- 5/12/2025
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Short filmTranscript
00:00:00The End
00:00:30THE END
00:01:00I've got to hear something's going to happen I ain't going to like.
00:01:15You'll mind this.
00:01:18That's right.
00:01:21Careful, Mark.
00:01:22You know I'm delicate.
00:01:23Oh, there's a kind of a monotony about this.
00:01:31You're not hurt, are you?
00:01:32No.
00:01:33I'm getting so I enjoy it.
00:01:36What you just saw is my triple McNasty.
00:01:39It should be a must for all of us detectives.
00:01:42Marty is a sucker for it.
00:01:44Oh, I've got another little item that I think you coppers should know.
00:01:46Come on, Herman.
00:01:47You'll pardon me?
00:01:49Oh, it won't hurt you.
00:01:50Peter.
00:01:51Come on, let's try it.
00:01:52I have your gun.
00:01:55There.
00:01:57What's the matter with you, Friday?
00:01:59It's all right.
00:02:00He's a minion of the law.
00:02:04Now, come on.
00:02:06Put the gun in my back.
00:02:08I'm walking along.
00:02:10I hope my insurance is paid out.
00:02:17You see, it's all in the timing.
00:02:19Hey, will you get this Malamute off me?
00:02:22Relaxing, ain't it?
00:02:24Let him up, Friday.
00:02:26Excuse me, boys.
00:02:27Come on, Friday.
00:02:32Can't see anybody today, Alistair.
00:02:34Friday.
00:02:35Alistair will answer this time, if you don't mind.
00:02:37Can't you get it through your head?
00:02:39Dogs don't answer dough bells.
00:02:46Yes, ma'am?
00:02:47I'm Mrs. Laurie.
00:02:48Is Captain McLean in?
00:02:49I'm sorry, ma'am.
00:02:50Captain McLean is not receiving today.
00:02:53He's consulting.
00:02:55Oh, but I'm an old friend.
00:02:57I'm sure he'd want to see me.
00:02:59I'll just wait.
00:03:01I know, ma'am, but he said don't let nobody in.
00:03:04If I don't let him in, he says do let him in.
00:03:06Now, dog, where is you going?
00:03:08Innocent as a lamb, ain't you?
00:03:10Well, if you entertaining any ideas about getting into my department, you are treading on the edge of disaster.
00:03:16What are you looking at?
00:03:17Very cunning.
00:03:19Now, what is you looking at?
00:03:25So das it.
00:03:30Why, you double-crossing canine?
00:03:32I'll disconnect you.
00:03:39Boss, I'm a man with patience.
00:03:41But that dog...
00:03:42Never mind that.
00:03:43Who was at the door?
00:03:46That blamed dog has even gotten me forgetting what I'm supposed to be doing.
00:03:50All right, all right.
00:03:51Who's at the door?
00:03:52It's the lady, sir.
00:03:53The lady.
00:03:53Yes, sir.
00:03:54All right.
00:03:55Give me the blue coat and the polka dot tie.
00:03:57And your tan shoes?
00:03:58And the tan shoes.
00:04:00Yes, sir.
00:04:09At it again.
00:04:10Right under my nose.
00:04:15You really should tell new servants about old friends, Captain McLean.
00:04:19Norma!
00:04:20Hello, Friday.
00:04:21We even brought you some roses.
00:04:25Ah, they're lovely.
00:04:27You know, too few ladies bring me roses these days.
00:04:29Ah, Mac, old friend.
00:04:30It's good to see you.
00:04:31Ah, it's good to see you too, Norma.
00:04:36You're just as beautiful as ever.
00:04:38The only time I mind not having eyes is when you're around.
00:04:43Come, let's sit down.
00:04:44Can't keep your sniffer out of roses, can you?
00:04:53I'd forgotten that Friday was allergic to them.
00:04:57So you've given up the theater for good, huh?
00:04:59Mm-hmm.
00:05:00And do you think Laurie is worth it?
00:05:02Being married to Stephen is the most exciting career I ever had, Mac.
00:05:07He's a great man.
00:05:09Mm-hmm.
00:05:10A great man indeed.
00:05:11He's one of the best scientific minds we have today.
00:05:16And heaven knows we need him.
00:05:26I'm glad you came to me, Norma.
00:05:29I think your father would have expected me to help you.
00:05:34You do need help, don't you?
00:05:35Yes, but how did you know?
00:05:37Oh, the tone of your voice, the way you tapped your cigarette.
00:05:42Serious trouble?
00:05:43Pretty serious.
00:05:45Need a detective?
00:05:46What I really need is someone to commit a murder for me.
00:05:49Oh, I can do that for you any time you want.
00:05:53Who's the victim?
00:05:55Do you remember Paul Garenti?
00:05:57Yes.
00:05:58The dreariest leading man you ever had.
00:06:00And when you told me that you were engaged to him,
00:06:02I wanted to take you over my knee.
00:06:04Well, he's back.
00:06:06He's back in my life again.
00:06:08He's a leading man in that summer theater near our home.
00:06:11And he's making love to my stepdaughter, Barbara.
00:06:14She's 17.
00:06:15She's very headstrong.
00:06:17Well, she's completely gone on him.
00:06:19She's Stephen's only child.
00:06:21He adores her.
00:06:23And for Stephen's sake, as well as for her own,
00:06:25I felt I simply had to tell her what a rotter Paul is.
00:06:30But Paul has poisoned her mind against me already.
00:06:35He's made her believe that I am still in love with him.
00:06:38That I'm playing the role of the discarded woman.
00:06:40Imagine me burning up with jealousy
00:06:42because he happens to prefer a younger woman.
00:06:45Well, that's what he's told her.
00:06:47And worse than that,
00:06:48he's convinced her that I married her father for his money.
00:06:52By now, of course, the child hates me.
00:06:54I don't know if I can help you or not.
00:06:57I'm only a gumshoe.
00:06:59But offhand, I would say one thing, though.
00:07:02What?
00:07:02You've got to have a talk with Juretti.
00:07:05Oh, Mac, you don't seem to understand at all.
00:07:09I loathe the man.
00:07:10My dear, you seem to be forgetting one thing.
00:07:13You're not just another woman
00:07:14that's been treated badly by Juretti.
00:07:16You're this girl's mother now.
00:07:18And your husband expects you to look after her.
00:07:20She's your responsibility.
00:07:23What would I say to him?
00:07:24Go to him.
00:07:25Tell him you're going to fight him.
00:07:26Show him that you mean it.
00:07:29Well, try it.
00:07:30If it doesn't work, we'll...
00:07:32We'll figure out something else.
00:07:35Oh, Mac.
00:07:37I never even come to see you
00:07:38except when I'm in trouble.
00:07:40What are old friends for?
00:07:41Goodbye, darling, and thank you.
00:07:44I'll go to see him right away.
00:07:45That a girl.
00:07:46Goodbye, dear.
00:07:48Finally, show the lady to the door.
00:07:49Oh, I beg your pardon.
00:08:09Oh, it's you, Paul.
00:08:11Norma, darling.
00:08:13Here, wait a minute while I turn on the light.
00:08:15I'm the last one out.
00:08:16I was just leaving for town.
00:08:22There.
00:08:23For the footlights, we'll both feel at home.
00:08:26Oh, but won't you sit down?
00:08:31Well, my flower, it is good to see you again.
00:08:34How's married life?
00:08:37Boring, I trust?
00:08:38I'm very happy, Paul.
00:08:40Splendid.
00:08:41Did you come for Barbara?
00:08:42She left some time ago.
00:08:44No, I didn't come for Barbara.
00:08:46I came to see you, Paul.
00:08:47So?
00:08:49How very nice.
00:08:51You know, Norma, you're still very attractive.
00:08:54You age more cheerfully than I.
00:08:56I'm getting frightfully worried about my looks.
00:08:59Cigarette?
00:09:00You spoke just now of age.
00:09:04Barbara's only 17.
00:09:07Surely you can see that you could never make her happy.
00:09:13Don't hurt her, Paul.
00:09:14I have no intention of hurting her.
00:09:17Why should I hurt her?
00:09:19Because you're a vicious, self-centered man
00:09:21who's incapable of a decent, clean emotion.
00:09:24Because...
00:09:25I'm sorry I said that, Paul.
00:09:30Forgive me.
00:09:31No, you're not sorry, darling.
00:09:33You meant every word.
00:09:35I love Barbara, utterly and devotedly.
00:09:37If she'll have me, I'll marry her.
00:09:40All my life I've waited for someone like her,
00:09:43beautiful and talented,
00:09:44alive as a breath of spring.
00:09:47Now that I've found her,
00:09:49I'll never let her go.
00:09:51Bravo.
00:09:55Bravo.
00:10:01You ham.
00:10:08Thank you, Hanson.
00:10:10Where's Mr. Lorry?
00:10:11I think you'll find him in the laboratory, madam.
00:10:13Oh?
00:10:14Mm-hmm.
00:10:21Oh, Stephen, I thought you promised me
00:10:26you'd be out of this old lab before I got home.
00:10:29Darling,
00:10:30you're not going to work all night again, are you?
00:10:32No more night work.
00:10:34In fact, no more work.
00:10:36I've finished.
00:10:37Oh, Stephen, you haven't.
00:10:39Oh, yes.
00:10:40It's all over now.
00:10:42That is, uh,
00:10:43all except one thing.
00:10:45What's that?
00:10:46I don't know if it'll work.
00:10:48A mere nothing.
00:10:49A trifle.
00:10:50When will you find out?
00:10:53Right away.
00:10:56How would you like to come on a little airplane trip?
00:10:59I'd love it.
00:11:00Where to?
00:11:01Can't tell.
00:11:02Big mystery.
00:11:04We fly south to a private plane.
00:11:06Then, early in the morning,
00:11:07I'll leave you at the hotel for a few hours.
00:11:09And when I come back,
00:11:11I'll either be immortal
00:11:12or else just another crackpot
00:11:14who should have stuck to teaching.
00:11:16And we won't care which, will we?
00:11:18Darling, you've been an angel these past few months.
00:11:22Never once have you asked me what I was doing.
00:11:24Never even complained.
00:11:26No matter how badly I neglected you.
00:11:29I can't tell you now what I'm doing.
00:11:31I don't want you to carry the responsibility of knowing.
00:11:33But I can tell you this.
00:11:35If it works,
00:11:37it'll be an important contribution to the war.
00:11:39So you see, it's beyond my personal satisfaction.
00:11:42It'll work.
00:11:44I know it will.
00:11:45I wish you gave out Nobel Prizes.
00:11:49We leave tonight at 7.30.
00:11:51So just pack an overnight bag.
00:11:54Oh, uh,
00:11:55Barbara won't be able to see us after.
00:11:57She has a date in town with some girlfriends.
00:12:09Hello, Barbara.
00:12:11Hello.
00:12:12My, your roses are lovely.
00:12:15Yes, Paul sent them to me.
00:12:18Going out tonight?
00:12:19I am.
00:12:21Would you mind too much telling me with whom?
00:12:23I wouldn't mind telling you at all, dear.
00:12:27Except that you know perfectly well.
00:12:30Your father thinks you have a date with some girls.
00:12:34If you think that's wrong,
00:12:35then by all means, tell him the truth.
00:12:37Mother.
00:12:38You and your father are such wonderful friends, Barbara.
00:12:43Don't you think you could be honest with him?
00:12:45In what way?
00:12:46Well, about Paul, I mean.
00:12:48What about him, dear?
00:12:50Barbara, you know as well as I that you shouldn't be seeing him.
00:12:53Really, darling?
00:12:55I don't see why not.
00:12:56Because he's not good.
00:12:59He's hard and cruel.
00:13:01Well, he's...
00:13:02How dreadful.
00:13:04It seems to me that your duty is perfectly clear, then.
00:13:07You should go to my father and tell him that I'm going out with a bad man.
00:13:10And when he asks you how you know he's a bad man,
00:13:13you tell him.
00:13:15Tell him that you know from personal experience, won't you?
00:13:19Barbara.
00:13:19Oh, why do you insist on misunderstanding me?
00:13:24I'm older than you.
00:13:25I made a great mistake.
00:13:27And I'm only trying to keep you from suffering as I did.
00:13:33Darling, do you want to know what I think?
00:13:36I think you've come to the same conclusion that I have.
00:13:39That there isn't enough room in this house for both of us.
00:13:41I think you're trying to turn my father against me.
00:13:44You're trying to run my life to dominate every movement I make.
00:13:47Oh, that isn't true.
00:13:48But you haven't won yet, my sweet.
00:13:50Because I'm going to stay.
00:13:52And as long as I'm here, you're not going to be happy.
00:13:57I'm going into town tonight.
00:13:59And I'm going to have dinner with Paul Durante.
00:14:01Alone.
00:14:03Well, you're not going to his apartment.
00:14:06Apartment?
00:14:14Operator.
00:14:14Get me Murray Hill 44598, please.
00:14:20Hello, Paul.
00:14:21Look, darling.
00:14:23I've changed my mind about dinner.
00:14:25Let's not go to a restaurant.
00:14:27I think I like your original invitation better.
00:14:31Let's have dinner in your apartment.
00:14:34Why, of course I care, Paul, dearest.
00:14:37All right.
00:14:38I'll meet you at your apartment at 8 o'clock.
00:14:40Goodbye, sweet.
00:14:45Well, darling, we're off on the big adventure.
00:14:48Stephen.
00:14:49Yes, dear?
00:14:51I don't think I should go with you.
00:14:53What?
00:14:54I thought it was all agreed.
00:14:56Well, it's just occurred to me.
00:14:57We shouldn't be flying together.
00:14:59If anything happened, Barbara would be left all alone.
00:15:03I never thought of that.
00:15:04Of course, you would.
00:15:06It isn't easy being a stepmother, Norma.
00:15:09You've done a wonderful job.
00:15:10I haven't had to worry about Barbara since you came.
00:15:13You'll never know how grateful I am.
00:15:16Ready, Mr. Lowry.
00:15:16Good luck, darling.
00:15:23You're all the luck a man could ask for.
00:15:46Paul.
00:15:56Paul.
00:16:16Barbara.
00:16:31Barbara.
00:16:31Try to take hold of yourself.
00:16:57We must get away from here.
00:16:58Come on, darling.
00:17:01Why you?
00:17:06Barbara.
00:17:07You're asking me to run away with you?
00:17:09We've got to get out of here, don't you understand?
00:17:12I have no reason to run.
00:17:13Why should I run away?
00:17:15I didn't kill anybody.
00:17:17You don't think...
00:17:18I don't have to think.
00:17:19That...
00:17:19That upstairs proves everything.
00:17:23Oh, you don't know what you're saying.
00:17:25I had nothing to do with it.
00:17:26Then what were you doing here?
00:17:27I came to try to stop you.
00:17:29To tell Paul he was like that when I came in.
00:17:35You're dull, darling.
00:17:36That's such a feeble story.
00:17:39But it's true.
00:17:42Barbara.
00:17:44Barbara, I couldn't.
00:17:45You're a liar.
00:17:46You killed him because you were jealous.
00:17:48You're going to pay for it.
00:17:49If you're innocent, you won't mind my calling the policemen.
00:17:59No, don't.
00:18:00You're terrified, aren't you?
00:18:02Barbara, think of your father.
00:18:03The newspapers would go mad.
00:18:05He couldn't bear it.
00:18:06That phony nobility of yours really makes me sick.
00:18:08All right.
00:18:13I won't call the policemen.
00:18:16All you have to do is one thing.
00:18:18Oh, anything.
00:18:18What is it?
00:18:19Leave my father's house.
00:18:22Barbara.
00:18:23Take your choice, darling.
00:18:26Well, shall I call him?
00:18:30Very well, I'll go.
00:18:32By tomorrow morning?
00:18:33Yes.
00:18:34Good.
00:18:35You understand, don't you, that if you're not going by tomorrow morning, I call the police.
00:18:40Yes, I understand.
00:18:44Taxi!
00:18:47Oh, by the way, you might be interested to know that I was never really interested in Paul Durante.
00:18:52Oh, at first he amused me, but then I realized that he was sort of upsetting.
00:18:58So you see, my dear, you killed a man for nothing.
00:19:01Bob, are you listening?
00:19:05No, Norm, I won't.
00:19:07Because I don't have to listen to you anymore.
00:19:10Good night.
00:19:19Now, let's see if we got the facts straight.
00:19:21The body was lying on the floor in front of the fireplace.
00:19:26The skull was bashed in.
00:19:29Door was ajar.
00:19:30There was a good fire burning in the fireplace.
00:19:33No signs of violence.
00:19:37Did anyone see you enter the apartment or leave it?
00:19:40Not that I know of.
00:19:41About how long ago were you there?
00:19:43It must have been an hour.
00:19:48That must have been about eight o'clock.
00:19:51Is there anything else?
00:19:52I can't think of anything.
00:19:55And then Barbara came in and she thought you killed him.
00:19:58Mac, what can I do?
00:19:59I can't tell the police.
00:20:00No, no.
00:20:02A jury would massacre you.
00:20:05Well, go home and get some sleep if you can.
00:20:10Friday.
00:20:12Wake Marty up.
00:20:13Now, you sit tight until you hear from me.
00:20:17All right, Mac.
00:20:19Wait a minute.
00:20:20In case I better call you, what is your phone number?
00:20:22Rossmo 555.
00:20:24Rossmo 555.
00:20:25All right.
00:20:27Friday and I will get on this right away.
00:20:29And don't worry.
00:20:31I won't.
00:20:31Hey, hey.
00:20:45What is this?
00:20:48Oh, it's you.
00:20:50You ought to take it easy when you wake a man up.
00:20:53You're liable to give him a bad shot.
00:20:56All right, all right.
00:20:57Don't rush me.
00:20:58Don't rush me.
00:21:01Don't rush me.
00:21:09Slack.
00:21:10Watch the stairs.
00:21:27Inside.
00:21:31Lock the door again.
00:21:36Well, come on.
00:21:37Let's get started.
00:21:42Here's Sonnet.
00:21:43About 18 by 26.
00:21:45Studio type.
00:21:46There's a big sofa alongside of you to your right.
00:21:49Wall on your right.
00:21:50Big full-length window.
00:21:51Small table with a lamp on it.
00:21:53Big fireplace.
00:21:54Wall ahead of you.
00:21:55A glass cabinet.
00:21:57Door leading to a bedroom, I guess.
00:21:58Big chair.
00:21:59Over the chair is a picture of a reclining tomato.
00:22:06Wall to your left.
00:22:07Baby grand piano.
00:22:08Small round table with a lamp on it.
00:22:10Another chair.
00:22:11Wall behind you.
00:22:12Wooden chair.
00:22:14There's some kind of a screwball statue sitting in a hole in the wall.
00:22:18It stinks.
00:22:19Go on.
00:22:20Go on.
00:22:21Well, that's about all, I guess.
00:22:22I'll take a look in the other room.
00:22:24Haven't you forgotten one important item?
00:22:26What?
00:22:27The body.
00:22:28Nobody here.
00:22:30Nobody.
00:22:33It's gone.
00:22:34She said it was in front of the fireplace.
00:22:36It ain't here now, Mike.
00:22:37I assure you.
00:22:38Any bloodstains on the rug?
00:22:40The rug is like the body.
00:22:41There ain't any.
00:22:42Not in front of the fireplace.
00:22:44Take a look in the other room.
00:22:45Okay.
00:22:46Polished floor.
00:23:04A lot of dust.
00:23:05Seems to form a curved line.
00:23:12There was a rug here and it was taken away.
00:23:14Recently.
00:23:15After he was killed.
00:23:16If he ain't in there, they must have carted him away.
00:23:20I don't get it about the rug.
00:23:22I catch bloodstains.
00:23:24They're going to get it cleaned.
00:23:26Did it ever occur to you that they might have used the rug to carry the body out?
00:23:29Right.
00:23:30Right.
00:23:31Get a hold of the janitor.
00:23:32See if we can get a line of Geretti's friends who might have visited him tonight.
00:23:35Right.
00:23:36And I'll see if a stiff was taken out in the rug.
00:23:38Now, don't mention anything about a stiff.
00:23:40You want us both thrown into jail?
00:23:42Don't you know what we're doing?
00:23:43Maybe turn conspiring to defeat justice?
00:23:46Certainly I know it.
00:23:47Turn out the lights.
00:23:52Now, Friday, through the door.
00:23:53Let's see what we can find out about the late departed, Mr. Geretti.
00:24:06Ah, here's the closed closet.
00:24:26When Marty gets back, we'll look through Geretti's effects.
00:24:40Under the bed, Friday.
00:25:03Keep your mouth shut.
00:25:40I want Rossmoor, 555.
00:25:53My number?
00:25:55Murray Hill 4-4598.
00:25:59Hello, Rossmoor 555?
00:26:01This is Gabriel.
00:26:02Is that you, Vera?
00:26:04Yes, I'm all right.
00:26:05I know, but somebody has to do the dirty work.
00:26:09It's part of the job.
00:26:11All right, I'll be back soon.
00:26:14Now, baby, stop worrying about me.
00:26:22Just a minute.
00:26:23I don't know yet.
00:26:23Call you back.
00:26:24I don't know yet.
00:26:33Get away.
00:26:35Get away.
00:26:35Get away.
00:26:37Get away.
00:26:39Get away.
00:26:40Get away.
00:26:45Get out of the way!
00:26:55Get out of my neck!
00:27:16You better lay quiet.
00:27:18We're all disconnected for you.
00:27:22Now go get Marty, quick!
00:27:24Get up on your feet.
00:27:25Get up on your feet and face that wall.
00:27:37Come on, who hired you?
00:27:39I bet you've been questioned a lot.
00:27:42You know how to keep your mouth shut, don't you?
00:27:44What's this?
00:27:45Marty, this is Gabriel.
00:27:48He gossips like a magpie.
00:27:50Charming!
00:27:52Mac, you're gonna have to give up popcorn.
00:27:54You get the dizziest prizes.
00:27:56Come on, Gabriel.
00:27:57Tell us what you did with the body.
00:27:59You oughta know better than to go around knocking people's brains out, Gabriel.
00:28:03What did he do to you?
00:28:04Steal a tire from you?
00:28:06All right.
00:28:07See if I can guess.
00:28:09You planned to kill Jurenti someplace else.
00:28:11There was a sudden quarrel, and you had to do it here to shut him up.
00:28:14You didn't want the body found here, so you took it away in a rug.
00:28:17You rang the bell that time, Max.
00:28:19Now maybe you'll tell us why you didn't want the body found here.
00:28:24Huh?
00:28:25All right.
00:28:26That means they're gonna make a trip.
00:28:28Friday.
00:28:30Go get the harness.
00:28:32You take him up to our house.
00:28:35Entertain him.
00:28:36Maybe you can influence him to talk.
00:28:38Where are you going?
00:28:40Where are you going?
00:28:41Up to Norma Laurie's house.
00:28:43Gabriel telephoned someone up there.
00:28:45If you find out anything, call me.
00:28:48Take me outside, Friday.
00:28:50You can turn around now, Gabriel.
00:28:56You got the hat, Friday?
00:28:57There we are.
00:28:58Thank you, sir.
00:28:59Is that guy blind?
00:29:02Tomorrow lies, ain't it?
00:29:05Well, Mrs. Laurie, I thought you were going with Mr. Laurie.
00:29:15I changed my mind at the last minute.
00:29:17Is Miss Barbara home?
00:29:18No, madam.
00:29:19Miss Shelley Scott phoned a few minutes ago.
00:29:21There's an emergency rehearsal.
00:29:23Thank you, Hanson.
00:29:24The lyrics are just novelty, but...
00:29:31Novelty?
00:29:32They're trial.
00:29:35Here's Miss Laurie, Miss Scott.
00:29:37Oh, hello, Barbara.
00:29:38I'm sorry I'm late, Shelley.
00:29:39That's all right, Barbara.
00:29:41Come down here a minute.
00:29:42I have something to tell you.
00:29:44The rest of you can relax.
00:29:50Come and sit down here.
00:29:54Something unpleasant has happened, Barbara.
00:29:57Paul Garenti...
00:29:58What about him?
00:30:00He's quit the show.
00:30:01He did?
00:30:04When?
00:30:05He telephoned at seven o'clock.
00:30:07He didn't give us a moment's notice.
00:30:09He said he was going away for a while.
00:30:14Barbara.
00:30:17I know you were interested in him, but...
00:30:19perhaps it's just as well.
00:30:21He couldn't be depended on, and your new leading man is a much better actor.
00:30:27You have a brilliant career ahead of you, Barbara.
00:30:30You mustn't let anything come between you and the realization of that career.
00:30:34I'm very fond of you.
00:30:36I want you to know that what happens to you is of the deepest concern to me.
00:30:41Thank you, Shelley.
00:30:44All right, everybody.
00:30:45We'll concentrate on the scenes between Miss Laurie and Mr. Boyd.
00:30:50Mr. Anderson, Mr. Bush.
00:30:52We will be getting to you gentlemen tonight.
00:30:53You can be dismissed.
00:30:54Thank you, Miss Carr.
00:30:55All right, Mr. Boyd.
00:30:56Start with the scene in the garden.
00:30:57Pick it up on...
00:30:59I'm afraid I'll never understand, Peggy.
00:31:07Come in.
00:31:08Well?
00:31:13Is everything all right?
00:31:14All set, Captain.
00:31:16How did the lorry girl take the story about your auntie?
00:31:18There's no trouble.
00:31:20Shelley will keep her rehearsing till we're through.
00:31:22Good.
00:31:25Come on.
00:31:27Let's get started.
00:31:38Come on.
00:31:48No noise.
00:31:50Got to work quietly.
00:31:51We're alone in the house, aren't we?
00:31:53Well, not quite.
00:31:55Mrs. Laurie changed her mind.
00:31:56She came home at the last moment.
00:31:58That's not good.
00:31:59We are supposed to have the house to ourselves.
00:32:01Mrs. Laurie has gone to bed.
00:32:02She's a sound sleeper.
00:32:03We'll go ahead as planned.
00:32:04It's pretty risky.
00:32:05I think I...
00:32:06There's a paper in that safe.
00:32:08It's worth ten armored divisions to us.
00:32:09We're going to get it.
00:32:11Now.
00:32:13As you say, Captain.
00:32:26Vera.
00:32:27What are you doing up?
00:32:29I wanted to talk to you.
00:32:30What about?
00:32:32About Gabriel.
00:32:33He hasn't called back yet, like he said.
00:32:35What?
00:32:36Now, don't worry about Gabriel.
00:32:37Something's happened to him.
00:32:38He would have called if he could.
00:32:39I know my husband.
00:32:40He's in trouble.
00:32:41I know he's in trouble.
00:32:42I'm going to help him.
00:32:43Vera.
00:32:44You're becoming hysterical.
00:32:45I don't like this.
00:32:46What if the police caught him?
00:32:47If he talks, he are finished.
00:32:48Gabriel won't talk.
00:32:49He's a good soldier.
00:32:51I don't care.
00:32:52I want to do something.
00:32:53I want to find him and you can't stop me.
00:32:54Vera.
00:32:58Control yourself.
00:32:59That's better.
00:33:00Go ahead.
00:33:01Vera.
00:33:02Yes.
00:33:03Hide these two men in your room.
00:33:04I'll ask you to do it.
00:33:05I'll ask you to do it.
00:33:06No.
00:33:07No.
00:33:08No.
00:33:09No.
00:33:10No.
00:33:11No.
00:33:12No.
00:33:13No.
00:33:14No.
00:33:15That's better.
00:33:16Go ahead.
00:33:17Vera.
00:33:18Yes.
00:33:19Hide these two men in your room.
00:33:20I'll ask the door.
00:33:21Is Lori Lou here?
00:33:34Oh yes sir.
00:33:35We made it boy.
00:33:37Come on.
00:33:38Excuse me sir but may I ask who you are?
00:33:43No.
00:33:44Is Lori Lou here?
00:33:45Yes sir, she does.
00:33:46Oh we made it boy, come on.
00:33:47Excuse me sir but may I ask who you are?
00:33:49Who are you?
00:33:51I'm Hanson, Mrs. Lawrence Butler.
00:33:53Well, I'm her uncle. I came to make a call.
00:33:55At this time of night, sir?
00:33:57Day or night, what difference does it make to a blind man?
00:33:59Oh, you're blind, sir?
00:34:01Blind is a bad.
00:34:03Excuse me, sir. I'm terribly sorry.
00:34:05What is there to be sorry about?
00:34:07Many great men were blind. Milton, Homer, they were blind, weren't they?
00:34:10Yes, sir, but they complained about it.
00:34:12Oh, they did? Yes, sir.
00:34:14Oh, loss of sight, of thee I most complain.
00:34:17Blind among enemies.
00:34:19Or worse than chains, dungeons, or beggary, or decrepit age.
00:34:25Milton, say, you're quite a butler.
00:34:28Tell Mrs. Laurie I'm here and don't stand around spotting poetry.
00:34:32Yes, sir. Immediately, sir.
00:34:34What is it, Hanson?
00:34:36Mac, darling!
00:34:38Well, what kind of a two-bit reception is this, anyway?
00:34:41Your butler didn't even know I was coming.
00:34:43What is your uncle Mac, an old shoe?
00:34:45I heard the taxi pull up and I...
00:34:47Yes, yes, yes.
00:34:48Well, does your uncle Mac get a kiss or doesn't he?
00:34:50Of course, Uncle Mac.
00:34:52Where's that educated butler of yours?
00:34:54He's right here.
00:34:55Well, send him away. I haven't seen you for two years.
00:34:57And one servant's gawking in on a family reunion.
00:35:00That will be all, Hanson.
00:35:01Yes, ma'am.
00:35:02Shall we go in the living room, Uncle Mac?
00:35:03Rooms don't bother me. Just though they have a door.
00:35:06Two steps down here.
00:35:08Mac, what have you found?
00:35:21There's a piano in here, isn't there?
00:35:23We have an organ.
00:35:25It's over here.
00:35:30Right on, party.
00:35:38Now listen carefully to what I have to say.
00:35:46But, Mac...
00:35:48Who was in this house a couple of hours ago?
00:35:50Why, Hanson, myself, and the upstairs maid, Vera.
00:35:54Where does Vera come from?
00:35:56Barbara engaged her and the butler about two months ago.
00:35:59Uh-huh.
00:36:00You don't want to think about them?
00:36:01No.
00:36:02But I could find out.
00:36:03Oh, no.
00:36:04Anybody else at home now?
00:36:06No.
00:36:07Barbara's at the theater rehearsing.
00:36:09Rehearsing?
00:36:11This hour of the night?
00:36:12It was an emergency rehearsal.
00:36:14Oh.
00:36:18Oh, Mac, what is going on?
00:36:19Don't ask any questions now.
00:36:22Keep your eyes open, your mouth shut, and take orders.
00:36:24Have the maid, Vera.
00:36:25Show me up to my room.
00:36:26Vera's probably asleep by now.
00:36:28You heard what I said about taking orders.
00:36:30Vera, I very distinctly warned you about trying to leave this house.
00:36:34Please, I want to go look for Gabriel.
00:36:43I know something has happened.
00:36:47Watch it.
00:36:48Vera, remember what I said.
00:36:50Let's go.
00:36:56Hanson, will you please ask Vera to show Mr. McLean to the second guest room?
00:36:59Excuse me, but I'm quite sure that Vera has retired.
00:37:02May I show the gentleman to his room?
00:37:04I want the maid.
00:37:05A button came off my shirt, and I wanted to sew it on.
00:37:09Well, if you'll pardon me, sir, I'm rather good at sewing on buttons myself.
00:37:12And if it comes to a pinch, you can even darn socks.
00:37:15I'd be happy to do the job for you.
00:37:16Oh, horse collar.
00:37:17It's quite true, sir, really.
00:37:19Can you do a crow's foot?
00:37:21The what, sir?
00:37:22I thought so.
00:37:23Don't even know the fundamentals.
00:37:25It's a design you make when you sew a button on.
00:37:28I bet you can't even hemstitch, can you?
00:37:31Of course you can.
00:37:32You'd better get her, Hanson.
00:37:34Of course get her.
00:37:35If she's asleep, wake her up.
00:37:37She'll be grateful.
00:37:38Sleep is a form of unconsciousness anyway.
00:37:40Yes, sir.
00:37:52Come in.
00:37:59I'm Vera, the maid, sir.
00:38:01Oh.
00:38:02Well, Vera, will you turn the coverings down on my bed, please?
00:38:05Yes, sir.
00:38:08What's your last name, Vera?
00:38:10Hoffman, sir.
00:38:13You got a husband, Vera?
00:38:22Vera.
00:38:23Yes, sir.
00:38:24Come here a moment, will you please?
00:38:25I've got a little job I want you to do.
00:38:26I want you to sew a button on that shirt.
00:38:43Now there's the needle and thread.
00:38:46It's all threaded.
00:38:48Did it myself.
00:38:49Pretty good for a blind man, don't you think?
00:38:52I warn you, I want my buttons just sewed.
00:38:58You sew like a boilermaker.
00:39:00I can do better myself. Go on, get out of here.
00:39:03Sorry, sir.
00:39:04You should be.
00:39:05Good night, sir.
00:39:06Good night.
00:39:12Well, maybe now we can get a few of these pieces to fit, old pal.
00:39:19Good night.
00:39:41Well, Mrs. Lowery should be asleep by now.
00:39:43The blind uncle won't be awake long.
00:39:46He had to pick this night to come visiting.
00:39:49It's all right, I think I'll go to bed now.
00:39:51You may be excused, dear.
00:39:52Good night.
00:39:53Good night.
00:39:54Good night.
00:39:55Good night.
00:39:57Good night.
00:39:59Good night.
00:40:00Good night.
00:40:02Good night.
00:40:19Good night.
00:40:20Good night.
00:40:21Good night.
00:40:22Good night.
00:40:23Good night.
00:40:24Good night.
00:40:25Good night.
00:40:26Good night.
00:40:27Good night.
00:40:28Good night.
00:40:29Good night.
00:40:30Good night.
00:40:31Good night.
00:40:32Good night.
00:40:33Good night.
00:40:34Good night.
00:40:35Good night.
00:40:36Good night.
00:40:37Good night.
00:40:38Good night.
00:40:39Good night.
00:40:40Good night.
00:40:41Good night.
00:40:42Good night.
00:40:43Good night.
00:40:44Good night.
00:40:45Good night.
00:40:46Good night.
00:40:47Shh, Friday, quiet, quiet.
00:41:17You can't say you weren't warned, Vera.
00:41:26No.
00:41:26You...
00:41:27I'm sorry, Vera, but our job is bigger than you or Gabriel or anybody else.
00:41:32But here's my hunt.
00:41:43She's dead.
00:41:45Pick her up and put her in the car.
00:41:47Pick her up and put her in the car.
00:42:18Who's there?
00:42:20It's Hanson, the butler, sir.
00:42:22Oh, Hanson.
00:42:24What are you doing up this other night?
00:42:26I thought I heard a noise, sir, and I got up to investigate.
00:42:29Oh, I heard nothing.
00:42:31Nothing but the crickets.
00:42:32Say, do you know you can tell the temperature of the air by counting the number of cricket
00:42:36trips per minute?
00:42:38Oh, really, sir?
00:42:39Yes.
00:42:39Uh, is there anything wrong, sir?
00:42:42Uh, I mean, you're being up so late.
00:42:45No, no.
00:42:45And don't worry about me moseying around at night.
00:42:48I'm somewhat of a night owl.
00:42:51Insomnia.
00:42:51Oh, I'm terribly sorry, sir.
00:42:53Uh, perhaps if I might be so bold, sir, a sip of brandy might help you sleep.
00:42:57Now, my good friend Hanson, you're cooking with alcohol.
00:43:01What, sir?
00:43:02I mean, you're the perfect butler.
00:43:04Always considerate, watchful, and attentive.
00:43:07I'll hound my niece until she gives you a raise.
00:43:10Thank you, sir.
00:43:11Oh, and, uh, getting back to the brandy.
00:43:14One of the few things I like to get back to.
00:43:16Do you suppose you could spare a bottle and put it beside my bed in case I get restless later?
00:43:21Why, uh, yes, sir.
00:43:22I think that could be arranged.
00:43:24Oh, thank you.
00:43:26I'll remember you in my will.
00:43:28Thank you, sir.
00:43:29Come on, Friday.
00:43:30Uh, uh.
00:43:32What's the matter with you, Friday?
00:43:35Are you liverish or something?
00:43:37Come on.
00:43:50Friday, that nose of yours is going to get us both into trouble someday.
00:43:54I know he hit Vera.
00:43:56What do you want to do?
00:43:57Draw a blueprint for him?
00:44:02Come in.
00:44:13Your brandy, sir.
00:44:14Ah, welcome, messenger.
00:44:16Where is it?
00:44:16Where is it?
00:44:17Here, sir.
00:44:17Divine broth.
00:44:25Oh, Hortgaron, 1904, if I'm not mistaken.
00:44:29Ah, a monumental vintage.
00:44:35Your dog seems to have taken a dislike to me, sir.
00:44:38Oh, no.
00:44:39He's a bit crotchety.
00:44:40He hasn't been getting his exercise.
00:44:43Well, good night, Hanson.
00:44:44Good night, sir.
00:44:45I think I'll go to bed.
00:44:46Yes, sir.
00:44:48And, Hanson, turn out the light, will you?
00:44:50Yes.
00:44:50I think I'll read a while.
00:44:54What, sir?
00:44:54Well, sure, I read with my fingers.
00:44:56That's the blind man's advantage.
00:44:58He can read in bed with the lights out, or even under the covers if it gets cold.
00:45:03Oh, I see, sir.
00:45:07Good night, sir.
00:45:08Good night.
00:45:09Good night.
00:45:09He flatters me, Friday.
00:45:20There's enough sodium at all in this to put three men to sleep.
00:45:33Who's there?
00:45:33Shh.
00:45:34Don't be frightened, baby.
00:45:35It's your Uncle Mac.
00:45:37I want to talk to you.
00:45:37Keep your voice down.
00:45:39What have you found out?
00:45:44Turn that light out.
00:45:46What is there in this house that somebody might want?
00:45:51Nothing that I know of.
00:45:53No, I don't think you're telling me the truth.
00:45:57Now, come on, tell me.
00:46:00Now, you're forcing me to tell you some very unpleasant news.
00:46:02Oh, Mac.
00:46:04Sorry, Mac.
00:46:05What is it?
00:46:06Vera is dead.
00:46:09She was killed because she knew too much about the Durante murder and was going to talk.
00:46:13Two people have been killed.
00:46:15Their nets are linked up in some way with something that is in this house.
00:46:20Now, come on, tell me.
00:46:21It's in the safe, in the library.
00:46:24It's the formula of Stephen's new invention, the one he's trying out tonight.
00:46:30If it works, he's going to turn it over to the government.
00:46:33It's so important Stephen didn't even give me the new combination.
00:46:37I'm going to get the police.
00:46:38No, that's the worst thing you can do right now.
00:46:40Well, why?
00:46:41If we call in the police now, they'll get the gang downstairs, yes.
00:46:44But there are others.
00:46:46And they're following your husband.
00:46:47Well, Mac, what are we going to do?
00:46:48There's nothing we can do but stall.
00:46:50Stall until Stephen gets home.
00:46:52Then we'll send for some help.
00:46:53Until then.
00:46:56Well, they can pull the switch anytime they want to.
00:47:00Run it again, Barbara.
00:47:02With just a little more anger.
00:47:03I've been told there were selfish and greedy men like you in the show business.
00:47:10But I didn't believe it until now.
00:47:12I was only repeating what Hanson said.
00:47:15He was worried.
00:47:16It wasn't coming off as we'd planned.
00:47:18It sounds as if you'd lost your heads.
00:47:20Get back to the house.
00:47:22Tell Hans we'll meet in Vera's room in 30 minutes.
00:47:25Yes, madam.
00:47:26I'm not going to miss any opportunity to put this song over.
00:47:29That's better, but it's just a little bit ragged.
00:47:31I don't know about the rest of you, but I'm tired.
00:47:34Let's call it a night and we get a fresh start in the morning.
00:47:37Oh, that's music to my ears.
00:47:39It's a hey for me.
00:47:40Good night.
00:47:41Barbara, I wonder if you'd mind putting me up for the night.
00:47:44I'd enjoy a little luxury for a change.
00:47:46Of course, I'd love to.
00:47:48Just a minute, I'll get my coat.
00:47:49Thank you, darling.
00:47:52I assure you, it was absolutely necessary.
00:47:54She was becoming hysterical.
00:47:55I'm afraid I don't agree.
00:47:57You could have kept Vera in her room, guarded her.
00:47:59Impulsive killing makes more danger than it cures.
00:48:02And what about Gerenti?
00:48:03That was different.
00:48:04He became emotional about his job.
00:48:06He fell in love.
00:48:07If we hadn't acted, everything we'd accomplished for Vera,
00:48:11our connection with the lorry home to the girl,
00:48:14every one of our legitimate fronts would have been destroyed.
00:48:17We disposed of Gerenti out of necessity.
00:48:19And so did we with Vera.
00:48:20Vera, she was left on the highway several miles away.
00:48:23It will look like a hit-and-run accident.
00:48:25Brilliant.
00:48:26Brilliant.
00:48:26Brilliant.
00:48:29Gabriel invents a technique, and you use it to kill his wife.
00:48:34Have you thought what a danger he'll be when he finds out?
00:48:38Excuse me, madame.
00:48:40But I was in charge at the house here.
00:48:42It was my responsibility.
00:48:43Things weren't going as planned.
00:48:44Mrs. Lowry returned.
00:48:46Vera got out of hand.
00:48:48The blind man arrived.
00:48:49Why, yes, the blind man.
00:48:50You checked on him.
00:48:52What harm can there possibly be in a blind man?
00:48:54Absolutely harmless.
00:48:55I gave him a sleeping potion and...
00:48:56Victor, call New York.
00:48:57Have them check on this man.
00:48:59What's his name?
00:48:59Why do that?
00:49:00What's his name, Hanson?
00:49:02McLean.
00:49:04Duncan McLean.
00:49:05Check every Duncan McLean in the telephone book.
00:49:07Yes, madame.
00:49:11You seem to have forgotten fundamentals, captain.
00:49:13I must remind you, madame, that my record entitles me to respect.
00:49:16And I must remind you that I am in command.
00:49:19And you'll do as I say.
00:49:22That's your command, madame.
00:49:23Get the detector.
00:49:38Get the detector.
00:49:38Stand watch in the hall.
00:49:58Stand watch in the hall.
00:49:58Stand watch in the hall.
00:50:28Stand watch in the hall.
00:50:31He is Old Lady.
00:50:37I've seen her.
00:50:38I must admit we're notская.
00:50:40What is this top?
00:50:41Let me see.
00:50:42Nineteen left, as near as I can make out.
00:50:55What?
00:50:57Nineteen left.
00:50:59Hurry.
00:51:00Yes, ma'am.
00:51:09Wait.
00:51:12Now.
00:51:23It's Laurie.
00:51:29The experiment is a success.
00:51:33Well?
00:51:35He's leaving immediately.
00:51:36He should be here in a half an hour.
00:51:38Hurry.
00:51:39By tomorrow, this place will be swarming with government guards.
00:51:41Go back.
00:51:54Why Mr. McLean, sir?
00:52:16Oh, handsome, my good friend.
00:52:18Come over here and listen to my pint.
00:52:20It's terribly late, sir.
00:52:21Ah, handsome, is it ever too late for good music?
00:52:25Yeah, the whole world is aflame,
00:52:27and you asked me to deprive it of good music.
00:52:30Oh, no.
00:52:31Handsome, here, yes, sit down here.
00:52:34Sit down.
00:52:34Now, you're a man of culture, my dear friend.
00:52:38Perhaps you have some favorite selection.
00:52:41You just name it and I'll play it.
00:52:43My repertoire is very extensive.
00:52:46Don't you think you'd better go to bed, sir?
00:52:47Oh, handsome, you're an old stick in the mud.
00:52:51Hanson, sir.
00:52:52Yes, miss?
00:52:54What's going on here?
00:52:56Watch it to you.
00:53:04Who is this man?
00:53:05It's Mrs. Laurie's uncle, miss.
00:53:07Uncle?
00:53:08I've never heard of any uncle.
00:53:10Oh, well, who are you, pray?
00:53:13Why, he's drunk.
00:53:14From the tone of your voice,
00:53:16I take it that you are my niece's stepbrother.
00:53:20Uncle?
00:53:21Man.
00:53:22Oh, my dove.
00:53:25Welcome.
00:53:26Well, this promises to be a galler occasion.
00:53:29What's this man doing in this house?
00:53:31I never knew you had an uncle.
00:53:33Oh, there are a lot of things that you don't know, my little girl.
00:53:35And the first thing that you should learn
00:53:37is to respect your elders.
00:53:39Otherwise, somebody's liable to paddle you can own.
00:53:42But he's blind.
00:53:44Oh, clever girl to see that I don't see.
00:53:48Why wasn't I told that he was coming?
00:53:50I didn't know myself.
00:53:51Well, get him to bed.
00:53:52Oh, I think I understand.
00:53:55With a relative in the house,
00:53:57it would be bad taste to carry on a family quarrel.
00:53:59Oh, Barbara.
00:54:00Well, it won't work, Norma.
00:54:02A drunken uncle.
00:54:05Who's drunk?
00:54:07Where's the chalk line?
00:54:08Show me the chalk line, that's all.
00:54:10Now, don't hold on to me.
00:54:12Let me go.
00:54:13Now, there's the chalk line, you see?
00:54:23There, you see?
00:54:30Hanson, where are you?
00:54:33Here, sir.
00:54:34Oh, Hanson, what have you been doing?
00:54:39Hanson, you've been at the grave.
00:54:42You ought to be ashamed of yourself, Hanson.
00:54:45Staggering all over the place
00:54:47and falling in everybody's lap.
00:54:49Yes, sir.
00:54:51Perhaps, madam, if I got some coffee,
00:54:53it might sober him up.
00:54:54Sober yourself up, you rumpat!
00:54:56Yes, sir.
00:54:59Coffee.
00:55:00Oh, that's a dazzling idea.
00:55:04We'll get some coffee and sandwiches
00:55:05and we'll gather around
00:55:07and we'll have a sunrise concert.
00:55:10What do you say, Friday, my friend?
00:55:14Ah, Norma, how about you?
00:55:16Barbara must get some sleep.
00:55:18She's worked very hard tonight.
00:55:21Oh, who are you?
00:55:22This is Charlie Scott, Uncle Mac, a playwright.
00:55:25A playwright?
00:55:26Oh, you're just the person I want to see.
00:55:30Hey, Jimmy, I want to talk to you.
00:55:34I got the greatest idea for a play.
00:55:39No, I'm a liar.
00:55:40I got three great ideas for a play.
00:55:42Oh, tremendous.
00:55:44Let me tell you about them.
00:55:46We'll take more than an hour.
00:55:47Not an hour, Mr. McClain.
00:55:49Some other time.
00:55:50Oh?
00:55:52Anytime you say is all right with me.
00:55:54Well, how about an encore?
00:55:58What?
00:55:59Oh, good.
00:56:08Now, this is the quintet from Martha.
00:56:11Gorgeous, Mrs.
00:56:19Don't you like it, Norma?
00:56:21Well, I'm going to bed.
00:56:22And I want it quiet.
00:56:26Come along, Uncle Mac.
00:56:27Let's get to bed now.
00:56:28Is there anything I can do, Mrs. Lorry?
00:56:32You don't care for my music.
00:56:35Of course I do, dear, but not...
00:56:37Well, go away for me.
00:56:38Don't bother me.
00:56:39I'm going to play you into the sunrise.
00:56:40Oh, no, you're not, Uncle Mac.
00:56:42Come on, now.
00:56:44You insist?
00:56:45I insist.
00:56:48Bourgeois dullards.
00:56:49Here's your cane.
00:56:51Righty.
00:56:52Go along upstairs now, and I'll get some aspirin for you.
00:56:55But with brandy.
00:56:57Aspirin and brandy.
00:56:58Never mind that.
00:56:59Now, Ham.
00:56:59Watch the steps.
00:57:00Two up.
00:57:02If you drank enough brandy to make it that drunk, what happened to the sleeping potion?
00:57:19Madame, I'm quite sure...
00:57:20Cut the telephone wires.
00:57:22Hurry.
00:57:22Yes, madame.
00:57:26I had to get you away to tell you the Stephen phone.
00:57:29He's coming home.
00:57:30Good.
00:57:31Well, now we can send for the police.
00:57:38It's dead.
00:57:39Obviously.
00:57:40Now, sit tight and don't say a word.
00:57:42I've got an idea.
00:57:43It's a hundred to one shot.
00:57:44And don't pay any attention to what I say.
00:57:46Come on, Friday.
00:57:47Outside.
00:57:47All right, if that's the way you feel about it.
00:57:54You think I'm drunk, huh?
00:57:55Well, I'm not.
00:57:56I'll guarantee you that.
00:57:57I just feel a little exonerated, that's all.
00:57:59I've got a little job for you to do.
00:58:23Right on.
00:58:23It all depends on you now, Friday.
00:58:46You're behind the bed.
00:59:00Oh, I didn't hear you knock.
00:59:02Your drunken act didn't fool me or anybody else, McLean.
00:59:04You won't interfere again tonight.
00:59:07Keep an eye on him, Boyd.
00:59:09If he gets playful, you know what to do.
00:59:10Right.
00:59:14Rather a hectic night, eh, Boyd?
00:59:18Do you mind if I play a little solitaire?
00:59:21Solitaire?
00:59:22Yeah.
00:59:22No, I don't mind.
00:59:28You like cards, Boyd?
00:59:30Want Snow out?
00:59:34What's so funny?
00:59:35I was just thinking.
00:59:36Never play poker with a blind man.
00:59:38Not with his cards, anyway.
00:59:40Why not?
00:59:41His cards are marked.
00:59:43Really?
00:59:44Oh, sure.
00:59:45They're marked in braille.
00:59:47So he can read his cards.
00:59:49Of course, the hitch comes when the blind man is dealing.
00:59:51He knows what the other person has.
00:59:53Well, that's very interesting.
00:59:57Come here.
00:59:57I'll show you.
01:00:04I'll call the cards as I deal them out.
01:00:07Now, there's the Jack of Diamonds, there's the Eight of Clubs, there's the Four of Hearts, there's the Deuce of Spades, and the Eight of Spades.
01:00:21Now, I'm going to deal out three piles of cards.
01:00:23Now, I'm going to deal out three piles of cards.
01:00:37Now, I want you to look at the top card on the end piles.
01:00:51You got it?
01:00:52Yes, I got it.
01:00:53I remember them now.
01:00:54Now, put your hands flat on the cards.
01:00:58Go ahead.
01:00:59This is really a great trick.
01:01:03Let's see.
01:01:05Now, the trick is this.
01:01:14Friday, come here.
01:01:14Up on the window.
01:01:20Home.
01:01:21I want you to get Marty.
01:01:22Do you hear me?
01:01:24Go on home.
01:01:24You're on your own now, boy.
01:01:29Go on.
01:01:29Out.
01:01:30Out.
01:01:30Out.
01:01:54You made very good time, thereby earning yourself an extra couple of bucks.
01:02:05You must have had some good luck tonight.
01:02:06The best.
01:02:07Now, if you'd play a little tune in that horn, you can make another dollar.
01:02:11You'll wake up the whole joint.
01:02:12That's the idea.
01:02:13Go ahead.
01:02:18You're very talented.
01:02:20Good night.
01:02:20Good night.
01:02:20Good night.
01:02:24Stephen, darling.
01:02:30Stephen, listen.
01:02:31Hello, Father.
01:02:32Hello, Jig.
01:02:33Stephen, listen to me.
01:02:34Darling, you're trembling.
01:02:36I can tell you why she's trembling, Father.
01:02:38Stephen, you must get away from here at once.
01:02:41You're giving a bad performance, Norma.
01:02:42Oh, Barbara, your father's really in danger.
01:02:44We're all in danger.
01:02:45We must get out of this house right away.
01:02:48Norma, what's happened?
01:02:49Excuse me.
01:02:50Will you please step into the library, Mr. Lorry?
01:02:55Not just now, Hanson.
01:02:58What the devil's going on here?
01:03:00It will all be explained in the library.
01:03:03Will somebody please tell me if...
01:03:05Mr. Lorry!
01:03:06No trouble, please.
01:03:08Is this some sort of a joke, Chaley?
01:03:10Stop gaping and do as you're told.
01:03:14Do as they say, Stephen.
01:03:15Stephen.
01:03:15Stephen.
01:03:15Stephen.
01:03:16Stephen.
01:03:20I presume you know what we're after, Mr. Lorry.
01:03:30I have a pretty good idea.
01:03:32Dad!
01:03:40I caught the blind man trying to get away.
01:03:42Where's Boyd?
01:03:43He's...
01:03:43He's upstairs trying to figure out a card trick, I showed.
01:03:47See what happened.
01:03:48Quickly.
01:03:48Norma, who is this man?
01:03:51Oh, you must be Stephen Lorry.
01:03:53Well, I'm your wife's long-lost uncle.
01:03:56Duncan McLean, call me Uncle Mac.
01:03:57But don't be dismayed.
01:03:59I'm one of those relatives.
01:04:00Don't stay more than a month.
01:04:01We've had enough of this nonsense.
01:04:03What do you mean, nonsense?
01:04:04I don't like your tone, Miss Scott.
01:04:06I have a perfect right to shake hands with my nephew.
01:04:09What's the matter with me, anyway?
01:04:10Am I a leper or something?
01:04:11Sit down and keep quiet, McLean.
01:04:16Boyd.
01:04:17How'd you like that card trick I showed you?
01:04:19Fouled you, didn't I, Boyd?
01:04:20Bush, stand watch outside.
01:04:22Yes, ma'am.
01:04:26Mr. Lorry, I want the combination of that safe.
01:04:34Well?
01:04:35I'll have to look for it.
01:04:38I changed it just before I left.
01:04:41Oh, let me see.
01:04:58414 right.
01:05:00324 left.
01:05:01I was hoping you'd be reasonable, Mr. Lorry.
01:05:20I hate to ruin that nice safe.
01:05:22And leave a lot of messy evidence around.
01:05:24I can't remember, I tell you.
01:05:25I've forgotten it.
01:05:26Well, that's quite conceivable, Miss Scott, the man forgetting.
01:05:29Start in.
01:05:29Take a look at this.
01:05:49This is it.
01:05:58You're...
01:05:58You're sure, Victor?
01:06:01Quite sure, madame.
01:06:04Check it thoroughly.
01:06:05We've got to be positive.
01:06:06Yes, madame.
01:06:11Hurry up, Victor.
01:06:12It's almost daylight.
01:06:13It's almost daylight.
01:06:42We're here.
01:06:45Pleasure.
01:06:54Don't worry.
01:07:05Shit.
01:07:06Shit.
01:07:07Shit.
01:07:08Shit.
01:07:10shit...
01:07:11Shit.
01:07:11Let's go.
01:07:41What's the matter?
01:07:42The final step is missing.
01:07:44We'll be weeks working it out.
01:07:46And even then, we might be wrong.
01:07:49We're not going to finish it.
01:07:52Mr. Lorry has it in his head, and he's going to write it out for us.
01:07:55I have no intention of writing it down, Miss Scott.
01:07:58Now you're being heroic, Mr. Lorry.
01:08:00I intend to get that formula.
01:08:03The lengths to which I will go depend entirely on your will to resist.
01:08:06Do you understand?
01:08:07You're wasting your breath.
01:08:09I'd really rather not be violent.
01:08:11All right, Hans.
01:08:19Just a moment, Miss Scott.
01:08:21There's no need for all this, and you know it.
01:08:24Once you get a hold of the complete formula, you won't let us live ten minutes.
01:08:27You have no intention of allowing witnesses to stop your activities.
01:08:30Take him out.
01:08:31You're mighty smug, Miss Scott.
01:08:33But you made one mistake in this well-oiled scheme of yours.
01:08:36Yes?
01:08:38Yes.
01:08:39You slipped up on the killing of Paul Giuretti.
01:08:47It may even surprise you to know that I have positive proof
01:08:50that you ordered him to be killed.
01:08:55What positive proof do you have?
01:08:57A man by the name of Gabriel.
01:08:59Go on.
01:09:04He's now being held in New York.
01:09:06Just before you cut the phone wires, I got word to him that his wife was murdered.
01:09:10And who did it?
01:09:12Gabriel is out for revenge.
01:09:14If I'm not home in time for breakfast, the police will be notified,
01:09:20and Gabriel will start talking.
01:09:23What's your proposition?
01:09:24Life is sweet, Miss Scott.
01:09:26Even to a blind man.
01:09:28If you let us go, I'll try and persuade Mr. Lorry
01:09:31to turn over the balance of the formula to you.
01:09:33But mind you,
01:09:34we must have positive proof
01:09:36that you will let us go unharmed.
01:09:44Boy, take Mr. McLean to the basement.
01:09:49Go ahead.
01:09:50Don't be afraid.
01:09:51Come on.
01:09:52There's no use of wasting your energies.
01:09:54You can't influence me.
01:09:57Hanson.
01:09:58Yes, sir.
01:10:00Watch these people.
01:10:05Gabriel will see him.
01:10:07What?
01:10:07You don't suppose he knows, do you?
01:10:10Let me do the talking.
01:10:11Yes, madame.
01:10:15Only Gabriel.
01:10:16Yes, madame.
01:10:20Only Gabriel.
01:10:21The rest of you stand, watch.
01:10:24I've been through the mill.
01:10:25A blind man and another guy caught me in Geretti's apartment.
01:10:31Where's Vera?
01:10:32She isn't here, Gabriel.
01:10:34She went looking for you.
01:10:35She did, but she didn't know where I was.
01:10:37Yes, I tried to tell her that, but you know, Vera,
01:10:39she can be very stubborn.
01:10:41We tried to stop her, but she walked to the station.
01:10:45If it's all right, I think I'd better go look for her.
01:10:47It's as soon as we've finished.
01:10:48But I'm kind of worried.
01:10:49Vera's all right.
01:10:52We need you here.
01:10:55Well, all right.
01:10:57Stand watch outside.
01:10:59Yes, madame.
01:11:00The key, please.
01:11:07You handled it admirably, madame.
01:11:09Thank you, captain.
01:11:11If the blind man should get a chance to talk to Gabriel,
01:11:13it might be unpleasant.
01:11:15Yes, madame, it might.
01:11:39Bye.
01:11:39Let's go.
01:12:09That's a .38 caliber of belly gun you got there, Hanson.
01:12:30It's a six-shooter, and you fired your last shot.
01:12:36Where are you?
01:12:37In the dark, Hanson.
01:12:38In the dark, in my kingdom.
01:13:08Let's go.
01:13:11Let's go.
01:13:12Let's go.
01:13:13Let's go.
01:13:15Let's go.
01:13:17Let's go.
01:13:19Let's go.
01:13:21Let's go.
01:13:26Let's go.
01:13:28Let's go.
01:13:30Let's go.
01:13:32Let's go.
01:14:02I don't know.
01:14:32They're asking me if they should go on, Mr. Lorry.
01:14:49I'm afraid I've made a mistake.
01:14:52You're a brave man, and I'm convinced I'll get nothing from you.
01:14:58So you leave me no choice.
01:15:03They have nothing to do with this.
01:15:06Better take a good look at your wife, as she looks now.
01:15:16Wait.
01:15:20I'll give it to you.
01:15:21Don't give in to them, Stephen.
01:15:29Let them do anything they like.
01:15:30Keep a tight grip on that guard.
01:15:36If he gets away, he may tip them off.
01:15:39We grab those guards off quietly so we can get inside and surprise the others.
01:15:43We don't want any innocent people getting hurt, you understand?
01:15:45Now take the east side.
01:15:46What do you want me to do?
01:15:47You better stay here so you won't get hurt.
01:15:49What do you mean?
01:15:50I can take care of myself.
01:15:51I can't take care of myself.
01:16:21Madam, I saw the dog outside. Is the blind man loose?
01:16:24No, Hanson took him to the basement.
01:16:26Get Hanson. I want him up here.
01:16:28Yes, ma'am.
01:16:51The police.
01:17:21Mac, it's you.
01:17:44Ah, this is getting kind of monotonous.
01:17:47Get the car, Marty. These people are going to the airport.
01:17:51They're going to Washington.
01:17:52Right. The colonel's jeep coming up.
01:17:56You sure you won't come along, Barbara?
01:17:58Uh-uh.
01:17:59Aren't you going, Barbara?
01:18:00No, Uncle Mac.
01:18:02A new man is coming to my life.
01:18:04And I'm going to stay here in New York to see what it is about him that intrigues me so.
01:18:08Oh, what's he like?
01:18:10Oh, he's big and strong.
01:18:12And he's the kind of a man that tells women what to do and makes them like it.
01:18:15In fact, he told me that if I didn't behave, he'd paddle my canoe.
01:18:19And he'll do it.
01:18:22Well, now you're being selective.
01:18:24Come on, let's get these elderly people down to the airport.
01:18:28Here we go.
01:18:29After that, we'll do the town.
01:18:35Oh, not tonight, old boy.
01:18:39You're on your own tonight, fellas.
01:18:41Just so one of you stay home and watch the place.
01:18:44Yes, sir.
01:18:55Well, I don't know about you, dog, but me, personally, I'm off to the Harlem Squishin' Tennis Club to meet my dream gal.
01:19:02Well, you know, what am I telling you this for?
01:19:06Why, that's romance.
01:19:07You wouldn't know nothing about that.
01:19:09Well, I'm off.
01:19:10You stay here and watch the house.
01:19:19Why, you wolf.
01:19:21Why, you wolf.
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