A Window in London (original title) aka Lady in Distress (1940)
59min | Thriller | 14 February 1942 (USA)
A passerby witnesses a murder through the windows of a passing train. He then tries to track down the killer.
Director: Herbert Mason
Writers: Ian Dalrymple (scenario), R. Herbert (story) (as Herbert)
Stars: Michael Redgrave, Sally Gray, Paul Lukas
59min | Thriller | 14 February 1942 (USA)
A passerby witnesses a murder through the windows of a passing train. He then tries to track down the killer.
Director: Herbert Mason
Writers: Ian Dalrymple (scenario), R. Herbert (story) (as Herbert)
Stars: Michael Redgrave, Sally Gray, Paul Lukas
Category
🎥
Short filmTranscript
00:00:00♪♪♪
00:00:10♪♪♪
00:00:20♪♪♪
00:00:30♪♪♪
00:00:40♪♪♪
00:00:50♪♪♪
00:01:00♪♪♪
00:01:10♪♪♪
00:01:20♪♪♪
00:01:30♪♪♪
00:01:40♪♪♪
00:01:50♪♪♪
00:02:00♪♪♪
00:02:10♪♪♪
00:02:20♪♪♪
00:02:30♪♪♪
00:02:40♪♪♪
00:02:50♪♪♪
00:03:00♪♪♪
00:03:10♪♪♪
00:03:20♪♪♪
00:03:30♪♪♪
00:03:40♪♪♪
00:03:50♪♪♪
00:04:00♪♪♪
00:04:10♪♪♪
00:04:20♪♪♪
00:04:30♪♪♪
00:04:40♪♪♪
00:04:50♪♪♪
00:05:00♪♪♪
00:05:10♪♪♪
00:05:20♪♪♪
00:05:30♪♪♪
00:05:40♪♪♪
00:05:50♪♪♪
00:06:00♪♪♪
00:06:10♪♪♪
00:06:20♪♪♪
00:06:40♪♪♪
00:07:00♪♪♪
00:07:20♪♪♪
00:07:40♪♪♪
00:08:00♪♪♪
00:08:20Good night.
00:08:50♪♪♪
00:08:57You lost something, darling?
00:08:59No, darling. It's all right. You go to sleep.
00:09:04Good night. Good night, darling.
00:09:06♪♪♪
00:09:16♪♪♪
00:09:36♪♪♪
00:09:56♪♪♪
00:10:06♪♪♪
00:10:26♪♪♪
00:10:46♪♪♪
00:10:56Officer, there's been a murder.
00:10:58What?
00:10:59It's a man knifed a girl.
00:11:00Why didn't you stop him?
00:11:01I was in the train.
00:11:02In the train? What train?
00:11:03Well, I was...
00:11:04It was in one of these houses along here.
00:11:06Come along, I'll show you.
00:11:07There? I haven't seen the train.
00:11:08Never mind, I'll show you.
00:11:09You come along with me.
00:11:11Must be the back of this one.
00:11:20Here.
00:11:22Sure this was the one?
00:11:23Yeah, positive.
00:11:30Must be the next one.
00:11:31You're certain you saw what you allege?
00:11:34Don't come in!
00:11:35Achoo! Get your... Achoo!
00:11:38Achoo!
00:11:39What's going on in there?
00:11:40Must be the next landing.
00:12:00Do you wish something?
00:12:02Police.
00:12:08Police.
00:12:14Oh, I'm sorry.
00:12:17What is this?
00:12:20What's he doing here?
00:12:22Are you all right?
00:12:24What?
00:12:25Well, you see, I was passing in the train.
00:12:27I saw you struggling with...
00:12:29I saw him...
00:12:30Oh.
00:12:32I can explain.
00:12:33Perhaps I should explain.
00:12:35You wish to make a statement?
00:12:37Yes.
00:12:39I have to warn you that any statement you can't make
00:12:41will be taken down in writing and may be given in evidence.
00:12:44So.
00:12:46You saw it through the window, eh?
00:12:47Yes, I thought a crime was being committed.
00:12:49I thought it was murder.
00:12:50It was a crime.
00:12:51But it was no murder.
00:12:52Oh, come along, sir.
00:12:54We are artists in the music hall.
00:12:56I am illusionist.
00:12:57My name is Zoltini.
00:12:58My wife and I, we suffer so much.
00:13:00The public taste changes, you know.
00:13:02They don't want illusionists anymore.
00:13:03We are... We are...
00:13:04We are washed up, as you say.
00:13:07Now, we love each other so much.
00:13:09We lived together so long.
00:13:12Now we must die.
00:13:13We must die together.
00:13:15But I did not have the courage.
00:13:17Eh, Vivienne?
00:13:18No, Edith.
00:13:19That was all.
00:13:20I'm sorry.
00:13:21Seems to have been a misunderstanding.
00:13:23You were quite correct to report what you saw.
00:13:25You don't have to do anything about it, do you?
00:13:26Have you telephoned Mr. Zoltini?
00:13:28Not here.
00:13:29Downstairs.
00:13:30Oh.
00:13:38You see, my friend?
00:13:41Two who have fallen by the wayside.
00:13:44Well, isn't there anything I can do?
00:13:46Unfortunately, you cannot change the public taste.
00:13:50At least you can take this, just to carry on for the prison.
00:13:53Oh, no. No, please. Please. Impossible.
00:13:55Pay it back when you get a job.
00:13:57No.
00:13:58Shall I be proud that assistance so charmingly given?
00:14:02Only thing I ask is...
00:14:04Yes?
00:14:05Don't do that again.
00:14:06Don't do that again.
00:14:08I think we can promise that, Vivienne, eh?
00:14:10Yes.
00:14:13I must be getting off.
00:14:14I'll be late.
00:14:16Goodbye.
00:14:18Good luck.
00:14:19Goodbye.
00:14:27Perhaps I better keep this.
00:14:28A sort of souvenir.
00:14:30Perhaps you better.
00:14:33Thanks.
00:14:37Well, I might look in sometime.
00:14:39See how things are.
00:14:40Yes.
00:14:41Good luck.
00:14:43Thanks very much.
00:14:49All correct. No charge.
00:14:50Good.
00:14:51I'd like your name and address, sir.
00:14:52The inspector wishes to commend your public services.
00:14:54Oh, does he?
00:14:57Well, did you ever see such a thing?
00:14:59This English.
00:15:01I must ask you, please, for my sake,
00:15:03not to kill yourself in such bad form.
00:15:06Haven't you any decency?
00:15:07Why couldn't you tell them we were rehearsing?
00:15:09At such hour?
00:15:10The truth I could have explained.
00:15:11And were we ever once before in our entire career
00:15:13paid for rehearsals?
00:15:15Taking that boy's money, probably half his week's wages.
00:15:17You're disgusting.
00:15:19No woman can ever forgive a man for seeing a joke.
00:15:22So she always descends to abuse.
00:15:25I wasn't so disgusting when I arranged your first appearance.
00:15:27Oh, let me get dressed.
00:15:28The money will be paid back, don't worry.
00:15:30It wasn't so much the money,
00:15:31but to make a fool of the boy when he trusted you.
00:15:33Oh, now I see.
00:15:35Is there some other motive for this touching interest?
00:15:37I don't know what you mean.
00:15:39A good-looking, fresh English boy,
00:15:41just the proper sort for an English girl, huh?
00:15:43Louis!
00:15:45I've never minded hard work,
00:15:46wandering over Europe with you without ever having a home.
00:15:49I've put up with your stupid temperament and conceit,
00:15:52and your continual rows with management after management.
00:15:55But I can't stand this idiotic jealousy anymore.
00:15:58It's killing even the pity I have for you.
00:16:01And I warn you,
00:16:02when that goes,
00:16:04I shall go too.
00:16:10Now let me warn you.
00:16:12If to leave me
00:16:14so much as enters your mind,
00:16:17look out for yourself.
00:16:25The cost of the work, I can put it,
00:16:54is 670,000 pounds.
00:16:56Three rousing cheers from the taxpayers.
00:16:58But with demolition, it's 1,200,000.
00:17:01Who gets the odd 200?
00:17:02What can I say?
00:17:06To give you statistics...
00:17:07Oh, my paper loathes statistics.
00:17:09We want human stories.
00:17:11Take yourself, for instance.
00:17:12I'm averse to publicity.
00:17:13Well, you boss the whole works, I suppose.
00:17:15You might say that.
00:17:16I will.
00:17:18I didn't quite catch your name.
00:17:20Grant.
00:17:21Grant?
00:17:22Grant!
00:17:23I suppose you're a pretty hot disciplinarian.
00:17:25I make them work.
00:17:33What's going on here?
00:17:35Hello.
00:17:36Foreman's woke up.
00:17:37Duke'll be for it probably now.
00:17:39Perhaps he's had an accident.
00:17:40What a good, gory rouse, that.
00:17:42What's all this?
00:17:43What's going on here?
00:17:44Nudist colony.
00:17:45Who said that?
00:17:46Not me, boss.
00:17:47What are you laying there for?
00:17:48Waiting to be paid?
00:17:49No, boss.
00:17:50Like no claim working.
00:17:51The Duke ain't showed up yet.
00:17:52What?
00:17:53Who?
00:17:54Why, that Duke Peter Thompson, boss.
00:17:57Oi!
00:17:58The foreman's after you, Duke.
00:17:59Yeah?
00:18:00Well, I can tell him where he gets off this time.
00:18:02There'll be no occasion to put that in your paper.
00:18:11Thompson!
00:18:12Come down here, I tell you!
00:18:14What?
00:18:15Come down here a minute!
00:18:18Thompson, will you come down here!
00:18:21Thompson!
00:18:26Oi, chum!
00:18:27The foreman's coming up after you.
00:18:29All right, I'm coming down to him.
00:18:41Collect your ticket.
00:18:43What for?
00:18:44Late.
00:18:45I ain't late!
00:18:47Yeah, and with good reason.
00:18:49What?
00:18:50Well, you see, I saw a couple of people trying to kill each other.
00:18:53Decided to stop them.
00:18:54Get out!
00:18:55Well, don't you believe me?
00:18:56Out!
00:18:57Just a minute, Mr. Grant.
00:18:58Grant!
00:18:59Did you say you just saved two lives?
00:19:00Yeah, that's right.
00:19:01What a story.
00:19:02A great personal risk, of course.
00:19:03Well, I don't know about that.
00:19:05What a story.
00:19:06And you'll just get a second.
00:19:07What an angle.
00:19:08Heroes who build your London.
00:19:09Eh?
00:19:10Waterloo Bridge engineer saves two lives on the way to work in this fire.
00:19:13Just a minute.
00:19:15Foreman strains reward for gallantry.
00:19:17Maybe I was hasty, Thompson.
00:19:19Can I have your story, please?
00:19:20Well, yes, if you'll...
00:19:21Give me a story and get back on the crane.
00:19:23You mean I'm not fired?
00:19:26Should you be wanting it for your article, the name's Grant.
00:19:29Oh.
00:19:31Thanks a lot.
00:19:32Well, step into it, son.
00:19:33Well, there's nothing much to it, really.
00:19:35You see, I was looking out of the window on the underground, travelling overground.
00:19:39What?
00:19:40That's right.
00:19:41I saw through a window, at a window.
00:19:43Well, which?
00:19:44Well, both, really.
00:19:45I saw a man messing about with a girl.
00:19:47What?
00:19:48Yeah, he was trying to stick a knife into her.
00:19:50Oh, a knife, I get you.
00:19:51Yeah.
00:19:52Well, I leapt out of the train, climbed up to the room, found it was a suicide factor.
00:19:56Not murder?
00:19:57No.
00:19:58Oh, well, never mind.
00:19:59How's this?
00:20:00Engineer sees tragedy and leaps from train.
00:20:02No, I didn't leap.
00:20:03No.
00:20:04Well, precipitous flying to avert dual-slash-throat pack.
00:20:06No, it wasn't that sort of climb at all.
00:20:08Beats off blade thrust with bare fists.
00:20:10No, no, no.
00:20:11It's really very simple.
00:20:12I was going along on the underground.
00:20:26Give me a bird's-eye view.
00:20:27What?
00:20:28The Chelsea Empire.
00:20:31Yeah.
00:20:32Get a load of that.
00:20:35No, no, not that.
00:20:36That's tripe, and synthetic tripe at that.
00:20:40There.
00:20:42That poor girl.
00:20:44That stark tragedy for her.
00:20:50Hello, Bert?
00:20:51Oh, Max Preston here.
00:20:53How's the boy?
00:20:54Oh, grand.
00:20:56Say, listen, Bert.
00:20:57I understand you had a bit of trouble with one of your acts last night.
00:21:00Trouble?
00:21:01You've been misinformed.
00:21:02The public only used Bren guns on a so-called comedy act,
00:21:06and I had to ring down the fire curtain.
00:21:09Say, listen, Bert.
00:21:10I got a great stunt for your replacement.
00:21:13You'll be doing me a favor and solving your own troubles.
00:21:15No, no, listen, Maxie.
00:21:16I know your stunts.
00:21:17I've had some.
00:21:18I've suffered.
00:21:20But, Bert, this is a headliner.
00:21:22Oh.
00:21:30Thompson.
00:21:32Here.
00:21:35Cast your eye on that.
00:21:36Strike me, the Duke's in the news.
00:21:38Not that.
00:21:40From the very foot of the column.
00:21:42When interviewed, Foreman Grant stated...
00:21:44Grant?
00:21:45Did you see what he stated?
00:21:46Pete's my best man.
00:21:47I'm giving him the rest of the day off.
00:21:49What's that?
00:21:50It's in the paper.
00:21:51It must be true.
00:21:54Good old Duke.
00:21:59Oh, the Duke's fully off this time, boys.
00:22:01Well done, all of them.
00:22:02Duke's a celebrity now.
00:22:04No more training for him.
00:22:05What they give you for your life story?
00:22:07I'll have that perfume for washing day.
00:22:08It's a piece of a hero.
00:22:12Foreman Grant stated that the Duke was to have...
00:22:15a fortnight's holiday at Monte Carlo.
00:22:19Here, Duke.
00:22:21What's up, Tony?
00:22:22Here, what was your buddy done with, chum?
00:22:24Gas?
00:22:25A room full of sickening ethyl odour?
00:22:26Nah, nothing like that, Tony.
00:22:27Guns, eh?
00:22:28Nasty mess.
00:22:29Human brains all over this, pedestrian-like.
00:22:32No, it was a knife.
00:22:33A knife?
00:22:34What, throat slit from year to year?
00:22:36Ghastly, gaping gash.
00:22:38All with the blood.
00:22:39No, it didn't get as far as that, Tony.
00:22:41Here.
00:22:43Give you a kick.
00:22:45Here's the knife.
00:22:49Cool.
00:22:50Lovely.
00:22:51Here, boys, look at this.
00:22:53Look.
00:22:57There's not any blood on it.
00:22:59And it ain't even sharp.
00:23:03It's juice.
00:23:04It's a fake.
00:23:05Oh, the Duke's been taken in properly this time.
00:23:07You watch me.
00:23:11Duke.
00:23:12There's your knife.
00:23:13Hey!
00:23:14Hey!
00:23:24Public hero number one, eh?
00:23:26In the big lolly.
00:23:27Thanks, boys.
00:23:36A warmest congratulations on your splendid achievement.
00:23:50Oh, I see.
00:23:51Flitting.
00:23:52Well, I'm not surprised.
00:23:53Here, you'd better take this with you.
00:23:56Come in, will you?
00:23:58We owe you a very big apology.
00:24:00I came to see Mr. Zoltini.
00:24:01Well, I'm afraid he's not here.
00:24:03Oh, where is he?
00:24:04At the theater.
00:24:06The theater?
00:24:07Yes.
00:24:09We've got a job at last.
00:24:11And entirely through you.
00:24:13I don't see what it's got to do with me.
00:24:15Between the pair of you, you played a pretty rotten trick on me.
00:24:18It wasn't my idea.
00:24:20I wonder.
00:24:21It was the Duke's.
00:24:23I'm sorry.
00:24:24It wasn't my idea.
00:24:26I wonder.
00:24:27Whoever's idea it was, you must have got a pretty good laugh out of it.
00:24:29Just the opposite.
00:24:30It started a first-class row.
00:24:33Oh, did it?
00:24:35I know how bitter you must be feeling about it.
00:24:39Cigarette?
00:24:40No, thanks.
00:24:43Nobody likes to be made a fool of.
00:24:44All that rubbish in the paper is about saving people's lives.
00:24:47But you have saved our lives.
00:24:49If it wasn't for the rubbish in the newspaper, we wouldn't have got the job.
00:24:52We really were down to our last shilling.
00:24:54And this means the chance of a new start.
00:24:57It might mean a big comeback.
00:24:59I can't explain exactly what it really does mean.
00:25:03I understand that.
00:25:06I'm very glad.
00:25:07I wish you the best of luck.
00:25:09Thanks.
00:25:10I'll be forgiven now.
00:25:12I think you should forgive me coming up here the way I did.
00:25:14Oh, no.
00:25:15I feel you ought to have us up for fraud or something.
00:25:18You don't look like a fraud to me.
00:25:22Well, I must be going to the theatre now.
00:25:27I've got a lot of rehearsing to do.
00:25:28Do you like your job?
00:25:29Oh, yes.
00:25:31No knives this time.
00:25:44Well, this is where we say goodbye, I suppose.
00:25:47Yes, I suppose it is.
00:25:49Seems a pity.
00:25:50I shall see you sometime.
00:25:52When?
00:25:54Well, any time. I'm not actually working.
00:25:55Where?
00:25:57Well, look.
00:25:58We still owe you two pounds.
00:25:59Why don't you come to the theatre tonight and collect it?
00:26:01Fine.
00:26:05All right, you ask for me at the stage door.
00:26:07Really?
00:26:09I might be able to give you a ticket for the show.
00:26:10Yes, I'd like to see the show.
00:26:13Well, I'll see you tonight.
00:26:14Yeah, so long.
00:26:15Bye.
00:26:22Bye.
00:26:52Oh, Pete, I'm awake.
00:26:54Sorry, just trying to be gentle.
00:26:56Oh, well, I suppose you want some food.
00:26:58Oh, as a matter of fact, I think I'll go out for a bit.
00:27:00Still, darling, go and enjoy yourself.
00:27:02You're not going in those clothes.
00:27:04Oh, Lord, no.
00:27:07Anything exciting happen?
00:27:09No.
00:27:11How's the bridge?
00:27:12A bit more of it.
00:27:19Oh, be careful of that geyser.
00:27:22Got a clean towel, Pat?
00:27:24Yes.
00:27:26Thanks.
00:27:27Kiss me.
00:27:31Oh, take off those whiskers.
00:27:34Going to.
00:27:39Hey, Pat, get me some more shaving soap, will you?
00:27:42And now, ladies and gentlemen,
00:27:44I have the privilege to show you a trick
00:27:46that comes to us from centuries past.
00:27:48The Chinese ring.
00:27:50The oldest trick in the world.
00:27:52It was shown to be by a Chinese sage
00:27:54who had it from his father.
00:27:56And his father, from his.
00:27:58The beginning of time.
00:28:01That's all right.
00:28:05Now, ladies and gentlemen,
00:28:07I have the privilege to show you
00:28:09a mutilated sunshade.
00:28:19Floating ball.
00:28:24Vivienne.
00:28:25Yes?
00:28:26This must be prepared.
00:28:27Yes.
00:28:28A sacred cabinet.
00:28:31Chair of death.
00:28:38And now, ladies and gentlemen,
00:28:40my last item,
00:28:42a sensational illusion
00:28:44that I entitled
00:28:45The Bride of the Air.
00:28:49Good artist never forgets his routine.
00:28:51Ladies and gentlemen,
00:28:53I have the honor to present my partner,
00:28:55the greatest little lady in the world,
00:28:57Miss Vivienne.
00:29:00You are happy we are back?
00:29:02Yes.
00:29:03No more troubles now, Vivienne.
00:29:05Soon we'll be up high in the lights again.
00:29:07Oh, Vivienne, we must not quarrel.
00:29:09Our quarrels don't worry me, Louis.
00:29:11It's your quarrels with the management.
00:29:12Look, darling,
00:29:13if anything happens tonight to upset you,
00:29:15will you please try not to lose your temper
00:29:16and shout the place down?
00:29:17I quarrel.
00:29:18Will you, Louis?
00:29:19I quarrel.
00:29:20Now, how can you say
00:29:21if I have to fight and fight
00:29:22those coarse and stupid people
00:29:23who are trying to cheat me?
00:29:24Well, well, well.
00:29:25If it isn't old Zolly.
00:29:26How's the old maestro?
00:29:27I'm fifth.
00:29:28You know, fifth.
00:29:29You remember Basil?
00:29:30And the old pimlico.
00:29:31Of course.
00:29:32We always said you were the one
00:29:33to make the show, girl.
00:29:34Yeah, I'm stage manager here now.
00:29:35Can't you see I've been run through?
00:29:36After your long rest,
00:29:37I suppose you've got to send paper
00:29:38to the rest of the works a bit, eh?
00:29:41Well, my friend,
00:29:42I don't think you should manage the stage.
00:29:43You should get a red nose for your round face
00:29:44and join us in the performance.
00:29:46We always said you were a good comedian.
00:29:49Get on with the rehearsal.
00:29:52Very tiresome of us.
00:29:53We may walk the stage tonight.
00:29:57You fool.
00:29:58Can't you learn to take these people yet?
00:30:00You take your place.
00:30:01Come on.
00:30:02Come on, hurry up here.
00:30:03We haven't got much time left.
00:30:06Here, ladies and gentlemen.
00:30:07Here I have a sheet.
00:30:08Just an ordinary sheet.
00:30:10Stand straight.
00:30:12It'll be the same old story.
00:30:14It's taken us 15 months
00:30:15to get on the boards again.
00:30:16Get back a little.
00:30:17We don't want to be shut off in 15 minutes.
00:30:19Don't talk so much.
00:30:21Where would those vulgar managers be
00:30:22without the artists?
00:30:24Yes, and where would the artists be
00:30:25without the vulgar salary?
00:30:26Always afraid of your job.
00:30:28Yes, I am afraid.
00:30:29Oh, shut up.
00:30:30Sway.
00:30:31Oh, not like that.
00:30:32Smoothly, smoothly.
00:30:33You ought to know by now
00:30:34there's only people with money
00:30:35who can afford to be sensitive.
00:30:37An artist can't.
00:30:38It isn't good business.
00:30:40Never mind what's good business
00:30:41and what's bad business.
00:30:42I conduct my business my own way.
00:30:44Your success hasn't been very noticeable so far.
00:30:46Will you be so good as to hold your tongue?
00:30:49That's not so easy.
00:30:52All I know is I don't want to starve to death.
00:30:54Shut up.
00:30:55Are you ready?
00:30:56Oh, get on with it, Louis.
00:30:57I've got to change.
00:30:58A presto.
00:30:59Then go.
00:31:04Oh, you hurt.
00:31:06Perhaps that's what you need.
00:31:08You are so conceited.
00:31:09You know everything.
00:31:10How I should behave
00:31:11with this horrible bezel.
00:31:13How I should have told the story
00:31:14this morning about the rehearsal.
00:31:16Should we have this engagement if I had?
00:31:18That wasn't so clever either.
00:31:19That boy found out about the knife.
00:31:21How do you know that?
00:31:22Because he came to see you about it.
00:31:24Oh, he came to the apartment, huh?
00:31:26Yes, but I managed to calm him down.
00:31:28Ah.
00:31:29And what did you tell him?
00:31:30Yes, but I managed to calm him down.
00:31:32Ah.
00:31:33And you admitted him?
00:31:34Of course I admitted him.
00:31:35Ah, of course you did.
00:31:37The so charming Englishman.
00:31:38And you calmed him down.
00:31:39Yes, I believe that.
00:31:41Oh, Louis, don't be so stupid.
00:31:42Vivian.
00:31:43I said nothing.
00:31:45My dear, they've dug up
00:31:46that old hand's old teeny again.
00:31:48Vivian.
00:31:49Hello.
00:31:50Vivian.
00:31:51How are you?
00:31:52How are you?
00:31:53Nice to see you again.
00:31:54Hello, love.
00:31:55Hello.
00:31:56By God, if it isn't Vivian.
00:31:57Vivian.
00:31:59Younger than ever, lass.
00:32:01Sorry, Dad.
00:32:02Come on, folks, clear the arena.
00:32:03Go on, off you go.
00:32:05Dolly and Viv, you're on third.
00:32:06Hey, wait a minute.
00:32:07I, third?
00:32:08That's what I said.
00:32:09How dare you do that to me?
00:32:10To Zoltini?
00:32:11Don't come that stuff with me, old man.
00:32:13You were a flop before I was born.
00:32:15I was what?
00:32:16Now you take that back, my friend, right away,
00:32:18or I won't go on on the stage.
00:32:20You will come with me to the manager, instantly.
00:32:22No cheap third rate can talk to me.
00:32:24If I had a disposition like that old man of yours,
00:32:25I'd put some on Dolly.
00:32:29Here you are, Viv.
00:32:36Max!
00:32:42After all these years.
00:32:44How did you know I was here?
00:32:46Well, I read something about you in the newspapers.
00:32:48Oh, that.
00:32:49Oh, now, don't misunderstand me, Vivian.
00:32:51I haven't come here to say I told you so.
00:32:52I'm sorry.
00:32:54Terribly sorry.
00:32:55Oh, that was just a stupid misunderstanding.
00:32:57Louie and I weren't really doing what you read.
00:32:59We haven't come to that yet.
00:33:01Oh, I'm glad.
00:33:02But it had me worried at the time.
00:33:04But things haven't been too good, huh?
00:33:09Look, I've got to get dressed.
00:33:11You sit here and don't you move.
00:33:13That press story did do one thing, though.
00:33:15I ask?
00:33:17Somebody who saw it thought it would be a good stunt
00:33:19to put us on.
00:33:20You don't know who it was, do you?
00:33:22Don't know a thing about it, kid.
00:33:24How is the agency business?
00:33:26Oh, flesh peddling has its moments,
00:33:28but this isn't one of them.
00:33:30The theater's quiet, cabaret's all right.
00:33:32Say, why don't you try cabaret?
00:33:34Cabaret?
00:33:35You should hear what Louie thinks about cabaret.
00:33:37Well, I don't particularly care
00:33:39what that heel thinks about anything.
00:33:41Why don't you chuck him out, Vivian?
00:33:43Everybody knows he's finished.
00:33:45Not to say that, Max.
00:33:47Louie's one of the best illusionists in the business.
00:33:48All right, all right, the guy's a great artist.
00:33:50I'm not denying that.
00:33:52Why, he can pull the pyramids out of your vest pocket.
00:33:54But it's his temperament, Vivian,
00:33:56and the managers won't stand for it.
00:33:58I've tried so hard, Max.
00:34:00Then why don't you let me help you?
00:34:02Three years ago, I told you I could put you
00:34:04where you belong, on the top.
00:34:06Yes, and I'm three years older now.
00:34:08Yeah, with one foot in the grave.
00:34:10Ah, you make me tired.
00:34:12Yeah, look at yourself.
00:34:14Why, you don't know your own possibilities.
00:34:15Listen, Vivian, I'm taking a variety bill
00:34:17on an empire tour, and I'll take you along
00:34:19and give you a good contract.
00:34:21Contract?
00:34:23For what?
00:34:25Well, as an artist, of course.
00:34:27Oh, no, no.
00:34:29I'm not that kind of an agent.
00:34:31You told me once where I got off, and I got.
00:34:33I'd like to, Max.
00:34:35They can't walk out on Louie now
00:34:37just when he's got a chance to make good.
00:34:39Well, will you never learn,
00:34:41or is there some other reason?
00:34:43Someone younger, perhaps, with not so much
00:34:45time around the temples?
00:34:50Mrs. Zoltanik.
00:34:54Who?
00:34:56Mrs. Zoltanik.
00:34:58Ah, Miss Vivian, number seven.
00:35:05Yes, I know, Max, but you must go now.
00:35:07Louie will be here in a minute.
00:35:09Thanks for the warning.
00:35:11Listen, Vivian, don't make up your mind
00:35:13just like that.
00:35:15I'm giving you a farewell supper party
00:35:17at my flat in Embankment Court tonight.
00:35:19The whole gang will be there.
00:35:21I thought maybe you'd like to...
00:35:23Oh, I'd love to, Max.
00:35:25But Louie won't let me out of his sight.
00:35:27Come on, Vivian.
00:35:29Where's that old spirit?
00:35:31Find some way to dodge him.
00:35:33No, Max.
00:35:39Well, here's to the comeback.
00:35:41Thanks.
00:35:43Goodbye.
00:35:46Excuse me, please.
00:35:48Where's number seven?
00:35:50Number seven?
00:35:52Oh, yes.
00:35:54Right in there.
00:35:56Thanks.
00:35:59That's outrageous.
00:36:01That's an insult.
00:36:03Never before have I appeared before the intermission.
00:36:05You're darn lucky to appear anywhere.
00:36:07I am lucky?
00:36:09You are lucky!
00:36:11If Queen Anne's dead, you're an Egyptian mummy.
00:36:13Now, don't make me lose my temper.
00:36:15Not at all.
00:36:17That's no good.
00:36:21Hiya, Zoltanie.
00:36:29When the show's started,
00:36:31you'd better hurry or you'll miss the first turn.
00:36:35Do you like it?
00:36:37Yeah, it's a treat.
00:36:39I'll get you your ticket.
00:36:41Don't forget to give me a hand when I come on.
00:36:43Oh, yes, I was going to do that.
00:36:45You'd better go round the front now.
00:36:47Yeah.
00:36:49Would you like to come round after the act
00:36:51and have a drink with us?
00:36:53May I?
00:36:55Of course.
00:36:57Oh, thanks.
00:36:59Max Prestonworth here, eh?
00:37:01Say, what is this?
00:37:03What are you doing here?
00:37:05Louis.
00:37:07First you come to my house in the morning
00:37:09with your stupid interference,
00:37:11and then again when I'm not there.
00:37:13And now you have the influence
00:37:15that I'm not there.
00:37:17Well, here.
00:37:19Here's your two pounds.
00:37:21Now take yourself away.
00:37:23I won't let anybody of your kind hang around my wife.
00:37:25What do you mean by that?
00:37:27Oh, please don't take any notice of him.
00:37:29He's always like this before the show.
00:37:31Please go.
00:37:33All right, I'll go.
00:37:35When he picks up my money.
00:37:38Here.
00:37:40Thanks for your kind accommodation.
00:37:42Is there perhaps some interest?
00:37:46A little rendezvous, eh?
00:37:48I should worry about Max Preston
00:37:50with some younger attraction around.
00:38:16Here, here, here, here.
00:38:18What are you doing here?
00:38:20Well, I've got tickets here.
00:38:22Come on outside, you.
00:38:24Oh.
00:38:36Good evening, ladies and gentlemen.
00:38:38Well, tonight we're going to give you
00:38:40some international corn right off the cob.
00:38:42A little review for two days.
00:38:43Called Hits and Misses.
00:38:45Now, in this scene, a girl walking along
00:38:47drops her handkerchief.
00:38:49And then, hey, toot, you drop something.
00:38:51What?
00:38:53I say, here's your handkerchief.
00:38:55Oh, that's all right.
00:38:57I'm finished with it.
00:38:59Hey, come here, come here.
00:39:01Where are you going?
00:39:03Who wants to know?
00:39:05I do.
00:39:07And who are you?
00:39:09Why, everybody knows me around here, say.
00:39:11I'm as familiar as a lamppost.
00:39:13So clean as please.
00:39:15You ruin my heart.
00:39:17It is you who ruin my career.
00:39:19I've done everything I can to save you from your own stupidity.
00:39:22Men have three ages.
00:39:24At 20, they're winning.
00:39:26At 40, they're losing.
00:39:28At 60, they've lost.
00:39:30Lost what?
00:39:32Who cares about that?
00:39:34You married me only for what I could do for you.
00:39:36And ever since that time, you stab me in my back.
00:39:38You deceive me.
00:39:40Oh, stop it, stop it, will you?
00:39:41Please, please, on my knees, I ask you, will you marry me?
00:39:44Get up.
00:39:46Get up, you look suspicious.
00:39:48I don't want to get married.
00:39:50I don't know you very well.
00:39:52I got enough trouble.
00:39:54I don't need a husband.
00:39:56My sister's got one.
00:39:58Ah, but if you marry me, dear, if you marry me,
00:40:00I won't do as other men do.
00:40:02Why, what's the matter with you?
00:40:04No, no, no.
00:40:06I mean, I love you, I love you, I love you.
00:40:08Oh, he's a broken record.
00:40:09Oh, my love, when I look at you,
00:40:11I think how wonderful you are.
00:40:13You are wonderful.
00:40:15And you're beautiful.
00:40:17Your lips, your hair, your eyes are beautiful.
00:40:19The eyes are up here.
00:40:21Why, listen, I'd go through fire or water for you, dear.
00:40:23I would.
00:40:25Well, make it fire.
00:40:27I'd rather have you hot than all wet.
00:40:29Oh, come on, be serious, will you, please?
00:40:31You know, he's been doing this for years.
00:40:33Will you listen to me?
00:40:35And he expects me to get a thrill out of it.
00:40:37Ah, you can love me.
00:40:39Would you like to get this twice nightly, eh?
00:40:53Boy, not bad out there.
00:40:55Hello, honey.
00:40:57Now, understand, if that young fool comes again,
00:40:59let him look out for himself.
00:41:01Oh, you're all...
00:41:03I haven't the nerve to hit anyone, and you know it.
00:41:10Ladies and gentlemen,
00:41:12what can Zoltini say to such wonderful reception?
00:41:15He can only thank you.
00:41:17From here.
00:41:20Many person may have read this morning
00:41:22what was to be Zoltini's fortune,
00:41:24but fate was much otherwise.
00:41:26Let us face truth, yes.
00:41:28Circumstances and misunderstanding
00:41:30have kept Zoltini from your entertainment.
00:41:32But you, dear,
00:41:34you are a man of your word.
00:41:36You are a man of your word.
00:41:37You have kept Zoltini from your entertainment.
00:41:39But tonight he is back with you again.
00:41:42And from now on,
00:41:44he hopes always to be at your service.
00:41:54And now, ladies and gentlemen,
00:41:56I have the honor to present my partner,
00:41:58the greatest little lady in the world,
00:42:00Miss Vivienne.
00:42:07Miss Vivienne.
00:42:37Miss Vivienne.
00:43:08Miss Vivienne.
00:43:10Miss Vivienne.
00:43:12Miss Vivienne.
00:43:14Miss Vivienne.
00:43:16Miss Vivienne.
00:43:18Miss Vivienne.
00:43:20Miss Vivienne.
00:43:22Miss Vivienne.
00:43:24Miss Vivienne.
00:43:26Miss Vivienne.
00:43:28Miss Vivienne.
00:43:30Miss Vivienne.
00:43:32Miss Vivienne.
00:43:34Miss Vivienne.
00:43:35And now, ladies and gentlemen,
00:43:37my last and greatest item.
00:43:39With the assistance of Miss Vivienne,
00:43:41may I present to you my sensational illusion,
00:43:43which I have entitled
00:43:45The Bride of the Year.
00:44:05Now, ladies and gentlemen, here I have a sheet.
00:44:14It's an ordinary sheet.
00:44:44Are you prepared?
00:44:54Eh, presto, then go!
00:45:05And now...
00:45:26Where to, sir?
00:45:27Drive on.
00:45:29Ladies and gentlemen, ladies and gentlemen, please.
00:45:32Please, ladies and gentlemen, please.
00:45:35Please, please, please.
00:45:40Everything is all right.
00:45:42She'll be here.
00:45:43The act goes on, Miss Nathan.
00:45:45First time over here, second time over here.
00:45:48The third time, she's here.
00:45:59Tell me all about it.
00:46:00Why don't you?
00:46:01Governor, where shall I, uh...
00:46:04Oh, drive on, anywhere.
00:46:08I've done a terrible thing.
00:46:10Well, don't you start blaming yourself.
00:46:11I can see what you had to put up with.
00:46:12Yes, but you don't understand.
00:46:13To walk out on your partner in the middle of the act.
00:46:16They don't forgive that in our business.
00:46:19They probably ruin Louis for good.
00:46:21Don't take it like that.
00:46:22He deserved it and more.
00:46:25Come on.
00:46:26Give us a smile.
00:46:27Come on, come on.
00:46:29That's better.
00:46:36You've done a nice thing.
00:46:37Vivian, where is she?
00:46:38Walked out on you, I should think, and no wonder.
00:46:40Walked out?
00:46:41Get out of my theater.
00:46:42We'll send your props after you.
00:46:43Walked out?
00:46:45And I'll tell Max Preston what I think of his precious stunts.
00:46:54Max Preston.
00:46:58It's no use.
00:46:59I must go back.
00:47:00You can't do that.
00:47:01Not after what you've done.
00:47:02It's impossible.
00:47:03What can I do?
00:47:05I'll help you.
00:47:07You?
00:47:08Yes, of course.
00:47:10But how?
00:47:12I can't think in here.
00:47:13Let's get out of here.
00:47:14Hey.
00:47:19We must plan something.
00:47:21Where can we go?
00:47:28I've got an idea.
00:47:29Come on.
00:47:43Better get along quietly, Mr. Zoltini.
00:47:45I'll see to everything.
00:47:47Did you see her go, my partner?
00:47:49Yes, sir.
00:47:50Miss Vivian's gone.
00:47:51Everything's all right.
00:47:52And Mr. Preston?
00:47:53No, sir.
00:47:54Who will?
00:47:55A young fellow, he was.
00:47:56I've heard of him.
00:47:57No, sir.
00:47:58But they took old Bert's taxi.
00:47:59He'll be back presently to pick up a wriggler down at the cafe,
00:48:02around the corner there.
00:48:04Thank you, my friend.
00:48:12That's where we're going.
00:48:14I work up there.
00:48:16Can we really get up there?
00:48:17Well, it's a bit of a climb.
00:48:19Good girl.
00:48:21I'll tell him, my lord.
00:48:23So long, cop.
00:48:29Get on with that.
00:48:30It's filthy.
00:48:31Oh.
00:48:32Oh.
00:48:33Oh.
00:48:34Oh.
00:48:35Oh.
00:48:36Oh.
00:48:37Oh.
00:48:38Oh.
00:48:39Oh.
00:48:40Oh.
00:48:41Oh.
00:48:42Oh.
00:48:43Oh.
00:48:44Oh.
00:48:45Oh.
00:48:46Oh.
00:48:47Oh.
00:48:48Oh.
00:48:49Oh.
00:48:50It's exciting.
00:48:56Oh.
00:48:57What's the matter?
00:48:59You here.
00:49:12Oh.
00:49:13Oh.
00:49:14Oh, it's nice.
00:49:16What are these things for?
00:49:17Don't touch that.
00:49:18It's greasy.
00:49:22Not like the Ritz, you know.
00:49:24I don't know what I was thinking of to bring you up here.
00:49:30I think it's beautiful.
00:49:46I can help with him.
00:49:47I doubt it.
00:49:48You're the first I've ever seen.
00:49:53I suppose it's his makeup.
00:49:54I bet you don't need it.
00:50:00Your hair.
00:50:01What's it smell like?
00:50:06Bend your head a bit.
00:50:11Now the other way.
00:50:16You know, I shouldn't be able to work in this crane again.
00:50:18I should always be thinking of you and me.
00:50:32Ahem.
00:50:33Hm.
00:50:34Well, chase me around the waterworks.
00:50:37Good evening, Bill.
00:50:38Go home to bed.
00:50:39Oh, I've seen some gullies in the midtime
00:50:41and seen some funny places used for them.
00:50:43Particularly when I was in France.
00:50:44But stop me teeth with Portland cement.
00:50:46I never let them see the schlep and tickle in a crane cabin.
00:50:49Buzz off, buzz off.
00:50:50Can't you see I'm busy?
00:50:51But a watchman can't allow this, Thompson.
00:50:53What do the people say?
00:50:54What do the companies say?
00:50:55What do the foremen say?
00:50:56The foremen!
00:50:57You're a foul, Bill.
00:50:58Keep your mouth shut.
00:50:59Ah, sea lips, that's me.
00:51:01But step on it.
00:51:02I'll make my way back soon and he's got an honorable sense of duty.
00:51:05Heh, heh, heh, heh, heh, heh, heh, heh, heh, heh.
00:51:08Go outside.
00:51:14It must be grand working up here in the open.
00:51:16Yeah, it's a good life sometimes.
00:51:17Especially when you get a fine day.
00:51:19Are the men you work with?
00:51:21They're the salt of the earth.
00:51:22You can rely on them.
00:51:26You know, Vivian, you can trust me to stand by you
00:51:29as long as you want me, as long as you need my help.
00:51:32You're awfully nice.
00:51:34So nice that I can't believe there isn't someone else,
00:51:37someone else in your life already.
00:51:44Not late, am I?
00:51:46No.
00:51:49Switchboard.
00:51:50Hampstead 2867.
00:51:53What's the idea?
00:51:54Just one minute, please.
00:51:56Hampstead 2867.
00:51:59Sir Edward Harbin has complained to me that you failed to wake him in time
00:52:02to catch the early plane to the continent this morning,
00:52:04as a result of which certain important financial negotiations have been jeopardized.
00:52:07I request that you return to the office immediately.
00:52:10Certain important financial negotiations have been jeopardized.
00:52:13I regret it.
00:52:14But in the circumstances, I have no alternative but to dispense with your services.
00:52:17In other words, I'm sacked.
00:52:21Sir Edward Harbin has complained that you failed to wash his face
00:52:23and brush his teeth this morning,
00:52:25as a result of which he's been slung out on his neck.
00:52:27I regret, but in the circumstances...
00:52:29I'll tell you more.
00:52:30Switchboard.
00:52:31Hello.
00:52:40Switchboard.
00:52:59I'm here, Governor.
00:53:00Hey.
00:53:02Come here.
00:53:04Have time for a cup of coffee?
00:53:05I don't mind if I do, Governor.
00:53:08I expect she's very sweet.
00:53:13I must go.
00:53:16But Vivian, we haven't settled anything.
00:53:19What's going to happen to you?
00:53:20I'm all right.
00:53:21I've got everything clear in my mind now.
00:53:24I know somewhere I can go.
00:53:26And thanks for bringing me here.
00:53:29You're not going back to Zoltini?
00:53:31No.
00:53:32Don't worry.
00:53:34You'd better take me down to Earth now.
00:53:36I've seen a little of your life.
00:53:38Now you shall see some more of mine.
00:54:06Pat.
00:54:07Vivian.
00:54:10So you did make it.
00:54:11I'm so glad.
00:54:12Here, come and drink some of mine.
00:54:14I'm all right.
00:54:17You're our lucky star.
00:54:18You're not going to get much.
00:54:19I'm all right.
00:54:20I'm so glad.
00:54:21I'm so glad.
00:54:22I'm so glad.
00:54:23I'm so glad.
00:54:24I'm so glad.
00:54:25I'm so glad.
00:54:26I'm so glad.
00:54:27I'm so glad.
00:54:28I'm so glad.
00:54:29I'm so glad.
00:54:30Vivian. Oh, so you did make it. I'm so glad.
00:54:35Here, come and meet some of the folks. Janice, I want you to meet Vivian Saltini.
00:54:38Janice Weems.
00:54:45Oh, this is Toby Moira. How did the act go, huh?
00:54:48And this is Mr... Oh, hello. How did you get in here?
00:54:52I forgot. This is Mr...
00:54:53Peter Thompson. Yes, we have met.
00:54:57Oh, Max. Be nice to him.
00:54:59Okay. Glad to have you with us, Mr. Thompson.
00:55:02Pleased to meet you. Are you in the profession?
00:55:04Oh, me? No. I drive a crane.
00:55:07Is that...? You what?
00:55:08I drive a crane.
00:55:10Sounds to me like he says he drives a crane.
00:55:12He does.
00:55:13What have I got to do with a crane driver?
00:55:15Look here, Max. Give him a drink. I want to talk to you.
00:55:17Okay. Oh, Andrea. Can you drive a crane?
00:55:20No, but I sling a mean steam shovel.
00:55:22Well, this is Mr. Thompson who can drive a crane.
00:55:24Oh, this is Miss Lanine.
00:55:26She's very anxious to learn all about your fascinating occupation.
00:55:30And what do you call your crane, Mr. Thompson?
00:55:34Well...
00:55:35Now, wait a minute.
00:55:37Here, Vivian. Have this.
00:55:39Oh, thanks.
00:55:40Who's your mechanical boyfriend?
00:55:42He's not a boyfriend. He's just a friend.
00:55:44He's helping me get away from Louis.
00:55:47Nice boy.
00:55:56Thanks.
00:56:15You crane drivers can take it.
00:56:17You know, you better eat before you follow that one up.
00:56:19Hide yours. Sling us a couple of plates and so forth.
00:56:21That's a good idea. Give us something to eat.
00:56:23Oh, isn't he wonderful?
00:56:25Anybody can do that. I can do that. Here, give it to me.
00:56:27Now, be careful. It's very difficult.
00:56:29You'll do nothing to us.
00:56:31Hey!
00:56:37Your boyfriend's a bit tough on the cranberry.
00:56:39He's enjoying himself.
00:56:41Sure, why not?
00:56:42Max, you've done something I can't go back on.
00:56:45You're the only real friend I've got in the world.
00:56:47Something to do with Saltini?
00:56:49Yes.
00:56:51Okay. Let's go where we can be quiet.
00:56:56You haven't any more politics, have you?
00:56:59I used to be able to lie down flat on the floor, get up with a glass of beer on my head.
00:57:02I can try that if you like.
00:57:03Oh, no. I don't think we have any beer.
00:57:04Or champagne, then.
00:57:05That would be much too exciting.
00:57:10I'll stay with Vivian.
00:57:11Oh, I don't know if you know very much, Vivian. She's all right.
00:57:15You know, Andrea, you're a beautiful girl.
00:57:18And I'm an expert.
00:57:19Expert? You're an experience.
00:57:26Oh.
00:57:40Your hotel on the phone.
00:57:41Waking me up at this hour.
00:57:43See it doesn't occur again or find another flat.
00:57:45Piece of nonsense.
00:57:49Look, Pat, you've got to come back here at once.
00:57:52Well, I don't know what it is, but there's a terrible rumpus.
00:57:56Well, we'll take a taxi and make the old so-and-so pay for it.
00:58:01You know, I like this sort of night.
00:58:03I can see that.
00:58:04You know, you ought to go on the stage.
00:58:06Oh, I don't see why not.
00:58:07You know, juggle, drive cranes.
00:58:09That's right. Sing.
00:58:10Sing?
00:58:11Yeah.
00:58:12Well, come on.
00:58:13You want me to sing?
00:58:14Of course.
00:58:15If you ask for it. Hold that.
00:58:16No, I'd better take it with me.
00:58:17So, you see, you've got nothing to worry about.
00:58:19I should have listened to you long ago.
00:58:21Here, here, Vivian.
00:58:22There's no cause for that.
00:58:26What's the matter?
00:58:27I've lost my bag.
00:58:28Oh, don't worry about that.
00:58:29To the best of my knowledge, the folks here are above board.
00:58:32In that way.
00:58:33May I leave it in the taxi?
00:58:46I remember.
00:58:47I left it in the crane cabin.
00:58:48So, what is this hopping on cranes?
00:58:51I'll get Peter.
00:59:04Oh, for goodness sakes.
00:59:05What's made me up to now?
00:59:14Hello.
00:59:16I won't be long, too.
00:59:17Listen, I left my bag in the crane cabin and I must have it.
00:59:20What, now?
00:59:21Of course.
00:59:22It's got one little I possess in it.
00:59:23Oh, well, I'll pay.
00:59:24I'm singing now.
00:59:25I'll fetch it tomorrow.
00:59:26It'll be all right.
00:59:27It won't be all right.
00:59:28Not if the foreman finds out.
00:59:29Oh, foreman.
00:59:30Yes, you're right.
00:59:31I'll go and fetch it.
00:59:33Well, as a singer, he makes a good crane driver.
00:59:45Well, I'll go and fetch it.
01:00:15Oh.
01:00:36Oh.
01:00:46Don't be a nug.
01:00:47You ain't got a chance in there.
01:01:05Up it, mate.
01:01:06You couldn't help it.
01:01:07You'll be drowned.
01:01:10Might have been you.
01:01:16Life is blowing past your window.
01:01:22Drop the curtain back and watch.
01:01:28Death below the mind unfolding.
01:01:33Drama and sorrow.
01:01:36Where the lost, there's laughter.
01:01:40You'll forget about
01:01:43those gray days.
01:01:46He will raise his hand to your child.
01:01:52Love's lit eyes will make you realize
01:01:57that life is blowing past your window.
01:02:03Through your window you'll find no man.
01:02:09There you are, kid.
01:02:10On the dotted line.
01:02:12Oh, thank you, Peter.
01:02:14Everything's all right now.
01:02:15Max has given me a lovely contract,
01:02:16and I'm going on tour.
01:02:17We sail tomorrow.
01:02:20What's the matter?
01:02:24Saltini.
01:02:26What?
01:02:29I've killed him.
01:02:36You killed him?
01:02:38Yes.
01:02:41No.
01:02:43No.
01:02:46No!
01:02:47Vivian, Vivian, please.
01:02:48Control yourself.
01:02:50Get out of here.
01:02:51I'll talk to Matthew.
01:03:00Savannah, darling.
01:03:02Savannah, darling.
01:03:11Sorry to get you up so early.
01:03:13Well, sir, it was a bit...
01:03:14Where's the girl?
01:03:15Oh, miss.
01:03:18This is Sir Edward Harbour.
01:03:19Sir Edward Harbour...
01:03:20Are you the girl who didn't wake me up this morning?
01:03:21Yes, sir.
01:03:22Through you, I missed my plane to the continent.
01:03:24I'm very sorry, sir.
01:03:25You lost me a most important appointment.
01:03:27Well, sir, I've been sacked.
01:03:28Yes, sir, at once, without...
01:03:29Will you kindly hold your tongue?
01:03:31You lost me my appointment,
01:03:33but you saved my life.
01:03:36I hear the Moscow plane crashed,
01:03:40and it's thanks to you
01:03:42that I'm still alive, my dear.
01:03:46I'm so glad.
01:03:48You'll take her back, of course.
01:03:49Of course, sir.
01:03:50A very good type of girl here, Sir Edward.
01:03:53Thank you, Sir Edward.
01:03:55My dear child, I owe you everything.
01:03:57Now, is there any way at all
01:03:58I can help you?
01:04:00Yes.
01:04:01As a matter of fact, there is.
01:04:03Don't you see, I must go to him.
01:04:06Go where to him?
01:04:09Home.
01:04:10Home?
01:04:12They'll be bringing him.
01:04:15Did he mean so much to you, after all?
01:04:20I really loved him.
01:04:28I understand how you feel about it.
01:04:47You can't be years with a man
01:04:50and get him out of your system.
01:04:51Not in five minutes, you can't.
01:04:57No matter what he was.
01:05:02So, if that's the way you feel about it,
01:05:04perhaps you'd better go.
01:05:13Thank you, Max.
01:05:16You've been awful.
01:05:18I know.
01:05:19You've been awfully kind.
01:05:49You've been awfully kind.
01:06:19You've been awfully kind.
01:06:50Peter, are you awake?
01:06:52Do you know what's happened?
01:06:53I got a day job.
01:06:54Secretary to a big businessman.
01:06:56Through sheer incompetence,
01:06:57I kept him out of a plane crash.
01:06:59I saved a man's life.
01:07:04I've just killed somebody.
01:07:09What?
01:07:11A fight.
01:07:13Fight? You? What about?
01:07:16Does it matter?
01:07:20I suppose the police know.
01:07:22If they don't, they will.
01:07:25You didn't report to them?
01:07:30Peter!
01:07:33What are you going to do?
01:07:35I don't know.
01:07:40What about you?
01:07:42You didn't mean it.
01:07:44Faces together.
01:07:46I'll go to the police.
01:07:49You've got to give yourself up.
01:07:52Do you know what that means?
01:08:05Nothing, Otis.
01:08:06Don't tell them, my dear.
01:08:16Peter!
01:08:18He was rescued.
01:08:19River police.
01:08:20He's as right as a trivet.
01:08:22You mark his face a treat,
01:08:24but he won't tell the cops nothing about that.
01:08:26Oh, Peter.
01:08:28Who was he?
01:08:30Well, that, once we get him along,
01:08:32just popped into,
01:08:33but you'll never know.
01:08:35He's a good man.
01:08:37He's a good man.
01:08:39He's a good man.
01:08:41He's a good man.
01:08:43He's a good man.
01:08:45Just a mind-at-rest night.
01:08:47Not until he's had some food!
01:08:49They'll feel a bit peckish.
01:09:13You here?
01:09:15Do it.
01:09:20Forgive me.
01:09:24I thought I'd lost you.
01:09:26I do.
01:09:28Oh, yes, I am bad.
01:09:29No.
01:09:30Oh, yes, yes, I am bad.
01:09:32But there's always reason for bad.
01:09:35My reason is fear, Vivienne.
01:09:38Always fear that I shall lose you.
01:09:41And everything goes so dark.
01:09:45They told me you were bad.
01:09:47Suddenly I realized everything we'd made to each other.
01:09:50I couldn't bear it.
01:09:52I love you.
01:09:54Without me, had you thought what you would do?
01:09:57Oh, there's nothing about it.
01:10:01Your poor face.
01:10:02Oh, that's nothing?
01:10:06Let's have some coffee, huh?
01:10:09I'll get it for you.
01:10:12Oh, no, no, no, my dear.
01:10:14You are too tired.
01:10:18Saltini shall fix it for you.
01:10:20By magic.
01:10:21Here.
01:10:23Presto.
01:10:25Well, so long.
01:10:26Thanks for the eats.
01:10:26So long, Bill.
01:10:28Good boy, not starvation.
01:10:29Gertrude.
01:10:31Well, I must be getting along, too.
01:10:33Oh, Pete.
01:10:34Wait for me.
01:10:34I'm playing with you today.
01:10:36So it's we.
01:10:41Happy, Louie?
01:10:44I have everything I need in this world.
01:10:46Except for one thing.
01:10:47What's that?
01:10:49Money to buy cigarettes with.
01:10:50You can have that, too.
01:10:52You'll find sixpence in my bag on the dresser.
01:10:53Oh, little magician.
01:10:55But only on one condition.
01:10:56What?
01:10:57That I have half the cigarettes.
01:10:58Oh, I should have known there was some cash.
01:11:05I'm sorry, I didn't mean to offend you.
01:11:08I'm sorry.
01:11:17Look, look, we're just coming to the place
01:11:19where it all started.
01:11:28Oh, so you feared to lose me.
01:11:31If you can't bear to have death, lies.
01:11:34Money and even a steamship ticket.
01:11:35Louie, I didn't know.
01:11:36And all those horrible lies that you love me.
01:11:39Lies, lies, lies!
01:11:41One too many.
01:11:52Look, look, there's a window there.
01:12:02I hope they're as happy as we are.
01:12:08I hope they're as happy as we are.