Original subtitles

("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.