All language subtitles for Alfred Hitchcock s03e17 The Motive

good evening I always sew on my own
buttons it's out of

sentiment you see an ancestor of mine
was the inventor of the buttonhole it

happened during a duel although his
opponent never knew it was a duel

unfortunately this resulted in the false
notion that the buttonhole should be in

the back of the coat

Actually, the invention of the
buttonhole brought a great sigh of

the whole world.

You see, the button had been invented
long before, and for over a hundred

the world hadn't known what to do with
it.

And boy, we've been pals since knee
-high.

Not high to a grasshopper, but knee
-high.

Tommy!

You're a real pal.

Boy, you sure have a glow on.

I haven't glowed in years, but I'm going
to keep on glowing.

The whole point of life is to glow.

I'm, uh...

Another dead soldier. I shall go across
the hall of my room to get

reinforcements. Oh, forget it.

Sandra. Sandra, come on down here with
us, you beautiful creature. We're all

going to glow.

Is this it?

Is this what you were talking about?

Richard said you'd explain it to us.

Tommy, Tommy, rise and shine, my boy.

Go on and impress her.

Asking me to explain my chart is like
offering a politician a microphone.

Now, as Richard probably told you,
murder is my hobby.

Oh, other people's murders, of course.

Now, all the murders that you read about
get charted.

Right here.

Now, when a murder breaks, I extend this
top line one unit.

So, this line then indicates the number
of murders that have been committed

since the beginning of the year.

And the second line?

This stands for solved murders, and this
one, unsolved.

I follow every case right to the bitter
end.

And if the police fail to solve it, it
becomes a unit on the third line.

Now, here are murders where the motive
was known.

And this is the important one. It
indicates the number of murders where

motive was not found.

In other words, motiveless killing.

Now, you notice how nearly parallel
motiveless killings runs with the un...

solve murders.

And it's from this.

No, no, now, Tommy, you're not giving it
to her big. This is important.

You've got to do this justice, Tommy.
This is no trifling matter.

You've got to give it real significance.

Sandra, this little old chart tells a
secret.

This chart is going to prove

that a motiveless killing is a hundred
to one shot.

Isn't that right, Tommy?

Well, what did you do that for?

You know my theory, Tom. What are you
laughing at it for?

I laugh.

Did I laugh?

It's ten to seven. I've got to go.

I hate to rush off like this. Oh, that's
perfectly all right, darling. I

wouldn't have missed your chart for the
world, Mr. Greer.

Thanks.

You started me off on this hobby. What
are you making fun of it for? Now, now,

Tommy, I didn't start you on this hobby.
I just wanted you to start on any

hobby. Look, you know as well as I do,
it's motive.

Motive that counts.

Because given the motive, the police
will run you to the ground any time.

All right, you said it.

What do you mean, I said it? It's a
scientific fact, and my chart proves it.

Well, look, if a murder just happens
because a crackpot goes on a killing

spree or a stick -up artist holding up a
stranger pulls the trigger, if they get

away unseen, what can the police do
without clues?

Good clues.

But given a motive, they can put a
killer in the chair. Motive. That's the

that counts.

Perfect murder is a cinch if you have no
reason for committing it. What do you

make fun of it for? Because you're out
of focus, my boy. Your whole theory is

out of focus. You've gone overboard,
Tommy.

Like you always do. You've become hipped
on it.

Court!

Because I wanted you to start on a
hobby.

Start on a hobby, Tommy, I said.

Start on a hobby, Tommy, I said.

Get Marion out of your hair.

You leave Marion out of this.

You went overboard, Tommy, like always.

Like that time you airmailed two orchids
to Marion. Two, mind you, every day.

Until she had a... I beg you to stop.

I said leave Marion out of this.

But that's you, Tommy.

You went overboard when you courted her.
You went overboard when you married

her. And you went overboard when she
left you. Are you going to leave her out

this?

Of course, Tommy.

Of course I'm going to leave her out of
it. Naturally, I can't leave her out of

it, Tommy.

But can you?

Even in going overboard, Tommy.

For instance, these pictures.

Either throw them away or put them up on
the wall like anybody else would do.

That goes for these dresses and that
album of records she gave you that you

never play.

Remember what you told me the night she
chose you instead of me?

I took it like a man, you said.

All right.

Now you've lost.

So you take it like a man instead of a
crybaby.

If you weren't so loaded, I'd kick you
right in the teeth.

Well, since you're not going to kick me
right in the teeth, what I could do to

you, a little old theory.

A motiveless killing.

is a hundred to one shot.

What do you mean, what you could do to
my theory?

I could just ask one little question.
Just one little question and

poof.

All your months of work down the drain.

Ah, what's the difference?

Let's go eat.

I want to hear that question.

Well?

That last line on your chart, Tommy, the
nice black one that represents

motiveless killings?

How do you know they're motiveless?

What do you mean, how do I know?

The only person who knows if a killing
is motiveless is the killer.

All you know, Tommy, is that the police
didn't find a motive.

Not that there wasn't one.

There is no getting around it, my boy.
There's only one thing to do. Yes, only

one thing.

Prove your own theory, my boy.

Commit... Commit a motiveless murder.

Then you'll know that the killing was
motiveless.

what my little old question can do to
your little old theory.

Good evening, madam.

Theory and practice, Tommy.

Two different things.

Pardon.

Oh, I beg your pardon, sir. Excuse me.

Tommy, there's no two ways about it.
That's just what you'll have to do.

Commit a motiveless murder, and then
maybe your little old chart might mean

something again.

Barkeep, may I have two dry martinis,
please?

We'll have to find you a victim, old
boy.

Ah. If that isn't the perfect place to
find a victim.

New York. New York. No, no, not New
York.

Huh?

Los Angeles.

Pittsburgh.

Toledo. Chicago.

I never did like Chicago.

Let's take Chicago.

All right.

One, two, three.

Tommy, here's your victim.

Jerome Stanton, 1661 Ridgely Road.

Jerome Stanton, the sacrificial lamb
picked by the finger of fate to be your

victim. Oh, mister, do you mind if I use
the telephone book?

Certainly, madam.

You don't even have to worry about
fingerprints, old boy. Just clout him on

old cervical vertebra. Just one clout on
the old cervical vertebra, homie, and

poof. No blood, just poof.

Here's to you, my boy.

Stanton Jerome, 1661 Ridgely Road.

What are you daydreaming about?

There he is, a thousand miles away,
doing all the normal things.

Never dreaming that just one small
detail separates him from death.

Who?

Stanton, the guy you picked for my
victim.

Stanton... Oh, him.

Boy, was I stoned last night.

My problem is how to get him in a
position to cloud him on his cervical

vertebra. His what?

No, it's where you told me to cloud
them. What are you talking about?

Only it's not the cervical vertebra.

That's a fatal spot between the cervical
vertebra and the skull.

You were right. A small blow will do it.

You know, it's a funny thing.

Sober, I couldn't have remembered the
cervical vertebra if my life depended on

it.

Are you still going to the convention?

Yeah, I'm leaving this afternoon. I'll
be back in a couple of days.

Let me get some coffee.

Come in.

Hi, here's the map you asked me for.

Thanks. It's your first time in Chicago?

Yeah. Well, thank you, sir.

Stanton residence.

Hello?

Hello?

Is Mr. Stanton there?

No, this is the maid. Nobody's home.

Well, now, it's about time some of you
got around to calling us.

No, I'm not watching that particular
program.

Well, does Mr. Stanton have a favorite
program?

Well, he sure does.

There's one program he never misses, and
that's the fights.

Oh, he'll be home for them tomorrow
evening, all right.

Tomorrow.

Well, thank you. Thank you very much.

No, no, that's all we're supposed to
ask.

Goodbye.

This card is self -explanatory, Mr.
Stanton.

What we're doing is of a rather unusual
nature, as you can see by the card. You

must have been the young man who called
this afternoon.

Well, just to make sure you'd be home.

Sounds imposing. Very impressive. Come
on in.

Oh, so I'm to become a sampling at last.

You know, I'd begun to think these poles
were a myth.

Well, I'm game.

Will this do?

Very nicely.

But before we begin, Mr. Stanton...

I must be certain that we can have 20
uninterrupted minutes. I'm all yours.

It's now 7 .35.

You'll be finished in exactly 20
minutes.

Of course, if that can't be arranged,
I'd rather not begin. Oh, don't worry.

Fight night is Mr.

Stanton's night at the movies.

Fine.

Now, what can I do for science?

Well, we're doing a research project,
Mr. Stanton, which we think is highly

significant.

We're attempting to determine if there
actually are emotional traits that can

specifically designated.

Now, for instance, we think of
tenderness as feminine, yet many men are

of tenderness.

We think of logic as masculine, yet,
well, women can be logical.

Now, of course, I'm not... Oh, may I sit
down? Oh, please do. Thank you.

I'm not going to ask you, are you
logical or do you feel tenderness?

That would make you the judge of your
own emotions.

Now, my questions are going to be more
indirect, like, have you cried since

you've grown up?

Oh, yes, I think the needles, the
thread, the buttons, feminine.

The hammer and so forth, masculine.
Exactly.

But they involve the second stage of the
test.

I'm now going to note down my personal
observations, Mr. Stanton. Your

appearance, the decor of the room,
things like that.

Oh, Mr. Stanton, in order to save time,
while I go ahead with the questioning,

would you be kind enough to sew that
button on the handkerchief?

Oh, sure.

Now, Mr. Stanton, what's your
occupation?

I'm a chemical engineer.

Your age?

36.

Any children?

No.

Do you find it difficult to give someone
else the last word in an argument?

I swear I always give Mrs. Stanton the
last word.

We're doing very well. You're being
extremely cooperative.

I'm enjoying it immensely.

Now when you and your wife are out How
do you feel about rising when another

comes to the table the spirit rebels,
but I get up And now the

last question the one I asked in the
beginning have you cried since you were

grown man I Certainly had

Now we're ready for the objective phase.

Mr. Stanton, if you'll take this tape
measure... Aren't you forgetting my

button?

I hadn't better, not if I value my
assignments.

I saw a pretty mean button, don't you
think?

Well, we'll let that speak for itself.

Now, Mr. Stanton, if you'll take this
tape measure... All right.

And if you don't mind getting down on
all fours.

And just open it up here near my foot.

Come in.

The morning paper, sir. Is that the
final edition?

Yes, sir. Thank you.

Morning. Morning.

Well, morning, Tommy.

Greetings. Greetings and salutations.

You going somewhere, Tommy?

Oh, have been.

That's my dear boy, I have been.

You're being pretty cagey with an old
pal.

Well, you can read all about it in the
morning paper.

Listen. Dateline, Chicago.

Jerome Stanton, chemical engineer, 1661
Ridgely Road, was found murdered in his

home last night.

The police have already staked out a
suspect on a clue furnished by Mrs.

Stanton. When asked if she knew who
might have had a motive for the crime,

replied that her former husband, Tommy
Greer, must have found out it was for

Stanton that she left him.

Marion?

Marion and Stanton, that's impossible.

I could always outguess you, Tommy.

It was just like drawing up a blueprint.

You knew.

You knew all the time.

That name wasn't picked by chance.

You weren't even drunk that night.

You took her away from me, Tommy. So did
he. Did you really think I wouldn't do

anything about it?

You meant for me to kill him.

To get rid of both of us.

Which one of you is Greer?

Him, that's Greer.

Hundred to one shot, Tommy.

That's what I told you.

All right, come on, Greer, let's go.

Well, that only goes to prove that you
can't be too careful about whom you

murder.

He might turn out to be someone you
don't like.

Next time we shall be back with another
story.

Until then, good night.