Eyes in the Night (1942)
Passed | 1h 20min | Crime, Mystery | 29 April 1943 (Mexico)
A blind detective and his seeing-eye dog investigate a murder and discover a Nazi plot.
Director: Fred Zinnemann
Writers: Baynard Kendrick (book), Guy Trosper (screenplay)
Stars: Edward Arnold, Ann Harding, Donna Reed
Passed | 1h 20min | Crime, Mystery | 29 April 1943 (Mexico)
A blind detective and his seeing-eye dog investigate a murder and discover a Nazi plot.
Director: Fred Zinnemann
Writers: Baynard Kendrick (book), Guy Trosper (screenplay)
Stars: Edward Arnold, Ann Harding, Donna Reed
Category
🎥
Short filmTranscript
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00:01:12I got a hunch something's going to happen I ain't going to like.
00:01:15You won't mind this.
00:01:18That's right.
00:01:20Careful, Max. You know I'm delicate.
00:01:23There's a kind of a monotony about this.
00:01:30You're not hurt, are you?
00:01:32No. I'm getting so I enjoy it.
00:01:35What you just saw is my triple McNasty.
00:01:38It should be a must for all of us detectives.
00:01:41Marty is a sucker for it.
00:01:43I've got another little item that I think you coppers should know.
00:01:46Come on, Herman.
00:01:47You'll pardon me?
00:01:48Oh, it won't hurt you.
00:01:49Peter, come on, let's try it.
00:01:51I have your gun.
00:01:53There.
00:01:55What's the matter with you, Friday?
00:01:57It's all right.
00:01:58He's a minion of the law.
00:02:02Now, come on.
00:02:04Put the gun in my bag.
00:02:06I'm walking along.
00:02:09I hope my insurance is paid up.
00:02:16You see, it's all in the timing.
00:02:18Hey, will you get this malamute off me?
00:02:20Relaxing, ain't it?
00:02:22Well, how about Friday?
00:02:24Excuse me, boys, will you?
00:02:26Come on out, Friday.
00:02:31Can't see anybody today, Alistair.
00:02:33Friday, Alistair will answer this time if you don't mind.
00:02:35Can't you get it through your head?
00:02:37Dogs don't answer doorbells.
00:02:44Yes, ma'am?
00:02:45I'm Mrs. Laurie.
00:02:47Is Captain McLean in?
00:02:48I'm sorry, ma'am.
00:02:49Captain McLean is not receiving today.
00:02:51He's consulting.
00:02:53Oh, but I'm an old friend.
00:02:55I'm sure he'd want to see me.
00:02:57I'll just wait.
00:02:59I know, ma'am, but, uh...
00:03:01He said don't let nobody in.
00:03:03And if I don't let him in, he says do let him in.
00:03:05Dog, where is you going?
00:03:07Innocent as a lamb, ain't you?
00:03:09Well, if you're entertaining any ideas
00:03:11about getting into my department,
00:03:13you're treading on the edge of disaster.
00:03:15What are you looking at?
00:03:17Very cunning.
00:03:19Now, what is you looking at?
00:03:24So dassy.
00:03:29Why, you double-crossing canine.
00:03:34I'll disconnect you.
00:03:37Boss, I'm a man with patience.
00:03:39But that dog...
00:03:41Oh, never mind that.
00:03:43Who is it, the dog?
00:03:45That blamed dog has even gotten me
00:03:47forgetting what I'm supposed to be doing.
00:03:49All right, all right. Who's at the door?
00:03:51It's the lady, sir.
00:03:53Yes, sir.
00:03:55All right, give me the blue coat and the polka-dot tie.
00:03:57And your tan shoes?
00:03:59And the tan shoes.
00:04:01Yes, sir.
00:04:08At it again, right under my nose.
00:04:16You really should tell new servants
00:04:18about old friends, Captain MacLean.
00:04:20Norma!
00:04:22Hello, Friday. I've even brought you some roses.
00:04:26Ah, they're lovely.
00:04:28You know, too few ladies bring me roses these days.
00:04:30Oh, Mac, old friend, it's good to see you.
00:04:32It's good to see you too, Norma.
00:04:37You're just as beautiful as ever.
00:04:39The only time I mind not having eyes
00:04:41is when you're around.
00:04:43Come, let's sit down.
00:04:46You can't keep your sniffer out of roses, can you?
00:04:50I'd forgotten that Friday was allergic to them.
00:04:54So you've given up the theater for good, huh?
00:04:56Mm-hmm.
00:04:58And do you think Laurie is worth it?
00:05:00Being married to Stephen is the most exciting career
00:05:02I ever had, Mac.
00:05:04He's a great man.
00:05:06Mm-hmm.
00:05:08A great man, indeed.
00:05:10He's one of the best scientific minds we have today.
00:05:12And he's a good man.
00:05:14He's one of the best scientific minds we have today.
00:05:16And heaven knows we need him.
00:05:27I'm glad you came to me, Norma.
00:05:29I think your father would have expected me to help you.
00:05:34You do need help, don't you?
00:05:36Yes, but how did you know?
00:05:38Oh, the tone of your voice, the way you tapped your cigarette.
00:05:41Serious trouble?
00:05:43Pretty serious.
00:05:45Need a detective?
00:05:47What I really need is someone to commit a murder for me.
00:05:49Oh, I can do that for you anytime you want.
00:05:53Who's the victim?
00:05:55Do you remember Paul Gerenti?
00:05:57Yes.
00:05:59The dreariest leading man you ever had.
00:06:01And when you told me that you were engaged to him,
00:06:03I wanted to take you over my knee.
00:06:05Well, he's back. He's back in my life again.
00:06:07He's a leading man in that summer theater
00:06:09near our home.
00:06:11And he's making love to my stepdaughter, Barbara.
00:06:13She's 17.
00:06:15She's very headstrong.
00:06:17Well, she's completely gone on him.
00:06:19She's Stephen's only child.
00:06:21He adores her.
00:06:23And for Stephen's sake, as well as for her own,
00:06:25I felt I simply had to tell her what a rotter Paul is.
00:06:32But Paul has poisoned her mind against me already.
00:06:36He's made her believe that I am still in love with him.
00:06:38That I'm playing the role of the discarded woman.
00:06:40Imagine me, burning up with jealousy
00:06:42because he happens to prefer a younger woman.
00:06:44Well, that's what he's told her.
00:06:46And worse than that,
00:06:48he's convinced her that I married her father for his money.
00:06:52By now, of course, the child hates me.
00:06:54I don't know if I can help you or not.
00:06:56I'm only a gumshoe.
00:06:58But offhand, I would say one thing, though.
00:07:00What?
00:07:02You've got to have a talk with Gerenti.
00:07:04Oh, Mac, you don't seem to understand.
00:07:08I don't understand at all.
00:07:10I loathe the man.
00:07:12My dear, you seem to be forgetting one thing.
00:07:14You're not just another woman
00:07:16that's been treated badly by Gerenti.
00:07:18You're this girl's mother now.
00:07:20And your husband expects you to look after her.
00:07:22She's your responsibility.
00:07:24What would I say to him?
00:07:26Go to him. Tell him you're going to fight him.
00:07:28Show him that you mean it.
00:07:30Well, try it.
00:07:32If it doesn't work, we'll...
00:07:34we'll figure out something else.
00:07:37I never even come to see you
00:07:39except when I'm in trouble.
00:07:41What are old friends for?
00:07:43Goodbye, darling, and thank you.
00:07:45I'll go to see him right away.
00:07:47Attagirl. Goodbye, dear.
00:07:49Friday, show the lady to the door.
00:08:07Oh, I beg your pardon.
00:08:09Oh, it's you, Paul.
00:08:11Norma, darling.
00:08:13Here, wait a minute while I turn on the light.
00:08:15I'm the last one out.
00:08:17I was just leaving for town.
00:08:21There.
00:08:23With the footlights, we'll both feel at home.
00:08:25Oh, but, uh, won't you sit down?
00:08:30Well, my flower,
00:08:32it is good to see you again.
00:08:35How's married life?
00:08:37Boring, I trust.
00:08:39I'm very happy, Paul.
00:08:41Splendid. Did you come for Barbara?
00:08:43She left some time ago.
00:08:45No, I didn't come for Barbara.
00:08:47I came to see you, Paul.
00:08:49So? How very nice.
00:08:51You know, Norma, you're still very attractive.
00:08:53You age more cheerfully than I.
00:08:55I'm getting frightfully worried
00:08:57about my looks.
00:08:59Cigarette?
00:09:01You spoke just now of age.
00:09:03Barbara's only 17.
00:09:07Surely you can see that you could never make her happy.
00:09:13Don't hurt her, Paul.
00:09:15I have no intention of hurting her.
00:09:17Why should I hurt her?
00:09:19Because you're a vicious, self-centered man
00:09:21who's incapable of a decent, clean emotion.
00:09:23Because...
00:09:27I'm sorry I said that, Paul.
00:09:29Forgive me.
00:09:32I'm not sorry, darling.
00:09:34You meant every word.
00:09:36I love Barbara utterly and devotedly.
00:09:38If she'll have me, I'll marry her.
00:09:40All my life I've waited for someone like her.
00:09:42Beautiful and talented.
00:09:44Alive as a breath of spring.
00:09:46Now that I've found her,
00:09:48I'll never let her go.
00:09:54Bravo.
00:09:57You ham.
00:10:04Thank you, Hanson.
00:10:06Where's Mr. Lorry?
00:10:08I think you'll find him in the laboratory, madam.
00:10:10Oh.
00:10:22Oh, Stephen, I thought you promised me
00:10:24you'd be out of this old lab before I got home.
00:10:26Darling, you're not going to work all night again, are you?
00:10:29No more night work.
00:10:31In fact, no more work.
00:10:33I've finished.
00:10:35Oh, Stephen, you haven't.
00:10:37Oh, yes.
00:10:39It's all over now.
00:10:41That is, all except one thing.
00:10:44What's that?
00:10:46I don't know if it'll work.
00:10:48A mere nothing.
00:10:50Trifle.
00:10:52When will you find out?
00:10:54I'm on my way.
00:10:56How would you like to come on a little airplane trip?
00:10:59I'd love it. Where to?
00:11:01Can't tell. Big mystery.
00:11:03We fly south by private plane.
00:11:05Then, early in the morning,
00:11:07I'll leave you at the hotel for a few hours,
00:11:09and when I come back,
00:11:11I'll either be immortal
00:11:13or else just another crackpot
00:11:15who should have stuck to teaching.
00:11:17And we won't care which, will we?
00:11:19Darling, you've been an angel these past few months.
00:11:21Never once have you asked me
00:11:23what I was doing.
00:11:25Never even complained,
00:11:27no matter how badly I neglected you.
00:11:29I can't tell you now what I'm doing.
00:11:31I don't want you to carry the responsibility of knowing.
00:11:33But I can tell you this.
00:11:35If it works,
00:11:37it'll be an important contribution to the war.
00:11:39So you see, it's beyond my personal satisfaction.
00:11:41It'll work.
00:11:43I know it will.
00:11:45I wish you gave out Nobel Prizes.
00:11:47We leave tonight at 7.30.
00:11:49So just pack an overnight bag.
00:11:51Oh, uh, Barbara won't be able to see us off.
00:11:53She has a date in town with some girlfriends.
00:12:07Hello, Barbara.
00:12:09Hello.
00:12:11My, your roses are lovely.
00:12:14Yes, Paul sent them to me.
00:12:16Going out tonight?
00:12:18I am.
00:12:20Would you mind too much telling me with whom?
00:12:22I wouldn't mind telling you at all, dear.
00:12:26Except that you know perfectly well.
00:12:30Your father thinks you have a date with some girls.
00:12:33If you think that's wrong,
00:12:35then by all means, tell him the truth.
00:12:37Mother.
00:12:39You and your father are such wonderful friends, Barbara.
00:12:41Don't you think you could be honest with him?
00:12:43In what way?
00:12:45Well, about Paul, I mean.
00:12:47What about him, dear?
00:12:49Barbara, you know as well as I
00:12:51that you shouldn't be seeing him.
00:12:53Really, darling?
00:12:55I don't see why not.
00:12:57Because he's not good.
00:12:59He's hard and cruel.
00:13:01He's...
00:13:03How dreadful.
00:13:05Seems to me that your duty is perfectly clear then.
00:13:07You should go to my father and tell him
00:13:09that I'm going out with a bad man.
00:13:11And when he asks you how you know he's a bad man,
00:13:13you tell him.
00:13:15Tell him that you know from personal experience,
00:13:17won't you?
00:13:19Barbara!
00:13:21Oh, why do you insist on misunderstanding me?
00:13:23I'm older than you.
00:13:25I made a great mistake.
00:13:27And I'm only trying to keep you from suffering as I did.
00:13:32Darling, do you want to know what I think?
00:13:35I think you've come to the same conclusion that I have.
00:13:39But there isn't enough room in this house for both of us.
00:13:41I think you're trying to turn my father against me.
00:13:43You're trying to run my life
00:13:45to dominate every movement I make.
00:13:47That isn't true.
00:13:49But you haven't won yet, my sweet.
00:13:51Because I'm going to stay.
00:13:53And as long as I'm here,
00:13:55you're not going to be happy.
00:13:57I'm going into town tonight
00:13:59and I'm going to have dinner with Paul Durante.
00:14:01Alone.
00:14:03Well, you're not going to his apartment.
00:14:05Apartment?
00:14:13Operator.
00:14:15Get me Murray Hill 44598, please.
00:14:20Hello, Paul?
00:14:22Look, darling, I've changed my mind about dinner.
00:14:24Let's not go to a restaurant.
00:14:26I think I like your original invitation better.
00:14:30Let's have dinner in your apartment.
00:14:34Why, of course I care, Paul dearest.
00:14:36All right.
00:14:38I'll meet you at your apartment at 8 o'clock.
00:14:41Goodbye, sweet.
00:14:45Well, darling, we're off on the big adventure.
00:14:47Stephen.
00:14:49Yes, dear?
00:14:51I don't think I should go with you.
00:14:53What?
00:14:55I thought it was all agreed.
00:14:57Well, it's just occurred to me.
00:14:59We shouldn't be flying together.
00:15:01If anything happened, Barbara would be left all alone.
00:15:03I never thought of that.
00:15:05Of course, you would.
00:15:08It isn't easy being a stepmother, Norma.
00:15:10You've done a wonderful job.
00:15:12I haven't had to worry about Barbara since you came.
00:15:14You'll never know how grateful I am.
00:15:16Ready, Mr. Lowry?
00:15:19Good luck, darling.
00:15:23You're all the luck a man could ask for.
00:15:44Good night.
00:15:57Paul.
00:16:14Paul.
00:16:31Barbara.
00:16:44Barbara.
00:16:56Try to take hold of yourself.
00:16:58We must get away from here.
00:17:00Come on, darling.
00:17:06Why you?
00:17:08Barbara.
00:17:10You're asking me to run away with you?
00:17:12I have no reason to run.
00:17:14Why should I run away?
00:17:16I didn't kill anybody.
00:17:18You don't think...
00:17:20I don't have to think.
00:17:22That upstairs proves everything.
00:17:24Oh, you don't know what you're saying.
00:17:26I had nothing to do with it.
00:17:28Then what were you doing here?
00:17:30I came to try to stop you.
00:17:32To tell Paul...
00:17:34He was like that when I came in.
00:17:36You're dull, darling.
00:17:38That's such a feeble story.
00:17:41It's true.
00:17:43Barbara.
00:17:45Barbara, I couldn't.
00:17:47You're a liar.
00:17:49You killed him because you were jealous.
00:17:51You're going to pay for it.
00:17:57If you're innocent, you won't mind my calling the policemen.
00:17:59No, don't.
00:18:01You're terrified, aren't you?
00:18:03Barbara, think of your father.
00:18:05The newspapers would go mad. He couldn't bear it.
00:18:07That phony nobility of yours really makes me sick.
00:18:11All right.
00:18:13I won't call the policemen.
00:18:15All you have to do is one thing.
00:18:17Oh, anything. What is it?
00:18:19Leave my father's house.
00:18:21Barbara.
00:18:23Make your choice, darling.
00:18:25Well, shall I call him?
00:18:29Very well. I'll go.
00:18:31By tomorrow morning?
00:18:33Yes.
00:18:35Good. You understand, don't you,
00:18:37that if you're not gone by tomorrow morning,
00:18:39you'll have to leave.
00:18:41Yes, I understand.
00:18:43Taxi!
00:18:48Oh, by the way, you might be interested to know
00:18:50that I was never really interested in Paul Durante.
00:18:52Oh, at first he amused me,
00:18:54but then I realized that he was
00:18:56sort of pathetic.
00:18:58So you see, my dear,
00:19:00you killed a man for nothing.
00:19:04Barbara, listen.
00:19:06No, Norma, I won't
00:19:09do that anymore.
00:19:11Good night.
00:19:20Well, let's see if we got the facts straight.
00:19:22The body was lying on the floor
00:19:24in front of the fireplace.
00:19:26The skull was bashed in.
00:19:28The door was ajar.
00:19:30There was a good fire burning
00:19:32in the fireplace.
00:19:34No signs of violence.
00:19:36Did anyone see you
00:19:38enter the apartment or leave it?
00:19:40Not that I know of.
00:19:42About how long ago were you there?
00:19:44It must have been an hour.
00:19:48That must have been about 8 o'clock.
00:19:50Is there anything else?
00:19:52I can't think of anything.
00:19:54And then Barbara came in
00:19:56and she thought you killed her.
00:19:58Mac, what can I do? I can't tell the police.
00:20:00No, no.
00:20:02The jury would massacre you.
00:20:04Well,
00:20:07go home and get some sleep if you can.
00:20:09Friday.
00:20:11Wake Marty up.
00:20:15Now you sit tight until you hear from me.
00:20:17All right, Mac.
00:20:19Wait a minute. In case I've got to call you,
00:20:21what is your phone number?
00:20:23Rossmore 555.
00:20:25Rossmore 555.
00:20:27All right. Friday and I will get on this right away.
00:20:29And don't worry.
00:20:31I won't.
00:20:36Hey, hey.
00:20:38What is this?
00:20:40Oh, it's you.
00:20:42You ought to take it easy when you wake a man up.
00:20:45You're liable to give him a bad shot.
00:20:47All right, all right.
00:20:49Don't rush me, don't rush me.
00:21:07It's locked.
00:21:09Watch the stairs.
00:21:25Inside.
00:21:30Lock the door again.
00:21:37Well, come on. Let's get started.
00:21:42Here's Senate.
00:21:44About 18 to 26. Studio type.
00:21:46There's a big sofa alongside of you to your right.
00:21:48Wall on your right.
00:21:50Big full-length window.
00:21:52Small table with a lamp on it.
00:21:54Big fireplace. Wall ahead of you.
00:21:56A glass cabinet.
00:21:58Door leading to a bedroom, I guess.
00:22:00Big chair.
00:22:02Over the chair is a picture of a...
00:22:04a reclining tomato.
00:22:06To your left, baby grand piano.
00:22:08Small round table with a lamp on it.
00:22:10Another chair. Wall behind you.
00:22:12Wooden chair.
00:22:14There's some kind of a screwball statue
00:22:16sitting in a hole in the wall.
00:22:18It stinks.
00:22:20Go on, go on.
00:22:22Well, that's about all, I guess.
00:22:25I'll take a look in the other room.
00:22:27Haven't you forgotten one important item?
00:22:29The body.
00:22:31Nobody here.
00:22:33Nobody.
00:22:35You said it was in front of the fireplace.
00:22:37It ain't here now, Mike, I assure you.
00:22:39Any bloodstains on the rug?
00:22:41The rug is like the body. There ain't any.
00:22:43Not in front of the fireplace.
00:22:45Take a look in the other room.
00:22:47Okay.
00:23:02Polished floor.
00:23:04A lot of dust.
00:23:06Hmm.
00:23:10Seems to form a curved line.
00:23:12There was a rug here, and it was taken away.
00:23:14Recently, after he was killed.
00:23:16He ain't a man.
00:23:18They must have carted him away.
00:23:20I don't get it about the rug.
00:23:22I catch bloodstains.
00:23:24They're gonna get it cleaned.
00:23:26Did it ever occur to you that they might have
00:23:28used the rug to carry the body out?
00:23:30Right. Right!
00:23:33See if you can get a line out of Gerardi's friends
00:23:35who might have visited him tonight.
00:23:37Right! And I'll see if a stiff was taken out of the rug.
00:23:39No! Don't mention anything about a stiff.
00:23:41You want us both thrown into jail.
00:23:43Don't you know what we're doing may be
00:23:45turned conspiring to defeat justice?
00:23:47Certainly I know it.
00:23:49Turn out the lights.
00:23:53Come on, Friday, through the door.
00:24:03Let's see what we can find out
00:24:05about the late departed Mr. Gerardi.
00:24:25Ah, here's the clothes closet.
00:24:33When Marty gets back,
00:24:35we'll look through Gerardi's effects.
00:24:59Under the bed.
00:25:01Under the bed, Friday. Keep your mouth shut.
00:25:31I want Russmore, 5-5-5.
00:25:33My number?
00:25:35Murray Hill 4, 4-5-9-8.
00:25:39Hello, Russmore, 5-5-5?
00:25:41Yes, I'm here.
00:25:43What's the matter?
00:25:45I don't know.
00:25:47I don't know.
00:25:49I don't know.
00:25:51I don't know.
00:25:53I don't know.
00:25:55I don't know.
00:25:57I don't know.
00:25:59Hello, Russmore, 5-5-5?
00:26:01This is Gabriel. That you, Vera?
00:26:03Yes, I'm all right.
00:26:05I know, but somebody has to do the dirty work.
00:26:07It's part of the job.
00:26:09All right, I'll be back soon.
00:26:11Now, baby, stop worrying about me.
00:26:20Just a minute. I don't know yet.
00:26:22Call you back.
00:26:29Get away.
00:26:51Get out of the way.
00:26:59Get out of the way.
00:27:13They cut my neck.
00:27:15You better lay quiet.
00:27:17We're all disconnected for you.
00:27:22Thank you, sir.
00:27:24Go get Marty, quick.
00:27:26Get up on your feet and face that wall.
00:27:29Come on, who hired you?
00:27:39I bet you've been questioned a lot.
00:27:42You know how to keep your mouth shut, don't you?
00:27:44What's this?
00:27:45Marty, this is Gabriel.
00:27:48He gossips like a magpie.
00:27:49Charming.
00:27:50Mac, you're going to have to give up popcorn.
00:27:54You get the dizziest prizes.
00:27:56Come on, Gabriel.
00:27:57Tell us what you did with the body.
00:27:59You ought to know better than to go around knocking people's brains out, Gabriel.
00:28:03What did he do to you?
00:28:04Steal a tire from you?
00:28:06All right.
00:28:07See if I can guess.
00:28:09You planned to kill Durante someplace else.
00:28:11There was a sudden quarrel, and you had to do it here to shut him up.
00:28:14You didn't want the body found here, so you took it away in a rug.
00:28:18You rang the bell that time, Max.
00:28:19Now maybe you'll tell us why you didn't want the body found here.
00:28:23All right.
00:28:26It means they're going to make a trip.
00:28:28Friday, go get the harness.
00:28:34You take him up to our house.
00:28:36Entertain him.
00:28:37Maybe you can influence him to talk.
00:28:38Friday.
00:28:39Where are you going?
00:28:40Up to Norma Laurie's house.
00:28:42Gabriel telephoned someone up there.
00:28:45If you find out anything, call me.
00:28:49Take me outside, Friday.
00:28:50You can turn around now, Gabriel.
00:28:54Well, you got the hat, Friday?
00:28:57There we are.
00:28:58Thank you, sir.
00:28:59Is that guy blind?
00:29:00It's a moralizer.
00:29:01Amos.
00:29:02Why, Mrs. Laurie, I thought you were going with Mr. Laurie.
00:29:03I changed my mind at the last minute.
00:29:04Is Miss Barbara home?
00:29:05No, madam.
00:29:06Miss Chelly Scott phoned a few minutes ago.
00:29:07There's an emergency rehearsal.
00:29:08I'm afraid so.
00:29:09I'm afraid so.
00:29:10I'm afraid so.
00:29:11I'm afraid so.
00:29:12I'm afraid so.
00:29:13I'm afraid so.
00:29:14I'm afraid so.
00:29:15I'm afraid so.
00:29:16I'm afraid so.
00:29:17I'm afraid so.
00:29:18I'm afraid so.
00:29:19I'm afraid so.
00:29:20I'm afraid so.
00:29:21I'm afraid so.
00:29:23I'm afraid so.
00:29:24I'm afraid so.
00:29:25It's an emergency rehearsal.
00:29:26It's an emergency rehearsal.
00:29:28Thanks.
00:29:29It's an emergency rehearsal.
00:29:30It's an emergency rehearsal.
00:29:31It's an emergency rehearsal.
00:29:32Well, Mary, I say that's novelty, but novelty that's triumph.
00:29:35Here's Miss Laurie and Miss Scott.
00:29:38Oh, hello, Barbara.
00:29:38I'm sorry I'm late, Chelly.
00:29:40That's all right, Barbara.
00:29:41Come down here a minute.
00:29:43I have something to tell you.
00:29:44The rest of you can relax.
00:29:46Come and sit down here.
00:29:50Something unpleasant has happened, Barbara.
00:29:53Paul Durant here, won't you?
00:29:55What about him?
00:29:57He's quit the show.
00:29:58He did?
00:30:01When?
00:30:02He telephoned at 7 o'clock.
00:30:04He didn't give us a moment's notice.
00:30:06He said he was going away for a while.
00:30:09Barbara.
00:30:12I know you were interested in him,
00:30:14but perhaps it's just as well.
00:30:17He couldn't be depended on,
00:30:18and your new leading man is a much better actor.
00:30:22You have a brilliant career ahead of you, Barbara.
00:30:25You mustn't let anything come between you
00:30:27and the realization of that career.
00:30:29I'm very fond of you.
00:30:32I want you to know that.
00:30:35I'm very fond of you.
00:30:37I want you to know that what happens to you
00:30:39is of the deepest concern to me.
00:30:42Thank you, Charlie.
00:30:45All right, everybody.
00:30:47We'll concentrate on the scenes between Miss Laurie and Mr. Boyd.
00:30:50Mr. Anderson, Mr. Bush,
00:30:52we won't be getting to you gentlemen tonight.
00:30:54You can be dismissed.
00:30:55Thank you, Miss Carr.
00:30:56All right, Mr. Boyd.
00:30:57Start with the scene in the garden.
00:30:58Pick it up on...
00:31:00I'm afraid I'll never understand, Peggy.
00:31:04Come in.
00:31:09Well?
00:31:10Is everything all right?
00:31:11All set, Captain.
00:31:12How did the Laurie girl take the story about Gerenty?
00:31:14There's no trouble.
00:31:16Charlie will keep her rehearsing till we're through.
00:31:18Good.
00:31:21Come on.
00:31:23Let's get started.
00:31:34Shh.
00:31:36No noise.
00:31:37We've got to work quietly.
00:31:39We're alone in the house, aren't we?
00:31:41Well, not quite.
00:31:43Miss Laurie changed her mind.
00:31:44She came home at the last moment.
00:31:46That's not good.
00:31:47We are supposed to have the house to ourselves.
00:31:49Mrs. Laurie has gone to bed.
00:31:50She's a sound sleeper.
00:31:51We'll go ahead.
00:31:52We'll go ahead.
00:31:53We'll go ahead.
00:31:54We'll go ahead.
00:31:55We'll go ahead.
00:31:56We'll go ahead.
00:31:57We'll go ahead.
00:31:58We'll go ahead.
00:31:59We'll go ahead.
00:32:00We'll go ahead.
00:32:01We'll go ahead.
00:32:02She's a sound sleeper.
00:32:03We'll go ahead as planned.
00:32:04It's pretty risky.
00:32:05I think I...
00:32:06You...
00:32:07There's a paper in that safe.
00:32:08It's worth ten armored divisions to us.
00:32:10We're going to get it.
00:32:11Now.
00:32:13As you say, Captain.
00:32:26Vera.
00:32:27What are you doing up?
00:32:29I wanted to talk to you.
00:32:30What about?
00:32:31About Gabriel.
00:32:32He hasn't called back yet, like he said.
00:32:35What?
00:32:36Now, don't worry about Gabriel.
00:32:37Something's happened to him.
00:32:38He would have called if he could.
00:32:39I know my husband.
00:32:40He's in trouble.
00:32:41I know he's in trouble.
00:32:42I'm going to help him.
00:32:43Vera, you're becoming hysterical.
00:32:44I don't like this.
00:32:45What if the police caught him?
00:32:46If he talks, we are finished.
00:32:47Gabriel won't talk.
00:32:48He's a good soldier.
00:32:49I don't care.
00:32:50I want to do something.
00:32:51I'm going to find him.
00:32:52And you can't stop me.
00:32:53Vera.
00:32:57Control yourself.
00:33:00That's better.
00:33:02Go ahead.
00:33:14Vera.
00:33:15Yes.
00:33:17Hide these two men in your room.
00:33:19I'll ask the door.
00:33:26Mrs. Laurie live here?
00:33:27Oh, yes, sir.
00:33:28She does.
00:33:29We made it, boy.
00:33:30Come on.
00:33:31Excuse me, sir, but may I ask who you are?
00:33:32Who are you?
00:33:33I'm Hanson, Mrs. Laurie's butler.
00:33:34Well, I'm her uncle.
00:33:35I came to make a call.
00:33:36A call?
00:33:37I thought you were a man.
00:33:38I'm a man.
00:33:39I'm a man.
00:33:40I'm a man.
00:33:41I'm a man.
00:33:42I'm a man.
00:33:43I'm a man.
00:33:44I'm a man.
00:33:45I'm a man.
00:33:46I'm a man.
00:33:47I'm a man.
00:33:48I'm a man.
00:33:49I'm a man.
00:33:50I'm a man.
00:33:51I'm a man.
00:33:52I'm a man.
00:33:53I'm a man.
00:33:55During the day, sir?
00:33:56Day or night, what difference does it make to a blind man?
00:33:59Oh, you're blind, sir?
00:34:00Blind as a bat.
00:34:03Excuse me, sir, I'm terribly sorry.
00:34:04Now, what is there to be sorry about?
00:34:06Many great men were blind Milton, Homer,
00:34:08they were blind, weren't they?
00:34:10Yes, sir, but they complained about it.
00:34:11Oh, they did?
00:34:12Yes, sir.
00:34:13Oh, loss of sight of thee I most complain.
00:34:16Blind among enemies.
00:34:18Or worse than chains, dungeons, or beggary, or decrepit aides.
00:34:24Milton, sir, you're quite a butler.
00:34:28Tell Mrs. Laurie I'm here and don't stand around spotting poetry.
00:34:31Yes, sir. Immediately, sir.
00:34:33What is it, Hanson?
00:34:35Mac, darling!
00:34:38What kind of a two-bit reception is this, anyway?
00:34:41Your butler didn't even know I was coming.
00:34:43What is your Uncle Mac, an old shoe?
00:34:45I heard the taxi pull up and I...
00:34:47Yes, yes, yes. Well, does your Uncle Mac get a kiss or doesn't he?
00:34:50Of course, Uncle Mac.
00:34:53Where's that educated butler of yours?
00:34:54He's right here.
00:34:55Well, send him away. I haven't seen you for two years.
00:34:58I don't want servants gawking in on a family reunion.
00:35:00That will be all, Hanson.
00:35:01Yes, ma'am.
00:35:02Shall we go in the living room, Uncle Mac?
00:35:03Rooms don't bother me, just so they have a door.
00:35:06Two steps down here.
00:35:17Mac, what have you found?
00:35:21There's a piano in here, isn't there?
00:35:23We have an organ.
00:35:25It's over here.
00:35:30Right on, party.
00:35:44Now listen carefully to what I have to say.
00:35:46Mac...
00:35:48Who was in this house a couple of hours ago?
00:35:50Why, Hanson, myself and the upstairs maid, Vera.
00:35:54Where does Vera come from?
00:35:56Barbara engaged her and the butler about two months ago.
00:35:59Do you know anything about them?
00:36:01No, but I could find out.
00:36:03No, no.
00:36:04Anybody else is at home now?
00:36:06No, Barbara's at the theater rehearsing.
00:36:09Rehearsing?
00:36:11This hour of the night?
00:36:13It was an emergency rehearsal.
00:36:16Oh, Mac, what is going on?
00:36:18Don't ask any questions now.
00:36:20Keep your eyes open, your mouth shut, and take orders.
00:36:23Have the maid, Vera, show me up to my room.
00:36:25Vera's probably asleep by now.
00:36:27You heard what I said about taking orders.
00:36:29Vera, I very distinctly warned you about trying to leave this house.
00:36:33Please, I want to go look for Gabriel.
00:36:41I know something has happened.
00:36:46Watch it.
00:36:48Vera, remember what I said.
00:36:55Hanson, will you please ask Vera to show Mr. McLane to the second guest room?
00:36:59Excuse me, madam, but I'm quite sure that Vera has retired.
00:37:02May I show the gentleman to his room?
00:37:04I want the maid.
00:37:05A button came off my shirt and I wanted to sew it on.
00:37:09Well, if you'll pardon me, sir, I'm rather good at sewing on buttons myself.
00:37:12And if it comes to a pinch, can even darn socks.
00:37:14I'd be happy to do the job for you.
00:37:16No horse collar.
00:37:17It's quite true, sir, really.
00:37:19Can you do a crow's foot?
00:37:21A what, sir?
00:37:22I thought so.
00:37:24Don't even know the fundamentals.
00:37:26It's a design you make when you sew a button on.
00:37:29I bet you can't even hem stitch, can you?
00:37:31Of course you can.
00:37:33You'd better get her, Hanson.
00:37:34Of course, get her.
00:37:35If she's asleep, wake her up.
00:37:37She'll be grateful.
00:37:38Sleep is a form of unconsciousness anyway.
00:37:40Yes, sir.
00:37:45Come in.
00:37:49I'm Vera, the maid, sir.
00:37:51Oh.
00:37:52Well, Vera, will you turn the coverings down on my bed, please?
00:37:55Yes, sir.
00:37:58What's your last name, Vera?
00:38:00Hoffman, sir.
00:38:01Mm-hmm.
00:38:02You got a husband, Vera?
00:38:04Yes, sir.
00:38:05And a son?
00:38:06Yes, sir.
00:38:07And a son?
00:38:08Yes, sir.
00:38:09And a son?
00:38:10Yes, sir.
00:38:11And a son?
00:38:12Yes, sir.
00:38:13You got a husband, Vera?
00:38:29Vera.
00:38:30Yes, sir?
00:38:31Come here a moment, would you please?
00:38:36I've got a little job I want you to do.
00:38:38I want you to sew a button on that shirt.
00:38:44Now, there's the needle and thread.
00:38:46It's all threaded.
00:38:47Did it myself.
00:38:49Pretty good for a blind man, don't you think?
00:38:52I warn you, I want my buttons just sewed.
00:38:58You sew like a boilermaker.
00:39:00I can do better myself.
00:39:01Go on, get out of here.
00:39:03Sorry, sir.
00:39:04You should be.
00:39:05Good night, sir.
00:39:06Good night.
00:39:07Oh, maybe now we can get a few of these pieces to fit, old pal.
00:39:38Well, Mrs. Lowry should be asleep by now.
00:39:40And the blind uncle won't be awake long.
00:39:43He had to pick this night to come visiting.
00:39:53It's all right.
00:39:54I think I'll go to bed now.
00:39:56You may be excused, Vera.
00:39:58Good night.
00:39:59Good night.
00:40:08Good night.
00:40:09Good night.
00:40:37Shh, Friday.
00:40:38Quiet.
00:40:39Quiet.
00:41:07You can't say you weren't warned, Vera.
00:41:26No.
00:41:27I'm sorry, Vera.
00:41:28But our job is bigger than you or Gabriel or anybody else.
00:41:32But he's my husband.
00:41:38She's dead.
00:41:40Pick her up and put her in the car.
00:42:08Who's there?
00:42:10It's Hanson, the butler, sir.
00:42:12Oh, Hanson.
00:42:14Well, what are you doing up this hour of the night?
00:42:17I thought I heard a noise, sir, and I got up to investigate.
00:42:20Oh, I heard nothing.
00:42:21Nothing but the crickets.
00:42:22I say, do you know you can tell the temperature of the air
00:42:26by counting the number of cricket chirps?
00:42:28Yes, I do.
00:42:29Well, let's see.
00:42:30Let's see.
00:42:31Let's see.
00:42:32Let's see.
00:42:33Let's see.
00:42:34You can tell the temperature of the air
00:42:36by counting the number of cricket chirps per minute.
00:42:39Oh, really, sir?
00:42:40Yes.
00:42:41Is there anything wrong, sir?
00:42:43I mean, you're being up so late.
00:42:45No, no.
00:42:46And don't worry about me moseying around at night.
00:42:49I'm somewhat of a night owl.
00:42:51Insomnia.
00:42:52Oh, I'm terribly sorry, sir.
00:42:54Perhaps if I might be so bold, sir,
00:42:56a sip of brandy might help you sleep.
00:42:58Now, my good friend Hanson, you're cooking with alcohol.
00:43:02What, sir?
00:43:03A perfect butler.
00:43:04Always considerate, watchful, and attentive.
00:43:07I'll hound my niece until she gives you a raise.
00:43:10Thank you, sir.
00:43:11Oh, and getting back to the brandy.
00:43:14One of the few things I like to get back to.
00:43:16Do you suppose you could spare a bottle
00:43:18and put it beside my bed in case I get restless later?
00:43:21Why, yes, sir.
00:43:23I think that could be arranged.
00:43:25Oh, thank you.
00:43:26I'll remember you in my will.
00:43:28Thank you, sir.
00:43:29Come on, Freddy.
00:43:31What's the matter with you, Freddy?
00:43:33Are you liverish or something?
00:43:35Come on.
00:43:48Freddy, that nose of yours is going to get us both into trouble someday.
00:43:52I know it, Vera.
00:43:54What do you want to do, draw a blueprint for him?
00:43:57What do you want to do, draw a blueprint for him?
00:44:07Come in.
00:44:14Your brandy, sir.
00:44:15Ah, welcome, messenger.
00:44:16Where is it?
00:44:17Where is it?
00:44:18Here, sir.
00:44:23Divine broth.
00:44:26Portgerolle, 1904, if I'm not mistaken.
00:44:29Ah, monumental vintage.
00:44:35Your dog seems to have taken a dislike to me, sir.
00:44:38Oh, no, he's a bit crotchety.
00:44:40He hasn't been getting his exercise.
00:44:42Well, good night, Hanson.
00:44:44Good night, sir.
00:44:45I think I'll go to bed.
00:44:47And, Hanson, turn out the light, will you?
00:44:50I think I'll read a while.
00:44:53What, sir?
00:44:54Well, sure, I read with my fingers.
00:44:56That's the blind man's advantage.
00:44:58He can read in bed with the lights out or even under the covers if it gets cold.
00:45:03Oh, I see, sir.
00:45:07Good night, sir.
00:45:08Good night.
00:45:18He flatters me, Friday.
00:45:20There's enough sodium amatorin in this to put three men to sleep.
00:45:32Who's there?
00:45:33Shh.
00:45:34Don't be frightened, baby.
00:45:35It's your Uncle Mike.
00:45:36I want to talk to you.
00:45:37Keep your voice down.
00:45:42What have you found out?
00:45:44Turn that light out.
00:45:46What is there in this house that somebody might want?
00:45:50Nothing that I know of.
00:45:52No, I don't think you're telling me the truth.
00:45:56Now, come on, tell me.
00:45:59Now, you're forcing me to tell you some very unpleasant news.
00:46:02Oh, Mac.
00:46:03Sorry, Mac.
00:46:05What is it?
00:46:06Vera is dead.
00:46:08She was killed because she knew too much about the Geranti murder and was going to talk.
00:46:13Two people have been killed.
00:46:15Their deaths are linked up in some way with something that is in this house.
00:46:20Now, come on, tell me.
00:46:21It's in the safe.
00:46:23In the library.
00:46:26It's the formula of Stephen's new invention.
00:46:29The one he's trying out tonight.
00:46:31If it works, he's going to turn it over to the government.
00:46:33It's so important Stephen didn't even give me the new combination.
00:46:37I'm going to get the police.
00:46:38No, that's the worst thing you can do right now.
00:46:40Well, why?
00:46:41If we call in the police now, they'll get the gang downstairs, yes.
00:46:44But there are others.
00:46:45And they're following your husband.
00:46:47Well, Mac, what are we going to do?
00:46:48There's nothing we can do but stall.
00:46:50Stall until Stephen gets home.
00:46:51Then we'll send for some help.
00:46:53Until then...
00:46:55Well, they can pull the switch any time they want to.
00:46:59Run it again, Barbara.
00:47:01With just a little more anger.
00:47:05I've been told there were selfish and greedy men like you in the show business.
00:47:09But I didn't believe it until now.
00:47:11I was only repeating what Hanson said.
00:47:13He was worried.
00:47:14It wasn't coming off as we planned.
00:47:16It sounds as if you'd lost your heads.
00:47:18Get back to the house.
00:47:20Tell Hanson we'll meet in Vera's room in 30 minutes.
00:47:23Yes, madam.
00:47:24I'm not going to miss any opportunity to put this song over.
00:47:27That's better, but it's just a little bit ragged.
00:47:30I don't know about the rest of you, but I'm tired.
00:47:32Let's call it a night and get a fresh start in the morning.
00:47:35Oh, that's music to my ears.
00:47:37Isn't it for me?
00:47:39Good night.
00:47:40Good night.
00:47:41Barbara, I wonder if you'd mind putting me up for the night.
00:47:44I'd enjoy a little luxury for a change.
00:47:46Of course, I'd love to.
00:47:48Just a minute, I'll get my coat.
00:47:50Thank you, darling.
00:47:52I assure you it was absolutely necessary.
00:47:54She was becoming hysterical.
00:47:56I'm afraid I don't agree.
00:47:57You could have kept Vera in her room, guarded her.
00:47:59Impulsive killing makes more danger than it cures.
00:48:02What about Gerenty?
00:48:03That was different.
00:48:04He became emotional about his job.
00:48:06He fell in love.
00:48:07If we hadn't acted, everything we'd accomplished with Vera,
00:48:11our connection with the lorry home to the girl,
00:48:14every one of our legitimate fronts would have been destroyed.
00:48:17We disposed of Gerenty out of necessity.
00:48:19And so did we with Vera.
00:48:21She was left on the highway several miles away.
00:48:23It will look like a hit-and-run accident.
00:48:25Brilliant.
00:48:29Gabriel invents a technique, and you use it to kill his wife.
00:48:32Have you thought what a danger he'll be when he finds out?
00:48:35Excuse me, madame.
00:48:37But I was in charge of the house here.
00:48:39It was my responsibility.
00:48:40Things weren't going as planned.
00:48:42Mrs. Lowry returned.
00:48:43Vera got out of hand.
00:48:45The blind man arrived.
00:48:46Why, yes, the blind man.
00:48:47You checked on him.
00:48:49What harm can there possibly be in a blind man?
00:48:51Absolutely harmless.
00:48:52I gave him a sleeping potion and...
00:48:53Victor, call New York.
00:48:54Have them check on this man.
00:48:55What's his name?
00:48:56Why do that?
00:48:57What's his name, Hanson?
00:48:59McLean.
00:49:00Duncan McLean.
00:49:01Check every Duncan McLean in the telephone book.
00:49:04Yes, madame.
00:49:08You seem to have forgotten fundamentals, captain.
00:49:10I must remind you, madame, that my record entitles me to respect.
00:49:13And I must remind you that I am in command.
00:49:16And you'll do as I say.
00:49:18At your command, madame.
00:49:20Get the detector.
00:49:50Stand watch in the hall.
00:50:21Oh, no.
00:50:22Oh, no.
00:50:23Oh, no.
00:50:24Oh, no.
00:50:25Oh, no.
00:50:26Oh, no.
00:50:27Oh, no.
00:50:28Oh, no.
00:50:29Oh, no.
00:50:30Oh, no.
00:50:31Oh, no.
00:50:32Oh, no.
00:50:33Oh, no.
00:50:34Oh, no.
00:50:35Oh, no.
00:50:36Oh, no.
00:50:37Oh, no.
00:50:38Oh, no.
00:50:39Oh, no.
00:50:40Oh, no.
00:50:41Oh, no.
00:50:42Oh, no.
00:50:43Oh, no.
00:50:44Oh, no.
00:50:45Oh, no.
00:50:46Oh, no.
00:50:47Oh, no.
00:50:48Oh, no.
00:50:49Oh, no.
00:50:50Oh, no.
00:50:51Oh, no.
00:50:52Oh, no.
00:50:53Oh, no.
00:50:54Oh, no.
00:50:55Oh, no.
00:50:56Oh, no.
00:50:57Oh, no.
00:50:58Oh, no.
00:50:59Oh, no.
00:51:00Oh, no.
00:51:01Oh, no.
00:51:02Oh, no.
00:51:03Oh, no.
00:51:04Oh, no.
00:51:05Oh, no.
00:51:06Oh, no.
00:51:07Oh, no.
00:51:08Oh, no.
00:51:09Oh, no.
00:51:10Oh, no.
00:51:11Oh, no.
00:51:12Oh, no.
00:51:13Oh, no.
00:51:14Oh, no.
00:51:15Oh, no.
00:51:16Oh, no.
00:51:17Oh, no.
00:51:18Oh, no.
00:51:19Oh, no.
00:51:20Oh, no.
00:51:21Oh, no.
00:51:22Oh, no.
00:51:23Oh, no.
00:51:24Oh, no.
00:51:25Oh, no.
00:51:26Oh, no.
00:51:27Oh, no.
00:51:28Oh, no.
00:51:29Oh, no.
00:51:30Oh, no.
00:51:31Oh, no.
00:51:32Oh, no.
00:51:33Oh, no.
00:51:34Oh, no.
00:51:35Oh, no.
00:51:36Oh, no.
00:51:37Oh, no.
00:51:38Oh, no.
00:51:39Oh, no.
00:51:40Oh, no.
00:51:41Oh, no.
00:51:42Oh, no.
00:51:43Oh, no.
00:51:44Oh, no.
00:51:45Oh, no.
00:51:46Oh, no.
00:51:47Oh, no.
00:51:48Oh, no.
00:51:49Oh, no.
00:51:50Oh, no.
00:51:51Oh, no.
00:51:52Oh, no.
00:51:53Oh, no.
00:51:54Oh, no.
00:51:55Oh, no.
00:51:56Oh, no.
00:51:57Oh, no.
00:51:58Oh, no.
00:51:59Oh, no.
00:52:00Oh, no.
00:52:01Oh, no.
00:52:02Oh, no.
00:52:03Oh, no.
00:52:04Oh, no.
00:52:05Oh, no.
00:52:06Oh, no.
00:52:07Oh, no.
00:52:08Oh, no.
00:52:09Oh, no.
00:52:10Oh, no.
00:52:11Oh, no.
00:52:12Oh, no.
00:52:13Oh, no.
00:52:14Oh, no.
00:52:15Oh, no.
00:52:16Oh, Hanson, my good friend.
00:52:17Come over here and listen to my pint.
00:52:18It's terribly late, sir.
00:52:19Oh, Hanson, is it ever too late for good music?
00:52:20Oh, Hanson, is it ever too late for good music?
00:52:21Oh, Hanson, is it ever too late for good music?
00:52:22Here the whole world is aflame, and you ask me to deprive it of good music.
00:52:23Oh, no.
00:52:24Hanson.
00:52:25Yes.
00:52:26Yes.
00:52:27Sit down here.
00:52:28Sit down.
00:52:29You're a man of culture, my dear friend.
00:52:30Perhaps you have some favorite selection.
00:52:31You just name it and I'll play it.
00:52:32My repertoire is very extensive.
00:52:33I'll play it.
00:52:34I'll play it.
00:52:35I'll play it.
00:52:36I'll play it.
00:52:37I'll play it.
00:52:38I'll play it.
00:52:39Don't you think you'd better go to bed, sir?
00:52:45Oh, Hanson, you're an old stick in the mud.
00:52:56Hanson.
00:52:57Yes, miss.
00:52:59What's going on here?
00:53:04Watch it to you.
00:53:05Who is this man?
00:53:06It's Mrs. Lorre's uncle, miss.
00:53:07Uncle?
00:53:08I've never heard of any uncle.
00:53:10Oh?
00:53:11Well, who are you, pray?
00:53:13Why, he's drunk.
00:53:15From the tone of your voice, I take it
00:53:17that you are my niece's stepdaughter.
00:53:20Uncle, mad.
00:53:22Norma, my dove.
00:53:25Welcome.
00:53:26Well, this promises to be a galler occasion.
00:53:29What's this man doing in this house?
00:53:31I never knew you had an uncle.
00:53:33Well, there are a lot of things that you
00:53:34don't know, my little girl.
00:53:36And the first thing that you should learn
00:53:38is to respect your elders.
00:53:40Otherwise, somebody's liable to paddle your canoe.
00:53:42But he's blind.
00:53:44Oh, clever girl to see that I don't see.
00:53:48Why wasn't I told that he was coming?
00:53:50I didn't know myself.
00:53:51Well, get him to bed.
00:53:53Oh, I think I understand.
00:53:56With a relative in the house, it would be
00:53:57bad taste to carry on a family quarrel.
00:53:59Oh, Barbara.
00:54:00Well, it won't work, Norma.
00:54:02A drunken uncle.
00:54:05Who's drunk?
00:54:07Where's the chalk line?
00:54:08Show me the chalk line, that's all.
00:54:10Now, don't hold on to me.
00:54:12Let me go.
00:54:13Now, there's the chalk line, you see it?
00:54:23There, you see it?
00:54:31Hanson, where are you?
00:54:33Here, sir.
00:54:35Oh, Hanson, what have you been doing?
00:54:39Hanson, you've been at the grave.
00:54:42You ought to be ashamed of yourself, Hanson.
00:54:45Staggering all over the place and falling
00:54:48in everybody's lap.
00:54:49Yes, sir.
00:54:51Perhaps, madam, if I got some coffee,
00:54:53it might sober him up.
00:54:54Sober yourself up, you rumput!
00:54:56Yes, sir.
00:54:59Mm, coffee.
00:55:01That's a dazzling idea.
00:55:04We'll get some coffee and sandwiches,
00:55:05and we'll gather around, and we'll,
00:55:07we'll have a sunrise concert.
00:55:10Now, what do you say, Friday, my friend?
00:55:14There.
00:55:15And Norma, how about you?
00:55:16Barbara must get some sleep.
00:55:18She's worked very hard tonight.
00:55:21Oh, who are you?
00:55:22This is Charlie Scott, Uncle Mac, a playwright.
00:55:25A playwright.
00:55:26Oh, you're just the person I want to see.
00:55:31Give me.
00:55:32I want to talk to you.
00:55:33I got the greatest idea for a play.
00:55:38No, I'm a liar.
00:55:39I got three great ideas for a play.
00:55:41All tremendous.
00:55:43Let me tell you about them.
00:55:44It won't take more than an hour.
00:55:46Not now, Mr. MacLean.
00:55:47Some other time.
00:55:49Oh, any time you say is all right with me.
00:55:54Well, how about an encore?
00:55:57Oh, good.
00:56:04Now this is the quintet from Martha.
00:56:09♪♪♪
00:56:13Gorgeous, isn't it?
00:56:16Don't you like it, Norma?
00:56:18Well, I'm going to bed, and I want it quiet.
00:56:23Come along, Uncle Mac.
00:56:25Come along, Uncle Mac. Let's get to bed now, hmm?
00:56:27Oh, please.
00:56:29Is there anything I can do, Mrs. Loray?
00:56:32Now, you don't care for my music.
00:56:34Of course I do, dear, but not...
00:56:36Well, go away for me. Don't bother me.
00:56:38I'm gonna play Headless Sunrise.
00:56:39Oh, no, you're not, Uncle Mac.
00:56:41Come on, now.
00:56:43You insist?
00:56:44I insist.
00:56:47Bourgeois dullards.
00:56:49Here's your cane.
00:56:50Righty!
00:56:51Go along upstairs now, and I'll get some aspirin for you.
00:56:54Oh, yeah, but with brandy.
00:56:56Aspirin and brandy.
00:56:57Never mind that now, Hamlet.
00:56:59Watch the steps. Two up.
00:57:14If he drank enough brandy to make him that drunk,
00:57:17what happened to the sleeping potion?
00:57:18Madame, I'm quite sure...
00:57:20Cut the telephone wires. Hurry.
00:57:22Yes, Madame.
00:57:25I had to get you away to tell you that Stephen phoned.
00:57:28He's coming home.
00:57:29Good.
00:57:30Well, now we can send for the police.
00:57:37It's dead.
00:57:38Obviously.
00:57:39Now, sit tight and don't say a word.
00:57:41I've got an idea. It's a hundred to one shot.
00:57:43And don't pay any attention to what I say.
00:57:45Come on, Friday, outside.
00:57:50All right, if that's the way you feel about it.
00:57:53You think I'm drunk, eh? Well, I'm not.
00:57:55I'll guarantee you that.
00:57:56I just feel a little exhilarated, that's all.
00:58:16I've got a little job for you to do.
00:58:23Lie down.
00:58:44It all depends on you now, Friday.
00:58:50Get behind the bed.
00:58:53Come on.
00:59:00Oh, I didn't hear you knock.
00:59:02Your drunken act didn't fool me or anybody else, McLean.
00:59:05You won't interfere again tonight.
00:59:08Keep an eye on him, Boyd.
00:59:09If he gets playful, you know what to do.
00:59:11Right.
00:59:14Rather a hectic night, eh, Boyd?
00:59:18Do you mind if I play a little solitaire?
00:59:21Solitaire?
00:59:22No, I don't mind.
00:59:28You like cards, Boyd?
00:59:30Once in a while.
00:59:34What's so funny?
00:59:35I was just thinking, never play poker with a blind man.
00:59:38Not with his cards, anyway.
00:59:40Why not?
00:59:41His cards are marked.
00:59:43Really?
00:59:44Oh, sure.
00:59:45They're marked in braille.
00:59:47So he can read his cards.
00:59:49Of course, the hitch comes when the blind man is dealing.
00:59:52He knows what the other person has.
00:59:54Well, that's very interesting.
00:59:57Come here. I'll show you.
01:00:04I'll call the cards as I deal them out.
01:00:11There's the jack of diamonds.
01:00:13There's the eight of clubs.
01:00:15There's the four of hearts.
01:00:17There's the deuce of spades.
01:00:19And the eight of spades.
01:00:22Is that right?
01:00:24That's wonderful.
01:00:26Now, come here. I want to show you a trick.
01:00:33Now, I'm going to deal out three piles of cards.
01:00:38There.
01:00:39I want you to look at the top card on the end pile.
01:00:45You got it?
01:00:46Yes, I got it.
01:00:47Remember them now.
01:00:48Now, put your hands flat on the cards.
01:00:53Go ahead.
01:00:55This is really a great trick.
01:00:58Now, let's see.
01:01:00Now, the trick is this.
01:01:03Roddy, come here. Up on the window.
01:01:09Home.
01:01:10I want you to get Marty.
01:01:12Do you hear me?
01:01:13Go on home.
01:01:16You're on your own now, boy.
01:01:18Go on. Out.
01:01:21I want you to get Marty.
01:01:22Do you hear me?
01:01:23Go on home.
01:01:26You're on your own now, boy.
01:01:28Go on. Out.
01:01:32You're on your own now, boy.
01:01:33Go on. Out.
01:01:34Go on. Out.
01:01:35Go on. Out.
01:02:01You made very good time, thereby earning yourself an extra couple of bucks.
01:02:05You must have had some good luck tonight.
01:02:06The best.
01:02:07Now, if you play a little tune on that horn, you can make another dollar.
01:02:11You'll wake up the whole joint.
01:02:12That's the idea. Go ahead.
01:02:18You're very talented.
01:02:19Good night.
01:02:20Good night.
01:02:26Stephen, darling.
01:02:30Stephen, listen. Hello, father.
01:02:32Hello, chick.
01:02:33Stephen, listen to me.
01:02:34Darling, you're trembling.
01:02:36I can tell you why she's trembling, father.
01:02:38Stephen, you must get away from here at once.
01:02:40You'll give him bad performance, Norma.
01:02:42Oh, Barbara, your father's really in danger. We're all in danger.
01:02:45We must get out of this house right away.
01:02:47Norma, what's happened?
01:02:49Excuse me.
01:02:53Will you please step into the library, Mr. Loray?
01:02:55Not just now, Hanson.
01:02:58What the devil's going on here?
01:03:00It will all be explained in the library.
01:03:03Will somebody please tell me...
01:03:04Mr. Loray.
01:03:06No trouble, please.
01:03:07Is this some sort of a joke, Charlie?
01:03:10Stop gaping and do as you're told.
01:03:14Do as they say, Stephen.
01:03:25I presume you know what we're after, Mr. Loray.
01:03:30I have a pretty good idea.
01:03:31Dad.
01:03:39I caught the blind man trying to get away.
01:03:41Where's Boyd?
01:03:42He's...
01:03:43He's upstairs trying to figure out a card trick I showed him.
01:03:46See what happens. Quickly.
01:03:48Norma, who is this man?
01:03:50Oh, you must be Stephen Loray.
01:03:52Well, I'm your wife's long-lost uncle.
01:03:55Duncan McLean, call me Uncle Mac, but don't be dismayed.
01:03:58I'm one of those relatives who don't stay more than a month.
01:04:00We've had enough of this nonsense.
01:04:02What do you mean, nonsense? I don't like your tone, Miss Scott.
01:04:05Do I have a perfect right to shake hands with my nephew?
01:04:08What's the matter with me, anyway? Am I a leper or something?
01:04:10Sit down and keep quiet, McLean.
01:04:15Boyd.
01:04:16How did you like that card trick I showed you?
01:04:18Fouled you, didn't I, Boyd?
01:04:19Bush, stand watch outside.
01:04:21Yes, ma'am.
01:04:22Mr. Loray, I want the combination of that safe.
01:04:30Well?
01:04:33I'll have to look for it.
01:04:34I changed it just before I left.
01:04:53Let me see.
01:04:58Four, 14 right.
01:05:00Three, 24 left.
01:05:03No.
01:05:04No, that was the old one.
01:05:17I was hoping you'd be reasonable, Mr. Loray.
01:05:20I hate to ruin that nice safe.
01:05:22And leave a lot of messy evidence around?
01:05:24I can't remember, I tell you. I've forgotten it.
01:05:26That's quite conceivable, Miss Scott, a man forgetting.
01:05:29Start in.
01:05:30Take a look at this.
01:05:49Take a look at this.
01:05:56This is it.
01:05:57You're... You're sure, Victor?
01:06:00Quite sure, ma'am.
01:06:04Check it thoroughly. We've got to be positive.
01:06:06Yes, ma'am.
01:06:11Hurry up, Victor. It's almost daylight.
01:06:27Come on.
01:06:57Come on.
01:07:28What's the matter?
01:07:29The final step is missing.
01:07:31We'll be weeks working it out.
01:07:33And even then, we might be wrong.
01:07:36We're not going to finish it.
01:07:38Mr. Loray has it in his head, and he's going to write it out for us.
01:07:42I have no intention of writing it out.
01:07:44I don't care.
01:07:45I don't care.
01:07:46I don't care.
01:07:47I don't care.
01:07:48I don't care.
01:07:49I don't care.
01:07:50I don't care.
01:07:51I don't care.
01:07:52I don't care.
01:07:53I don't care.
01:07:54I don't care.
01:07:55I don't care.
01:07:56I have no intention of writing it down, Miss Scott.
01:07:58Now you're being heroic, Mr. Loray.
01:08:00I intend to get that formula.
01:08:03The lengths to which I will go depend entirely on your will to resist.
01:08:06Do you understand?
01:08:07You're wasting your breath.
01:08:09I'd really rather not be violent.
01:08:14All right, Hanson.
01:08:19Just a moment, Miss Scott.
01:08:21There's no need for all this, and you know it.
01:08:23Once you get a hold of the complete formula, you won't let us live ten minutes.
01:08:27You have no intention of allowing witnesses to stop your activities.
01:08:30Take him out.
01:08:31You're mighty smug, Miss Scott,
01:08:33but you made one mistake in this well-oiled scheme of yours.
01:08:37Yes?
01:08:38Yes.
01:08:39You slipped up on the killing of Paul Gerenty.
01:08:47It may even surprise you to know that I have positive proof
01:08:50that you ordered him to be killed.
01:08:54What positive proof do you have?
01:08:56A man by the name of Gabriel.
01:09:02Go on.
01:09:03He's now being held in New York.
01:09:05Just before you cut the phone wires, I got word to him that his wife was murdered.
01:09:09And who did it?
01:09:11Gabriel is out for revenge.
01:09:15If I'm not home in time for breakfast, the police will be notified,
01:09:18and Gabriel will start talking.
01:09:23What's your proposition?
01:09:24Life is sweet, Miss Scott,
01:09:26even to a blind man.
01:09:28If you let us go, I'll try and persuade Mr. Lorry
01:09:31to turn over the balance of the formula to you.
01:09:33But mind you,
01:09:34we must have positive proof
01:09:36that you will let us go unharmed.
01:09:45Boy, take Mr. McLean to the basement.
01:09:49Go ahead, don't be afraid.
01:09:51Come on.
01:09:52There's no use of wasting your energies.
01:09:54You can't influence me.
01:09:57Hanson.
01:09:58Yes, ma'am.
01:10:01Watch these people.
01:10:06Gabriel's here.
01:10:07What?
01:10:08You don't suppose he knows, do you?
01:10:10Let me do the talking.
01:10:12Yes, ma'am.
01:10:15Only Gabriel.
01:10:16Yes, ma'am.
01:10:18Only Gabriel.
01:10:19The rest of you stand watch.
01:10:21I've been through the mill.
01:10:23A blind man and another guy caught me in Durante's apartment.
01:10:29Where's Vera?
01:10:30She isn't here, Gabriel.
01:10:31She went looking for you.
01:10:33She did, but she didn't know where I was.
01:10:35Yes, I tried to tell her that,
01:10:36but you know Vera, she can be very stubborn.
01:10:39We tried to stop her, but she walked to the station.
01:10:42If it's all right, I think I'd better go look for her.
01:10:44Yes, sir.
01:10:45If it's all right, I think I'd better go look for her.
01:10:47Yes, as soon as we've finished.
01:10:49But I'm kind of worried.
01:10:50Vera's all right.
01:10:53We need you here.
01:10:56All right.
01:10:58Stand watch outside.
01:10:59Yes, ma'am.
01:11:04The key, please.
01:11:07You handled it admirably, madam.
01:11:09Thank you, Captain.
01:11:11If the blind man should get a chance to talk to Gabriel,
01:11:14I'd be very pleasant.
01:11:16Yes, madam.
01:11:44You haven't got a chance, blind man.
01:12:15Come on.
01:12:28That's a .38 caliber gun you've got there, Hansen.
01:12:31It's a six-shooter.
01:12:33And you fired your last shot.
01:12:36Where are you?
01:12:37In the dark, Hansen.
01:12:39In the dark.
01:12:40In my kingdom.
01:12:41Keep them.
01:12:42Hey!
01:12:42Ah!
01:12:52Ah!
01:13:11Ah!
01:13:41Ah!
01:13:42Ah!
01:13:47Ah!
01:13:47Heave ho!
01:14:00Heave ho, heave ho, heave ho.
01:14:02Heave heave ho.
01:14:07Ah!
01:14:11I don't know what you're talking about.
01:14:13I'm not talking about you.
01:14:14I'm talking about you.
01:14:15I'm talking about you.
01:14:16I'm talking about you.
01:14:17I'm talking about you.
01:14:18I'm talking about you.
01:14:19I'm talking about you.
01:14:20I'm talking about you.
01:14:21I'm talking about you.
01:14:22I'm talking about you.
01:14:23I'm talking about you.
01:14:24I'm talking about you.
01:14:25I'm talking about you.
01:14:26I'm talking about you.
01:14:27I'm talking about you.
01:14:28I'm talking about you.
01:14:29I'm talking about you.
01:14:30I'm talking about you.
01:14:31I'm talking about you.
01:14:32I'm talking about you.
01:14:33I'm talking about you.
01:14:34I'm talking about you.
01:14:35I'm talking about you.
01:14:36I'm talking about you.
01:14:37I'm talking about you.
01:14:38I'm talking about you.
01:14:40They're asking me if they should go on, Mr. Lordy.
01:14:48I'm afraid I've made a mistake.
01:14:50You're a brave man, and I'm convinced I'll get nothing from you.
01:14:57So you leave me no choice.
01:15:02They have nothing to do with this.
01:15:04You'd better take a good look at your wife
01:15:08as she looks now.
01:15:16Wait.
01:15:19I'll give it to you.
01:15:26Don't give in to them, Stephen.
01:15:28Let them do anything they like.
01:15:31Woof, woof, woof.
01:15:34Keep a tight grip on that dog.
01:15:36If he gets away, he may tip them off.
01:15:38And we grab those guards off quietly
01:15:40so we can get inside and surprise the others.
01:15:42And we don't want any innocent people getting hurt,
01:15:44you understand?
01:15:45Now take the east side.
01:15:46What do you want me to do?
01:15:47You better stay here so you won't get hurt.
01:15:49What do you mean?
01:15:50I can take care of myself.
01:16:07Madam, I saw the dog outside.
01:16:09Is the blind man loose?
01:16:10No.
01:16:11Hanson took him to the basement.
01:16:12Get Hanson.
01:16:13I want him up here.
01:16:14Yes, ma'am.
01:16:21I thought I'd give you a call.
01:16:26Dean.
01:16:28Yes, dear?
01:16:29Hi, dear.
01:16:32Did you find him?
01:16:35Oh, dear.
01:16:36Damn it, Stephen.
01:16:38I must warn the army.
01:16:39I'll take you right to father.
01:16:42Okay, thanks.
01:16:45Thank you so much.
01:16:46You bet.
01:16:49The police.
01:17:19Mac, it's you.
01:17:45This is getting kind of monotonous.
01:17:46Get the car, Marty.
01:17:50These people are going to the airport.
01:17:51They're going to Washington.
01:17:52Right.
01:17:53The colonel's jeep coming up.
01:17:54You sure you won't come along, Barbara?
01:17:55Uh-uh.
01:17:56Aren't you going, Barbara?
01:17:57No, Uncle Mac.
01:17:58A new man has come into my life, and I'm going to stay here in New York to see what it is
01:18:06about him that intrigues me so.
01:18:08Oh.
01:18:09What's he like?
01:18:10Oh, he's big and strong, and he's the kind of a man that tells women what to do and makes
01:18:15them like it.
01:18:16In fact, he told me that if I didn't behave, he'd paddle my canoe, and he'll do it.
01:18:21Well, now you're being selective.
01:18:24Come on.
01:18:25Let's get these elderly people down to the airport.
01:18:27Here we go.
01:18:29After that, we'll do the town.
01:18:32Oh, not tonight, old boy.
01:18:40You're on your own tonight, fellas.
01:18:42Just the one of you stay home and watch the place.
01:18:44Yes, sir.
01:18:55Well, I don't know about you, dog, but me personally, I'm off to the Harlem Squash and
01:19:00Tennis Club to meet my dream gal.
01:19:03You know, what am I telling you this for?
01:19:06Why, that's romance.
01:19:07You wouldn't know nothing about that.
01:19:09Well, I'm off.
01:19:10You stay here and watch the house.
01:19:14Why, you wolf.