- l’altro ieri
A woman recently released from psychiatric care is accused of the murder of a woman found dead in her compartment. Arrested and taken off the train, she escapes custody and flees to her apartment, where she finds another murder victim.
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CortometraggiTrascrizione
00:00:00The End
00:00:30The End
00:01:00The End
00:01:30Here are your tickets, Ms. Carlin. Bedroom 4B. You'll arrive in San Francisco at 8.30 tomorrow morning.
00:01:46Thank you, Preska.
00:01:47You deliver this to the Fairmount Hotel.
00:01:49At 12 noon tomorrow.
00:01:50That's what Mr. Seymour said.
00:01:52I've got to hurry, Ms. Carlin, but if you want me to see you aboard...
00:01:54Oh, no, Preska, that isn't necessary.
00:01:57Thank you very much for bringing me.
00:01:59Okay. Enjoy yourself.
00:02:01Oh, I almost forgot.
00:02:03Mrs. Seymour wants you to get her a kimono in Chinatown.
00:02:06This is the address.
00:02:08It's paid for already. All you do is pick it up.
00:02:10When did she order it?
00:02:12Search me.
00:02:13See you Monday morning.
00:02:14Sharon!
00:02:20Sharon, my love.
00:02:22Keith!
00:02:23Ah, count it.
00:02:25Oh, Keith, you idiot.
00:02:27Where have you been? I haven't seen you all month.
00:02:30In a way, dear heart, but incommunicado.
00:02:32Come.
00:02:33Leave us going to do a nice cube and I will my tail unfold.
00:02:36Keith, I can't. My train leaves in just a minute.
00:02:38Ah, something to ask you, Sharon. Something important.
00:02:41Tell me Monday. I'll get in touch with you as soon as I get back.
00:02:44Oh, you're in touch with me now.
00:02:46How did you know I was going out of town?
00:02:48Elementary, my dear lady.
00:02:50I drove over to your apartment, saw you get in the limousine,
00:02:53then I said to myself,
00:02:54Burgess, follow that limousine.
00:02:57Well, ah, here we are.
00:02:58She should have phoned me.
00:03:01Where are you staying now?
00:03:04Ah, lass.
00:03:06Address unknown.
00:03:08Oh, Keith, you haven't been locked out again.
00:03:10What did you do this time?
00:03:12You promised me you'd stop drinking.
00:03:15I say many things, Carla.
00:03:17Well, what did you want to see me about?
00:03:20Maybe just to look into it.
00:03:22Are you in trouble?
00:03:24Do you need money again?
00:03:26Unfortunately, yes.
00:03:28No place to lower my head.
00:03:30This is all I can let you have right now.
00:03:33I'll pay it right back.
00:03:34Every penny.
00:03:35I've got a writing deal next week.
00:03:39My thing.
00:03:40I know, I know.
00:03:43Oh, always my friend in need, dear lady.
00:03:45What could I do without you?
00:03:47Now, Keith, I really must go.
00:03:49Now, stay at my apartment while I'm gone.
00:03:52Oh, no.
00:03:53I won't violate your vestal hospitality.
00:03:56Burgess!
00:03:57It's just for the weekend.
00:03:59Now, stay until Monday.
00:04:01Do you still have your key?
00:04:03Yep.
00:04:03Goodbye, Keith.
00:04:14Goodbye, Keith.
00:04:33Oh, excuse me.
00:04:45Come in.
00:04:48My ticket does change.
00:04:49It says 4B.
00:04:50That's right.
00:04:51Come in.
00:04:54Join the party.
00:04:55What do you want?
00:05:00Why are you in my compartment?
00:05:02Oh, there must be some mistake.
00:05:04My name is Carlin.
00:05:07Sharon Carlin.
00:05:08I work for Mr. Milo Seymour in Los Angeles.
00:05:11I can show you my identity.
00:05:12Don't touch it.
00:05:15I just wanted to show you who I am, my identity.
00:05:18I'm not interested.
00:05:20But don't you see?
00:05:21I'm not who you think I am.
00:05:22A friend, Keith Burgess, just saw me.
00:05:25Oh, that's not mine.
00:05:26But if it belongs to Mr. Seymour, I'm to deliver it in San Francisco.
00:05:32You're making a mistake.
00:05:33I don't make mistakes.
00:05:37I could call for help.
00:05:39You see this?
00:05:40This is a silencer.
00:05:41Try yelling just once.
00:05:45Porter, ma'am.
00:05:46Would you like me to turn down your bed?
00:05:47Not now.
00:05:52Later.
00:05:53Yes, ma'am.
00:05:54When you need me, just ring.
00:05:59Sit down.
00:06:04How did you get in here?
00:06:08Who is this?
00:06:17She's dead.
00:06:21Is that so?
00:06:22So why did you have to go and kill her?
00:06:43Okay, now.
00:06:45Okay.
00:06:45Don't, please, don't.
00:06:48Come on, come on.
00:06:50All right, lady, quit stalling.
00:06:52Oh, who are you?
00:06:53I'll ask the questions.
00:06:55All right, now, come on.
00:06:56Pull out of it.
00:06:57You're in a jam.
00:06:58Who are you?
00:07:00Her name is Brady.
00:07:02Police officer, Miss Carlin.
00:07:04How do you know my name?
00:07:07Your purse.
00:07:09Oh.
00:07:10You're in real trouble.
00:07:13Trouble?
00:07:14What kind of trouble?
00:07:15Murder.
00:07:17Murder?
00:07:19Oh, I didn't kill anyone.
00:07:21There were witnesses, plus a dead body.
00:07:28She's not here now.
00:07:30I thought you didn't kill anyone.
00:07:32Oh, I didn't.
00:07:34I didn't, but...
00:07:36But the woman who was here...
00:07:39Her body's up front in the baggage car.
00:07:41This is all a mistake.
00:07:50The man.
00:07:51What happened to him?
00:07:53What man?
00:07:54The other man.
00:07:56He hit me with his gun.
00:07:59He was here, I tell you.
00:08:01He hit me.
00:08:02He took the envelope.
00:08:03You were drunk, Miss Carlin.
00:08:06You fell.
00:08:07That's how you passed out.
00:08:09Drunk?
00:08:11I never drink.
00:08:13No.
00:08:16You killed this, too.
00:08:18What, you didn't spill on yourself.
00:08:19I never saw that before.
00:08:22I never saw any of this.
00:08:23I don't drink.
00:08:24Never.
00:08:29Who?
00:08:32Who was the woman?
00:08:34You know who.
00:08:35Oh, no, I don't.
00:08:36I don't.
00:08:37Well, there's no identification on her.
00:08:38What was she killed?
00:08:42She was stabbed through the heart.
00:08:47With a nail fire.
00:08:50Your initials, Miss Carlin.
00:08:52This is yours, isn't it?
00:08:55All right, none of that.
00:08:56Come on, pull yourself together.
00:08:58Now, listen, lady.
00:08:59We'll soon be pulling into Whitford.
00:09:01Whitford?
00:09:02It's all right, I'm on the force there.
00:09:04No, no, no, no, no.
00:09:06Are you crazy or something?
00:09:07Don't say that.
00:09:09Well, look, we're pulling in.
00:09:10You better be sensible.
00:09:12Sensible?
00:09:13I'll make it as easy on you as I can.
00:09:14Now, you promise there won't be any trouble.
00:09:15I won't use the handcuffs.
00:09:17Nobody has to know why you're getting off the train.
00:09:20Just remember, it's for your own sake, not mine.
00:09:23All right?
00:09:29All right, my overnight case.
00:09:31It's up front with the body.
00:09:32They'll be taken off the train together.
00:09:38Go ahead.
00:09:39Go ahead.
00:09:39Go quick.
00:09:40There he is.
00:09:54There he is.
00:10:08What?
00:10:08That's the man.
00:10:11Come on, now, you said you'd be sensible.
00:10:12Somebody get away!
00:10:13Don't!
00:10:14Come on.
00:10:16I'll be out.
00:10:17It's done.
00:10:18Yes.
00:10:18Let's talk about it.
00:10:19Let's talk about it.
00:10:20You're ready.
00:10:20Come on.
00:10:20If you'll find that station.
00:10:21Oh, my God.
00:10:51Oh, my God.
00:11:21Oh, my God.
00:11:51Oh, my God.
00:12:22It hurts, Daddy.
00:12:23It hurts.
00:12:24Stay here.
00:12:24Stay.
00:12:25I'll be right back.
00:12:25It hurts, Daddy.
00:12:28It hurts.
00:12:29Oh, Daddy.
00:12:31Oh, Daddy.
00:12:34What are you trying to do?
00:12:35Kill yourself?
00:12:36Let me go.
00:12:36Let me go.
00:12:37Good work.
00:12:38No, no, I'm not.
00:12:39I never drink.
00:12:40What's wrong?
00:12:41What's the matter with you?
00:12:42Oh, I can't stay here.
00:12:42I've got to get away.
00:12:43Please.
00:12:44Take me with you.
00:12:45Oh, take me with you, please.
00:12:47Look, I'm going to Los Angeles and I am late.
00:12:49That's where I'm going.
00:12:50Oh, please take me with you.
00:12:51I've got to get home.
00:12:53Please.
00:12:58All right, get in.
00:13:03Oh, you're hurt.
00:13:05Of course he's hurt.
00:13:07He hit his head when you made me slam on my brakes.
00:13:09Oh, I'm sorry.
00:13:10I'm sorry.
00:13:11Oh, you poor darling.
00:13:13I want my mommy.
00:13:15You'll be all right, Chris.
00:13:16You'll be all right.
00:13:17It's nothing.
00:13:18Oh, you said you were late.
00:13:21Could we please go now?
00:13:23Oh, please hurry.
00:13:26It's nothing.
00:13:27It's nothing.
00:13:29Please.
00:13:37My name is Colbert, Paul Colbert, and this is my son, Chris.
00:13:59Hello.
00:14:00Hello.
00:14:01Hello, Chris.
00:14:03What's your name?
00:14:05Smith.
00:14:06Carol Smith.
00:14:08Your face is dirty.
00:14:10Oh.
00:14:12What's the matter, Miss Smith?
00:14:14I can't talk about it.
00:14:20Do you live in Los Angeles?
00:14:25You're a long way from home, aren't you?
00:14:28Um, I'd like to make a telephone call.
00:14:32I mean, the next place you come to, if you could stop for a minute.
00:14:38All right.
00:14:38May I borrow some change?
00:15:06I lost my purse.
00:15:07I'll pay you back when I get home.
00:15:10Oh, don't worry.
00:15:11You won't bankrupt me.
00:15:13Here.
00:15:29Operator.
00:15:31Operator, I want to place a call person to person to Mr. Milo Seymour in Los Angeles.
00:15:37Operator, I want to place a call to go.
00:15:46So you're waiting on the door and it's on the door or what?
00:15:56Hey, what?
00:15:57Well, you've got me very much.
00:15:57You've got my absorption.
00:15:58Oh, no!
00:15:58You've got my approval.
00:15:59You're...
00:15:59I'll probably sort of worry about it.
00:16:00Now I'm testing the door.
00:16:01But even when I'm looking at it, he's being taken through.
00:16:03He's getting you back.
00:16:04Let's go.
00:16:34What did they want?
00:16:40Why did you tell him?
00:16:42Tell him?
00:16:43Why did he talk to you?
00:16:44If you are so interested, why would you...
00:16:46Tell me!
00:16:47Well, he was being nosy, like a cop.
00:16:51But he saw we were respectable.
00:16:54Oh.
00:16:55Did you make your call?
00:16:58Yes, but nobody answered.
00:16:59All right, let's go. I'm late.
00:17:01Come on, let's go.
00:17:04What did you say your name is?
00:17:26Oh, yes, I remember. Smith.
00:17:29Miss Smith.
00:17:31Yes.
00:17:31Yes.
00:17:34What kind of trouble are you in, Miss Smith?
00:17:39Everything's just fine.
00:17:43I just want to get home to Los Angeles.
00:17:46I must stop in Northridge before I drop you off.
00:17:53At Happy Valley Lane, no less.
00:17:55They have to deliver my son back to his mother.
00:17:58He should have been home two hours ago.
00:18:01I am remiss, you see.
00:18:02I have had him for two weeks.
00:18:05Two whole weeks out of the entire year.
00:18:07Hold him for a while, did we?
00:18:24We don't know these things.
00:18:25Yes.
00:18:26Yes.
00:18:27Yes.
00:18:28We are home, Denise.
00:18:28You're late, Paul.
00:18:29Yes, I know.
00:18:30We had a car problem.
00:18:31I know, but I expected you home two hours ago.
00:18:32Is Chris all right?
00:18:33Of course he's all right.
00:18:34He had a wonderful time.
00:18:35You should have called me.
00:18:36I've been worried sick about him.
00:18:37Then if nothing happened, there was no need to call.
00:18:38You know how I worry.
00:18:39You only do it to hurt me.
00:18:40Oh, please, now.
00:18:41I expected him here two hours ago.
00:18:42Two hours out of an entire year.
00:18:43Can they mean so much more to you than to me?
00:18:44It won't happen again, Paul.
00:18:45It won't happen again, Paul.
00:18:46I'll see to that.
00:18:47He's sleeping.
00:18:48Don't wake him.
00:18:49Give me my son.
00:18:50I hate to wake him.
00:18:51It's been an awful long time.
00:18:52It's been an awful long time.
00:18:53I've been worried sick about him.
00:18:54I've been worried sick about him.
00:18:55Then if nothing happened, there was no need to call.
00:18:57You know how I worry.
00:18:58You only do it to hurt me.
00:18:59Oh, please, now.
00:19:00I expected him here two hours ago.
00:19:01Two hours out of an entire year.
00:19:03Can they mean so much more to you than to me?
00:19:06It won't happen again, Paul.
00:19:08I'll see to that.
00:19:10He's sleeping.
00:19:11Don't wake him.
00:19:12Give me my son.
00:19:14I hate to wake him.
00:19:15It's been an awful long time.
00:19:16Give him to me.
00:19:17Darling.
00:19:18Yes.
00:19:19Yes, darling.
00:19:20Yes.
00:19:21Yes.
00:19:22Mommy.
00:19:23Oh, darling, you're home now.
00:19:24I told you you were asleep.
00:19:25You will only upset him.
00:19:26I'll upset him.
00:19:27What have the two of you done to him?
00:19:28No, you're wrong.
00:19:29It wasn't like that.
00:19:30Don't tell me about him.
00:19:31I know him.
00:19:32I used to be married to him.
00:19:33Oh, stop it.
00:19:34I picked up Miss Smith on the highway.
00:19:35Yeah, I'm sure you did.
00:19:36Now, wait a minute.
00:19:37I had enough of that nonsense.
00:19:38Now, I want you to apologize to her.
00:19:39Apologize?
00:19:40To her?
00:19:41And don't bother to come back, Paul Colbert.
00:19:42We don't need you.
00:19:43I'll bring up my boy decently.
00:19:44This is the last time you'll get away from me.
00:19:53No more, no more weekend.
00:19:55No more vacations.
00:19:56No more.
00:19:57No more vacations.
00:19:58We don't need you.
00:19:59I'll bring up my boy decently.
00:20:02This is the last time you'll get him away from me.
00:20:03No more, no more weekends, no more vacations.
00:20:14Where do you live?
00:20:17On Fuller, between Sunset and Santa Monica.
00:20:21Right.
00:20:28Let's go.
00:20:41Well, I thank you very much for everything.
00:20:46Including the welcome at Happy Valley Lane.
00:20:49I shouldn't have let you in for that.
00:20:51I'm sorry.
00:20:53I understand.
00:20:54I wish I did.
00:20:56But we all have our own special problems.
00:20:59Don't we, Miss Smith?
00:21:03I...
00:21:04I don't want to keep you, Mr. Colbert.
00:21:07Good night.
00:21:08Oh, I'm in no hurry.
00:21:09If you feel like talking about it.
00:21:12No, I think I'd better go in.
00:21:14You have no way to get in.
00:21:17Oh, I keep the key outside my door.
00:21:19Oh, I see.
00:21:20Are you going to call again?
00:21:22Call?
00:21:23Well, that call you made on the highway seems very urgent then.
00:21:27Oh, yes.
00:21:28Yes, I will.
00:21:29You're sure there is nothing else I can do?
00:21:33No.
00:21:35Miss Smith?
00:21:38Forgive me, but I...
00:21:40I can appreciate not wanting to open up to a stranger.
00:21:44But sometimes, when we're in trouble...
00:21:46I'm all right, really.
00:21:47Now that I'm home, it's hard to believe it ever really happened.
00:21:50You live alone?
00:21:51Yes.
00:21:52No family?
00:21:53No family.
00:21:54No family.
00:21:55No family.
00:21:56No family.
00:21:57No family or half a family, it's bad either way, isn't it?
00:22:09I...
00:22:11I liked your son very much, Mr. Colbert.
00:22:16Good night.
00:22:18Good night.
00:22:39Good night.
00:23:10I forgot all about you.
00:23:37Everybody forgets, Keith.
00:23:38I thought I heard someone.
00:23:42You been here long?
00:23:44No, I just got in.
00:23:46Who are you calling?
00:23:47Milo Seymour.
00:23:49Something the matter?
00:23:52You like to tell me about it, huh?
00:23:57Miss Carlin, you should have married me.
00:24:00We're better off as friends, Mr. Burgess.
00:24:03I'll settle for a secretary.
00:24:05Why don't you quit the Seymours?
00:24:07Come back to an employee with a high IQ, huh?
00:24:10I'm sorry, Keith, but we tried it once, remember?
00:24:13It didn't work.
00:24:17Now, why are you calling your boss at this ungodly hour?
00:24:20Because I have something to tell him.
00:24:24You want to tell me?
00:24:27No, I can't.
00:24:29Oh.
00:24:31Okay, I'll go.
00:24:33Oh, Keith, don't be stubborn.
00:24:37Now, you haven't any money and you haven't any place to stay.
00:24:41Now, wait.
00:24:45Sit down.
00:24:52Hello?
00:24:53Hello, Miss Smith.
00:24:55What?
00:24:56This is Paul Colbert.
00:24:59How did you get my number?
00:25:01Well, it seems to be listed under the name of Carlin.
00:25:05You checked the mailbox in the lobby.
00:25:08I'm nosy, like a cop.
00:25:11Only one single was listed.
00:25:14I found nothing under the name of Carol Smith,
00:25:17so I took a chance on Sharon Carlin.
00:25:20Mr. Colbert,
00:25:21I'm not obliged to explain anything to you.
00:25:25Oh, I'm not saying you have to.
00:25:27Listen,
00:25:28I found a wonderful coffee house around the corner from you.
00:25:32Would you like to join me?
00:25:34Now?
00:25:35Why not?
00:25:36I owe you an apology for Denise
00:25:38and you owe me 75 cents, remember?
00:25:42Oh, your change from the phone call.
00:25:43I forgot to give it back to you.
00:25:45Yes, and my creditors are breaking down the door.
00:25:49Can you hear them?
00:25:53Where are you at Tutu's?
00:25:54I don't know.
00:25:55Hold on, will you?
00:25:57Excuse me, where am I here?
00:25:59At Tutu's.
00:26:01Yes, it is Tutu's.
00:26:02I'll be right there.
00:26:03Good.
00:26:07I'm going out, Keith, just for a little while.
00:26:10Now, will you wait for me and make yourself some coffee?
00:26:18Not much else I can do, is there?
00:26:20We'll talk when I get back.
00:26:22Sure.
00:26:23Just like old times.
00:26:27Hey.
00:26:32Your face is dirty.
00:26:34I see you changed.
00:26:53Looks good.
00:26:54Thank you, sir.
00:26:55Now.
00:26:56One more coffee, please.
00:27:04Well.
00:27:06It must be rough on your wardrobe to run in front of strange cars,
00:27:10wouldn't it?
00:27:10I'm sorry, I guess divorce has made me lose my sense of humor.
00:27:19My parents were divorced.
00:27:22It's two years for me now.
00:27:25I miss my son.
00:27:26I, well, frankly, I worry about him.
00:27:31His mother is not right for him.
00:27:34But anyway, that's not your worry.
00:27:38Did you make your call?
00:27:40Yes, but no one answered.
00:27:43That's strange because the Wilsons,
00:27:44the couple who run the house,
00:27:46they're always home.
00:27:47Maybe the phone is out of order.
00:28:00Do you know something?
00:28:01One of these days,
00:28:02I'm going to lock someone in one of these things
00:28:05and throw away the key.
00:28:06You couldn't be that sadistic.
00:28:11Just driving.
00:28:13Tell me about yourself.
00:28:15What do you do, Polly?
00:28:17Oh, I'm a secretary for cancer.
00:28:19I work for Mr. Seymour.
00:28:21I'm his secretary,
00:28:22and I read to his wife and take her for drives.
00:28:25She's not in good health.
00:28:26I take you to have money.
00:28:30Oh, she has from her first husband.
00:28:32Mr. Seymour dabbles in archaeology.
00:28:35I have him catalog his collection,
00:28:37and write letters,
00:28:38things like that.
00:28:43How long have you been in this country?
00:28:46Almost 80 years.
00:28:48What do you do?
00:28:50I'm an insurance broker.
00:28:52Oh, don't worry.
00:28:54I will not try to sell you a policy.
00:29:02At least they are alive.
00:29:05What does that mean?
00:29:08Oh, I was thinking about the years.
00:29:12You know, once upon a time,
00:29:13a boy met a girl,
00:29:15and they lived unhappily ever after.
00:29:17What's wrong?
00:29:37What is it?
00:29:38What happened?
00:29:39Take me home, please.
00:29:47Good night, Mr. Colbert.
00:29:55I'll see you upstairs.
00:29:56No!
00:29:58I don't want to trouble you.
00:30:00It's no trouble.
00:30:01Good night.
00:30:17I don't want to trouble you.
00:30:18I don't want to trouble you.
00:30:19I don't want to trouble you.
00:30:20I don't want to trouble you.
00:30:21I don't want to trouble you.
00:30:22I don't want to trouble you.
00:30:23I don't want to trouble you.
00:30:24I don't want to trouble you.
00:30:25I don't want to trouble you.
00:30:26I don't want to trouble you.
00:30:27I don't want to trouble you.
00:30:28I don't want to trouble you.
00:30:29I don't want to trouble you.
00:30:30I don't want to trouble you.
00:30:31I don't want to trouble you.
00:30:32I don't want to trouble you.
00:30:33I don't want to trouble you.
00:30:34I don't want to trouble you.
00:30:35I don't want to trouble you.
00:30:36I don't want to trouble you.
00:30:37I don't want to trouble you.
00:30:38I don't want to trouble you.
00:30:39Aaaaaah!
00:31:09Get me away. Take me away quickly.
00:31:16What is it?
00:31:18Take me. Take me away, please.
00:31:21Please, hurry. I beg you, please.
00:31:28Hurry.
00:31:29What is it?
00:31:30Hurry, drive me, please.
00:31:39He's dead.
00:31:53What?
00:31:56He's dead.
00:31:58Who's dead?
00:32:00Keith. Murdered.
00:32:04Who's Keith?
00:32:05No, don't give me that. Now, who is he?
00:32:13Now, look. Ever since I picked you up tonight, you've been giving me a song and dance.
00:32:17Now you say Keith is dead. Murdered.
00:32:20Well, who is he and who killed him?
00:32:24I don't know. I can't tell you.
00:32:28All right. Go and tell the police, then.
00:32:31I can't. I can't.
00:32:32Get out.
00:32:36Come on, get out.
00:32:37And forget you ever saw me. I'll do just the same for you.
00:32:41Oh, don't, please. Please, help me.
00:32:44How can I help you if you keep on playing games?
00:32:54Are you going to tell me?
00:33:02All right.
00:33:03All right.
00:33:06We go to my apartment.
00:33:09We'll talk there.
00:33:19You've told me the whole story now, eh?
00:33:28Yes.
00:33:29All right.
00:33:31We have to go to the police.
00:33:32We must notify them.
00:33:34Oh, I can't. I can't.
00:33:35Two murders in one night.
00:33:37What else do you expect?
00:33:38They won't believe me.
00:33:40Oh, Paul, you just don't understand.
00:33:41You just don't understand.
00:33:42You still haven't told me the whole story, have you?
00:33:46Have you?
00:33:48No, I haven't.
00:33:49All right.
00:33:50Either you tell me or we have to go to the police.
00:33:53I'll tell you.
00:34:05My mother and I were very close.
00:34:12She's dead now.
00:34:13I don't have anyone else.
00:34:19How about Keith Burgess?
00:34:21Oh, well, Keith was in love with me.
00:34:26But it didn't work out.
00:34:30Oh, it's so hard to talk about it.
00:34:51I've kept it to myself for such a long time.
00:35:01I didn't tell Keith or Mr. Seymour.
00:35:07Tell them what?
00:35:11Well, when you've had a breakdown.
00:35:16You know, I mean, after my mother died, I was committed to a mental institution.
00:35:33I was in that sanitarium at Whitford for six months.
00:35:46Where the cop took you off the train?
00:35:48Yes.
00:35:49That's why I ran.
00:35:50I had to get away from Whitford and all it meant to me.
00:35:52But you said you were all alone.
00:35:58Someone had to come at you.
00:36:00An aunt.
00:36:02My mother's sister.
00:36:04I don't see Aunt Helen anymore, and I don't think of her as family.
00:36:08I really am all alone now.
00:36:12How long ago did you get out?
00:36:14I met Keith after I came to Los Angeles.
00:36:28He's a writer, and I was his secretary.
00:36:32But we weren't good for each other.
00:36:33I mean, you both can't be weak.
00:36:39So then I went to work for Milo Seymour.
00:36:46I know I should have told you this before, but if I blurted it all out the minute I ran into you, you'd have thought I had a...
00:36:52A persecution complex?
00:36:57I guess you're right.
00:36:58So now you know all about me.
00:37:05The whole truth.
00:37:08Do you believe me now?
00:37:11I believe you, child.
00:37:14Oh, God.
00:37:28How about some coffee?
00:37:32No more, thanks.
00:37:35Would you like to try to get Seymour again?
00:37:39I've tried twice.
00:37:40What time is it?
00:37:42About 4.30.
00:37:44No, I think I'll go see him in the morning.
00:37:47Oh, I'm sorry.
00:37:48It's time you were in bed.
00:37:49Come on.
00:37:51You'll find some pyjamas in the top drawer.
00:37:53Little big, I'm afraid.
00:37:54You see, no matter what my ex-wife thinks, I don't keep any peek-a-boo nightgowns on hand.
00:38:02I'll have to let her know.
00:38:03Yes, do that.
00:38:04Then she'll meet us both in court.
00:38:06I'm a nuisance to you.
00:38:08You certainly are.
00:38:13Good night, Paul.
00:38:24I'll have to let her know.
00:38:54It's quite a house the Seymour's have, huh?
00:39:12Hmm.
00:39:14Relax, you'll be all right.
00:39:16I can't help thinking about Keith.
00:39:18I keep seeing.
00:39:20With Sarah and my child.
00:39:22Oh, Mr. Seymour, good morning.
00:39:24And you must be the young man who phoned me at breakfast.
00:39:27Yes, I'm Paul Colbert.
00:39:28How do you do?
00:39:29Why don't you come here?
00:39:34The Wilsons out here, by the way.
00:39:36I gave them the weekend off.
00:39:37The Wilsons are my housekeeping couple, Mr. Colbert.
00:39:40Oh, Miss Carolyn told me, yes.
00:39:41Well, Sharon, why on earth didn't you come back and work after dinner last night?
00:39:48Work?
00:39:51Oh, but Mr. Seymour...
00:39:52Oh, I was quite disappointed when you failed to show up.
00:39:55I'd ask you to help with some research, Mr. Colbert.
00:39:58She said she'd be happy to do it.
00:39:59Yes, I know.
00:40:01But when you changed our plans, I...
00:40:04Sharon, I changed nothing.
00:40:07But Mr. Seymour, you were the one who sent me to San Francisco.
00:40:11I did what?
00:40:12You asked me to make that trip for you.
00:40:14You know you did.
00:40:16No, my dear.
00:40:17I didn't ask you to go anywhere.
00:40:19But the envelope, the train tickets, Kreska gave them to me.
00:40:28Kreska?
00:40:28Steve Kreska?
00:40:29Yes.
00:40:30Well, isn't he your chauffeur?
00:40:32Yes.
00:40:32Well, he drove Sharon to Union Station.
00:40:34I certainly know nothing about it.
00:40:36Well, he did, Mr. Seymour, he did.
00:40:39Sharon, to the best of my knowledge, Kreska never left the house yesterday.
00:40:43But he came to my apartment for me.
00:40:45He drove me to the station.
00:40:47Could we talk to him, please?
00:40:49Well, I'm afraid he isn't here.
00:40:54Oh, he'll be back.
00:40:55He's just gone out to pick up a prescription for me.
00:40:58I think we can clarify matters in the library.
00:41:09I believe we can do it with Mr. Brady's help.
00:41:12May I present Joseph Brady, who's just arrived from Whitford?
00:41:19I didn't do it.
00:41:20I told you I didn't.
00:41:23Do what?
00:41:24Oh, Paul.
00:41:25He's the man who took me off the train at Whitford.
00:41:27What train?
00:41:29What is this?
00:41:31You know what I mean.
00:41:33Sorry, Mr. Brady.
00:41:34It's quite beyond me.
00:41:36Oh, Paul.
00:41:36He's the one.
00:41:37He's the one I told you about.
00:41:38Well, Mr. Brady.
00:41:41Look, mister, I never met her.
00:41:43I never saw her before.
00:41:45You're lying.
00:41:46You took me off the train.
00:41:48I ran away from you.
00:41:52Oh, Paul.
00:41:54Why's he lying?
00:41:56What are they trying to do?
00:41:57If you never saw her, how come you're here?
00:42:03Oh, I can explain that, Mr. Colbert.
00:42:06Three days ago, I received a phone call from Whitford.
00:42:09From Dr. Clinton Hartley.
00:42:11Dr. Hartley runs the Whitford Sanitarium.
00:42:14It's a private hospital for mental patients.
00:42:17Yes, I know.
00:42:17So he told you that Sharon had been one of his patients.
00:42:20So?
00:42:22Well, now, she certainly told you much more than she ever told me.
00:42:25The doctor said she'd left the hospital without permission.
00:42:31He'd only just traced her to my home.
00:42:33He advised me to take precautionary measures.
00:42:36Frankly, I ridiculed the idea.
00:42:39And that was three days ago?
00:42:41Yes.
00:42:43Last night, when Sharon failed to keep her appointment,
00:42:45I wasn't really worried.
00:42:47But then when you called me this morning,
00:42:49your reference to a manila envelope troubled me.
00:42:52So I opened my safe.
00:42:55Yesterday morning, this box contained approximately $3,000.
00:43:03But now?
00:43:05Are you accusing Sharon of taking that money?
00:43:09She knows the combination.
00:43:11Don't you, my child?
00:43:14Yes.
00:43:14But I don't know anything about any money.
00:43:19Kresker gave me that envelope.
00:43:22I'm afraid this is precisely what Dr. Hartley warned me against.
00:43:26I told you the truth.
00:43:31I didn't steal any money.
00:43:38We still don't know why Mr. Brady is here.
00:43:41Well, right after you called, I phoned Whitford.
00:43:44Dr. Hartley told me he'd been in touch with Sharon's family.
00:43:46You're Aunt Helen, my dear.
00:43:49She wishes your therapy continued.
00:43:53That explains Mr. Brady's presence among us.
00:43:56You got here quite fast, didn't you?
00:43:58Sure, I flew in.
00:44:01You'll feel much safer back in the hospital, my dear.
00:44:05Mr. Brady will escort you home.
00:44:07Is that why you escaped?
00:44:21I didn't escape.
00:44:23I didn't break any law.
00:44:25And I didn't steal your money.
00:44:28Mr. Colbert, I appeal to you.
00:44:30If you have any influence with it at all.
00:44:32Your wife can prove it.
00:44:34Mr. Seymour knows all about it.
00:44:37But, but you never mentioned that before.
00:44:40Oh, yes.
00:44:41Mr. Seymour asked me to buy her a kimono in Chinatown.
00:44:46She gave me the address of the shop.
00:44:49You mean my wife actually asked you to...
00:44:52Yes.
00:44:53Kreska gave me her note.
00:44:56May I see it, please?
00:44:59I, I don't have it.
00:45:03It was in my purse.
00:45:05I lost it when I ran away from you.
00:45:10Now look, lady, for the last time, I never saw you before.
00:45:13Oh, he's flying.
00:45:15Oh, Paul, you must believe me.
00:45:21Paul?
00:45:22Mr. Seymour, there is a lot at stake here.
00:45:30Frankly, a lot that I don't understand.
00:45:34I would like to talk to your wife.
00:45:37Please.
00:45:40Now look here, Colbert.
00:45:41I'm certainly not going to subject my wife to this unpleasantness.
00:45:43Do you think it is pleasant for Miss Carlin?
00:45:44Well, I grant you that.
00:45:47But my wife is not in good health, as Sharon can tell you.
00:45:51The fact is, we'd agreed a change of scene might be good for her.
00:45:54Until this matter came up, we intended to drive up to our mountain lodge today.
00:46:00I'd still like to talk to her.
00:46:01Very well, Mr. Colbert.
00:46:10If you'll excuse me.
00:46:11I don't understand it.
00:46:39I just don't understand it.
00:46:40I thought you told me everything.
00:46:43He did take me off that train.
00:46:45He knows he did.
00:46:46Why didn't you tell me?
00:46:46You ran away from the sanitarium.
00:46:48I didn't run away.
00:46:50I left two days early.
00:46:53Oh, you don't know what it's like to wait and wait to be free.
00:46:56Is there anything, Harris, you haven't told me?
00:46:59I didn't do anything criminal.
00:47:02I talked to Dr. Hartley several times after I left.
00:47:05I phoned him when I worked with Keith.
00:47:08Well, Sharon, you should have told me.
00:47:09Oh, Paul, you don't understand.
00:47:14When you had a breakdown and everything collapses all around you.
00:47:20It's all right.
00:47:20It's all right, darling.
00:47:23You don't have to explain.
00:47:24Sit down.
00:47:25I didn't want to bother you, dearest, but it's only for a moment.
00:47:39Gentlemen, my wife.
00:47:51Romel, dear, this is Mr. Brady from Whitford and Mr. Colbert, who is Sharon's friend.
00:47:57You're not Mrs. Seymour.
00:48:01Paul, she isn't Mrs. Seymour.
00:48:05Sharon, dear, if I'm not Mrs. Seymour, then who am I?
00:48:09The woman.
00:48:10The woman from the train.
00:48:11The train?
00:48:12Yes.
00:48:13She's the one who was killed.
00:48:14Well, Sharon, my child, what are you saying?
00:48:17Murdered, Mr. Seymour.
00:48:19Oh, you poor child.
00:48:21Don't talk to me.
00:48:22I won't listen.
00:48:25Wait.
00:48:27Wait.
00:48:28I can prove it.
00:48:29Look.
00:48:30I'll show you.
00:48:34Whit.
00:48:35It's gone.
00:48:38This is a picture of the Mountain Lodge.
00:48:40What is it?
00:48:42This is Seymour's picture.
00:48:44This isn't it.
00:48:46It's gone.
00:48:47Where is it?
00:48:54What have you done with it?
00:48:56Sharon, you know I never keep pictures of myself around the house.
00:48:59I abhor that kind of vanity.
00:49:02They're lying.
00:49:05Mrs. Seymour's picture is always on the desk.
00:49:07Always.
00:49:13Oh.
00:49:14Mr. Colbert, do you still wish to question my wife?
00:49:20Yes, I do.
00:49:22Mrs. Seymour, you asked Miss Carlin to buy you a kimono in San Francisco.
00:49:27A kimono?
00:49:28Yes.
00:49:29Milo, really?
00:49:31What does all this mean, Milo?
00:49:33Now, don't upset yourself, Romel.
00:49:35I'll tell you all about it later.
00:49:36Mr. Colbert, are you satisfied now?
00:49:40Frankly, no.
00:49:41And why not?
00:49:43I would like proof that this lady is really your wife.
00:49:47Milo.
00:49:48Oh, I know it is an imposition, but I've got to know the truth.
00:49:51Well, the Wilsons are gone for the weekend, as I told you, and I'm certainly not going to involve my neighbors.
00:49:56There is your chauffeur.
00:49:57Kresker, that's right.
00:49:59Yes.
00:50:00Maybe Kresker's back.
00:50:01You can get the truth from him.
00:50:03Well, Mr. Colbert, I've tried to be patient, but this girl's fantastic story.
00:50:08It isn't a fantastic story.
00:50:10When she got home last night, she found a dead man in her apartment.
00:50:14Dead man?
00:50:15A friend.
00:50:16Murdered.
00:50:17Did you see this dead man, Mr. Colbert?
00:50:21Why do you ask?
00:50:22Well, I went to replace myself before I came here.
00:50:25Doc Hartley figured she might have hidden Mr. Seymour's money in her apartment.
00:50:28The place was empty.
00:50:30You're lying.
00:50:32Keith was there in the chair.
00:50:35The apartment was empty, Miss Carlin.
00:50:37There was no dead man.
00:50:39There was nothing touched, no sign of any struggle.
00:50:42There was no money on the premises.
00:50:45But, Mr. Colbert, if you know anything at all about paranoia, the classic pattern of persecution.
00:50:52We still haven't talked to your chauffeur.
00:50:55It must be quite plain by now.
00:50:57I know I am stubborn.
00:50:59I was brought up that way.
00:51:04Very well, Mr. Colbert.
00:51:06If you'll excuse me, dearest, while I go and get Kresker.
00:51:09Why go for him?
00:51:11And how do you know he's back?
00:51:14Mr. Colbert, I find your distrust of me very flattering.
00:51:18Garage.
00:51:29Oh, you're back, Kresker?
00:51:31Yes, sir.
00:51:31Just got in.
00:51:32I want to see you immediately.
00:51:34I'm in the library.
00:51:35Yes, sir.
00:51:38Well, young man, was I noncommittal enough?
00:51:41Hello?
00:51:50Mr. Seymour?
00:51:51Yes?
00:51:52Dr. Hartley.
00:51:54Has Bernie arrived yet?
00:51:56Oh, yes, doctor.
00:51:57He's here.
00:51:59Just one moment, please.
00:52:00Mr. Colbert, this is Dr. Hartley.
00:52:04Now, I don't want any doubts left in your mind.
00:52:07Will you talk to him, please?
00:52:08Hello?
00:52:09Hello?
00:52:09Who is this?
00:52:11Sharon.
00:52:12Is that you, Sharon?
00:52:16Dr. Hartley?
00:52:17Yes, Sharon.
00:52:19I've talked to your Aunt Helen.
00:52:21She has the authority to order you back here, you know.
00:52:24We think you'll be safer here, Sharon.
00:52:27Don't you agree, Sharon?
00:52:30You agree?
00:52:32You'll come back home with Mr. Brady?
00:52:42Yes.
00:52:43Yes, Dr. Hartley.
00:52:50Yes.
00:52:59You wanted to see me, Mr. Seymour?
00:53:01Yes, Cresco.
00:53:02Your prescription, sir.
00:53:06Mr. Colbert?
00:53:09Who told you to pick up Miss Carlin yesterday
00:53:11and drive her to Union Station?
00:53:13Union Station?
00:53:16Didn't you give her train tickets and a sealed envelope?
00:53:20Is this some kind of joke?
00:53:21It's no joke!
00:53:24What is this all about?
00:53:29Do you know Mrs. Seymour?
00:53:33Is something wrong?
00:53:35Thank you, Cresco.
00:53:36That's all we wanted to know.
00:53:37Now, are you satisfied?
00:53:54Yes, I am satisfied.
00:53:56Oh, no.
00:53:58Oh, please, please, Paul.
00:54:00Don't believe them.
00:54:01Everything I told you is true!
00:54:03Oh!
00:54:04You're all confused, Sharon.
00:54:07You're all mixed up.
00:54:10Maybe if you let the right people help you.
00:54:13I don't want the help.
00:54:15Or yours, either.
00:54:17You've turned against me, too.
00:54:20You're in the plot with them, aren't you?
00:54:22You are, aren't you?
00:54:24You've been here from the first.
00:54:25You're all against me.
00:54:27You're all lying.
00:54:28It's all a pleasant and dirty!
00:54:29There is no plot, Sharon.
00:54:33I never saw any of these people before today.
00:54:38I certainly don't want to hurt you.
00:54:41They only want to help you.
00:54:43Are you ready to go now, my child?
00:54:49Don't touch me!
00:54:52I'll go with you.
00:54:55But don't touch me.
00:54:56I don't think there'll be any more trouble, Mr. Brady.
00:55:02All right.
00:55:03All right, Miss Carlton.
00:55:10By the way,
00:55:12did Sharon tell you why
00:55:13she was committed to the sanitarium?
00:55:17No, she didn't.
00:55:19She killed a woman.
00:55:20A woman she was caring for.
00:55:23About my wife's age.
00:55:24Sharon,
00:55:28did you kill her?
00:55:32Yes.
00:55:32Yes.
00:55:54And, uh, what will you do about the $3,000?
00:56:02Oh, I don't intend to prosecute.
00:56:04I'm sure we'll learn its whereabouts
00:56:04when the girl becomes more rational.
00:56:05It's a curious thing.
00:56:06Only an unbalanced mind continues to cling to
00:56:09errors of belief in the face of all contradictions.
00:56:11Well, I won't keep you.
00:56:12I guess you want to be going.
00:56:13Oh, I'm not sure I want to go away now.
00:56:14Well, nonsense, Romel.
00:56:15You need that holiday more than ever now.
00:56:16Well, I won't keep you.
00:56:17I guess you want to be going.
00:56:18Oh, I'm not sure I want to go away now.
00:56:19Well, nonsense, Romel.
00:56:21You need that holiday more than ever now.
00:56:22We're going up to the mountains as planned.
00:56:24Oh, really, Mr. Colbert?
00:56:25Husbands can be such martinettes.
00:56:26Oh, I'm not sure I want to go away now.
00:56:27Well, nonsense, Romel.
00:56:28You need that holiday more than ever now.
00:56:29We're going up to the mountains as planned.
00:56:30Oh, really, Mr. Colbert?
00:56:31Husbands can be such martinettes.
00:56:33Or are you married?
00:56:34No, no.
00:56:35Not anymore.
00:56:35Bye.
00:56:39Bye.
00:56:39Bye.
00:56:41Oh, my God.
00:56:42Wait.
00:56:43Good.
00:56:44How does it fell?
00:56:45Sorry.
00:56:46I thought you were going to have to go away?
00:56:47Long forest, I thought about you.
00:56:49I'm not sure I want to go away now.
00:56:50Well, nonsense, Romel.
00:56:51You need that holiday more than ever now.
00:56:52We're going up to the mountains as planned.
00:56:54Oh, really?
00:56:54Mr. Colbert, husbands can be such martinettes.
00:56:57Or are you married?
00:56:58No, no.
00:56:58Not anymore.
00:56:59Bye.
00:57:00Bye.
00:57:01Bye.
00:57:03Let's go.
00:57:51Inside.
00:57:57Short trip?
00:57:58Yeah.
00:58:03Welcome back, my dear.
00:58:16I believe you've met all present.
00:58:20Kreska, get the car out of sight.
00:58:22Lock the front gates and keep watch outside.
00:58:24Bring her in.
00:58:29I don't like this, Milo.
00:58:30We're in a jam.
00:58:32You're nervous, Brady.
00:58:33You bet I'm nervous.
00:58:34I've been in the middle of this all my life.
00:58:36I've seen too many smart alibis smashed to feel good about this.
00:58:39Then you are a policeman.
00:58:42Well, yes and no, my dear.
00:58:43Brady retired from the Whitford police force on Monday.
00:58:48He said he was here for Dr. Hartley.
00:58:50Oh, yes.
00:58:51He's already gone to work for Dr. Hartley.
00:58:54No need to doubt the good doctor's integrity.
00:58:56When he first called, he'd just received an anonymous note.
00:59:00as to your whereabouts.
00:59:03You sent it to him.
00:59:05Yeah.
00:59:14What are we going to do with her, Milo?
00:59:16Everything's gone wrong.
00:59:16Look, Irene and I did our job, Milo.
00:59:18It was Brady who lost it out of the way.
00:59:20You shouldn't have let her get away from you.
00:59:21Why do you think she made that break?
00:59:22Don't find it.
00:59:22Shut up!
00:59:26Now, understand me.
00:59:28Once and for all,
00:59:31we're playing for high stakes.
00:59:33And I don't propose to lose them because of stupidity.
00:59:38That means no recrimination,
00:59:41no childish bickering, and no more blunders.
00:59:45Is that clear?
00:59:46You've killed your wife, haven't you?
00:59:55Have I indeed.
00:59:58You killed her,
01:00:00and you planned to play me for her murder.
01:00:04Why?
01:00:04Why did you kill her?
01:00:08Well, what are the classic motivations
01:00:09for the elimination of one's spouse?
01:00:12Jealousy,
01:00:14revenge,
01:00:17financial gain.
01:00:20Her insurance?
01:00:22No, my wife, poor soul,
01:00:24never believed in insurance,
01:00:26but her estate,
01:00:27every penny of it,
01:00:28belongs to me now.
01:00:30And you know how much it is worth?
01:00:33Five million dollars.
01:00:37And now you're going to kill me?
01:00:40Of course.
01:00:42I'm going to kill you.
01:01:09Paul?
01:01:10Oh, Denise, come in.
01:01:13Oh, you can relax, no one is here.
01:01:17I always stage my orgies on alternate weekends, you see.
01:01:21I tried calling you, Paul, but there was no answer,
01:01:23so I thought I'd drop by.
01:01:25Oh, you were worried about me?
01:01:28Yes, I was.
01:01:31When did you start to drink in the daytime?
01:01:34Oh, it's a new habit.
01:01:37Is it because of that girl?
01:01:39Which girl?
01:01:41Oh, yes, yes, you mean my partner in sin, huh?
01:01:44Paul, don't.
01:01:46I was wrong last night. I came to apologize to you.
01:01:49At breakfast, Chris told me what happened.
01:01:52I feel so guilty.
01:01:54If there's anything I can do to help her, you know I will, Paul.
01:01:58Well, forget it, Denise.
01:02:02No one can help her now.
01:02:09You hate me, don't you?
01:02:19Denise, the way we feel about each other has nothing to do with Sharon.
01:02:24Paul, I don't know what gets into me.
01:02:27Sometimes I just lose control.
01:02:29I try to be like other people, but something inside of me...
01:02:34I don't want to hurt anybody.
01:02:36Well, it's done with now, anyway.
01:02:40Like they say, we will all live happily ever after, huh?
01:02:46Paul, I can see why you divorced me.
01:02:49It was the other way around, remember?
01:02:52All I care about is Chris's happiness.
01:02:56If you think he'd be better off with you instead of me, I...
01:03:00Well, we'll try to work something out, huh?
01:03:04I know we can't get back together again,
01:03:07but I don't want to ruin his life.
01:03:09I don't want to destroy him.
01:03:11A child's supposed to need his mother, but you should see his face.
01:03:15Every time you take him away on a camping trip, his whole face lights up.
01:03:19What's that?
01:03:25I'll call you.
01:03:27Where are you going, Paul?
01:03:29I want to satisfy my curiosity.
01:03:34Goodbye.
01:03:38Thank you for coming.
01:04:10Only an unbalanced mind continues to cling to it...
01:04:15Only an unbalanced mind continues to cling to errors of belief in the face of all contradictions.
01:04:34I didn't do it. Geet was already dead. I found him sitting in a chair.
01:04:45Clean it through it.
01:05:15The End
01:05:20The End
01:05:25The End
01:05:27The End
01:05:28The End
01:05:29The End
01:05:30The End
01:05:31The End
01:05:32The End
01:05:33The End
01:05:34The End
01:05:35The End
01:05:36The End
01:05:37The End
01:05:38The End
01:05:39The End
01:05:40The End
01:05:41The End
01:05:42The End
01:05:43The End
01:05:44The End
01:05:45The End
01:05:46The End
01:05:47The End
01:05:48The End
01:05:49The End
01:05:50The End
01:05:51The End
01:05:52The End
01:05:53The End
01:05:54The End
01:05:55The End
01:05:56The End
01:05:57The End
01:05:58Is there a story?
01:06:00Oh, no!
01:06:02No, no!
01:06:14No.
01:06:15What are you talking about?
01:06:17I don't know.
01:06:18Well, you're here.
01:06:19I have a story, no.
01:06:20What are you talking about?
01:06:21What is it supposed to be?
01:06:23They're a busy boy.
01:06:25They're a big boy.
01:06:26They're a big boy, they're a big boy.
01:06:27Sharon!
01:06:57Who are you?
01:07:06Who is this woman?
01:07:08Oh, you haven't been formally introduced, have you?
01:07:11My sister, Irene Maddox, her husband Duke.
01:07:14Kresker, you've already met.
01:07:17Where did Brady go?
01:07:19Back to Whitford.
01:07:21He'll say that you escaped.
01:07:23Originally, we planned to have him arrest you
01:07:25for disorderly conduct.
01:07:27I believe you can imagine the rest.
01:07:31You meant me to die in that jail cell, didn't you?
01:07:33As Brady would have seen to that.
01:07:35Suicide, of course.
01:07:37Because I killed Mrs. Seymour?
01:07:40Ingenious, don't you think?
01:07:51And... and the envelope.
01:07:54The money was in that, wasn't it?
01:07:56Oh, yes. Brady was instructed to put the cash in your purse.
01:07:59It was your motivation for killing poor Rommel.
01:08:03Very ingenious, Mr. Seymour.
01:08:06But you didn't have to kill Keith.
01:08:09Your drunken friend.
01:08:11He never hurt you. He never harmed anybody.
01:08:15He got in the way.
01:08:17Slow down, Steve. You want us to go off the road?
01:08:33I thought you wanted to get to the cabin fast.
01:08:36Yes, but quite intact. Now slow down.
01:08:38I don't want anything else to go wrong.
01:08:40Everything's gone wrong from the beginning, hasn't it, Mr. Seymour?
01:08:44And everything's bound to go wrong. And you know why?
01:08:47Do tell me.
01:08:49Because your scheme is insane.
01:08:51You talked so clibly to Paul about my sickness, my paranoia.
01:08:56And look what you've tried to do. Look at your own crazy plan.
01:09:00That will do.
01:09:01Your vanity, your sickness, your delusions of grandeur.
01:09:04That will do.
01:09:05That will do.
01:09:06Your own crazy scheme. That's really paranoia. Oh!
01:09:09Now what's wrong?
01:09:35Not my fault, Milo. Vetterlock, maybe.
01:09:37But it's your job to see that these things don't happen.
01:09:39But Milo, it could happen to anyone.
01:09:41We'll do something. Get it going.
01:09:52Oh, I don't like the way our luck is running, Milo.
01:09:54Well, don't start worrying about it until you have to.
01:09:57We'll get back to town in time.
01:09:58If Steve starts this thing...
01:10:00She's got to start it.
01:10:02I won't tolerate any more delays.
01:10:07Don't look too good, Milo.
01:10:10Could be a cloud gas line, maybe worse.
01:10:12Aren't you sure?
01:10:13Well, I have to take it apart first.
01:10:14It might take an hour, maybe more.
01:10:16Oh, we can't stay here.
01:10:17We can't risk being seen out in the open.
01:10:19But, Milo, there's no place else.
01:10:21Idiot!
01:10:22Idiot!
01:10:33Now listen to me, all of you.
01:10:35And the girl made me lose my temper.
01:10:37And now Steve.
01:10:39We can't afford that.
01:10:43Don't make it happen again.
01:10:45Sure, Milo, I get it.
01:10:49Now get this thing out of sight.
01:10:51Okay, but we'll all have to push.
01:11:15Get her inside.
01:11:35Steve, open up the back of the car and get the body out.
01:11:38Help him, Duke.
01:11:39She's too heavy for him alone.
01:11:40Let's get this thing over with, Milo.
01:11:50We're two hours late already.
01:11:52You'll do us all the service, Irene, if you stop whining.
01:11:55Now go upstairs and get her bedroom ready.
01:11:57What's there to do?
01:11:58Her bed must seem slept in, don't you understand?
01:12:10Your sister's very nervous.
01:12:15And so was Brady.
01:12:17A failing of lesser souls.
01:12:21They'll fail you, Mr. Seymour.
01:12:24We'll never underestimate five million dollars, Sharon.
01:12:27With their share, my sister and her husband will find added strength and so will Brady and Kreska.
01:12:33You're forgetting Paul Colbert.
01:12:35Good Samaritan.
01:12:36Yes.
01:12:37When he finds out that your wife is dead and I'm dead, he's going to start asking questions.
01:12:43Oh, undoubtedly, but he'll be satisfied with the answers.
01:12:46After all, you did admit killing your former employer.
01:12:51That was self-defense.
01:12:53The coroner's jury had its doubts.
01:12:55She was suicidal.
01:12:57Our family tried to keep it from me.
01:12:59That night she got a hold of some scissors.
01:13:02I tried to stop her and she turned on me.
01:13:05It happened while we were struggling.
01:13:08Well, I believe you, my dear, but who else really accepts it?
01:13:12I do.
01:13:13Pa!
01:13:14How'd you get up here?
01:13:16I borrowed the broomstick.
01:13:18Oh, Pa, Pa!
01:13:19Wait for me!
01:13:22I warn you, Colbert, when Duke and Kreska get in here, they are both indisposed.
01:13:27But not like your wife.
01:13:29They were pulling her out of the back of the car.
01:13:32How did you find us?
01:13:34I went through your desk.
01:13:35I found out how to get here and also I found this.
01:13:38What delayed you?
01:13:40Their car broke down.
01:13:42It held them up for over two hours.
01:13:44Good.
01:13:45I was beginning to think they had all the luck.
01:13:47We still have it!
01:13:49What?
01:13:50Throw your gun down.
01:13:52He said throw her down.
01:14:06Well, Irene, you redeemed yourself.
01:14:08Go outside and see what's happened to Kreska and Duke.
01:14:10Hurry!
01:14:11I must confess I was somewhat worried about you, Mr. Colbert, but not now.
01:14:19I have already called the police.
01:14:21Oh, they'll find no trace of you.
01:14:23Just Sheridan, my wife.
01:14:25Murder and suicide, huh?
01:14:27Precisely.
01:14:28Perfect, you see.
01:14:29Foolproof.
01:14:30If everything is so perfect, what do you think I am doing here?
01:14:34Your foolproof scheme has more holes in it than a fake accident claim.
01:14:38There'll be no more mistakes.
01:14:39I'll see to that.
01:14:40Oh, you've made nothing but mistakes.
01:14:42Blunder after blunder.
01:14:43You're just another cheap crook.
01:14:46Greedy and stupid.
01:14:47Shut up!
01:14:48I told you your scheme is insane.
01:14:50That'll do!
01:14:51Now I warn you both.
01:14:52Milo!
01:14:53They're hurt.
01:14:54Duke and Kreska.
01:14:55I can't bring them too.
01:14:56They're badly hurt.
01:14:57Yes, it was just my intention.
01:14:59I've got to get Duke to a doctor.
01:15:01No, no, no.
01:15:02I'll see to him later.
01:15:03Milo, he's hurt.
01:15:04Steve too.
01:15:05Shut up, shut up, shut up.
01:15:06Let me think.
01:15:07Yes, think and think fast.
01:15:08The cops will be all over you.
01:15:10They'll talk to your neighbors.
01:15:11They'll dig back into your past.
01:15:13They'll find nothing.
01:15:14Nothing.
01:15:15There isn't anything they can use against me.
01:15:18I made sure of that.
01:15:19Nothing, huh?
01:15:20And what do you think I have told the police?
01:15:22Everything.
01:15:23They know everything.
01:15:24I can handle them.
01:15:25I can explain everything to their satisfaction.
01:15:27You're forgetting Dr. Hartley.
01:15:29He'll never believe that I escaped a second time.
01:15:32That's right.
01:15:33He'll go straight to the police.
01:15:35The truth will come out.
01:15:36Bit by bit.
01:15:37That won't happen.
01:15:38It doesn't have to happen.
01:15:40Hartley will never testify.
01:15:42You mean you'll kill him too?
01:15:43Yes.
01:15:44I'll kill anyone who can tell him anything.
01:15:46Yes, I'll kill Hartley.
01:15:50I'll kill you.
01:15:55I'll kill everyone.
01:15:57Everyone.
01:16:02I haven't lost.
01:16:05I haven't lost.
01:16:07Stay where you are.
01:16:08Marlo!
01:16:19What's wrong with him?
01:16:20What's wrong with him?
01:16:21What's wrong with him?
01:16:25Marlo!
01:16:27You did this to him!
01:16:28You did it to him!
01:16:29No.
01:16:30He did it to himself.
01:16:38Milo!
01:16:42Milo!
01:16:43Milo!
01:16:44I told you.
01:16:45I told you, Milo.
01:16:46I warned you.
01:16:47I warned you.
01:16:48I warned you.
01:16:51I warned you, Milo.
01:16:53I warned you.
01:16:54I warned you.
01:16:55I warned you.
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