Blind Corner (U.S. title: Man in the Dark) is a 1964 British second feature thriller film directed by Lance Comfort and starring William Sylvester, Barbara Shelley and Alexander Davion. The screenplay was by James Kelley and Peter Miller. It was produced by Tom Blakely for Mancunian Films / Blakeley's Films (Manchester) Ltd.
The scheming adulterous wife of a blind composer finally gets her comeuppance.
Source: Wikipedia
The scheming adulterous wife of a blind composer finally gets her comeuppance.
Source: Wikipedia
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Short filmTranscript
00:00:30© BF-WATCH TV 2021
00:01:00© BF-WATCH TV 2021
00:01:30© BF-WATCH TV 2021
00:01:40Is that you, darling?
00:01:41Yes, Paul.
00:01:43I thought you were going straight on to Margot's.
00:01:45Well, I was going to, but I was passing so close,
00:01:48I thought I'd just come in and see that you were all right.
00:01:50Oh, fine.
00:01:51There was another reason.
00:01:53Oh?
00:01:54Money.
00:01:55I promised to lend Margot ten pounds, and I forgot to cash a check.
00:01:58Have you got any cash, darling?
00:01:59Yes, of course.
00:02:00Margot's always the same at the end of the month.
00:02:02She's always broke.
00:02:04Thank you, dear.
00:02:06I'll see you later.
00:02:07I'll be late.
00:02:09I'll try not to be, but you know what girls are once they start talking.
00:02:13I do.
00:02:15Bye-bye.
00:02:28© BF-WATCH TV 2021
00:02:39What took you so long?
00:02:40He was feeling lonely.
00:02:42Did you get the money?
00:02:44So let's have dinner on my generous husband.
00:02:54Funny how this stuff grows on you.
00:02:55It knocks all the excitement out of drinking beer.
00:02:57Cheers.
00:02:58Here's to my husband and his money.
00:03:01Darling, I'd enjoy this a lot more if you'd stop reminding me who's paying for it.
00:03:06Better get used to the idea, Ricky.
00:03:08It might go on for some time.
00:03:11Cheers.
00:03:14Come on.
00:03:15There are some compensations.
00:03:17You're the compensation.
00:03:21Darling, was Paul blind when you married him?
00:03:24I thought you didn't want to talk about Paul.
00:03:26I don't want to talk about his money.
00:03:29Was it?
00:03:32I am his wife, Ricky.
00:03:33I can't just leave him altogether.
00:03:35Why not?
00:03:39Because if I did,
00:03:41we'd pay for dinner tomorrow night.
00:03:46Darling, have you ever had that feeling
00:03:48that you just might be deburring an inferiority complex?
00:03:53Let's go down to the cottage.
00:03:56Come on.
00:04:26Come on.
00:04:56Come on.
00:05:27Paul?
00:05:32Paul?
00:05:33Out here.
00:05:38Hello, darling.
00:05:39A bit late for you to be out here.
00:05:41I was waiting up for you.
00:05:43You've been drinking a lot, haven't you?
00:05:45And I thought you were working.
00:05:47Working?
00:05:48Churning out three bottles of beer a day.
00:05:50That's a lot of beer.
00:05:52And I thought you were working.
00:05:54Working?
00:05:55Churning out three and a half minutes of commercial music,
00:05:57if you can call it music.
00:05:59You write very good songs.
00:06:00They're very successful.
00:06:01They may be successful, darling,
00:06:03but it doesn't necessarily follow that they're good.
00:06:05Let me get you a drink.
00:06:06Don't move. I'll get it.
00:06:07No, no, no, no. Sit down.
00:06:09I'm quite capable.
00:06:11I know that, Paul.
00:06:15Careful.
00:06:16I'm all right.
00:06:18I know precisely where I am anywhere in this flat.
00:06:21I've had three years to learn it.
00:06:24I know, Paul.
00:06:26It's just that when you've been drinking,
00:06:27you get a little unsteady.
00:06:29The parameter is much too low.
00:06:31Don't worry, darling.
00:06:32I can manage.
00:06:37Paul, I'm leaving you.
00:06:40What are you talking about?
00:06:42I told you.
00:06:43Don't you remember? The wedding.
00:06:45John's wedding.
00:06:46You said you wouldn't go.
00:06:47Oh, yes, yes. I remember.
00:06:50Paul, what would you do if I left you?
00:06:53Probably chuck myself off this balcony.
00:06:56What would you really do?
00:06:58Cut you off a lot of penny.
00:07:00Be serious.
00:07:02I am being serious.
00:07:04You'd come back as soon as you needed money.
00:07:07You have a very high opinion of your wife, haven't you, Paul?
00:07:09No, just joking, darling.
00:07:11As you were.
00:07:15Oh, I'm tired.
00:07:17I think I'll turn in.
00:07:19I'll just finish my drink and sit and look at the stars for a minute.
00:07:22Well, don't be long.
00:07:50John?
00:07:52Oh, hello, Paul.
00:07:54I'm on the terrace. Bring the mail out here, will you?
00:07:56Yes, yes, okay. Coming.
00:08:06Morning.
00:08:07Hi.
00:08:08Help yourself to some coffee.
00:08:11You're welcome.
00:08:12Oh, thank you.
00:08:13You're welcome.
00:08:14You're welcome.
00:08:15You're welcome.
00:08:16You're welcome.
00:08:17Morning.
00:08:18Hi.
00:08:19Help yourself to some coffee.
00:08:20Oh, no, thank you.
00:08:21Anything important in the papers this morning?
00:08:23I overslept, didn't hear the news.
00:08:25Not important.
00:08:26How about Karl Mayer's concert last night at the Festival Hall?
00:08:28Yes, it's here.
00:08:30The performance of Karl Mayer's concerto was masterly.
00:08:33This work is brilliantly controlled, magnificently exciting.
00:08:36An unforgettable evening.
00:08:38Good for Karl.
00:08:39Anything else?
00:08:41Oh, not really.
00:08:42A half a dozen fan letters here.
00:08:44Four of them request for a photograph.
00:08:47Paul Gregory, the new teenage idol, eh?
00:08:49We'll take care of those.
00:08:51And a letter here from Mike.
00:08:53Oh, what's he have to say?
00:08:55We've arranged to have Where You're Going given as a big production number
00:08:58in a TV spectacular on the 18th.
00:09:00Oh, fine.
00:09:01Anything else?
00:09:02Oh, not really.
00:09:03Looking forward to seeing you at the recording session for Blind Corner this afternoon.
00:09:06Sends his love to Anne.
00:09:08I can't imagine why he detests Anne.
00:09:10Always has done.
00:09:12Well, Mike's a very good manager.
00:09:14He likes to see everybody happy.
00:09:16Okay, Ronnie, you want to hear it back?
00:09:18No, I wasn't too happy with it.
00:09:20How about you, Paul?
00:09:21I think it's too slow, Ronnie.
00:09:23It won't hold at that pace.
00:09:24Let's have another try, eh?
00:09:25All right, fine.
00:09:26Okay, fellas, once more.
00:09:27And this time, mucho alegro, huh?
00:09:29Don't fool him.
00:09:36There's a turning
00:09:40There's a street
00:09:44There's somebody
00:09:47You must meet
00:09:50She'll never know
00:09:53No one will warn her
00:09:57Choose the place
00:10:00A blind corner
00:10:04Hold her carefully
00:10:07In your arms
00:10:11Now's the time
00:10:14To use your charms
00:10:17She'll never know
00:10:20No one will warn her
00:10:24To take care
00:10:27At a blind corner
00:10:32We found
00:10:34On the bumpy road to love
00:10:38We were meant
00:10:41For each other
00:10:46And every day of the year
00:10:51I'll tell her just how much
00:10:54I really love her
00:10:57Through our lifetime
00:11:01We will say
00:11:04We found love
00:11:07That happy day
00:11:10Thank heaven above
00:11:14No one have warned her
00:11:19Of the blind corner
00:11:34Fine, Ronnie. Thanks, fellas.
00:11:36Happy with it, Paul?
00:11:37Yes, that was fine.
00:11:38It'll top the charts, Dad. It's bound to.
00:11:40That's the one, Ronnie. You want to hear it back?
00:11:42No, I'm happy with it if Paul is.
00:11:44Much better, Ronnie. Great.
00:11:45Come back and have a drink.
00:11:46No, I'd better blow off.
00:11:47I've got a matinee this afternoon.
00:11:49See you down the street?
00:11:50Okay, kid. See you.
00:11:51See you, Ronnie. Bye-bye.
00:11:52Bye-bye.
00:11:53Mike?
00:11:54Yeah?
00:11:55Come on back to the flat and have a drink.
00:11:56Uh...
00:11:57Well, I'll try and get away as soon as I can,
00:11:59but Paul's always difficult after a recording session.
00:12:04He likes to get drunk and complain about the futility of what he's doing.
00:12:09Yes, darling. I miss you, too.
00:12:12All right. Bye.
00:12:22Fix the drinks, will you, John?
00:12:24Hello, Paul.
00:12:25Hello, darling.
00:12:26How did the session go?
00:12:27Sensational!
00:12:28One ring-a-ding, A-OK, all systems go.
00:12:31Success!
00:12:32You don't have to try and sell it to us, Mike.
00:12:34We're all quite intelligent adult people.
00:12:36Don't try speaking English for change, huh?
00:12:38Now, hold on now, Miss Annie.
00:12:40Doggone, I just can't seem to get off on the right foot with you.
00:12:43Can't do a thing right.
00:12:45You're so amusing.
00:12:46But you still prefer English.
00:12:47Still prefer English, eh?
00:12:48Very, very good idea, yes. Splendid, splendid.
00:12:50What about, uh, telly-ho, chaps, and off we go and all that rot, eh?
00:12:53Mike, you're giving me a headache.
00:12:54And this is the voice of them all.
00:12:55Mike, do me a favor, will you?
00:12:57Shut up, Mike!
00:12:58Why don't you two give it a rest?
00:12:59Every time you see each other, we have the same bit.
00:13:01If you can't talk reasonably, don't talk at all.
00:13:03Well, that sounds like my cue to leave all you creative geniuses alone.
00:13:08Where are you going?
00:13:09Out.
00:13:10See you later.
00:13:13Sorry, Paul.
00:13:14I, uh, I just can't resist it, you know.
00:13:16Thank you, darling.
00:13:32Hello, darling.
00:13:33Hello.
00:13:34You got here sooner than I expected.
00:13:35It was easier than I thought.
00:13:37How are you?
00:13:38Fine.
00:13:39Oh, very pretty.
00:13:40Very.
00:13:41You know, I'd like to paint you right now.
00:13:43Just the way you look.
00:13:44Very beautiful.
00:13:45Why don't you?
00:13:46I wouldn't be able to part with it.
00:13:47And I must sell it to make money.
00:13:49Will you be able to sell this?
00:13:50Yes, it's what people want.
00:13:52Something anonymous.
00:13:54There is a way you could paint me, you know.
00:13:56Oh? How?
00:13:57Well, I'd tell you.
00:14:00Well, I'd tell Paul I wanted my portrait done.
00:14:02He'd commission you to do it.
00:14:04What for?
00:14:05He wouldn't be able to see it.
00:14:07He'd do it for me.
00:14:10Besides, it would give us a wonderful chance of being here together.
00:14:16That's a very clever idea.
00:14:17I'm a very clever girl.
00:14:30Oh, the rattle of coffee cups.
00:14:33Two sugars, black and quick.
00:14:39Oh, sorry, Paul.
00:14:47Paul, why don't you carry on?
00:14:49I'm not going to.
00:14:50I'm not going to.
00:14:51I'm not going to.
00:14:52I'm not going to.
00:14:53I'm not going to.
00:14:54I'm not going to.
00:14:55I'm not going to.
00:14:56I'm not going to.
00:14:57I'm not going to.
00:14:58Paul, why don't you carry on and finish that concerto?
00:15:01Concertos don't pay the rent.
00:15:02Pop songs do.
00:15:03Try again.
00:15:04I know how much money you've got in the bank, remember?
00:15:07All right.
00:15:08Concertos are hard work and I'm basically lazy.
00:15:10Yes, that's more like it.
00:15:12Still, it seems a pity to see so much talent going to waste.
00:15:18Joan, you wouldn't be getting too involved with me, would you?
00:15:22Meaning?
00:15:23You know perfectly well what I mean.
00:15:26Flatter yourself, Paul.
00:15:28I like you, that's all.
00:15:30Well, if that's all, then you've nothing to worry about.
00:15:33I'm not worried.
00:15:34Because I'm in love with my wife.
00:15:37Good for you.
00:15:41I'm in love with you.
00:15:44I'm sorry.
00:15:45But I'm not in a position to reciprocate.
00:15:50I do so admire straightforward honesty in a man.
00:15:53Especially when it's delivered with such tact and understanding.
00:15:57I was only hoping to clear the air a bit.
00:15:59Yes.
00:16:01Well, I'm ready for work when you are.
00:16:05Aren't I allowed to have my second cup of coffee?
00:16:07It's on the table.
00:16:08My orders are to stick to my secretarial duties.
00:16:11If you want a waitress as well, you'd better employ one.
00:16:16What night do you want to come and meet Paul?
00:16:19Meet him?
00:16:20Meet him?
00:16:23I don't want to meet him.
00:16:25You'll have to.
00:16:27He'll want to talk to you about the portrait.
00:16:29And what for?
00:16:32What?
00:16:33He's a man who likes value for money.
00:16:37He'll want to be sure that you paint the sort of portrait worth paying for.
00:16:41Well, I'm not sure I want the money that badly.
00:16:44Oh, Ricky.
00:16:46It isn't just the money.
00:16:47Yes, I suppose you're right.
00:16:49But I wish I didn't have to meet him.
00:16:51Oh, come on.
00:16:53He's not that frightening.
00:17:12Ann?
00:17:13Hello, darling.
00:17:14Oh, who's that with you?
00:17:15Oh, someone I met at Margo's a few times.
00:17:19Ricky Selden.
00:17:20Ricky, this is my husband, Paul.
00:17:21Hello.
00:17:22How do you...
00:17:24How do you do?
00:17:25Let me get you a drink, Mr. Selden.
00:17:26His name's Ricky, Paul.
00:17:27Oh, yes, of course. Ricky.
00:17:28What'll you have?
00:17:29Scotch? Gin?
00:17:31No, just scotch, thank you.
00:17:35Ice? Water?
00:17:37Oh, just ice.
00:17:39What'll you have, Ann?
00:17:40I don't want a drink, thank you.
00:17:44Oh, incidentally, just to get it over with.
00:17:46Don't let my blindness worry you.
00:17:47I manage very well.
00:17:49Yes, I noticed.
00:17:50What business are you in, Ricky?
00:17:52That's really why he's here, Paul.
00:17:53Ricky's a painter.
00:17:56Oh, are you going to have the flat done again?
00:17:58An artist, darling.
00:17:59Oh, I see.
00:18:01Oh, I see.
00:18:03Oh, I see.
00:18:05Oh, I see.
00:18:06Oh, I see.
00:18:07An artist, darling.
00:18:08I'm sorry, I wasn't thinking.
00:18:10That's one difficulty I have.
00:18:12I have to try to work out what people are by their voices.
00:18:14Don't worry.
00:18:15You've no idea quite how much help you get from assessing people by their clothes, their hands, shoes, haircut.
00:18:21All sorts of things like that.
00:18:23With me, it's like listening to the radio all the time.
00:18:26Paul.
00:18:28I'd like Ricky to paint my portrait.
00:18:31Oh, is that what you specialize in? Portraiture?
00:18:34When I can.
00:18:35Pays better.
00:18:36Well, have a look at this.
00:18:42What do you think of it?
00:18:46It's good. It's very good.
00:18:47It was done from a photograph of me when I won the Silverwood Trophy.
00:18:50I'm glad to have an expert's opinion of it. I've never seen it.
00:18:53This happened before it was finished.
00:18:54Can we talk about something else?
00:18:56Of course, darling.
00:18:57It always upsets my wife when I talk about my blindness.
00:19:00Well, to get back to Anne's portrait.
00:19:02Do you do a lot?
00:19:03No, I don't get nearly enough commission to work.
00:19:06Why? Aren't you very good?
00:19:08Darling, you know that doesn't always follow.
00:19:10I'm sorry.
00:19:11How much do you charge?
00:19:14It depends.
00:19:16About 300.
00:19:17Pounds or guineas?
00:19:19Guineas.
00:19:21All right, Ricky. Go ahead with it.
00:19:30Thanks.
00:19:31Will it take long?
00:19:34About a week.
00:19:35That's fast.
00:19:36Will you work here?
00:19:37Oh, no. Ricky has a studio cottage in Buckinghamshire.
00:19:40He wants to work there.
00:19:41Oh, fine.
00:19:42There's not really room here anyway.
00:19:45I'll get it.
00:19:51Well, well.
00:19:52Where's the suitcase?
00:19:53I don't dig you, honey. What's the suitcase bit?
00:19:56It's just that you're around here so often, I thought perhaps you decided to move in.
00:19:59Well, I'll tell you what I'll do. I'll think about it.
00:20:02In the meantime, I have some very important business to discuss with your husband.
00:20:06May I enter?
00:20:08Please do.
00:20:09Thank you, darling.
00:20:11Hi, Dad.
00:20:12How's my favourite composer?
00:20:13Having a night off.
00:20:14Mike, I'd like you to meet Ricky Seldon.
00:20:16He's an artist.
00:20:17Ricky, this is Mike Williams, my manager, agent and friend.
00:20:19Hi.
00:20:20And what sort of an artist? A singer?
00:20:22Painter.
00:20:23He's got a paint-ans portrait.
00:20:24Yes, well, I hope it turns out all right.
00:20:26And, uh, best of luck, old chap.
00:20:29Paul, I think I'd better go and let you and your manager discuss business.
00:20:32I promised to drive Ricky home anyway.
00:20:34No car?
00:20:35On the kind of fees you charge?
00:20:37I told you, Paul, there are few and far between.
00:20:39Yes, of course you did.
00:20:41When do you want to start?
00:20:42Why not tomorrow, if that's all right?
00:20:44Fine.
00:20:45I shall miss having my wife around.
00:20:46The sooner you start and get it over with, the better.
00:20:48I'll only be gone during the day, darling.
00:20:50Just for a week.
00:20:51It'll seem like a lifetime.
00:20:54See you later.
00:20:55Goodbye, Paul.
00:20:56Bye, Ricky.
00:20:59What do you make of it?
00:21:01The artist?
00:21:04No, nothing there, really.
00:21:06But I'll tell you one thing.
00:21:08Then you can tell me to mind my own business, if you like.
00:21:10Go ahead.
00:21:11Well, I'd say he had a very strong case of infatuation for your wife.
00:21:15Uh-huh.
00:21:17Do you want to know something else?
00:21:19I'd say she enjoys it.
00:21:21Possibly.
00:21:22Most women do.
00:21:23But I trust her completely.
00:21:26You've been very quiet.
00:21:28What's the matter, Ricky?
00:21:30Oh, I just feel disgusted, that's all.
00:21:32With me?
00:21:34No.
00:21:35With myself.
00:21:39About Paul.
00:21:40Mm.
00:21:42I feel sorry for him.
00:21:44I know.
00:21:45I know.
00:21:46I know.
00:21:47I know.
00:21:48I know.
00:21:49I know.
00:21:50I know.
00:21:51I know.
00:21:52I know.
00:21:53I know.
00:21:54I feel sorry for him.
00:21:56That's how I felt a couple of years ago.
00:21:59But you have no idea what it's like living with someone year in, year out,
00:22:03when the only emotion you feel for them is pity.
00:22:06Darling, wouldn't it be kind if you left him?
00:22:10I suppose it would.
00:22:12But I can't.
00:22:13I've told you why.
00:22:15Mm-hmm.
00:22:17And money.
00:22:18Ricky, try and understand.
00:22:20Oh, darling, I understand all right.
00:22:22It's just that I've never had any money.
00:22:24If I did, I probably wouldn't want to give it up too easily.
00:22:27So there we are.
00:22:29You've got no money, but you are free.
00:22:32I've got the money.
00:22:34And a jailer.
00:22:35Oh, darling, hardly a jailer.
00:22:36What else would you call him?
00:22:38He suffocates me.
00:22:39I get to the point where I wish he was dead.
00:22:42No, you don't mean that.
00:22:44Don't I?
00:22:46I'd give anything in the world to be rid of him.
00:22:49Well, great.
00:22:50Why don't you drop some poison in his tea?
00:22:52You can always say it fell in by accident.
00:22:58Everyone knows that Paul drinks too much.
00:23:01And that he goes out on the balcony when he's had too much to drink.
00:23:05All his friends have warned him about it.
00:23:08I'll treat that as a joke.
00:23:11The balcony has a very low parapet.
00:23:14It would be easy to push him over.
00:23:17Then I'd be free and we could be together.
00:23:20Where?
00:23:22Swinging side by side on the scaffold?
00:23:24Oh, come on, Anne, you're tired.
00:23:26You don't mean that and you know it.
00:23:29Yes.
00:23:30I'm sorry.
00:23:32I suppose I must be tired.
00:23:35But I do want us to be together.
00:23:42So do I, darling.
00:23:48Bye.
00:23:59Hello, darling.
00:24:00Hi.
00:24:03Sorry I'm so late.
00:24:04Traffic gets worse every day.
00:24:07Do you miss me?
00:24:08Yes, a lot.
00:24:09How's the portrait going?
00:24:10I don't know.
00:24:11He won't let me see it.
00:24:13Sounds like a jealous artist.
00:24:14Something like that.
00:24:16Do you have to go tomorrow?
00:24:17I promised I would, Paul.
00:24:18He's anxious to finish it.
00:24:20I'll be glad when the damn thing is finished.
00:24:23Sounds like the jealous composer now.
00:24:26What's he look like?
00:24:27He's all right.
00:24:28He's quite good looking.
00:24:30Handsome?
00:24:31I suppose so, if you like that type.
00:24:34And you don't?
00:24:35I don't think about it.
00:24:37I'm happy with what I've got.
00:24:39Quite happy?
00:24:41Very happy.
00:24:42Are you sure?
00:24:44Positive.
00:24:54I'm sorry, Mrs Gregory.
00:24:55I didn't realise you were back.
00:24:57I forgot to pick up that copy of Blind Corner for Larry Parsons.
00:25:00You remember Paul?
00:25:01He said he wanted to see it.
00:25:02It would be great for us if he decided to play it.
00:25:04Yes, wonderful.
00:25:06Well, I'll be off then.
00:25:08Good night.
00:25:09Good night.
00:25:10Good night.
00:25:12Paul.
00:25:13Yes?
00:25:14I don't know if I should mention, but I think she's getting rather fond of you.
00:25:17Possibly.
00:25:18I haven't lost all my teeth yet.
00:25:21Just so long as you remember that you are mine.
00:25:25All mine.
00:25:31Hello, Ronnie.
00:25:32Hello, Barry.
00:25:33Nice to see you.
00:25:34And you.
00:25:35Last time was in Luxembourg, I think, on one of my programmes.
00:25:37Oh, that's right, yes.
00:25:38What do you think of this number?
00:25:39I like it.
00:25:40I think it's very cute.
00:25:41As a matter of fact, I think it's one of Paul Gregory's best.
00:25:43I think it's nice.
00:25:44I like it a lot.
00:25:45What's it called?
00:25:46Have a guess.
00:25:48Where are you going?
00:25:49Eleven out of ten.
00:25:52Here he is, ladies and gentlemen.
00:25:54If we can keep him awake long enough.
00:25:56Ronnie Carroll.
00:26:05Where are you going?
00:26:06What are you doing?
00:26:08How's about going?
00:26:10Stay with me.
00:26:12Life is so short.
00:26:13Don't be a spoilsport.
00:26:15All the best things in life are free.
00:26:19You're a doll who I'd give my all to.
00:26:22We'd have a really swinging affair.
00:26:26Cinderella, I'll be your fella.
00:26:29Come along, baby, there's love in the air.
00:26:32So, where are you going?
00:26:34What are you doing?
00:26:36How's about going?
00:26:38Stay with me.
00:26:40Life is so short.
00:26:42Don't be a spoilsport.
00:26:44All the best things in life are free.
00:26:47I think you really are fabulous.
00:26:50Baby, I like your style.
00:26:54I want to be your Anthony and take you sailing up the Nile.
00:27:01So, where are you going?
00:27:03What are you doing?
00:27:05How's about going?
00:27:07Stay with me.
00:27:09Life is so short.
00:27:11Don't be a spoilsport.
00:27:13All the best things in life are free.
00:27:20How's about going?
00:27:21Stay with me.
00:27:27All the best things in life are free.
00:27:31You're a doll who I'd give my all to.
00:27:34We'd have a really swinging affair.
00:27:38Cinderella, I'll be your fella.
00:27:41Come along, baby, there's love in the air.
00:27:44So, where are you going?
00:27:47What are you doing?
00:27:49How's about going?
00:27:51Stay with me.
00:27:53Life is so short.
00:27:54Don't be a spoilsport.
00:27:56All the best things in life are free.
00:28:00Where are you going?
00:28:03Oh, what are you doing?
00:28:07All the best things in life are free.
00:28:20Sensational, aren't we, Katniss?
00:28:22Well, that went down.
00:28:23Ronnie's very good.
00:28:24Fabulous, that's the only word for it.
00:28:25Joan, go down to Ronnie's dressing room.
00:28:26Tell him to join us in the bar when he's changed, eh?
00:28:28Yeah, sure.
00:28:29It really did go well, Paul.
00:28:41Paul.
00:28:44Paul, there's, um...
00:28:47There's something I've been wanting to tell you.
00:28:49I've been waiting for an opportunity all day.
00:28:52Well, go ahead.
00:28:53While you can tell me it's none of my business,
00:28:55you can even punch me on the nose,
00:28:56but I still think you ought to know.
00:28:58What is it? Get on with it, for heaven's sake.
00:29:01I had dinner at Ricardo's the other night.
00:29:03And?
00:29:04Anne was there, with that painter.
00:29:06What's his name, Ricky?
00:29:08And, um...
00:29:10Well, they weren't exactly behaving like strangers,
00:29:12you know what I mean?
00:29:16She told me she was going on to Margo's.
00:29:18I'm sorry, Paul.
00:29:20You know I wouldn't have said anything
00:29:21unless I was absolutely sure.
00:29:23Yeah, I know, Mike.
00:29:25But, uh...
00:29:26That would have bust me on the nose, it's still open.
00:29:30You go on up to the bar.
00:29:31I'll find my own way.
00:29:32I've got an important call to make.
00:29:34Okay.
00:29:35I really am sorry, Paul.
00:29:37Yeah, I know, Mike.
00:29:40I'm sorry.
00:29:59Hello, can you get me
00:30:00Ricardo's Restaurant on Greek Street, please?
00:30:02The reservation number.
00:30:04I want to speak to the head waiter.
00:30:06Don't you listen to him, Paul.
00:30:07He's going to be fabulous.
00:30:08The portrait.
00:30:09The portrait.
00:30:10Well, I think we've toasted just about everything.
00:30:12Oh, no!
00:30:13We've forgotten the most important one of all.
00:30:15The man who made all this possible,
00:30:16Mr. Martel himself.
00:30:17Ah, viva la France!
00:30:18Viva la Grape!
00:30:19Any more to drink,
00:30:20and I won't be able to put the brush to camp?
00:30:22No, no, no, just one more,
00:30:23the last, I promise.
00:30:24I'd like to propose a toast to my wife,
00:30:26for her kindness, understanding,
00:30:28tolerance, and love.
00:30:29To Anne.
00:30:32Anne.
00:30:33Tell me, Ricky, how's the portrait going?
00:30:35What expression have you chosen to put on canvas?
00:30:37Well, it's composed.
00:30:39It's a side face, and she's looking up slightly.
00:30:43Looking up at the stars, perhaps?
00:30:45That's just the way I remember her.
00:30:47Looking up at the stars with her eyes slightly wrinkled,
00:30:50and a puzzled expression on her face.
00:30:52As though she expected one of them to reach down
00:30:54and whisper to her the secrets of the universe.
00:30:56Well, no, it's not exactly that.
00:30:58It's, uh,
00:30:59difficult to explain the exact attitude
00:31:01that I want to portray her.
00:31:04Oh, naturally.
00:31:05You're not a writer, you're an artist.
00:31:07You're art letters in colors and shades.
00:31:10Anne.
00:31:12Get me another brandy, will you?
00:31:14No more for me, Anne.
00:31:15I think we should be going.
00:31:16I don't want to miss the afternoon light.
00:31:18Ricky's impatient to get on with his portrait.
00:31:21You know, before I started composing,
00:31:22I could never understand
00:31:23how a man who creates something
00:31:24could get so involved with his creation.
00:31:27Paul.
00:31:29It's an obsession, Ricky.
00:31:31Whether you're an artist,
00:31:32writer, or composer,
00:31:34you must become part of what you're doing.
00:31:36I think you're overdramatizing things a bit, darling.
00:31:39I'm inclined to agree with Anne, Paul.
00:31:40I don't get that involved with my work.
00:31:42I paint because I like painting.
00:31:45The only time I'm unhappy
00:31:46is when I haven't got enough money to pay the rent.
00:31:50And you're not an artist, you're a tradesman.
00:31:52You sell your goods to pay your rent,
00:31:54and you find your emotional outlet elsewhere.
00:31:56Paul, that's unkind.
00:31:58It was meant to be.
00:32:00What bothers me, Ricky, is
00:32:02where do you find your emotional outlet?
00:32:04I don't need one.
00:32:06We're not all twisted up inside, you know.
00:32:08For instance, what about the men on the assembly lines?
00:32:11They stick a bit of glue on a piece of wood as it goes by.
00:32:14Where do they get their emotional outlet from?
00:32:16At home, with their wives, or their girlfriends.
00:32:20Or with other people's wives.
00:32:23What does that mean?
00:32:24Well, it means that when you read in the newspaper
00:32:26that the milkman has run off with the vicar's wife,
00:32:28it may be damn funny to you, and damn tragic for the vicar,
00:32:31but to the milkman, it's his way of paying the world back
00:32:33for all the mornings he's had to say,
00:32:35good morning, madam.
00:32:37I see young Johnny's home from boarding school.
00:32:39That'll be two pints of Jersey for the next two weeks.
00:32:43Would you rather I didn't go on with the painting?
00:32:45No, no, no, you carry on.
00:32:48Would you like me to stay at home with you this afternoon, darling?
00:32:51No, no, you go on with Ricky.
00:32:53On the way to the cottage, you can explain to him
00:32:55that I get this way sometimes.
00:32:57I don't really mean what I'm saying.
00:33:00All right, dear.
00:33:03If you say so.
00:33:08Good night.
00:33:10I won't be long.
00:33:13When we were on the balcony, she kissed him, didn't she?
00:33:17Well, didn't she?
00:33:19Yes.
00:33:23Well, what else did she do?
00:33:25Oh, Paul, surely you don't want the details.
00:33:27That's exactly what I do want.
00:33:31I don't want the details.
00:33:33I don't want the details.
00:33:35I don't want the details.
00:33:37I don't want the details.
00:33:39I don't want the details.
00:33:42Can I have a drink?
00:33:44Help yourself.
00:33:51I'm waiting.
00:33:55What did she do, stroke his hair, sit on his lap?
00:33:57Come on, tell me.
00:34:01She's in love with him.
00:34:07I think we've proven beyond all doubt
00:34:09that she isn't in love with me any longer.
00:34:15Get me a drink as well, will you?
00:34:17Paul, you've already had a lot to drink.
00:34:20A scotch, a large scotch.
00:34:22A large scotch.
00:34:38You know what I hate most about being blind?
00:34:46I can't see my wife in the mornings without any makeup.
00:34:49With her hair and curlers.
00:34:53I can only remember her looking very beautiful.
00:34:58I want to see her looking ugly.
00:35:03I want to hate her, but I can't hate the woman I remember.
00:35:11Did anyone ever tell you what wonderful company you are?
00:35:15Your conversation fascinates me.
00:35:18What do you want me to say?
00:35:20Anything.
00:35:23Are you going to divorce her, Paul?
00:35:25Why? Are you waiting to step into her place?
00:35:28Paul, I don't care about stepping into her place.
00:35:31I just want to help you.
00:35:35Get me another drink. I think I'll get drunk.
00:35:37Well, that's no answer.
00:35:40Joan.
00:35:43Joan, put it back.
00:35:46Joan, put it back!
00:35:53Joan!
00:35:59Joan!
00:36:09Joan!
00:36:26Now put it back.
00:36:27Paul!
00:36:28Give it to me.
00:36:29Paul, you're hurting me.
00:36:30Where is it? What have you done with it?
00:36:36Oh, Paul, I'm sorry.
00:36:40Oh.
00:37:01Put the whiskey back in the bar.
00:37:22Hello, this is Paul Gregory, flat 23.
00:37:24I'd like a car in five minutes, please.
00:37:30Fix me one more drink, will you?
00:37:32I'll settle for the normal size with plenty of water.
00:37:35After you've done that, you can go home. I won't be working anymore today.
00:37:39I'll see you tomorrow, then.
00:37:46You forgot that drink.
00:37:48Night, Paul.
00:37:57Well, how am I idiot if a husband can call you a tradesman after this?
00:38:00Darling, darling, he hasn't seen this.
00:38:02I thought for one horrible moment he'd seen something else.
00:38:04Ricky, he's blind. He can't see.
00:38:06Darling, he's not deaf.
00:38:08He knew what was going on when you were kissing me.
00:38:10He didn't know what. He trusts me, Ricky.
00:38:14Come here, let me kiss you.
00:38:16No, wait a minute, wait a minute.
00:38:17What?
00:38:19Paint me.
00:38:20Paint you?
00:38:21I am looking at the stars waiting for one of them to tell me the secrets of the universe.
00:38:25All right.
00:38:27Head up a bit.
00:38:29That's right.
00:38:31Now then, let's have a little of that puzzle look.
00:38:34How's that?
00:38:35Not bad, not bad.
00:38:36Now a little more wrinkle in the eyes.
00:38:38That's good. Now just hold that.
00:38:40That's just lovely, lovely, lovely.
00:38:42Ricky!
00:38:43Ricky, are you mad?
00:38:45Darling, it's only water paint.
00:38:47It'll come off in the shower.
00:38:49Darling, darling, let me in.
00:38:51Oh, go away.
00:38:54Darling, you know, you're going to need me in there.
00:38:58You've got paint all over your hands.
00:39:05Come on.
00:39:24Ricky, Ricky, Paul's here.
00:39:35Coming.
00:39:36Ricky, do you think he knows?
00:39:38We'll soon find out.
00:39:39Well, he can't know for certain. He can't be sure.
00:39:41Darling, you stand outside. We don't want the driver to see you.
00:39:48Ricky?
00:39:49Paul. Come in.
00:39:55Is Anne here?
00:39:56She had to do some shopping. She took the car down to the town.
00:39:59I see.
00:40:00Do you offer your guests a drink when they drop in on you?
00:40:03Of course. There's some scotch. Water, isn't it?
00:40:06Very little water.
00:40:10Anything in the room I might trip over?
00:40:12Yes, there's an easel right in front of you.
00:40:16That must be the portrait.
00:40:18Still wet.
00:40:19Anne said you were beginning to fill in the background.
00:40:22Right. The features need a lot more work on.
00:40:24It's coming along fine, though.
00:40:26Must be the forehead.
00:40:28Yeah.
00:40:29And the nose.
00:40:30The eyes looking up but not far enough.
00:40:32And the mouth, straight with no smile.
00:40:40Here you are, Ricky.
00:40:41Three hundred guineas. That's the fee, isn't it?
00:40:43And, Ricky, no more painting.
00:40:45And no more dinners at Ricardo's.
00:40:49When Anne gets back, send her straight up to London.
00:41:03Did you check?
00:41:04Yes, sir. Just the one car. White sunbeam.
00:41:27Phew! That was a close one.
00:41:29And you were a great help.
00:41:31Why didn't you deny it?
00:41:33Deny what?
00:41:34You didn't accuse me of anything.
00:41:36You could at least have tried explaining about Ricardo's.
00:41:38And sound as guilty as hell? Darling, we had dinner together.
00:41:41What does that mean?
00:41:42It means I lied to him.
00:41:43Told him I was going to spend the evening with Margot.
00:41:45Now he knows I had dinner with you in a restaurant that closes at 11.
00:41:48And I didn't get home till 1.30. That's what it means.
00:41:51All right. So you drove me home.
00:41:53That takes an hour both ways.
00:41:55Before that, we had drinks at the Barton Club.
00:41:57The waiter there will lie for me if Paul decides to check out.
00:42:00Please don't bother. I'll get us out of it.
00:42:02I'm used to playing the sweet, innocent wife who's misunderstood
00:42:05and wouldn't hurt her husband for the world.
00:42:07I've had plenty of practice.
00:42:09How the hell did he find out about Ricardo's?
00:42:11The head waiter. He knows everyone that goes into that restaurant.
00:42:14I thought head waiter was supposed to be discreet.
00:42:16Paul probably tips him more than you do.
00:42:22Well, so much for the portrait.
00:42:25It's going to be damn difficult to find some more excuses to meet.
00:42:28Still, now I can take you up to dinner for a change.
00:42:32Didn't you hear what Paul said, Ricky?
00:42:34No more dinners.
00:42:36Darling, I wasn't suggesting we're going to advertise the fact.
00:42:39There must be plenty of quiet restaurants in town.
00:42:41Paul doesn't know every head waiter.
00:42:43It's too much of a risk.
00:42:45Fine. I'll take some cookery lessons.
00:42:47Besides, it's not such a long way to the bedroom.
00:42:53I'm not going to see you anymore, Ricky.
00:42:55The party's over.
00:42:57No more dinners.
00:42:59No more portraits.
00:43:01No more lovemaking.
00:43:05Just like that?
00:43:07I don't want to be poor, Ricky.
00:43:09No matter how much I love you, I'm not going to share poverty with you.
00:43:13If you found me when I was still an unspoiled, out-of-work actress
00:43:16who didn't even know what luxury meant,
00:43:18things might have been different.
00:43:20As it is, I've developed quite a taste for caviar, champagne,
00:43:24expensive clothes.
00:43:26Quite a lot of things you couldn't afford to buy me.
00:43:30That check will last us a month.
00:43:32After that, where's the caviar going to come from?
00:43:35What do you suggest I do?
00:43:37Tour the agents for another Anne Gregory
00:43:39who hasn't tasted the good things of life yet?
00:43:41My God, Ricky, you know what you've got to do.
00:43:44There's half a million pounds and me waiting for you.
00:43:47And to get it, you have to kill my husband.
00:43:50There's no risk.
00:43:52He gets drunk and he falls off the balcony.
00:43:55He's a blind man, Ricky.
00:43:57It's all there waiting for you.
00:43:59All you have to do is reach out and take it.
00:44:03I haven't got many scruples, Anne.
00:44:06But I do draw the line at murder.
00:44:11All right, Ricky.
00:44:14If that's how you feel about it.
00:44:17Well, don't I get a farewell speech?
00:44:19Like it was lovely while it lasted?
00:44:22Yes.
00:44:24Do you agree to your farewell speech?
00:44:26It's better to have loved and lost
00:44:28than never to have loved at all.
00:44:30Or is it?
00:44:44Anne.
00:44:46You'll change your mind, won't you?
00:44:48No, but if you do, you know my telephone number.
00:44:54PHONE RINGS
00:44:58Hello?
00:45:00Hmm. Whatever happened to that efficient secretary of yours?
00:45:03What's the matter, Mike? What have I done?
00:45:05The recording studios, you remember?
00:45:07Any other playbacks?
00:45:09The number the North Country Group did?
00:45:11I've got a few personal problems to sort out.
00:45:14You may remember you started the ball rolling.
00:45:17Oh, yes.
00:45:19Yes, I wish I hadn't now.
00:45:21I can't pretend that I'm over-worried about your wife,
00:45:24but I don't like the idea of you going through it.
00:45:26Look, you go ahead and choose the sections.
00:45:28I'll come down when the boys have put it all together.
00:45:30OK. In the meantime, I'll mind the shop.
00:45:33And I'll give you a ring when we get this lot sorted out.
00:45:36And then perhaps bring the tapes over for you to hear?
00:45:39Yeah, you do that, Mike. Bye.
00:45:41Hello, darling.
00:45:43Right, let's hear it then.
00:45:45Keep your itchy finger poised on that stop button.
00:45:47And let's have those Liverpool accents nice and loud.
00:45:50Poor old Ricky.
00:45:52All that work destroyed by your maniac husband.
00:45:55He should have been there, darling. He was speechless.
00:45:58Still, I gave him a nice fat check.
00:46:00That should help him get over it.
00:46:03Paul, there's nothing between Ricky and me.
00:46:07I didn't tell you about going out to dinner
00:46:09because I didn't want to upset you.
00:46:11I know how jealous you get.
00:46:13Of course there's nothing between you and Ricky, I know that.
00:46:16I'm afraid it was too much of this
00:46:18and too vivid an imagination.
00:46:20I'm sorry, darling. I found out about that dinner by accident.
00:46:23Unfortunately, it came about a half a bottle too late
00:46:25for me to think reasonably about it.
00:46:29I hate it when you're unkind.
00:46:33But I love it when you're jealous.
00:46:35Next time I want my portrait painted,
00:46:37I'll find a nice, whiskery old gentleman of at least 75.
00:46:41Forgive me, darling. I know Ricky doesn't...
00:46:44We don't know anybody called Ricky.
00:46:46There was no portrait, no scene.
00:46:49Nothing to forgive.
00:46:52You're very sweet.
00:46:54And I meant that toast I made to you on the balcony.
00:46:56About your kindness, understanding and tolerance.
00:47:00And love.
00:47:03Cheers, Anne.
00:47:06You are Anne, are you?
00:47:10There you are.
00:47:12Thought for a moment you were the devil.
00:47:17It's those cold eyes of yours, Anne.
00:47:19The ones that used to look up at the stars.
00:47:22The ones that made me fall in love with you.
00:47:27Well, they've turned me into a blabbering idiot.
00:47:33Yeah.
00:47:35Now they want to turn me into a murderer.
00:47:39Ollie!
00:47:41Three cheers for you and three cheers for me.
00:47:44Cause I...
00:47:46I could get my own back on you, Anne.
00:47:51I could paint your nose green.
00:47:55Yeah, I might even do that.
00:47:57I'll make you as ugly as an old cat.
00:48:00I don't want you anymore.
00:48:03Might even just paint some whiskers on you.
00:48:08I'll sit back and have a bloody good laugh.
00:48:14Trouble is, you wouldn't even know.
00:48:18Wouldn't even care.
00:48:34Anne, Anne, I could easily forget you now.
00:48:36I could forget you.
00:48:44Sure is, eh?
00:48:47I don't want to.
00:48:56Hello?
00:48:58Ricky.
00:49:00Catchy, eh?
00:49:02Do we have a provisional title for it?
00:49:05Well, let's think of a provisional title.
00:49:08What about, why is my lady so sad?
00:49:12Yes, that sounds appropriate.
00:49:14Not really commercial, though, is it?
00:49:16Let's go through the first verse, see if that'll help.
00:49:21I can't forget the love in her eyes
00:49:24When she looked at the stars
00:49:26On a cool summer night
00:49:28I can't forget the joy in my heart
00:49:31When she gave up another
00:49:33And came back to my arms
00:49:38I might be late, darling.
00:49:39You know how it is when I go to the theatre.
00:49:41I'm bound to meet old friends,
00:49:43and they'll insist I stay for a drink.
00:49:45It's all right, you go ahead. Enjoy yourself.
00:49:47You're sweet.
00:49:50Don't work too late.
00:49:51I won't. Bye.
00:49:53Bye.
00:49:59There we are.
00:50:01A more cosy, family, domestic scene you couldn't hope to see.
00:50:03I know.
00:50:05I've been seeing it now for three days.
00:50:08It makes me sick.
00:50:10You should try to look on it as a happy reunion between man and wife.
00:50:13Full of forgiveness and understanding.
00:50:15How long do you think it's going to last?
00:50:17How long before the next Ricky comes along?
00:50:21Ricky comes along?
00:50:23Might make a good song.
00:50:26Slushy violins in the background,
00:50:28aimed at the mums and dads.
00:50:30Plenty of sentiment in the chorus.
00:50:32I'm right and you're wrong and you know it.
00:50:35She's cheated, lied, made a fool of you.
00:50:39I don't know how you could carry on with her,
00:50:41as if nothing had happened.
00:50:43Forgiveness is a wonderful thing.
00:50:47Ricky comes along.
00:50:51I think it's a group number.
00:50:53For a black game, we ought to think about violins, pizzicatos.
00:50:56I couldn't forgive her for what she's done.
00:50:59Violins and guitars. No introduction.
00:51:02The group comes straight in.
00:51:04Paul, I don't believe you.
00:51:09You don't have to believe me.
00:51:11No one's asking you to.
00:51:13And you're paid to work here as my secretary,
00:51:15not to organise my private life.
00:51:17Neither am I paid to spy on your wife.
00:51:20I needed that because I love you.
00:51:22And I think she's going to destroy you.
00:51:25And I can't just sit back and watch it happen.
00:51:29Then perhaps you'd better leave.
00:51:31You can write your own reference and continue to draw your salary
00:51:33until you settle down in a new job.
00:51:37I can't leave, Paul.
00:51:40I couldn't be happy working with anyone else.
00:51:42I wouldn't say offhand that you're exactly bubbling over with happiness here.
00:51:45I know.
00:51:47I've never been so miserable in my whole life.
00:51:56Oh, thank you.
00:51:58There's one thing you've got to understand.
00:52:01I may be blind, but I'm not a complete idiot.
00:52:03But when I want your help, I'll ask for it.
00:52:06If you try to force it on me, I'll automatically react against it.
00:52:09Besides, I don't want to lose you.
00:52:12You happen to be a damn good secretary.
00:52:15I hate being a damn good secretary.
00:52:18I want to be more than a damn good secretary.
00:52:21Joan, take this and push off for a few weeks.
00:52:27Fly off to the Canary Islands or Bermuda and just lie in the sun.
00:52:31When you get back, we'll give the pop world a rest for a while.
00:52:34Try to provide a little opposition to Tchaikovsky at the festival hall.
00:52:45Well, maybe Tchaikovsky's aiming a little high.
00:52:48But they might bang it out in the interval if we ask them nicely.
00:52:51I'd rather stay here.
00:52:53There'll be nothing for you to do.
00:52:55I'm going to have a rest for a few weeks myself.
00:52:58Now, go on. Off you go.
00:53:00Am I allowed to give you a damn good secretarial kiss before I go?
00:53:04Permission granted.
00:53:07Thanks, Paul.
00:53:28I'd like a bottle of the local wine from wherever you go.
00:53:31And some duty-free cigarettes.
00:53:33Off you go.
00:54:27Hello?
00:54:29Ann? Can you talk?
00:54:31Ricky. Just a minute.
00:54:39You'll have to make it quick.
00:54:41I've been thinking about my diet.
00:54:43I've developed a taste for caviar and champagne.
00:54:46I'll meet you at the cottage tonight.
00:54:48I'll be there as near to seven as I can make it.
00:54:50I'll be there as near to seven as I can make it.
00:54:52I'll be there as near to seven as I can make it.
00:54:54I'll be there as near to seven as I can make it.
00:54:58You stop the car out of sight, round the corner from the flats,
00:55:01cut through the gardens at the back to the fire escape,
00:55:03and the kitchen leads off the fifth floor.
00:55:05Now you remember the rest.
00:55:06Yes.
00:55:07There must be an easier way of making half a million quid.
00:55:09Put these on. Keep them on no matter what happens.
00:55:11I suppose he's gone to bed.
00:55:12He won't. He thinks I've gone to the theatre.
00:55:14He always waits up for me.
00:55:16You think there's enough scotch inside him by now?
00:55:18There always is.
00:55:20Any chance of anyone being about in the garden?
00:55:22Someone might see him fall.
00:55:23Ricky, I've told you the gardens are always deserted at night.
00:55:29I love you.
00:55:36Come on.
00:55:53Come on.
00:56:23Come on.
00:56:49Who is the fairest in the land?
00:56:53You are, my lovely witch.
00:56:56And who is the cleverest, most scheming witch of them all?
00:56:59The one who can pull a murderer out of thin air and send him on high errands.
00:57:04And who is going to marry this witch
00:57:06and buy her the world with her poor husband's money?
00:57:09Mike Williams, ex-manager and recording agent.
00:57:20Just in case anything does go wrong,
00:57:23I think we ought to start making it look as though we've been together all evening.
00:57:30What did you have in mind?
00:58:23I don't know.
00:58:54Who is it?
00:59:08I know exactly where you're standing. You've stopped beside the bar.
00:59:20Is she moving again?
00:59:24You've almost reached the coffee table.
00:59:29It's Ricky, isn't it? Rather been expecting you.
00:59:35What do you plan to do, Ricky? Murder me?
00:59:43I'd rather you didn't hit me with that. It's very valuable.
00:59:45As you've almost reached me now,
00:59:48it must make you feel very good, killing a blind man.
00:59:52Not really so simple.
00:59:54Not really so simple, is it, Ricky?
00:59:58I can hear everything you do.
01:00:15We're on equal terms now, Ricky.
01:00:45What the...
01:01:15Keep it.
01:01:45Keep it.
01:01:56You're wasting your time, Ricky.
01:02:04You'll never make it look like an accident.
01:02:08Why not? Why not?
01:02:10You were drunk.
01:02:12It's not unusual.
01:02:14You blundered about the apartment,
01:02:16bumping into the furniture,
01:02:17and you...
01:02:19you blundered out on the terrace.
01:02:20It won't work.
01:02:22You won't be around to find out.
01:02:27What was I drinking, Ricky?
01:02:28Scotch.
01:02:29I poured some down you.
01:02:33Yes, I can taste it.
01:02:36Where did you get the scotch?
01:02:38The decanter on the bar.
01:02:40How much is left in the decanter?
01:02:44Wasn't very wise, was it?
01:02:46Anyone who knows me would tell you
01:02:47it'd take a lot more scotch than that to get me drunk.
01:02:51You drank some out of the bottle?
01:02:53All the bottles are unopened.
01:02:55They're only opened to be emptied into the decanter.
01:02:57Then the empty bottle is thrown away.
01:03:00Fine.
01:03:01I'll pour some to the decanter down the sink.
01:03:03When?
01:03:06After I've pushed you.
01:03:08Why not do it now?
01:03:10Somebody sees me fall or hears me fall,
01:03:12that somebody could be in this apartment in 30 seconds.
01:03:15That doesn't leave you much time.
01:03:17Anything you plan to do should be done before I go over.
01:03:30If you look under the bar, there's a small sink.
01:03:40What are you trying to do?
01:03:43I just hate to see you making an even bigger fool of yourself.
01:03:48Are you expecting a call?
01:03:50Playing for time?
01:03:52Who's likely to call?
01:03:53My wife?
01:03:55Hardly.
01:04:00What's the bait, Ricky?
01:04:02Half a million pounds and my wife after I'm dead?
01:04:06Correct.
01:04:07And you believe her?
01:04:09Right.
01:04:10Wrong.
01:04:12You won't get either.
01:04:14When all the formalities are over,
01:04:16we'll leave together.
01:04:18With your money, legally.
01:04:19Wrong again.
01:04:21Ann leaves, but not with you.
01:04:25You'll have served your purpose.
01:04:27You'll have committed murder for her and she won't even care if you're caught.
01:04:31What do you mean?
01:04:33I mean that Ann is in love with Mike Williams,
01:04:36my manager, agent and friend.
01:04:40I don't believe you.
01:04:42She hates him.
01:04:44If the murder is pinned on you,
01:04:46Ann will weep in the witness box
01:04:48as she tells the jury how she begged you to forget her.
01:04:51She'll write her own part.
01:04:54She always was a corny actress,
01:04:56but not too bad in courtroom scenes.
01:04:59After the jury has found you guilty,
01:05:01the judge will tell you that you're going to hang by the neck
01:05:03until you are dead.
01:05:05Ann will be sitting next to Mike
01:05:07in the crowded, hushed courtroom,
01:05:08looking very charming and pathetic
01:05:10in her neat black mourning outfit.
01:05:13As the judge finishes,
01:05:15up will go a little wisp of lace.
01:05:18A choked sob will escape her.
01:05:21She did that in the act of Cain.
01:05:24On the other hand,
01:05:26she might slide gracefully forward
01:05:28and fall in a crumpled,
01:05:30though not unattractive, faint.
01:05:32She did that in murder undaunted.
01:05:34It was very effective.
01:05:36You really do hate her, don't you?
01:05:40Yes.
01:05:43Mike, on the other hand, must be very proud of her.
01:05:45She went to a good deal of trouble
01:05:47to get you to kill for them.
01:05:49She didn't want Mike to take any risks,
01:05:51so she picked on you.
01:05:53Hard up, impressionable.
01:05:55You were a pushover for her.
01:05:57She hates him.
01:05:59She detests him.
01:06:01You've heard the way they go on.
01:06:03I've already told you,
01:06:05she overplayed the part.
01:06:07How do you think I found out about you and Ann?
01:06:12I don't know.
01:06:14Mike.
01:06:16Mike told me he saw you having a cozy little dinner together.
01:06:19So I checked with the restaurant.
01:06:21The head waiter confirmed it,
01:06:23but he also confirmed that Mike wasn't there that night.
01:06:26So somebody must have told him.
01:06:28I assume you didn't,
01:06:30so it must have been Ann.
01:06:31Was Ann supposed to provide your alibi for tonight?
01:06:34Going to say you were both at the cottage together,
01:06:36finishing the portrait?
01:06:38Yes.
01:06:40But it's taken a lot longer than you expected.
01:06:43In fact, if everything had gone according to plan,
01:06:45she'd be waiting for you now.
01:06:48Call her.
01:07:01Ann?
01:07:32Why did you do it?
01:07:35Why did you let her plan to kill you and not do anything?
01:07:39Why does the mate of a Black Widow spider make love
01:07:41when he knows he's going to die at the end of it?
01:07:43And yet knowing it, he still does it.
01:07:45Rather like me.
01:07:47I had to see if Ann would really let me go.
01:07:49I didn't want to hurt her.
01:07:51I didn't want to hurt her.
01:07:53I didn't want to hurt her.
01:07:55I didn't want to hurt her.
01:07:57I didn't want to hurt her.
01:07:59I didn't want to hurt her.
01:08:01I had to go through with it.
01:08:03What are you going to do now?
01:08:05Call the police?
01:08:08No.
01:08:11What about me?
01:08:14I tried to kill you.
01:08:32Ann, I think it's about time you went and discovered the body.
01:08:35Mike, I can't.
01:08:37Ann, half a million pounds and each other.
01:08:39It'll be over before you know it.
01:08:41I can't go alone.
01:08:43This is what we arranged.
01:08:45I want you to come with me.
01:08:48All right.
01:08:50OK.
01:08:52Don't worry.
01:09:01Don't worry.
01:09:31I'll do it.
01:09:55I found the police.
01:09:56What are you doing? Get out of here, you idiot!
01:10:00What's he doing here?
01:10:02Mike? He just came here with me.
01:10:06To help you discover the body?
01:10:08I called him, Ricky. I was...
01:10:10I was too nervous to come here alone, and I couldn't wait at the cottage any longer.
01:10:14I was worried about you.
01:10:16But now you must go.
01:10:18I'm going. Right now.
01:10:21To the police.
01:10:22The police? Are you mad?
01:10:24I'm going to tell them everything.
01:10:26I'm going to tell them what happened. Everything.
01:10:28About you and me.
01:10:30He loved you, Ann.
01:10:32Ricky. Ricky, darling, listen to me.
01:10:34No. Not this time.
01:10:38Mike, this was your idea.
01:10:40You do something.
01:10:42Well, let him go to the police.
01:10:44Who do you think is going to believe him after you tell them your story, eh?
01:10:47My story?
01:10:50Well, yes.
01:10:52Well, I'll tell them how you fell in love with me,
01:10:55and how I begged you to go away,
01:10:57but that you said you'd kill Paul if it was the only way of getting me.
01:11:00And, as for this evening,
01:11:02she's been with me all the time.
01:11:04Paul's best friend.
01:11:07Now, if you still think you can convince them, the phone's over there.
01:11:11No?
01:11:13No.
01:11:15No?
01:11:17All right, then I'll phone the police.
01:11:19I'll tell them there's been a tragic accident.
01:11:22Ricky.
01:11:24The best thing you can do is to go back to your dreary little cottage
01:11:28and forget you ever met me.
01:11:32Paul!
01:11:35Right, sir. I think we've got quite enough from that lot.
01:11:38Fine. Thank you, Inspector.
01:11:42Come along.
01:11:44And you.
01:11:49You've been very clever, Paul.
01:11:51I should have known.
01:11:53Mrs. Gregory.
01:11:55There's no hurry, Inspector.
01:11:57Is there?
01:12:09Interesting little case this, sir.
01:12:11Conspiracy to murder.
01:12:13Quite unusual.
01:12:15You'll have to come, too, sir.
01:12:23I'll see that you get a good lawyer.
01:12:31Car the airport, miss.
01:12:33Oh, yes, thank you. It's just this one case here.
01:12:44Paul!
01:12:48I thought you'd use the same car hire firm.
01:12:50They told me flight 287 for Bermuda.
01:12:53You're seeing me off.
01:12:55No, I'm going with you.
01:12:57What happened?
01:12:59I'll tell you all about it on the plane.
01:13:13I'll tell you all about it on the plane.
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