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PRESIONA "SEGUIR" PARA ESTAR AL TANTO DE LOS PRÓXIMOS ESTRENOS DE ESTE CANAL.
SIGUE EN FACEBOOK "LO MEJOR DE LOS OHENTA" NUESTRA PÁGINA AMIGA Y SIGUENOS EL "VOLVIENDO AL CINE DEL BARRIO" EN LA MISMA PLATAFORMA.
Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de muchos actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y ACTIVAR la campana para saber de próximos estrenos en versión original y subtitulados.
SIGUE EN FACEBOOK "LO MEJOR DE LOS OHENTA" NUESTRA PÁGINA AMIGA Y SIGUENOS EL "VOLVIENDO AL CINE DEL BARRIO" EN LA MISMA PLATAFORMA.
Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de muchos actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y ACTIVAR la campana para saber de próximos estrenos en versión original y subtitulados.
Categoría
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CortometrajesTranscripción
00:02:56¡Ah, Arnold, here you are!
00:02:58Bueno, bueno. Hola, Governor.
00:03:00Hola, Simms. ¿Cómo es todo lo que?
00:03:02Oh, lo que es. La shop está bien.
00:03:05Oh, Mrs Harris.
00:03:06Sí, sí, tiene que comer todo el día.
00:03:08Bueno.
00:03:10Bueno, ¿qué es lo que haces con ustedes?
00:03:11¿Has un buen día?
00:03:13Oh, solo el usual.
00:03:14Eating, batiendo y sleeping.
00:03:16No sé por qué me siguen en holidays, Simms.
00:03:19No es nada divertido.
00:03:21Solo el inepidable sort de cosas y cosas.
00:03:24Unesco, como yo.
00:03:25¿No?
00:03:26Oh.
00:03:26Man is an irrational, Animal Simms.
00:03:29Persisting to hope for what his reason has proven is non-existent.
00:03:33And...
00:03:33Oh.
00:03:36Trouble with your holidays, Governor,
00:03:38is you don't choose the hectic places.
00:03:41Now, when I was in Blackpool...
00:03:42Yes, I know, I know.
00:03:43You told me that before.
00:03:44I always said you ought to marry that girl, you know.
00:03:47Ah, well, you see, Governor...
00:03:48Yes, you also told me your excuses.
00:03:51Oh.
00:03:52Here, let me take her.
00:03:53No, that's all right, Governor.
00:03:54Here.
00:03:55You take the camera.
00:03:56Camera?
00:03:57I didn't take a camera with me.
00:03:59You brought one back with you any road.
00:04:04The hotel people must have put this in the car erroneously.
00:04:06Oh, it's a good one, too.
00:04:11Pentac 2-9.
00:04:12Hmm.
00:04:13I wonder who the owner is.
00:04:15He must be missing this pretty badly.
00:04:17Is it loaded?
00:04:17Here.
00:04:18Here.
00:04:18The film pack.
00:04:22Five exposures taken.
00:04:26Oh.
00:04:26Why not develop the film?
00:04:28Might give you a clue.
00:04:28Well, I hardly care to pry into other people's affairs in that fashion.
00:04:35It's like opening letters.
00:04:37Just isn't done.
00:04:38Oh, isn't it?
00:04:39You'd say differently if you was married.
00:04:42Besides, are you going to find the owner if you don't develop the film?
00:04:45Well, I think I might develop one exposure and see if that puts us on the track.
00:04:50That seems logical enough.
00:05:02Ah.
00:05:03I think I'll try the last exposure.
00:05:14I say, look, Al.
00:05:15This film's uncovered.
00:05:17Oh.
00:05:19Sorry, Governor.
00:05:20Well, how's everything?
00:05:27Oh, I wonder who that is.
00:05:29A bit late for customers.
00:05:30Oh, probably the Hopkinson's baby swallowed another watch,
00:05:33or old Mother Abbott thinks she's got a paint.
00:05:35Mind the light from that door.
00:05:42Well, that's odd.
00:05:43Oh, so it's you, isn't it, you little blighter.
00:05:51What do you mean ringing my doorbell and running away?
00:05:53I didn't do anything, mister.
00:05:55I swear I didn't ring your doorbell.
00:05:57Yes, you did ring my doorbell.
00:05:59I heard you ring my doorbell.
00:06:00Here, here, here, lay off.
00:06:01What are you doing to my little elf?
00:06:03Well, I'm sorry.
00:06:04I've made a mistake.
00:06:05I'm sorry.
00:06:06And so you should be.
00:06:07Come on, Alfie, dear.
00:06:09First source.
00:06:10Oh, nice woman, then.
00:06:12Now, Alfie, dear, one of them brettes and the mews, I expect.
00:06:25Well, how's clues?
00:06:28Oh, I don't suppose we'll get much out of this.
00:06:30Probably a family group on the beach.
00:06:32You know, proud parents and vacuous progeny.
00:06:37Well, that ought to be developed sufficient.
00:06:40Bless my soul.
00:06:43Sims, come here.
00:06:46Tell me what you think of that.
00:06:50Blimey, if it's them kids again, I'll break their bloomin' necks.
00:06:56Extraordinary.
00:06:58Most extraordinary.
00:07:02Oi, Governor.
00:07:03Yes?
00:07:04Come here, will you?
00:07:05Something rummy going on.
00:07:08You wait.
00:07:10I'll show you something rummy.
00:07:12There's nobody here again, Governor.
00:07:16Well, you look that way, and I'll look this.
00:07:17Well, you look that way, and I'll look this.
00:07:20Well, you look that way, and I'll look this.
00:07:22Well, you look that way, and I'll look this.
00:07:25Well, you look that way, and I'll look this.
00:07:30Darling!
00:07:33I'll give the money French Mort cats in this.
00:07:34Come here.
00:07:35Well, I'm surpreed.
00:07:36You look that way, and I'll look this.
00:07:39Well, it's not again, governor.
00:07:41But let's go upstairs.
00:07:42¡Gracias!
00:08:12¿See anything, Governor?
00:08:14No.
00:08:16The more did I.
00:08:32Well, it's got me wet.
00:08:34Never mind about your doorbells, tell me what you think about this.
00:08:37Well, that's very peculiar.
00:08:40I'd like to sworn I left it in the hyper.
00:08:46Left what?
00:08:47Why, how very extraordinary.
00:08:49The camera's gone too.
00:08:51Oh, come off it.
00:08:52You must have put it down somewhere else.
00:08:55That window, Simms.
00:08:57I distinctly remember closing it and pulling down the blind.
00:09:00Somebody's been in here during our absence.
00:09:02Well, aren't they?
00:09:03That bell.
00:09:04Do you think that was a ruse to try and get us out of the room?
00:09:06Oh, a bloke could hardly go to that much trouble to steal a camera.
00:09:09It wasn't only the camera, Simms.
00:09:11The negative.
00:09:12I'm confident that was a photograph of a murder.
00:09:14Murder?
00:09:15Blimey.
00:09:16Definitely.
00:09:17One man stabbing another.
00:09:18Under the circumstances, I feel fully justified in developing the remaining negatives.
00:09:21Now for it, here's adventure with a vengeance.
00:09:27Oh, but this is absurd.
00:09:29We're beginning to talk like characters in a mystery melodrama.
00:09:32I've no doubt we'll find some perfectly mundane explanation.
00:09:35Nothing very palpitating in noises, you might say.
00:09:40Hello.
00:09:41There's a woman turned up in it.
00:09:44I wonder what she looked like.
00:09:46Oh, golden hair and large lustrous eyes.
00:09:49A ravishing creature, my dear Simms.
00:09:52The heroine of a mystery drama is always a ravishing creature.
00:09:55Stroth she's all of that.
00:09:58Oh, you're struck lucky this time, Governor.
00:10:00You know, I'd like to find out who this young lady is.
00:10:04Blimey, who wouldn't?
00:10:05No, no, no.
00:10:06Don't mistake me, Simms.
00:10:07Don't mistake me.
00:10:08I'm actuated solely by a desire to return that camera to its rightful owner.
00:10:11It's the principle of the thing.
00:10:13Oh, of course.
00:10:14The principle of the thing.
00:10:16Yes, but ha-
00:10:18Hello.
00:10:19Bring me the magnifying glass, will you?
00:10:21Oh.
00:10:22I believe I can see the name of the street.
00:10:25If you take my tip, Governor, you'll pop along there at once.
00:10:29Hmm?
00:10:30Yes.
00:10:31Yes, perhaps you're right.
00:10:32Of course you ought to.
00:10:34You know, just for the principle of the thing.
00:10:37Heh heh.
00:10:39Seventeen Mill Street.
00:10:42Hmm.
00:10:43Still, I-I don't know that I shall go.
00:10:45It might very likely prove abortive.
00:10:48No, on second thoughts, I definitely shall not go.
00:10:56Well?
00:10:57Oh, uh, good afternoon.
00:10:59Uh, can you tell me if this young lady lives here?
00:11:02There ain't no young lady lives here, except me.
00:11:04Oh.
00:11:05Uh, but this is number seventeen Mill Street, isn't it?
00:11:08I suppose it is, but there are other mill streets in London beside this.
00:11:11There's one in Islington.
00:11:12Oh, is there?
00:11:13Oh, thank you very much.
00:11:14I'll try that.
00:11:17Uh, excuse me.
00:11:18Um, is there a young person of that description here?
00:11:21No, she ain't been brought in yet, sir.
00:11:23But come in and give the others a once-over, if you like.
00:11:26This is the mortuary.
00:11:27Oh.
00:11:28Oh, but it's number seventeen Mill Street.
00:11:30Try Mill Street tooting.
00:11:32Oh, I beg your pardon.
00:11:33I'm sensible.
00:11:34No, but don't worry.
00:11:36There's plenty better inside.
00:11:37Just pop in for a moment.
00:11:38Oh, yeah.
00:11:39Thanks very much.
00:11:40But I've got to catch a train.
00:11:41Oh.
00:11:48Oh, my God.
00:11:49Uh, can you tell me if there's anybody at home?
00:11:51Bah.
00:11:52Ugly Bay.
00:11:53Ah.
00:11:54Hmm.
00:11:55Well, does this convey anything to you?
00:11:56Bah.
00:11:57Bah.
00:11:58Bah.
00:11:59Nah, I was afraid it wouldn't.
00:12:12Well, thank goodness there aren't any more Mill Street.
00:12:15I've ascertained that from the police.
00:12:17Ah, I....
00:12:20Ah, what beg your pardon?
00:12:22Hola, Emilia.
00:12:31Excuse me.
00:12:33Eureka.
00:12:34I beg your pardon.
00:12:35Oh, forgive me for manifesting a certain excitement at having run you to earth at last.
00:12:41I don't know what you're talking about.
00:12:42Well, you see, I've been searching all over London for you.
00:12:45Really?
00:12:46You have, have you?
00:12:48It's a pity I've never had the pleasure of meeting you before.
00:12:50Quite, but you see, I've got some, I've got some photographs here I'd like to show you.
00:12:54Now listen, if you try selling me any of those things, I'll shop for the police.
00:12:57This is London, not Paris.
00:13:05Why, why, that's me.
00:13:07Yes.
00:13:08How did you get it?
00:13:09Well, that's what I wanted to explain.
00:13:11You see, I found a camera lying in the back of my car,
00:13:13and the only way to trace the rightful owner was by developing the films.
00:13:17Oh, I see.
00:13:18Well, come in, won't you?
00:13:20Oh, thanks very much.
00:13:22You'd better come into my brother's room.
00:13:24You'll have to excuse me if it's in a bit of a mess.
00:13:25That's quite all right.
00:13:26Sorry, I found it a bit nippy just now, but a girl's got to be so careful nowadays.
00:13:36So many boundaries about men you've never set eyes on before.
00:13:39Playing tickle toe in the bus.
00:13:40You know.
00:13:41Why, I can't say I do, really.
00:13:43You see, I've never actually played tickle toe,
00:13:46although I imagine it's a game that might have embarrassing effects on a novice.
00:13:49Oh, quite.
00:13:51But about the photographs, may I see the camera?
00:13:53I think it must be my brother's.
00:13:54Well, you see, the camera's been stolen, together with one of the negatives.
00:13:58Stolen?
00:13:58Yes.
00:13:59The whole thing was most extraordinary.
00:14:01Why, but the last time I saw him, he was...
00:14:02Who?
00:14:03My brother, Ernest.
00:14:05He was...
00:14:06Well, I don't know whether I ought to tell you.
00:14:08After all, I've only just met you.
00:14:10True, yes.
00:14:11But I hope you will accept my sincere assurance
00:14:13that any confidences imparted to me would be held in violate.
00:14:18You're funny, aren't you?
00:14:20Am I?
00:14:21I don't know that I've ever been considered particularly humorous.
00:14:24I should think I err rather on the side of solemnity.
00:14:27Almost morbidity.
00:14:28See, there you go again.
00:14:30Do you always talk that way?
00:14:31I don't know.
00:14:32I suppose I do.
00:14:34You know, I don't think I've ever met anyone quite like you before.
00:14:38Well, if it comes to that, I don't think I've ever met anyone quite like you.
00:14:41Well, that makes us appear, doesn't it?
00:14:43Quite.
00:14:47Well, I don't know what to make of you, but you seem quite harmless anyway.
00:14:51Oh, thank you.
00:14:52Oh, you're welcome.
00:14:54Then you will confide in me.
00:14:57Well, the last time I saw my brother was on Saturday,
00:15:02before he was going for a hike.
00:15:04I was in my bedroom just straightening up.
00:15:08I say, May?
00:15:10Yes?
00:15:12Where did you put my walking shoes?
00:15:14In the cupboard where they belong.
00:15:18Dammit, why will people hide things?
00:15:22Where in the cupboard?
00:15:23All right, don't pull the place to pieces.
00:15:26I'll come and get them for you.
00:15:29Wait a moment.
00:15:30Oh, I do look a mess.
00:15:32I can't see them anywhere.
00:15:46Wait a minute.
00:15:47Here you are, dear.
00:15:58If you men had the jobs of tidying up the rooms,
00:16:00you wouldn't make them into such a mess.
00:16:02It's your tidying up that makes me lose things.
00:16:03Why can't you leave everything where I put it?
00:16:05For the simple reason, my dear boy,
00:16:07doesn't do shoes any good to be left in the coal scuttle.
00:16:09May, what have you done with the handkerchiefs?
00:16:29Oh, all right.
00:16:31I'll show you.
00:16:31There we are.
00:16:42Thanks.
00:16:44Why, Ernest, where are you going?
00:16:46Oh, er...
00:16:48Just for a walk in the country.
00:16:50Oh.
00:16:52I'm going to see if I can get some good snaps.
00:16:55There's a competition at the club.
00:16:56Bye, dear.
00:16:57Goodbye.
00:16:58Goodbye.
00:16:58Goodbye.
00:17:01Oh, Ernest, wait.
00:17:15Hey, have you gone back?
00:17:17How are you going to win a competition without a camera?
00:17:19A bit bully today, aren't you?
00:17:20Yes, thanks.
00:17:21You know, I often wonder why they let an absent-minded man like you
00:17:24work in a jeweler's shop.
00:17:25You know, one day you'll put the cat in the safe
00:17:27and throw the diamonds out in the yard.
00:17:28Oh, shut up about the jeweler's shop, will you?
00:17:30All right, keep your hair on.
00:17:32What's the matter?
00:17:34Sorry, but I...
00:17:35I hate talking shop when my afternoon's off.
00:17:38All right, dear.
00:17:40Goodbye.
00:17:41Good luck with the snacks.
00:17:42And don't get back home late.
00:17:44Fair.
00:17:44Here, wait a moment.
00:17:45I'll take you to the other side.
00:17:47All right.
00:17:50Hold it.
00:17:52Still.
00:17:54Watch for the diggy birds.
00:17:55Well, I naturally expected him back for supper, but he didn't turn up.
00:18:04I haven't heard anything from him since.
00:18:06But didn't he say where he was going?
00:18:07No, just for a walk and to take some snaps.
00:18:10Yes, but look, these photographs.
00:18:12Don't you recognize any of these places?
00:18:14No.
00:18:16Well, they must give us some clue somewhere.
00:18:18What's this?
00:18:20The Red Lion.
00:18:21Unfortunately, I'm afraid there's more than one public house of that name in England.
00:18:27What have we got here?
00:18:28Oh, look.
00:18:30You can see the name of the line.
00:18:31Oh, yes.
00:18:32If only we could tell which branch it is.
00:18:34You know, I'm rather beginning to fancy myself as a detective.
00:18:39Hello.
00:18:40Look, there's the number of the train.
00:18:42Have you got a telephone book?
00:18:43Yes.
00:18:47Here we are.
00:18:48Thank you.
00:18:49Excuse me, baby.
00:18:52Oh, come in, Amelia.
00:18:55There's a man to see Mr. Ernest.
00:18:57A man?
00:18:58Well, what does he want?
00:18:59I don't know.
00:19:00Well, what does he look like?
00:19:02Well, he's got brown shoes and a net.
00:19:05Oh, he's quite a gentleman.
00:19:07Oh, well, tell him I'll be out, Amelia.
00:19:08All right.
00:19:09Will you excuse me a moment?
00:19:11Oh, yes, yes, certainly.
00:19:12The young lady says as what as how she'll see you.
00:19:15All right.
00:19:16Take your rats off.
00:19:17I said you was a gent.
00:19:24You want to see my brother, Ernest?
00:19:26Oh.
00:19:27So you're Mr. Elton's sister, are you?
00:19:30Yes.
00:19:31Well, Miss Elton, I'm a police officer.
00:19:33Police?
00:19:34Oh, what do you want?
00:19:37Haven't you any idea?
00:19:39No.
00:19:40I don't know what you mean.
00:19:42Why are you so alarmed?
00:19:44We only want to know where your brother is.
00:19:46Well, I wish I could tell you.
00:19:47But I haven't seen him since he went away on Saturday.
00:19:49Went away?
00:19:50Yes.
00:19:51He went hiking and took his camera.
00:19:52Are you aware a robbery has occurred at Mrs. Manton and Edge, the jewellers, where your brother was employed?
00:19:59No, certainly not.
00:20:01You and Elton live here together, don't you?
00:20:03Yes.
00:20:04Alone?
00:20:05Well, you see, mother and father are dead.
00:20:07So, I suppose you know a lot about his business.
00:20:10You were in one another's confidence, weren't you?
00:20:13No, we're great pals.
00:20:14And yet, he hasn't communicated with you in any way since you last saw him?
00:20:20No.
00:20:22Now, look here, Miss Elton.
00:20:23I'm afraid you're not being frank with me.
00:20:26I'd better tell you now, there's strong evidence that your brother was implicated in this affair.
00:20:29And if you and he...
00:20:30Oh, but that's impossible.
00:20:31When the diamond was stolen, he was...
00:20:35How did you know it was a diamond?
00:20:40Hello.
00:20:42Hello.
00:20:42Hello, is that the inquiry office?
00:20:44No, no, no.
00:20:45I haven't lost a load of anything.
00:20:48I want to make inquiries about a branch line.
00:20:51Are you sure that's all you know?
00:20:53Yes, yes, really.
00:20:55Well, as a matter of fact, we happen to know that your brother wasn't here anyway.
00:21:00I'll be getting along now, Miss Elton.
00:21:01But you and he had better hold yourselves available when he returns.
00:21:04We shall want to ask you one or two questions more.
00:21:07Good day.
00:21:11Thank you very much.
00:21:13Goodbye.
00:21:13Oh, there you are.
00:21:16Well, I found out it's the Mirfield Branch Line.
00:21:19Now, there's a road running close along the railway line.
00:21:22So if we hop into my car, we'll have no difficulty in finding the spot.
00:21:26Now, your brother couldn't have walked more than 10 or 15 miles.
00:21:28No, really, I couldn't put you to so much trouble.
00:21:30Oh, it's no trouble.
00:21:31I assure you.
00:21:32Well, he might turn up tonight.
00:21:34I'll wait.
00:21:35All right.
00:21:36All right.
00:21:36You wait here, but I shall definitely go.
00:21:38Now that I've started on what the Americans so happily termed the detective racket,
00:21:42nothing will prevent my tracking the criminal to his lair.
00:21:48Goodbye.
00:21:50No, no, wait.
00:21:55Yeah, Kate, I'll come too.
00:21:57Oh, splendid.
00:21:57We'll have no difficulty in tracing him.
00:21:59Now, in that photograph, there was a sharp curve in the railway line.
00:22:02There we are.
00:22:03Look.
00:22:04Cinegraph poles on the left.
00:22:08Here we are.
00:22:09Did you see that?
00:22:14Yes.
00:22:15I'd like to report him, the crazy fool, following us so close.
00:22:18You'll be lucky if he doesn't report you stopping the way you did without warning.
00:22:36Well, anyway, this would definitely appear to be the place.
00:22:38Let's call to that farm over there and ask about the photographs.
00:22:42You know, those places must be somewhere near here.
00:23:08Let's see if there's somebody through there.
00:23:32Let's see if there's somebody through there.
00:23:32Let's see if there's somebody through there.
00:23:34Anybody at home?
00:23:47Hello there.
00:23:48Anybody there?
00:23:49All right, sir.
00:23:50I'm coming.
00:23:51¿Puedo ir a este lugar?
00:23:59No, señor.
00:24:00Este lugar me perdió antes de haber sido me.
00:24:03No, no.
00:24:04¿Qué he pensado fue, ¿estás residente aquí?
00:24:06Ay, soy un hombre y un hombre por estos últimos 60 años.
00:24:10Bueno, eso es bueno para mí.
00:24:11Quizás tú puedes darme un poco de información.
00:24:17Bueno, si hay algo sobre la paz,
00:24:19tú ven a la roca.
00:24:21Yo he estado conmigo por estos últimos 60 años.
00:24:25¿Eres ella hermosa?
00:24:26Sí, sí, sí, es hermosa.
00:24:29Pero no quiero hablar de las piscinas.
00:24:31Quiero que te vayas a ver las fotos en caso de alguna de las piscinas.
00:24:35Ellos deben estar muy cerca de aquí.
00:24:43¿No?
00:24:46No.
00:24:46Oh.
00:24:47I thought at first we're old Baggins' orchard, but there be no cesspools.
00:24:51Cesspool?
00:24:52No, but surely those places are within walking distance of here?
00:24:56No, sir.
00:24:57I know every bit of ground round about here for 15 miles.
00:25:01No, sir.
00:25:02Oh.
00:25:03Well, um, thank you.
00:25:05Good afternoon.
00:25:06No, sir.
00:25:16You know, I can't understand it.
00:25:18I'm sure we stopped at the right place by the railway.
00:25:20Well, you heard what the old man said and he ought to know.
00:25:22What was it?
00:25:23Oh, he's been here man and boy for 60 years.
00:25:46Well, thank you for the ride.
00:25:56Now do we go home?
00:25:57No, no, no, no.
00:25:58Of course not.
00:25:59This must be the place.
00:26:00Now let me see.
00:26:01Yes, that's right.
00:26:02There's the railway line and there's the road.
00:26:04It's all just like this.
00:26:07Now then, let's find out the exact position where your brother took the photograph from
00:26:11to make doubly sure.
00:26:13Uh, we're over to the right.
00:26:17No, no, no.
00:26:18That telegraph pole's all wrong.
00:26:20Still further to the right.
00:26:34Good lord.
00:26:43Why?
00:26:44Of course.
00:26:45That explains the enigma.
00:26:46Your brother wasn't walking.
00:26:49He was on the train when he took that picture.
00:26:50Look.
00:26:51You see how sharp the bend in the line is?
00:26:52He must have photographed the front part of his own train.
00:26:53Well that means that the other snaps of the inn and the ruins may be 50 miles from here.
00:26:56Oh.
00:26:57Now where's that timetable?
00:26:58Here we are.
00:26:59y fue en el tren cuando he tomó la foto
00:27:01¿sí cómo se ve el bendito en el line?
00:27:03él ha hecho un foto de la parte del tren
00:27:06eso significa que otros snaps de la inn y la ruina
00:27:08son 50 miles de aquí
00:27:10¿dónde está el timetable?
00:27:12aquí estamos
00:27:13ahora, vamos a ver si esta trenita
00:27:19quizás...
00:27:21Muirfield
00:27:29bueno, esto debe ser la inn de la fotografía
00:27:32probablemente taken de la draper shop
00:27:35i'll go to the inn and ask if they saw him
00:27:41no, no, no, please
00:27:42why, what's the matter?
00:27:46you go to the draper shop
00:27:48you'll probably have to knock them up and I'll go to the inn
00:27:50oh, alright
00:27:59no, no, no, no, no
00:28:02¿Qué es eso?
00:28:32Un amigo de mi tomó un foto de este inn.
00:28:35He dijo que tomó el día de aquí el sábado.
00:28:38¿Recuerdan de alguien aquí entonces?
00:28:40No, supuestamente yo.
00:28:42Oh, entonces mi hermano estaba aquí.
00:28:44Así.
00:28:48¿Es tu hermano, fue él?
00:28:50Sí.
00:28:51¿También los fotos?
00:28:54Bueno, lo he dicho antes.
00:28:56No habrá ningún tipo de fotos de mi inn.
00:28:59I'm sorry, no puedo ayudar.
00:29:00Pero, ¿sí, se fue cerrado en el sábado.
00:29:02El viejo de la ciudad, ¿no?
00:29:04Oh, I see.
00:29:05Gran funeral, ¿no?
00:29:06Fue carriages.
00:29:08Oh, splendid.
00:29:09I mean, I'm so sorry.
00:29:10Goodbye.
00:29:10And the town band.
00:29:13Any luck?
00:29:15No, the landlord said he didn't see anyone.
00:29:17Oh, Lord, we seem to have come to a deadlock, don't we?
00:29:19I don't know which way to turn.
00:29:21I don't think there's much use of going on any further.
00:29:23I think we'd better turn back.
00:29:25No, no, I will not acknowledge defeat.
00:29:27Now, according to the most rudimentary logic,
00:29:29your brother must have been here
00:29:31to have photographed this inn, mustn't he?
00:29:33Yes.
00:29:33Yes, but I tell you what,
00:29:34I'll put up here for the night
00:29:36and I'll endeavour to get on the trail again tomorrow.
00:29:38Oh, but...
00:29:39That's all right.
00:29:39Now, I'll run you down to the station
00:29:40and there should be another train back to London tonight.
00:29:45No, stop, wait.
00:29:47In that case, I'll come too.
00:29:49Will you really?
00:29:49Yes.
00:29:50Oh, I say, that'll be splendid.
00:29:53This is becoming a genuine adventure.
00:30:03It was open before.
00:30:06Oh, um, good evening.
00:30:08Oh, back again, eh?
00:30:11Could you accommodate us for the night?
00:30:17Come here.
00:30:17So, you want to put up here?
00:30:23Uh, yes.
00:30:25All right.
00:30:26Will you and your wife come this way?
00:30:28Yes, but you don't understand.
00:30:29She's not...
00:30:30That is, I mean, I mean, she's...
00:30:32That's all right.
00:30:33What?
00:30:47You'll have a quiet night here.
00:30:58Nothing to disturb you.
00:31:10Well, will this suit you?
00:31:12Well, it's, um, it's a nice room.
00:31:15A very nice room.
00:31:17Oh.
00:31:18I mean, uh, could you manage to let us have two, um, two single rooms?
00:31:23Will you come this way?
00:31:26I'll be glad to give you a separate room.
00:31:29Oh, thank you.
00:31:30I'll get your luggage up.
00:31:31Oh, I'm afraid we haven't got any luggage.
00:31:34No luggage, eh?
00:31:35Uh, no, I'm afraid not.
00:31:41I'll go and put the car away.
00:31:42No.
00:31:44You two wait here.
00:31:46I'll see the car's taken care of.
00:31:54Uh, come in.
00:31:56You know, I can't stay in this place.
00:32:03It gives me the creeps.
00:32:04Oh, I expect your nerves are a bit upset.
00:32:06You'll feel much better after a good night's rest.
00:32:08Oh, I guess so.
00:32:10Good night.
00:32:11And thanks a heap.
00:32:12Oh, uh...
00:32:14Good night.
00:32:16Good night.
00:32:17Good night.
00:32:19Good night.
00:32:26Good night.
00:32:56Good night.
00:33:26Good night.
00:33:35Oh, oh, oh, oh.
00:33:36What was?
00:33:38What was?
00:33:39A man.
00:33:40He was here in my room.
00:33:41A man?
00:33:41What did he look like?
00:33:43I don't know.
00:33:43I was so frightened I shut my eyes.
00:33:45And when I opened him again,
00:33:46he was going out of the window.
00:33:47It's all right.
00:33:47No, no, no.
00:33:48Calm yourself.
00:33:49Calm yourself.
00:33:50Now, keep calm.
00:33:51Keep calm.
00:33:51It'll be all right now.
00:33:52Now, wait.
00:33:53Wait.
00:33:53Bueno, no hay nadie ahora, ¿cuál?
00:34:05¿Puedo ir?
00:34:07No, no, no, no.
00:34:09No, no, no.
00:34:10No, no, no, no.
00:34:11No, no, no, no.
00:34:12No, no, no, no.
00:34:13No, no, no.
00:34:14Oh, no.
00:34:18¿Qué?
00:34:19¿Qué?
00:34:20¿Qué?
00:34:21No, no, no, no.
00:34:22I thought I heard a scream.
00:34:23Oh, yes, we're all right.
00:34:28Aye.
00:34:33You know, I really think I ought to be getting back.
00:34:34Oh, no, no, no.
00:34:35I'm so scared.
00:34:36Please don't go back, because I shan't go to sleep again tonight.
00:34:39I don't want to be left alone.
00:34:40But I, I can't stay here.
00:34:42It would be most unconventional.
00:34:43Oh, oh, please.
00:34:44Well, you can't go.
00:34:45Yes, but, um, but think of your reputation.
00:34:48Oh, hang my reputation.
00:34:50But I couldn't have another scare like that, honestly.
00:34:52I couldn't.
00:34:53Oh, there, there.
00:34:54It was just a figment of your imagination.
00:34:56Probably the aftermath of a nightmare.
00:34:58No, it wasn't.
00:34:59Oh, do stay.
00:35:02Well, I...
00:35:04Oh, very well.
00:35:05Of course, it's very selfish of me.
00:35:08Must be terribly tiring for you.
00:35:10Oh, no.
00:35:11Oh, no, it's not in the least tiring.
00:35:13On the contrary, I find it excessively stimulating.
00:35:15No chance, sir.
00:35:18Oh, that's all right, Daniel.
00:35:19Oh, thank you.
00:35:20Tell me, are you sure that you didn't see a young fellow here last Saturday with a camera?
00:35:23Well, of course I did.
00:35:25Like I told your wife.
00:35:26The, uh, young lady.
00:35:30You told the young lady that you'd seen someone?
00:35:32Yes, a young fellow who asked the way to Norman Arches.
00:35:36Norman Arches?
00:35:37Yes, the photograph she showed me.
00:35:39The ruins, yonder.
00:35:41So she...
00:35:42Uh, tell me, which is the way to get there?
00:35:45Oh, just across the fields, yonder.
00:35:51Oh.
00:35:52I'm sorry I kept you waiting.
00:35:54That's quite all right.
00:35:58Uh, have you got the car?
00:36:00Uh, no.
00:36:01I can leave the car here while we endeavour to pick up some clues on foot.
00:36:04Well, uh, I think I'd better be going back to town.
00:36:06Oh, no, that's all right.
00:36:07It won't take long.
00:36:08Besides, a little walk will do you good.
00:36:10Good day, landlord.
00:36:13Good day, sir.
00:36:30Oh, I don't see much use in our going any further.
00:36:32I'm sure we're on the wrong track.
00:36:34No, no, I'm confident we're right.
00:36:35Come on.
00:36:39Let me lift you over.
00:36:44No.
00:36:45I'll squeeze underneath.
00:36:50Well, I can assure you it's much more difficult that way.
00:36:53Come on.
00:36:54No, I'm...
00:36:55I'm going back.
00:36:57Excuse me, but what have you got in your hand?
00:36:59Nothing.
00:37:00Well, I'm very sorry to have to do this, but I saw you pick something up.
00:37:03Please forgive me.
00:37:04Please.
00:37:05Please.
00:37:07Well, that was very unfair of you.
00:37:09Why unfair?
00:37:10Well, you're taking advantage of your sex to put me in a very embarrassing position.
00:37:13Well, it's lost, isn't it?
00:37:14Well, very well then.
00:37:15Even at the risk of violating your modesty, I shall have to get it myself.
00:37:19You wouldn't.
00:37:20Wouldn't I?
00:37:21You see, I happen to know.
00:37:23Know what?
00:37:25Well, that you...
00:37:26You lied to me about what the innkeeper said.
00:37:29He did see your brother.
00:37:32Oh.
00:37:34But if you knew, you'd understand.
00:37:37But won't you trust me enough to tell me?
00:37:41Well, that man who came and saw me yesterday was a detective.
00:37:44They suspect my brother of being implicated in a jewel robbery at the store where he works.
00:37:49But surely you don't believe your brother guilty?
00:37:54No, of course not.
00:37:56Circumstantial evidence and...
00:37:58I was afraid to let you discover too much.
00:37:59But we must go on together.
00:38:01I...
00:38:02I don't want to alarm you, but that photograph that was stolen was of a desperate struggle between two men.
00:38:08Then perhaps he's hurt.
00:38:09Or perhaps he's even...
00:38:10No, no, no, no.
00:38:11Of course not.
00:38:12Come, come. There's no use in anticipating the worst.
00:38:15That photograph.
00:38:17Where was it taken?
00:38:19Well, I've got an idea.
00:38:22It's very likely those ruins over there.
00:38:30Come on, let's see.
00:38:42You've got an idea.
00:38:46Oh, it's really wnę.
00:39:03Oh, this place gives me the jimjam.
00:39:15Yes.
00:39:19It's hardly what you'd call a salubrious atmosphere.
00:39:26You know, it seems strangely familiar.
00:39:33Why, of course, I drove along that road.
00:39:36I say, we are getting hot on the scent, aren't we?
00:39:45I say, come and look at this.
00:39:49What's the matter?
00:39:50I don't wish to appear melodramatic, but I think those are bloodstains.
00:39:54What?
00:39:56Now, if a body had been dragged down here...
00:39:59Oh, you don't think it could be my brother?
00:40:00No.
00:40:02No, of course not.
00:40:03Oh, no, wait.
00:40:07Don't leave me alone.
00:40:22Now, I'll feel along this wall.
00:40:24John?
00:40:33John?
00:40:37Yes?
00:40:38John, where are you?
00:40:40John?
00:40:42It's all right.
00:40:42I'm here.
00:40:43What's the matter?
00:41:08I don't know, John.
00:41:10I've just tricked over something.
00:41:11I hope it's not.
00:41:13Oh, you don't think it's my...
00:41:14Oh.
00:41:20No.
00:41:21Poor devil.
00:41:23I wonder who it is.
00:41:25That photograph.
00:41:26That photograph.
00:41:26Then it was...
00:41:28Murder.
00:41:30Murder?
00:41:31Murder.
00:41:31Murder.
00:41:33In for mother.
00:41:34You for uncle.
00:41:35After it.
00:41:36He for Dover.
00:41:37He for Easter.
00:41:37Murder.
00:41:40Murder is suspected by the local police in connection with the discovery of a body in the ruins known
00:41:46as Norman Arches, a few miles from Muirfield, Surrey.
00:41:51The deceased has been identified as Bill Simons, a notorious criminal well known to the police
00:41:57and believed to have been implicated in the recent jewel robbery at a well-known firm
00:42:02of West End jewelers.
00:42:03The police are anxious to interview Ernest Elton in connection with this matter.
00:42:09And anyone who can give information as to his whereabouts is requested to communicate
00:42:13with Scotland Yard, telephone number Whitehall 1212, or with any police station.
00:42:22His description is as follows.
00:42:24Age 20, of small stature, fair confection, brown eyes.
00:42:29When last seen, he was wearing grey flannel trousers, brown sports jacket, carrying a
00:42:35Macintosh and a Delmer camera.
00:42:37That's your man.
00:42:38Now get it.
00:42:59Now get it.
00:43:00Now get it.
00:43:01Now get it.
00:43:02Now get it.
00:43:03Now get it.
00:43:04Now get it.
00:43:05Now get it.
00:43:06Now get it.
00:43:07Now get it.
00:43:08Now get it.
00:43:09Now get it.
00:43:10Now get it.
00:43:11Now get it.
00:43:12Now get it.
00:43:13Now get it.
00:43:14Now get it.
00:43:15Now get it.
00:43:16Now get it.
00:43:17Now get it.
00:43:18Now get it.
00:43:19Now get it.
00:43:20Now get it.
00:43:21Now get it.
00:43:22Now get it.
00:43:23Now get it.
00:43:24Now get it.
00:43:25Now get it.
00:43:26Now get it.
00:43:27Now get it.
00:43:28¡Suscríbete al canal!
00:43:58¡Suscríbete al canal!
00:44:28¡Suscríbete al canal!
00:44:58¡Suscríbete al canal!
00:45:28¡Suscríbete al canal!
00:45:58¡Suscríbete al canal!
00:46:00¡Suscríbete al canal!
00:46:02¡Suscríbete al canal!
00:46:04¡Suscríbete al canal!
00:46:06¡Suscríbete al canal!
00:46:08¡Suscríbete al canal!
00:46:10¡Suscríbete al canal!
00:46:12¡Suscríbete al canal!
00:46:14¡Suscríbete al canal!
00:46:16¡Suscríbete al canal!
00:46:18¡Suscríbete al canal!
00:46:20¡Suscríbete al canal!
00:46:22¡Suscríbete al canal!
00:46:24¡Suscríbete al canal!
00:46:26¡Suscríbete al canal!
00:46:28¡Suscríbete al canal!
00:46:30¡Suscríbete al canal!
00:46:32¡Suscríbete al canal!
00:46:34¡Suscríbete al canal!
00:46:36¡Suscríbete al canal!
00:46:38¡Suscríbete al canal!
00:46:40¡Suscríbete al canal!
00:46:42¡Suscríbete al canal!
00:46:44Despite the finding of your handkerchief within half a mile of the body?
00:46:51No, I wasn't there.
00:46:52And despite the finding on the dead man's Macintosh of your footprint?
00:47:02No. No.
00:47:04Ernest Felton, do you realize that on the verdict of this jury may depend your life?
00:47:14Do you realize that you are under grave suspicion?
00:47:18Suspicion of murder?
00:47:24Have you nothing else to say?
00:47:28Yes, yes.
00:47:30I was there.
00:47:32Ernest, stop!
00:47:33Don't be a fool.
00:47:34Stop! I object to the court's remark.
00:47:36Order!
00:47:37Order!
00:47:38I demand for the jury.
00:47:40My decide is that no provision don't give evidence.
00:47:42Order! Order in court!
00:47:44Order, please!
00:47:45I see no reason for an adjournment unless the witness himself desires it.
00:47:50No, no.
00:47:51No, I'll tell you.
00:47:52I want to.
00:47:53I can't bear this no longer.
00:47:55I did help to steal the diamond.
00:47:57I told him the combination.
00:47:59Then I was sorry.
00:48:01I wanted to get it back.
00:48:03I went to the ruins.
00:48:05I knew they were meeting there.
00:48:08I knew no one would believe me unless I could show who did it.
00:48:11Something besides my word.
00:48:13I took my camera.
00:48:14I set it up.
00:48:15I fixed the price and that's that.
00:48:24You can take it or leave it.
00:48:27Have you fixed it, have you?
00:48:29Yes.
00:48:30I fixed it.
00:48:31There's no use you starting to grass again.
00:48:34Well, where do I come in?
00:48:37I've told you.
00:48:38It's all settled.
00:48:39Yes, yes, but oh my goodness.
00:48:41Oh, shut up with you.
00:48:42I tell you, it's all settled.
00:48:44But that's less than half what you promised for the time.
00:48:48Oh, stop whining.
00:48:50If you don't like it, you're going to...
00:48:51I can get out, eh?
00:48:52Well, I can get it.
00:48:54Here, stop.
00:48:55Let go of me.
00:48:56Come back here.
00:48:58Let go of me.
00:48:59No, no.
00:49:00Let's go.
00:49:19Who's there?
00:49:28Gracias.
00:49:58Gracias.
00:50:28Gracias.
00:50:31After that, I... I suppose I must have lost my head.
00:50:35I hid until...
00:50:37Well, you know there is.
00:50:40And you're asking the jury to believe that this fantastic story is the truth?
00:50:45Yes, it's the truth.
00:50:46I object to the court's remark.
00:50:48In the circumstances we consider the word fantastic a very moderate adjective.
00:50:53You may stand down, please.
00:50:55But I swear that everything I've said is the truth.
00:50:57That will be all.
00:50:58But I...
00:50:59Order, stand down.
00:51:00But you must believe me.
00:51:01Find that photograph.
00:51:02That's all I ask.
00:51:03Find that photograph and you'll see that everything I've said is the truth.
00:51:06It's true.
00:51:07I saw that photograph myself.
00:51:08So, I insist upon going to this witness box...
00:51:09Order!
00:51:10Order in court!
00:51:11This boy's not being given a chance.
00:51:12It's not fair.
00:51:13Mr. Coroner, I appeal to you.
00:51:14If that gentleman over there making those extraordinary gestures,
00:51:18wishes to add to his previous testimony,
00:51:20he may return to the witness stand.
00:51:24I tell you, I saw that photograph of the murder.
00:51:26I developed the negative myself.
00:51:27But being merely a negative,
00:51:29you couldn't possibly distinguish the features of the two men
00:51:31whom you say were disclosed thereon?
00:51:33No, that's true.
00:51:34So that for all you know,
00:51:35one of them might very well have been Elton himself.
00:51:38But surely it's too fantastic to suppose that...
00:51:41No more fantastic shoddy than Elton's statement.
00:51:44Nor I may say than your own, Mr. Gray,
00:51:47about the missing negative.
00:51:48If indeed there were any such negative.
00:51:50Are you implying that I'm not telling the truth?
00:51:52Mr. Gray!
00:51:53Very well, then.
00:51:54If you consider my testimony fantastic,
00:51:55there's my assistant.
00:51:56He doesn't look exactly fantastic, does he?
00:51:58Really, it lies neither within the province nor the interest of this court
00:52:02to conjecture as to the nature of the gentleman referred to by witness.
00:52:06But if this gentleman has any pertinent evidence to submit to the court,
00:52:12I have no objection to his coming forward to testify.
00:52:21It's all right, Governor.
00:52:22I'll give him what for.
00:52:25Silence.
00:52:26You will answer my questions, please.
00:52:30Well, Elder Blatis, can I answer your questions if you want me to be silent?
00:52:35Silence in court!
00:52:38Your name is Herbert Simms,
00:52:40and you are employed by Mr. Gray as an assistant in his shop?
00:52:43That's right.
00:52:44He's a pal as well, you know.
00:52:46No upstage stuff about him.
00:52:48No doubt.
00:52:49But what we want to know is, did you see the missing camera?
00:52:52Oh, yes.
00:52:54And did you see the missing negative?
00:52:56Well, yes.
00:52:57In a way, I did.
00:53:00And then again, in a way, I didn't.
00:53:03Answer the question clearly, please.
00:53:05Did you see the missing photograph?
00:53:07Well, I know there was a photograph, if that's what you mean.
00:53:10How do you know?
00:53:11Well, ain't the Governor said so?
00:53:13That is not evidence.
00:53:14Here, are you suggesting the Governor's an holy friar?
00:53:17A what?
00:53:18A ruddy liar.
00:53:22Quiet, please.
00:53:23Water in court.
00:53:25If I have any more of those remarks from you, I'll have you turned out of court.
00:53:29Well, that suits me, all right.
00:53:30It's about opening time now.
00:53:32If your evidence were not of importance, I would have you removed.
00:53:36As it is, I shall be under the painful necessity of questioning you further.
00:53:39Well, why don't you fire away?
00:53:41What are you wasting me time for?
00:53:42Now, will you answer me clearly, sir?
00:53:44Did you or did you not see the missing negative?
00:53:49Well, er...
00:53:58Now.
00:53:59Now.
00:54:04That is all.
00:54:05You may stand down.
00:54:07All right.
00:54:08Have it your own right.
00:54:12Well, members of the jury, you've heard the evidence.
00:54:16And it is for you to determine how the deceased met his death.
00:54:21Three verdicts are open to you.
00:54:24Death by accident.
00:54:26Suicide.
00:54:27Or murder.
00:54:31If you decide that it is murder, it is open to you to say, by whose hand.
00:54:38And in this connection, I am compelled to draw your attention to the weight of evidence against Ernest Elton.
00:54:46Confronted with the testimony of several other witnesses, after repeated denials, Mr. Elton finally admitted connivance in the jewel theft,
00:54:56which appears to have supplied the motive for the death we are investigating.
00:55:02Mr. Elton also admitted his presence at the place where the body was found.
00:55:08There is a sentence of evidence.
00:55:15Members of the jury, have you arrived at a verdict?
00:55:18We have.
00:55:19What is your verdict?
00:55:21Willful murder against Ernest Elton.
00:55:23¡Gracias!
00:55:53¿Jude?
00:56:07To think that he might never have been arrested if I hadn't done a lot of stupid amateur detective work.
00:56:09No, no, that isn't fair to you.
00:56:11The only thing we can do now is to think how we can help him.
00:56:14Yes, but it's so, it's so terrible to have to stand by helpless while time gets shorter.
00:56:18Why, you don't really think that...
00:56:20Just say, no, no, no, no.
00:56:23Tell me the truth. What do you honestly think?
00:56:26Well, honestly, if I hadn't seen that film myself...
00:56:28Should I have had great difficulty believing your brother's story
00:56:31why is it now please, please, don't cry don't cry, please.
00:56:35I mean, I... here... Flew!
00:56:39There there now Sims
00:56:41Sims come here, will you?
00:56:43Okay Governor
00:56:45Now, you'll be alright now, I'll get you a nice strong drink of water...
00:56:48con un aroma de aroma
00:56:51ah, ahí está, al menos
00:56:53¿Dónde has estado estado todo este tiempo?
00:56:55He estado en mi fútbol, ¿coupones?
00:56:57Coupones, Simms, coupones
00:56:59Oh
00:57:04Ahora, Miss Elton baddily needs a rest
00:57:07I want you to escort her home
00:57:08Yes
00:57:09There we are
00:57:12No, no, no, no, no
00:57:14You come with me, Miss
00:57:16It's your nice old cup of tea
00:57:18You know, if only we could find that missing negative
00:57:19I'm certain we'd get the murderer
00:57:21Well, if there's anything I can do, I won't go
00:57:23No, no, I want to stay here alone and think it all out
00:57:26I've got it, yes
00:57:27Well
00:57:28If you find the missing photograph
00:57:30Yes
00:57:31You'd have the murderer, wouldn't you?
00:57:33Yes, well
00:57:34Well, therefore, if you find the murderer
00:57:36Yes
00:57:37You'd have the missing photograph
00:57:39Oh, don't be a blithering idiot
00:57:42Well, it's logical, isn't it?
00:57:46Well
00:57:49Good night
00:57:50Good night
00:57:51Oh, your handkerchief
00:57:53Oh, yes
00:57:54Thanks awfully
00:57:55Good night
00:58:00Come along, Miss
00:58:01You leave it to the governor
00:58:03He's much better than he sounds
00:58:07Good night
00:58:08Night
00:58:09Now, if only I could reconstruct exactly what happened
00:58:21Let's see
00:58:23That light was off
00:58:28We're standing here
00:58:30Switched on the developing light
00:58:32Open pack
00:58:33Others in drawer
00:58:34Put the nicotine on the hyper
00:58:35And the doorbell rang
00:58:36Open pack
00:58:37Others in drawer
00:58:38Put the nicotine on the hyper
00:58:39And the doorbell rang
00:58:40And the doorbell rang
00:58:41Good evening
00:58:42Sorry to trouble you so late, sir
00:58:43But I'm a police officer
00:58:44Oh
00:58:45And I've got a warrant to search this house
00:58:59Oh
00:59:00And I've got a warrant to search this house
00:59:01Oh, yes, yes
00:59:02Well, I'm glad you've come
00:59:15Come in, will you
00:59:16Because I've just been essaying the role of detective myself
00:59:18Hmm
00:59:25Any luck?
00:59:26I'm afraid not
00:59:27I hope yours was better
00:59:28Well, we'll soon see
00:59:29Now, which is the room where the missing camera and negative was last seen?
00:59:32I'll show you
00:59:37Come in, will you?
00:59:40This is the room
00:59:41Now, I was developing the negative on that bench
00:59:43And I left it in the hypo here
00:59:48Did you notice anything unusual when you came back?
00:59:52Yes, that window was open
00:59:53And I distinctly remember closing it before I started developing
01:00:08Have you got a magnifying glass anywhere?
01:00:10Yes, yes, I'll get you one
01:00:14There's been a struggle here
01:00:18Hello
01:00:23There's a thread of material
01:00:25Caught on that nail
01:00:26Yes, yes
01:00:31Now, what would have made him struggle?
01:00:34Of course, the sash fell down just as he was trying to get out
01:00:38I say
01:00:39Now we're getting somewhere
01:00:41Now, suppose the sash fell down
01:00:43And he couldn't get the camera out
01:00:44And he heard you coming back
01:00:45Yes
01:00:46Yes
01:00:47What would he have done?
01:00:48Well, I...
01:00:50Well...
01:00:51Do you suppose he hid it somewhere in here?
01:00:54Within arm's length?
01:00:55That's an idea
01:00:56Now, we'll look on each side
01:00:57Right
01:01:03Why, here it is
01:01:04By Jove, you've done it
01:01:07Why, this clears up everything
01:01:09I wonder if the film...
01:01:10Here, don't touch that, sir
01:01:11The police will want to test it for fingerprints
01:01:13Oh, yes, of course
01:01:16What a load off my mind
01:01:18But how on earth did you come to work it all out so quickly?
01:01:21Oh, er...
01:01:23Just following the usual routine, sir
01:01:25We get used to it
01:01:27Yes, but tell me
01:01:28How did you get the idea so quickly?
01:01:31I mean about the, erm, the sash falling
01:01:33Oh, I tried it while you were out looking for the magnifying glass
01:01:36It was loose
01:01:38P-p-p-that window was mended yesterday
01:01:41Oh, we have our method, sir
01:01:42Just a minute, please
01:01:44I'm sorry, but I'm afraid I should have to ask you to show me your, your search warrant
01:01:49Get out of the way, young fellow
01:01:51Don't...
01:01:52Don't be a damn fool, I've got to hurry back to the yard
01:01:55Let me see that warrant
01:01:57All right
01:01:58Oh, here it is
01:02:04Oh, here it is
01:02:06Oh!
01:02:08Oh!
01:02:12Oh!
01:02:14Oh!
01:02:16Oh!
01:02:18Oh!
01:02:22Oh!
01:02:24Oh!
01:02:26Oh!
01:02:27Hey!
01:02:34Oh!
01:02:36Oh, here!
01:02:38Oh, here it is
01:02:40Hey, hey!
01:02:43Oh, here it is
01:02:45Hey!
01:02:47Sit back here
01:02:49Hey!
01:02:50Oh, it's beenmake!
01:02:52Help, by the way!
01:02:54devil, hi...
01:02:55I say, I say, look here, look, look at that.
01:03:25Yes, W, E for Easter, D for Dover, D for Dover, I for India, N for no one, has resulted in a sudden denouement to what has come to be known as the ghost camera case.
01:03:47What hitherto has baffled the police has now been elucidated by the murderer's confession, in which he states that he saw the number plate on Mr. Gray's car into which the camera had been thrown.
01:03:59As it was passing the scene of the crime, and so was enabled to trace the camera to Mr. Gray's address.
01:04:07With the discovery of the stolen jewel in the camera, all charges against Ernest Elton have been dropped.
01:04:14We are happy to say that this rather grim case is to end on a note of romance.
01:04:19They're not going to tell nobody where they're honeymoon in, because they want a quiet place, somewhere where nothing happens.
01:04:25Now, off it, everyone.
01:04:26Yes, sir.
01:04:27Excuse me.
01:04:27Off.
01:04:28Thank you.
01:04:28Thank you, man.
01:04:32I say, is that the famous ghost camera?
01:04:33Yes.
01:04:34All you think it is a mousetrap?
01:04:36I'll take a picture of you snapping the happy couple, see?
01:04:39Now, come on, make it nice and flexible, please.
01:04:42Now, you snap them, and I'll pass along, see?
01:04:44All right.
01:04:46Hold it still.
01:04:47Just a little longer, please.
01:04:50Just a little longer, please.
01:04:53I can't.
01:04:55Oh.
01:04:58Let's spoil the picture.
01:05:17Let's do it.
01:05:29Let's do it.
01:05:30Let's do it.
01:05:30Let's do it.
01:05:30Let's do it.
01:05:30Let's do it.
01:05:31Let's do it.
01:05:31Let's do it.
01:05:32Let's do it.
01:05:33Let's do it.
01:05:34Let's do it.
01:05:35Let's do it.
01:05:35Let's do it.
01:05:36Let's do it.
01:05:36Let's do it.
01:05:37Let's do it.
01:05:37Let's do it.
01:05:38Let's do it.
01:05:39Let's do it.
01:05:39Let's do it.
01:05:40Let's do it.
01:05:41Let's do it.
01:05:41Let's do it.
01:05:42Let's do it.
01:05:43Let's do it.
01:05:44Let's do it.
01:05:45Let's do it.
01:05:45Let's do it.
01:05:46¡Gracias!
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