🎞️ Step into the shadows of 1930s British mystery cinema with Dangerous Ground (1934) — a gripping tale of murder, misdirection, and one man's quest to uncover the truth. Directed by Norman Walker and adapted from the popular stage play Murder on the Second Floor by Frank Vosper, this crime mystery is a cornerstone of early 20th-century suspense storytelling. If you're a fan of vintage British thrillers, this movie deserves a spotlight in your classic collection. 🕵️♂️
🔍 Plot Summary:
The story unfolds in a seemingly ordinary London boarding house. Here, secrets linger behind every door, and danger lurks in unexpected corners. When a murder shocks the residents, the tension escalates fast. Who can be trusted? Who’s hiding the truth? 🕰️
Detective Cross, played with cool resolve, dives into a world where motives multiply and clues are buried deep. Each tenant becomes a suspect in this clever game of cat and mouse. As the investigation progresses, Cross must sift through red herrings, half-truths, and alibis to crack the case before the killer strikes again. 🧩
Drawing on atmospheric suspense and psychological twists, Dangerous Ground grips audiences with its slow-burning tension and classic “whodunit” style. The film’s compact runtime doesn’t waste a moment, making each scene count with sharp dialogue and character-driven drama. 🎭
🎭 Cast and Characters:
Frank Vosper as Hugh Bromilow – The brooding and enigmatic playwright with secrets of his own.
Jack Hawkins as Christopher Vanner – A young man caught in the web of suspicion.
Jeanne Stuart as Sylvia Armitage – A mysterious woman whose beauty may be hiding dark truths.
Renee Gadd as Miss Snell – The quiet observer who may know more than she lets on.
Athole Stewart as Colonel Selby – A stern figure with a potentially deadly past.
Patric Knowles as Jimmy – The youthful, naive tenant with a surprising role to play.
Felix Aylmer as Dr. Murdoch – Calm and clinical, but is he just another suspect?
🔍 Plot Summary:
The story unfolds in a seemingly ordinary London boarding house. Here, secrets linger behind every door, and danger lurks in unexpected corners. When a murder shocks the residents, the tension escalates fast. Who can be trusted? Who’s hiding the truth? 🕰️
Detective Cross, played with cool resolve, dives into a world where motives multiply and clues are buried deep. Each tenant becomes a suspect in this clever game of cat and mouse. As the investigation progresses, Cross must sift through red herrings, half-truths, and alibis to crack the case before the killer strikes again. 🧩
Drawing on atmospheric suspense and psychological twists, Dangerous Ground grips audiences with its slow-burning tension and classic “whodunit” style. The film’s compact runtime doesn’t waste a moment, making each scene count with sharp dialogue and character-driven drama. 🎭
🎭 Cast and Characters:
Frank Vosper as Hugh Bromilow – The brooding and enigmatic playwright with secrets of his own.
Jack Hawkins as Christopher Vanner – A young man caught in the web of suspicion.
Jeanne Stuart as Sylvia Armitage – A mysterious woman whose beauty may be hiding dark truths.
Renee Gadd as Miss Snell – The quiet observer who may know more than she lets on.
Athole Stewart as Colonel Selby – A stern figure with a potentially deadly past.
Patric Knowles as Jimmy – The youthful, naive tenant with a surprising role to play.
Felix Aylmer as Dr. Murdoch – Calm and clinical, but is he just another suspect?
Category
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Short filmTranscript
00:00:00The End
00:01:32Where's Johnson?
00:01:57Ain't showed up yet, Chief.
00:01:59All right, we won't wait.
00:02:02What have you got?
00:02:11Make a list of this stuff, Baker.
00:02:12Okay, Chief.
00:02:15Who saw Johnson last?
00:02:16I did, Chief.
00:02:17Yesterday.
00:02:19He's got a room down in Trachonville and is lying low.
00:02:21He's been trailed, he said.
00:02:22Followed?
00:02:24Down here?
00:02:25He didn't say.
00:02:25He got mixed up in some blackmail case and some private tech was marking him.
00:02:30Darn fool.
00:02:32Why wasn't I told?
00:02:33I expect he was going to tell you himself tonight.
00:02:35Well, why isn't he here?
00:02:39I'm sorry to trouble you, Mr. Johnson, but you're not going out tonight.
00:02:42Who says I won't go out?
00:02:43There's a little meeting in a pub down Deptford Way.
00:02:46I think they're rather expecting you.
00:02:48Oh.
00:02:48You had the pleasure of showing me the way there last week.
00:02:51I've never been Deptford Way.
00:02:53Well, it doesn't really matter.
00:02:55Some friends of mine are calling in there tonight.
00:02:57I think it's just as well you shouldn't be seen there.
00:03:00I'll go if I want to.
00:03:01Oh, so you do know where it is?
00:03:02Well, what do I do?
00:03:04You're only a private busy.
00:03:05You ain't no running cop to stop me.
00:03:07No.
00:03:08The cop's outside.
00:03:10I'll take a chance with him.
00:03:12Here you come.
00:03:13Here you come.
00:03:43All right, I've got him.
00:03:58Come on.
00:03:59There you are, Sergeant.
00:04:00There's your man.
00:04:07Get that stuff stowed away.
00:04:13Here you come.
00:05:41Hey, what's going on here?
00:05:47I knew this was a trouble.
00:05:55The cops!
00:05:56Outside!
00:05:57Get busy!
00:06:04Get your men together, Inspector.
00:06:05I'm going inside.
00:06:06Very good.
00:06:07Sergeant, three men.
00:06:11Very good in there, sir.
00:06:26Sergeant, have a look down below.
00:06:28Come on, let's keep it by the way.
00:06:29Very good, sir.
00:06:35Joan.
00:06:36Yes, sir.
00:06:36Ground, in there.
00:06:41Take him outside.
00:06:43All right, Sergeant.
00:06:43All right, Sergeant.
00:06:43Come on now, the gang's up.
00:07:08Don't you come?
00:07:09Come on now.
00:07:11Come down here, you.
00:07:16Come on, get a move on.
00:07:17I haven't got all day.
00:07:21Come on now.
00:07:22Come on.
00:07:22Come on.
00:07:41You've been doing that since I went out to lunch.
00:07:49I said in your spare time, Jimmy.
00:07:52You'll never make a detective unless you obey orders.
00:07:59I'll find a bit of work, Mr. Breeden.
00:08:01Save your congratulations for this young man, Hurley.
00:08:04How do you know, Mr. Terry?
00:08:05Hello, Inspector.
00:08:06He pulled off a nice job last night, thanks to you.
00:08:08Thank you, Breeden.
00:08:09He was the first to pick up the thread, you know.
00:08:11Eight private cases, one after another, and all with the same home on.
00:08:14Well, don't think the police have been idle.
00:08:16Oh, it's all a question of luck.
00:08:18Well, as a yard man, I ought to tell you two gentlemen to stick to your divorce and blackmail inquiries.
00:08:23But that doesn't mean the police are above a bit of help sometimes.
00:08:26Well, I haven't left Johnson for a week.
00:08:28And sure enough, he led me to that pub in Deptford.
00:08:31Anyhow, it was a nice job.
00:08:33Well done.
00:08:34All round.
00:08:35We did our bit.
00:08:37Half a mile, Inspector.
00:08:40You sure you did?
00:08:41Oh, come now, Mr. Terry.
00:08:43We don't know that Levit was there.
00:08:45But he must have been there.
00:08:47Perhaps you got him without knowing it.
00:08:49Not a chance.
00:08:51No.
00:08:52Well, I'm sorry to have to admit it, but Levit is still at large.
00:08:56The man's a menace.
00:08:58You're right there.
00:08:59He'll stick at nothing.
00:09:02Take it over, Mr. Breeden.
00:09:04This is a police job, and we don't want to see you running yourself into danger.
00:09:09And besides, you've got a wife.
00:09:12Don't get sentimental, Hurley.
00:09:14Have a cigar.
00:09:17Need you ask why I want you to come with me to dinner?
00:09:19Because it thrills me to be seen in a restaurant with a beautiful Mrs. Breeden.
00:09:24Mark, you're incorrigible.
00:09:25And insistent.
00:09:26And indiscreet.
00:09:28And very much in love.
00:09:29I know.
00:09:31But why choose me of all people?
00:09:33Because you fascinate me.
00:09:35Because I like danger.
00:09:37Because I've always wanted what belongs to someone else.
00:09:39Are those reasons enough?
00:09:41Quiet.
00:09:41I warn you, John doesn't confine his profession of finding things out to his office.
00:09:47He brings it into his home.
00:09:48You can't frighten me, Claire.
00:09:49Obstacles don't worry me.
00:09:51I like to invent new ways of getting over them.
00:09:57Mark, is the car here?
00:09:58Yes, Miss Joan.
00:09:59Oh, I'm sorry.
00:10:07It's all right, Joan.
00:10:09Don't go, Miss Breeden.
00:10:10I just looked in to see if you wanted anything.
00:10:12I'm going on.
00:10:20There's another obstacle you'll have to get over.
00:10:22Joan.
00:10:23Is she suspicious?
00:10:24That, or else she's suffering from a mistaken sense of loyalty to her father.
00:10:29Of course, I'm her stepmother.
00:10:31We've never really been able to hit it off.
00:10:32Let's forget it.
00:10:34What are our plans for tonight?
00:10:35Dinner in the theatre or dinner in the dance?
00:10:38There you are, Jimmy.
00:10:39That's the laugh.
00:10:40Oh, and here's the late afternoon edition.
00:10:43Thank you, sir.
00:10:46John, what sort of a man is this Levitt, do you think?
00:10:50I wish I knew.
00:10:51A dual personality, that's certain.
00:10:53Moving in society.
00:10:55It's impossible to say.
00:10:57He might be anything from a butler to a professional footballer.
00:11:00Jack the Ripper was a doctor, remember?
00:11:03Charlie Peace played the violin.
00:11:05I wonder...
00:11:06It's no use wondering.
00:11:07We've got to find out.
00:11:09Let's call it a day.
00:11:12How about dining with us tonight?
00:11:14I'd like to, but...
00:11:16But what?
00:11:18Well, I don't feel very welcome at your home.
00:11:20You and Joan haven't quarrelled, have they?
00:11:24No, not bad.
00:11:26Well, that...
00:11:28Oh, I see.
00:11:30It's my wife.
00:11:31I hate to say it, John, but just lately more than ever.
00:11:34She's made me feel an intruder.
00:11:35Nonsense.
00:11:37She hates my job and you're part of it, that's all.
00:11:40Besides, this is Joan's birthday.
00:11:41I know.
00:11:42I was going to give you something to take to her.
00:11:43Well, that settles it.
00:11:44You can do it yourself.
00:11:45I'll ring up Claire.
00:11:47Give me my house.
00:11:50Mm-hmm.
00:12:06Yes?
00:12:08Dinner?
00:12:11Really, John, why couldn't you let me know before?
00:12:13Well, it's only Terry.
00:12:15We don't have to stand on ceremony with him, surely.
00:12:19Well, consider me for once in a while.
00:12:21It's Joan's birthday.
00:12:22Oh, of course.
00:12:23I forgot.
00:12:24But...
00:12:25What you can do without me?
00:12:27I promised to dine with Mark Linden.
00:12:30Well, I'm sorry to upset your plans, but I insist.
00:12:33If you can't arrange it in any other way,
00:12:35telephone Linden and ask him to dine with us.
00:12:37Goodbye.
00:12:37Goodbye.
00:12:41That was John.
00:12:43Our dinner together is off.
00:12:45Damn.
00:12:48But at the moment, I'm telephoning you to ask you to dine here tonight.
00:12:52Delighted, Mrs. Breeden.
00:12:53John's bringing Philip Terry.
00:12:55Of course, dear Joan must be considered.
00:12:58You don't like Terry very much, do you?
00:13:00About as much as you do, I should think.
00:13:01I don't dislike him.
00:13:02He amuses me.
00:13:03He's so desperately serious about this amateur police business of his.
00:13:06Profession, Mark.
00:13:07Profession.
00:13:08Don't speak of it as a business.
00:13:10Just what you like, my dear.
00:13:13Mark, we've got to be careful tonight.
00:13:15Not when we are alone.
00:13:16Then, more than ever.
00:13:19Look.
00:13:26Good heavens.
00:13:29I discovered that by accident.
00:13:31Pretty trick, isn't it?
00:13:32This is where he works, I suppose.
00:13:39That's where he spies.
00:13:41I suppose he had that made to keep a watch on me.
00:13:44Impossible.
00:13:46Claire, you've got to get away from here.
00:13:49It's not so easy.
00:13:50Why not?
00:13:51There's nothing to hold you.
00:13:52Try and see me somewhere alone tonight.
00:13:54I can't.
00:13:55You must.
00:13:56You've got to.
00:13:59Careful.
00:13:59I'm so sorry you have to go, Mark.
00:14:05Oh, Hoffa, there'll be two extra for dinner tonight.
00:14:07Very good, madam.
00:14:09Only a black tie now.
00:14:10Move.
00:14:11You're the most unpunctual man I know.
00:14:35I'm not late, am I?
00:14:36No.
00:14:37Far too early.
00:14:38I haven't changed, eh?
00:14:39You don't think I'm worrying about you, do you?
00:14:41Huh?
00:14:43I beg your pardon for being so dumb.
00:14:48Darling.
00:14:50Do you feel equal to entertaining Philip until dinner time?
00:14:52I'll make a colossal effort.
00:14:54Splendid.
00:14:54Well, save me a cocktail, will you?
00:14:56Two, if you're very good.
00:14:57Uh-huh.
00:15:02Hi, hi.
00:15:05Did you know I was coming?
00:15:07Of course.
00:15:09What lucky chance made you dress early?
00:15:11I had a new frock to put on.
00:15:12Oh, that's a blow.
00:15:14I thought perhaps it was because of me.
00:15:15Maybe it was.
00:15:17A little.
00:15:18Do you like it?
00:15:20Oh, words fail me.
00:15:23Father's birthday present.
00:15:24Oh, yes, that reminds me.
00:15:26You know, there are moments in my life when I wish I weren't such a fool.
00:15:29I never can say the things I want to.
00:15:31Oh, I hadn't noticed it.
00:15:33Yes, but a man's always a fool when he knows what he ought to say and doesn't know how to go about it.
00:15:37He just gets all shy and says many happy returns of the day.
00:15:43Yes, but he knows all that's been said before.
00:15:46And then he fumbles awkwardly in his pocket and drags out a ridiculous piece of nonsense and says,
00:15:53I just happened to find Woolworths open.
00:15:56Oh, Phil, you are a darling.
00:15:59Oh, no, whoa.
00:16:00Play the game.
00:16:00I was going to say that to you.
00:16:02It's, it's beautiful.
00:16:04Yes, I was going to say that too, but not it.
00:16:07Would you keep quiet a moment and let me say thank you?
00:16:10Quite unnecessary, dear lady.
00:16:13Let me put it on for you.
00:16:14In case I lose my head completely, will you play something for me?
00:16:29Of course.
00:16:30Of course.
00:16:30Let me put it on for you.
00:17:00Thanks.
00:17:09Oh, by the way, uh, Halford.
00:17:10Sir?
00:17:11Did you open those windows today?
00:17:14Oh, I'm sorry, sir.
00:17:15I'm afraid I forgot.
00:17:17Do you find the room stuffy, sir?
00:17:18No, no, it's not there.
00:17:19Shall I open them now, sir?
00:17:20Oh, never mind, never mind.
00:17:22Very good, sir.
00:18:12Thank you, Martin.
00:18:24About this evening, if I've called away suddenly or I have work to do, carry on without me,
00:18:36will you?
00:18:37You're worried about something.
00:18:38You're on dangerous ground.
00:18:45What does it mean?
00:18:48Isn't it obvious?
00:18:50Where did you find it?
00:18:51On the study floor.
00:18:53Has this to do with the Levitt, gang?
00:18:56Levitt himself, probably.
00:18:58What interests me more is how it got there.
00:19:00Through the window, I suppose.
00:19:02That hasn't been opened all day.
00:19:05I see.
00:19:09What danger can there be to me?
00:19:22I don't know.
00:19:23I only know there is danger, and I'd like you to be prepared.
00:19:39Levitt wants me out of the way.
00:19:41But why?
00:19:42Why should anyone want you out of the way?
00:19:45That's what I've got to find out.
00:19:48I don't know.
00:19:49I can find out.
00:19:50That's all when the lines are alive.
00:19:51I can't find out.
00:19:52I don't know.
00:19:53You can find out.
00:20:24John, this lebbet business is getting on my nerves.
00:20:35I'm sorry.
00:20:36Why do you meddle with it?
00:20:37It's my profession.
00:20:38I hate your profession.
00:20:40You needn't tell me that.
00:20:42But after all, it provides you with a home, doesn't it?
00:20:44Home.
00:20:45Not exactly a happy one, but that's your fault.
00:20:50I do what I can.
00:20:51I don't interfere.
00:20:53I wonder.
00:20:54Why do you say that?
00:20:58Because I hate being spied on.
00:21:00Oh, I see.
00:21:02You discovered the peril in the study door.
00:21:04I should have told you about that.
00:21:06You didn't, for obvious reasons.
00:21:09Do you think I don't know you hate me being with Mark Linden?
00:21:12Before you say anything you may be sorry about, let me tell you about that peril.
00:21:16Sometimes I ask you to invite people here whom I want to watch,
00:21:19listen to while they're off their guard.
00:21:21As for Linden, he never entered my head.
00:21:25I think it would be better if you didn't see him again.
00:21:36It's still difficult, considering he's coming to dinner tonight.
00:21:38Oh, after tonight.
00:21:40I please myself in my choice of friends.
00:21:42Oh, now you please me.
00:21:44For a week or two, I've been meaning to speak to you about Linden.
00:21:48Not about this wretched flirtation.
00:21:50I knew nothing about that, but about something else.
00:21:52He's mixed up in some shady business in the city.
00:21:55You'd listen to any lies about him, I suppose.
00:21:57I have papers in my desk to prove it.
00:21:59I've suspected for some...
00:21:59You needn't say any more.
00:22:01I loathe your way of going about things.
00:22:03Now listen to me.
00:22:05I'll go my own way.
00:22:06Choose my own friends and do as I like.
00:22:09Is that clear?
00:22:12Quite.
00:22:26Mark!
00:22:27I'm so glad you're able to come.
00:22:30Nothing could keep me away.
00:22:32You must be careful tonight, my dear.
00:22:34Very careful.
00:22:35All right, my dear.
00:22:37I don't believe that.
00:22:38Ah, good evening, Mr. Tarris.
00:22:39Oh, good evening, Mrs. Tarris.
00:22:40Hi, Mr. Tarris.
00:22:41Oh, Tarris, good night, then.
00:22:59Jerry, Mark.
00:23:03Sorry I'm late, Lyndon.
00:23:04I've been working.
00:23:05John's work is never finished.
00:23:07He even brings it home.
00:23:09Well, I try not to.
00:23:10But the detection of crime is a funny business.
00:23:13You want to be a master and you'll find you're a slave.
00:23:16We all become slaves to anything fascinating.
00:23:20Extraordinarily complex, the criminal mind, isn't it?
00:23:22Not at all.
00:23:23Very simple.
00:23:24What's born crooked can never be made straight.
00:23:27But does the criminal always know he's born crooked?
00:23:29He doesn't work it out.
00:23:30He merely says, what I want, I take.
00:23:33A dangerous creed, surely.
00:23:34But exciting.
00:23:36Don't you think so, Mrs. Breeden?
00:23:38Well, I don't know.
00:23:40I hate all criminals.
00:23:41But is it always criminal to take what you want?
00:23:44That is, providing it doesn't belong to somebody else.
00:23:47I'll get you a cigarette, Mark.
00:23:50Thanks.
00:23:50What are you working on now, Breeden?
00:23:52Oh, the usual humdrum stuff.
00:23:54Divorce and petty crime.
00:23:56But I thought your wife told me you were after something big.
00:23:57Oh, Levitt, you mean?
00:23:59Is that the name?
00:24:00Mm.
00:24:00Thanks.
00:24:01Most of his gang were rounded up last night.
00:24:03I remember.
00:24:03I read about it.
00:24:05But he got away, didn't he?
00:24:06Yes.
00:24:07Pity.
00:24:08I've brought you halfway across the continent by now.
00:24:10I expect so.
00:24:11I don't think so.
00:24:12Levitt isn't the sort of...
00:24:13Oh, for goodness sake, will you men stop talking about crime?
00:24:16Dinner is served, madame.
00:24:18Thank heavens.
00:24:19It isn't criminal to eat, so let's have our meal in peace.
00:24:22Shall we go in?
00:24:30This is from Breeden.
00:24:35He thinks the warning he got came from Levitt direct.
00:24:38I'm inclined to agree with him.
00:24:40Maybe a fake.
00:24:41Oh.
00:24:43One of the gang's ready to squeal.
00:24:44Johnson.
00:24:45Where's his statement?
00:24:48I think you're wrong to mess about with Breeden, Hurley.
00:24:50We can handle this thing much better ourselves.
00:24:56Listen.
00:24:57If Levitt's after Breeden personally,
00:25:00he'll put his foot in wrong,
00:25:01and then we'll get him.
00:25:03At the present moment,
00:25:04our hottest clue's tied up with Breeden.
00:25:06So let him work his own way.
00:25:08Perhaps you're right.
00:25:11Mr. Breeden's straight away.
00:25:12Very good, sir.
00:25:13No answer.
00:25:22Mr. Breeden?
00:25:23From Chief Inspector Hurley.
00:25:25All right, thank you.
00:25:30What is it, Harford?
00:25:41Oh, it just came, sir.
00:25:47From Inspector Hurley, sir.
00:25:49You left this in the dining room, madam.
00:26:01Oh, thank you, Harford.
00:26:03You see, Mr. Breeden?
00:26:04He's in the study, madam.
00:26:05More work?
00:26:06I thought he'd gone for a cigar.
00:26:08Is he working, Harford?
00:26:09I've just taken him a note
00:26:10from Inspector Hurley, madam.
00:26:11I don't think he'll be long.
00:26:12Oh, I wonder, Mrs. Breeden,
00:26:13would you excuse me?
00:26:14Ah, Mr. Terry, please.
00:26:15No more work tonight.
00:26:17I'm sorry.
00:26:17That'll be hard on Terry, Claire.
00:26:19The bloodhound's on the trail.
00:26:20I'm not worrying.
00:26:21I'll leave that to John.
00:26:23I'm sure you do.
00:26:24I'm sure you do.
00:26:24I'm sure you do.
00:26:54I wonder if you fellas
00:26:56ever think of the feelings
00:26:57of the man you're hunting.
00:26:58They must be terrible.
00:27:00Don't you believe it.
00:27:01Now, take this fellow Levitt,
00:27:03for instance.
00:27:03I'll bet you he's getting
00:27:04a great deal of fun
00:27:05out of sticking his fingers
00:27:06to his nose.
00:27:07Yes, well, he'd better
00:27:07make the most of it.
00:27:08Have you got some news?
00:27:09It's only a matter of hours now,
00:27:11but we'll have him, all right.
00:27:18I beg your pardon, madam.
00:27:22Philip, can I have a word with you?
00:27:23Oh, no.
00:27:24I'm sorry, darling,
00:27:25but this is important.
00:27:26I'm afraid you'll have
00:27:27to excuse us, Linda.
00:27:28Of course.
00:27:29Now, not an all-night sitting,
00:27:30please.
00:27:30Well, if we're late,
00:27:32come into the study
00:27:33and say goodnight.
00:27:34I will.
00:27:35I will.
00:27:42Cigarette.
00:27:43Mark.
00:27:51Thanks.
00:27:59Early send me Johnson's statement.
00:28:01It's a jumbled mass of lies,
00:28:03but I picked up a thread.
00:28:05With that and the message I got,
00:28:06we are very near the end, Philip.
00:28:08When you came in,
00:28:10the message was lying there.
00:28:12Yes.
00:28:15But it didn't come through the window.
00:28:17That was shut just as it is now.
00:28:21But it's not shut.
00:28:23I wonder if Halford was lying.
00:28:43Halford?
00:28:44Don't say anything to Joan about this.
00:28:46I don't want her frightened.
00:28:47But there is danger,
00:28:49and it's pretty close.
00:28:56I must see you alone.
00:28:58Later.
00:29:00I'll try.
00:29:01Outside the garden.
00:29:02Well, that means goodnight, I suppose.
00:29:23I suppose.
00:29:23I thought as much.
00:29:41It is an all-night sitting.
00:29:43I'm keeping my promise to say goodnight.
00:29:45Why don't you keep yours and stop work?
00:29:47Almost finished.
00:29:49Mark Linden gone?
00:29:50Just going.
00:29:52Goodnight, Phil.
00:29:53Goodnight.
00:29:55See you tomorrow, bless your heart.
00:29:56There will be trouble if we stay out much longer.
00:30:05I think she's right, Phil.
00:30:06There's nothing more you can do tonight?
00:30:08No, I suppose not.
00:30:12Thanks.
00:30:23Well, what is it, Halford?
00:30:27The door, sir.
00:30:28I was going to lock it.
00:30:30I thought Mr. Terry had gone out with Mr. Linden.
00:30:35Tomorrow, 9.30.
00:30:36Is that all right for you?
00:30:37Right you are.
00:30:37Goodnight, John.
00:30:38Goodnight.
00:30:41I'll put out the lights, Halford.
00:30:42I've got some work to finish.
00:30:45Goodnight, Halford.
00:30:45Goodnight, sir.
00:30:46Here we go.
00:32:01You can't live with that man any longer.
00:32:03Don't let rush things, Mark.
00:32:05If we wait, he might agree to divorce.
00:32:06I can't wait.
00:32:08I want you to come away at once, tomorrow.
00:32:10Give me a week to think about it, to arrange things.
00:32:13You don't love me.
00:32:14I do.
00:32:16I adore you.
00:32:22Let's talk about this tomorrow.
00:32:24Come and see me in the afternoon and we'll plan it all.
00:32:26All right.
00:32:28Good night, my sweet.
00:32:29Good night.
00:32:29Good night.
00:32:59You left your bag.
00:33:29It was done still.
00:33:46I'm afraid, Joan.
00:33:47I'm afraid.
00:33:48Wait.
00:33:49I'll get further.
00:33:54He isn't there.
00:34:07I'll call the police, Miss Joan.
00:34:08No, no.
00:34:09Call Dr Maxwell.
00:34:11Good morning.
00:34:25Good morning.
00:34:26Good morning.
00:34:27Miss Freedon, sir.
00:34:31He's still unconscious.
00:34:32There's a chance.
00:34:34Just a slight one.
00:34:35I know.
00:34:36I was at the hospital first thing this morning.
00:34:37It's awful to see him lying there.
00:34:39Some official always beside his bed waiting.
00:34:41Waiting as if nothing else matters but evidence for the police.
00:34:44Why can't I be with him?
00:34:46I know exactly how you feel.
00:34:47But they have to be there.
00:34:49A word might tell us who fired the shot.
00:34:52You must keep out of this, Phil.
00:34:54This is job for the police, not for you.
00:34:56Your father made it his job.
00:34:57I'm his partner.
00:34:59If he dies, it's more than ever my job.
00:35:02You're the only one I can count on, Joan.
00:35:05I want you to stand by me.
00:35:08All right.
00:35:09I'll stand by you.
00:35:10Good for you.
00:35:11Now, listen.
00:35:12I'm coming up to the house tonight.
00:35:14I've got your father's keys, so I'll let myself in.
00:35:17But I don't want anyone to know that I'm coming.
00:35:19Oh, Phil, I wish you wouldn't come.
00:35:21Oh, I can take care of myself.
00:35:26You get along home now and rest.
00:35:29I'll keep in touch with the hospital.
00:35:30And if there are any further developments at all,
00:35:32I'll let you know immediately.
00:35:34Goodbye.
00:35:35Goodbye.
00:35:40Jimmy, get me Inspector Hurley on the phone.
00:35:42Yes, sir.
00:35:43Oh, hello.
00:35:44Is that you Hurley?
00:35:45This is Terry speaking.
00:35:46What's your news?
00:35:47Not a flicker of anything.
00:35:48I've been through Breeden's house almost with a tooth comb.
00:35:49Nothing.
00:35:50Oh, Mrs. Breeden's scared silly.
00:35:51The girl, she's fine, though.
00:35:52And as for that butler, he's just a B.F. anyway.
00:35:53What?
00:35:54Have you got a man there still?
00:35:55I've got a man there still?
00:35:56I've got a man.
00:35:57I've got a man.
00:35:58I've got a man.
00:35:59I've got a man.
00:36:00I've got a man.
00:36:01I've got a man.
00:36:02I've got a man.
00:36:03I've got a man.
00:36:04I've got a man.
00:36:05I've got a man.
00:36:06I'm a man.
00:36:07I've got a man.
00:36:08I've got a man.
00:36:09I've got a man.
00:36:10I've got a man.
00:36:11We've got a man.
00:36:12I can't.
00:36:13I can't.
00:36:14I can't.
00:36:15I can't.
00:36:16I can't.
00:36:17I can't.
00:36:18Okay.
00:36:19I can't.
00:36:20I can't.
00:36:21Oh, Mrs. Breeden's scared silly.
00:36:23The girl, she's fine, though.
00:36:24And as for that butler, he's just a B.F. anyway.
00:36:25What?
00:36:26Have you got a man there still?
00:36:27You haven't?
00:36:28Well, look here, Hurley, I'm going up there tonight.
00:36:30And I don't want to be disturbed.
00:36:32I think you're crazy, Mr. Terry.
00:36:34idea but it's damn dangerous all right you insist yes I'll keep my men away till
00:36:42you get a call through but okay don't put it through the house yes you
00:36:47understand goodbye oh and good luck didn't get that that's daddy he's going
00:36:56up to Breeden's house tonight have a look round he's mad maybe but he's got
00:37:00guts he thinks Levitt's watching him but I try and draw him out in the open if it
00:37:05wouldn't show up with our men hanging around that's just it he wants them
00:37:09shifted he puts a call through better see to it blue okay I once saw a man in a
00:37:16circus put his head into a lion's mouth the lion was tame Levitt isn't well I
00:37:27just hate to see poor mr. daddy get hurt
00:37:57so
00:38:00so
00:38:04so
00:38:06so
00:38:09so
00:38:12so
00:38:16so
00:39:18I'm convinced that shot came from the street.
00:39:20First, there were three low whistles repeated.
00:39:22I heard them. I was in the dining room at the time.
00:39:24As I was shutting the front door, I saw a figure dash by in the half-light.
00:39:27I hurried in here and looked out of the window, but I couldn't see anything.
00:39:30A moment or two later, the shot was fired. I was standing over there.
00:39:33There's no one there, sir.
00:39:34Huh? All right, Horford, I'll ring you if I want you.
00:39:36Yes, sir.
00:39:37Oh, don't go for a second, Mrs. Breeden.
00:39:39There's something else I want to tell you.
00:39:41You've had news. Bad news.
00:39:51When did he die?
00:39:53Shortly before I got to the hospital.
00:39:55They wanted to phone you, but I asked them to let me tell you.
00:39:59It seemed kinder.
00:40:00I'd have sent for you, but what was the use?
00:40:05I'll be in my room if you want me.
00:40:12I meant to break this more gently, but this business, the shooting...
00:40:16I knew.
00:40:19I knew.
00:40:19You're not going to run into more risks.
00:40:46I'd telephone Inspector Hurley.
00:40:47He can send his men at once.
00:40:48No, no, you mustn't phone from the house.
00:40:51It isn't safe.
00:40:52Outside, later.
00:40:53I'm afraid, Phil.
00:40:55Afraid of everything in this house.
00:40:56I find myself suspecting everyone.
00:40:59Even Claire.
00:41:02It might have been Claire.
00:41:05She came from the drawing room.
00:41:06How do you know she didn't run in through the windows in the garden after she fired that shot?
00:41:09No, no, no, it isn't possible.
00:41:10She was playing the piano.
00:41:12I heard her when I went into the study.
00:41:14She was playing when the shot was fired.
00:41:16She was playing when the shot was fired.
00:41:23Lord, give my hand.
00:41:27The tales are wrong.
00:41:54Father gave it to her last night.
00:41:57I don't know where this is going to lead us, Joan, but we've got to work together and quickly.
00:42:02Go outside now and telephone Hurley. You know what to say to him.
00:42:05Tell him to have his men ready outside.
00:42:07When you come back, watch me.
00:42:09If I want to tell you anything, I'll say a word, a phrase.
00:42:13I'll say it's beyond me.
00:42:15When you hear me say that, I'll have written a message on my left cuff.
00:42:19Get as close as you can without arising suspicion, and when you've read what I've written, do it.
00:42:24I see what you mean. I'll telephone Hurley right away.
00:42:29Quick, Joan, answer the garden.
00:42:34Oh, er, Mr. Linden is here, sir.
00:42:37Oh, er, show him into the study, will you please?
00:42:39Yes.
00:42:40Oh, and, Holford, er, tell Mrs. Breeden.
00:42:41Yes, sir.
00:42:42Good evening, Linden.
00:42:43Careless servants make me furious.
00:42:44Hmm, almost as much as their time-honoured excuse.
00:42:45It come to pieces in me and my hand.
00:42:46Oh, Mr. Linden is here, sir.
00:42:47Oh, er, Mr. Linden is here, sir.
00:42:48Oh, er, Mr. Linden is here, sir.
00:42:51Oh, er, show him into the study, will you please?
00:42:53Yes.
00:42:54Oh, and, Holford, er, tell Mrs. Breeden.
00:42:57Yes, sir.
00:42:58Good evening, Lyndon.
00:43:07Careless servants make me furious.
00:43:09Almost as much as their time-honoured excuse.
00:43:11It come to pieces in me and.
00:43:13If only they'd think of something else.
00:43:15I didn't expect to see you here tonight.
00:43:17What are you?
00:43:18Oh, well, somebody did.
00:43:20That wasn't the work of a careless servant.
00:43:23It was the work of a bad shot.
00:43:25Meant for me.
00:43:26What?
00:43:26What an escape.
00:43:30I don't understand all this.
00:43:31Tell me, what is it?
00:43:32What's the mystery?
00:43:33First Breeden, then you.
00:43:34It's appalling.
00:43:35Now perhaps you'll revise your ideas about the criminal mind.
00:43:38Hmm.
00:43:39You came to see Mrs. Breeden, of course.
00:43:41Yes, we're very old friends.
00:43:42When I heard that Breeden...
00:43:42I understand.
00:43:44She'll be down in a moment.
00:43:45Naturally, she's very upset.
00:43:47Is there any chance of Breeden recovering?
00:43:50Breeden's dead.
00:43:52Died a couple of hours ago.
00:43:53How terrible.
00:43:55Poor Claire.
00:43:56I've just heard.
00:44:03I'm sorry.
00:44:07I wonder, would you excuse me, Mrs. Breeden?
00:44:09I'd like to talk to the servants.
00:44:10Oh, of course.
00:44:11Thank you, Mrs. Breeden.
00:44:12Thank you, Mrs. Breeden.
00:44:13Thank you, Mrs. Breeden.
00:44:13Thank you, Mrs. Breeden.
00:44:14Thank you, Mrs. Breeden.
00:44:15Thank you, Mrs. Breeden.
00:44:15Thank you, Mrs. Breeden.
00:44:16Thank you, Mrs. Breeden.
00:44:16Thank you, Mrs. Breeden.
00:44:16Thank you, Mrs. Breeden.
00:44:17Thank you, Mrs. Breeden.
00:44:17Thank you, Mrs. Breeden.
00:44:18Thank you, Mrs. Breeden.
00:44:18Thank you, Mrs. Breeden.
00:44:19Thank you, Mrs. Breeden.
00:44:19Thank you, Mrs. Breeden.
00:44:20Thank you, Mrs. Breeden.
00:44:20Thank you, Mrs. Breeden.
00:44:21Thank you, Mrs. Breeden.
00:44:21Thank you, Mrs. Breeden.
00:44:22Thank you, Mrs. Breeden.
00:44:23Well, I got through to Hurley.
00:44:49He's on the way now.
00:44:50But I don't want him inside the house yet.
00:44:52Well, he understands that.
00:44:53He's arranged to be in the doctor's house opposite.
00:44:55Did he say anything about his men?
00:44:56Well, just that he'd have them within call.
00:44:57I hope to goodness he doesn't put them round the house.
00:45:00But why, Phil?
00:45:00Why, because if it was Levitt who shot at me,
00:45:03or he's hanging around for another chance,
00:45:04I don't want him scared off.
00:45:06Phil!
00:45:06Oh, don't worry, darling.
00:45:08I've simply got to take the risk.
00:45:09But if it was Claire who fired at you?
00:45:11Yes.
00:45:12Yes, we can't afford to wash out that possibility.
00:45:15But if it was, it was she who shot your father.
00:45:18Our whole idea of Levitt goes up in the air.
00:45:21Well, have the police in.
00:45:22Please, Phil.
00:45:22What, let them spoil everything?
00:45:24No fear.
00:45:25You and I will see this thing through together.
00:45:27Now, the first thing I want to do
00:45:28is to get your stepmother and Lyndon out of the study.
00:45:31Is Lyndon here?
00:45:32Yes, he came a few moments ago to express his regrets.
00:45:35Or at any rate, that's what he said.
00:45:36Well, I'll order coffee and call them when it's ready.
00:45:38Good.
00:45:39Then I can get into the study alone.
00:45:40You join me there if you can.
00:45:42Oh, and you haven't gotten our signal in case I want to use it?
00:45:45No, you'll say it's beyond me.
00:45:47Mm-hmm, that's fine.
00:45:48Now, order the coffee.
00:45:49I want a word with Holford.
00:45:51Keep your chin up, Joan.
00:45:53You're my partner now.
00:45:54Watch that young man, Claire.
00:46:07He means mischief.
00:46:08Do you think I don't know why he's here tonight?
00:46:10And I'm never to be free from this terrible business of detection.
00:46:14Don't upset yourself.
00:46:15I'll look after him.
00:46:16I can't stand it much longer.
00:46:18Mark, take me away.
00:46:20Tomorrow.
00:46:21That's what I want to do.
00:46:23Now, darling, be sensible.
00:46:24We mustn't make a lot of talk.
00:46:25We'll get married.
00:46:26Later.
00:46:28Now, be patient, my sweet.
00:46:33Coffee is served in the drawing room, madam.
00:46:35Thank you, Martin.
00:46:36You'd like some coffee, wouldn't you?
00:46:37Thanks, I'd love it.
00:47:40I made an excuse to get away and bring you this.
00:47:45Good for you.
00:47:46What have you found?
00:47:47Something rather interesting.
00:47:49I got this bullet from the hospital.
00:47:51Here's the one that Nella did for me.
00:47:53They both fit the same revolver.
00:47:55Claire's.
00:47:56But it doesn't mean that she fired it.
00:47:57But it doesn't mean that she fired it.
00:47:58When I said I was sure the shot came from outside, I was playing for time.
00:48:02I was fired at from a panel in that door.
00:48:04I saw it in the mirror.
00:48:05Claire.
00:48:06Not necessarily.
00:48:07Not necessarily.
00:48:07We don't know that she was in the drawing room.
00:48:09Remember, the piano was playing automatically.
00:48:10But it came from someone in the house.
00:48:14Remember the three low whistles?
00:48:16Yes.
00:48:17Where was Halford then?
00:48:18I don't know.
00:48:19Oh, Phil, you don't think that Halford...
00:48:21I don't know.
00:48:21I'm just trying to find out.
00:48:24What about Lyndon?
00:48:26Oh, no.
00:48:27He didn't arrive till after it had happened.
00:48:29I don't like him, Phil.
00:48:31Why's he here tonight?
00:48:33Well, for one thing, he's in love with your stepmother.
00:48:35Of course, you know that.
00:48:36For another thing, your father told me last night
00:48:38that he had some papers which put Lyndon in a very nasty position.
00:48:41I wonder if he's after the...
00:48:44Wait a minute.
00:48:51Here they are.
00:48:56Bolivian copper mines.
00:48:58Brazilian deep levels.
00:49:00Here.
00:49:01Shady stuff in the city.
00:49:02Here.
00:49:02With some notes of your father's.
00:49:05Joan.
00:49:06Can you hide these somewhere in your room?
00:49:07Of course.
00:49:10Will she never come back?
00:49:12Joan?
00:49:13She crept off into the study to give Philip Terry his coffee.
00:49:16Heaven knows what they're plotting.
00:49:18What can they do?
00:49:19I don't know.
00:49:20Only John told me last night that he had some information about you.
00:49:24What?
00:49:27What sort of information?
00:49:28Probably lies, because he was jealous of you.
00:49:31It had to do with something in the city.
00:49:33Are you sure?
00:49:33That's what he said.
00:49:35He's probably told Philip Terry, too.
00:49:38Did your father ever show you this?
00:49:40No.
00:49:40What is it?
00:49:41It's the latest type of dictaphone.
00:49:43The perfect detective.
00:49:44Silent, unseen.
00:49:45You leave the door half open and switch it on here.
00:49:50Are you going to use it?
00:49:52I don't think we'll get a chance.
00:49:54I'd love to hear those two talk when they thought no one was listening.
00:49:57What about the panel in the door?
00:49:59Too risky.
00:50:00No, I've got another idea.
00:50:02What is it?
00:50:02This.
00:50:04A hundred to one chance that might come off.
00:50:10I put it here and trust to one thing.
00:50:13Curiosity.
00:50:14Damn this man, Terry.
00:50:16I wish he was out of the house.
00:50:18Oh, shall I never be free from this awful atmosphere of detection?
00:50:21Gently.
00:50:22I hope I'm not worrying you, Mrs. Breeden.
00:50:25Believe me, it's the last thing I want to do.
00:50:29I didn't hear you come in.
00:50:30Oh, I'm sorry.
00:50:30Perfect detective.
00:50:32Moving about like a shadow.
00:50:34It was quite unintentional, I assure you.
00:50:35A force of professional habit, I suppose.
00:50:38To be quite frank, Terry, Mrs. Breeden's upset.
00:50:40And she's very worried about your being here tonight.
00:50:42Well, then let me be quite frank with you.
00:50:45Her husband was my partner.
00:50:46He's been killed.
00:50:48And I shan't rest until I find out who did it.
00:50:50Then you are here professionally.
00:50:52You can put it that way if you like.
00:50:53Well, why try to hide it?
00:50:54Very well, then I won't.
00:50:56Quite apart from investigating your husband's death, Mrs. Breeden, remember,
00:50:59I was shot at myself tonight.
00:51:00Then why don't you send for the police?
00:51:03Oh, you can put it down to professional pride.
00:51:06Shall I have the coffee?
00:51:07Things cleared, madam?
00:51:08Yes, do, please, Hoffer.
00:51:11I'm trying an interesting experiment, Lyndon.
00:51:13Oh.
00:51:14It's obvious that whoever killed Breeden is the person who shot at me.
00:51:18He must be somewhere close at hand.
00:51:20He may even be hiding in the house.
00:51:22Don't, please, don't, Mr. Terry.
00:51:23I'm sorry, but I'm only trying to help.
00:51:25I think I've got the name of the murderer.
00:51:29Before your husband died, he regained consciousness of just for a second.
00:51:33But he spoke a name.
00:51:34Whose?
00:51:35I don't know.
00:51:37The nurse on duty wrote it down and put it in an envelope.
00:51:39His last words were, give it to Terry.
00:51:42Whose name is it?
00:51:43I haven't looked.
00:51:45You mad?
00:51:45Oh, I don't know.
00:51:46Perhaps I am a little.
00:51:47But I have a theory, and I want to test it.
00:51:49Where's the envelope?
00:51:50On the mantelpiece in the study.
00:51:52And your theory is?
00:51:54That all human beings are eaten by curiosity.
00:51:56Someone will want to open that envelope.
00:51:58Are you suggesting that the murderer will come back to this house?
00:52:02Yes, as I said, he's not in the house already.
00:52:06Do you think he took all that in?
00:52:08What are you talking about?
00:52:09Halford.
00:52:10You suspect Halford?
00:52:11I do.
00:52:12Ridiculous.
00:52:12Well, the envelope will prove it.
00:52:14Do you think he'll go to it now that he knows he's being watched?
00:52:16Yes, but he won't know that he's being watched.
00:52:18I'm sure Breeden suspected him.
00:52:20I think it was his name he mentioned.
00:52:22Halford thinks so, too.
00:52:24The itching uncertainty will prove too much for him.
00:52:27He'll risk anything to see.
00:52:28I've left them in the drawing room.
00:52:45Go in and tell them that you've seen me in your father's dressing room upstairs.
00:52:48Pretend to be surprised about it, you understand?
00:52:50Yes.
00:52:51And whatever you do, make them believe that I am upstairs.
00:52:54Claire, did you tell Philip he could go into father's dressing room?
00:53:05Is that where he is?
00:53:06I just left him there.
00:53:07Good Lord, what's he up to?
00:53:09He said he was going to watch Halford.
00:53:10Somehow.
00:53:11I don't think he ought to disturb father's things.
00:53:13This detective business is rather spoiling your romance, Miss Breeden.
00:53:16Philip's acting so strangely, ordering everyone a bud.
00:53:19He almost pushed me out of the room upstairs and said he didn't want to be disturbed for half an hour.
00:53:22I wouldn't stand it, Claire.
00:53:23Oh, leave the man alone.
00:53:26As long as he isn't near me, I don't care.
00:53:42I'll be glad when tonight's over.
00:53:47Oh, empty as usual.
00:53:48I do wish Halford would see to things.
00:53:50Secret, Claire?
00:53:51No, I hate yours.
00:53:52I left my case on the mantelpiece in the study.
00:53:54I'll get it for you.
00:53:55No, no, I'll go.
00:53:56All this sitting about, I'm desperate for something to do.
00:54:09Claire's in a terrible state of nerves tonight.
00:54:12Can you wonder?
00:54:13If she'd only keep still.
00:54:14I don't know.
00:54:15Oh, my God.
00:54:22I don't know.
00:54:23I don't know.
00:54:24I don't know.
00:54:28the light clear that room gives me the creeps I wonder you go in there cigarette
00:54:53Miss Breeden thanks I'll have one of these there's nothing like a cigarette for soothing one's nerves
00:55:23so
00:55:30so
00:55:38so
00:55:42so
00:55:46Don't move, Halford.
00:56:05Lyndon, Mrs. Breeden.
00:56:11Blank.
00:56:12Yes, blank.
00:56:16Give it to me.
00:56:19There you are, Lyndon.
00:56:20A perfect specimen of the criminal mind.
00:56:23Unable to resist that itching uncertainty.
00:56:26Halford.
00:56:27The man who killed your husband.
00:56:28Tried to shoot me.
00:56:30A man whose other name is Levitt.
00:56:32No, no, sir.
00:56:33This is fantastic.
00:56:35Breeden's own butler, the man he was searching for.
00:56:37How often do we miss the very thing that's under our nose?
00:56:40But, sir, Mr. Terry, let me explain.
00:56:41Save your statement for the police.
00:56:42But you must hear me, sir.
00:56:44I know I put myself in the wrong,
00:56:45but I couldn't stand it any longer.
00:56:48What?
00:56:48The suspense, sir.
00:56:50I was in the drawing room when you were explaining about this envelope
00:56:53and I couldn't help overhearing what you said about it.
00:56:55I meant you to hear.
00:56:57I knew exactly what you'd do.
00:56:58But you didn't know why, sir.
00:57:00I was very fond of Mr. Breeden, sir.
00:57:03I wanted to get the name and communicate with the police.
00:57:06Clever, Halford, but not convincing.
00:57:08It's the truth, sir.
00:57:09You were taking too much risk.
00:57:11The murderer was here tonight.
00:57:12I heard the signals.
00:57:14I was only trying to help, sir.
00:57:16I think you've made a mistake, Mr. Terry.
00:57:19It was a pretty trick, but I don't see that it proves anything.
00:57:21We'll leave that to the police.
00:57:23No, sir.
00:57:24Please.
00:57:24Mr. Linden is quite right.
00:57:26This stupid trick proves nothing.
00:57:28Halford's been with me for over ten years.
00:57:30Mrs. Breeden, I warn you.
00:57:31I'm sick of your warnings and your interference.
00:57:35I'm quite sure you were trying to help Halford.
00:57:36I believe you.
00:57:38If I need you for anything, I'll ring.
00:57:40Mr. Terry, will you please realize once and for all that this is my house?
00:57:46You can go, Halford.
00:57:47You and I will meet later.
00:57:48I can't help feeling rather sorry for you, Terry.
00:57:57Don't worry about me.
00:57:58I'm quite all right.
00:58:00Perhaps we can be spared any more of our investigations now.
00:58:02Of course.
00:58:03I've just got a few notes to make.
00:58:05There's something rather pathetic about the failure of an amateur.
00:58:08It's bad enough when a mystery baffles the real police.
00:58:11All right, Linden, don't rub it in.
00:58:13I'm perfectly prepared to admit it's beyond me.
00:58:16Will you report tonight's shooting to the police or shall I?
00:58:19Well, as I'm still alive to do it, I think it will come better from me, don't you?
00:58:24I can't stand this any longer.
00:58:25I'm going upstairs to my room.
00:58:28Poor Joan.
00:58:31I seem to be upsetting everybody.
00:58:33I'd better go.
00:58:35Well, don't let us keep you.
00:58:37Thanks.
00:58:38Would you mind if Halford got me a taxi?
00:58:41Would you ring the bell, please, ma'am?
00:58:46Do you think he heard the bell?
00:58:52Ring again, would you, Mark?
00:59:00I can't think what's the matter with the man.
00:59:02Oh, please don't worry.
00:59:03I'll pick up a taxi outside.
00:59:05Phil!
00:59:05Halford's not in the house.
00:59:07I heard the bell ringing and went on to see.
00:59:09He's escaped.
00:59:10Quickly, get on the phone to Hurley.
00:59:11I've got a couple of men at the foot of the garden.
00:59:13I'll warn them.
00:59:14He's had the place watched.
00:59:15Of course.
00:59:23No, no, I don't want Dr. Craig.
00:59:24Is Inspector Hurley there?
00:59:26What?
00:59:27He must be.
00:59:30Are you sure?
00:59:32He left some time ago.
00:59:35All right, goodbye.
00:59:37I must tell Phil.
00:59:38Phil!
00:59:41What's Terry's game now, I wonder?
00:59:44Halford, of all people.
00:59:45Halford?
00:59:46That's just bluff.
00:59:47Bluff?
00:59:48Look here, Claire.
00:59:48This whole thing's getting on my nerves.
00:59:51You told me Breton had some papers that concerned me.
00:59:53Where are they?
00:59:54They'd be in one of those drawers.
00:59:55I might as well have them before I go.
00:59:57Go?
01:00:02Hell.
01:00:03What is it?
01:00:04Johnson.
01:00:06I might have known.
01:00:09Blasted little squealer.
01:00:10I don't know what you mean.
01:00:12One of my men's given me away.
01:00:13Your men?
01:00:14This may mean I hang.
01:00:16You?
01:00:17When you dropped your bag last night, I found your revolver.
01:00:18I used it.
01:00:19I used it again tonight.
01:00:21You shot my husband because...
01:00:23Because he was a menace to me.
01:00:24More dangerous than all the police put together.
01:00:26Then you...
01:00:27Yes, don't you understand?
01:00:29I killed Breton.
01:00:30And I tried to kill Terry.
01:00:32I'm Levitt.
01:00:34Levitt?
01:00:36Good man, Hurley.
01:00:37All set?
01:00:37All set, and I've got a couple of men in the hall.
01:00:39Take a hold of yourself.
01:00:45I can get out of here.
01:00:47Then we can meet abroad.
01:00:49My only chance is to go out quietly.
01:00:51If I'm stopped, I'll bluff.
01:00:54Now you stay here.
01:00:55It's going so soon?
01:01:02Yes.
01:01:03Pity.
01:01:03Inspector Hurley would like to have a word with you.
01:01:05I haven't the pleasure of knowing, Inspector Hurley.
01:01:07Oh, let me introduce you, Inspector.
01:01:09This is Mr. Levitt.
01:01:10Really, Terry, you're getting quite amusing.
01:01:12That's the second time you've discovered a Levitt tonight.
01:01:14I'm surprised, Inspector, you let these amateur detectives fool you.
01:01:19That's my affair.
01:01:20I've got a warrant here for your arrest, Levitt.
01:01:22My name is Lyndon.
01:01:24Mark Lyndon.
01:01:24That won't take long to prove.
01:01:26Not a moment.
01:01:27But you'll have a job to identify me as Levitt.
01:01:29We'll see.
01:01:30Joan, switch on the other amateur detective, would you?
01:01:33You shot my husband because he was a menace to me.
01:01:42More dangerous than all the police put together.
01:01:44Then you...
01:01:45Now, now, don't you understand?
01:01:47I killed Breedon, and I tried to kill Terry.
01:01:51I'm Levitt.
01:01:53Levitt?
01:01:55Levitt.
01:01:58Ready?
01:02:00Quite ready.
01:02:02Goodbye, Terry.
01:02:04You've been lucky.
01:02:05But the luckiest moment of your life
01:02:07was when that bullet went through the vase and not your head.
01:02:09It scared me, but I make it a rule always to keep my head.
01:02:12Take him away, boys.
01:02:15Have a long.
01:02:17Good night, Mr. Terry.
01:02:19See you later.
01:02:20Right.
01:02:21Congratulations, Halford.
01:02:23You're a perfect actor.
01:02:24Thank you, sir.
01:02:26I'll be a perfect butler and share these gentlemen out, will you?
01:02:28Very good, sir.
01:02:29Leave me alone.
01:02:40I want to be alone.
01:02:43I want to be alone.
01:02:44Alone.
01:02:45I like to think that your father knows now that his job's finished.
01:02:55Thanks to you.
01:02:56And you.
01:02:57It was splendid work.
01:02:58Think of it.
01:02:59Not a hitch.
01:03:00There nearly was.
01:03:01How?
01:03:02When I read that message on your cuff.
01:03:05Fetch Hurley.
01:03:06Come back.
01:03:07Say Halford gone.
01:03:08Turn on dictaphone.
01:03:09What's the matter was that?
01:03:10I nearly missed the lot spot.
01:03:12Oh.
01:03:13You spelled dictaphone with a K.
01:03:16Oh, spelling.
01:03:19It's beyond me.
01:03:25Oh.
01:03:26Oh.
01:03:35Oh.
01:03:36Yeah.
01:03:37Oh.
01:03:39Yeah.
01:03:41Yeah.
01:03:47No.