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'I shall never forget the weekend Laura died. | 0:01:02 | 0:01:06 | |
'A silver sun burned through the sky | 0:01:06 | 0:01:09 | |
'like a huge magnifying glass. | 0:01:09 | 0:01:11 | |
'It was the hottest Sunday in my recollection. | 0:01:11 | 0:01:16 | |
'I felt as if I were the only human being left in New York. | 0:01:16 | 0:01:21 | |
'For Laura's horrible death, I was alone. | 0:01:21 | 0:01:26 | |
'I, Waldo Lydecker, | 0:01:26 | 0:01:30 | |
'was the only one who really knew her, | 0:01:30 | 0:01:33 | |
'and I had just begun to write Laura's story | 0:01:33 | 0:01:37 | |
'when another of those detectives came to see me. | 0:01:37 | 0:01:42 | |
'I had him wait. | 0:01:42 | 0:01:44 | |
'I could watch him through the half-open door.' | 0:01:47 | 0:01:50 | |
CLOCK CHIMES | 0:01:52 | 0:01:54 | |
'I noted that his attention was fixed upon my clock. | 0:02:03 | 0:02:06 | |
'There was only one other in existence, | 0:02:06 | 0:02:09 | |
'and that was in Laura's apartment, | 0:02:09 | 0:02:12 | |
'in the very room where she was murdered.' | 0:02:12 | 0:02:15 | |
< Careful there! | 0:02:18 | 0:02:20 | |
< That stuff is priceless. | 0:02:20 | 0:02:22 | |
< Come in here, please. | 0:02:22 | 0:02:24 | |
Mr Lydecker? | 0:02:31 | 0:02:33 | |
Ah, you recognise me. How splendid. | 0:02:33 | 0:02:35 | |
< Sit down, please. | 0:02:35 | 0:02:37 | |
Nice little place you have here, Mr Lydecker. | 0:02:39 | 0:02:42 | |
It's lavish, but I call it home. | 0:02:42 | 0:02:45 | |
I suppose you're here about the Laura Hunt murder. | 0:02:45 | 0:02:49 | |
Yesterday morning, after Laura's body was found, | 0:02:49 | 0:02:51 | |
I was questioned by Sergeants McAvity and Schultz, | 0:02:51 | 0:02:54 | |
and I stated, | 0:02:54 | 0:02:55 | |
"on Friday night, Laura had a dinner engagement with me, | 0:02:55 | 0:02:59 | |
"after which she was ostensibly going out of town. | 0:02:59 | 0:03:02 | |
"She phoned and cancelled our engagement at exactly 7.00. | 0:03:02 | 0:03:06 | |
After that I..." | 0:03:06 | 0:03:07 | |
You "ate a lonely dinner, then got into the tub to read." | 0:03:07 | 0:03:12 | |
Why did you write it down? | 0:03:12 | 0:03:14 | |
Afraid you'd forget it? | 0:03:14 | 0:03:15 | |
I am the most widely misquoted man in America. | 0:03:15 | 0:03:19 | |
When my friends do it, I resent it. | 0:03:19 | 0:03:22 | |
From Sergeants McAvity and Schultz, I should find it intolerable. | 0:03:22 | 0:03:25 | |
Hand me that washcloth, please, Mister... | 0:03:25 | 0:03:28 | |
Mister...? | 0:03:28 | 0:03:30 | |
McPherson. | 0:03:30 | 0:03:31 | |
McPherson. | 0:03:31 | 0:03:33 | |
McPherson. | 0:03:33 | 0:03:35 | |
Mark McPherson - the siege of Babylon, Long Island, | 0:03:35 | 0:03:37 | |
the gangster with a machinegun, killed three policemen. | 0:03:37 | 0:03:40 | |
I told the story over the air and wrote a column about it. | 0:03:40 | 0:03:42 | |
Are you the one with the leg full of lead, | 0:03:42 | 0:03:44 | |
the man who walked right in and got him? | 0:03:44 | 0:03:46 | |
Yeah. | 0:03:46 | 0:03:47 | |
Well, well. Hand me my robe, please. | 0:03:47 | 0:03:49 | |
WATER SPLASHES | 0:03:50 | 0:03:52 | |
You have a pretty good memory, Mr Lydecker. | 0:03:52 | 0:03:55 | |
I always liked that detective with the silver shinbone. | 0:03:55 | 0:03:59 | |
Thanks. I hope you won't have any reason to change your mind about me. | 0:03:59 | 0:04:03 | |
Have you any more questions? | 0:04:03 | 0:04:05 | |
Yeah, just one. | 0:04:05 | 0:04:07 | |
Two years ago in your October 17th column, | 0:04:07 | 0:04:09 | |
you started out to write a book review, | 0:04:09 | 0:04:11 | |
but at the bottom of the column, | 0:04:11 | 0:04:13 | |
you switched over to the Harrington murder case. | 0:04:13 | 0:04:15 | |
< Are the processes of the creative mind | 0:04:15 | 0:04:17 | |
< now under the jurisdiction of the police? | 0:04:17 | 0:04:19 | |
You said Harrington was rubbed out | 0:04:19 | 0:04:21 | |
with a shotgun loaded with buckshot, | 0:04:21 | 0:04:24 | |
the way Laura Hunt was murdered night before last. | 0:04:24 | 0:04:26 | |
< Did I? | 0:04:26 | 0:04:28 | |
Yeah, | 0:04:28 | 0:04:29 | |
but he was really killed with a sash weight. | 0:04:29 | 0:04:32 | |
How ordinary. My version was obviously superior. | 0:04:32 | 0:04:35 | |
I never bother with details, you know. | 0:04:35 | 0:04:37 | |
I do. | 0:04:37 | 0:04:39 | |
Well, so long. | 0:04:39 | 0:04:40 | |
Mind if I go with you? | 0:04:40 | 0:04:43 | |
What for? | 0:04:43 | 0:04:44 | |
Murder is my favourite crime. | 0:04:44 | 0:04:46 | |
I write about it regularly, | 0:04:46 | 0:04:48 | |
and I know you'll have to visit everyone on your list of suspects. | 0:04:48 | 0:04:53 | |
I'd like to study their reactions. | 0:04:53 | 0:04:55 | |
You're on the list yourself, you know. | 0:04:55 | 0:04:58 | |
Good. To have overlooked me would have been a pointed insult. | 0:04:58 | 0:05:01 | |
You're not the sort of man one would insult, Mr Lydecker. | 0:05:01 | 0:05:05 | |
Do you really suspect me? | 0:05:05 | 0:05:07 | |
Yes. | 0:05:07 | 0:05:08 | |
McPherson, if you know anything about faces, look at mine. | 0:05:08 | 0:05:13 | |
How singularly innocent I look this morning! | 0:05:13 | 0:05:17 | |
Have you ever seen such candid eyes? | 0:05:17 | 0:05:21 | |
Something you confiscated in a raid on a kindergarten? | 0:05:24 | 0:05:27 | |
Takes a lot of control. | 0:05:27 | 0:05:29 | |
Would you like to try it? | 0:05:29 | 0:05:32 | |
No, thanks. | 0:05:32 | 0:05:33 | |
Were you in love with Laura Hunt, Mr Lydecker? | 0:05:33 | 0:05:36 | |
Was she in love with you? | 0:05:39 | 0:05:41 | |
Laura considered me the wisest, the wittiest, the most interesting man | 0:05:41 | 0:05:46 | |
she'd ever met. | 0:05:46 | 0:05:47 | |
I was in complete accord with her on that point. | 0:05:47 | 0:05:51 | |
She thought me also the kindest, the gentlest, | 0:05:51 | 0:05:54 | |
the most sympathetic man in the world. | 0:05:54 | 0:05:57 | |
Did you agree with her there, too? | 0:05:57 | 0:05:59 | |
McPherson, you won't understand this, | 0:05:59 | 0:06:02 | |
but I tried to become the kindest, the gentlest, | 0:06:02 | 0:06:07 | |
the most sympathetic man in the world. | 0:06:07 | 0:06:10 | |
Have any luck? | 0:06:10 | 0:06:12 | |
Let me put it this way. | 0:06:12 | 0:06:14 | |
I should be sincerely sorry | 0:06:14 | 0:06:16 | |
to see my neighbours' children devoured by wolves. | 0:06:16 | 0:06:19 | |
Shall we go? | 0:06:19 | 0:06:21 | |
Good morning, Lieutenant. | 0:06:44 | 0:06:45 | |
Good morning, Mrs Treadwell. | 0:06:45 | 0:06:46 | |
Waldo. | 0:06:46 | 0:06:47 | |
Good morning, Ann. | 0:06:47 | 0:06:48 | |
I've just taken over the Laura Hunt case. | 0:06:48 | 0:06:50 | |
Won't you sit down? | 0:06:50 | 0:06:52 | |
Thanks. | 0:06:52 | 0:06:53 | |
I have all the reports, | 0:06:53 | 0:06:55 | |
but there are a few more questions I'd like to ask. | 0:06:55 | 0:06:56 | |
Why, certainly. I'll do anything I can to help. | 0:06:56 | 0:06:58 | |
You were fond of your niece, Mrs Treadwell? | 0:06:58 | 0:07:00 | |
Why, I adored her. Cigarette? | 0:07:00 | 0:07:01 | |
No, thanks. | 0:07:01 | 0:07:02 | |
You collapsed when you identified the body. | 0:07:02 | 0:07:05 | |
I can quite understand that. | 0:07:05 | 0:07:06 | |
A shotgun loaded with buckshot, close range. | 0:07:06 | 0:07:09 | |
It's not very nice to look at. | 0:07:09 | 0:07:11 | |
It was horrible. | 0:07:11 | 0:07:12 | |
Her maid Bessie, | 0:07:12 | 0:07:13 | |
I suppose she was devoted to Miss Hunt? | 0:07:13 | 0:07:15 | |
She worshipped her. Laura had had her for years. | 0:07:15 | 0:07:18 | |
I'll never forget her scream when she saw Laura lying there. | 0:07:18 | 0:07:21 | |
Did you approve of Miss Hunt's coming marriage | 0:07:21 | 0:07:24 | |
to Mr Carpenter? | 0:07:24 | 0:07:25 | |
Why? Shouldn't I approve? | 0:07:25 | 0:07:28 | |
I don't know. | 0:07:28 | 0:07:29 | |
What is your relationship with Mr Carpenter? | 0:07:29 | 0:07:32 | |
What do you mean? | 0:07:32 | 0:07:34 | |
What I mean is, he's been a frequent guest in your home. | 0:07:34 | 0:07:37 | |
Is he an acquaintance? Friend? | 0:07:37 | 0:07:38 | |
Are you in love with him? | 0:07:38 | 0:07:40 | |
This is beginning to assume fabulous aspects. | 0:07:40 | 0:07:42 | |
Oh, shut up, Waldo! | 0:07:42 | 0:07:44 | |
What are you driving at? | 0:07:44 | 0:07:45 | |
The truth, Mrs Treadwell. | 0:07:45 | 0:07:47 | |
Are you in love with him? | 0:07:47 | 0:07:50 | |
Why, no. I'm, I'm very fond of Mr Carpenter, of course. | 0:07:50 | 0:07:54 | |
Everybody is. | 0:07:54 | 0:07:55 | |
I'm not. I'll be hanged if I am. | 0:07:55 | 0:07:56 | |
Oh, don't be so annoying, Waldo! | 0:07:56 | 0:07:58 | |
Did you give Mr Carpenter money? | 0:07:58 | 0:08:00 | |
What do you mean? | 0:08:00 | 0:08:02 | |
A couple of cheques went through your account endorsed by him. | 0:08:02 | 0:08:05 | |
One on May 15th for 250. | 0:08:05 | 0:08:07 | |
One on may 22nd for 400. | 0:08:07 | 0:08:09 | |
Oh, that. I... | 0:08:09 | 0:08:11 | |
I asked him to do some shopping for me, that's all. | 0:08:11 | 0:08:15 | |
Shelby's a very obliging fellow. | 0:08:15 | 0:08:17 | |
For some time also | 0:08:17 | 0:08:19 | |
you've been withdrawing various amounts in cash. | 0:08:19 | 0:08:21 | |
Sometimes 1,500. | 0:08:21 | 0:08:23 | |
Sometimes 1,700 at a clip. | 0:08:23 | 0:08:25 | |
Yes. I needed that money. | 0:08:25 | 0:08:28 | |
The day you took out 1,500, | 0:08:28 | 0:08:30 | |
Mr Carpenter deposited 1,350. | 0:08:30 | 0:08:33 | |
When you withdrew 1,700, | 0:08:33 | 0:08:35 | |
he deposited 1,550. | 0:08:35 | 0:08:37 | |
Maybe they were shooting crap. | 0:08:37 | 0:08:39 | |
HE CHUCKLES | 0:08:39 | 0:08:40 | |
Oh, must I be insulted like this? | 0:08:40 | 0:08:43 | |
I'm sorry, Mrs Treadwell, | 0:08:43 | 0:08:44 | |
but I have to find out about these things. | 0:08:44 | 0:08:48 | |
Shelby needed some money, and I lent it to him, that's all. | 0:08:48 | 0:08:50 | |
After all, it is my money. | 0:08:50 | 0:08:52 | |
I suppose I can do as I please with it. | 0:08:52 | 0:08:54 | |
Sure. Of course. | 0:08:54 | 0:08:55 | |
Now, on Friday night, Mrs Treadwell, | 0:08:55 | 0:08:56 | |
you stayed home alone all evening? | 0:08:56 | 0:08:58 | |
< Yes. | 0:08:58 | 0:08:59 | |
Why didn't you go to the concert with Shelby? | 0:08:59 | 0:09:01 | |
Because he didn't ask me. | 0:09:01 | 0:09:03 | |
We were just talking about you, Carpenter. | 0:09:03 | 0:09:05 | |
What a coincidence to find you here. | 0:09:05 | 0:09:08 | |
This is Lieutenant McPherson. | 0:09:08 | 0:09:09 | |
Oh, how do you do, Lieutenant? | 0:09:09 | 0:09:11 | |
I didn't know you were here, Mr Carpenter. | 0:09:11 | 0:09:13 | |
As a matter of fact, I was just lying down here. | 0:09:13 | 0:09:15 | |
My hotel room was so hot, | 0:09:15 | 0:09:17 | |
and then all the people and reporters and telephone. | 0:09:17 | 0:09:19 | |
You know how it is, Lieutenant. | 0:09:19 | 0:09:21 | |
I've hardly slept a wink since it happened. | 0:09:21 | 0:09:23 | |
Is that a sign of guilt or innocence, McPherson? | 0:09:23 | 0:09:26 | |
I'm at your disposal, Lieutenant. | 0:09:26 | 0:09:28 | |
I'm as eager to find the murderer as you are. | 0:09:28 | 0:09:29 | |
But what possible motive could I have for killing Laura? | 0:09:29 | 0:09:32 | |
Miss Hunt and I were going to be married this week, you know. | 0:09:32 | 0:09:35 | |
No, he doesn't know, and neither do I | 0:09:35 | 0:09:37 | |
or you or anyone else alive. | 0:09:37 | 0:09:39 | |
What do you mean by that? | 0:09:39 | 0:09:40 | |
Laura had not definitely made up her mind to marry him. | 0:09:40 | 0:09:43 | |
She told me so herself last Friday | 0:09:43 | 0:09:45 | |
when she called up to cancel our dinner engagement. | 0:09:45 | 0:09:47 | |
As a matter of fact, | 0:09:47 | 0:09:49 | |
she was going to the country to think it over. | 0:09:49 | 0:09:50 | |
She was extremely kind, | 0:09:50 | 0:09:52 | |
but I was always sure she would never have thrown her life away | 0:09:52 | 0:09:55 | |
on a male beauty in distress. | 0:09:55 | 0:09:57 | |
I suppose you've heard losers whine before, | 0:09:57 | 0:10:00 | |
especially in your profession, eh? | 0:10:00 | 0:10:02 | |
Would you like a bite of lunch, Lieutenant? | 0:10:02 | 0:10:04 | |
Now, that's very thoughtful - the perfect host. | 0:10:04 | 0:10:05 | |
Waldo. | 0:10:05 | 0:10:06 | |
You'd almost think he was in his own home. | 0:10:06 | 0:10:08 | |
Shelby knows how distracted I am. Would you, Lieutenant? | 0:10:08 | 0:10:11 | |
Thank you, Mrs Treadwell, | 0:10:11 | 0:10:12 | |
but I've got to be going. | 0:10:12 | 0:10:13 | |
But, Lieutenant, I... | 0:10:13 | 0:10:15 | |
Well, I rather thought you'd want to ask me some questions. | 0:10:15 | 0:10:17 | |
Oh, yes. What did they play at the concert Friday night? | 0:10:17 | 0:10:20 | |
Oh, Brahms' First and Beethoven's Ninth. | 0:10:20 | 0:10:23 | |
Uh-huh. Have you got a key | 0:10:23 | 0:10:24 | |
to Miss Hunt's house up in the country? | 0:10:24 | 0:10:26 | |
No, but I think there's one up in her apartment. | 0:10:26 | 0:10:29 | |
OK, I'll have a look. | 0:10:29 | 0:10:31 | |
Perhaps I could help you? | 0:10:31 | 0:10:32 | |
All right, come along. | 0:10:32 | 0:10:34 | |
I'll be seeing you, Mrs Treadwell. | 0:10:34 | 0:10:36 | |
Extra! Extra! | 0:10:39 | 0:10:41 | |
Girl victim in brutal slaying! | 0:10:41 | 0:10:43 | |
Extra! Girl victim in brutal slaying! | 0:10:43 | 0:10:45 | |
Read all about it! | 0:10:45 | 0:10:47 | |
Girl victim in brutal slaying! | 0:10:47 | 0:10:49 | |
Girl victim in brutal slaying! | 0:10:49 | 0:10:51 | |
Read all about it! | 0:10:51 | 0:10:52 | |
All right! Break it up! | 0:10:55 | 0:10:57 | |
Break it up! | 0:10:57 | 0:10:58 | |
The doorbell rang. | 0:11:26 | 0:11:28 | |
What? | 0:11:28 | 0:11:29 | |
As she opened the door, the shot was fired. | 0:11:29 | 0:11:33 | |
And how do you deduce that? | 0:11:33 | 0:11:35 | |
She fell backward. | 0:11:35 | 0:11:36 | |
The body was there. | 0:11:36 | 0:11:38 | |
I thought you hadn't been up here before. | 0:11:38 | 0:11:41 | |
I saw the police photos. | 0:11:41 | 0:11:43 | |
I guess I'd better try and find that key. | 0:11:51 | 0:11:55 | |
McPherson, tell me, | 0:11:55 | 0:11:56 | |
why did they have to photograph her in that horrible condition? | 0:11:56 | 0:11:59 | |
When a dame gets killed, | 0:11:59 | 0:12:00 | |
she doesn't worry about how she looks. | 0:12:00 | 0:12:02 | |
Will you stop calling her a dame? | 0:12:02 | 0:12:04 | |
Look around. | 0:12:04 | 0:12:06 | |
Is this the home of a dame? | 0:12:06 | 0:12:09 | |
Look at her. | 0:12:10 | 0:12:12 | |
Not bad. | 0:12:15 | 0:12:17 | |
Jacoby was in love with her when he painted it, | 0:12:17 | 0:12:21 | |
but he never captured her vibrance, her warmth. | 0:12:21 | 0:12:23 | |
Have you ever been in love? | 0:12:23 | 0:12:26 | |
A doll in Washington Heights | 0:12:26 | 0:12:28 | |
once got a fox fur out of me. | 0:12:28 | 0:12:31 | |
Ever know a woman who wasn't a "doll" or a "dame"? | 0:12:31 | 0:12:35 | |
Yeah, one, but she kept walking me past furniture windows | 0:12:35 | 0:12:39 | |
to look at the parlour suites. | 0:12:39 | 0:12:40 | |
SOFT MUSIC PLAYS | 0:12:40 | 0:12:42 | |
Would you mind turning that off? | 0:12:42 | 0:12:44 | |
Why? Don't you like it? | 0:12:44 | 0:12:45 | |
It was one of Laura's favourites. | 0:12:45 | 0:12:46 | |
Not exactly classical, but sweet. | 0:12:46 | 0:12:48 | |
You know a lot about music? | 0:12:48 | 0:12:50 | |
I don't know a lot about anything, | 0:12:50 | 0:12:52 | |
but I know a little about practically everything. | 0:12:52 | 0:12:54 | |
Yeah? Then why did you say | 0:12:54 | 0:12:56 | |
they played Brahms' First and Beethoven's Ninth at the concert Friday night? | 0:12:56 | 0:13:00 | |
They changed the programme at the last minute | 0:13:00 | 0:13:01 | |
and played nothing but Sibelius. | 0:13:01 | 0:13:03 | |
Well, I suppose I should have told you in the first place. | 0:13:03 | 0:13:05 | |
You see, I'd been working on that advertising campaign with Laura. | 0:13:05 | 0:13:08 | |
Well, we'd been working so hard I...I just couldn't keep my eyes open. | 0:13:08 | 0:13:11 | |
I didn't hear a note at the concert. I fell asleep. | 0:13:11 | 0:13:14 | |
Next he'll produce photographic evidence of his dreams. | 0:13:14 | 0:13:16 | |
I know it sounds suspicious, | 0:13:16 | 0:13:18 | |
but I'm resigned to that by now. | 0:13:18 | 0:13:19 | |
I'm a natural-born suspect | 0:13:19 | 0:13:21 | |
just because I'm not the conventional type. | 0:13:21 | 0:13:23 | |
I wouldn't worry about it, Mr Carpenter. | 0:13:23 | 0:13:25 | |
It sounds reasonable. | 0:13:25 | 0:13:27 | |
I fall asleep at concerts myself. | 0:13:27 | 0:13:29 | |
Thank you. | 0:13:29 | 0:13:31 | |
You found that key yet? | 0:13:32 | 0:13:33 | |
No. I looked for it in the den, | 0:13:33 | 0:13:34 | |
but it wasn't there. | 0:13:34 | 0:13:36 | |
It may be in here. | 0:13:36 | 0:13:38 | |
Here it is. | 0:13:44 | 0:13:45 | |
I knew there must be one around somewhere. | 0:13:45 | 0:13:48 | |
The police are very fussy about their inventories. | 0:13:48 | 0:13:51 | |
That key isn't on the list of things | 0:13:51 | 0:13:53 | |
that were in that drawer yesterday. | 0:13:53 | 0:13:55 | |
Then it's made a recent reappearance. | 0:13:55 | 0:13:57 | |
You put it there, didn't you? | 0:13:57 | 0:13:59 | |
Yes. | 0:13:59 | 0:14:01 | |
Why? | 0:14:01 | 0:14:02 | |
It's just that I didn't want to give it to you | 0:14:02 | 0:14:04 | |
while Waldo was present. | 0:14:04 | 0:14:05 | |
Oh. | 0:14:05 | 0:14:06 | |
I have private reasons that don't concern him. | 0:14:06 | 0:14:07 | |
Everything about Laura concerns me. | 0:14:07 | 0:14:10 | |
You have private reasons, no doubt, to lie about the key. | 0:14:10 | 0:14:13 | |
Waldo, for your own good, | 0:14:13 | 0:14:15 | |
I'm warning you to stop implying | 0:14:15 | 0:14:17 | |
that I had anything to do with Laura's death. | 0:14:17 | 0:14:19 | |
Very well. I'll stop implying. | 0:14:19 | 0:14:21 | |
I'll make a direct statement. | 0:14:21 | 0:14:23 | |
All right, you asked for it. | 0:14:23 | 0:14:25 | |
I wouldn't. | 0:14:25 | 0:14:26 | |
Will you please stop dawdling with that infernal puzzle? | 0:14:26 | 0:14:30 | |
It's getting on my nerves! | 0:14:30 | 0:14:32 | |
I know, but it keeps me calm. | 0:14:32 | 0:14:35 | |
OK, let's go. | 0:14:35 | 0:14:36 | |
This was our table - | 0:14:51 | 0:14:53 | |
Laura's and mine. | 0:14:53 | 0:14:55 | |
We spent many quiet evenings here together. | 0:14:57 | 0:15:00 | |
I remember we dined here | 0:15:00 | 0:15:02 | |
the night before her 22nd birthday. | 0:15:02 | 0:15:05 | |
Just we two - | 0:15:05 | 0:15:07 | |
happy, making plans for her future. | 0:15:07 | 0:15:11 | |
'But this was a far cry from the girl | 0:15:13 | 0:15:16 | |
'who walked into my life at the Algonquin Hotel | 0:15:16 | 0:15:19 | |
'five years before.' | 0:15:19 | 0:15:21 | |
Pardon me. | 0:15:21 | 0:15:22 | |
Excuse me. | 0:15:22 | 0:15:24 | |
Excuse me. | 0:15:25 | 0:15:27 | |
Mr Lydecker? How do you do? | 0:15:35 | 0:15:37 | |
My name is Laura Hunt, | 0:15:37 | 0:15:39 | |
and I'm with Bullitt and Company, | 0:15:39 | 0:15:41 | |
you know, the big advertising firm, | 0:15:41 | 0:15:43 | |
and I'd like to talk something over with you if I may. | 0:15:43 | 0:15:48 | |
You can hardly fail to realise | 0:15:48 | 0:15:50 | |
that I'm engaged in eating my lunch. | 0:15:50 | 0:15:52 | |
Yes, I know. I'm awfully sorry to interrupt this way, | 0:15:52 | 0:15:56 | |
but it's so hard to get to see you the regular way, | 0:15:56 | 0:16:00 | |
and this will only take a minute, really. | 0:16:00 | 0:16:02 | |
Now, this is... | 0:16:02 | 0:16:04 | |
Young woman, | 0:16:04 | 0:16:05 | |
either you have been raised | 0:16:05 | 0:16:07 | |
in some incredibly rustic community | 0:16:07 | 0:16:09 | |
where good manners are unknown, | 0:16:09 | 0:16:11 | |
or you suffer from the common feminine delusion | 0:16:11 | 0:16:14 | |
that the mere fact of being a woman | 0:16:14 | 0:16:16 | |
exempts you from the rules of civilised conduct | 0:16:16 | 0:16:19 | |
or possibly both. | 0:16:19 | 0:16:20 | |
Possibly, but here's what I wanted to show you. | 0:16:20 | 0:16:24 | |
It's for the Wallace flow-rite pen. | 0:16:24 | 0:16:26 | |
I know my company would be glad to pay you 5,000 | 0:16:26 | 0:16:29 | |
if you'll endorse the ad. | 0:16:29 | 0:16:31 | |
I don't use a pen. | 0:16:31 | 0:16:32 | |
I write with a goose quill dipped in venom. | 0:16:32 | 0:16:35 | |
Yes, but this is a very fine pen, Mr Lydecker, | 0:16:35 | 0:16:38 | |
the best on the market. | 0:16:38 | 0:16:39 | |
Wouldn't you at least consider endorsing it? | 0:16:39 | 0:16:42 | |
I'll neither consider, endorse, or use the Wallace pen. | 0:16:42 | 0:16:46 | |
I hate pens. | 0:16:46 | 0:16:47 | |
If your employers wish me | 0:16:47 | 0:16:49 | |
to publish that statement in my column, | 0:16:49 | 0:16:52 | |
you may tell them that I shall be delighted to oblige. | 0:16:52 | 0:16:55 | |
Oh, no. You mustn't do that. | 0:16:55 | 0:16:57 | |
Don't blame Bullitt and Company, Mr Lydecker. | 0:16:57 | 0:17:00 | |
They don't know anything about this. | 0:17:00 | 0:17:03 | |
It was my idea to see you. | 0:17:03 | 0:17:06 | |
Indeed? | 0:17:06 | 0:17:07 | |
Yes. I know they'd give anything down at the office | 0:17:07 | 0:17:10 | |
to get your endorsement, | 0:17:10 | 0:17:11 | |
only they think there's no use asking, | 0:17:11 | 0:17:13 | |
so I had this ad made up all on my own | 0:17:13 | 0:17:17 | |
because I thought, "Well, what's the harm in trying?" | 0:17:17 | 0:17:20 | |
There was always a chance that you might, Mr Lydecker. | 0:17:20 | 0:17:23 | |
Just think what it would mean... | 0:17:23 | 0:17:24 | |
You seem to be completely disregarding | 0:17:24 | 0:17:26 | |
something more important than your career. | 0:17:26 | 0:17:28 | |
What? | 0:17:28 | 0:17:29 | |
My lunch. | 0:17:29 | 0:17:31 | |
Do you really believe that? | 0:17:33 | 0:17:35 | |
Implicitly. > | 0:17:35 | 0:17:36 | |
I never heard of anything so selfish. | 0:17:36 | 0:17:40 | |
In my case, | 0:17:40 | 0:17:42 | |
self-absorption is completely justified. | 0:17:42 | 0:17:43 | |
I have never discovered any other subject | 0:17:43 | 0:17:46 | |
quite so worthy of my attention. | 0:17:46 | 0:17:48 | |
But you write about people with such real understanding and sentiment. | 0:17:48 | 0:17:54 | |
That's what makes your column so good. | 0:17:54 | 0:17:57 | |
The sentiment comes easily at 50 cents a word. | 0:17:57 | 0:18:01 | |
Well, if that's the way you really feel, | 0:18:01 | 0:18:05 | |
you must be very lonely. | 0:18:05 | 0:18:07 | |
Will you kindly continue | 0:18:07 | 0:18:09 | |
this character analysis elsewhere? | 0:18:09 | 0:18:12 | |
You begin to bore me. | 0:18:12 | 0:18:13 | |
You're a poor man. I'm very sorry for you. | 0:18:13 | 0:18:17 | |
'Naturally, I was annoyed by the incident, | 0:18:20 | 0:18:23 | |
'but she had something about her, that girl. | 0:18:23 | 0:18:26 | |
'I had to speak to her again. | 0:18:26 | 0:18:29 | |
'I had to see her.' | 0:18:29 | 0:18:31 | |
Miss, would you mind if I... | 0:18:31 | 0:18:32 | |
Just a moment, please. | 0:18:32 | 0:18:34 | |
I'll tell Mr Bullitt right away. He's on the telephone. | 0:18:34 | 0:18:36 | |
Thank you. | 0:18:36 | 0:18:37 | |
DOOR OPENS | 0:18:38 | 0:18:40 | |
TYPING | 0:18:50 | 0:18:51 | |
Boy, Waldo Lydecker | 0:18:58 | 0:19:00 | |
to see Miss Laura Hunt. | 0:19:00 | 0:19:02 | |
TYPING | 0:19:02 | 0:19:03 | |
Announce me. | 0:19:03 | 0:19:05 | |
Johnny, please tell the gentleman I'm busy. | 0:19:05 | 0:19:09 | |
Miss Hunt, I have something to say to you. | 0:19:12 | 0:19:15 | |
You've already said it, Mr Lydecker. | 0:19:15 | 0:19:18 | |
I wish to point out that you caught me at my most difficult moment. | 0:19:18 | 0:19:23 | |
Ordinarily I am not without a heart. | 0:19:23 | 0:19:26 | |
Really? | 0:19:26 | 0:19:27 | |
Shall I produce X-ray pictures to prove it? | 0:19:27 | 0:19:30 | |
I wish to apologise. | 0:19:33 | 0:19:35 | |
Your apology is accepted. | 0:19:35 | 0:19:37 | |
Goodbye, Mr Lydecker. | 0:19:39 | 0:19:40 | |
If you come a little bit closer, my boy, | 0:19:40 | 0:19:43 | |
I can just crack your skull with my stick. | 0:19:43 | 0:19:46 | |
TYPISTS GIGGLE | 0:19:46 | 0:19:47 | |
And now for reasons which are too embarrassing to mention, | 0:19:50 | 0:19:54 | |
I'd like to endorse that pen. | 0:19:54 | 0:19:56 | |
Mr Lydecker! | 0:19:56 | 0:19:59 | |
Thank you. | 0:19:59 | 0:20:00 | |
You're a very strange man. | 0:20:02 | 0:20:04 | |
What? | 0:20:04 | 0:20:06 | |
You're really sorry for the way you acted, aren't you? | 0:20:06 | 0:20:10 | |
Let's not be psychiatric, Miss Hunt, | 0:20:10 | 0:20:12 | |
but in a word, yes. | 0:20:12 | 0:20:15 | |
It's very kind of you, you know. | 0:20:15 | 0:20:18 | |
I'm not kind. I'm vicious. | 0:20:18 | 0:20:20 | |
It's the secret of my charm. | 0:20:20 | 0:20:22 | |
But if you choose to think me kind, I'll call for you at 6.00. | 0:20:24 | 0:20:30 | |
All right? | 0:20:31 | 0:20:33 | |
All right. | 0:20:33 | 0:20:35 | |
'Her career began with my endorsement of the pen. | 0:20:39 | 0:20:42 | |
'I secured other endorsements for her, | 0:20:42 | 0:20:45 | |
'introduced her to important clients. | 0:20:45 | 0:20:48 | |
'I gave her her start, | 0:20:48 | 0:20:50 | |
'but it was her own talent and imagination | 0:20:50 | 0:20:53 | |
'that enabled her to rise to the top of her profession | 0:20:53 | 0:20:57 | |
'and stay there. | 0:20:57 | 0:20:58 | |
'She had an eager mind always. | 0:20:58 | 0:21:02 | |
'She was always quick to seize upon | 0:21:02 | 0:21:04 | |
'anything that would improve her mind...or her appearance. | 0:21:04 | 0:21:08 | |
'Laura had innate breeding. | 0:21:08 | 0:21:10 | |
'But she deferred to my judgment and taste. | 0:21:16 | 0:21:18 | |
'I selected a more attractive hairdress for her. | 0:21:20 | 0:21:22 | |
'I taught her what clothes were more becoming to her. | 0:21:25 | 0:21:28 | |
'Through me, she met everyone. | 0:21:30 | 0:21:33 | |
'The famous and the infamous. | 0:21:33 | 0:21:36 | |
'Her youth and beauty, her poise and charm of manner... | 0:21:36 | 0:21:40 | |
'captivated them all. | 0:21:40 | 0:21:42 | |
'She had warmth, vitality. | 0:21:42 | 0:21:45 | |
'She had authentic magnetism. | 0:21:45 | 0:21:49 | |
'Wherever we went, she stood out. | 0:21:49 | 0:21:52 | |
'Men admired her. Women envied her. | 0:21:53 | 0:21:55 | |
'She became as well known | 0:21:56 | 0:21:58 | |
'as Waldo Lydecker's walking stick...and his white carnation. | 0:21:58 | 0:22:02 | |
'But Tuesday and Friday nights, | 0:22:02 | 0:22:04 | |
'we stayed home, dining quietly, | 0:22:04 | 0:22:08 | |
'listening to my records. | 0:22:08 | 0:22:10 | |
'I read my articles to her. | 0:22:10 | 0:22:12 | |
'The way she listened was more eloquent than speech.' | 0:22:12 | 0:22:16 | |
'These were the best nights.' | 0:22:18 | 0:22:21 | |
Then one Tuesday, she phoned | 0:22:21 | 0:22:23 | |
and said she couldn't come. | 0:22:23 | 0:22:25 | |
It didn't matter, really, | 0:22:25 | 0:22:27 | |
but when it happened again the following Friday, | 0:22:27 | 0:22:30 | |
I was disturbed. | 0:22:30 | 0:22:32 | |
'I couldn't understand it. | 0:22:34 | 0:22:36 | |
'I felt betrayed, | 0:22:36 | 0:22:38 | |
'and yet I knew Laura would never betray anyone.' | 0:22:38 | 0:22:42 | |
'I walked for a long time.' | 0:22:48 | 0:22:51 | |
'Then I found myself before her apartment building. | 0:22:52 | 0:22:55 | |
'The lights were on. | 0:22:55 | 0:22:57 | |
'It pleased me to know she was home | 0:22:57 | 0:23:00 | |
'till I saw she was not alone.' | 0:23:00 | 0:23:03 | |
'But I waited. | 0:23:04 | 0:23:06 | |
'I wanted to see who he was.' | 0:23:06 | 0:23:09 | |
'It was Jacoby, | 0:23:13 | 0:23:14 | |
'who had recently painted her portrait. | 0:23:14 | 0:23:16 | |
'I never liked the man. | 0:23:16 | 0:23:18 | |
'He was so obviously conscious | 0:23:18 | 0:23:20 | |
'of looking more like an athlete than an artist. | 0:23:20 | 0:23:24 | |
'I sat up the rest of the night writing a column about him. | 0:23:24 | 0:23:28 | |
'I demolished his affectations, | 0:23:28 | 0:23:30 | |
'exposed his camouflaged imitations of better painters, | 0:23:30 | 0:23:33 | |
'ridiculed his theories. | 0:23:33 | 0:23:34 | |
'I did it for her, | 0:23:34 | 0:23:36 | |
'knowing Jacoby was unworthy of her. | 0:23:36 | 0:23:38 | |
'It was a masterpiece because it was a labour of love.' | 0:23:38 | 0:23:42 | |
Naturally she could never regard him seriously again. | 0:23:42 | 0:23:45 | |
There were others, of course, | 0:23:45 | 0:23:48 | |
but her own discrimination ruled them out | 0:23:48 | 0:23:51 | |
before it became necessary for me to intercede... | 0:23:51 | 0:23:54 | |
until one night at a party at Ann Treadwell's. | 0:23:54 | 0:23:58 | |
'It was one of her usual round-ups | 0:23:58 | 0:24:01 | |
'of bizarre and nondescript characters | 0:24:01 | 0:24:03 | |
'corralled from every stratum of society.' | 0:24:03 | 0:24:05 | |
How are you this evening? | 0:24:05 | 0:24:07 | |
This is Mr and Mrs Preston. | 0:24:07 | 0:24:08 | |
They've been waiting all evening to meet you. | 0:24:08 | 0:24:10 | |
How do you do? | 0:24:10 | 0:24:12 | |
Hello, Shelby. | 0:24:12 | 0:24:13 | |
Excuse me, honey. | 0:24:13 | 0:24:15 | |
You're Laura Hunt. | 0:24:19 | 0:24:20 | |
Yes? | 0:24:20 | 0:24:22 | |
Hello. I'm Shelby Carpenter. | 0:24:22 | 0:24:24 | |
Want to dance? | 0:24:24 | 0:24:26 | |
I'm not alone. | 0:24:26 | 0:24:29 | |
Oh, him? I'll bet he's still doing the polka. | 0:24:29 | 0:24:32 | |
Excuse me, please. | 0:24:32 | 0:24:34 | |
Yes. Betsy Ross taught it to me. | 0:24:34 | 0:24:36 | |
Hello, Waldo! Darling, how are you? | 0:24:36 | 0:24:38 | |
Hello, darling. | 0:24:38 | 0:24:39 | |
I see you've met Shelby. | 0:24:39 | 0:24:41 | |
Unavoidably. | 0:24:41 | 0:24:42 | |
He was awfully nice to me | 0:24:42 | 0:24:43 | |
in Louisville at the Derby. | 0:24:43 | 0:24:45 | |
His family's from Kentucky. | 0:24:45 | 0:24:46 | |
Sharecroppers, no doubt. | 0:24:46 | 0:24:48 | |
LAUGHTER | 0:24:48 | 0:24:49 | |
Ah, Franz. Bonsoir. | 0:24:49 | 0:24:50 | |
Comment-allez vous? | 0:24:50 | 0:24:52 | |
Louise, Louise, for the last time, | 0:24:52 | 0:24:54 | |
will you marry me? | 0:24:54 | 0:24:56 | |
I won't, but I've saved some chicken livers for you. | 0:24:56 | 0:24:58 | |
Oh, you're an angel. | 0:24:58 | 0:24:59 | |
In the meantime, darling, | 0:24:59 | 0:25:00 | |
you think you could get this spot out for me? | 0:25:00 | 0:25:02 | |
I can afford a blemish on my character, but not on my clothes. | 0:25:02 | 0:25:05 | |
Hmm...couldn't eat another mouthful. | 0:25:05 | 0:25:06 | |
I'm afraid it's rouge. | 0:25:06 | 0:25:07 | |
I'm afraid it's liquor. | 0:25:07 | 0:25:09 | |
Louise, may I have a glass of milk for Mr Lydecker? | 0:25:09 | 0:25:11 | |
Of course, Miss Hunt. | 0:25:11 | 0:25:13 | |
I was about to tell you. I also read palms. | 0:25:13 | 0:25:14 | |
I cook. I swallow swords. I mend my own socks. | 0:25:14 | 0:25:17 | |
I never eat garlic or onions. | 0:25:17 | 0:25:19 | |
What more can you want of a man? | 0:25:19 | 0:25:20 | |
Don't listen to that scallywag. | 0:25:20 | 0:25:22 | |
I didn't expect to find him here, Louise. | 0:25:22 | 0:25:23 | |
Well, what do you mean? We're old friends. | 0:25:23 | 0:25:25 | |
She feeds me, humours me, repairs me, | 0:25:25 | 0:25:27 | |
and refuses to marry me, don't you, honey? | 0:25:27 | 0:25:29 | |
I do. | 0:25:29 | 0:25:30 | |
She has good sense. | 0:25:30 | 0:25:31 | |
Now, wait just a minute. Thanks, Louise. | 0:25:31 | 0:25:33 | |
You're wasting your time. She's got good sense, too. | 0:25:33 | 0:25:35 | |
You're jealous. | 0:25:35 | 0:25:36 | |
And what does it feel like, Mr Carpenter? | 0:25:36 | 0:25:39 | |
What does what feel like, Miss Hunt? | 0:25:39 | 0:25:42 | |
Living on the income from an estate. | 0:25:42 | 0:25:45 | |
Well, I, er... | 0:25:45 | 0:25:46 | |
Or don't you know? | 0:25:46 | 0:25:48 | |
Well, I did, until the Sheriff took it over 10 years ago. | 0:25:48 | 0:25:52 | |
Why maintain the fiction? Why not work? | 0:25:52 | 0:25:54 | |
Believe it or not, I asked one of my many friends for a job once, | 0:25:54 | 0:25:57 | |
executive of a big company, 2,500 employees. | 0:25:57 | 0:26:00 | |
He could have pressed a button and done it, but he just laughed. | 0:26:00 | 0:26:02 | |
He thought I was joking. | 0:26:02 | 0:26:04 | |
Weren't you? | 0:26:04 | 0:26:05 | |
No. When I convinced him, he got embarrassed, said he'd phone me. | 0:26:05 | 0:26:08 | |
That was months ago. | 0:26:08 | 0:26:10 | |
Now whenever he sees me, he looks the other way. | 0:26:10 | 0:26:13 | |
Do you really want a job? | 0:26:19 | 0:26:21 | |
Yes. | 0:26:21 | 0:26:22 | |
Oh, here you are. | 0:26:24 | 0:26:26 | |
Laura, dear, I cannot stand these morons any longer. | 0:26:26 | 0:26:29 | |
If you don't come with me this instant, I shall run amok. | 0:26:29 | 0:26:34 | |
All right, Waldo. | 0:26:34 | 0:26:36 | |
10.30 tomorrow, Bullitt and Company. | 0:26:36 | 0:26:39 | |
You've got a job. | 0:26:39 | 0:26:41 | |
'I concealed my annoyance with masterly self-control, | 0:26:41 | 0:26:46 | |
'but I sensed a situation which would bear watching.' | 0:26:46 | 0:26:50 | |
Laura, take a look at this. | 0:26:50 | 0:26:53 | |
Do you like it? | 0:26:53 | 0:26:55 | |
Do you think it'll make people want to bathe more often? | 0:26:55 | 0:26:58 | |
It should. It's excellent. | 0:26:58 | 0:27:00 | |
There you are. | 0:27:00 | 0:27:01 | |
Goodnight, Miss Hunt. | 0:27:01 | 0:27:03 | |
Goodnight. | 0:27:03 | 0:27:04 | |
Goodnight, honey. | 0:27:04 | 0:27:05 | |
It's really very good. Who's the model? | 0:27:05 | 0:27:07 | |
Oh, a girl named Diane Redfern. | 0:27:07 | 0:27:08 | |
You hired her yourself last week. | 0:27:08 | 0:27:10 | |
Don't you remember? | 0:27:10 | 0:27:11 | |
Oh, yeah. | 0:27:11 | 0:27:12 | |
Well, let's go, moon of my delight. I am starved. | 0:27:12 | 0:27:15 | |
You usually are. | 0:27:15 | 0:27:16 | |
HE CHUCKLES | 0:27:16 | 0:27:17 | |
I approve of that hat. | 0:27:17 | 0:27:18 | |
You do? | 0:27:18 | 0:27:19 | |
Mm-hmm, and the girl in it, too. | 0:27:19 | 0:27:22 | |
Thank you. | 0:27:22 | 0:27:23 | |
I knew there was something on my mind. | 0:27:26 | 0:27:28 | |
What is it? Oh, yes. | 0:27:28 | 0:27:29 | |
Will you dine with me tomorrow night? | 0:27:29 | 0:27:31 | |
Maybe. | 0:27:31 | 0:27:33 | |
No, that isn't what's worrying me. It's the next night. | 0:27:33 | 0:27:35 | |
But, Shelby, I can't be... | 0:27:35 | 0:27:36 | |
Good. What about three weeks from tonight | 0:27:36 | 0:27:38 | |
and all the nights in between? | 0:27:38 | 0:27:39 | |
Don't you think I have any other engagements? | 0:27:39 | 0:27:41 | |
What about two months from now and the month after that? | 0:27:41 | 0:27:44 | |
What about next year? | 0:27:44 | 0:27:45 | |
That's all settled. What about breakfast? | 0:27:45 | 0:27:48 | |
What about dancing? | 0:27:48 | 0:27:49 | |
What about lunch, beautiful lunches, | 0:27:49 | 0:27:51 | |
day after day after day after day? | 0:27:51 | 0:27:53 | |
What about work, beautiful work, | 0:27:53 | 0:27:55 | |
day after day after day? | 0:27:55 | 0:27:58 | |
Why, Miss Hunt, the way you talk, | 0:27:58 | 0:27:59 | |
you'd think I was in love with you. | 0:27:59 | 0:28:02 | |
Yes, Laura, I heard everything he said. | 0:28:07 | 0:28:10 | |
I went to call for you. | 0:28:12 | 0:28:15 | |
I'm sorry, Waldo. | 0:28:16 | 0:28:17 | |
And that reminds me. | 0:28:17 | 0:28:20 | |
Old Mother Hubbard has something in the cupboard. | 0:28:22 | 0:28:25 | |
The results of my private investigation | 0:28:26 | 0:28:29 | |
of that sterling character, Mr Shelby Carpenter. | 0:28:29 | 0:28:33 | |
By stooping so low, | 0:28:33 | 0:28:35 | |
you only degrade yourself, Waldo. | 0:28:35 | 0:28:37 | |
Did you know that he almost went to jail | 0:28:37 | 0:28:39 | |
for passing rubber cheques, | 0:28:39 | 0:28:40 | |
that he was suspected of stealing his hostess' jewels | 0:28:40 | 0:28:43 | |
when he was a house guest in Virginia? | 0:28:43 | 0:28:46 | |
Naturally they'd suspect him | 0:28:46 | 0:28:47 | |
because he isn't rich. | 0:28:47 | 0:28:49 | |
Those are only insinuations, | 0:28:49 | 0:28:51 | |
the cheapest kind. | 0:28:51 | 0:28:52 | |
These aren't only insinuations, my dear. | 0:28:52 | 0:28:55 | |
There you are. | 0:28:55 | 0:28:57 | |
Read them. | 0:28:57 | 0:28:58 | |
What of it? | 0:29:00 | 0:29:01 | |
I know his faults. | 0:29:01 | 0:29:03 | |
A man can change, can't he? | 0:29:03 | 0:29:05 | |
People are always ready | 0:29:05 | 0:29:07 | |
to hold out a hand to slap you down, | 0:29:07 | 0:29:09 | |
but never to pick you up. | 0:29:09 | 0:29:10 | |
All right, I'm helping Shelby. | 0:29:10 | 0:29:13 | |
His past is his own affair. | 0:29:13 | 0:29:15 | |
I only care about the present. | 0:29:15 | 0:29:17 | |
Speaking of the changed Mr Carpenter in the present tense, | 0:29:17 | 0:29:21 | |
he's now running around with a model | 0:29:21 | 0:29:24 | |
from your own office. | 0:29:24 | 0:29:25 | |
Her name is Diane Redfern. | 0:29:25 | 0:29:27 | |
I'm closer to despising you | 0:29:29 | 0:29:31 | |
than I thought I ever would be. | 0:29:31 | 0:29:34 | |
I'm sorry. | 0:29:38 | 0:29:40 | |
I should have told you before. | 0:29:40 | 0:29:42 | |
Shelby and I are going to be married next week. | 0:29:42 | 0:29:46 | |
I believe you presented him with a cigarette case | 0:29:48 | 0:29:51 | |
on his last birthday. | 0:29:51 | 0:29:53 | |
Rather valuable, isn't it? | 0:29:56 | 0:29:58 | |
Where did you get it? | 0:29:58 | 0:30:00 | |
From the pawn shop where Diane Redfern took it | 0:30:00 | 0:30:01 | |
after he gave it to her. | 0:30:01 | 0:30:03 | |
I don't believe it. | 0:30:03 | 0:30:04 | |
He probably needed money and was too proud to borrow. | 0:30:04 | 0:30:07 | |
Carpenter proud? | 0:30:07 | 0:30:08 | |
Perhaps that's why the pawn ticket | 0:30:08 | 0:30:11 | |
was in her name. | 0:30:11 | 0:30:12 | |
Before this goes any further, why, I'll just... | 0:30:12 | 0:30:14 | |
He isn't home. | 0:30:16 | 0:30:18 | |
He's dining at Ann Treadwell's. | 0:30:25 | 0:30:27 | |
He can't be. He asked me to dinner. | 0:30:27 | 0:30:29 | |
He would have cancelled his appointment with her | 0:30:29 | 0:30:31 | |
if you had accepted. | 0:30:31 | 0:30:33 | |
He treats her rather badly these days. | 0:30:33 | 0:30:35 | |
I'm afraid she'll say he isn't there. | 0:30:37 | 0:30:40 | |
Waldo. | 0:30:48 | 0:30:50 | |
Why are you doing this? | 0:30:51 | 0:30:54 | |
For you, Laura. | 0:30:58 | 0:31:00 | |
Shall we pay them a visit? | 0:31:02 | 0:31:04 | |
He won't be there, Waldo. | 0:31:04 | 0:31:07 | |
I know he won't. | 0:31:07 | 0:31:08 | |
All right, | 0:31:08 | 0:31:10 | |
we'll see. | 0:31:10 | 0:31:12 | |
Don't you want to take this little bauble along | 0:31:12 | 0:31:15 | |
in case he is there? | 0:31:15 | 0:31:17 | |
Good evening. | 0:31:24 | 0:31:25 | |
Good evening. | 0:31:25 | 0:31:26 | |
I'm sorry. Mrs Treadwell is not home. | 0:31:26 | 0:31:28 | |
We know, dear. | 0:31:28 | 0:31:30 | |
Good evening. | 0:31:41 | 0:31:42 | |
Hello, darling. | 0:31:47 | 0:31:48 | |
I didn't expect to see you tonight. | 0:31:48 | 0:31:51 | |
There you are, my dear. | 0:31:51 | 0:31:53 | |
In a moment of supreme disaster, | 0:31:53 | 0:31:54 | |
he's trite. | 0:31:54 | 0:31:55 | |
You've been reading too many melodramas, Waldo. | 0:31:55 | 0:31:58 | |
I was just telling Ann about our getting married. | 0:31:58 | 0:32:01 | |
Well, have you two had dinner? | 0:32:01 | 0:32:03 | |
Would you like a glass of wine? | 0:32:03 | 0:32:06 | |
Why don't you sit down? | 0:32:06 | 0:32:08 | |
I couldn't find out if she saw Carpenter in the meantime. | 0:32:16 | 0:32:20 | |
All I know is that on Friday | 0:32:20 | 0:32:22 | |
she had lunch with Diane Redfern. | 0:32:22 | 0:32:25 | |
'What came of it I hoped to hear that night. | 0:32:25 | 0:32:28 | |
'I alternated between moods of over-optimism | 0:32:28 | 0:32:30 | |
'and over-pessimism. | 0:32:30 | 0:32:31 | |
'When the phone rang, I had a foreboding of disaster.' | 0:32:31 | 0:32:35 | |
I called to tell you, Waldo, I'm frightfully sorry. | 0:32:38 | 0:32:41 | |
I can't have dinner with you tonight. | 0:32:41 | 0:32:43 | |
Oh, no, no. I'm not sick. I'm just dreadfully nervous. | 0:32:43 | 0:32:47 | |
I'm going to the country for a few days. | 0:32:47 | 0:32:49 | |
Yes. I'm afraid it's about Shelby. | 0:32:49 | 0:32:52 | |
Oh, no. Please. There's nothing you can do. | 0:32:52 | 0:32:54 | |
I've got to think this thing out for myself. | 0:32:54 | 0:32:57 | |
I'm sorry. | 0:32:57 | 0:32:58 | |
I'll call you when I get back. Goodbye. | 0:32:58 | 0:33:01 | |
It was the last time I ever heard her voice. | 0:33:02 | 0:33:06 | |
I was sure she had too much pride | 0:33:06 | 0:33:08 | |
to forgive him, | 0:33:08 | 0:33:10 | |
but... | 0:33:10 | 0:33:12 | |
Where does this Diane Redfern live? | 0:33:12 | 0:33:16 | |
Brooklyn somewhere. | 0:33:16 | 0:33:17 | |
She's in the phone book. | 0:33:17 | 0:33:18 | |
Come on. It's late. Let's get going. | 0:33:20 | 0:33:23 | |
Waiter. | 0:33:23 | 0:33:24 | |
Yes, sir. > | 0:33:24 | 0:33:25 | |
All right. | 0:33:28 | 0:33:28 | |
Thank you, Mr Lydecker. | 0:33:28 | 0:33:30 | |
Goodnight. | 0:33:33 | 0:33:35 | |
I shall never forgive myself | 0:33:39 | 0:33:41 | |
for letting her become involved with Shelby. | 0:33:41 | 0:33:44 | |
It was my fault. | 0:33:44 | 0:33:46 | |
I should have stopped it somehow. | 0:33:46 | 0:33:49 | |
Well, it's too late now. | 0:33:49 | 0:33:51 | |
Thanks for the wine. | 0:33:54 | 0:33:56 | |
Hello. Mosconi's? | 0:34:14 | 0:34:15 | |
This is Lieutenant McPherson, homicide bureau. | 0:34:15 | 0:34:18 | |
Laura Hunt had been buying her liquor from you | 0:34:18 | 0:34:22 | |
for several years, hadn't she? | 0:34:22 | 0:34:23 | |
Yeah. Did she ever buy a brand of scotch | 0:34:23 | 0:34:27 | |
called Black Pony? | 0:34:27 | 0:34:29 | |
Yeah. | 0:34:30 | 0:34:31 | |
DOOR CLOSES | 0:34:33 | 0:34:35 | |
I see. Well, that's all I wanted to know. Thanks. | 0:34:35 | 0:34:37 | |
She's here, McPherson, the maid. | 0:34:37 | 0:34:39 | |
OK. | 0:34:39 | 0:34:40 | |
Come in, Miss Clary. | 0:34:42 | 0:34:43 | |
Never mind the "Miss Clary" stuff. | 0:34:43 | 0:34:45 | |
My name's Bessie, and I'm a domestic, | 0:34:45 | 0:34:47 | |
and I got nothing to be ashamed of. | 0:34:47 | 0:34:49 | |
Sit down, Bessie. | 0:34:49 | 0:34:50 | |
Her letters. | 0:34:50 | 0:34:53 | |
And her private diary! | 0:34:54 | 0:34:56 | |
You've been reading them, | 0:34:56 | 0:34:58 | |
pawing over them. | 0:34:58 | 0:34:59 | |
It's a shame in the face of the dead. | 0:34:59 | 0:35:00 | |
That's what it is. It's a shame! | 0:35:00 | 0:35:02 | |
Sit down, Bessie. | 0:35:02 | 0:35:03 | |
I'll stand on my own two feet! | 0:35:03 | 0:35:05 | |
Don't you go ordering me around. | 0:35:05 | 0:35:07 | |
I ain't afraid of cops. | 0:35:07 | 0:35:09 | |
I was brought up to spit whenever I saw one. | 0:35:09 | 0:35:12 | |
OK. Go ahead and spit | 0:35:12 | 0:35:13 | |
if that'll make you feel better. | 0:35:13 | 0:35:16 | |
What do you want to know? | 0:35:21 | 0:35:22 | |
What we all want to know - | 0:35:22 | 0:35:24 | |
who killed Laura Hunt. | 0:35:24 | 0:35:25 | |
How would I know? | 0:35:25 | 0:35:27 | |
You don't think I done it? | 0:35:28 | 0:35:31 | |
I know you cops get crazy notions, | 0:35:31 | 0:35:34 | |
but if you got any notion concerning me... | 0:35:34 | 0:35:36 | |
ask anyone, | 0:35:36 | 0:35:37 | |
anyone who ever come to this house. | 0:35:37 | 0:35:39 | |
I would have worked for her. | 0:35:39 | 0:35:41 | |
I would have washed, ironed, scrubbed, | 0:35:41 | 0:35:43 | |
done everything she wanted of me | 0:35:43 | 0:35:45 | |
whether she paid me for it or not, | 0:35:45 | 0:35:47 | |
and it wasn't only on account of | 0:35:47 | 0:35:48 | |
the thousand sweet things she done for me. | 0:35:48 | 0:35:51 | |
It was because she was so sweet herself, | 0:35:51 | 0:35:53 | |
because she was a real fine lady. | 0:35:53 | 0:35:56 | |
But you cops wouldn't know about that. | 0:35:56 | 0:36:00 | |
But you do. | 0:36:01 | 0:36:03 | |
That's all the more reason | 0:36:03 | 0:36:04 | |
why you should help me, Bessie. | 0:36:04 | 0:36:06 | |
Do you happen to know | 0:36:06 | 0:36:08 | |
how this got into her liquor cabinet? | 0:36:08 | 0:36:10 | |
I put it there. | 0:36:10 | 0:36:12 | |
But she never bought cheap stuff like that, | 0:36:12 | 0:36:14 | |
not a lady like Miss Hunt. | 0:36:14 | 0:36:16 | |
No. | 0:36:16 | 0:36:17 | |
When did you put it in the cabinet? | 0:36:17 | 0:36:19 | |
Saturday. | 0:36:19 | 0:36:20 | |
Before the police came. | 0:36:20 | 0:36:22 | |
Was it there Friday night before you left? | 0:36:22 | 0:36:23 | |
No. | 0:36:23 | 0:36:24 | |
Are you sure of that? | 0:36:24 | 0:36:26 | |
I cleaned out the cabinet on Friday | 0:36:26 | 0:36:29 | |
and put the empties in the basement. | 0:36:29 | 0:36:32 | |
Then somebody was with her | 0:36:32 | 0:36:34 | |
in the apartment Friday night, | 0:36:34 | 0:36:35 | |
someone who brought that bottle. | 0:36:35 | 0:36:37 | |
Yes. | 0:36:37 | 0:36:38 | |
Who? | 0:36:38 | 0:36:39 | |
I don't know, but I didn't want anyone | 0:36:39 | 0:36:41 | |
getting any wrong ideas about her, | 0:36:41 | 0:36:43 | |
God rest her soul. | 0:36:43 | 0:36:45 | |
That's why I took it out of the bedroom | 0:36:45 | 0:36:46 | |
and put it in the cabinet before the police got here, | 0:36:46 | 0:36:49 | |
and that ain't all I done. | 0:36:49 | 0:36:51 | |
I washed out the glasses | 0:36:51 | 0:36:53 | |
and cleaned off the bottle, too. | 0:36:53 | 0:36:55 | |
Do you know what happens to people who destroy evidence? | 0:36:55 | 0:36:57 | |
I don't care. | 0:36:57 | 0:36:59 | |
You ain't going to tell the newspaper reporters, | 0:36:59 | 0:37:01 | |
are you, | 0:37:01 | 0:37:02 | |
and let them make up their nasty stories | 0:37:02 | 0:37:04 | |
and drag her name through the mud? | 0:37:04 | 0:37:07 | |
Go ahead, but it won't do you any good. | 0:37:07 | 0:37:09 | |
I'll say you lied. I'll say... | 0:37:09 | 0:37:11 | |
Take it easy, Bessie. | 0:37:11 | 0:37:12 | |
Get me some ice and a set-up, will you? | 0:37:12 | 0:37:15 | |
All right. | 0:37:15 | 0:37:16 | |
A couple of highball glasses. | 0:37:18 | 0:37:20 | |
DOORBELL BUZZES | 0:37:22 | 0:37:24 | |
Good morning. | 0:37:24 | 0:37:25 | |
Lieutenant McPherson sent for us. | 0:37:25 | 0:37:26 | |
Good morning, Lieutenant. | 0:37:26 | 0:37:28 | |
Hello, McPherson. | 0:37:28 | 0:37:29 | |
This is quite a delegation. | 0:37:29 | 0:37:30 | |
I only sent for you, Carpenter. | 0:37:30 | 0:37:32 | |
Shelby's dropping me off at the hairdresser's later, | 0:37:32 | 0:37:33 | |
so I thought I might as well come along. | 0:37:33 | 0:37:35 | |
My excuse is equally feeble. | 0:37:35 | 0:37:37 | |
I just popped in to pay my dubious respects | 0:37:37 | 0:37:39 | |
and enquire as to the state of your health. | 0:37:39 | 0:37:40 | |
Insipid, I trust. | 0:37:40 | 0:37:42 | |
I was just going to pour myself a drink. | 0:37:42 | 0:37:43 | |
Would you care to join me? | 0:37:43 | 0:37:44 | |
That's a very nice idea. Shelby, wouldn't you like one? | 0:37:44 | 0:37:46 | |
I'll get it. | 0:37:46 | 0:37:47 | |
Never mind. | 0:37:47 | 0:37:49 | |
Bessie, would you bring a couple more glasses, please? | 0:37:49 | 0:37:51 | |
Hi, Bessie. What are you doing here? | 0:37:51 | 0:37:53 | |
I'm paid up for the week, | 0:37:53 | 0:37:54 | |
and I'm working regardless. | 0:37:54 | 0:37:55 | |
Would you like one, Lydecker? | 0:37:55 | 0:37:57 | |
I see no reason to exclude myself | 0:37:57 | 0:37:58 | |
if the host provides scotch. | 0:37:58 | 0:38:00 | |
This do? | 0:38:00 | 0:38:01 | |
I presume it'll have to. | 0:38:01 | 0:38:02 | |
How about you, Carpenter? | 0:38:02 | 0:38:04 | |
It's cheap, but it's potent. | 0:38:04 | 0:38:05 | |
As a matter of fact, I don't think I care for any. | 0:38:05 | 0:38:07 | |
I'm not much of a daytime drinker. | 0:38:07 | 0:38:09 | |
That'll be all for you, Bessie. You can go home now. | 0:38:09 | 0:38:11 | |
But I... Yes, sir. | 0:38:11 | 0:38:12 | |
I remember when Laura bought these glasses. | 0:38:13 | 0:38:16 | |
She loved them. She loved all her things so. | 0:38:16 | 0:38:18 | |
What are you going to do? Sell them? | 0:38:18 | 0:38:20 | |
I don't know. | 0:38:20 | 0:38:22 | |
I suppose so. Thank you. | 0:38:22 | 0:38:23 | |
If I'm appointed administrator of the estate, | 0:38:23 | 0:38:25 | |
I shall probably just call in Corey. | 0:38:25 | 0:38:27 | |
You mean Lancaster Corey, the art dealer? | 0:38:27 | 0:38:29 | |
Yes. He was a friend of Laura's. | 0:38:29 | 0:38:31 | |
Let him dispose of everything. | 0:38:31 | 0:38:33 | |
It'll be less gruesome that way. | 0:38:33 | 0:38:35 | |
Not quite everything, Ann. | 0:38:35 | 0:38:37 | |
Two or three things in here belong to me. | 0:38:37 | 0:38:40 | |
This vase, for instance, | 0:38:40 | 0:38:42 | |
and that, er, clock, of course, | 0:38:42 | 0:38:45 | |
and the antique fire screen. | 0:38:45 | 0:38:47 | |
I only lent them to Laura, you know. | 0:38:47 | 0:38:49 | |
Oh, really, Waldo! | 0:38:49 | 0:38:51 | |
Yes, really. This vase is the gem of my collection. | 0:38:51 | 0:38:53 | |
I intend to have it back, | 0:38:53 | 0:38:55 | |
and the clock and the screen, too. | 0:38:55 | 0:38:56 | |
But they aren't yours. You gave them to Laura. | 0:38:56 | 0:38:58 | |
I won't permit it. | 0:38:58 | 0:38:59 | |
Does an alleged fiance | 0:38:59 | 0:39:00 | |
have any voice in this matter? | 0:39:00 | 0:39:02 | |
I'll take the vase with me now | 0:39:02 | 0:39:04 | |
and send someone to collect the other things this very day. | 0:39:04 | 0:39:07 | |
Nothing is leaving here except you, Lydecker. | 0:39:07 | 0:39:10 | |
Is that your quaint way of indicating dismissal? | 0:39:10 | 0:39:13 | |
We're all going anyway. | 0:39:13 | 0:39:15 | |
I have to be back at headquarters by noon. | 0:39:15 | 0:39:17 | |
Lieutenant, I don't understand. | 0:39:17 | 0:39:18 | |
You sent for me, didn't you? | 0:39:18 | 0:39:20 | |
Yeah. | 0:39:20 | 0:39:21 | |
Well, don't you want to see me? | 0:39:21 | 0:39:22 | |
Don't you want to ask me some questions? | 0:39:22 | 0:39:24 | |
I'll be seeing you. | 0:39:24 | 0:39:26 | |
I bid you good day. | 0:39:26 | 0:39:27 | |
Come along, Shelby. | 0:39:27 | 0:39:29 | |
Are you making any progress | 0:39:29 | 0:39:30 | |
on the case, Lieutenant? | 0:39:30 | 0:39:32 | |
We're doing all right. | 0:39:32 | 0:39:33 | |
Hello, Mark. | 0:39:49 | 0:39:50 | |
Go get something to eat. I'll take over. | 0:39:50 | 0:39:52 | |
Thanks. | 0:39:52 | 0:39:53 | |
Take your time. | 0:39:53 | 0:39:55 | |
Fred? | 0:42:46 | 0:42:48 | |
CLICKING | 0:42:49 | 0:42:51 | |
Yes? | 0:42:51 | 0:42:52 | |
'What's the matter? Did you go to sleep?' | 0:42:52 | 0:42:55 | |
This is McPherson. Any calls come through? | 0:42:55 | 0:42:58 | |
Well, keep listening. | 0:42:59 | 0:43:01 | |
No. Nothing new. | 0:43:01 | 0:43:03 | |
DOORBELL BUZZES | 0:43:03 | 0:43:05 | |
I happened to see the lights on. | 0:43:09 | 0:43:12 | |
Have you sublet this apartment? | 0:43:12 | 0:43:14 | |
You're here often enough to pay rent. | 0:43:14 | 0:43:16 | |
Any objections? | 0:43:16 | 0:43:18 | |
Yes. | 0:43:18 | 0:43:19 | |
I object to you prying into Laura's letters, | 0:43:19 | 0:43:22 | |
especially those from me. | 0:43:22 | 0:43:24 | |
Why? Yours are the best in the bunch. | 0:43:24 | 0:43:26 | |
< Thanks. But I didn't write them to you. | 0:43:26 | 0:43:29 | |
Haven't you any sense of privacy? | 0:43:29 | 0:43:31 | |
Murder victims have no claim to privacy. | 0:43:31 | 0:43:35 | |
< Have detectives who buy portraits of murder victims | 0:43:35 | 0:43:38 | |
< a claim to privacy? | 0:43:38 | 0:43:39 | |
Lancaster Corey told me | 0:43:39 | 0:43:41 | |
that you've already put in a bid for it. | 0:43:41 | 0:43:44 | |
That's none of your business. | 0:43:44 | 0:43:46 | |
McPherson, did it ever strike you | 0:43:46 | 0:43:48 | |
that you're acting very strangely? | 0:43:48 | 0:43:50 | |
It's a wonder you don't come here like a suitor, | 0:43:50 | 0:43:52 | |
with roses and a box of candy, | 0:43:52 | 0:43:54 | |
drugstore candy, of course. | 0:43:54 | 0:43:56 | |
Have you ever dreamed of Laura as your wife, | 0:43:56 | 0:43:59 | |
by your side at the policemen's ball | 0:43:59 | 0:44:01 | |
or in the bleachers | 0:44:01 | 0:44:02 | |
or listening to the heroic story | 0:44:02 | 0:44:04 | |
of how you got a silver shinbone | 0:44:04 | 0:44:06 | |
from a gun battle with a gangster? | 0:44:06 | 0:44:08 | |
I see you have. | 0:44:08 | 0:44:10 | |
Why don't you go home? I'm busy. | 0:44:10 | 0:44:13 | |
Perhaps we can come to terms now. | 0:44:13 | 0:44:16 | |
You want the portrait. | 0:44:16 | 0:44:18 | |
Perfectly understandable. | 0:44:18 | 0:44:19 | |
I want my possessions, | 0:44:19 | 0:44:21 | |
my vase, my clock, and my screen. | 0:44:21 | 0:44:24 | |
Also perfectly understandable. | 0:44:24 | 0:44:25 | |
Now, if you... | 0:44:25 | 0:44:26 | |
Get going. | 0:44:26 | 0:44:27 | |
You'd better watch out, McPherson, | 0:44:27 | 0:44:29 | |
or you'll end up in a psychiatric ward. | 0:44:29 | 0:44:32 | |
I don't think they've ever had a patient | 0:44:32 | 0:44:34 | |
who fell in love with a corpse. | 0:44:34 | 0:44:37 | |
DOOR OPENS | 0:45:40 | 0:45:43 | |
What are you doing here? | 0:46:02 | 0:46:04 | |
You're alive. | 0:46:07 | 0:46:09 | |
If you don't get out at once, I'm going to call the police. | 0:46:09 | 0:46:12 | |
You are Laura Hunt, aren't you? | 0:46:12 | 0:46:15 | |
Aren't you? | 0:46:16 | 0:46:18 | |
I'm going to call the police. | 0:46:18 | 0:46:20 | |
Well, I am the police. | 0:46:20 | 0:46:22 | |
Mark McPherson. | 0:46:22 | 0:46:23 | |
What's this all about? | 0:46:24 | 0:46:27 | |
Don't you know? | 0:46:27 | 0:46:29 | |
Don't you know what's happened? | 0:46:29 | 0:46:31 | |
No. | 0:46:31 | 0:46:32 | |
Haven't you seen the papers? | 0:46:32 | 0:46:34 | |
Where have you been? | 0:46:34 | 0:46:36 | |
Up in the country. | 0:46:36 | 0:46:37 | |
I...I don't get a newspaper. | 0:46:37 | 0:46:40 | |
Haven't you got a radio? | 0:46:40 | 0:46:43 | |
It was broken. | 0:46:43 | 0:46:44 | |
What... | 0:46:44 | 0:46:45 | |
Somebody was murdered in this room. | 0:47:03 | 0:47:05 | |
Do you have any idea who it was? | 0:47:05 | 0:47:08 | |
No. | 0:47:08 | 0:47:09 | |
Who had a key to your apartment? | 0:47:09 | 0:47:12 | |
Nobody. | 0:47:12 | 0:47:13 | |
You're sure? | 0:47:13 | 0:47:15 | |
When did it happen? | 0:47:17 | 0:47:19 | |
Friday night. | 0:47:19 | 0:47:20 | |
What are you going to do now? | 0:47:23 | 0:47:26 | |
Find out who was murdered, | 0:47:26 | 0:47:28 | |
and then find the murderer. | 0:47:28 | 0:47:30 | |
You'd better take off those wet clothes. | 0:47:33 | 0:47:35 | |
You might catch cold. | 0:47:35 | 0:47:37 | |
Yeah. | 0:47:41 | 0:47:42 | |
DOOR CLOSES | 0:47:47 | 0:47:49 | |
I found this in my closet. | 0:47:51 | 0:47:54 | |
It's Diane Redfern's. | 0:47:54 | 0:47:55 | |
It wasn't here when I left. | 0:47:55 | 0:47:57 | |
She's one of our models. | 0:47:57 | 0:47:59 | |
Just about my size. | 0:47:59 | 0:48:01 | |
Beautiful, wasn't she? | 0:48:02 | 0:48:04 | |
Do you suppose...? | 0:48:04 | 0:48:06 | |
Sit down, please. | 0:48:10 | 0:48:12 | |
This is Monday night. You left on Friday. | 0:48:16 | 0:48:19 | |
Rather a long weekend, isn't it? | 0:48:19 | 0:48:21 | |
Yes. | 0:48:21 | 0:48:22 | |
What train did you take? | 0:48:22 | 0:48:24 | |
The 7.26. | 0:48:24 | 0:48:26 | |
See anybody you knew on the train? | 0:48:26 | 0:48:28 | |
No. | 0:48:28 | 0:48:29 | |
Then what? | 0:48:29 | 0:48:31 | |
Then I got off the train at Norwalk. | 0:48:31 | 0:48:33 | |
Saw nobody you knew at the station either? | 0:48:33 | 0:48:36 | |
No. | 0:48:36 | 0:48:37 | |
Go on. | 0:48:37 | 0:48:38 | |
Then I went to the garage where I keep my car. | 0:48:38 | 0:48:41 | |
It's a private garage. | 0:48:41 | 0:48:43 | |
Nobody saw me there either. | 0:48:43 | 0:48:45 | |
Then I drove to my house. | 0:48:45 | 0:48:47 | |
You were there three days. What did you do? | 0:48:47 | 0:48:50 | |
Worked in my garden. | 0:48:50 | 0:48:52 | |
You didn't go out in all that time? | 0:48:52 | 0:48:54 | |
No. I had everything I needed in the house. | 0:48:54 | 0:48:58 | |
< Nobody came to see you? | 0:48:58 | 0:49:00 | |
Nobody. I went there to be alone. | 0:49:00 | 0:49:02 | |
Police were there on Saturday | 0:49:02 | 0:49:04 | |
and there was no-one in the house. | 0:49:04 | 0:49:06 | |
Oh, yes. Saturday, I took a long walk. | 0:49:06 | 0:49:09 | |
I walked for hours in the woods. | 0:49:09 | 0:49:12 | |
Mm-hmm. You were going to marry | 0:49:12 | 0:49:15 | |
Shelby Carpenter this week. | 0:49:15 | 0:49:17 | |
Thursday, if I'm not mistaken. | 0:49:17 | 0:49:19 | |
Yes. | 0:49:20 | 0:49:22 | |
Yet you went away just before your wedding | 0:49:22 | 0:49:25 | |
for a long weekend, to be alone. | 0:49:25 | 0:49:27 | |
I was tired. | 0:49:27 | 0:49:29 | |
I'd been working hard. | 0:49:29 | 0:49:30 | |
You know Shelby Carpenter has a key to this apartment. | 0:49:30 | 0:49:32 | |
Why didn't you tell me? | 0:49:32 | 0:49:34 | |
I know nothing of the sort. He hasn't! | 0:49:34 | 0:49:36 | |
How else did the girl get into the apartment? | 0:49:36 | 0:49:38 | |
You knew she was in love with Carpenter, | 0:49:38 | 0:49:40 | |
that he'd given her your cigarette case. | 0:49:40 | 0:49:42 | |
You know all that, don't you? | 0:49:42 | 0:49:44 | |
I knew that she was in love with him. | 0:49:44 | 0:49:45 | |
She told me so herself. | 0:49:45 | 0:49:46 | |
When did she tell you? | 0:49:46 | 0:49:48 | |
At lunch last Friday. | 0:49:48 | 0:49:49 | |
I also know that she meant nothing to Shelby. | 0:49:49 | 0:49:52 | |
I understand him better than you do. | 0:49:52 | 0:49:54 | |
She was found in your dressing gown and slippers. | 0:49:54 | 0:49:55 | |
That's hardly the regulation costume for an impersonal chat | 0:49:55 | 0:49:58 | |
between a man and woman who mean nothing to each other. | 0:49:58 | 0:50:00 | |
Did you know or did you suspect | 0:50:00 | 0:50:02 | |
that he was going to bring her here Friday night, Miss Hunt? | 0:50:02 | 0:50:04 | |
How could I? I don't know that he brought her here. | 0:50:04 | 0:50:05 | |
Neither do you. You merely assume it. | 0:50:05 | 0:50:07 | |
What other assumption is possible? | 0:50:07 | 0:50:08 | |
Do you love this fellow Carpenter so much | 0:50:08 | 0:50:10 | |
you'd risk your own safety to protect him? | 0:50:10 | 0:50:12 | |
My own safety? Do you suspect me? | 0:50:12 | 0:50:15 | |
I suspect nobody and everybody. | 0:50:15 | 0:50:16 | |
I'm merely trying to get at the truth. | 0:50:16 | 0:50:18 | |
I see you have been trying to get at the truth. | 0:50:18 | 0:50:20 | |
You've read things I never meant anyone else to look at. | 0:50:20 | 0:50:23 | |
Strictly routine. | 0:50:23 | 0:50:24 | |
I'm sorry. | 0:50:24 | 0:50:26 | |
Really. | 0:50:26 | 0:50:27 | |
Well, I'd better be going. | 0:50:29 | 0:50:31 | |
I'll see you in the morning, Miss Hunt. | 0:50:31 | 0:50:32 | |
Oh, I must ask you not to leave the house | 0:50:32 | 0:50:35 | |
or use the phone. | 0:50:35 | 0:50:36 | |
But... But I've got to let my friends know I'm alive. | 0:50:36 | 0:50:39 | |
Sorry, Miss Hunt, but I must insist you do as I say. | 0:50:39 | 0:50:42 | |
Am I under arrest? | 0:50:42 | 0:50:43 | |
No. But if anything should happen to you this time, | 0:50:43 | 0:50:47 | |
I wouldn't like it. | 0:50:47 | 0:50:49 | |
All right. I promise. | 0:50:49 | 0:50:51 | |
There's one more thing. | 0:50:51 | 0:50:53 | |
You may as well know what I know, | 0:50:53 | 0:50:54 | |
some of it, at any rate. | 0:50:54 | 0:50:56 | |
It'll save time and a lot of unnecessary fencing. | 0:50:56 | 0:51:00 | |
I know that you went away to make up your mind | 0:51:00 | 0:51:04 | |
whether you would marry Shelby Carpenter or not. | 0:51:04 | 0:51:08 | |
What did you decide? | 0:51:08 | 0:51:10 | |
I want the truth. | 0:51:10 | 0:51:12 | |
I decided not to marry him. | 0:51:14 | 0:51:17 | |
I'll see you in the morning. | 0:51:17 | 0:51:18 | |
Goodnight. | 0:51:18 | 0:51:20 | |
Goodnight. | 0:51:20 | 0:51:21 | |
DOOR CLOSES | 0:51:24 | 0:51:25 | |
Really? | 0:51:35 | 0:51:36 | |
Does McPherson know that? | 0:51:36 | 0:51:38 | |
Uh-huh. | 0:51:38 | 0:51:39 | |
Well, OK. | 0:51:39 | 0:51:40 | |
Goodbye. | 0:51:40 | 0:51:41 | |
Say, Mark, that was the medical examiner's report. | 0:51:41 | 0:51:44 | |
It wasn't Laura Hunt. | 0:51:44 | 0:51:46 | |
It was Diane Redfern that was bumped off upstairs. | 0:51:46 | 0:51:48 | |
Kind of balls things up, doesn't it? | 0:51:48 | 0:51:51 | |
Yeah. Say, you're not taking it too hard. | 0:51:51 | 0:51:53 | |
CLICKING | 0:51:53 | 0:51:55 | |
SHELBY: 'Hello?' | 0:51:55 | 0:51:57 | |
'This is Laura.' | 0:51:57 | 0:51:58 | |
SHELBY: 'Say nothing on the phone. Meet me now. | 0:51:58 | 0:52:00 | |
'I'll wait for you in my car in front of Bullitt's.' | 0:52:00 | 0:52:03 | |
Was that... | 0:52:03 | 0:52:04 | |
Yeah. | 0:52:04 | 0:52:04 | |
Dames are always pulling a switch on you. | 0:52:04 | 0:52:07 | |
Stand by. | 0:52:07 | 0:52:09 | |
You follow her. I'm going to tail him. | 0:52:26 | 0:52:28 | |
THUNDER CRASHES | 0:52:34 | 0:52:37 | |
THUNDER CRASHES | 0:52:41 | 0:52:44 | |
< Are you taking it down or putting it away, Carpenter? | 0:53:17 | 0:53:20 | |
It's been fired lately. | 0:53:33 | 0:53:34 | |
Yes. I killed some rabbits with it. | 0:53:34 | 0:53:36 | |
When? | 0:53:36 | 0:53:37 | |
Oh, a while back. I don't know exactly. | 0:53:37 | 0:53:39 | |
You know about guns, don't you? | 0:53:39 | 0:53:41 | |
Yes. | 0:53:41 | 0:53:42 | |
How come you didn't clean it afterward? | 0:53:42 | 0:53:44 | |
I don't know. I forgot, I suppose. | 0:53:44 | 0:53:46 | |
Your initials? | 0:53:46 | 0:53:48 | |
Yes. I gave it to Laura for protection. | 0:53:48 | 0:53:50 | |
She didn't want it, but I insisted. | 0:53:50 | 0:53:52 | |
This house is rather isolated, as you see. | 0:53:52 | 0:53:54 | |
Did you teach her how to use it? | 0:53:54 | 0:53:56 | |
No. | 0:53:56 | 0:53:57 | |
Does she know how? | 0:53:57 | 0:53:59 | |
I don't know. It didn't occur to me to ask. | 0:53:59 | 0:54:01 | |
You're a vague sort of a fellow, aren't you, Carpenter? | 0:54:01 | 0:54:03 | |
I've spent very little time | 0:54:03 | 0:54:05 | |
in observing my own character, Mr McPherson. | 0:54:05 | 0:54:07 | |
You haven't borrowed it lately? | 0:54:07 | 0:54:08 | |
You didn't just bring it back tonight? | 0:54:08 | 0:54:10 | |
You followed me here. You saw me come in. | 0:54:10 | 0:54:12 | |
You ought to know. | 0:54:12 | 0:54:13 | |
You, er, realise the spot you're in, Carpenter? | 0:54:13 | 0:54:16 | |
You took that poor girl to Miss Hunt's apartment. | 0:54:16 | 0:54:19 | |
You knew all along it was she who was murdered. | 0:54:19 | 0:54:22 | |
Didn't you know Laura Hunt would come back any day | 0:54:22 | 0:54:25 | |
and spill the whole thing? | 0:54:25 | 0:54:27 | |
Or did you plan to kill her, too, | 0:54:27 | 0:54:29 | |
hide the body someplace, | 0:54:29 | 0:54:31 | |
and cover up your first crime? | 0:54:31 | 0:54:33 | |
You're being fantastic, McPherson. | 0:54:33 | 0:54:35 | |
You took a bottle of Black Pony | 0:54:35 | 0:54:37 | |
to her house Friday night. | 0:54:37 | 0:54:39 | |
I took it there over a week ago. | 0:54:39 | 0:54:40 | |
Bessie said it wasn't there Friday night. | 0:54:40 | 0:54:42 | |
It was Saturday morning. | 0:54:42 | 0:54:44 | |
I can't help what Bessie said. | 0:54:44 | 0:54:46 | |
Where is the key to her apartment? | 0:54:48 | 0:54:50 | |
I haven't got it. | 0:54:50 | 0:54:52 | |
What did you do with it? Give it back to her tonight? | 0:54:52 | 0:54:55 | |
I never had one. | 0:54:55 | 0:54:56 | |
OK. You didn't take the bottle of scotch | 0:54:56 | 0:54:58 | |
to her house Friday night, | 0:54:58 | 0:54:59 | |
and you haven't got a key to her apartment. | 0:54:59 | 0:55:00 | |
How did you get in? You had a key, and I know it. | 0:55:00 | 0:55:02 | |
Now, come on, Carpenter, spill it. | 0:55:02 | 0:55:04 | |
I... | 0:55:04 | 0:55:05 | |
Laura kept a duplicate key at her office. | 0:55:05 | 0:55:08 | |
I went over and got it. | 0:55:08 | 0:55:10 | |
I'd asked Diane to dine with me. | 0:55:10 | 0:55:11 | |
I wanted to have it out with her once and for all. | 0:55:11 | 0:55:14 | |
You know, she thought... | 0:55:14 | 0:55:16 | |
Well, she thought she was in love with me. | 0:55:16 | 0:55:18 | |
Well, we couldn't go on talking in public places. | 0:55:18 | 0:55:20 | |
She was too upset. | 0:55:20 | 0:55:21 | |
I couldn't go to her room, | 0:55:21 | 0:55:23 | |
and I didn't want to take her to my hotel, | 0:55:23 | 0:55:25 | |
so we went to Laura's. | 0:55:25 | 0:55:27 | |
We talked there for about three hours. | 0:55:27 | 0:55:29 | |
Then the doorbell rang, and... | 0:55:29 | 0:55:31 | |
Go on. | 0:55:31 | 0:55:32 | |
Diane was frightened, | 0:55:32 | 0:55:33 | |
but knowing Laura as I've known her, | 0:55:33 | 0:55:35 | |
I've learned to be surprised at nothing. | 0:55:35 | 0:55:37 | |
What do you mean by that? | 0:55:37 | 0:55:38 | |
Well, her friends would come to her with their troubles | 0:55:38 | 0:55:40 | |
at all hours of the day or night. | 0:55:40 | 0:55:42 | |
I asked Diane to answer the door. | 0:55:42 | 0:55:44 | |
Why didn't you go yourself? | 0:55:44 | 0:55:46 | |
Well, supposing one of Laura's friends had found me there? | 0:55:46 | 0:55:48 | |
Why open the door at all? | 0:55:48 | 0:55:49 | |
Well, they must have seen the light. | 0:55:49 | 0:55:51 | |
What about the girl...Diane? What about her reputation? | 0:55:51 | 0:55:53 | |
Well, I had asked her to tell them | 0:55:53 | 0:55:55 | |
that Laura had lent her the apartment while she was away. | 0:55:55 | 0:55:58 | |
Anybody that knew Laura would have believed that. | 0:55:58 | 0:55:59 | |
Yeah. Go on. | 0:55:59 | 0:56:01 | |
Well, then the doorbell rang again. | 0:56:01 | 0:56:03 | |
I could hear Diane's mules... | 0:56:03 | 0:56:05 | |
Laura's they were... | 0:56:05 | 0:56:06 | |
clattering across the bare boards between the rugs. | 0:56:06 | 0:56:09 | |
Then there was a moment's silence and then a shot. | 0:56:09 | 0:56:11 | |
It was an awful explosion. | 0:56:11 | 0:56:14 | |
By the time I reached her, | 0:56:14 | 0:56:16 | |
the door was closed. | 0:56:16 | 0:56:17 | |
She lay there on the floor. | 0:56:17 | 0:56:19 | |
You got to see who it was? | 0:56:19 | 0:56:21 | |
No. I was too confused, too horrified, | 0:56:21 | 0:56:22 | |
incapable of doing anything. | 0:56:22 | 0:56:24 | |
The room was dark. | 0:56:24 | 0:56:25 | |
I saw only a vague heap lying on the floor. | 0:56:25 | 0:56:28 | |
I don't think I fully grasped the situation. | 0:56:28 | 0:56:31 | |
I think I called her name, but I'm not sure. | 0:56:31 | 0:56:34 | |
I remember kneeling on the floor, | 0:56:34 | 0:56:36 | |
feeling her heart. | 0:56:36 | 0:56:38 | |
My first instinct was to call the police. | 0:56:38 | 0:56:40 | |
Why didn't you? | 0:56:40 | 0:56:42 | |
I don't know, or rather I was afraid, | 0:56:42 | 0:56:44 | |
not only for myself but for Laura. | 0:56:44 | 0:56:45 | |
In a panicky sort of way, | 0:56:45 | 0:56:47 | |
I felt that I must keep out of this | 0:56:47 | 0:56:49 | |
to keep Laura out of it. | 0:56:49 | 0:56:51 | |
Oh, I know now how foolish and hopeless it was, | 0:56:51 | 0:56:53 | |
but there was only one thing on my mind - | 0:56:53 | 0:56:55 | |
the safety of a person whose life was dearer to me than my own. | 0:56:55 | 0:56:57 | |
Don't you understand that? | 0:56:57 | 0:56:59 | |
Did you think Laura had done it? | 0:56:59 | 0:57:01 | |
Did you? | 0:57:01 | 0:57:03 | |
I don't remember what I thought. | 0:57:03 | 0:57:04 | |
Do you think so now? | 0:57:04 | 0:57:07 | |
No. | 0:57:07 | 0:57:08 | |
But you didn't? | 0:57:08 | 0:57:09 | |
No. | 0:57:09 | 0:57:09 | |
On Saturday, when our men went to the hotel | 0:57:09 | 0:57:12 | |
to tell you that Laura was dead, | 0:57:12 | 0:57:13 | |
you seemed sincerely shocked. | 0:57:13 | 0:57:15 | |
I was. I hadn't expected that mistake. | 0:57:15 | 0:57:17 | |
But you had your alibi ready no matter who was dead, | 0:57:17 | 0:57:19 | |
yet you knew the minute Laura got back it wouldn't stick. | 0:57:19 | 0:57:22 | |
Don't you see, I was incapable of thinking | 0:57:22 | 0:57:24 | |
that far ahead. | 0:57:24 | 0:57:25 | |
I was incapable of thinking at all. | 0:57:25 | 0:57:27 | |
I was groping for some way | 0:57:27 | 0:57:29 | |
to keep Laura's name out of it. | 0:57:29 | 0:57:31 | |
I was heartbroken about Diane | 0:57:31 | 0:57:32 | |
and panic-stricken about Laura. | 0:57:32 | 0:57:34 | |
I haven't slept a full two hours | 0:57:34 | 0:57:36 | |
since this thing happened. | 0:57:36 | 0:57:37 | |
Let's get back to the present. | 0:57:37 | 0:57:39 | |
What did you and Laura talk about tonight? | 0:57:39 | 0:57:40 | |
I told her the whole story just as I've told you. | 0:57:40 | 0:57:44 | |
She phoned you after she promised me | 0:57:44 | 0:57:45 | |
she wouldn't call anybody. | 0:57:45 | 0:57:47 | |
What did she want? | 0:57:47 | 0:57:48 | |
It's perfectly natural she should want to see me, | 0:57:48 | 0:57:50 | |
especially after what's happened. | 0:57:50 | 0:57:51 | |
Why don't you tell the truth, Carpenter? | 0:57:51 | 0:57:53 | |
She sent you here to get rid of this gun. | 0:57:53 | 0:57:55 | |
She did not. It was my own idea. | 0:57:55 | 0:57:56 | |
She doesn't even know I'm here. | 0:57:56 | 0:57:58 | |
MUSIC ON RADIO | 0:58:00 | 0:58:02 | |
It works fine, doesn't it? | 0:58:04 | 0:58:06 | |
Yes. Did you think it wouldn't? | 0:58:06 | 0:58:08 | |
I hoped it wouldn't. All right, let's go. | 0:58:08 | 0:58:11 | |
Oh, am I under arrest? | 0:58:11 | 0:58:14 | |
No. But you're not to leave town. | 0:58:14 | 0:58:16 | |
It would be foolish of you to try it. | 0:58:16 | 0:58:19 | |
DOORBELL BUZZES | 0:58:32 | 0:58:34 | |
Good morning. | 0:58:36 | 0:58:38 | |
Good morning. | 0:58:38 | 0:58:39 | |
What's that? | 0:58:41 | 0:58:43 | |
Breakfast. You didn't buy any food when you went out last night. | 0:58:43 | 0:58:47 | |
I'll fix some bacon and eggs. | 0:58:51 | 0:58:53 | |
Can you make coffee? | 0:58:53 | 0:58:55 | |
Suppose you set the table while I get breakfast. | 0:58:55 | 0:58:58 | |
Do you always sound like this in the morning? | 0:58:58 | 0:59:01 | |
Don't tell me you can cook. | 0:59:01 | 0:59:03 | |
My mother always listened sympathetically | 0:59:03 | 0:59:05 | |
to my dreams of a career, | 0:59:05 | 0:59:07 | |
and then taught me another recipe. | 0:59:07 | 0:59:09 | |
KEY TURNS IN LOCK | 0:59:09 | 0:59:11 | |
Shh! Don't move. | 0:59:11 | 0:59:12 | |
Aah! | 0:59:14 | 0:59:16 | |
It's all right, Bessie. | 0:59:16 | 0:59:18 | |
That's all right, Bessie. | 0:59:18 | 0:59:20 | |
She's alive. | 0:59:20 | 0:59:21 | |
It's all been a mistake, Bessie. | 0:59:21 | 0:59:24 | |
I'm not a ghost, really. | 0:59:24 | 0:59:27 | |
I found you, and you were dead. | 0:59:27 | 0:59:30 | |
It was Miss Redfern's body you found. | 0:59:30 | 0:59:32 | |
How about taking over here, > | 0:59:34 | 0:59:36 | |
fixing us some coffee and eggs? > | 0:59:36 | 0:59:39 | |
But I saw it with my own eyes. | 0:59:39 | 0:59:43 | |
I don't understand it. | 0:59:43 | 0:59:45 | |
Have you ever heard a ghost ask for eggs? | 0:59:45 | 0:59:48 | |
No, Miss. | 0:59:48 | 0:59:50 | |
You'll be all right, Bessie. | 0:59:50 | 0:59:52 | |
Somebody should have warned her. Poor Bessie. | 1:00:02 | 1:00:04 | |
By the way, I've asked Waldo Lydecker to come here this morning. | 1:00:04 | 1:00:08 | |
Did you tell him? | 1:00:08 | 1:00:10 | |
No. | 1:00:10 | 1:00:11 | |
Why not? It's brutal. | 1:00:11 | 1:00:13 | |
I'm not doing it for fun. | 1:00:13 | 1:00:14 | |
Why did you break your promise | 1:00:14 | 1:00:17 | |
and go out and see Shelby last night? | 1:00:17 | 1:00:20 | |
You forced me to give you my word. | 1:00:20 | 1:00:22 | |
I never have been and I never will be | 1:00:22 | 1:00:24 | |
bound by anything I don't do of my own free will. | 1:00:24 | 1:00:26 | |
Redfern was in love with Carpenter. | 1:00:26 | 1:00:28 | |
You admitted that last night. | 1:00:28 | 1:00:30 | |
May I have a match, please? | 1:00:30 | 1:00:32 | |
Oh, I'm sorry. | 1:00:32 | 1:00:34 | |
I also told you that he wasn't in love with her. | 1:00:34 | 1:00:37 | |
DOORBELL BUZZES | 1:00:37 | 1:00:38 | |
Just sit still. | 1:00:38 | 1:00:39 | |
Hello, Lieutenant. | 1:00:46 | 1:00:48 | |
Good morning, my darling. | 1:00:49 | 1:00:50 | |
Hello, dear. | 1:00:50 | 1:00:52 | |
Ah. Thank you. | 1:00:52 | 1:00:54 | |
Oh, it's on again. | 1:00:54 | 1:00:56 | |
Do I have to get a permit from the police department | 1:00:56 | 1:00:59 | |
to kiss my fiancee good morning? | 1:00:59 | 1:01:01 | |
So he made you change your mind. | 1:01:01 | 1:01:02 | |
Speaking of changing one's mind, Mr McPherson, | 1:01:02 | 1:01:05 | |
I've just come from my lawyer. | 1:01:05 | 1:01:07 | |
Yeah? Did he tell you how much you'd get off for good behaviour? | 1:01:07 | 1:01:10 | |
No, but he told me that anything I may have said last night | 1:01:10 | 1:01:13 | |
was said under duress and can't be used against me. | 1:01:13 | 1:01:15 | |
Besides, none of it was true. | 1:01:15 | 1:01:17 | |
Smart lawyer you've got, Carpenter. | 1:01:17 | 1:01:19 | |
Maybe he told you how that scotch got up here Friday night | 1:01:19 | 1:01:21 | |
after you'd bought it at Mosconi's. | 1:01:21 | 1:01:23 | |
Maybe it was the lawyer who brought Diane Redfern up here. | 1:01:23 | 1:01:25 | |
DOORBELL BUZZES | 1:01:25 | 1:01:26 | |
Well, McPherson, have you thought over the deal I suggested? | 1:01:31 | 1:01:36 | |
Waldo. | 1:01:38 | 1:01:40 | |
THUMP! | 1:01:40 | 1:01:41 | |
Waldo. | 1:01:41 | 1:01:43 | |
Right-hand pocket. | 1:01:47 | 1:01:49 | |
You want a doctor? | 1:01:49 | 1:01:50 | |
Right-hand pocket. | 1:01:50 | 1:01:53 | |
We'd better take him into the bedroom. | 1:01:53 | 1:01:56 | |
What...? | 1:02:07 | 1:02:09 | |
Don't try and say anything, dear. | 1:02:09 | 1:02:11 | |
Just be quiet. | 1:02:11 | 1:02:12 | |
You know, I think this is carrying things too far. | 1:02:14 | 1:02:16 | |
Your methods are vicious. There ought to be a law against it. | 1:02:16 | 1:02:19 | |
Yeah? | 1:02:19 | 1:02:20 | |
How does he feel now? | 1:02:20 | 1:02:22 | |
It was a terrible shock, poor darling. | 1:02:22 | 1:02:24 | |
Don't tell me you're in love with him, too. | 1:02:24 | 1:02:25 | |
Look here, fella. You're not to talk that way to Miss Hunt. | 1:02:25 | 1:02:27 | |
Shut up. Why do you cover up for a guy like him? | 1:02:27 | 1:02:29 | |
Don't answer him, Laura. | 1:02:29 | 1:02:31 | |
What story did he tell you last night? | 1:02:31 | 1:02:33 | |
Don't answer him. Let him talk to our lawyer. | 1:02:33 | 1:02:34 | |
OUR lawyer? So now you're covering up for each other. | 1:02:34 | 1:02:36 | |
Look at him, Laura. He's beginning to crack up. | 1:02:36 | 1:02:38 | |
He'd use anything to make an arrest | 1:02:38 | 1:02:40 | |
just so he can be a big shot in the headlines. | 1:02:40 | 1:02:42 | |
I've got enough on you to arrest you right now. | 1:02:42 | 1:02:44 | |
Quick, McPherson, the handcuffs. | 1:02:44 | 1:02:45 | |
Trundle him off to the hoosegow. | 1:02:45 | 1:02:47 | |
You keep out of this. | 1:02:47 | 1:02:48 | |
You'll look nice in bracelets, Carpenter. | 1:02:48 | 1:02:49 | |
Why don't you get down on all fours again, Waldo. | 1:02:49 | 1:02:51 | |
It's the only time you've ever kept your mouth shut. | 1:02:51 | 1:02:53 | |
I hope you'll forgive my wee touch of epilepsy, my dear. | 1:02:53 | 1:02:56 | |
It's an old family custom. | 1:02:56 | 1:02:58 | |
Well, McPherson, | 1:02:58 | 1:02:59 | |
what does Laura's resurrection do to you? | 1:02:59 | 1:03:02 | |
Too bad Diane Redfern can't be resurrected. | 1:03:02 | 1:03:04 | |
I'm afraid I've interrupted what you call a pinch. | 1:03:04 | 1:03:07 | |
Do your duty, McPherson. | 1:03:07 | 1:03:10 | |
You know, Lydecker, you've made me change my mind... | 1:03:10 | 1:03:13 | |
for the moment. | 1:03:13 | 1:03:14 | |
Well, in that case, | 1:03:14 | 1:03:16 | |
we'll have time for a little get-together. | 1:03:16 | 1:03:18 | |
You'd better order some liquor and some food, Laura. | 1:03:18 | 1:03:20 | |
What for? | 1:03:20 | 1:03:21 | |
People are coming to celebrate your return - | 1:03:21 | 1:03:23 | |
Ann, Bullitt, and Corey, everybody. | 1:03:23 | 1:03:25 | |
Who asked them to come? | 1:03:25 | 1:03:26 | |
I did, when I was in there. | 1:03:26 | 1:03:28 | |
I phoned my man, and he's calling everyone. | 1:03:28 | 1:03:30 | |
Why did you do that, Waldo? | 1:03:30 | 1:03:32 | |
A sense of the fitness of things, my dear. | 1:03:32 | 1:03:34 | |
Perhaps our friend can weave all the loose ends | 1:03:34 | 1:03:36 | |
into a noose, eh, McPherson? | 1:03:36 | 1:03:38 | |
Sorry you went to all that trouble. | 1:03:38 | 1:03:40 | |
I've already called them. | 1:03:40 | 1:03:42 | |
You're working yourself to death, darling. | 1:03:45 | 1:03:46 | |
I haven't had a moment with you all day. | 1:03:46 | 1:03:48 | |
It's a very thirsty crowd, you know. | 1:03:48 | 1:03:50 | |
After all, it isn't your homecoming. | 1:03:50 | 1:03:52 | |
Aren't you being a little bit nasty, Ann? | 1:03:52 | 1:03:55 | |
I feel nasty when I don't see you. | 1:03:55 | 1:03:57 | |
Well, you look very sweet. | 1:03:57 | 1:03:59 | |
That's a completely wonderful hat, darling. | 1:03:59 | 1:04:01 | |
Now, if you'll forgive me, Laura wants a cocktail. | 1:04:01 | 1:04:03 | |
So do I. | 1:04:03 | 1:04:05 | |
Well, here you go. | 1:04:05 | 1:04:07 | |
Shelby, why don't you come to your senses? | 1:04:07 | 1:04:09 | |
You know it's all over between you and Laura, | 1:04:09 | 1:04:11 | |
or it soon will be. | 1:04:11 | 1:04:13 | |
You haven't lost me. Why don't we get married? Now. | 1:04:13 | 1:04:15 | |
But, Ann, dear, you don't seem to realise the situation. | 1:04:15 | 1:04:18 | |
Yes, but I do. That's why you need me. | 1:04:18 | 1:04:20 | |
We'll get the best lawyer that money can buy. | 1:04:20 | 1:04:22 | |
When it's all over, we'll go away... anywhere you want... | 1:04:22 | 1:04:24 | |
and forget about all this. | 1:04:24 | 1:04:26 | |
Well, thanks, Ann, but you see, Laura needs me. | 1:04:26 | 1:04:28 | |
Sorry. | 1:04:28 | 1:04:30 | |
Uh-uh. | 1:04:31 | 1:04:33 | |
Laura. | 1:04:34 | 1:04:36 | |
Thanks. | 1:04:36 | 1:04:37 | |
If you don't mind, I'd like a word with Miss Hunt. | 1:04:37 | 1:04:40 | |
I don't mind. Talk to her as much as you like. | 1:04:40 | 1:04:44 | |
I see he's taking a new tack. | 1:04:44 | 1:04:46 | |
What do you mean? | 1:04:46 | 1:04:48 | |
Trying to make you like him to make you talk. | 1:04:48 | 1:04:51 | |
Shelby, tell me, why did you go to... | 1:04:51 | 1:04:54 | |
Oh, excuse me. | 1:04:54 | 1:04:57 | |
Why did you go to the cottage last night? | 1:04:59 | 1:05:02 | |
Don't you know? | 1:05:02 | 1:05:03 | |
I was afraid you wouldn't think of hiding that shotgun. | 1:05:03 | 1:05:07 | |
What shotgun? | 1:05:07 | 1:05:08 | |
The one I gave you. You don't have to lie to me, darling. | 1:05:08 | 1:05:12 | |
I'll stand by you. | 1:05:12 | 1:05:14 | |
What's the matter, Laura? | 1:05:20 | 1:05:23 | |
Oh, I guess I'm just nervous, that's all. | 1:05:23 | 1:05:26 | |
So am I. | 1:05:26 | 1:05:28 | |
McPherson suspects Shelby. | 1:05:28 | 1:05:31 | |
He seems to suspect me, too. | 1:05:31 | 1:05:35 | |
So do some of my friends. | 1:05:35 | 1:05:38 | |
You? Don't be absurd. | 1:05:38 | 1:05:39 | |
You could never do a thing like that. | 1:05:39 | 1:05:41 | |
And Shelby? | 1:05:41 | 1:05:43 | |
Oh, I don't think he did it, | 1:05:43 | 1:05:44 | |
but he's capable of it. | 1:05:44 | 1:05:46 | |
Are you as interested in McPherson as he is in you? | 1:05:47 | 1:05:50 | |
But, Ann, I only met him last night. | 1:05:50 | 1:05:53 | |
That's more than long enough sometimes. | 1:05:53 | 1:05:54 | |
Anyway, he's better for you than Shelby, | 1:05:54 | 1:05:57 | |
anybody is. | 1:05:57 | 1:05:58 | |
Shelby's better for me. | 1:05:58 | 1:06:00 | |
Why? | 1:06:00 | 1:06:02 | |
Because I can afford him and understand him. | 1:06:02 | 1:06:06 | |
He's no good, but he's what I want. | 1:06:06 | 1:06:09 | |
I'm not a nice person, Laura. Neither is he. | 1:06:09 | 1:06:12 | |
He knows I know he's just what he is. | 1:06:12 | 1:06:16 | |
He also knows that I don't care. | 1:06:16 | 1:06:18 | |
We belong together | 1:06:18 | 1:06:19 | |
because we're both weak and can't seem to help it. | 1:06:19 | 1:06:22 | |
That's why I know he's capable of murder. | 1:06:22 | 1:06:26 | |
He's like me. | 1:06:26 | 1:06:27 | |
No, dear, I didn't, | 1:06:29 | 1:06:32 | |
but I thought of it. | 1:06:32 | 1:06:34 | |
TELEPHONE RINGS | 1:06:47 | 1:06:51 | |
Hello? | 1:06:51 | 1:06:52 | |
Yes. Yes. | 1:06:52 | 1:06:55 | |
It's for you, Lieutenant. | 1:06:55 | 1:06:57 | |
Thank you, Bessie. | 1:06:57 | 1:07:00 | |
McPherson. | 1:07:00 | 1:07:01 | |
Yeah, I know. Don't worry. | 1:07:03 | 1:07:05 | |
I told you I'd bring in the killer today. | 1:07:05 | 1:07:08 | |
MUSIC STOPS | 1:07:08 | 1:07:09 | |
Yeah, I was just going to make the arrest when you called. > | 1:07:09 | 1:07:13 | |
No, I can't tell you now. I'm not alone. > | 1:07:13 | 1:07:15 | |
You'll see when I come in. | 1:07:16 | 1:07:19 | |
Right. | 1:07:19 | 1:07:20 | |
See you later. | 1:07:20 | 1:07:22 | |
All right. Let's go. | 1:07:40 | 1:07:42 | |
You mean... | 1:07:42 | 1:07:43 | |
Yeah. | 1:07:43 | 1:07:44 | |
Oh, no! > | 1:07:44 | 1:07:46 | |
Oh, no. No, no. Not Miss Hunt. | 1:07:47 | 1:07:52 | |
Please! | 1:07:52 | 1:07:53 | |
Thank you, Bessie. | 1:07:55 | 1:07:56 | |
Thank you. | 1:07:58 | 1:07:59 | |
Now will you please be good enough to go and get me my things? | 1:07:59 | 1:08:04 | |
Yes, Miss. | 1:08:04 | 1:08:05 | |
Laura, don't worry, darling. | 1:08:05 | 1:08:09 | |
Let them accuse you. We'll fight them. | 1:08:09 | 1:08:12 | |
I have every weapon - money, connections, prestige, and my column. | 1:08:12 | 1:08:17 | |
< Every day millions will read about you | 1:08:17 | 1:08:20 | |
< and rally to your defence. | 1:08:20 | 1:08:22 | |
You talk as if you wanted to see her tried for murder. | 1:08:22 | 1:08:24 | |
Yes, rather than let you blacken her name | 1:08:24 | 1:08:27 | |
with suspicions and rumours. | 1:08:27 | 1:08:29 | |
Try to prove her guilty. | 1:08:29 | 1:08:31 | |
Get on the witness stand with your poor shreds of evidence. | 1:08:31 | 1:08:34 | |
I'll expose your cheap methods you used on her. | 1:08:34 | 1:08:38 | |
Thank you, Bessie. | 1:08:38 | 1:08:39 | |
Laura, I told you to watch out for this fella. | 1:08:39 | 1:08:42 | |
Can we go now? | 1:08:42 | 1:08:43 | |
I warned you. | 1:08:43 | 1:08:45 | |
It's too bad you didn't open that door Friday night, Carpenter. | 1:08:45 | 1:08:49 | |
Wait a minute. | 1:08:49 | 1:08:50 | |
Uh! | 1:08:50 | 1:08:52 | |
Shelby! | 1:08:52 | 1:08:53 | |
Oh, did he hurt you, darling? | 1:08:53 | 1:08:56 | |
Darling. | 1:08:56 | 1:08:57 | |
Ann. | 1:09:00 | 1:09:01 | |
Come in. | 1:09:05 | 1:09:07 | |
Sit down. | 1:09:07 | 1:09:09 | |
That'll be all, Gallagher. | 1:09:11 | 1:09:12 | |
Yes, sir. | 1:09:12 | 1:09:14 | |
All right, let's have it. | 1:09:16 | 1:09:18 | |
Look at me. | 1:09:18 | 1:09:20 | |
What are you trying to do, force a confession out of me? | 1:09:22 | 1:09:25 | |
You've been holding out, and I want to know why. | 1:09:25 | 1:09:27 | |
It'll be easier for you if you tell the truth. | 1:09:27 | 1:09:29 | |
What difference does it make what I say? | 1:09:29 | 1:09:33 | |
You've made up your mind I'm guilty. | 1:09:33 | 1:09:36 | |
Are you? | 1:09:36 | 1:09:37 | |
Don't tell me you have any doubts, since you... | 1:09:37 | 1:09:40 | |
Oh, I can't. Please. | 1:09:40 | 1:09:42 | |
Do I have to have those lights in my face? | 1:09:42 | 1:09:45 | |
Thanks. | 1:09:50 | 1:09:52 | |
No, I didn't kill Diane Redfern | 1:09:52 | 1:09:54 | |
or anyone else. | 1:09:54 | 1:09:56 | |
Then why... | 1:09:56 | 1:09:57 | |
Why did you tell me | 1:09:57 | 1:09:59 | |
the radio at your country place was broken? | 1:09:59 | 1:10:01 | |
Because it was broken. | 1:10:01 | 1:10:03 | |
Not when I tried it. | 1:10:03 | 1:10:05 | |
Just as I was leaving the village, | 1:10:05 | 1:10:07 | |
I asked the local handyman to fix it. | 1:10:07 | 1:10:09 | |
< How did he get in? | 1:10:09 | 1:10:10 | |
I always leave a key under the flowerpot on the porch. | 1:10:10 | 1:10:12 | |
You're too intelligent to make up something I could check so easily, | 1:10:12 | 1:10:16 | |
but you're intelligent enough to have broken it yourself | 1:10:16 | 1:10:19 | |
to strengthen your story. | 1:10:19 | 1:10:21 | |
The main thing I want to know | 1:10:21 | 1:10:23 | |
is why you pulled that switch on me about Carpenter. | 1:10:23 | 1:10:25 | |
You told me last night you had decided not to marry him. | 1:10:25 | 1:10:28 | |
Yes, I guess I did. | 1:10:28 | 1:10:30 | |
But today it was on again. Why? | 1:10:30 | 1:10:33 | |
Well, I... I changed my mind. | 1:10:33 | 1:10:36 | |
What are you trying to hide? | 1:10:36 | 1:10:39 | |
Don't you realise you're involved in a murder? | 1:10:39 | 1:10:42 | |
You've got yourself in a jam it's not going to be easy to get out of | 1:10:42 | 1:10:45 | |
unless you're on the level with me. | 1:10:45 | 1:10:47 | |
This is no time for secrets. | 1:10:47 | 1:10:49 | |
Now, did you really decide to call it off, | 1:10:49 | 1:10:51 | |
or did you just tell me that | 1:10:51 | 1:10:53 | |
because you knew I wanted to hear it? | 1:10:53 | 1:10:57 | |
What went on between you and Carpenter when you saw him last night? | 1:10:57 | 1:11:02 | |
Did he persuade you to make up, | 1:11:02 | 1:11:05 | |
or did you agree to pretend you had? | 1:11:05 | 1:11:08 | |
Was that it? | 1:11:08 | 1:11:09 | |
Well, we...that is, both of us thought... | 1:11:09 | 1:11:11 | |
He convinced you that if you broke the engagement now, | 1:11:11 | 1:11:14 | |
people would think you believed he was guilty. | 1:11:14 | 1:11:15 | |
Yes, but now I know it was only because he thought I was. | 1:11:15 | 1:11:19 | |
Did you believe he was guilty? | 1:11:19 | 1:11:21 | |
No, I'm sure he isn't, but he'd gotten himself | 1:11:21 | 1:11:24 | |
into an awfully suspicious position, | 1:11:24 | 1:11:25 | |
and he's the sort of man | 1:11:25 | 1:11:26 | |
that people are always ready to believe the worst about. | 1:11:26 | 1:11:29 | |
Are you in love with him? | 1:11:29 | 1:11:31 | |
I don't see how I ever could have been. | 1:11:36 | 1:11:38 | |
Come on. You're going home. | 1:11:42 | 1:11:45 | |
But I thought I was... | 1:11:46 | 1:11:48 | |
That's what I wanted you to think, | 1:11:48 | 1:11:50 | |
you and a few others. | 1:11:50 | 1:11:52 | |
I didn't even book you. | 1:11:52 | 1:11:54 | |
You mean this was some sort of a game? | 1:11:54 | 1:11:56 | |
I was 99% certain about you, | 1:11:56 | 1:11:58 | |
but I had to get rid of that 1% doubt. | 1:11:58 | 1:12:00 | |
Wasn't there an easier way to make sure? | 1:12:00 | 1:12:03 | |
I'd reached the point | 1:12:03 | 1:12:05 | |
where I needed official surroundings. | 1:12:05 | 1:12:08 | |
Then it was worth it, Mark. | 1:12:09 | 1:12:12 | |
I'll call a cab for you. | 1:12:14 | 1:12:16 | |
Goodnight. I'll see you tomorrow. | 1:12:29 | 1:12:32 | |
Goodnight, Mark. | 1:12:32 | 1:12:33 | |
I'm going over to Lydecker's apartment. | 1:12:33 | 1:12:36 | |
BUZZ! | 1:12:40 | 1:12:42 | |
CLOCK CHIMES | 1:13:08 | 1:13:11 | |
It still doesn't make sense to me, Laura. | 1:13:56 | 1:13:58 | |
He's playing some sort of a game with you. | 1:13:58 | 1:14:00 | |
I don't think so. | 1:14:00 | 1:14:02 | |
I don't deny that he's infatuated with you | 1:14:02 | 1:14:04 | |
in some warped way of his own, | 1:14:04 | 1:14:06 | |
but he isn't capable of any normal, warm, human relationship. | 1:14:06 | 1:14:10 | |
He's been dealing with criminals too long. | 1:14:10 | 1:14:14 | |
When you were unattainable, | 1:14:14 | 1:14:16 | |
when he thought you were dead, | 1:14:16 | 1:14:18 | |
that's when he wanted you most. | 1:14:18 | 1:14:20 | |
But he was glad when I came back, | 1:14:20 | 1:14:22 | |
as if he were waiting for me. | 1:14:22 | 1:14:24 | |
Do you know what he calls women? Dames. | 1:14:24 | 1:14:26 | |
A "dame" in Washington Heights got a fox fur out of him. | 1:14:26 | 1:14:30 | |
His very words. | 1:14:30 | 1:14:31 | |
That doesn't mean anything. | 1:14:31 | 1:14:33 | |
He isn't like that. | 1:14:33 | 1:14:35 | |
Laura, you have one tragic weakness. | 1:14:35 | 1:14:38 | |
With you, a lean, strong body is the measure of a man, | 1:14:38 | 1:14:43 | |
and you always get hurt. | 1:14:43 | 1:14:45 | |
No man is ever going to hurt me again. | 1:14:45 | 1:14:48 | |
No-one, not even you. | 1:14:48 | 1:14:50 | |
I...hurt you? Laura, look at me. | 1:14:50 | 1:14:57 | |
When a man has everything in the world that he wants | 1:14:58 | 1:15:02 | |
except what he wants most, | 1:15:02 | 1:15:04 | |
he loses his self-respect. | 1:15:04 | 1:15:07 | |
It makes him bitter, Laura. | 1:15:07 | 1:15:09 | |
He wants to hurt someone as he's been hurt. | 1:15:09 | 1:15:13 | |
You were a long time in finding out about Shelby, | 1:15:14 | 1:15:19 | |
but that's over now. | 1:15:19 | 1:15:21 | |
We'll be back together again. | 1:15:21 | 1:15:23 | |
DOOR OPENS | 1:15:23 | 1:15:25 | |
Haven't you heard of science's newest triumph... | 1:15:25 | 1:15:28 | |
the doorbell? > | 1:15:28 | 1:15:29 | |
I don't like to remind her. | 1:15:29 | 1:15:32 | |
That was the murderer's signal. | 1:15:34 | 1:15:36 | |
Did you eavesdrop, too? I hope. | 1:15:36 | 1:15:39 | |
I thought you'd like to know we tested your shotgun. | 1:15:39 | 1:15:41 | |
It isn't the one. | 1:15:41 | 1:15:43 | |
Now, that's what I call a typical move, | 1:15:43 | 1:15:45 | |
a real key to the man's character. | 1:15:45 | 1:15:48 | |
First he tells you that he thinks you're innocent, | 1:15:48 | 1:15:50 | |
then proceeds to check up on you. | 1:15:50 | 1:15:52 | |
When I report that I think she's innocent, | 1:15:52 | 1:15:54 | |
that's my own personal opinion. | 1:15:54 | 1:15:56 | |
When I submit proof, it becomes the opinion of the department. | 1:15:56 | 1:15:59 | |
This entire manoeuvre could be a trick to get you off your guard. | 1:15:59 | 1:16:02 | |
It could be, but it isn't. | 1:16:02 | 1:16:04 | |
I believe you, Mark. | 1:16:04 | 1:16:05 | |
It's the same obvious pattern, Laura. | 1:16:05 | 1:16:07 | |
If McPherson weren't muscular and handsome in a cheap sort of way, | 1:16:07 | 1:16:11 | |
you'd see through him in a second. | 1:16:11 | 1:16:13 | |
Waldo, I mean to be as kind about this as I know how, | 1:16:13 | 1:16:16 | |
but I must tell you. | 1:16:16 | 1:16:17 | |
You're the one who follows the same obvious pattern. | 1:16:17 | 1:16:21 | |
First, it was Jacoby, then Shelby, and now I suppose... | 1:16:21 | 1:16:23 | |
< Laura, I... | 1:16:23 | 1:16:24 | |
I don't think we should see each other again. | 1:16:24 | 1:16:26 | |
You're not yourself, darling. | 1:16:26 | 1:16:27 | |
Yes, I am. | 1:16:27 | 1:16:29 | |
For the first time in ages, I know what I'm doing. | 1:16:29 | 1:16:33 | |
Very well. I hope you'll never regret | 1:16:34 | 1:16:38 | |
what promises to be a disgustingly earthy relationship. | 1:16:38 | 1:16:42 | |
My congratulations, McPherson. | 1:16:42 | 1:16:46 | |
Listen to my broadcast in 15 minutes. | 1:16:46 | 1:16:50 | |
I'm discussing great lovers of history. | 1:16:50 | 1:16:53 | |
That was the most difficult thing I ever had to do | 1:17:12 | 1:17:14 | |
in my whole life. | 1:17:14 | 1:17:16 | |
All I need is the gun. | 1:17:16 | 1:17:19 | |
What are you doing? | 1:17:23 | 1:17:25 | |
Do you know the combination to this thing? | 1:17:25 | 1:17:27 | |
I never knew it had one. | 1:17:27 | 1:17:29 | |
It must be somewhere. Look. | 1:17:29 | 1:17:31 | |
Have you ever seen this before? | 1:17:42 | 1:17:44 | |
No. | 1:17:44 | 1:17:46 | |
Waldo gave you that clock, didn't he? | 1:17:46 | 1:17:48 | |
Yes. | 1:17:48 | 1:17:50 | |
The doorbell rang, | 1:17:52 | 1:17:53 | |
and Diane Redfern went to the door in your negligee. | 1:17:53 | 1:17:58 | |
She opened the door. The room was dark. | 1:17:58 | 1:18:01 | |
Waldo saw a girl standing there, | 1:18:01 | 1:18:04 | |
and he assumed it was you. | 1:18:04 | 1:18:07 | |
He figured that if he couldn't have you himself, | 1:18:07 | 1:18:10 | |
he was going to make sure that nobody else did, | 1:18:10 | 1:18:12 | |
so he let her have it... | 1:18:12 | 1:18:13 | |
..with both barrels right in the face. | 1:18:16 | 1:18:19 | |
She fell here. | 1:18:20 | 1:18:23 | |
Waldo heard Shelby running from the next room, | 1:18:23 | 1:18:26 | |
so he hid in the stairway outside. | 1:18:26 | 1:18:29 | |
Shelby was scared, | 1:18:29 | 1:18:31 | |
so he ran out as fast as he could. | 1:18:31 | 1:18:34 | |
Then Waldo came back | 1:18:34 | 1:18:35 | |
and placed the gun in that clock. | 1:18:35 | 1:18:37 | |
I knew it. | 1:18:37 | 1:18:40 | |
I've felt it ever since I came back, | 1:18:40 | 1:18:42 | |
but I didn't want to believe it. | 1:18:42 | 1:18:46 | |
I couldn't make myself believe | 1:18:46 | 1:18:48 | |
that Waldo was a murderer. | 1:18:48 | 1:18:50 | |
Well, he is. | 1:18:50 | 1:18:52 | |
He didn't really kill Diane Redfern. | 1:18:52 | 1:18:55 | |
I killed her. | 1:18:55 | 1:18:56 | |
What are you talking about? | 1:18:56 | 1:18:58 | |
But I did, Mark. | 1:18:58 | 1:18:59 | |
I did, as surely as if I'd pulled the trigger myself. | 1:18:59 | 1:19:02 | |
That's nonsense. Forget it. | 1:19:02 | 1:19:04 | |
No, Mark, I can't. I'm as guilty as he is. | 1:19:04 | 1:19:07 | |
Not for anything I did, but for what I didn't do, | 1:19:07 | 1:19:12 | |
but I couldn't help myself. | 1:19:12 | 1:19:15 | |
I owed him too much. | 1:19:15 | 1:19:17 | |
I can understand that, Laura, | 1:19:21 | 1:19:24 | |
but I can't understand why you've tried so hard | 1:19:24 | 1:19:26 | |
to protect Shelby these last few days. | 1:19:26 | 1:19:28 | |
I was nearly frantic for fear you'd arrest Shelby. | 1:19:28 | 1:19:30 | |
I knew he wasn't guilty. He hasn't enough courage to kill a fly, | 1:19:30 | 1:19:33 | |
and Waldo was doing everything he could to incriminate him. | 1:19:33 | 1:19:36 | |
It was his way of getting rid of Shelby, | 1:19:36 | 1:19:38 | |
just as he did Jacoby. | 1:19:38 | 1:19:40 | |
I must say | 1:19:43 | 1:19:44 | |
for a charming and intelligent girl, | 1:19:44 | 1:19:46 | |
you certainly surrounded yourself | 1:19:46 | 1:19:48 | |
with a remarkable collection of dopes. | 1:19:48 | 1:19:49 | |
Don't touch anything. Fingerprints will be important. | 1:19:49 | 1:19:53 | |
I'll have the clock picked up tomorrow. | 1:19:54 | 1:19:57 | |
What are you going to do? | 1:19:57 | 1:19:59 | |
Arrest Waldo. | 1:19:59 | 1:20:00 | |
Mark. | 1:20:00 | 1:20:01 | |
It can't be helped. | 1:20:01 | 1:20:03 | |
That's to make sure you're not disturbed. | 1:20:07 | 1:20:10 | |
If the doorbell rings, don't answer it. | 1:20:10 | 1:20:13 | |
I'll phone you in the morning. | 1:20:13 | 1:20:14 | |
Goodnight, Mark. | 1:20:14 | 1:20:16 | |
Get some sleep. Forget the whole thing like a bad dream. | 1:20:16 | 1:20:21 | |
CREAK | 1:21:29 | 1:21:31 | |
CLICK! | 1:21:46 | 1:21:47 | |
CLOCK CHIMES | 1:21:51 | 1:21:53 | |
WALDO'S VOICE: 'And thus, | 1:22:07 | 1:22:09 | |
'as history has proved, love is eternal. | 1:22:09 | 1:22:11 | |
'It has been the strongest motivation | 1:22:11 | 1:22:14 | |
'for human actions throughout centuries. | 1:22:14 | 1:22:17 | |
'Love is stronger than life. | 1:22:17 | 1:22:19 | |
'It reaches beyond the dark shadow of death. | 1:22:19 | 1:22:23 | |
'I close this evening's broadcast | 1:22:23 | 1:22:26 | |
'with some favourite lines from Dowson. | 1:22:26 | 1:22:29 | |
'Brief life. | 1:22:29 | 1:22:32 | |
'"They are not long, the weeping and the laughter, | 1:22:32 | 1:22:36 | |
'"love and desire and hate. | 1:22:36 | 1:22:39 | |
'"I think they have no portion in us | 1:22:39 | 1:22:43 | |
'"after we pass the gate."' | 1:22:43 | 1:22:46 | |
Who's tailing Lydecker? | 1:22:46 | 1:22:48 | |
I was going to when he came out. | 1:22:48 | 1:22:50 | |
He left five minutes ago. | 1:22:50 | 1:22:52 | |
He didn't come out this way. | 1:22:52 | 1:22:53 | |
Must have gone out the back way. Come on, let's check. | 1:22:53 | 1:22:55 | |
'"They are not long, the days of wine and roses. | 1:22:55 | 1:23:00 | |
'"Out of a misty dream our path emerges for a while, | 1:23:00 | 1:23:05 | |
'"then closes within a dream."' | 1:23:05 | 1:23:08 | |
That's the way it is, isn't it, Laura? | 1:23:08 | 1:23:11 | |
'You have heard the voice of Waldo Lydecker. | 1:23:11 | 1:23:14 | |
'By electrical transcription.' | 1:23:14 | 1:23:15 | |
Waldo, you've taken one life. | 1:23:15 | 1:23:18 | |
Isn't that enough? | 1:23:18 | 1:23:20 | |
The best part of myself, that's what you are. | 1:23:20 | 1:23:24 | |
Do you think I'm going to leave it | 1:23:24 | 1:23:27 | |
to the vulgar pawing of a second-rate detective | 1:23:27 | 1:23:29 | |
who thinks you're a dame? | 1:23:29 | 1:23:30 | |
Do you think I could bear the thought of him holding you in his arms, | 1:23:30 | 1:23:32 | |
kissing you, loving you? | 1:23:32 | 1:23:34 | |
DOORBELL BUZZES | 1:23:34 | 1:23:35 | |
Laura, it's Mark. Open the door. | 1:23:35 | 1:23:39 | |
There he is now. | 1:23:39 | 1:23:40 | |
< Laura! | 1:23:40 | 1:23:41 | |
He'll find us together, Laura, as we always have been, | 1:23:41 | 1:23:45 | |
as we always should be, as we always will be. | 1:23:45 | 1:23:47 | |
GUNSHOT | 1:23:47 | 1:23:49 | |
GLASS BREAKS | 1:23:57 | 1:23:59 | |
LAURA SOBS | 1:23:59 | 1:24:01 | |
Goodbye, Laura. | 1:24:07 | 1:24:09 | |
WALDO: Goodbye, my love. | 1:24:17 | 1:24:20 |