their spies.
00:44:05It's a convenient arrangement.
00:44:06Well, that's beside the point.
00:44:08You're broke.
00:44:09That's why you've gone to France.
00:44:10To cash in on the glove.
00:44:12So it's still here.
00:44:15Where?
00:44:17It might be wiser to tell me, Blake.
00:44:20Don't hear me.
00:44:23Don't touch him.
00:44:26Not yet.
00:44:28It was silly, Blake.
00:44:32But it isn't the first time blood's been shed for the gauntlet of St. Elsie.
00:44:36What?
00:44:36The green glove.
00:44:38It's the same thing.
00:44:39Oh, let's go.
00:44:39You won't get it far without my help.
00:44:41Your help?
00:44:42A warrant's finition for your arrest.
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.
00:44:48He was shot dead as you left your coach.
00:44:50A piece of stupidity to the part of the police never forget the murder of one of themselves.
00:44:54However, they think you did it, Blake.
00:44:56So it's you thereafter.
00:44:57You framed yourself.
00:44:58Opportunity.
00:44:59Motive.
00:44:59Flight.
00:45:00Another 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.
00:45:06I'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 crab.
00:45:13A rough customer.
00:45:15Get out of my way.
00:45:20Get out of my way.
00:45:26Mike!
00:45:28Mike!
00:45:30Mike!
00:45:38I'll get you out of my way.
00:46:20Don't kill him!
00:46:21Come on.
00:46:29Go out.
00:46:41I think I heard the American.
00:46:43The girl to get him.
00:46:45Get two men.
00:46:46Go around to the bank.
00:46:48Yes.
00:46:49What is it?
00:46:49They are here, eh?
00:46:51I did like to let you know.
00:46:52Yes, yes.
00:46:52You were quite right.
00:46:53Come on.
00:46:54Come on.
00:46:58Come on.
00:46:59Come on.
00:47:02Come on.
00:47:05Come on.
00:47:36I know your face.
00:47:39The most ridiculous young man.
00:47:42Well, he's not lying in the ruins.
00:47:44Then he's halfway down.
00:47:47Oh, yes.
00:47:48Oh, a half yard more.
00:47:50And you could as well be a fish.
00:47:58Pierre.
00:48:07Mike.
00:48:09He's here.
00:48:11Please.
00:48:13How did you get away?
00:48:14The man who held her ran away when I saw Pierre and me.
00:48:18Foolish was it not to run from a man who is old and a woman who is man.
00:48:24Oh, bring him to the village.
00:48:26An empty village.
00:48:28No more than 50 people.
00:48:30Including the cats.
00:48:32Cluster.
00:48:35Good night.
00:48:53This is my new home.
00:48:55It is poor.
00:48:56But it is a good enough place to wait.
00:48:59Until the chateau is revealed?
00:49:00The chateau, child.
00:49:01It is to burn for that.
00:49:03No.
00:49:04I'll 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 get water for your face.
00:49:18Time has stopped for her, monsieur.
00:49:20She believes her son, Armand, still lives.
00:49:24We must get out of here.
00:49:25No.
00:49:26No.
00:49:27You said you were ready to face things.
00:49:29Yeah, I know.
00:49:29But she doesn't even know what's happened.
00:49:32Well, we'll be quick.
00:49:34And Armand must come soon.
00:49:35Surely about two.
00:49:37Oh, he will be shocked to see the bruises on your face.
00:49:45That is Armand.
00:49:47Didn't I tell you he would come?
00:49:50Over there.
00:49:51Over there.
00:49:52Quick.
00:49:56Pardon for disturbing you, madame, but we saw the light.
00:49:59We searched for a man who is wanted for murder.
00:50:02May we know who is here?
00:50:03He is.
00:50:03It is Pierre, my concierge.
00:50:05And madame.
00:50:07Nobody else.
00:50:08Very well.
00:50:10But it's late for you to be out of your bed.
00:50:12Good night, madame.
00:50:14Monsieur.
00:50:16Good night.
00:50:18Good night.
00:50:19Good night.
00:50:20Good night.
00:50:21Good night.
00:50:23Good night.
00:50:24Good night, madame.
00:50:27But he talked of a man who was wanted for murder.
00:50:31You've heard?
00:50:32Yeah, I heard.
00:50:33Listen, I didn't murder anybody.
00:50:35The police are leaving.
00:50:37Yeah, well, I guess we might as well be going too.
00:50:40You show us the way?
00:50:41Monsieur, are you not forgetting something?
00:50:45That little bag you left.
00:50:46Bag?
00:50:47Yes.
00:50:47Clear into the burning chateau to save it for you.
00:50:50I promised I would keep it.
00:50:51Thanks.
00:50:52You might as well give it to me then.
00:50:53What is it in there, monsieur?
00:50:55It must be very valuable for you to have come so far.
00:50:57Nothing.
00:50:59Armand would like to know.
00:51:00He's interested in so many subjects.
00:51:03I think she has the right to see it, Mike.
00:51:05I think you owe it to her.
00:51:06Well, there's nothing in it, but a lot of drawings.
00:51:10A lot of green gloves.
00:51:13Tell us about St. Elziard, Pierre.
00:51:15St. Elziard?
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.
00:51:28And the gauntlet of St. Elziard.
00:51:33Is it, is it possible?
00:51:39The gauntlet of St. Elziard.
00:51:45Look at her, Mike.
00:51:50I saw it once before.
00:51:53When I went to the old church with Armand.
00:51:58The pilgrims would come in there's house.
00:52:03To touch the gauntlet.
00:52:05Just to touch it.
00:52:12Come on.
00:52:13Come on.
00:52:33I remember you were here when Armand died.
00:52:45But now I know he will never go.
00:52:50Ever again.
00:53:18Nobody around?
00:53:20I still think we should have taken the road.
00:53:21Fine, run into the police.
00:53:23Until we figure something out,
00:53:24we haven't got a leg to stand on.
00:53:25Well, right now, I haven't got a leg to walk on.
00:53:28You're tired, huh?
00:53:29Oh, tired.
00:53:30If I hike 10 miles in high heels, try it sometime.
00:53:33Yeah, look at those clouds over there.
00:53:34It's going to rain any minute.
00:53:35Come on, let's go.
00:53:37Where to?
00:53:38Marseille?
00:53:39Paris?
00:53:39The police are sure to catch up with us someday.
00:53:41Maybe they won't.
00:53:43Miracles can happen, you know.
00:53:44Oh, miracles.
00:53:46But you know, I almost believe in miracles.
00:53:49When she touched that glove, something strange happened.
00:53:52Look, she just fainted and she hit her head.
00:53:54That's all, Chris.
00:53:55You think she'll ever stop crying again?
00:53:56Not thinking anymore.
00:53:58Did you know before what the glove meant?
00:54:01It shouldn't have come back just because you thought it would pay off.
00:54:05You know, Mike, three nights ago, I was in love with you.
00:54:11I even wanted to marry.
00:54:15But I wouldn't now.
00:54:17You're not the way you are.
00:54:19I didn't know I'd asked you.
00:54:48I didn't know I was in love with you.
00:55:06I didn't know I was in love with you.
00:55:07Good evening.
00:55:07Good evening.
00:55:08Monsieur, madame.
00:55:09You are so wet like fishes.
00:55:11Come by the fire.
00:55:12Warm yourself.
00:55:16Take in charge.
00:55:17Yes, mama.
00:55:18You'll set your dry clothes from the car.
00:55:19Oh, we have no car, ma'am.
00:55:22We were hiking, son Raphael.
00:55:23We 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.
00:55:28And we can dry your clothes while you sleep.
00:55:32It's a warm bed.
00:55:35Recommended.
00:55:38She thinks we're married.
00:55:39Right, we are.
00:55:40Yes, we're Mr. and Mrs. Smith.
00:55:42Mr. and Mrs. John Smith.
00:55:43Why?
00:55:44Because.
00:55:44Because of the police.
00:55:45Because of them.
00:55:46The register, monsieur.
00:55:49Yes.
00:55:49Yes.
00:55:50Well, would you like to sign for us, darling?
00:55:56Mr. and Mrs. Smith, just so I didn't know, now, yet.
00:55:59It's ridiculous.
00:56:01Robe for madame.
00:56:03And my robe for monsieur.
00:56:06If you will both come to your room and take off all of your clothes.
00:56:10My wife is a little bit shy.
00:56:13Yes, you see, we just got married today.
00:56:16Today?
00:56:17Oh.
00:56:19Oh, I understand.
00:56:22No.
00:56:23Gold.
00:56:26Give him a brandy.
00:56:27Yes, mama.
00:56:28So he won't catch gold.
00:56:29You can change in the kitchen.
00:56:31Come.
00:56:32Yes.
00:56:37I'll see you later, mama.
00:56:41Mama.
00:56:46Here we are.
00:56:52Is it that monsieur and madame spend their honeymoon walking?
00:56:54Yes.
00:56:57It's original, isn't it?
00:56:59We thought only the English did such things.
00:57:04We'll both be so comfortable here.
00:57:07And we'll serve dinner by the farm with our best wine to warm the cockles with your husband.
00:57:11Well, I won't need warming.
00:57:13I'm sure of that.
00:57:15And my husband will die downstairs.
00:57:19But, 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 keep the key to your husband.
00:57:31Oh, no.
00:57:31No.
00:57:33I'll keep it.
00:58:08I'll keep your spirits up.
00:58:09What's the matter?
00:58:10Do I look depressed?
00:58:11Oh, on your wedding night, monsieur?
00:58:13No.
00:58:14There you are.
00:58:15By the way, my wife said the bride is gone to bed.
00:58:19Is that a fact?
00:58:20Yes.
00:58:21No, she didn't even kiss her husband goodnight.
00:58:26Arthur!
00:58:28Chuck, old friend!
00:58:31How goes it?
00:58:32Well, 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 improves.
00:58:43How do you do?
00:58:45How do you do?
00:58:47Brandy and make it large.
00:58:49Brandy, Alfonso, I should have mine.
00:58:52It's nothing like Brandy to do.
00:58:55Lift up the spirits.
00:58:58Thank you, monsieur.
00:59:00Alfonso, there's something I wanted to tell you.
00:59:02Madame Berto asked for you tonight.
00:59:04You know that weirdo, she views you with an amiable eye.
00:59:07She's still fair, but friendly.
00:59:10And her bouillabaisse.
00:59:11It was a gourmet dream.
00:59:13I tell you, Alfonso, if I were in your shoes then...
00:59:16Oh.
00:59:28Jack.
00:59:30He's so shy and embarrassed.
00:59:34Just like you on our wedding night.
00:59:48You're sleeping in here.
00:59:51There's a chair.
00:59:56Look at that.
00:59:56Right smack in the middle of the front page.
00:59:59Hey, Mike.
00:59:59And that gorgeous brunette is named Christy McKinnis.
01:00:02You're drunk.
01:00:03Oh, I'm drunk.
01:00:04Oh, what are we going to do?
01:00:05I'm going to take a bus out of here tomorrow.
01:00:08That's what I'm going to do.
01:00:08You are?
01:00:09Yes, I'm going to burn this.
01:00:10You'll be safe enough here.
01:00:13Why don't you get away with us?
01:00:14Oh, where is it?
01:00:16Jesus, don't wake everybody.
01:00:18I only came here to say goodbye.
01:00:21You made that quite obvious.
01:00:23Goodbye.
01:00:24Goodbye to my wife.
01:00:29Say, you know something?
01:00:31I'd like you to be my wife.
01:00:34Look, Mike, will you go in the other room?
01:00:37Take the bag with you.
01:00:39I don't want it.
01:00:40You'll want what it'll bring when you skip the country.
01:00:44I'm not skipping the country.
01:00:46Then why leave me here until you're safe?
01:00:48Until you're safe?
01:00:49Don't you see I'm leaving the bag with you?
01:00:51I don't need it where I'm going.
01:00:53Where are you going?
01:00:54To Monte Carlo to make a deal.
01:00:56Will that count?
01:00:56With Hobert.
01:00:58He can have me, but he's got to leave you alone.
01:01:02You're crazy.
01:01:05I'm drunk.
01:01:07That's not quite the same thing.
01:01:16Mike.
01:01:18Come back.
01:01:21If you've got anything to say to me,
01:01:24you'll come to me and say it.
01:01:33Do you mind if I kiss you?
01:01:35What?
01:01:36Don't say I have to ask twice.
01:01:42I can't breathe.
01:01:45Mike, sit down.
01:01:51Now, let's try and talk some sense.
01:01:53What'd you do that for?
01:01:55You wanted to help me?
01:01:56I will.
01:01:57Oh, Mike, no, not your way.
01:01:59You can't confess to murder you haven't done.
01:02:01I've got to prove it first.
01:02:03Well, I'm not so sure they can't.
01:02:04That's why we've got to think of a way out
01:02:06before we get in any deeper.
01:02:08I can't think anymore.
01:02:11You will.
01:02:12After you've had some sleep.
01:02:16Yeah.
01:02:19Where are you going?
01:02:20Downstairs.
01:02:21I'll answer that bottle again.
01:02:22You are not.
01:02:24Open this.
01:02:25Shh.
01:02:26Shh.
01:02:28Shh.
01:02:32Shh.
01:02:34The door's locked, Mike.
01:02:36Can't get out.
01:02:38You know, this is the first time in my life
01:02:40that a woman's locked me inside her apartment.
01:02:43Life is full of surprises.
01:02:45Get to sleep.
01:02:47There.
01:02:51Take this!
01:03:20You know, I think we'd better book out of the house.
01:03:22got a Monte Carlo. You stay here. I can handle full bear myself. I don't mean that we should
01:03:30try to avoid him until we think of some way of pitting the guilt on the guilty ones. We
01:03:36could get a bus to me split up and meet again in Monte Carlo. How does that sound? It's
01:03:43fine. Good night.
01:04:14No, there's nothing.
01:04:16No. There's my bus now. There's another one that comes in half an hour. You take that
01:04:21one. All right. And you remember the name of the hotel I told you in Monte Carlo, the
01:04:24bow side? We both take rooms on the second floor balcony that we can contact each other
01:04:28after dark. Now, what do you have a guidebook for? I was reading about San Elvia. What
01:04:32does it say? Mainly about the legend of the garden. Here's your bus. Now, look, honey,
01:04:39here, why don't you get yourself a new dress? Try the mercy, huh? I'm going to fix up your
01:04:44hair, OK? All right. All right. Chris, think of me, huh? And I keep your fingers
01:04:49crossed. I'll see you soon. And don't forget your name's still Smith.
01:04:56All right.
01:04:57Come on.
01:04:58Come on.
01:05:01Come on.
01:05:03Come on.
01:05:05Come on.
01:05:14Come on.
01:05:41Hello?
01:05:42There's a call for you, madam.
01:05:45Hello?
01:05:46Hello?
01:05:47Mike?
01:05:47Are you in your room?
01:05:49I'm in a garage at Latourby.
01:05:51Yeah, it's a little town above you on the mountain.
01:05:54Well, when are you coming here?
01:05:55I want you to do something for me, Chris, but it's got to be fast.
01:05:58I'm taking the glove back to St. LZR now.
01:06:01Your what?
01:06:02I want you to trick the Count into following me.
01:06:05Mike, how can I?
01:06:07I've checked everything.
01:06:08The Count will be at the Cabaret of the Casino 2 tonight.
01:06:10I want you to go there, Chris.
01:06:11Attract his attention.
01:06:12Keep him interested.
01:06:13Talk to him until 3 o'clock.
01:06:15Why 3?
01:06:16Well, that's the most important part.
01:06:17At 3 o'clock.
01:06:18Now listen very carefully, Chris.
01:06:19At 3 o'clock, tell him where I'm going.
01:06:22But Mike, he'll come after you right away.
01:06:25Well, that's the idea.
01:06:26Then you call Inspector Fulbert.
01:06:27Tell him to have his men up at the village at 5 o'clock on the nose.
01:06:30The road to St. LZR is a dead end.
01:06:32We'll have the Count and his boys right in the middle with the glove in their hands.
01:06:35What if the police are late?
01:06:36They mustn't be.
01:06:37You got it?
01:06:39I think so.
01:06:41Cabaret of the Casino.
01:06:42Tell the Count at 3 o'clock.
01:06:45The police up there at 5.
01:06:47But Mike, we should really talk this out.
01:06:49There isn't time.
01:06:51Goodbye, Chris.
01:06:53Wait a minute, Mike!
01:06:55Mike!
01:06:56Mike!
01:07:26Well, I'm joined the party.
01:07:28What name, please?
01:07:29No, the party is joining me, thank you.
01:07:31I'll wait at the bar.
01:07:32That's right, please.
01:07:38Madame?
01:07:40A Cointreau, please.
01:07:41Right away.
01:07:45You're a Cointreau, Madame?
01:07:47He's got Rona here tonight.
01:07:48But certainly.
01:07:49You wish to send him a message?
01:07:51No, no.
01:07:51There's plenty of time.
01:07:53Albany is leaving just behind you now.
01:07:55Not just Saunders.
01:07:56Take you to the party.
01:07:58Bye.
01:07:58Good night.
01:07:59Good night.
01:07:59Good night.
01:08:03Package of American cigarettes, please.
01:08:05Please.
01:08:06Fine.
01:08:06I'll join you both later.
01:08:08Right.
01:08:19My brandy, please, Felix.
01:08:20Yes, sir.
01:08:22Yes.
01:08:23You look different.
01:08:25Oh.
01:08:26Perhaps it's because we met in the dark.
01:08:29You know, you're very lovely, Miss Kenneth.
01:08:33Aren't you taking a chance?
01:08:35Yes.
01:08:36You and your friend are both the object of a manhunt.
01:08:41That's just why I'm taking it.
01:08:43Thank you, Felix.
01:08:45What is Blake, by the way?
01:08:46Drain the tables, or hasn't he got your daring?
01:08:48Why do you ask?
01:08:50Are you still interested in the gloves?
01:08:51The gloves?
01:08:53Believe it or not, no.
01:08:55I agree it's silly to give up so easily, but the whole thing's become, shall I say, too hot.
01:09:00That's why I'm leaving the palace tonight.
01:09:02To nothing.
01:09:03Discretion sometimes is a better part of valour.
01:09:06What about Mike?
01:09:07Mike?
01:09:08What about Mike?
01:09:09Well, you know he's wanted for something he didn't do.
01:09:11Really?
01:09:12But who's to blame?
01:09:13He didn't have to vote out of Paris.
01:09:15Tell him how badly I feel.
01:09:17If there's anything I can do to help.
01:09:19You could.
01:09:19You could get him out of this.
01:09:20Could I?
01:09:22How?
01:09:23Well, there's really nothing I can think of.
01:09:28You're very charming, Miss Kenneth.
01:09:29Farrona.
01:09:30My name's Paul.
01:09:31Paul.
01:09:32Well, is that all you're going to say?
01:09:34Well, what else is there to say?
01:09:35Well, don't you want to know where he is?
01:09:37I feel concerned about.
01:09:38Oh, but surely.
01:09:38Oh, well, where is the poor fellow?
01:09:40Is he now?
01:09:40Well, there's plenty of time.
01:09:41I'll tell you later.
01:09:42Have another brandy boy.
01:09:43Oh, no, thank you.
01:09:44My train is at half past two.
01:09:46And quite frankly, I've lost interest.
01:09:47This is goodbye.
01:09:48Well, won't you even talk to him?
01:09:50Well, why not?
01:09:50If he'll see me at the station in the next ten minutes.
01:09:52No, no.
01:09:53He can't.
01:09:53You have to go to him.
01:09:56You sound as if you want me to go to him.
01:09:58Well, you know why.
01:09:59Oh, why discuss it?
01:10:00I have a train to catch the train would wait and really I must...
01:10:02He's on his way to San Elzia to take the glove back.
01:10:07Taking the glove back to San Elzia?
01:10:11Well, isn't that admirable?
01:10:13But you know, I couldn't care less.
01:10:14Not with my train and the current police situation.
01:10:17But do give him my regards, Miss Kenneth.
01:10:21Goodbye.
01:10:35Madame, you're not ill, are you?
01:10:38Is Count Rona really going to take that train?
01:10:40Unless he changes his mind.
01:10:41Changes his mind.
01:10:42How do I find out?
01:10:43You can see for yourself.
01:10:44The train comes in in ten minutes.
01:10:46But Count Rona already paid by now.
01:11:24Tell me quickly.
01:11:25Does this train stop at me?
01:11:26Well, of course, madame.
01:11:27In ten minutes.
01:11:28Oh, that's all right.
01:11:29Then...
01:11:29That's all right, madame.
01:11:40Miss Thomas!
01:11:43Miss...
01:11:43Miss...
01:11:43You remember me, Mrs. John Smith?
01:11:45Yes, yes, of course.
01:11:47My friend, Mr. Perrin.
01:11:48How do you do?
01:11:48The famous Perrin.
01:11:49Oh.
01:11:50I'm going to be in his new show.
01:11:51Well, that's wonderful.
01:11:52Tell me, is Count...
01:11:53Is Paul on the train?
01:11:54Paul?
01:11:55How do you know you knew him?
01:11:56Yes, yes.
01:11:57We met, uh...
01:11:57Cafe de Perrin in places.
01:11:59I don't know him well.
01:12:00Well, he's a little bit tired.
01:12:01He's just gone to bed.
01:12:04Excuse me.
01:12:10I've forgotten my compartment number.
01:12:12I think it's next to Count Rona.
01:12:14Miss...
01:12:15That's right.
01:12:16It is next to the Count.
01:12:17Number seven.
01:12:30I have been expecting you, madame.
01:12:32Where is Count Rona?
01:12:34He has left the train.
01:12:35He's left?
01:12:36He's gone after Mike?
01:12:37Monsieur Blake has lived too long for our safety.
01:12:40You too.
01:12:42Come on!
01:12:45Come on!
01:12:58Come on!
01:12:59Come on!
01:13:00Come on!
01:13:08Come on!
01:13:48The man Blake will be ahead of us.
01:13:50The car would warn him of our approach.
01:13:51So you three will walk to the village.
01:13:54And I'll wait here for the town.
01:14:45I'll wait here for the town.
01:15:15I'll wait here for the town.
01:15:19I'll wait here for the town.
01:15:45A goat?
01:15:47Or a man.
01:15:48Drive up.
01:15:49Park your car outside the village.
01:15:51Go the rest of the way on foot.
01:15:52Warn the others the American may be climbing by the goat track.
01:15:55Tell them to watch for him from the old castle walls.
01:15:57You were following your car?
01:15:58No.
01:15:59I'm going to take a goat track.
01:16:01To close the trap.
01:16:24I'm going to take a goat track.
01:16:26You're going to take a goat.
01:16:27I'm going to take a goat.
01:16:30I'm going to take a goat.
01:16:36THE END
01:17:11THE END
01:17:38THE END
01:18:04THE END
01:18:06THE END
01:18:16THE END
01:18:18THE END
01:18:21THE END
01:18:22THE END
01:18:29THE END
01:18:35THE END
01:18:35THE END
01:18:38THE END
01:18:38THE END
01:18:43THE END
01:18:44THE END
01:18:48THE END
01:18:49THE END
01:18:49THE END
01:18:50THE END
01:18:50THE END
01:18:50THE END
01:18:50THE END
01:18:50THE END
01:18:50THE END
01:18:51THE END
01:18:51THE END
01:18:51THE END
01:18:52THE END
01:18:52THE END
01:18:53THE END
01:18:53THE END
01:18:55THE END
01:18:57THE END
01:18:57THE END
01:18:57THE END
01:18:57THE END
01:18:59THE END
01:19:00THE END
01:19:00THE END
01:19:00THE END
01:19:00THE END
01:19:00THE END
01:19:01THE END
01:19:01THE END
01:19:01THE END
01:19:02THE END
01:19:02THE END
01:19:03THE END
01:19:17BROUGHT
01:19:20THE END
01:19:21THE END
01:19:25The End
01:20:12Better give up, Blake.
01:20:17Throw me the satchel, and I'll signal my friends above not to shoot you.
01:20:22I'll get you on a front.
01:20:23Come on.
01:20:30Come on.
01:20:32Come on.
01:20:35Come on.
01:20:42Come on.
01:20:43Come on.
01:20:44Come on.
01:20:55Come on.
01:20:58Come on.
01:21:01Come on.
01:21:06Come on.
01:21:08Come on.
01:21:12Come on.
01:21:29Come on.
01:21:30Come on.
01:21:30Come on.
01:21:31Come on.
01:21:35Come on.
01:21:37Come on.
01:21:39Come on.
01:21:40Come on.
01:21:42Come on.
01:21:55Come on.
01:21:57Come on.
01:21:58Come on.
01:22:09Come on.
01:22:11Come on.
01:22:13Come on.
01:22:19THE END
01:22:54THE END
01:23:20THE END
01:23:46THE END
01:23:46THE END
01:23:47THE END
01:23:47THE END
01:23:51THE END
01:24:05THE END
01:24:08THE END
01:24:10THE END
01:24:10THE END
01:24:14THE END
01:24:14THE END
01:24:14THE END
01:24:22THE END
01:24:25THE END
01:24:25THE END
01:24:28THE END
01:24:29THE END
01:24:29THE END
01:24:31THE END
01:24:32THE END
01:24:32THE END
01:24:32THE END
01:24:36THE END
01:24:37THE END
01:24:38THE END
01:24:40THE END
01:24:50THE END
01:24:52THE END
01:24:52THE END
01:25:02THE END
01:25:04THE END
01:25:04THE END
01:25:10THE END
01:25:10THE END
01:25:12THE END
01:25:13THE END
01:25:13THE END
01:25:18THE END
01:25:18THE END
01:25:20THE END
01:25:21THE END
01:25:21THE END
01:25:24THE END
01:25:25THE END
01:25:25THE END
01:25:25THE END
01:25:27THE END
01:25:28THE END
01:25:29THE END
01:25:30THE END
01:25:33THE END
01:25:37THE END
01:25:45THE END
01:25:46THE END
01:28:18I wish it came.
01:28:19Well, good luck, both of you.
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