All language subtitles for The Alfred Hitchcock Hour S02E26 Ten Minutes from Now 1080p

- Good evening.

I'm resorting to this
device to attract attention

to our program.

I have no shame whatsoever.

The Town Crier was a 17th
century American newspaper.

As newspapers go, it was rather
primitive.

It had no contests, no
crossword puzzles, no funnies.

And, of course, the
columnists couldn't wrap

their garbage in the Town Crier.

They simply threw it at
him when they disagreed

with his editorials.

There was no advertising either.

The more I describe it, the
more attractive it sounds.

Naturally, this has nothing to
do with this evening's play.

Our story is a modern one about
a man

who moves about a large
city, carrying a box,

which was both mysterious and
disquieting.

It follows this advertisement.

- As may or may not be voted
by the House in Washington.

For the third time in a
week, Thomas Grindley,

the Commissioner of Recreation
and Parks,

received letters threatening his
life.

The Commissioner, when
interviewed in his office,

could not find any cause for
this attack.

- That's true, I received
several.

I can't imagine why I've been
singled out for these letters,

since my office performs few
functions

that could incense
anyone to such a degree.

We run the playgrounds and the
parks.

Oh, I do set up art exhibits
and ceramic classes,

and things like that, but.

Perhaps it's some disgruntled
volleyball player.

But whatever it is, it isn't
very amusing.

And the person who's
doing it should realize

they're committing a crime
just by mailing such letters.

- Where did the fella with the
package go?

Call the Bomb Squad.

- Commissioner Grindley's
office.

What?

Oh, no, no, he hasn't, but, uh.

Yes, I see.

- I would like to see the
Park Commissioner immediately.

- Do you have an appointment?

- I would've mentioned it if I
did.

- Is this professional or
personal?

- One might say it will
ultimately
be a little bit of both.

- What do you mean?

- I'm not here to argue
the merits of my visit!

- I am not arguing.

- It's your duty to announce me
now.

Right now.

- Yes.

Yes, sir.

Yes.

- You're not the Park
Commissioner.

- Lieutenant Wymar, Detective
Bureau.

- I haven't done anything.

- Why do you wanna see
the Park Commissioner?

- Is a visit to a public servant

now considered a criminal
offense?

- What's in that box?

- Gravel, call the Bomb Squad.

- I'll take it.

- It might be waterproof paper.

- I'll try, Lieutenant.

- Your name?

We'll find out anyway.

- James Bellington.

- Over there.

Okay, hold it.

Recognize this?

- No.

- You wrote it.

- For someone whose profession
reputedly deals in facts,

you have a pension for fantasy.

- Read it.

I'll hold it.

- To Commissioner Grindley,
you are a bore and a fool.

Completely unqualified
to judge what paintings

shall or shall not be exhibited
in the city art shows.

Since there is no legal means to
relieve

this struggling artist in
this city of your prejudice,

I shall have to resort to a
bomb.

It's type written, but
there's no signature.

- Of course not.

- You seem to be accusing me
of something, a bomb threat?

Are you prepared to
book me on that charge?

- If it's necessary.

- I live in the Bedford
Apartment Hotel,

I do not have a police record of
any kind,

and I have never committed a
crime.

- Well maybe this is a first.

- Or yours.

Against me.

- On what basis?

- False arrest.

- You're only being detained.

- How refreshing, a police
officer who's taken the trouble

to read and comprehend the
statute laws governing arrest.

- Could you give a description?

I need it for the charge.

- This alarm clock.

- I mean a technical one!

- That's it.

- But what explosive was used?

- That's all.

- You mean the explosive
was inside the clock?

- He's trying to tell
you there is no more.

It is only a clock.

Not a Daliesque clock of
artistic significance,

or a Swiss clock to create
tympanic music,

it is not an heir loom,
it's not a bomb either.

It is simply a clock, a plain,
pedestrian,

hand-wound alarm clock that even
someone

with your fanciful imagination
could buy

in a corner drug store.

- You still didn't say why you
wanna see the Commissioner.

- Now I don't wanna see him.

- Why not?

- The same reasons I wanted to.

- And that is?

- Personal reasons,
private reasons, goodbye.

- You're not going.

- Are you arresting me?

- I only said you were being
detained.

- It's false detention, I'll
sue you for false detention.

- But certainly a man with
your expert legal knowledge

knows there can't be false
detention.

I can hold you for eight hours

without booking you for
anything.

You're going to be asked some
questions.

- I don't have to answer.

- Oh, not by me, I'm just a cop.

- Since you describe
yourself as worthless,

it would be impolite of me to
disagree,

since you're my reluctant host.

- But by Dr. Glover.

- A doctor?

A psychiatrist?

- But how
do you make a living?

- Like most people.

- How's that?

- By work, obviously.

- You enjoy verbal fencing?

- Only when the occasion doesn't
merit

anything more profound.

- You speak like a man with
some sort of education.

- So do you.

- Some sort.

- Why aren't you wearing a white
jacket?

- Why should I?

- Well, you're an MD.

But on the other hand, wearing
a white jacket might raise

resistance in disturbed
patients who come to see you.

- You seem to know something
about the profession.

- Too much.

- Through reading or personal
contact?

- May I go?

- Why don't you wanna answer my
question?

- What for?

- To help yourself, I can help
you.

- How?

- If you tell me what
is really bothering you

I might be able to...

- To help me adjust?

- Perhaps.

- Do you know what an
artist has to go through

in this world?

- I've heard.

- Do you know what he has to put
up with?

Do you know what uneducated
oafs and clowns do to his work?

- Have you ever had a
showing of your paintings

in the city of county museum?

- Showing?

How can I, how can any artist of
any worth

with that stupid Park
Commissioner sitting up there

and passing on art?

- He didn't pass on them.

- He did!

- A committee of artists and
curators selects the paintings

for the city exhibits.

- What artists, what curators?

- I...

I don't know.

- What curators?

- I'm not sure.

- Lackeys.

- I'm not through!

- Charge me with something.

Name one crime I've committed,
one.

- I can only name one you want
to commit.

Bellington!

You're smart enough to
know we can't hold you.

We can't force you to take
treatments.

But we're smart enough to know
one of two things about you.

Either you're faking your
condition.

- We can't stop him.

- He might even commit suicide
or a murder

within the next two or three
days.

Why all the secrecy to get me to
a hotel

as if we were intelligence
agents for profit?

- Your drollery doesn't help
sometimes.

- It isn't meant to, it's
meant to disturb, provoke.

Mr. Bellington's room?

- It's safe to come in.

We went over the whole room
already.

- While he was here?

- Of course not!

Pretty awful, aren't they?

- The content, yes.

But he has a very complex color
sense.

That's either heightened
psychotic color awareness,

or he has training.

- Junk, I'd have turned him down

if I had of been on the
mayor's art committee.

- But technique, he has
technique.

That takes control.

Superb technique, distorted.

Now, why would a man with
technique want to hide it?

- Well, there are classic
psychological reasons.

- Remember, I told you all
that psychological stuff,

so please don't repeat them
to me, they don't apply.

- Oh, if you look at all this
stuff,

how can you find a way to stop
him?

- You've done the damage
already.

- What damage?

- When he finds out you've been
here.

- Who'll tell him, don't be
foolish, he'll never know.

- Being both brilliant and
paranoid,

he'd set traps for anyone
entering into this room.

- Well, I had the squad go over
it.

- Clever traps, things a
rational mind would never
notice.

- Ashes on the floor,
did anyone step on them?

That picture, did anyone
pick it up or put it down?

- Just one, but I set
it back the way it was.

- Exactly the way it was?

- Almost.

- But it has to be exactly,
precisely the way it was.

There are probably 10 or
15 things around this room

that you have touched, moved,
crushed, altered or modified,

just enough to make him
walk into this room,

take one look at his hidden
traps

and go right out and build a
bomb.

A real bomb, a true bomb,

to make up for your visit.

He shouldn't have used so much
yellow.

I wonder why some paranoids
use such an excessive

amount of yellow when they
paint.

- Jenkins!
- Yeah.

- Go to the car radio, call
Central Bureau

and have them on a 24-hour
guard for every member

of the mayor's art committee.

- Right.

- It will only be a matter
of hours, Lieutenant Wymar.

Only hours from the time
he sees his room again.

- May I help you?

- Uh, a couple of 5.0 batteries,

10 feet of bell chord, and
a roll of friction tape.

- Yes, sir.

There you are, sir.

Thank you.

There we are, thank you.

- Central Bureau, number 63,
over.

- This is Central, go ahead 63.

- Lost Bellington on 2nd Street,

alert guards at all points
and persons, repeat, over.

- 63.

- Hey, buddy.

- Yeah?

- Can we help you?

- Yeah, what time is it?

- 10:25.

- Thanks, hey, okay if I
sit here for a few minutes?

- No, no it isn't.

- Oh, come on, it's
just for a few minutes.

- Who's that package for?

- Well, that's it, I'm not
supposed to deliver this

for another five minutes.

Exactly, no sooner, no later.

- Who is it for?

- The director of this museum
here.

- Who sent it?

- A guy named Bellington.

- Call the Bomb Squad.

It's a bomb, keep back,
everybody back!

Back, get them back.

- Not one cent of your tax
dollar goes into this function.

Now, first we will cover the
west wing,

with its displays of Spanish,
Dutch, and Flemish masters.

An unusually large
display of such paintings

for a museum of this size.

And next we'll cover the
French impressionists

and contemporary artists.

Then we'll cover their
miniatures,

and finally the statue where we
room.

If there are any questions
as we move along,

please don't hesitate to ask
them.

This way.

Now, ladies and gentleman, we
are now--

- I nearly missed it.

- Hm.

- Now, can you
notice

in this particular painting--

- They used to let artists
come in here and sit all day

and copy these masters.

- Are you an artist?

- I'm not very good, but I try.

- You mean you can copy some of
these?

- Some, I'd hoped to try today.

- Oh, but I thought you
said they didn't allow it.

- I realize it's ridiculous of
me to try,

but I was half finished a
miniature

when they stopped me the last
time.

- You mean they made you leave?

- Oh, no, but they said
they would if they found me

copying or bringing in any paint
supplies.

- Oh, and just because you
wanted to copy a miniature.

- You know how absurd these
bureaucratic rules can be,

they're just ridiculous.

But there they are.

Oh, look, isn't that a
beautiful still life?

Kind of got a nice, uh.

- To define the multiple planes
of content

in this plastic art form.

- Oh, well.

- Such a noise for a museum.

- I guess I won't get to finish
it now.

- Oh, well why not?

- Oh, I'm not gonna break the
law just to paint a picture.

- Oh, well that's sensible.

- But if they find me
with my paint supplies,

they'll confiscate them.

- But they're yours.

- There's a sign near the front
that warns

against anyone bringing in
paints or paint supplies.

- Oh, I didn't notice it.

- Well if you were a
painter, you would have.

They'll take mine.

Probably got about $60
worth of supplies in here.

- In that box?

- If I try to walk out with
it they'll probably see me.

- Well, they don't examine every
package

people bring in here.

- They know me, they know I
paint.

- I don't paint, young man.

- Would you, would you really?

I'd be so grateful, I, I
can't afford to lose them.

But be careful, hold them tight.

If they fell and spilled out.

- I understand.

- Thank you.

- And here
we have the ...

Now, this subject is
very dear to the heart

of the French impressionist.

It was painted...

- One of you men stand guard
at the director's door.

You see a man coming through
here carrying a shoebox?

- No, I haven't.

- Wh, where are you going?

- There he is!

Stop!

I'll shoot.

Where's the bomb?

- Bomb?

- We found him.

That first bomb, that was a
decoy.

- Why have you done this?

- When we get the second box
apart,

unless it blows up first.

- It won't blow up.

- We'll prevent it.

- It won't blow up.

I'll go to it, empty it out, and
show you.

If I try to escape, you
have enough men around here

to stop me one way or the other.

You see, only the instruments of
my craft.

A harmless brush.

Defenseless tube of paint.

Some neutral oil.

If you don't mind,

I'll go now.

- Hear-ye, hear-ye, I dislike
breaking in

at the middle of our story,

but we have some late breaking
news.

The station over which
you are viewing our show

has just been tentatively
identified.

Your local announcer will now
provide you with the details.

After which we shall return to
our story.

- His bombs have all been a
hoax.

- You've been a detective
long enough to know

that many a hoax turns
into the real thing.

- But he's like quicksilver.

- The brilliant paranoia's
always like quicksilver.

- He knows just enough
psychiatry to keep you

from finding out anything.

And he knows just enough law
to keep me from doing anything.

- Then he's picked his moment to
die.

It's the closest he can come
to watching his own funeral.

- The last 12 hours it's like he
wants us

to know where he is.

He doesn't try to run or hide,

he doesn't try to shake the
people I have tailing him.

- Then he's made a decision.

- Exactly when and where?

- Something like that.

- Well, if I could get
him with dynamite or nitro

in his possession once, just
once.

There's a fast way to find out.

- The way you've decided is good
enough.

- A faster way!

- You beat him up and
he'll try even harder.

- I didn't say that.

- You meant it.

- What are you, a mind
reader or a psychiatrist?

How do you know what I meant?

I only said there are fast ways.

- Then let's drop it.

- Well just watch what you say!

Don't go around accusing me of
things.

It's my job on the line, not
yours, mine.

If it happens, I get the hook.

If it blows then I've
made the big mistake.

It goes against me, not you, me.

- Miss.

Fine.

Sergeant Marklen is here.

- Good.

- Central Bureau just reported
him at a bar on 24th Street.

Are there any other
instructions?

- Now, tell me what I've told
you.

- Verbatim?

- In your own words, the
way you understand it.

- Avoid arguments, if I
find myself getting into

an argument with him, change the
subject.

Don't ask too many questions,
he'll suspect everything.

If he shows any signs of
hostility, offer to leave.

- But don't get up to go
till he says he wants you to.

- And don't be too aggressive.

- You know everything you wanna
say?

- The main ideas and the main
subjects.

- Our men will be just across
the street.

- Remember every detail,
listen and listen closely.

Everything he says, every tone
of voice,

change of inflection, every
word he utters could be a clue.

If not to you, to us.

Can you remember?

- I can't, but this will.

- [Dr. Glover On Tape] Every
detail.

Listen and listen closely.

Everything he says, every tone
of voice,

change of inflection, every
word he utters could be a clue.

If not to you.

- Women don't generally
like this kind of program.

- Ha, that's true, they usually
don't.

I, um, wanted to talk to you.

- Why?

- 'Cause...

I recognized you.

I like what you did.

I liked the way you made the big
boys,

the big shots, run all over.

I mean, I admire anybody who can

make the fat cats jump and run.

- Who are you?

- Louise Marklen, I live around
here.

- I didn't ask you where you
live.

- I didn't mean it that way.

- What way?

- Oh, you know, if you
think I meant it that way,

I didn't, not at all.

- Okay, you meant it another
way.

- I just wanted to tell you
that I admire what you did.

I mean, when you make a whole
town sit up and take notice,

that takes a lot.

Well, I told you, I'll go now.

- No, you stay.

- Can I buy you a drink?

- That's a good way to prove it.

- Prove what?

- That you're not the kind of a
girl

that goes round striking up
friendships

in public bistros in order to
get drinks.

- Goodbye.

- No!

I like people who like me.

- Oh.

Don't we all?

- Touche, as the saying goes in
certain

cosmopolitan centers of the
world.

- I'm not having a contest with
you.

- It's too bad, I like
contests, I despise opposition,

but I like contests,
contests without opponents.

Neat.

That way, when I lose, I win.

When I'm the victor I've
only defeated myself,

but I don't mind because I've
won.

- The papers say you're an
artist.

- Of sorts.
- Objective?

- The lady has an education.

- Well, yes.

In some things.

- I'm an objective objectivist.

- I don't know that.

- Okay, then I'm subjective
objectivist.

- Are you putting me on?

- Are you putting me on?

- No.
- Who sent you to talk to me?

- No one.
- The newspapers?

- No one, honestly.

- One of those lousy yellow
journals

that dip into the slub
bucket of human misery

to print their pseudo
human interest stories?

- I'm a secretary for a building
firm.

- Off work so soon?

- The office closes at four.

Eight to four, the building
trades start early, you know?

- No, I didn't know, prove it.

- I have a business card
with my hours on it.

Unfortunately, I left them at
the office.

- Why are you always
trying to prove something?

- Well, because you seem to want
proof.

- Doesn't everyone of
everything?

Prove you love me, prove you
need me, prove you want me.

Prove I'm your friend, prove
you're mine.

Prove life is sweet and
time is not fleeting.

Prove your proof.

And then prove it was worth it.

- You're a scary man.

- I'm a painter, you said so.

How can a painter be a scary
man?

- No wonder you have the
big cats pawing the air.

- You said fat cats the last
time.

- I meant it.

- I like you.

Louise, that's it, Louise?

Are you married?

- Well, in a way, sort of.

- Divorced?

- No, my husband travels a lot.

- You live around here?

- You go too fast.

- I thought you were in a hurry.

I can go fast, slow down, go
fast,

I've got all the time in the
world.

- That's if you don't get into
trouble.

- Oh, I won't get into trouble.

They'll have to be a lot
smarter than they are

before they get me into trouble.

- Oh, I wish I had the nerve
to do what you've done.

- Takes knowledge.

Planning.

And a need greater than a wish.

- I want to do something daring.

Something that tells the whole
world

to jump when I say jump.

- Go on the red light, stay on
the green.

- Cross the street in
the middle of the block.

- Make a right-hand turn
from a left-hand lane.

- Tell everybody what
you think when you think it.

- Or hate when you wanna hate.

- I don't have the nerve to do
anything.

But stay married to a man I
despise,

and every morning go to a job a
loathe.

- You should see the
next job I have planned.

- Would you let me?

- Why not?

The whole police force will be
watching.

And the big shots.

Why not unimportant Louise?

Prove to me why you can't.

- What will it be like?

- It's a plan that will work
like a clock.

Bong-bong, can't go wrong.

- Even some of the best
plans do, sometimes.

- Not this one, they wouldn't
dare.

This won't be an ordinary
device.

No, this will be...

A button.

A smooth, black, efficient
button

to be held firmly,

wisely,

tenderly,

but strongly.

And if anyone tries to
make me release that button

before I've been where I want to
go,

and seen who I want, and
obtained what I want,

then we shall all be destroyed
together.

The loved and the hated.

A strange embrace.

- There he is!

Stop!

Chiggens, Williams, let's get
him!

Let's get that guy!

All right you men, cover the
exits.

Right, two of you get down
there, three upstairs.

- Stop, everybody stop!

One more step and I release this
button.

I've changed my mind.

I've decided there's no
point in just revenge.

I said I would.

- Now you're showing some sense.

- One more step and I release
this button!

In exactly 10 minutes I
shall release this button.

- If I could just talk to you.

- Words are father to the deed.

Words are father to the deed.

Words are father to the deed.

- How much damage could
a box that size do?

- With some of these new type
combinations

he could blow this building up.

- Words are father to the deed.

Words are father to the deed.

- But for what?

All this art destroyed,
what a sterile protest.

- There are no victories, only
protest.

There are no victories, only
protest.

In exactly nine minutes, I
shall release this button.

- Clear the building, that's an
order!

- All right, everybody out.

Out.

- Time to get out of
here.

Come on, get out, get out.

Come on, get out of here.

- If you shoot me, the
button will be released

before I hit the floor.

- Not in eight minutes?

Why not now?

- All right, now.

- No!

Let the people get out first.

They haven't done anything to
you.

Come on.

- I didn't mean to challenge
you, I meant to help you.

I wanted to see--

- Get that hypocrite out of
here before he provokes me

to make a terrible mistake!

- Everybody out!

- This building is mine!

Get out of my museum!

Get out of my museum!

How many have you taken?

- Five so far.

- We don't have time
for anymore after this.

I can't hold them off that long.

- But with the paintings you
made to replace the other two,

that'd give us the seven
we were gonna take.

- It's not worth the risk.

You know, if I do say so myself,

my imitation is better than the
original.

By the time anybody
discovers the difference

we'll be on our way to Mexico
City.

Hey.

Boom.

My finger was getting sore.

But a sore finger's worth
a half a million dollars.

- That much?

- Of course, you don't think
I'd steal the paintings

before I sold them.

My public awaits.

- Grab him.

Now, about the bomb.

- Bomb, what bomb?

There's no bomb, there never
was, there isn't going to be.

- But, but the clock,
the wires, the button.

You told her.

- Is there a law against
buttons?

Against wires?

Dr. Glover, you're an
incompetent
man, but an educated one.

Will you please tell
this man he has no case

against me whatsoever?

- You're going to jail.

- Oh, really?

Name one law I've broken, one.

I didn't chase you, you chased
me.

I never said I would blow
anyone up, you said it.

I never had an explosive of
any kind in my possession.

- You're disturbing the peace!

- Provoked by you, and if you
don't release me immediately

I shall sue you for $1 million,
and win.

- Well, we can't arrest
a man for what he thinks,

and much less for what we think.

Or for what we did that he
didn't do.

- Release him.

- I suppose it would be too much
to expect

one of your men to get me a cab?

Of course, I understand.

The paintings were traced
and he is now helping

to manufacture cardboard
boxes for the state.

Of course, this program
is not to be interpreted

as an endorsement of bomb
threats,

even when used by
collectors of modern art.

As for what this program does
endorse,

I shall leave that to the town
crier I hear in the wings.