All language subtitles for The.Alfred.Hitchcock.Hour.S02E19.Murder.Case.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

("Alfred Hitchcock" theme music)

- 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 went 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.

(gentle music)

(honk honking)

- All I got 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'll 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.

- Shh, 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.

- Next please.

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 it's almost impossible
to find an English actor

capable of playing an
American prize fighter.

- Yes, and he has to be handsome

because I get to kiss him in the
play.

You jealous?

You wanna play the part,

Charlie Charlie, Gentleman
Charlie?

- Of course, you see casting
is 90% of the problem.

- Oh, no one asked you.

What does a writer no.

- I'll not wait, darling

I've got a four o'clock
appointment

with the president of our
South African company.

- Our angel is going back to the
office

to make some more money,

so I can have that dress
I want in the second act.

- Well, that sounds fair enough.

- Leave the scotch, angel.

I'll walk you up the aisle.

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

I wanna 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.

- Hmm, kisses.

- And what is your name, please?

- Lee Griffin.

- Are you an American, Mr.
Griffith?

- I'm an American all the way.

Oh, by the by, I just
closed three weeks ago

at the Hay Market in the
Milt Howard production

"Who Goes Next".

You wanna see my notices?

- Well, I suppose you
have a working permit?

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

Hello, Diana.

- Hello, Lee.

- [Tony] You two know each
other?

- I carried her spear in a
production of,

"Caesar and Cleopatra".

Mrs. Justin played the lead in
New York.

That was a while ago.

- [Tony] 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.

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

- Let him decide, let him
decide.

- Alright, now you choose, Mr.
Griffith.

- All right.

Diana, would you read with me?

- Why not.

- Hmm, poor little rich girl.

- Shut up, you rat.

What are you doing here?

- You can't get rid of me.

- [Diana] End of the first act.

- Page 138.

You got it?
- Hmm.

- Alright?

- Fine.

- 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.

- Well, 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.

Then I'll buy you the
best fur piece I can find.

I don't care what it cost.

Such a coat is to make Jake's
girl

or any other girl turn
green with envy, all right?

Come on say it's alright,
or it's not alright?

- Anything.

Anything that's alright 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.

We're terrible.

- Okay, by you, Arthur.

- Okay, by me, director.

- Diana.

- [Lee] If 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
fist in the looking glass,

and then very slowly
starts to unlace his glove

as the curtain falls, 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.

- Fine.
- Okay.

(people chatting)

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

- I don't think so, Peter.

I think I'll just stay
and run over my lines.

- 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're going in
for graveyards this season.

- Very funny.

- I'm writing a new
play, didn't 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 I:

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.

Girls eyes go lemon.

Lemon, lemon, jackpot!

- Oh, stop it let me go.

- Dilemma: What does a girl do?

Being a very practical girl
with lemon, lemon, lemon eyes,

she decides to leave this
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.

- Go 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.

Lee, just let me go?

(door creaking)

(dramatic music)

- Excuse me, have you seen Mrs.
Justin?

- She was here a minute ago.

She must be in her dressing
room.

- Diana.

Diana.

- Hello, darling, I didn't
expect you.

- Hello, darling.

- We were just going over some
scenes.

- Well, I thought I'd come
and take you to lunch.

- Have you met Mr. Griffin.

My husband Mr. Justin.

- How do you do?
- Yes.

- Well, Griffin, how are things
going?

- Fine.

It's a pleasure to work
with such a professional,

and your wife is a real
professional.

- Won't you join us for lunch?

- No thanks, I have a lot
of lines to catch up with

if I'm ever gonna catch up with
your wife.

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

- You bet your bottom dollar you
will.

(dramatic music)

- And Harry enters.

- Harry.

- That's the thanks I get.

From my own brother that's the
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 somebody
good,

somebody fine, somebody better
than me, but you're not.

You're just like me, aren't you!

Just like me!
- Lee!

- There's nothing like that in
the script.

What do you think you're doing.

You alright, Peter?

- 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.

- [Tony] Do you feel like going
on, Peter?

- Yes, of course, yes.

- All right.
- All right.

- Right, well let's start the
scene again.

We'll start from the kiss.

Diana, would you take up
your position, please?

And, Lee, for heaven's sake
watch it.

All right, Peter.

- All right.

- [Tony] Alright, Diana.

- Are you alright?

(dramatic music)

(soft knocking on door)

Who is it?

- [Tony] Tony.

- Tony, I'm dressing is this
important?

- [Tony] Tomorrow at 10:00,
okay?

- Yes, okay.

- [Tony] Goodnight.

- Goodnight.

- [Lee] Are they all real?

- Hmm, every single one of them.

(chuckles softly)

- Headache's 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.

Ow!
- That's the way

we like it.

You know, old daddy's a good
provider.

- Mm-hmm.

And there's plenty more
where those came from.

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

- Oh, why, Lee.
- No, I don't mean.

I mean, I just want a nice
simple lethal accident,

a fall from a primrose terrace,

a slip from a steep marble
staircase,

or a lose sandbag backstage,

and then voila, the kiss of the
widow.

- Well, none of those
things are going to happen.

- No, I mean, I can dream, can't
I?

Kissable rich black widow, now
come on.

Now don't tell me you've never
thought of

anything like that, lemon eyes?

You didn't run through
those orange blossoms

without counting the number
of years he had left, did you?

I mean, how many, well, let's
see how many has he got?

Fifty, he's in his late 50s?

Sweetheart, Charlie
Charlie, Gentleman Charlie

could outlive both of us.

- And probably will.

- You wanna bet?

(dramatic music)

- Oh, Lee.

(gentle music)

(people chatting)
(lively music)

- Bates, may 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.

Mr. and Mrs. Batina.

Hello, how are you?

Yes, how are you?

Gentleman, songstress.

Justin a little more champagne?

- Uh, no.
- Come on.

Don't be an old poop.

(people chatting)

- Excuse me.

Excuse me, gentlemen.

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

I'm getting tired, and
I've got an awful headache.

- Charlie, the party's just
beginning.

- Not tonight, darling.

Besides I don't know any of
these people.

Anyway I'd much rather be
alone with you Wellgate.

- Hey, hey what do you say?

Big hit all the way, hey?

- Oh, do you really think so?

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

Sweetheart.

- Thank you, Lee.
- Marvelous.

Cheers.

Here she is.
- Hello, Lee.

- [Lee] Hello there.

(girl giggling)

- [Girl] I love it.

- Excuse me.

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 us to the country.

- Well, I wanna celebrate.

- [Girl] May I?

- Yes, I'll give you a
little bit of champagne.

- 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.

- 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.
- One 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?

- Okay.

(people chatting)

(sighing deeply)

- Oh, be careful, Lee!

- Your glass runneth over.

So sorry, Dutch, since
you had 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 the 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.

But you have to go home
with daddy, don't you?

- Oh, get out, Lee.

- The eternal flame flickers.

Shame of it all you
used to be such fun too.

- 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 used your noggin, but
shamey, shamey, Diana.

Don't expect me to wait.

Don't expect me to wait for
that jealous old fool to die.

See the way he looked at me
tonight?

He smells the rats!

His silver grip is going to get

tighter and tighter and tighter.

- I wish he were dead.

- Now you're talking.

You want some help?

I mean, because anytime you
wanna 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.

(soft knocking on door)

- Who is it?

- [Charlie] Diana?

- Come on in, Justin.

- Bates is all 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 to dance all night.

A little champagne?

- No, it's a bit too
late for me I'm afraid.

I enjoyed your performance
very much tonight, Griffin.

- Well, thank you.

- You and Diana played very well
together.

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

- Well, come on, darling.

- Hmm, I envy you.

Going to the country, all that
green,

those grass, those trees.

Well, I've been living
at a hotel room, so.

- 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 funerals.

Goodnight, Lee.

- Oh, yeah, yeah, yeah.

- Goodnight.

- We'll open a bottle of
champagne in front of the fire

when we get home, darling.

- Wonderful.

(gentle music)

- Wait a minute.

Oh, boy.

Is that your country home up
there?

- That's my country home up
there.

Wait till you see it it's
a real Victorian monster.

The bats come out of the
walls every hour on the hour.

- Oh, poor darling.

- Come on let's hurry.

Charlie isn't home.

I sent Bates into town,

and there's a fire in the
fireplace.

- By the way, where is
old Charlie Charlie,

Gentleman Charlie.

- He's gone hunting with some
friends.

Lee.
- Hmm?

- 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.

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

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

Couple of drinks, faulty
breaks, and crack.

(dramatic music)

It's beautiful.

This Charles'?

- Uh-huh.

- Mm, what a pity.

He 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 the rear view mirror, so he
fired him.

- Not without cause, I'm sure.

- Why, Lee.

- Well, it's a great car.

I know these cars are
famous for their brakes.

- Mm.

Hey, let's go in and play
charades.

Charlie won't be home for hours.

- Hours?

- And hours.

(dramatic music)

- [Charlie] Hello, Griffin.

- I was just admiring your car.

It's fabulous.

- Thank you.

- I'm glad to see you.

I'm sorry we missed you.

We were hovering over the
reviews.

They're great.

You kill anything?

- Some quail.

Two quail.

You must come back and go
shooting with me sometime.

- Yes, can I see the gun?

Is it loaded?

- Yes.

- That's frightening.

No, it really is a great
place you have here.

It's a real showplace, huh?

- Thank you, I hope Diana
showed you the garden.

- Oh, yes, first thing.

Marvelous.

Marvelous.

- [Diana] Hello, Charlie.

- Hello, darling.

- Did you have a good day?

- Not too bad.

- I'm 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.

- Alright, darling.

Sorry we didn't get a
chance to talk, Griffin.

Perhaps some other time.

- (coughs) Right.

- When you come back,

Charlie must show you his
gardens.

He's so proud of them.

- Yes, that would be wonderful.

- Well, goodbye, Charlie.

See you after the show.

- Goodbye, darling.

(car engine revving)

- 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!

He says you go out,

and you break every training
rule in town.

Honey, I think you're
gonna have to handle this

because I don't know a
pound from a shilling.

Any ways it's chicken feed.

Hey what's the matter?

- Harry, I can't go with you.

I can't handle that money.

- Come on, you can.

I don't understand.

- I couldn't touch it.

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

- Alright, 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 eight-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 go out and
celebrate.

Only I can't celebrate,

not with Jimmy O' Brian lying
there.

I looked through the door,

and they were all priests and
doctors.

And Jimmy O'Brien was just lying
there.

- Is he dead?

Is he dead?
- Yes!

Harry.

Harry!

- Hello.

Hello, I wanna make a
toll call Hazelton 257.

Mm-hmm.

(telephone ringing)

- I'll get it Bates.

Hello, Justin here.

(coin clanking)

- Charles, this is Lee Griffin.

- Griffin, is anything wrong?

- No, there's nothing wrong,

but there might have been.

We nearly had an accident on
our way back to the theater.

Well, I'm just not used to
driving

on the wrong side of the road,

and there was this kid
with this crazy sports car.

- Nothing happened to Diana?

- Well, Diana was a little
shaken up,

and figured it'd be a good idea

for you 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 wanna worry you.

- Oh, thank you.

Thank you for calling, Griffin.

Try and keep her in the
theater till I get there.

- All right.
- Thank you, goodbye.

(dramatic music)

(car engine revving)

(audience applauding)

- One more.

That's enough.

What is it?
- You're wanted on the phone.

It's urgent.

- Well, who is it?

- It's the police.

("God Save The Queen")

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.

- Now be smart, Diana.

Just play the scene, don't
panic.

(dramatic music)

Come on let's go.

- 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 remembered

I left the water running at
home.

My predicament and that of
the hero of tonight's story

will continue after this station
break.

(suspenseful music)

(gentle music)

- 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.

- Well, my tractor's
broken write that down too.

- Mrs. Justin?
- Yes, where is Mr. Justin?

- I'm Detective Sergeant Elliot.

- I was just coming round the
bend below here Mrs. Justin.

- Yes, where is he?
- Then he come right at me

going 60 I couldn't help it.

- Is he dead?
- Who are you?

- 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 is a total wreck.

- Where is he?

- [Elliot] Upstairs in his
bedroom.

- Go to him.

- Excuse me.

- That beautiful, beautiful,
beautiful car

is totally wrecked, eh?

- [Elliot] Yes, sir.

Mr. Justin is a very lucky man.

- Yes, yes.

- Charlie?

Are you alright?

- Just a bit shaken up.

Something went wrong with the
brakes.

There was no brake.

Car was just in the shop.

I won't 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 you,
so I...

There was a near accident
on the way up tonight

wasn't there, Diana?

- Uh, yes.

- Well, anyway,

you're home without a
scratch and I'm alright.

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

Just you and me.

- Yes, that's all that matters,

Charlie Charlie, Gentleman
Charlie.

- Hey, hey, what do you say?

- Get out of here, get out!

- So sorry.

- Why, Charlie, what is it?

- Nothing I'd better sleep.

- Why, yes dear, of course.

- There was an accident
tonight, wasn't there, Diana?

- I told you there was.

- I believe you.

(gentle music)

- Sleep well.

Oh!

Charlie, what are you doing up?

You're supposed to be in bed.

- Oh, I feel alright this
morning.

Still a bit tender around the
rib region.

But 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.

Be a sort of second honeymoon.

- Well, that sounds wonderful.

But I can't leave the play,
Charlie.

- I'm closing the play.

- You're what?

- [Charlie] You'll have
three more performances.

- Why, Charlie, you can't do
that.

- Of course, I can, my dear.

I've already put it in motion.

- But.

But we're a head.

Why, 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, you will fly to
Paris.

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

I'll pick up a new car,

drive to the Devoke of Holland,

take the night car ferry 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 the Italy.

With 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'll do anything for you,
anything,

but give you up.

(dramatic music)

(grunts deeply)

(dramatic music)

- Alright, 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?

- No, come here.

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

- No, no, the less I
know about it the better.

Well, I just wanted to 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 wanna 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.

- Well, I gotta get ready.

The wheels are turning.

(dramatic music)

And then, it'll be goodbye
Charlie.

- [Tony] Fifteen minutes, Diana.

- Oh, thank you.

(people chatting)

(lively music)

- Beer.

- What do you want?

- Blackie.

- Maybe.

Why?

- What'll have?

- Whiskey.

- A whiskey for the gentleman.

- Who sent you?
- Jack Brunner.

- Talks to much.

- Mm.

- What kind of printing you want
done?

- Nothing complicated.
- Don't give me that.

What kind?
- A passport.

I want it in a hurry,
I'd be willing to pay.

Another whiskey.

- How much?

- A 100 pounds.

- What kind of passport?

- English.

- With your accent?

- Don't worry about it,
sweetheart.

- 150?

- All right.

Half now and half on delivery.

- 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.

- Here tomorrow after 4:00.

- Alright, here's the picture.

I'll slop it up.

Charles Justin, J-U-S-T-I-N.

And here's your compensation.

(gentle music)

(gentle music)

- Did I scare you, darling?

- Well, yes, just a little.

- I'm sorry, nearly ready?

- 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
anymore
with your charge accounts.

You have a couple of good
days with your dressmaker,

and I'll be there before you
by Tuesday at the latest.

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

- Well, I'll never forgive you

for closing the play, Charlie.

- I never would've forgiven
myself if I hadn't.

- Oh, just some school
boy jealous fantasy.

- I am far too old for
school boy fantasies.

Can't we make peace?

- Charlie, if you want
me to make the plane,

I have to get dressed.

Why, Charlie.

- A token of my esteem.

Now get dressed.

(telephone ringing)

- Hello.

Yes.

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 still there?

- [Dianna] 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.

- Well, I've been busy,
but I got it all set now.

I know how the third act ends.

He 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 Troisem.

We'll be alone and we'll be
together.

- [Diana] Hmm, together.

- [Lee] It's you and me baby
for the rest of our lives.

- The rest of our lives.

Well, listen I'd better go.

That old fool's smarter
than we thought he was.

- Alright, till Tuesday.

- Five o'clock.
- Troisem.

Au revoir, mon cheri.

Lemon eyes.

- [Diana] Mm. (kissing)

Au revoir, mon cheri.

(gentle dramatic music)

- Diana!

- [Diana] Yes, Charlie.

- How was Tony?

- Oh, just 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.

(dramatic music)

(birds squawking)

(gentle music)

(soft knocking on door)

- Come in.

- Hello, Charlie Charlie,

Gentleman Charlie.

- Hello, Griffin.

What brings you aboard?

- Well, you closed the play
remember?

Thought I'd take a little trip.

- Good for you.

Traveling's good for the soul.

Like a quarter 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.

(boat whistle blowing)

(dramatic music)

- Oh, Charlie Charlie, Gentleman
Charlie.

Who is it?

- [Waiter] It is the bar
steward, sir.

- I don't want anything.

- Well, you called the bar

and asked 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.

Thank you.

- You ought to keep that closed,
sir.

It'll let the damp in, you know.

- Alright, thank you.

Here you are?
- Thank you, sir.

(dramatic music)

(sighs deeply)

(dramatic music)

- You are Justin?

- Yes.

- Will you come with me, please?

- What for?

- This way, please.

- See here what's this all
about?

- A special custom's check.

You have anything to declare,
monsieur?

- 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.

I'm on holiday.

- Uh-huh.

- Will you open the luggage,
please?

- Yes.

(dramatic music)

I say, this is a bit unusual,
isn't it?

- Not all together 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
check up once in a while.

- Is that all?

- Yes, monsieur.

Will you open the trunk
of the car, please?

- It's a new car.

I don't know which key is which.

There, alright?

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

(dramatic music)

- Horrible.

- You will be 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 pocket out.

It's all too unseemly.

Next week when I present another
story,

I trust that I shall be more
presentable.