- 2 days ago
Dangerous Ground is a 1934 British mystery film directed by Norman Walker and starring Malcolm Keen, Jack Raine and Joyce Kennedy. It was written by Dion Titheradge and Dorothy Rowan. The film was a quota quickie, produced by Paramount's British subsidiary at British and Dominions Elstree Studios in Hertfordshire. The film's editor was David Lean.
PLOT: Two insurance detectives work with the police to identify and bring down a crime kingpin. After one is murdered, his partner and his daughter decide to solve the case themselves.
PLOT: Two insurance detectives work with the police to identify and bring down a crime kingpin. After one is murdered, his partner and his daughter decide to solve the case themselves.
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00:01:55where's Johnson ain't showed up yet chief all right we won't wait what have you got
00:02:10make a list of this stuff Baker who saw Johnson last I did chief yesterday he's got a room down
00:02:19in track and one is lying low he's been trailed he said followed down here I didn't say he got
00:02:26mixed up in some blackmail case and some private tech was marking darn fool why wasn't I told
00:02:32I expect he was going to tell you himself tonight but why isn't he here I'm sorry to
00:02:39trouble you mr. Johnson but you're not going out tonight who says I won't go out there's a little
00:02:44meeting in a pub down Deptford Way I think they're rather expecting you hmm you had the pleasure of
00:02:49showing me the way there last week I never been Deptford Way well it doesn't really matter some
00:02:55friends of mine are calling in there tonight I think it's just as well you shouldn't be seen
00:02:59there I'll go if I want to oh so you do know where it is what am I do you're
00:03:04only a private busy you
00:03:05ain't no running cop to stop me no the cops outside I'll take a chance with him
00:03:11yeah
00:03:12come
00:03:12come
00:03:13come
00:03:17come
00:03:29come
00:03:30come
00:03:31come
00:03:31come
00:03:31come
00:03:31come
00:03:31come
00:03:56come
00:03:57come
00:03:58come
00:03:58come
00:04:00come
00:04:01come
00:04:02come
00:04:06get that stuff stowed
00:04:08away
00:04:13comeock
00:05:46Hey, what's going on here?
00:05:47I knew this was trouble.
00:05:48Sit down.
00:05:55The cops!
00:05:56Outside!
00:05:57Get busy!
00:06:04Get your men together, Inspector.
00:06:05I'm going inside.
00:06:06Very good.
00:06:06Sergeant, three men.
00:06:12Good morning.
00:06:24Very good.
00:06:26Sergeant, have a look down below.
00:06:28Come on, let's keep it right here.
00:06:35Jones.
00:06:36Yes, sir.
00:06:38Crown, in there.
00:06:41Right.
00:06:41Take him outside.
00:06:42All right, sir.
00:07:07Come on, now. The gang's up. Don't you come.
00:07:10Come on, now.
00:07:13Come down here, you.
00:07:16Come on, get a move on. I haven't got all day.
00:07:21Come on, now. Come on.
00:07:45Come on.
00:07:47You've been doing that since I went out to lunch.
00:07:49I said, in your spare time, Jimmy.
00:07:52You'll never make a detective unless you obey orders.
00:07:59I'll find a bit of work, Mr. Breeden.
00:08:01Saviour, congratulations for this young man, Hurley.
00:08:04How do you know, Mr. Terry?
00:08:05Hello, Inspector.
00:08:06He pulled off a nice job last night, thanks to you.
00:08:08Thank, Breeden. He was the first to pick up the thread, you know.
00:08:11Eight private cases, one after another, and all with the same hallmark.
00:08:14Well, don't think the police have been idle.
00:08:16Oh, it's all a question of luck.
00:08:18Well, as a yard man, I ought to tell you two gentlemen
00:08:21to stick to your divorce and blackmail inquiries.
00:08:23But that doesn't mean the police are above a bit of help sometimes.
00:08:26Well, I haven't left Johnson for a week.
00:08:28And sure enough, he led me to that pub in Deptford.
00:08:31Anyhow, it was a nice job.
00:08:33Well done all round.
00:08:35We did our bit.
00:08:37Half a mile, Inspector.
00:08:39You sure you did?
00:08:41Oh, come now, Mr. Terry.
00:08:43We don't know that Levitt was there.
00:08:45But he must have been there.
00:08:47Perhaps you got him without knowing it.
00:08:49Not a chance.
00:08:51No.
00:08:53I'm sorry to have to admit it, but Levitt is still at large.
00:08:56The man's a menace.
00:08:57You're right there.
00:08:59He'll stick at nothing.
00:09:02Take it over, Mr. Breeden.
00:09:04This is a police job, and we don't want to see you running yourself into danger.
00:09:08And besides, you've got a wife.
00:09:12Don't get sentimental early.
00:09:14Have a cigar.
00:09:17Need you ask why I want you to come with me to dinner?
00:09:20Because it thrills me to be seen in a restaurant with a beautiful Mrs. Breeden.
00:09:23Mark, you're incorrigible.
00:09:25And insistent.
00:09:26And indiscreet.
00:09:27And very much in love.
00:09:29I know.
00:09:30But why choose me, of all people?
00:09:33Because you fascinate me.
00:09:34Because I like danger.
00:09:36Because I've always wanted what belongs to someone else.
00:09:39Are those reasons enough?
00:09:41Quiet.
00:09:42I warn you, John doesn't confine his profession of finding things out to his office.
00:09:46He brings it into his home.
00:09:48You can't frighten me, Claire.
00:09:49Obstacles don't worry me.
00:09:51I like to invent new ways of getting over them.
00:09:56Oh, Mark, is the car here?
00:09:58Yes, Miss Joan.
00:10:05Oh, I...
00:10:06I'm sorry.
00:10:07It's all right, Joan.
00:10:08Oh, don't go, Miss Breeden.
00:10:10I just looked in to see if you wanted anything.
00:10:12I'm going out.
00:10:20There's another obstacle you'll have to get over.
00:10:22Joan.
00:10:23Is she suspicious?
00:10:25That, or else she's suffering from a mistaken sense of loyalty to her father.
00:10:29Of course, I'm her stepmother.
00:10:31We've never really been able to hit it off.
00:10:32Let's forget it.
00:10:33What are our plans for tonight?
00:10:35Dinner in the theatre or dinner at a dance?
00:10:38There you are, Jimmy.
00:10:39That's the luck.
00:10:40Oh, and here's the late afternoon addition.
00:10:43Thank you, sir.
00:10:46John, what sort of a man is this Levitt, do you think?
00:10:49I wish I knew.
00:10:51A dual personality, that's certain.
00:10:53Moving in society.
00:10:54Well, it's impossible to say.
00:10:56He might be anything from a butler to a professional footballer.
00:11:00Jack the Ripper was a doctor, remember?
00:11:02Charlie Peace played the violin.
00:11:05I wonder...
00:11:05It's no use wondering.
00:11:07We've got to find out.
00:11:09Let's call it a day.
00:11:12How about dining with us tonight?
00:11:14I'd like to, but...
00:11:16But what?
00:11:17Well, I don't feel very welcome at your home.
00:11:21You and Joan haven't quarrelled, have we?
00:11:24No, not that.
00:11:26Well, that...
00:11:28Oh, I see.
00:11:29It's my wife.
00:11:31I hate to say it, John, but just lately more than ever.
00:11:33She's made me feel an intruder.
00:11:35Nonsense.
00:11:36She hates my job and you're part of it, that's all.
00:11:39Besides, this is Joan's birthday.
00:11:41I know.
00:11:42I was going to give you something to take to her.
00:11:43Well, that settles it.
00:11:44You can do it yourself.
00:11:45I'll ring up Claire.
00:11:47Give me my house.
00:11:50Mm-hmm.
00:12:06Yes?
00:12:08Dinner?
00:12:11Really, John, why couldn't you let me know before?
00:12:13Well, it's only Terry.
00:12:15We don't have to stand on ceremony with him, surely.
00:12:18Well, consider me for once in a while.
00:12:21It's Joan's birthday.
00:12:22Oh, of course.
00:12:23I forgot.
00:12:24But...
00:12:25What you can do without me?
00:12:27I promised to die with Mark Linden.
00:12:30Well, I'm sorry to upset your plans, but I insist.
00:12:33If you can't arrange it in any other way, telephone Linden and ask him to dine with us.
00:12:37Goodbye.
00:12:40That was John.
00:12:43Our dinner together is off.
00:12:45Damn.
00:12:47But at the moment, I'm telephoning you to ask him to dine here tonight.
00:12:51Delighted, Mrs. Breeden.
00:12:53John's bringing Philip Terry.
00:12:55Of course, dear Joan must be considered.
00:12:57You don't like Terry very much, do you?
00:12:59About as much as you do, I should think.
00:13:01I don't dislike him. He amuses me.
00:13:03He's so desperately serious about this amateur police business of his.
00:13:06Profession, Mark. Profession.
00:13:08Don't speak of it as a business.
00:13:10Just what you like, my dear.
00:13:13Mark, we've got to be careful tonight.
00:13:15Not when we are alone.
00:13:16Then, more than ever.
00:13:18Look.
00:13:26Good heavens.
00:13:28I discovered that by accident.
00:13:31Pretty trick, isn't it?
00:13:37This is where he works, I suppose.
00:13:39That's where he spies.
00:13:41I suppose he had that made to keep a watch on me.
00:13:43Impossible.
00:13:45Claire, you've got to get away from here.
00:13:49It's not so easy.
00:13:50Why not? There's nothing to hold you.
00:13:52Try and see me somewhere alone tonight.
00:13:54I can't.
00:13:55You must.
00:13:56You've got to.
00:13:59Careful.
00:14:01I'm so sorry you have to go, Mark.
00:14:05Oh, Hoffa, there'll be two extra for dinner tonight.
00:14:07Very good, madam.
00:14:09Only a black tie now.
00:14:10Move.
00:14:31You're the most unpunctual man I know.
00:14:35I'm not late, am I?
00:14:36No.
00:14:37Far too early.
00:14:37I haven't changed, eh?
00:14:39You don't think I'm worrying about you, do you?
00:14:41Huh?
00:14:43I beg your pardon for being so dumb.
00:14:48Darling.
00:14:49Do you feel equal to entertaining Philip until dinner time?
00:14:52I'll make a colossal effort.
00:14:54Splendid.
00:14:54Well, save me a cocktail, will you?
00:14:55Two, if you're very good.
00:14:57Uh-huh.
00:15:01Hi, hi.
00:15:05Did you know I was coming?
00:15:06Of course.
00:15:08What lucky chance made you dress early?
00:15:11I had a new frock to put on.
00:15:12Oh, that's a blow.
00:15:13I thought perhaps it was because of me.
00:15:15Maybe it was.
00:15:16A little.
00:15:18Do you like it?
00:15:20Oh.
00:15:21Words fail me.
00:15:23Father's birthday present.
00:15:24Oh, yes, that reminds me.
00:15:25You know, there are moments in my life when I wish I weren't such a fool.
00:15:29I never can say the things I want to.
00:15:31Oh, I hadn't noticed it.
00:15:32Yes, but a man's always a fool when he knows what he ought to say and doesn't know how to
00:15:36go about it.
00:15:37He just gets all shy and says,
00:15:40Many happy returns of the day.
00:15:43Yes, but he knows all that's been said before.
00:15:46And then he fumbles awkwardly in his pocket and drags out a ridiculous piece of nonsense and says,
00:15:53I just happened to find Woolworths open.
00:15:56Oh, Phil.
00:15:57You are a darling.
00:15:59Oh, no, whoa.
00:15:59Play the game.
00:16:00I was going to say that to you.
00:16:02It's...
00:16:03It's beautiful.
00:16:03Yes, I was going to say that too, but not it.
00:16:07Would you keep quiet a moment and let me say thank you?
00:16:10Quite unnecessary, dear lady.
00:16:12Let me put it on for you.
00:16:25In case I lose my head completely, will you play something for me?
00:16:29Of course.
00:17:06Thanks!
00:17:08Oh, by the way, uh, Halford.
00:17:10Sir?
00:17:11did you open those windows today oh I'm sorry sir I'm afraid I forgot do you
00:17:17find the room stuffy sir no no it's not there shall I open them now sir no never mind
00:17:21very good sir
00:17:47so
00:17:57so
00:17:57so
00:17:57so
00:17:57so
00:17:57so
00:17:57so
00:17:57so
00:18:10so
00:18:10so
00:18:18Claire
00:18:20well
00:18:21just a moment
00:18:23thank you Martin
00:18:29about this evening
00:18:32if I've called away suddenly or I have work to do
00:18:35carry on without me will you
00:18:36you're worried about something
00:18:42you're on dangerous ground
00:18:45what does it mean
00:18:48isn't it obvious
00:18:50where'd you find it
00:18:51on the study floor
00:18:54has this to do with the Levitt gang
00:18:55Levitt himself probably
00:18:57what interests me more is how it got there
00:19:00through the window I suppose
00:19:01that hasn't been opened all day
00:19:03there
00:19:05I see
00:19:06I see
00:19:31doing that
00:19:32what danger can there be to me
00:19:34I don't know
00:19:36I only know there is danger and I'd like you to be prepared
00:19:39Levitt wants me out of the way
00:19:41but why
00:19:43why should anyone want you out of the way
00:19:46that's what I've got to find out
00:19:47what
00:19:50what
00:19:50what
00:20:32John, this lebbet business is getting on my nerves.
00:20:35I'm sorry.
00:20:36Why do you meddle with it?
00:20:37It's my profession.
00:20:38I hate your profession.
00:20:40You needn't tell me that.
00:20:42But after all, it provides you with a home, doesn't it?
00:20:44Home?
00:20:45Not exactly a happy one, but that's your fault.
00:20:49I do what I can.
00:20:51I don't interfere.
00:20:53I wonder.
00:20:56Why do you say that?
00:20:58Because I hate being spied on.
00:21:00Oh, I see.
00:21:01You discovered the panel in the study door.
00:21:04I should have told you about that.
00:21:06You didn't, for obvious reasons.
00:21:09Do you think I don't know you hate me being with Mark Linden?
00:21:12Before you say anything you may be sorry about, let me tell you about that panel.
00:21:16Well, sometimes I ask you to invite people here whom I want to watch, listen to while they're off their
00:21:20guard.
00:21:21As for Linden, he never entered my head.
00:21:30I think it would be better if you didn't see him again.
00:21:36It's still difficult, considering he's coming to dinner tonight.
00:21:38Oh, after tonight, then.
00:21:40I please myself in my choice of friends.
00:21:42Well, now you please me.
00:21:44For a week or two, I'd been meaning to speak to you about Linden.
00:21:47Not about this wretched flirtation.
00:21:49I knew nothing about that, but about something else.
00:21:52He's mixed up in some shady business in the city.
00:21:54You'd listen to any lies about him, I suppose.
00:21:57I have papers in my desk to prove it.
00:21:58I've suspected for some...
00:21:59You didn't say any more.
00:22:00I loathe your way of going about things.
00:22:03Now listen to me.
00:22:04I'll go my own way.
00:22:06Choose my own friends and do as I like.
00:22:09Is that clear?
00:22:12Quite.
00:22:26Mark, I'm so glad you're able to come.
00:22:29Nothing could keep me away.
00:22:31You must be careful tonight, my dear.
00:22:34Very careful.
00:22:35All right, my dear.
00:22:37I don't believe that.
00:22:38Good evening, Mr. Tarris.
00:22:39Good evening, Mr. Tarris.
00:22:40Hi, Mr. Tarris.
00:22:41Hello, Tarris.
00:22:42Hello, Linden.
00:22:42How are you?
00:23:02Sorry I'm late, Linden.
00:23:04I've been working.
00:23:04John's work is never finished.
00:23:06He even brings it home.
00:23:08I try not to.
00:23:10But the detection of crime is a funny business.
00:23:12You want to be a master and you'll find you're a slave.
00:23:15We all become slaves to anything fascinating.
00:23:19Extraordinarily complex, the criminal mind, isn't it?
00:23:21Not at all.
00:23:22Very simple.
00:23:24What's born crooked can never be made straight.
00:23:27But does the criminal always know he's born crooked?
00:23:29He doesn't work it out.
00:23:30He merely says, what I want, I take.
00:23:32A dangerous creed, surely.
00:23:34But exciting.
00:23:35Don't you think so, Mrs. Breeden?
00:23:37Well, I don't know.
00:23:40I hate all criminals.
00:23:41But is it always criminal to take what you want?
00:23:44That is, providing it doesn't belong to somebody else.
00:23:48I'll get you a cigarette, Mark.
00:23:50Thanks.
00:23:50What are you working on now, Breeden?
00:23:52Oh, the usual humdrum stuff.
00:23:54Divorce and petty crime.
00:23:55But I thought your wife told me you were after something big.
00:23:57Oh, Levitt, you mean?
00:23:58Is that the name?
00:23:59Hmm.
00:24:00Thanks.
00:24:00Most of his gang were rounded up last night.
00:24:02I remember.
00:24:04I read about it.
00:24:05But he got away, didn't he?
00:24:06Yes.
00:24:07Pity.
00:24:08I've brought you halfway across the continent by now.
00:24:10I expect so.
00:24:11I don't think so.
00:24:12Levitt isn't the sort of...
00:24:13Oh, for goodness sake, will you men stop talking about crime?
00:24:16Dinner is served, madam.
00:24:17Oh, thank heavens.
00:24:19It isn't criminal to eat, so let's have our meal in peace.
00:24:22Shall we go in?
00:24:32This is from Breeden.
00:24:35He thinks the warning he got came from Levitt direct.
00:24:38I'm inclined to agree with him.
00:24:40Maybe a fake.
00:24:41Oh.
00:24:42One of the gang's ready to squeal.
00:24:44Johnson.
00:24:44Where's his statement?
00:24:47I think you're wrong to mess about with Breeden, Hurley.
00:24:50We can handle this thing much better ourselves.
00:24:56Listen.
00:24:57If Levitt's after Breeden personally, he'll put his foot in wrong, and then we'll get him.
00:25:03At the present moment, our hottest clue's tied up with Breeden, so let him work his own way.
00:25:08Perhaps you're right.
00:25:11Mr. Breeden, straight away.
00:25:12Very good, sir.
00:25:13No answer.
00:25:21Mr. Breeden?
00:25:23From Chief Inspector Hurley.
00:25:24All right, thank you.
00:25:38What is it, Harford?
00:25:41Oh, it just came, sir.
00:25:47From Inspector Hurley, sir.
00:25:59You left this in the dining room, madam.
00:26:01Oh, thank you, Harford.
00:26:02You see, Mr. Breeden?
00:26:04He's in the study, madam.
00:26:05More work?
00:26:06I thought he'd gone for a cigar.
00:26:07Is he working, Harford?
00:26:08I've just taken him a note from Inspector Hurley, madam.
00:26:11I don't think he'll be long.
00:26:12Oh, I wonder, Mrs. Breeden, would you...
00:26:13Now, Mr. Clare, please.
00:26:15No more work tonight.
00:26:16I'm sorry.
00:26:17That'll be hard on Terry, Clare.
00:26:18The bloodhound's on the trail.
00:26:20I'm not worrying.
00:26:21I'll leave that to John.
00:26:22I'm sure you do.
00:26:24Thank you, Father.
00:26:55I wonder if you fellas ever think of the feelings of the man you're hunting.
00:26:58They must be terrible.
00:27:00Don't you believe it.
00:27:01Now, take this fella Levitt, for instance.
00:27:03I'll bet you he's getting a great deal of fun out of sticking his fingers to his nose.
00:27:07Yes, well, he better make the most of it.
00:27:08You've got some news?
00:27:09It's only a matter of hours now, but we'll have him all right.
00:27:18I beg your pardon, madam.
00:27:21Philip, can I have a word with you?
00:27:23Oh, no.
00:27:24I'm sorry, darling, but this is important.
00:27:26I'm afraid you'll have to excuse us, Linda.
00:27:28Of course.
00:27:29Now, not an all-night sitting, please.
00:27:30Well, if we're late, come into the study and say goodnight.
00:27:33I will.
00:27:42Cigarette.
00:27:48Cigarette.
00:27:49Cigarette.
00:27:49Cigarette.
00:27:51Cigarette.
00:27:59Hurley, send me Johnson's statement.
00:28:01It's a jumbled mess of lies, but I picked up a thread.
00:28:04With that and the message I got, we are very near the end, Phil.
00:28:09When you came in, the message was lying there.
00:28:12Yes.
00:28:14But it didn't come through the window.
00:28:16That was shut, just as it is now.
00:28:21But it's not shut.
00:28:39I wonder if Halford was lying.
00:28:42Halford?
00:28:43Halford, don't say anything to Joan about this.
00:28:46I don't want her frightened.
00:28:47But there is danger, and it's pretty close.
00:28:56I must see you alone.
00:28:58Lay down.
00:29:00I'll try.
00:29:01Outside, in the garden.
00:29:20Well, that means goodnight, I suppose.
00:29:39I thought as much.
00:29:40It is an all-night sitting.
00:29:43I'm keeping my promise to say goodnight.
00:29:45Why don't you keep yours and stop work?
00:29:47Almost finished.
00:29:49Mark Linden gone?
00:29:50Just going.
00:29:52Goodnight, Phil.
00:29:53Goodnight.
00:29:54See you tomorrow, bless your heart.
00:29:56There'll be trouble if you stay out much longer.
00:30:05I think she's right, Phil.
00:30:06There's nothing more you can do tonight?
00:30:08No, I suppose not.
00:30:11Thanks.
00:30:25What is it, Halford?
00:30:27The door, sir.
00:30:28I was going to lock it.
00:30:30I thought Mr. Terry had gone out with Mr. Linden.
00:30:35Tomorrow, 9.30.
00:30:36Is that all right for you?
00:30:37Right you are.
00:30:37Goodnight, John.
00:30:38Goodnight.
00:30:40I'll put out the lights, Halford.
00:30:42I've got some work to finish.
00:30:44Goodnight, Halford.
00:30:45Goodnight, sir.
00:31:11We'll see you next time, all right.
00:31:12Down.
00:32:13You don't love me.
00:32:14I do.
00:32:15I adore you.
00:32:22Let's talk about this tomorrow.
00:32:24Come and see me in the afternoon and we'll plan it all.
00:32:26All right.
00:32:27Good night, my sweet.
00:32:28Good night.
00:33:04You left your bag.
00:33:46I'm afraid, Joan, I'm afraid.
00:33:48Wait, I'll get farther.
00:34:00He isn't there.
00:34:07I'll call the police, Miss Joan.
00:34:10No, no, call Dr Maxwell.
00:34:25Good morning.
00:34:25Good morning.
00:34:27Miss Breedon, sir.
00:34:31He's still unconscious.
00:34:32There's a chance.
00:34:34Just a slight one.
00:34:35I know.
00:34:35I was at the hospital first thing this morning.
00:34:38It's awful to see him lying there.
00:34:40Some official always beside his bed waiting.
00:34:42Waiting as if nothing else matters but evidence for the police.
00:34:45Why can't I be with him?
00:34:46I know exactly how you feel.
00:34:48But they have to be there.
00:34:49A word might tell us who fired the shot.
00:34:52You must keep out of this, Phil.
00:34:54It's his job for the police, not for you.
00:34:56Your father made it his job.
00:34:58I'm his partner.
00:34:59If he dies, it's more than ever my job.
00:35:03You're the only one I can count on, Joan.
00:35:06I want you to stand by me.
00:35:09All right.
00:35:10I'll stand by you.
00:35:11Good for you.
00:35:12Now, listen.
00:35:13I'm coming up to the house tonight.
00:35:15I've got your father's key, so I'll let myself in.
00:35:17But I don't want anyone to know that I'm coming.
00:35:20Oh, Phil, I wish you wouldn't come.
00:35:21Oh, I can take care of myself.
00:35:26You get along home now and rest.
00:35:29I'll keep in touch with the hospital.
00:35:30And if there are any further developments at all,
00:35:32I'll let you know immediately.
00:35:35Goodbye.
00:35:35Goodbye.
00:35:36Goodbye.
00:35:39Jimmy, get me Inspector Hurley on the phone.
00:35:42Yes, sir.
00:36:00Oh, hello.
00:36:01Is that you, Hurley?
00:36:02This is Terry speaking.
00:36:03What's your news?
00:36:04Not a flicker of anything.
00:36:06I've been through Breeden's house almost with a tooth comb.
00:36:09Nothing.
00:36:10Oh, Mrs. Breeden's scared silly.
00:36:12The girl, she's fine, though.
00:36:14And as for that butler, he's just a B.F. anyway.
00:36:16What?
00:36:17Have you got a man there still?
00:36:19You haven't?
00:36:21Well, look here, Hurley.
00:36:22I'm going up there tonight,
00:36:24and I don't want to be disturbed.
00:36:27I think you're crazy, Mr. Terry.
00:36:31Draw their fire.
00:36:33Yes, I see your idea, but it's damn dangerous.
00:36:38All right, if you insist.
00:36:41Yes, I'll keep my men away till you get a call through.
00:36:43But look, don't put it through from the house.
00:36:46Yes.
00:36:47You understand.
00:36:49Goodbye.
00:36:50Oh, and good luck.
00:36:51Hmm.
00:36:53Didn't get that.
00:36:53That's Terry.
00:36:55He's going up to Breeden's house tonight to have a look around.
00:36:57He's mad.
00:36:59Maybe, but he's got guts.
00:37:01He thinks Levitt's watching him.
00:37:03Better try and draw him out in the open.
00:37:05Levitt wouldn't show up with our men hanging around.
00:37:08That's just it.
00:37:09He wants them shifted.
00:37:10He puts a call through.
00:37:12Better see to it, will you?
00:37:12Okay.
00:37:14I once saw a man in a circus put his head into a lion's mouth.
00:37:20The lion was tame.
00:37:23Levitt isn't.
00:37:26Well, I just hate to see if poor Mr. Terry get hurt.
00:37:54Well, I don't know.
00:38:23Well, I don't know.
00:38:27I don't know.
00:39:01Phil! You're hurt.
00:39:03No, no. I'm all right.
00:39:05What was it?
00:39:06What's wrong, sir?
00:39:07Someone tried to shoot me. I think it came from outside.
00:39:09Holford, get to the front door and see if you can see anyone.
00:39:12And don't let anyone leave this house.
00:39:13Very good, sir.
00:39:18I'm convinced that shot came from the street.
00:39:20First, there were three low whistles repeated.
00:39:22I heard them. I was in the dining room at the time.
00:39:24As I was shutting the front door, I saw a figure dash by in the half light.
00:39:27I hurried in here and looked out of the window, but I couldn't see anything.
00:39:30A moment or two later, the shot was fired. I was standing over there.
00:39:33There's no one there, sir.
00:39:34All right, Holford. I'll ring you if I want you.
00:39:36Yes, sir.
00:39:37Oh, don't go for a second, Mrs. Breden.
00:39:39There's something else I want to tell you.
00:39:41You've had news.
00:39:43Bad news.
00:39:51When did he die?
00:39:53Shortly before I got to the hospital.
00:39:55They wanted to phone you, but I asked them to let me tell you.
00:39:59It seemed kinder.
00:40:01I'd have sent for you, but what was the use?
00:40:05I'll be in my room if you want me.
00:40:12I meant to break this more gently, but this business, the shooting...
00:40:17I know.
00:40:18I know.
00:40:20I know.
00:40:43You're not going to run any more risks.
00:40:45I know.
00:40:45I'll telephone Inspector Hurley.
00:40:47He can send his men at once.
00:40:49No, no.
00:40:49You mustn't phone from the house.
00:40:51It isn't safe.
00:40:52Outside, later.
00:40:53I'm afraid, Phil.
00:40:54Afraid of everything in this house.
00:40:56I find myself suspecting everyone.
00:40:58Even Claire.
00:41:02It might have been Claire.
00:41:04She came from the drawing room.
00:41:06How do you know she didn't run in through the windows in the garden after she fired that shot?
00:41:09No, no, no.
00:41:09It isn't possible.
00:41:10She was playing the piano.
00:41:12I heard her when I went into the study.
00:41:14She was playing when the shot was fired.
00:41:42I heard her when she was fired.
00:41:53I heard her when she was fired.
00:41:54Claire's a bomb.
00:41:55Father gave it to her last night.
00:41:57I don't know where this is going to lead us, German.
00:42:00But we've got to work together.
00:42:01And quickly.
00:42:02Go outside now and telephone Hurley.
00:42:04You know what to say to him.
00:42:05Tell him to have his men ready outside.
00:42:06When you come back, watch me.
00:42:09If I want to tell you anything, I'll say a word, a phrase.
00:42:13I'll say it's beyond me.
00:42:14When you hear me say that, I'll have written a message on my left cuff.
00:42:18Get as close as you can without arising suspicion.
00:42:21And when you've read what I've written, do it.
00:42:24I see what you mean. I'll telephone Haley right away.
00:42:46Quick, Joan, out to the garden.
00:42:51Oh, er, Mr. Linden is here, sir.
00:42:54Oh, er, show him into the study, will you please?
00:42:55Yes. Oh, and Holford, er, tell Mrs. Breeden.
00:42:57Yes, sir.
00:43:04Good evening, Linden.
00:43:07Careless servants make me furious.
00:43:09Hmm, almost as much as their time-honoured excuse.
00:43:11It come to pieces in me hand.
00:43:12If only they'd think of something else, sir.
00:43:15I didn't expect to see you here tonight.
00:43:17What are you?
00:43:18Oh, well, somebody did.
00:43:20That, er, that wasn't the work of a careless servant.
00:43:23It was the work of a bad shot.
00:43:25Meant for me.
00:43:26What?
00:43:28What an escape.
00:43:30I don't understand all this, Tally.
00:43:31What is it? What's the mystery?
00:43:33First Breeden, then you. It's appalling.
00:43:35Now perhaps you'll revise your ideas about the criminal mind.
00:43:38Hmm.
00:43:39You came to see Mrs. Breeden, of course.
00:43:41Yes, we're very old friends.
00:43:42When I heard that Breeden...
00:43:42I understand.
00:43:43She'll be down in a moment.
00:43:45Naturally, she's very upset.
00:43:47Is there...
00:43:47Is there any chance of Breeden recovering?
00:43:50Breeden's dead.
00:43:51Died a couple of hours ago.
00:43:53How terrible.
00:43:55Poor Claire.
00:44:01I've just heard.
00:44:03I'm sorry.
00:44:06I wonder, would you excuse me, Mrs. Breeden?
00:44:09I'd like to talk to the servants.
00:44:10Oh, of course.
00:44:27I know, but he's a mess.
00:44:28I know, but...
00:44:29Do you trust me?
00:44:30He's a mess.
00:44:31Yeah, I know.
00:44:32I know he's a mess.
00:44:36Maybe, he's a mess.
00:44:37I know he's going to work.
00:44:40It's a mess.
00:44:47well i got through to hurley he's on the way now but i don't want him inside the house yet
00:44:52well he understands that he's arranged to be in the doctor's house opposite did he say anything
00:44:55about his men but just that he'd have them within call hope to goodness he doesn't put him around
00:44:59the house but why phil why because if it was levitt who shot at me or he's hanging around
00:45:03for another chance i don't want him scared off phil oh don't worry darling i've simply got to
00:45:08take the risk but if it was claire who fired at you yes yes we can't afford to wash out
00:45:13that
00:45:13possibility but if it was it was she who shot your father our whole idea of levitt goes up in
00:45:20the
00:45:20air well have the police in please phil what let them spoil everything no fear you and i'll see
00:45:25this thing through together now the first thing i want to do is to get your stepmother and linden
00:45:30out of the study is linden here yes he came a few moments ago to express his regrets or at
00:45:35any rate
00:45:35that's what he said well i'll order coffee and call them when it's ready good then i can get into
00:45:39the study alone you join me there if you can oh and uh you haven't gotten our signal in case
00:45:44i want
00:45:44to use it no you'll say it's beyond me that's fine now order the coffee i want a word with
00:45:49holford
00:45:51keep your chin up journal you're my partner now
00:46:05watch that young man claire he means mischief do you think i don't know why he's here tonight
00:46:11i'm never to be free from this terrible business of detection don't upset yourself i'll look after
00:46:15him i can't stand it much longer mark take me away tomorrow that's what i wanted to do
00:46:22my darling be sensible we mustn't make a lot of talk we'll get married later now be patient my sweet
00:46:33coffee is served in the drawing room madam thank you martin you'd like some coffee wouldn't you
00:46:37thanks thanks i'd love it
00:47:18thank you
00:47:20thank you
00:47:32thank you
00:47:43I made an excuse to get away and bring you this.
00:47:45Good for you.
00:47:46What have you found?
00:47:47Something rather interesting.
00:47:48I got this bullet from the hospital.
00:47:51Here's the one that Nela did for me.
00:47:53They both fit the same revolver.
00:47:55Clare's.
00:47:56But it doesn't mean that she fired it.
00:47:58When I said I was sure the shot came from outside, I was playing for time.
00:48:01I was fired at from a panel in that door.
00:48:04I saw it in the mirror.
00:48:05Clare.
00:48:06Not necessarily.
00:48:07We don't know that she was in the drawing room.
00:48:08Remember, the piano was playing automatically.
00:48:10But it came from someone in the house.
00:48:14Remember the three low whistles?
00:48:16Yes.
00:48:17Where was Halford then?
00:48:18I don't know.
00:48:19Phil, you don't think that Halford...
00:48:21I don't know.
00:48:21I'm just trying to find out.
00:48:24What about Lyndon?
00:48:26He didn't arrive till after it had happened.
00:48:29I don't like him, Phil.
00:48:31Why's he here tonight?
00:48:32Well, for one thing, he's in love with your stepmother, of course, you know that.
00:48:36For another thing, your father told me last night that he had some papers which put Lyndon in a very
00:48:40nasty position.
00:48:41I wonder if he's after the...
00:48:44Wait a minute.
00:48:55Here they are.
00:48:56Bolivian copper mines.
00:48:58Brazilian deep levels.
00:49:00Here.
00:49:00Shady stuff in the city.
00:49:02Here.
00:49:02With some notes of your father's.
00:49:05Joan.
00:49:05Can you hide these somewhere in your room?
00:49:07Of course.
00:49:10Will she never come back?
00:49:12Joan?
00:49:13She crept off into the study to give Philip Terry his coffee.
00:49:16Heaven knows what they're plotting.
00:49:18What can they do?
00:49:19I don't know.
00:49:20Only John told me last night that he had some information about you.
00:49:24What?
00:49:27What sort of information?
00:49:28Probably lies, because he was jealous of you.
00:49:31It had to do with something in the city.
00:49:32Are you sure?
00:49:33That's what he said.
00:49:35He's probably told Philip Terry, too.
00:49:38Did your father ever show you this?
00:49:39No.
00:49:40What is it?
00:49:41It's the latest type of dictaphone.
00:49:42The perfect detective.
00:49:44Silent, unseen.
00:49:45You leave the door half open and switch it on here.
00:49:50Are you going to use it?
00:49:52I don't think we'll get a chance.
00:49:54I'd love to hear those two talk when they thought no one was listening.
00:49:57What about the panel in the door?
00:49:59Too risky.
00:50:00No, I've got another idea.
00:50:02What is it?
00:50:02This.
00:50:04A hundred to one chance that might come off.
00:50:10I put it here and trust to one thing.
00:50:13Curiosity.
00:50:14Damn this man, Terry.
00:50:16I wish he was out of the house.
00:50:18Oh, shall I never be free from this awful atmosphere?
00:50:20Gently, gently.
00:50:22I hope I'm not worrying you, Mrs. Breeden.
00:50:25Believe me, it's the last thing I want to do.
00:50:29I didn't hear you come in.
00:50:30Oh, I'm sorry.
00:50:30Perfect detective.
00:50:32Moving about like a shadow.
00:50:33It was quite unintentional, I assure you.
00:50:35A force of professional habit, I suppose.
00:50:38To be quite frank, Terry, Mrs. Breeden's upset.
00:50:40And she's very worried about your being here tonight.
00:50:42Well, then let me be quite frank with you.
00:50:44Her husband was my partner.
00:50:46He's been killed.
00:50:47And I shan't rest until I find out who did it.
00:50:50Then you are here professionally.
00:50:52You can put it that way if you like.
00:50:53Well, why try to hide it?
00:50:54Very well, then I won't.
00:50:56Quite apart from investigating your husband's death, Mrs. Breeden, remember, I was shot at
00:50:59myself tonight.
00:51:00Then why don't you send for the police?
00:51:03Oh, you can put it down to professional pride.
00:51:06Shall I have the coffee?
00:51:07Things cleared, madam?
00:51:08Yes, do please, Hopper.
00:51:11I'm trying an interesting experiment, Lyndon.
00:51:13Oh.
00:51:14It's obvious that whoever killed Breeden is the person who shot at me.
00:51:18He must be somewhere close at hand.
00:51:20He may even be hiding in the house.
00:51:22Don't, please don't.
00:51:23I'm sorry, but I'm only trying to help.
00:51:25I think I've got the name of the murderer.
00:51:29Before your husband died, he regained consciousness of just for a second.
00:51:33But he spoke a name.
00:51:34Whose?
00:51:35I don't know.
00:51:36The nurse on duty wrote it down and put it in an envelope.
00:51:39His last words were, give it to Terry.
00:51:42Whose name is it?
00:51:43I haven't looked.
00:51:44You mad?
00:51:45Oh, I don't know.
00:51:46Perhaps I am a little, but I have a theory, and I want to test it.
00:51:49Where's the envelope?
00:51:50On the mantelpiece in the study.
00:51:52And your theory is?
00:51:53That all human beings are eaten by curiosity.
00:51:56Someone will want to open that envelope.
00:51:58Are you suggesting that the murderer will come back to this house?
00:52:02Yes, as I said, he's not in the house already.
00:52:06Do you think he took all that in?
00:52:08What are you talking about?
00:52:09Halford.
00:52:09You suspect Halford?
00:52:11I do.
00:52:12Ridiculous.
00:52:12Well, the envelope will prove it.
00:52:13Do you think he'll go to it now that he knows he's being watched?
00:52:16Yes, but he won't know that he's being watched.
00:52:18I'm sure Breeden suspected him.
00:52:20I think it was his name he mentioned.
00:52:22Halford thinks so, too.
00:52:24The itching uncertainty will prove too much for him.
00:52:26He'll risk anything to see.
00:52:43I've left them in the drawing room.
00:52:45Go in and tell them that you've seen me in your father's dressing room upstairs.
00:52:48Pretend to be surprised about it.
00:52:49Do you understand?
00:52:50Yes, sir.
00:52:51And whatever you do, make them believe that I am upstairs.
00:53:02Claire, did you tell Philip he could go into father's dressing room?
00:53:05Is that where he is?
00:53:06I just left him there.
00:53:07Good Lord, what's he up to?
00:53:08He said he was going to watch Halford.
00:53:10Somehow, I don't think he ought to disturb father's things.
00:53:13This detective business is rather spoiling your romance, Miss Breeden.
00:53:16Philip's acting so strangely, ordering everyone a bud.
00:53:18He almost pushed me out of the room upstairs and said he didn't want to be disturbed for half an
00:53:22hour.
00:53:22I wouldn't stand it, Claire.
00:53:23Oh, leave the man alone.
00:53:25As long as he isn't near me, I don't care.
00:53:42I'll be glad when tonight's over.
00:53:46Oh, empty as usual.
00:53:48I do wish Halford would see to things.
00:53:50Cigarette, Claire?
00:53:51No, I hate yours.
00:53:52I left my case on the mantelpiece in the study.
00:53:54I'll get it for you.
00:53:55No, no, I'll go.
00:53:56All this sitting about, I'm desperate for something to do.
00:54:09Claire's in a terrible state of nerves tonight.
00:54:11Can you wonder?
00:54:13If she'd only keep still.
00:54:14No, no, no, no, no, no.
00:54:47The light, Clare?
00:54:48That room gives me the creeps.
00:54:50I wonder you go in there.
00:54:53Cigarette, Miss Breeden.
00:54:54Thanks.
00:54:55I'll have one of these.
00:55:03There's nothing like a cigarette for soothing one's nerves.
00:55:57I'll have one of these.
00:56:02Don't move, Holford.
00:56:05Lyndon, Mrs. Breeden.
00:56:11Blank.
00:56:12Yes, blank.
00:56:16Give it to me.
00:56:18There you are, Lyndon.
00:56:20A perfect specimen of the criminal mind.
00:56:23Unable to resist that itching uncertainty.
00:56:26Holford.
00:56:26The man who killed your husband.
00:56:28Tried to shoot me.
00:56:30A man whose other name is Levitt.
00:56:31No, no, sir.
00:56:32This is fantastic.
00:56:35Breeden's own butler.
00:56:36The man he was searching for.
00:56:37How often do we miss the very thing that's under our nose?
00:56:39But, sir, Mr. Terrick, let me explain.
00:56:41Save your statement for the police.
00:56:42But you must hear me, sir.
00:56:43I know I put myself in the wrong, but I couldn't stand it any longer.
00:56:48What?
00:56:48The suspense, sir.
00:56:49I was in the drawing room when you were explaining about this envelope,
00:56:52and I couldn't help overhearing what you said about it.
00:56:55I meant you to hear.
00:56:56I knew exactly what you'd do.
00:56:58But you didn't know why, sir.
00:57:00I was very fond of Mr. Breeden, sir.
00:57:03I wanted to get the name and communicate with the police.
00:57:05Clever, Holford, but not convincing.
00:57:07It's the truth, sir.
00:57:09You were taking too much risk.
00:57:11The murderer was here tonight.
00:57:12I heard the signals.
00:57:14I was only trying to help, sir.
00:57:16I think you've made a mistake, Mr. Terry.
00:57:18It was a pretty trick, but I don't see that it proves anything.
00:57:21We'll leave that to the police.
00:57:23No, sir.
00:57:24Please.
00:57:24Mr. Linden is quite right.
00:57:25This stupid trick proves nothing.
00:57:28Holford's been with me for over ten years.
00:57:30Mrs. Breeden, I warn you.
00:57:31I'm sick of your warnings and your interference.
00:57:34I'm quite sure you were trying to help Holford.
00:57:36I believe you.
00:57:37If I need you for anything, I'll ring.
00:57:40Mr. Terry, will you please realize once and for all that this is my house?
00:57:45You can go, Holford.
00:57:47You and I will meet later.
00:57:54Can't help feeling rather sorry for you, Terry.
00:57:57Don't worry about me.
00:57:58I'm quite all right.
00:57:59Perhaps we can be spared any more of our investigations now.
00:58:02Of course.
00:58:03I've just got a few notes to make.
00:58:05There's something rather pathetic about the failure of an amateur.
00:58:08It's bad enough when a mystery baffles the real police.
00:58:10All right, Linden, don't rub it in.
00:58:12I'm perfectly prepared to admit it's beyond me.
00:58:16Will you report tonight's shooting to the police or shall I?
00:58:19Well, as I'm still alive to do it, I think it will come better from me, don't you?
00:58:24I can't stand this any longer.
00:58:25I'm going upstairs to my room.
00:58:28Poor Joan.
00:58:31I seem to be upsetting everybody.
00:58:33I'd better go.
00:58:35Well, don't let us keep you.
00:58:37Thanks.
00:58:38Would you mind if Holford got me a taxi?
00:58:40Would you ring the bell, please, ma'am?
00:58:50Do you think he heard the bell?
00:58:52Ring again, would you, Mark?
00:59:00I can't think what's the matter with the man.
00:59:01Oh, please don't worry.
00:59:02I'll pick up a taxi outside.
00:59:04Phil!
00:59:05Holford's not in the house.
00:59:06I heard the bell ringing and went on to see.
00:59:09He's escaped.
00:59:10Quickly, get on the phone to Hurley.
00:59:11I've got a couple of men at the foot of the garden.
00:59:12I'll warn them.
00:59:14He's had the place watched.
00:59:15Of course.
00:59:23No, no, I don't want Dr. Craig.
00:59:24Isn't Inspector Hurley there?
00:59:26What?
00:59:27He must be.
00:59:30Are you sure?
00:59:32He left some time ago.
00:59:35All right, goodbye.
00:59:36I must tell Phil.
00:59:41What's Terry's game now, I wonder?
00:59:43Halford, of all people.
00:59:45Halford?
00:59:46That's just bluff.
00:59:47Bluff?
00:59:48Look here, Claire.
00:59:48This whole thing's getting on my nerves.
00:59:51You told me Breton had some papers that concern me.
00:59:53Where are they?
00:59:53They'll be in one of those drawers.
00:59:55I might as well have them before I go.
00:59:57Go?
01:00:02Hell.
01:00:03What is it?
01:00:04Johnson.
01:00:06I might have known.
01:00:09Blasted little squealer.
01:00:10I don't know what you mean.
01:00:12One of my men's given me away.
01:00:13Your men?
01:00:14This may mean I hang.
01:00:16You?
01:00:16When you dropped your bag last night, I found your revolver.
01:00:18I used it.
01:00:19I used it again tonight.
01:00:21You shot my husband because...
01:00:23Because he was a menace to me.
01:00:24More dangerous than all the police put together.
01:00:26Then you...
01:00:26Yes, don't you understand?
01:00:28I killed Breton.
01:00:30And I tried to kill Terry.
01:00:32I'm Levitt.
01:00:34Levitt?
01:00:35Good man, Harley.
01:00:37All set?
01:00:37All set.
01:00:38And I've got a couple of men in the hall.
01:00:43Take a hold of yourself.
01:00:45I can get out of here.
01:00:47Then we can meet abroad.
01:00:48My only chance is to go out quietly.
01:00:51If I'm stopped, I'll bluff.
01:00:54Now you stay here.
01:00:59It's going so soon?
01:01:01Yes.
01:01:02Pity.
01:01:03Inspector Hurley would like to have a word with you.
01:01:05I haven't the pleasure of knowing, Inspector Hurley.
01:01:07Oh, let me introduce you, Inspector.
01:01:09This is Mr. Levitt.
01:01:10Really, Terry, you're getting quite amusing.
01:01:12That's the second time you've discovered a Levitt tonight.
01:01:14I'm surprised, Inspector, you let these amateur detectives fool you.
01:01:18That's my affair.
01:01:20I've got a warrant here for your arrest, Levitt.
01:01:22My name is Lyndon.
01:01:23Mark Lyndon.
01:01:24That won't take long to prove.
01:01:25Not a moment.
01:01:27But you'll have a job to identify me as Levitt.
01:01:29We'll see.
01:01:30Joan, switch on the other amateur detective, would you?
01:01:38You shot my husband because...
01:01:40Because he was a menace to me.
01:01:41More dangerous than all the police put together.
01:01:44Then you...
01:01:45Now, now, don't you understand?
01:01:47I killed Breeden.
01:01:48And I tried to kill Terry.
01:01:51I'm Levitt.
01:01:53Levitt.
01:01:55I killed Terry.
01:01:57Ready?
01:02:00Quite ready.
01:02:02Goodbye, Terry.
01:02:04You've been lucky.
01:02:05But the luckiest moment of your life was when that bullet went through the vase and not your head.
01:02:09It scared me, but I make it a rule always to keep my head.
01:02:12Take him away, boys.
01:02:14Have a long.
01:02:17Good night, Mr. Terry.
01:02:19See you later.
01:02:19Right.
01:02:21Congratulations, Halford.
01:02:23You're a perfect actor.
01:02:24Thank you, sir.
01:02:25I'll be a perfect butler and show these gentlemen out, will you?
01:02:28Very good, sir.
01:02:39Leave me alone.
01:02:40I want to be alone.
01:02:42I want to be alone.
01:02:44I want to be alone.
01:02:47I want to be alone.
01:02:51I like to think that your father knows now that his job's finished.
01:02:55Thanks to you.
01:02:56And you.
01:02:57It was splendid work.
01:02:58Think of it.
01:02:59Not a hitch.
01:03:00There nearly was.
01:03:01How?
01:03:02When I read that message on your cuff.
01:03:05Fetch Hurley.
01:03:06Come back.
01:03:07Say Halford gone.
01:03:08Turn on dictaphone.
01:03:10What's the matter was that?
01:03:11I nearly missed the lot spot.
01:03:12Oh.
01:03:13You spelled dictaphone with a K.
01:03:17Old spelling.
01:03:20It's beyond me.
01:03:23Good.
01:03:23Good.
01:03:24Oh.
01:03:30Oh.
01:03:33Oh.
01:03:34Oh.
01:03:35Oh.
01:03:36Oh.
01:03:36Oh.
01:03:37Oh.
01:03:37Oh, oh.
01:03:38Oh. Oh.