All language subtitles for Hitchcock s02e19 Murder Case

Good evening.

I hope you will excuse me, but I seem to
be immobilized.

A small Dutch boy asked me to keep my
finger in a hole in the dike while he

for help.

That was a week ago.

But of course, help is very hard to get
these days.

I wonder if it might not be wiser if
they simply turned this into a fountain.

By the way...

This is not the extent of tonight's
entertainment.

Later, we plan to present a story called
Murder Case.

It concerns a man who assumed a very
strange identity for a very practical

reason. It will follow hard upon this
one -minute leak in the dike of

television.

What left is what I got in my hands.

They made me one fortune, they'll make
me another.

I'll fight my way back through all of
the jungles.

Nobody will stop me. Not you, not
anybody.

Oh, yes, that's enough.

That is enough, thank you.

Next, please.

Would you leave your script on the
stage, please?

He seemed to be perfectly all right. I
thought he was fine.

What do you know about casting a play?

Our angel thought that one was fine.

Send him back to the diamond mines.

Well, actually, you know, he could play
Peter.

Oh. Next is... Oh.

Oh, I'm terribly sorry, Mr. Macklin. I
know your work very well. We were

thinking in terms of a rather younger
man.

Thank you.

I'm sorry, Mr. Justin.

This has turned out to be such a
prolonged affair and such a bore, but

Almost impossible to find an English
actor capable of playing an American

prizefighter. Yes, and he has to be
handsome, because I get to kiss him in

play. You jealous?

You want to play the part, Charlie,
Charlie, Gentleman Charlie?

Well, of course, you see, casting is 90
% of the problem, you know. Oh, no one

asks you. What does the writer know?

I'll not wait, darling. I've got a four
o 'clock appointment with the president

of our South African company.

Oh, our angel is going back to the
office to make some more money so I can

that dress I want in a second.

Well, that sounds fair enough.

Leave the sky change.

I'll walk you up the aisle.

Hey, let's go to Claridge's tonight for
dinner.

I want to wear my new dress.

Remember the last time we walked up an
aisle? It was raining rice.

How long will you be? Oh, about an hour.

I'll meet you at the apartment.

Kisses.

What is your name, please?

Uh, Lee Griffin.

Are you an American, Mr. Griffin?

I'm an American all the way.

Oh, uh, by the by, I just closed three
weeks ago at the Haymarket in the Milt

Howard production, Who Goes Next.

You want to see my notices?

Well, I suppose you have a working
permit.

Yeah, it's, uh, good for another six
months.

Hello, Diana.

Hello, Lee.

You two know each other?

Uh, I, um...

I carried a spear in a production of
Caesar and Cleopatra.

Miss Justin played the lead in New York.

That was a while ago.

And you'd like to read, hmm?

That's what I'm here for. That's what I
got up out of bed early for.

Would you have a scene for me, or would
you like me to decide?

Well, let him decide.

Let him decide. All right. Now, you
choose, Mr. Griffith.

All right.

Diana, would you read with me?

Why not?

Hmm, a little rich girl. Shut up, you
rat. What are you doing here?

You can't get rid of me.

End of the first act.

Uh, page 138.

You got it? All right.

Bye.

Harry?

Hi there, Susie.

I met Peter in the elevator.

He said the boys had been up here and
that you'd signed a contract to fight in

London. That's right, baby.

But what happens to me?

What do you mean, what happens to you?

What kind of talk is that? You're coming
with me.

Sure. Well, tomorrow when the boys bring
me my cut of the purse, you and me will

go to the biggest, bestest fur place I
can find and I'll buy you the best fur

piece I can find.

I don't care what it costs. Such a coat
as to make Jake's girl or any other girl

turn green with envy. All right?

Come on, say it's all right or it's not
all right.

Anything.

Anything that's all right with you,
Harry, is all right with me.

I wish I didn't feel this way.

But that's the way it is.

I can't help it.

They're terrible.

Okay by you, Arthur?

Okay by me, director.

Diana! I don't get the job, I'll kill
you.

Hire him.

Then Susan exits.

There's a long pause while Harry looks
at his torn face in the looking glass.

And very slowly he starts to unlace his
glove as the curtain falls.

All right?

Let's see.

Let's take an hour for lunch, and we'll
all be back here at 2 .30, and then

we'll read through it again.

All right.

Would you like to have some lunch, Mrs.
Justin?

Oh, I don't think so, Peter. I think
I'll just stay and run over my line.

Can I bring you something?

Well, some coffee, if you would, please.
All right.

Hey, hey, what do you say?

Isn't our juvenile a little young for
you?

I thought you were going in for
graveyard this season. Very funny.

I'm writing a new play.

Can I tell you? It's called You Can't
Get Away From Me No Matter How Hard You

Try. You like that title?

What's it about?

Act one.

Struggling young actor meets struggling
young actress.

They fall in love. They're both rotten
to the core. Now, that's vital to the

understanding of this play.

Their relationship is wild and
tempestuous.

Enter Rich Diamond Merchant.

Enter old rich diamond merchant. Girl's
eyes go lemon, lemon, lemon, jackpot.

Oh, stop.

Let me go.

Dilemma. What does the girl do?

Being a very practical girl with lemon,
lemon, lemon eyes, she decides to leave

the actor stranded without a word,
without a final scene.

Now, this makes the young struggling
actor very mad.

Next thing he knows, he reads in Variety
that she's run off to England to start

a production company with this very rich
diamond merchant starring in a vehicle

in London.

Enter struggling young actor still very
mad.

Hey, hey, hey, what do you say?

You miss me? No.

Come on now, be a good girl. I'll let
you go.

You miss me?

No.

Boy, that lie won't stand up in close
-up.

Oh, I forgot to tell you, there's a
subplot.

Actor's very broke, in need of a suit,
is even hungry.

How much do you want, Lee?

My share.

Just my share.

Oh, just let me go.

Excuse me, have you seen Mrs. Justin?

She was here a minute ago. She must be
in her dressing room.

Diana!

Diana!

Oh, hello, darling. I didn't expect you.
Hello, darling.

We're just going over some things.

I thought I'd come and take you to
lunch.

Oh, have you met Mr. Griffin?

My husband, Mr. Justin.

How do you do?

Well, Griffin, how are things going?

Fine. It's a pleasure to work with such
a professional, and your wife is a real

professional.

Why don't you join us for lunch?

No, thanks. I have a lot of lines to
catch up with if I'm ever going to catch

with your wife.

Yes, well, we'll see you after lunch,
then, Lee.

You bet your bottom dollar you will.

And Harry entered.

Harry, that's a thanks I get. My own
brother, that's a thanks.

It's not what you think, Harry. I got
eyes. I can see.

Not like some people I know.

Harry. I ought to kill you both.

I thought you were better than me.

I thought you were something good.

Something fine.

Something better than me. But you're
not. You're just looking at me. Just

at me. Look at me. There's nothing like
that in the script. What are you doing?

You all right? Yeah.

You better have a word with that madman.
He might have killed me. I got carried

away. You know how it is. You just get
carried away, that's all.

Do you feel like going on, Peter?

Yeah, of course, yes.

All right.

All right. All right, well, let's start
the scene again.

We'll start from the kiss, Diana. Would
you take up your position, please? And

leave, for heaven's sake. Watch it.

All right, Peter?

All right.

All right, Diana.

Are you all right?

Who is it?

Tony. Oh, Tony, I'm dressing. Is it
important?

Tomorrow at ten, okay?

Yes, okay.

Good night.

Good night.

Are they all real?

Every single one of them.

Headaches all gone.

Give me a ring, will you?

Now, how much am I worth?

Right now?

Yeah, right now.

Oh, about 80 ,000.

Come over here. Come over here and kiss
me quick.

Still hate me?

Mm -hmm.

Oh. That's the way we like it.

You know, old daddy's a good provider.

Mm -hmm.

There's plenty more where those came
from.

Wouldn't it be adorable if old daddy had
a heart attack?

Oh, I... No, no, no, I mean just a nice,
simple, lethal accident.

A fall from a, uh, primrose terrace.

A slip on a steep marble staircase.

Or a loose sandbag backstage.

And then, voila!

There's a kissable widow.

Mm. Well, none of those things are going
to happen. Well, I mean, I can dream,

can't I?

Kissable, rich, black widow. Now, come
on, now, don't tell me you never thought

of anything like that, Lemon Eyes.

You didn't run through those orange
blossoms without counting the number of

years that you had left, did you?

I mean, how many? Well, let's see. How
many has he got?

Fifty? He's in his late fifties?

Oh, sweetheart.

Charlie, Charlie, gentlemen, Charlie
could outlive both of us.

And probably will.

Well, I do the honors.

Here, here, let me take this whole
bottle.

May I help you with a little champagne?

Yes, to celebrate the new play.

Ah, Mrs. and Mr. and Mrs. Bettina.
Hello, how are you?

Yes, how are you?

Gentlemen, songstress, Justin, a little
more champagne?

Come on, don't be an old poop.

Excuse me, gentlemen.

Excuse me. Darling, it's getting late.
Yes.

I'm very tired. I've got an awful
headache.

Oh, surely the party's just beginning.

I'm not tonight, darling. Besides, I
don't know any of these people.

Anyway, I'd much rather be alone with
you at 12 o 'clock. Hey, hey, what do

say? Big hit all the way, eh? Oh, I
don't really think so.

Yes, sweetheart, it was magic time on
that stage tonight, sweetheart.

Thank you, dear.

There she is.

Hello there.

I love it.

May I steal my leading lady from you?

Thank you.

Hey, hey, what do you say?

Where are you going?

You mean after this party? Yes.

Where are you going?

Charlie's tired. He has Bates waiting
for us to take her to the country.

Well, I want to celebrate.

May I?

Yes.

Thank you.

Are you jealous? I told Bates to start
packing up the bar, darling. It is late.

Yes, Charles. I'll get my things in a
minute.

More champagne, Mr. Justin? Bates has
already packed my glass.

Oh, well, you could always use
Cinderella's slipper.

I say, Mr. Justin, we're being
neglected.

Yes, Justin, I see that you're tired.
I'll just be a minute.

Hit me. Went for the road? That's right.

I'm afraid we've run out.

Well, get another bottle. I'll be in my
dressing room.

Hey.

What?

A glass runneth over.

So sorry, Doc, since you have to motor
on home, but that's the way it is with

old married folks, isn't it?

I couldn't interest you in a midnight
ride down to Thames, could I?

Or a dark corner of Seoul?

Or a bowl of seaweed soup?

Or a glass of beer in my seedy little
flat, come here.

Oh, but you have to go home with Daddy,
don't you?

Oh. The eternal flame flickers.

Shame of it all. It used to be such fun.
I said get out.

Wait a minute.

It's not my fault you're trapped.

It's not my fault that you married a man
old enough to be your father.

Okay.

Okay. You married a man with money.
That's great. You use your noggin. But

shamey, shamey, Diana. Don't expect me
to wait. Don't expect me to wait for

jealous old fool to die.

See the way he looked at me tonight?

He smelled the rats.

His silver grip is going to get tighter
and tighter and tighter.

I wish you were dead.

Now you're talking.

You want some help?

I mean, because any time you want to
talk about it seriously, I'm here.

No, I mean it. I'm serious.

Would you like to talk about it
seriously? Because I'm here.

Packed ready, darling? Yes, just about.

Oh, it's a shame that you don't feel
like coming to our party with us. We

planned a dance all night. A little
champagne?

It's a bit too late for me, I'm afraid.

I enjoyed your performance very much
tonight, Griffin.

Well, thank you.

If you and Diana play very well
together.

Yes, I think we'll get a run out of it.

Well, come on, darling.

I envy you.

Going to the country, all that green,
those grass, those trees.

I've been living out of hotel rooms, you
know.

You ought to take a walk in the park.

Yes, I might just do that.

I have a better idea. Why don't you come
out and see us tomorrow at Wellgate?

That would be a wonderful idea, wouldn't
it, Charlie?

Yes, you'll see plenty of trees there.

Yes, how do I get there?

Well, just come by train. Call from the
station. I'll send someone down to get

you. Then you can spend the day and then
drive back to the theater with me

tomorrow night.

It'll save Charlie a trip.

That sounds fabulous. Come on, Lee.

Come here. I'll get my purse.

Aren't you going to take any of these
flowers, darling? I hate flowers. They

remind me of funeral.

Good night, Lee.

Oh, yeah, yeah, yeah.

Good night.

We'll open a bottle of champagne in
front of the fire when we get home,

Is that your country home up there?

That's my country home up there. Oh,
wait till you see it. It's a real

monster. The bats come out of the walls
every hour in the hour.

Oh, poor darling.

Come on, let's hurry.

Charlie isn't home. I sent Bateson to
town and there's a fire in the

And by the way, where is old Charlie,
Charlie, gentleman Charlie?

He's gone hunting with some friends.

Lee? We had a terrible fight on the way
home last night. Charlie was furious.

I almost asked him for a divorce. No
divorce.

You don't want a settlement.

We want it all, don't we, sweetheart?

Oh, Lee.

That's it.

That's a tricky road, isn't it?

That's a great road to have a wreck on.

A couple of drinks, faulty brakes, and
crack.

Beautiful. Charles's?

Uh -huh.

What a pity.

Uh,

you use a chauffeur?

Well, we used to.

His name was Clifford. But Charlie got
jealous.

He said we were making eyes at each
other in a rearview mirror.

So he fired him.

Not without cause, I'm sure.

Why Lee?

Oh,

it's a great car.

I know. These cars are famous for their
brakes.

Hmm.

Hey, let's go in and play charades.

Charlie won't be home for hours.

Hours. And hours.

Hello, Griffin.

Oh, I was just admiring your car. It's
fabulous.

Thank you.

Glad to see you. I'm sorry we missed
you.

We were hovering over the reviews.

They're great.

You kill anything?

There's some quail.

Two quail.

You must come back and go shooting with
me sometime.

Yes. I see the gun.

Is it loaded?

Yes. Oh, that's frightening.

No, it really is a great place you have
here. It's a real show place, huh?

Thank you. I hope Diana showed you the
garden.

Oh, yes. First thing.

Marvelous.

Marvelous.

Hello, Charlie.

Hello, darling.

Did you have a good day?

Not too bad.

Sorry to rush off like this, but we're a
little late.

Will you drive, please, Lee? Sure.

Why don't you take my car?

Well...

Oh, I don't think so, sweetheart. Since
I'll be driving home alone after the

show, I think I'd rather have the little
car.

All right, darling.

Sorry we didn't get a chance to talk,
Griffin. Perhaps some other time.

When you come back, Charlie must show
you his garden. He's so proud of them.

Yes, that would be wonderful.

Well, goodbye, Charlie. See you after
the show.

Goodbye, darling.

Look, I got a little guy, see, and I say
to him, I want to get the best corsage

I can, just like a girl who's going to a
high school prom or something. And

Benny, you know what Benny does?

Benny comes up and he gives us a bonus,
honey. And he says, you go out and you

break every training rule in town.

Honey, I think you're going to have to
handle this because I don't know a pound

from a shilling.

Anyway, it's chicken feed.

Hey, what's the matter?

Harry, I can't go with you.

I can't handle that money.

Ah, you can't. I don't understand.

I couldn't touch it.

I couldn't eat a bite of food that it
bought.

All right, what is it now? What is it?

Why, you don't even care, do you?

Well, I just saw his mother out in the
hall.

Harry, she had a little straw hat with
artificial lilacs on it.

His 18 -year -old sister, his 8 -year
-old brother, all of them outside of his

room in the hall.

Well, they knew who I was, all right.

They knew I was your girl and I was
coming to see you and we were going to

out and celebrate. Only I can't
celebrate.

Not with Jimmy O 'Brien lying there.

I looked through the door and there were
all priests and doctors and

Jimmy O 'Brien was just lying there.

Is he dead?

Is he dead?

Yeah!

Risleton 257.

I'll get it, Bates.

Hello, Justin here.

Charles, this is Lee Griffin.

Is anything wrong?

No, there's nothing wrong, but there
might have been. We nearly had an

on our way back to the theater.

Nothing happened to Diana.

Well, Diana was a little shaken up, and
I think it would be a good idea for you

to drive into the theater and take her
back with you.

Can I speak to her?

No, she's right in the middle of a
second act.

And she doesn't know that I'm calling
you.

She didn't want to worry you.

Oh, thank you. Thank you for calling,
Griffin.

What is it? Your warrant's on the phone.
It's urgent.

Well, who is it?

It's the police.

Hello?

Yes, this is Mrs. Justin.

Yes?

What? What is it?

It's Charlie. There's been an accident.

He's been in a car accident.

What did you do?

How bad is it?

I don't know.

Yes, I'm on my way. I'll be right there.

I'll be smart, Diana.

Just play the scene.

Don't panic.

I trust you found our first half
interesting.

For myself, my enjoyment was somewhat
diminished by the discovery that my

fingers are stuck. I can't get away.

This is particularly annoying because I
just remember I left the water running

at home.

My predicament and that of the hero of
tonight's story will continue after this

station break.

I didn't hardly have time at all to see
the car, Sergeant. I mean, there it was,

all bright lights. I know you told me.
I've got it written down.

Oh, well, my tractor's broken. Write
that down, too.

Mrs. Justin?

Yes, where is Mr. Justin? I'm Detective
Sergeant Elliot. Oh, I was just coming

round the bend below here, Mrs. Justin.
And then he come right at me, gone 60. I

couldn't help it. Is he dead? Who are
you?

I'm... This is a friend.

Is Mr. Justin dead?

Well, he smashed right into my tractor.

Good thing he did, Mrs. Justin, or he'd
have gone right over the edge.

Just a couple of cracked ribs, slight
concussion.

A concussion, eh?

Car's a total wreck.

Where is he?

Upstairs in his bedroom.

Go to him.

Excuse me.

That beautiful, beautiful, beautiful car
is totally wrecked, eh? Yes, sir.

Mr. Justin is a very lucky man.

Are you all right?

Yes, a bit shaken up.

Something went wrong with the brakes.

There was no brake.

The car was just in the shop.

I might be playing golf for a while.

But what were you doing out with the
car?

Where were you going?

I was driving up to town to fetch you
home.

Me?

Why?

Lee phoned to say you'd had a near
accident on the way up and that you were

nervous, so I...

There was a near accident on the way up
tonight, wasn't there, Diana?

Yes.

Well, anyway, you're home without a
scratch, and I'm all right, sir.

That's all that matters, isn't it?

Just you and me.

Yes.

That's all that matters.

Charlie, Charlie, gentlemen, Charlie.

Hey, hey, what do you say?

Get out of here. Get out.

Oh, oh.

I'm so sorry.

Charlie, what is it?

Nothing. I fell asleep.

Well, yes, dear. Of course.

There was an accident tonight, wasn't
there, Dad?

I told you there was.

I believe you.

Charlie, what are you doing up?

You're supposed to be in bed.

Oh, I feel all right this morning.

Still a bit tender around the rib
region.

That's to be expected.

I've been up doing things. Oh?

What sort of things?

Mostly arranging about a holiday.

A holiday?

Yes, I thought I'd recuperate from my
accident at the house in Monte Carlo.

It's sort of second honeymoon.

Oh, well, uh...

That sounds wonderful, but I can't leave
the play, Charlie.

I'm closing the play.

Your what?

You have three more performances.

Well, Charlie, you can't do that.

Of course I can, my dear.

I've already put it in motion.

But... But we're ahead.

We... Well, Charlie, you'll lose a
fortune.

I'd rather lose a fortune than lose my
wife.

I have several fortunes.

I have only one wife.

Well, I don't understand.

You understand perfectly.

Now, I've arranged the day after the
play closes, which is Friday, a dual

to Paris.

Well, you said just yesterday you wanted
some new clothes.

I'll pick up a new car, drive to the
Hawk of Holland, take the night car

across, tend to some business there, and
I'll meet you in Paris on Tuesday.

From there, we'll drive to Monte Carlo.

Maybe down into Italy.

Oh, nothing else to do. It'll be fun to
get away.

Well, I don't need that much time in
Paris.

I don't want to leave you alone in
London.

Be very careful, Diana.

I love you.

I'd do anything for you. Anything.

But give you up.

What does this mean? Just what it says.

Charlie's closing the play. This is our
last week.

Why? You know why. He's put one and one
together and he doesn't like the two he

gets. He's arranged for me to go away.

To go away?

Yes. The day after the play closes, he's
sending me to Paris. Then he's

following in a car and then we're going
on a second honeymoon.

As if the first one wasn't bad enough.

Lee, is this how it's going to end?

Now, come here.

You want to talk about how it's to be
done?

Oh, no, no. The less I know about it,
the better. I just... Oh, I just wanted

have a happy ending with the young
lovers walking off together in a sunset.

Lee, he won't give me a divorce.

There isn't but one other way.

Why don't you just leave the mechanics
to me?

I've always been pretty good at
plotting.

You want to have a drink with me after
the show?

Oh, I... can't. He's waiting for me in
the car outside of the theater. He's

going to take me home directly after the
last act. He won't let me out of his

sight.

Oh, I gotta get ready.

The wheels are turning.

And then we'll be goodbye, Charlie.

Fifteen minutes, Diana.

Oh, uh, thank you.

What do you want?

Blackie?

Maybe.

Why?

What do you have?

Whiskey.

A whiskey for the gentleman.

Who sent you?

Jack Brunner. Talks too much.

What kind of printing do you want done?

I think I can't forget it. Don't give me
that. What kind?

A passport.

I'm not in a hurry. I'll be willing to
pay.

Another whiskey.

How much?

A hundred pounds.

What kind of passport?

English.

Your accent?

Don't worry about it, sweetheart.

I'll buy this round.

How do I know you're not from the yard?
Trying to frame me.

Yeah, how do you know that?

You kill me, you do.

Thank you.

See you tomorrow after four.

Right. Here's the picture. I'll flop it
up.

Charles Justin.

J -U -S -T -I -N.

Oh. Did I scare you, darling?

Well, yes, just a little.

I'm sorry.

Nearly ready?

Ah, yes, almost.

Bates is warming up the car.

Here's your plane ticket and a thousand
pounds in cash.

I don't think you'll need any more, it's
your charge account.

You have a couple of good days with your
dressmaker. I'll be there before you

know it, by Tuesday at the latest.

I... I think I'm forgiven, aren't I?

Well, I'll never forgive you for closing
the play, Charlie.

I never would have forgiven myself if I
hadn't.

Oh, just some schoolboy jealous fantasy.

I am far too old for schoolboy
fantasies.

Can't we make peace?

Charlie, if you want me to make the
plane, I have to get dressed.

But, Charlie...

A

token of my esteem.

I'll get dressed.

Hello?

Yes.

Um, it's, uh, it's Tony, Charlie.

Oh, give him my best.

Charlie sends his best.

Yes, awfully nice of you to call.

Oh, yes, we're just about ready.

Uh -huh.

Oh, I don't think that we'll be gone too
long, just long enough to soak up some

of that sun, you know.

Yes, well, I don't... He's still there?

He just left. Where are you?

I'm at the theater rounding my stuff up.

What time do you leave?

Well, just any minute. I'm all packed.
I've been stalling and stalling. I

thought you'd never call.

Oh, I've been busy, but I got it all set
now. I know how the third act ends.

He's still taking the night car ferry
for Holland?

Yes, just as soon as he puts me on the
plane.

Lee?

What are you going to do?

Ask me no questions, I'll tell you no
lies.

Well, when will I see you?

Tuesday, Paris, five o 'clock at the
Trois -Aimes. We'll be alone and we'll

together.

Listen, I'd better go. That old fool's
smarter than we thought he was.

All right, till Tuesday.

Five o 'clock.

Trois m.

Au revoir, ma chérie.

Fine, he wanted to wish us bon voyage.

He's been offered a movie in Hollywood.

He thinks there might be a part in it
for me.

Why not?

You're a very talented actress.

Oh, thank you, darling.

Well, I'll just be a moment.

Come in.

Hello, Charlie, Charlie.

Gentlemen, Charlie.

Hello, Griffin.

What brings you aboard?

Well, you closed the play, remember?

Thought I'd take a little trip.

Good for you.

Travelling's good for the soul.

A quart of orange, berry berries,
scurvy, all that sort of thing.

I like your new car. It's fabulous.

Oh, get on with it. I'm very tired.

I'm just waiting for the whistle.

Charlie, Charlie.

Gentlemen, Charlie.

Who is it?

It's the bar steward, sir.

I don't want anything.

Will you call the bar and ask for a
scotch and soda, sir?

It is Mr. Justin, isn't it, sir?

Yes, it is.

Hold on a minute, please.

I'll take that.

You ought to keep that closed, sir. Let
the damp in, you know.

All right, thank you.

There you are.

Thank you, sir.

Justin? Yes?

Will you come with me, please? What for?

This way, please.

Uh,

sit here. What's this all about?

A special customs check.

You have anything to declare, my man?

No, not a thing.

You are in the diamond business.

That is my information?

Yes. You are in Holland for business
reasons, yes?

No, no, no, no, no. I'm on holiday.

Will you open the luggage, please?

This is a bit unusual, isn't it?

Not altogether so.

Thank you.

May I see your wallet, please?

Good heavens, what am I supposed to be?
A dangerous smuggler or something?

We have to make this checkup once in a
while.

Is that all?

Yes, Minard.

Will you open the trunk of the car,
please?

It's a new car.

I don't know which key is which.

There, all right.

Thank you. All right, put it in, please.

Pleased to know that the little boy who
went for help finally returned.

Unfortunately, our little hero seemed to
have forgotten what he was supposed to

do. He was much more interested in going
through my pockets for money. I'm quite

distressed, really. I don't mind losing
the money or my illusions about our

young hero.

It's standing here in public with my
pockets out.

It's all too unseemly.

Next week when I present another story,
I trust that I shall be more

presentable.