Original subtitles

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 the 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 dyke 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.

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 prizefighter.

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

have that dress I want in a second there.

Well, that sounds fair enough.

Leave the scotch, angel.

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?

Lee Griffin.

Are you an American, Mr. Griffith?

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, uh, Caesar and Cleopatra.

Uh, Miss Justin played the lead in New York.

That was a while ago.

And, uh, you'd like to read, hmm?

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

uh, would you, 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?

Shut up, you rat. What are you doing here? You can't get rid of me.

End of the first act.

Page 138.

You got it? All right.

Harry?

Hi there, Susie.

I met Peter in the elevator.

He said the boys had been up here and that you'd signed the 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 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 lines.

Can I bring you something?

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

What do you say?

Isn't our juvenile a little young for you?

I thought you're going in for graybeards 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

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.

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. Just, Lee, you 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 were just going over some scenes.

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.

Won'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 up with your wife.

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

You bet your bottom dollar you will.

And Harry enters.

Harry, that's the thanks I get. For 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 something good.

Something fine.

Something better than me. But you're not. You're just like me, aren't you?

Just like me. Leave.

That's nothing.

That's not scripted. What do you think you're doing?

You all right, 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.

You feel like going on, Peter?

Yeah, 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

leave, for heaven's sake. Watch it.

All right, Peter?

All right.

All right, Diana?

Are you all right?

Who is it?

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

Tomorrow at 10, okay?

Yes, okay.

Night. Night.

Are they all real?

Mm. Every single one of them.

Headaches all gone.

Give me a ring, will you?

Now, how much am I worth?

Uh, right now?

Yeah, right now. Oh, about, uh, 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.

Well, none of those things are going to happen. I mean, I can dream, can't I?

Kissable, rich, black widow. Now, come on, 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 he had left, did you?

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

50? He's in his late 50s?

Oh, sweetheart, Charlie, Charlie, gentlemen, Charlie could outlive both of

us. And probably will.

You want to bet?

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

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

Oh, Charlie, 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. It would be well then.

Hey, hey, what did you 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.

Ah,

yes, she is.

Oh, 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 baits waiting for us to take us to the country.

Well, I want to celebrate.

May I?

Yes.

Thank you.

Are you, uh...

Jealous? I've 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.

Run 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. Bye.

No glass runneth over.

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

old married folks, isn't it?

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

Or a, uh, dark corner of Seoul?

Or a bowl of seaweed soup?

Or a, uh, 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 to... 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

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 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.

Oh, the bait 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've

planned a dance all night. A little champagne?

Oh, 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 along, darling.

Mmm.

I envy you.

Only the country, all that green, those grass, those trees.

Well, 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.

That'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.

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,

darling.

Wonderful.

Is that your country home up there?

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

Victorian 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 baits into town and there's a fire in the

fireplace. And 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?

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

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

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?

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's a...

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 gardens. 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 is 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.

Are you kidding? 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.

I 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'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?

I want to make a toll call.

Hazleton 257.

I'll get it, Bates.

Hello, Justin here.

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 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.

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

Thank you. Goodbye.

What is it? You're wanted 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.

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

I'll be smart, Diana.

Just play this scene. Don't panic.

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 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 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.

Yes, yes.

Charlie?

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 the Diana?

Yes.

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.

So sorry.

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.

What's this?

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.

Be a sort of second honeymoon.

Oh, well, 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

flight 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

ferry across, tender 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

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 want to have a drink with me after the show?

No, 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.

And then, it'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? Nothing complicated.

Don't give me that. What kind?

A passport.

I want it 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.

150. All right.

Half now, half on delivery.

I'll buy this round.

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

Yeah, how do you know that?

You kill me, you do.

Thank you.

Here tomorrow after four.

All right.

Here's the picture. I'll slop it up.

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

And here's your compensation.

Did I scare you, darling?

Well, yes, just a little.

I'm sorry.

Nearly ready?

Ah, yes, almost.

Later's warming up the car.

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

I don't think you'll need any more for your charge accounts.

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.

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.

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'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-M.

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

Together.

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.

All right, till Tuesday.

Five o'clock.

Trois-M.

Au revoir, ma chérie.

How is 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.

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.

Gentleman Charlie.

Is the bar steward, sir? I don't want anything.

Well, 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.

What's this all about?

A special customs check. Do you have anything to declare?

No, not a statement. 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?

Says this is a bit unusual this not altogether so

Thank

you And

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, 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.