In the heart of London, an unassuming cinema becomes the center of a deadly plot. Karl Verloc (played by Oskar Homolka) appears to be an ordinary cinema owner. But behind his façade lies a dark secret: he is part of a European anarchist group plotting acts of terrorism to incite political chaos.
Scotland Yard suspects Verloc’s involvement in recent power outages and mysterious activities. Enter Detective Sergeant Ted Spencer (played by John Loder), who goes undercover as a greengrocer next to the cinema. As Spencer investigates, he befriends Verloc’s unsuspecting young wife, Mrs. Verloc (Sylvia Sidney), who begins to suspect her husband is hiding something.
The tension escalates when Verloc enlists Mrs. Verloc’s younger brother, Stevie, to unknowingly deliver a bomb across London. This moment—one of Hitchcock’s most controversial scenes—is a masterclass in suspense and dramatic irony. The aftermath of this tragic twist shatters the household, leading to a climactic confrontation where justice and vengeance collide.
With tight pacing, symbolic imagery, and mounting suspense, Sabotage explores themes of innocence lost, manipulation, and the consequences of blind trust. It’s not just a thriller—it’s a psychological puzzle wrapped in Hitchcock’s distinct visual style.
🎭 Main Cast:
🎭 Sylvia Sidney as Mrs. Verloc – A devoted wife caught between love and betrayal.
🎭 Oskar Homolka as Karl Verloc – A cinema owner with sinister motives.
🎭 Desmond Tester as Stevie – Mrs. Verloc’s innocent young brother.
🎭 John Loder as Detective Sergeant Ted Spencer – The undercover agent.
🎭 Joyce Barbour as Renee – A supporting conspirator.
🎭 Matthew Boulton as Superintendent Talbot – Scotland Yard official.
🎭 William Dewhurst as the Professor – A fellow saboteur.
Scotland Yard suspects Verloc’s involvement in recent power outages and mysterious activities. Enter Detective Sergeant Ted Spencer (played by John Loder), who goes undercover as a greengrocer next to the cinema. As Spencer investigates, he befriends Verloc’s unsuspecting young wife, Mrs. Verloc (Sylvia Sidney), who begins to suspect her husband is hiding something.
The tension escalates when Verloc enlists Mrs. Verloc’s younger brother, Stevie, to unknowingly deliver a bomb across London. This moment—one of Hitchcock’s most controversial scenes—is a masterclass in suspense and dramatic irony. The aftermath of this tragic twist shatters the household, leading to a climactic confrontation where justice and vengeance collide.
With tight pacing, symbolic imagery, and mounting suspense, Sabotage explores themes of innocence lost, manipulation, and the consequences of blind trust. It’s not just a thriller—it’s a psychological puzzle wrapped in Hitchcock’s distinct visual style.
🎭 Main Cast:
🎭 Sylvia Sidney as Mrs. Verloc – A devoted wife caught between love and betrayal.
🎭 Oskar Homolka as Karl Verloc – A cinema owner with sinister motives.
🎭 Desmond Tester as Stevie – Mrs. Verloc’s innocent young brother.
🎭 John Loder as Detective Sergeant Ted Spencer – The undercover agent.
🎭 Joyce Barbour as Renee – A supporting conspirator.
🎭 Matthew Boulton as Superintendent Talbot – Scotland Yard official.
🎭 William Dewhurst as the Professor – A fellow saboteur.
Category
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Short filmTranscript
00:00:00THE END
00:00:30The End
00:01:00The End
00:01:30The End
00:01:59Sand
00:02:10Sabotage
00:02:12Wrecking
00:02:13Deliberate
00:02:14What's at the back of it?
00:02:15Who did it?
00:02:29I know how the law stands.
00:02:57You broke a contract, therefore you broke the norm.
00:03:01But it's everywhere. Look at the streets.
00:03:03I paid my money to look at the pictures.
00:03:04The estate song and twilight.
00:03:11Oh no.
00:03:12If I want to sit in the dark, I can do it at home.
00:03:15Yes, free of charge.
00:03:16Yes.
00:03:18I think it's a blinking shame robbing the poor people like that.
00:03:22We've got to have our money back.
00:03:23It's an act of providence, like an earthquake or a thunderbolt.
00:03:27Or a baby.
00:03:28Will you kindly not interfere?
00:03:30We've got to have our money back.
00:03:31I'm so sorry I'm late, Mrs. Verlach.
00:03:33But I had a hell of a time trying to eat my egg on toast in the dark.
00:03:36Half of it's in my ear now.
00:03:40They want their money back.
00:03:41But we can't afford it.
00:03:43Do wish Mr. Verlach would come.
00:03:45Come on, Al.
00:03:52Come on.
00:03:53Oh, yeah.
00:04:15Come on.
00:04:45Come on.
00:05:15Come on.
00:05:17Come on.
00:05:30Rotten blaze everywhere.
00:05:31I can't even see the pictures.
00:05:33They're getting nasty.
00:05:34Nasty?
00:05:35Leading to me.
00:05:37Hey, you.
00:05:39What's all this about?
00:05:40Lemme me a flashlight, Jake.
00:05:41I want my money back.
00:05:42Is it our fault if the light fails?
00:05:44Supposing you were a policeman and got hit over the nut.
00:05:47Do you think the government would ask for their money back?
00:05:49I paid for my seat.
00:05:50Yes, and what about the one you put your feet on?
00:05:52Carl, when did you get home?
00:05:58I haven't been hot.
00:06:00Carl, when did you get home?
00:06:12I haven't been hot.
00:06:14You weren't in 20 minutes ago.
00:06:15I came and called up the stairs.
00:06:17I was asleep.
00:06:18I was asleep.
00:06:19Why are you shining the torch on me?
00:06:21Can't you switch on the light or something?
00:06:23We can't.
00:06:23It's failed.
00:06:24What?
00:06:25The fuse gone down?
00:06:26No, it's everywhere.
00:06:27In the streets and the trams.
00:06:29And the audience downstairs wants their money back.
00:06:31They're making a terrible row about it.
00:06:32Well, give it back.
00:06:35We can't possibly afford it.
00:06:37Oh, yes, we can.
00:06:39You must be crazy.
00:06:40It'll clear us right out.
00:06:42You're always saying we don't cover expenses.
00:06:45That's all right.
00:06:46It doesn't pay to antagonize the public.
00:06:49I've got some money coming in.
00:06:50Go on.
00:06:53Well, it's for you to say.
00:06:56If we're going to be generous, let's do it properly.
00:06:59Come on downstairs and make a speech about it.
00:07:01No, no.
00:07:01They're used to you.
00:07:03You'll do it.
00:07:04All right.
00:07:05I still think you're crazy.
00:07:07It's an act of God, I tell you.
00:07:09And what do you call an act of God?
00:07:10I call your face one and you won't get your money back on that.
00:07:14Now, if a plane were to come along and drop a bomb on you,
00:07:16that would be an unfriendly act within the meaning of the act.
00:07:19But if the juice dries up of its own accord,
00:07:22that's an act of providence,
00:07:23as laid down in the act of William IV,
00:07:26where an act is defined as any activity actuated by actual action.
00:07:31No wonder the blinking lights went down.
00:07:33It's a moot point.
00:07:35I moot point them.
00:07:36Make them pay.
00:07:37That's right, Marv.
00:07:38Yes.
00:07:38We want our money back.
00:07:39And how are you going to get it?
00:07:40Apply sanctions?
00:07:42Are you familiar with the details of the covenant?
00:07:45If you'd studied article 257, paragraph 24, line 6, sanction B,
00:07:50it says definitely no.
00:07:51Oh.
00:07:52Yes, you didn't know that, did you?
00:07:54You're all ignorant.
00:07:55Now, if you take my advice, you go off home,
00:07:57because there's nothing doing here.
00:07:58Now, go on.
00:07:59Get off.
00:07:59What do you think you're doing?
00:08:02Just lending a hand.
00:08:03I thought I told you not to interfere.
00:08:05I've been delivering a little counterattack.
00:08:06Look, they're on the run.
00:08:07Well, they can come right back.
00:08:09Listen, ladies and gentlemen, you're going to get your money back.
00:08:13Don't give in now.
00:08:13I'll stand by you.
00:08:15I'd prefer you to go and stand by your apple store.
00:08:16Ladies and gentlemen, I've been speaking to Mr. Verlach.
00:08:22And since you're all regular patrons and good friends,
00:08:25he's going to let you have your money back.
00:08:27There'll be no money back, I tell you.
00:08:28Go on, get off.
00:08:30Please, don't pay any attention to him.
00:08:31I tell you, you're crazy.
00:08:32I had it all fixed.
00:08:34Will you mind your own business?
00:08:35Of all the upset people that I...
00:08:37If you don't go away, I'll call the police.
00:08:44Rene, start refunding the patrons.
00:08:46Come over here, Pat.
00:08:48Come over here, Pat.
00:08:49Come over here, Pat.
00:08:50Come over here, Pat.
00:09:09Oh, hey, none of that.
00:09:10You haven't been here before, I'll be.
00:09:15Thank you for your trouble.
00:09:16I'm sure you meant well.
00:09:17Not at all.
00:09:18I like trouble.
00:09:19I'll be back.
00:09:20I'll be back.
00:09:22I'll be back.
00:09:35I'll be back.
00:09:36I'm back.
00:09:37Morning.
00:09:38That's morning.
00:09:39Absolutely morning!
00:09:40Bye.
00:09:41How many?
00:09:42How many? Two six, please.
00:09:44Two. Right.
00:09:46How many?
00:09:48Two shillings, please.
00:09:50Two shillings.
00:09:52Wait to change, please.
00:09:54How many?
00:09:56One six.
00:09:58How many?
00:10:00Oh, the vegetables is all ready for dishing up.
00:10:02Please tell Mrs. Verloc, miss.
00:10:04Oh, there you are, ma'am.
00:10:06I've got to hurry home now.
00:10:08Of course, my husband's having trouble with his kidneys again.
00:10:10And I can't leave it for long.
00:10:12Your young brother's looking after them.
00:10:14What, the kidneys?
00:10:15No, the vegetables.
00:10:40Oh, Stevie, have you done all this by yourself?
00:10:42Oh, come on. Don't be so modest.
00:10:44Oh, Stevie, have you done all this by yourself?
00:10:46Oh, come on. Don't be so modest.
00:10:48Well, we didn't have to pay them back their money after all.
00:10:50Oh, sorry, sorry, sorry.
00:10:52Sorry, sorry.
00:10:54Oh, sorry, sorry.
00:10:56Always dead woman, Mrs. Jones manages to make the cabbage brown.
00:11:00I'm always telling her you like things green.
00:11:02I'll make you a salad.
00:11:04Stevie, run next door and get a nice big head of lettuce.
00:11:06No more out.
00:11:08I'd like you to make the cabbage brown.
00:11:10I'm always telling her you like things green.
00:11:12I'll make you a salad.
00:11:14Stevie, run next door and get a nice big head of lettuce.
00:11:16No more out.
00:11:18I'd like long best.
00:11:19Whichever is precious.
00:11:20Tell them to charge it.
00:11:22We very nearly wouldn't have been able to afford lettuce
00:11:24if we paid them back.
00:11:26You didn't seem very interested when I told you.
00:11:28I mean...
00:11:30Why were you so keen to pay them back at all?
00:11:32No, it's not that.
00:11:34Only anything for quiet.
00:11:36I don't know.
00:11:38I'm always telling her you like things green.
00:11:40I'm always telling her you like things green.
00:11:42I'll make you a salad.
00:11:44Stevie, run next door and get a nice big head of lettuce.
00:11:46Anything for quiet.
00:11:48I don't like attention being drawn to us like that.
00:11:52Good evening, Mr. Furlock.
00:11:53Forgive me for butting in on your private affairs,
00:11:54but this bright specimen didn't appear to know
00:11:56whether you wanted long round square or oblong lettuce,
00:11:57so I brought a selection.
00:11:58I distinctly said long ones. You know I did.
00:12:00Did you? I thought you said long ones.
00:12:01I said long ones.
00:12:03Oh, good evening, Mr. Furlock.
00:12:05So you came home just in time to see the trouble, eh?
00:12:07Me?
00:12:08I've been in all the afternoon.
00:12:10But I could have sworn I saw you come in just about...
00:12:12Well, you were wrong.
00:12:13I didn't know anything about it until you woke me, did I?
00:12:16No.
00:12:17He was lying down upstairs.
00:12:18I had to call him.
00:12:19Sorry, for my mistake, I suppose.
00:12:21Well, here we are.
00:12:29I thought someone was committing a murder.
00:12:31Someone probably is.
00:12:33On the screen there.
00:12:34Stevie, hop on a chair and fix that fan light.
00:12:36Look how George Arliss doesn't bite you, Steve.
00:12:38Well, good night, all.
00:12:56All right, lady.
00:12:57I'll look round the market tomorrow.
00:13:00Do you mind if I come off early tonight?
00:13:01Okay, Ted.
00:13:08Good night, boy.
00:13:15That fella seems to get off in every lines.
00:13:38All right. We'll put someone on to that.
00:13:52Well, Sergeant, you saw what happened tonight.
00:13:54Yes, sir.
00:13:55Anything on your end?
00:13:56I'm not certain, but I could have sworn I saw Verloc come back in the middle of it all.
00:13:59Later, when I challenged him, he said he'd never been out at all. His wife confirmed it.
00:14:02Naturally. She would if she's in it.
00:14:05You'd better find some way of talking to her.
00:14:07Now, listen, Spencer. The home office has been on.
00:14:10And they're scared something worse than tonight's job may happen.
00:14:12What's the idea, sir? What's the point of all this wrecking?
00:14:14Making trouble at home to take her minds off what's going on abroad.
00:14:17Same as in a crowd. One man treads on your toe.
00:14:20And while you're arguing with him, his pal picks your pocket.
00:14:22Who's behind it?
00:14:23Ah, they're the people that you and I'll never catch.
00:14:25It's the men they employ that we're after.
00:14:37Don't you know that's very dangerous?
00:14:43What?
00:14:44Leaving stuff like that lying about.
00:14:45Supposing you and me were to break our leg on that.
00:14:47You'd be very pleased with yourself, I suppose.
00:14:49That would depend whether it was your leg or mine.
00:14:51Can't tempt you, I suppose. Oranges. Very nice today. Good for the feet.
00:14:59Hello, gov. Go in the pictures?
00:15:01As a matter of fact, I'm off to a trade show.
00:15:04Well, pick us a good one, then. You know, plenty of murders.
00:15:06This love stuff makes me sick.
00:15:08The women like it, though.
00:15:14He's just going.
00:15:15Oh, then tell him not to come back too late,
00:15:17because we're going out.
00:15:22I'll be back as soon as I can.
00:15:31If you get here, I pay up.
00:15:34Sorry, Lien.
00:15:37Okay, it's a hot process of outside.
00:15:38My friend, man.
00:15:47Now, if you remember the source,
00:15:49if I'm gonna finish the house,
00:15:51until you notice.
00:15:54When you notice that?
00:15:56It's here.
00:15:59It's strange.
00:16:00Let's go.
00:16:30What's them bubbles there? Has the fish got hiccups?
00:16:33You'd have hiccups if you had to live on ants, eh?
00:16:43They're funny-looking things.
00:16:45Yes, they're funny-looking things.
00:16:47It'll take three like that to make soup for Lord Mayor's banquet next Saturday.
00:16:51Think of that. They say it's Dutch rescue, though.
00:17:00There's a thing with a moustache.
00:17:06I hope you're satisfied with last night's show.
00:17:09It wasn't as easy as it looked.
00:17:11I had to spend money, too.
00:17:13No doubt.
00:17:14A neat job, though. The sort of thing to make people sit up.
00:17:18I think you'll agree I've earned my money.
00:17:23I hope you didn't mind me asking for it in pound notes.
00:17:26You made London laugh.
00:17:30When one sets out to put the fear of death into people,
00:17:33it's not helpful to make them laugh.
00:17:35They're not comedians.
00:17:37Isn't my fault if they are such fools?
00:17:39Londoners are not fools.
00:17:41They laugh because they realize what happened last night was laughable.
00:17:44They did right to laugh this time.
00:17:47What do you mean?
00:17:49Mr. Verloc, you will be paid your money when you've earned it.
00:17:56I don't follow.
00:17:58My dear Verloc, I once read a sign in Piccadilly Circus calling it the center of the world.
00:18:06I think we'd better pay a visit there in a couple of days' time,
00:18:10and leave a small parcel in the cloakroom of the underground station.
00:18:14What sort of a parcel?
00:18:16Oh, I don't know.
00:18:18Let's say, a parcel of fireworks?
00:18:25I couldn't do it.
00:18:28I'm not going to be connected with anything that means loss of life.
00:18:32You'll have to look at somebody else.
00:18:34I won't touch it.
00:18:36Very well then, Mr. Verloc.
00:18:38If you think you're so well off that...
00:18:40You know I'm not.
00:18:41You know my position.
00:18:43All right then.
00:18:44You'll be paid your money when...
00:18:46In any case, if you're so fussy about doing it yourself...
00:18:50Surely you'll have some kind friends who would help you.
00:18:54No, don't be silly.
00:18:56Go and see this man.
00:19:01He's a very nice old gentleman.
00:19:06He makes lovely fireworks.
00:19:12I'll try and see him.
00:19:15And don't forget the date.
00:19:17Saturday next.
00:19:19Lord Mayor's show day.
00:19:21Lots of people.
00:19:23You want me to come and report?
00:19:25Thanks, no.
00:19:27If your report itself is loud enough, it won't be necessary.
00:19:36Which is the way out, please?
00:19:39Morning.
00:19:44This five-hour's weight of fertility is extremely high.
00:19:47After laying a million eggs, the female oyster changes her sex.
00:19:50I don't blame her.
00:19:52Morning.
00:19:54Good afternoon.
00:19:55Good afternoon.
00:19:56Good morning.
00:20:17Good morning.
00:20:21Excuse me. Can I help you up?
00:20:26No, no, no, no. Thank you.
00:20:51Oh, its feet are cold.
00:20:58Isn't it fat?
00:21:00You'd be fat, too, if you were fed corn and bits of bread all day long.
00:21:03Why, if it isn't Stevie and Mrs. Verloc?
00:21:05Oh, it's Ted. Look, Ted. Yes, it always is.
00:21:08Fat, isn't it? All to eat more fruit, eh?
00:21:10You and your fruit. That's our lunch today.
00:21:12Why, is that all? How about a nice juicy steak with me? What about it?
00:21:15I'm all for it. Stevie.
00:21:16Good. Where shall we go?
00:21:17I'd like to go to Simpson's.
00:21:19Boy, I know his uncle took him there once.
00:21:21Don't be silly, Stevie. We're going to the corner house for a tea shop.
00:21:24Oh, don't be too hard, Mrs. V. Let's make it Simpson's.
00:21:29Come on.
00:21:40Have you ever been here before?
00:21:41No, never.
00:21:49Oh, Stevie, look what you're doing. You're pulling the table.
00:21:59I saw a picture once for a chap to snatch a tablecloth off the table and left everything standing on it.
00:22:04You ought to try that at home one day.
00:22:05He did.
00:22:08All this is very expensive, isn't it?
00:22:10Yes, it looks like it, doesn't it?
00:22:15I've got a pound note if you want it.
00:22:17It's all right.
00:22:20Now, Steve, setting aside the steak for a moment, we have here before us...
00:22:23Oysters, caviar, smoked salmon, fried, grilled or boiled sole...
00:22:27I have a...
00:22:28Roast saddle of mutton, Kentish chicken pudding, boiled silverside, roast sirloin, chopped steaks, grilled kidneys or roast duck.
00:22:35I think Stevie would like a nice poached egg on toast. Now, have a mixed salad.
00:22:41Here, drink this.
00:22:42Poached egg here at Simpson's, why, that's enough to make the roast beef turn in its gravy.
00:22:46Three bullocks roasted whole and a cup of coffee.
00:22:50Sirloin in number eight.
00:22:52When did you come over from America?
00:22:53About a year ago.
00:22:55Business wasn't too good over there.
00:22:56That's funny.
00:22:57People used to go over to the States because business wasn't too good over here.
00:23:00How are things working out now, not too good?
00:23:02Not terribly.
00:23:03Thought I hadn't noticed you turning people away.
00:23:06It's hard to make a one-man business pay these days.
00:23:09Unless you're on a sideline.
00:23:12Has Mr. Verloc a sideline?
00:23:14No, but we're quite satisfied with things as they are.
00:23:17Just one happy little family.
00:23:24Just one happy little family.
00:23:28Mr. Verloc's very kind to Stevie.
00:23:30And that means a lot to Stevie's sister.
00:23:33It means everything.
00:23:35Now, here we are.
00:23:37Good morning, sir.
00:23:39No fat for you, as usual.
00:23:41You see, I don't forget.
00:23:42Haven't seen you for a long time.
00:23:45Do I look as though I don't like fat?
00:23:46What's the big idea?
00:23:47What idea?
00:23:48First, pretending ever to have been here before.
00:23:50Second, affording to come here on your salary.
00:23:52That's what everyone would like to know.
00:23:54There's a mystery about me.
00:23:55Come to think of it, there's a mystery about most people.
00:23:58Haven't you got some terrible secret?
00:24:00Never mind about that.
00:24:01What goes on after hours in that cinema of yours?
00:24:03Deeds of darkness.
00:24:04Does your husband go on mysterious journeys?
00:24:07He does, wearing false whiskers.
00:24:09Aha!
00:24:10That means there's another woman in his life.
00:24:11What's the joke?
00:24:12If you only knew him.
00:24:14He's the quietest, most harmless, home-loving person.
00:24:42Well, what luck with Mrs. Verlach?
00:24:54She knows nothing, sir. Nothing at all.
00:24:56What makes you think so?
00:24:57She has a straight answer to everything, besides her manner.
00:24:59Pretty woman?
00:25:01What's that got to do with it, sir?
00:25:03I know.
00:25:04I'm too tender-hearted myself, especially where women are concerned.
00:25:07What about Verlach?
00:25:08I'm not certain, but if he is mixed up in this, he's not giving himself away.
00:25:11I'm not so sure about that.
00:25:13Your assistant, what's there?
00:25:14Hollingshead.
00:25:15Hollingshead was signalled by you this morning to follow this man.
00:25:18Yes, sir.
00:25:19Well, just reach me that paper, will you?
00:25:21This is his report.
00:25:23Telephone from a call box ten minutes ago.
00:25:25Verlach went to the zoo aquarium, evidently by appointment,
00:25:28and met a certain foreign individual who handed him a paper.
00:25:32He then proceeded to 065, Liverpool Road, Islington, which is a bird shop.
00:25:36I'm waiting for him to come out and will report again later on.
00:25:39Islington?
00:25:40Exactly.
00:25:41Doesn't mean much to me, either.
00:25:43But I can't understand, madam, one of my best songbirds.
00:25:44It sang all day before you purchased it.
00:25:45Perhaps in a few days it will settle down.
00:25:46Nothing won't make it settle down.
00:25:47Nothing won't make it settle down.
00:25:48I've tried always.
00:25:49Whistling to it.
00:25:50Clapping me hands, frying bacon, no use.
00:25:51It just sits there and makes me look silly.
00:25:52Not the bird's fault, I assure you, madam.
00:25:53Isn't it?
00:25:54I'll have my two and nine, please.
00:25:55And there's your bird back.
00:25:56I'll have my two and nine, please.
00:25:57And there's your bird back.
00:25:58I want a canary for company.
00:25:59Perhaps I can make him sing.
00:26:00Perhaps I can make him sing.
00:26:02It's not the bird's fault, I assure you, madam.
00:26:03Isn't it?
00:26:04I can't understand, madam, one of my best songbirds.
00:26:05It sang all day before you purchased it.
00:26:06Perhaps in a few days it will settle down.
00:26:07I can't understand, madam, one of my best songbirds.
00:26:08It sang all day before you purchased it.
00:26:09Perhaps in a few days it will settle down.
00:26:11Nothing won't make it settle down.
00:26:12I've tried always.
00:26:13Whistling to it.
00:26:14Clapping me hands.
00:26:15Frying bacon, no use.
00:26:16It just sits there and makes me look silly.
00:26:19Not the bird's fault, I assure you, madam.
00:26:20Isn't it?
00:26:21I'll have my two and nine, please.
00:26:23And there's your bird back.
00:26:24I want a canary for company.
00:26:26Perhaps I can make him sing.
00:26:28There, now.
00:26:35You sure it was him?
00:26:36Listen again.
00:26:37Did you see, Colton?
00:26:41Of course you did.
00:26:43There's a good boy.
00:26:44Now, don't forget, plenty of watercress and you must whistle to him.
00:26:47Me whistle?
00:26:48Perhaps you'd like me to sit in the cage and him do the housework.
00:26:51Yes, of course.
00:26:54You want something from my other department, don't you?
00:26:57This way.
00:27:10My daughter.
00:27:18Much better than having strangers doing for you.
00:27:21Strangers too inquisitive, you know.
00:27:23Now, where are my keys?
00:27:27How very careless.
00:27:29She oughtn't to let the child play up here.
00:27:32Very dangerous.
00:27:33There you are.
00:27:34No father, no discipline.
00:27:36What can you expect?
00:27:37Is the little girl's father dead?
00:27:39I don't know.
00:27:41He might be.
00:27:43I don't know.
00:27:44Nobody knows.
00:27:46My daughter would like to know too.
00:27:48But there you are.
00:27:50It's her cross and she must bear it.
00:27:53We all have our cross to bear.
00:27:55Everything there looks pretty harmless.
00:28:01You are right, my friend.
00:28:03But if I were to mix, say, a little tomato sauce with some strawberry jam, then I gather from our mutual friend that Saturday is the day and the hour 1.45.
00:28:20If I am.
00:28:21But how do I start the mechanism?
00:28:23Oh, you leave that to me.
00:28:25By the time you receive it, everything will have been set in motion.
00:28:29You seem a little nervous.
00:28:32Don't be afraid.
00:28:33Say to yourself, there is one man who envies you.
00:28:37Envies me?
00:28:39I've been a fighter always until now.
00:28:42But alas, I'm no longer wanted in the front line.
00:28:46I must keep the fighter supplied.
00:28:48But I would rather be in your shoes.
00:28:51My dear, just look here.
00:29:02Yes, yes.
00:29:04Perhaps you're right.
00:29:05I must have put it there myself.
00:29:13There, there.
00:29:14No harm done.
00:29:18Well, I think everything is quite clear.
00:29:21What?
00:29:24Slap me hard.
00:29:25Granddad's been very naughty.
00:29:31Look there.
00:29:32What's he doing?
00:29:33He might be watching me.
00:29:35Why not?
00:29:36They probably know too much already.
00:29:38They'll array you one day.
00:29:40I shall give them a nice warm welcome if they do.
00:29:44He didn't see me.
00:29:47On Saturday without fail, sir.
00:29:49Two canaries in a nice cage with a very deep tray.
00:29:52Don't forget.
00:29:53Saturday at 1.45.
00:29:55Good day, sir.
00:29:56Good day.
00:29:57Good day.
00:30:02That child again.
00:30:05And now, sir.
00:30:06I want a nice singing canary.
00:30:12A canary, you say?
00:30:13They might hear little birds at once answer themselves.
00:30:15Of course I realize he wasn't really a greengrocer's assistant at all.
00:30:22I mean, a greengrocer's assistant can hardly afford to lunch at Simpson's, can he?
00:30:26He's really quite well off.
00:30:27And he's there to learn the business.
00:30:28It's one of a big chain, that shop.
00:30:29If you ask me, I believe he's the son of the man who owns them.
00:30:31How would you like a job selling fruit, Stevie?
00:30:32I wouldn't mind with Ted.
00:30:33He makes it all sound fun.
00:30:34Wouldn't it be grand to have steak whenever you like?
00:30:35I'd have it three times a day.
00:30:36You'd soon get sick of it.
00:30:37I bet I wouldn't.
00:30:38I don't see how you could get sick of things to eat.
00:30:39Except poached eggs.
00:30:40What's the matter of poached eggs?
00:30:41I think they're the worst things in the world.
00:30:42I bet Ted doesn't eat them.
00:30:43I'm sure he does.
00:30:44I bet he doesn't.
00:30:45I don't think he's so terribly dignified.
00:30:46Well, he's too dignified to eat eggs.
00:30:47I see a bunch of...
00:30:48Oh, now, it's all right, Stevie.
00:30:49Do you think Ted'll come with us and sail it?
00:30:50He might if you ask him.
00:30:51He's more likely to if you ask him.
00:30:52Sailing boats are the best.
00:30:53I'd have it three times a day.
00:30:54I'd have it three times a day.
00:30:55I'd have it three times a day.
00:30:56You'd soon get sick of it.
00:30:57I bet I wouldn't.
00:30:58I don't see how you could get sick of things to eat.
00:30:59Except poached eggs.
00:31:00What's the matter of poached eggs?
00:31:01I think they're the worst things in the world.
00:31:02I bet Ted doesn't eat them.
00:31:03I'm sure he does.
00:31:04I bet he doesn't know beneath his dignity.
00:31:05Oh, now, it's all right, Stevie.
00:31:07Do you think Ted'll come with us and sail it?
00:31:09He might if you ask him.
00:31:10He's more likely to if you ask him.
00:31:12Sailing boats is fun.
00:31:15I like it.
00:31:16But Ted knows about all sorts of things.
00:31:18Gangsters and burglars and everything.
00:31:20How does he know?
00:31:21He reads about them.
00:31:22He says gangsters are not nearly so frightening as you'd think.
00:31:25Some of them are quite ordinary looking.
00:31:27Like you and me and Mr. Verloc.
00:31:29Perhaps he's right.
00:31:30After all, if gangsters looked like gangsters,
00:31:33the police would soon get after them, wouldn't they?
00:31:35I mean.
00:31:48Is Mr. Verloc in?
00:31:50Was he expecting you?
00:31:51Yes.
00:31:52Do you know your way through?
00:31:53Yes, I think so.
00:31:54Pass one, Jack.
00:32:03I have an appointment with Mr. Verloc.
00:32:07Do you know your way through?
00:32:08No.
00:32:09You go right through the theater.
00:32:10Pass one, Jack.
00:32:17Lady there, Ted.
00:32:18Pan of those apples, please.
00:32:20I'll have to slip away in a minute.
00:32:23Maybe I won't be bothering you anymore again after tonight.
00:32:26No more, no more.
00:32:47Come on out, Jim, will you?
00:32:52One back for me, please.
00:32:53Pass one, Jack.
00:32:54Pass one, Jack.
00:33:00I'm glad you found this.
00:33:01It's the most important of the lot.
00:33:03I'll burn it, too.
00:33:04Oh, ha.
00:33:05Allow me.
00:33:06Oh, thank you.
00:33:10Well, all our troubles are over now.
00:33:15Oh!
00:33:16Oh!
00:33:41Oh!
00:33:42Come on! Come on, Missy!
00:33:44Hello, Ted. Where are you going?
00:33:46Just going to have a word with Mr. Verloc?
00:33:48Oh, he doesn't talk through loudspeakers.
00:33:50Is that what's in there?
00:33:51There's only the screen. Not much to look at.
00:33:53Come here, duck!
00:33:55Close the door! Close the door!
00:33:57Oh, my! Oh! Oh!
00:33:59Where does that lead to?
00:34:01To our front door.
00:34:03Do you remember? When it fell open?
00:34:05I'll give old Mr. V a surprise.
00:34:07Yes, Mr. Dorn?
00:34:09Come out of that!
00:34:11I'm your nephew!
00:34:13How are you?
00:34:17Oh, don't fiddle about. That's no good.
00:34:19Leave it to me. I'll get it out of him.
00:34:25Don't you do that to me!
00:34:27Don't you talk like that to me!
00:34:29Remember, I'm your uncle. Hold that.
00:34:31Not at all.
00:34:32I'm only too glad to pay what the job's worth.
00:34:36Well, I don't see anything against it.
00:34:39I'll call in tomorrow about 11 o'clock.
00:34:42And afterwards...
00:34:45I'll settle with you when you've done the job.
00:34:51Of course, if the Arsenal lose to Birmingham on Saturday, I shan't be so pleased.
00:34:57Arsenal? I don't follow.
00:35:00No, no, I know. You don't follow Arsenal.
00:35:02But they're a good bet, believe me.
00:35:04Don't forget, I...
00:35:06Filled in about 10 coupons.
00:35:08Stands me in at about 15 bob.
00:35:11So I'd better...
00:35:17Why? I know him.
00:35:18What were you doing up there?
00:35:19Who is he?
00:35:20Well, he's from the filter next door. I know him all right, but...
00:35:23What happened?
00:35:24I was showing Ted the back of the screen with the loudspeakers.
00:35:27Wasn't that all right?
00:35:29I hope I didn't hurt you. You never know, you know.
00:35:32Well, Mr. Bullock, no harm done, I hope.
00:35:35I must be getting back the shade of the old apple tree.
00:35:38Sorry.
00:35:39Good night, all. Good night.
00:35:47That is Detective Sergeant Spencer of Scotland Yard.
00:35:52But who is he after?
00:35:53They're having us on.
00:35:54But what are we going to do about it?
00:35:56But he's connected with the fruit store next door, I tell you.
00:35:58Spencer got me my last stretch, the one I'm out and licensed from now.
00:36:01What are we going to do about it?
00:36:02One thing. This job is off, out, finished.
00:36:04We go quick from here and scatter.
00:36:06And keep scattered.
00:36:07And if he comes out again, tell him you don't know where we live.
00:36:09Say we've gone abroad. Anything you like.
00:36:37Yesterday, at Simpsons, when you had lunch with that fellow.
00:36:51With Ted, you mean?
00:36:53I remember what he said to you.
00:36:55Did he ask you any questions about yourself? About me?
00:36:59None that I can think of. Why?
00:37:01Because he's a detective from Scotland Yard. That's why.
00:37:05Spying on us. On me. Through you.
00:37:08But why should he? What is there to find out?
00:37:11I'm all right.
00:37:13It must be one of those fellows who came here tonight.
00:37:16But you said he was spying on you.
00:37:18No, not on me. This place, I meant.
00:37:23But if he has anything against anybody, why didn't he come straight to you?
00:37:27You'd help him.
00:37:29I'll talk to Mr. Detective Ted.
00:37:31No, no. I'll speak to him myself.
00:37:33I've been cleaned all day. I don't gather.
00:37:51Where's Ted?
00:37:52He's gone.
00:37:54Has he gone to Scotland Yard?
00:37:56I'm sorry, Mr. Wernock.
00:37:58Of course, I didn't like the idea, but I couldn't refuse.
00:38:00See, it was official.
00:38:02But why? What's wrong?
00:38:04Did they say what it was about?
00:38:06Not so far as I know.
00:38:08You must have been showing some funny sort of films, I dare say.
00:38:11You know, perhaps a bit too hot.
00:38:29Was he there?
00:38:32Close.
00:38:33Close.
00:38:34Close.
00:38:35Close.
00:38:36Close.
00:38:37Close.
00:38:38Close.
00:38:39Close.
00:38:40Close.
00:38:41Close.
00:38:42Close.
00:38:43Close.
00:38:44Close.
00:38:45Close.
00:38:46Close.
00:38:47Close.
00:38:48Close.
00:38:49Close.
00:38:50Close.
00:38:51Close.
00:38:53Close.
00:38:54Close.
00:38:55Close.
00:38:56Close.
00:38:57Close.
00:38:58Close.
00:38:59Close.
00:39:00Close.
00:39:01I was trying to get hold of him since first thing this morning.
00:39:10Wasn't there anybody there to answer?
00:39:12No.
00:39:13Well, it's too late to stop him now.
00:39:15He's gone out with an order.
00:39:18All right.
00:39:19All right.
00:39:23An old man just left this.
00:39:25I thought he must have made a mistake.
00:39:27No, no, that's all right.
00:39:29It's only a pair of birds for Stevie.
00:39:31I was just phoning about it.
00:39:33They're terribly good to us.
00:39:36Not to you.
00:39:38If you're good to him, you're good to me.
00:39:40You know that.
00:39:41Yes, I know.
00:39:43What made you think of it?
00:39:44Oh, someone made the suggestion.
00:39:48Go and call him, will you?
00:39:49Oh, no, I know.
00:39:51Put something down here.
00:39:53Oh, my God.
00:39:55I don't know.
00:39:56You are asking.
00:39:56Oh, everybody.
00:39:58Oh, my God.
00:40:00Let's do it.
00:40:01If you're good.
00:40:04platinum.
00:40:06And they will never bring out.
00:40:07You are talking.
00:40:08You're speaking to my mother.
00:40:09Oh, she's beautiful.
00:40:11Oh, she's always cared us.
00:40:12Oh, she's everything.
00:40:13Oh, she's...
00:40:15Oh, she's, she's appropriated us.
00:40:16David!
00:40:30What are you doing up there?
00:40:37There's a surprise for you inside.
00:40:39What is it?
00:40:40Go and see.
00:40:46There was no one on the door.
00:40:49Forgive me for busting in like this.
00:40:51We're getting used to it.
00:40:53I'm afraid we've nothing showing at this early hour.
00:40:56I'm sorry, Mrs. Verloc, but I'm here on business.
00:40:59Same business as last night.
00:41:02Mrs. Verloc, there's nothing personal in all this.
00:41:05Is it there?
00:41:06You had us fooled all right.
00:41:08Trying to make Stevie and me think you were a friend.
00:41:10Do you think I enjoyed it?
00:41:12Then why did...
00:41:12Listen, I asked to be taken off this job this morning.
00:41:15You can guess why.
00:41:18But it's not as easy as that.
00:41:20My job you have to do is you're told.
00:41:21What have you been told?
00:41:23It was about the men who came here last night.
00:41:25My husband had nothing to do with it.
00:41:27You better realize that.
00:41:29They came here on business about the cinema.
00:41:32That's just it.
00:41:33You have no idea what their business was.
00:41:35Whatever it was, I'm sure my husband hasn't done anything wrong.
00:41:37I hope you're right.
00:41:40Why do you say it like that?
00:41:42Because we believe there's something going on here connected with sabotage.
00:41:46Sabotage?
00:41:47That blackout the other night, you remember?
00:41:50Well, my husband hasn't anything to do with sabotage.
00:41:53He told me that night he'd been in all the evening.
00:41:56That wasn't true.
00:41:57I saw him come back with my own eyes.
00:42:01I don't believe it.
00:42:03You're making things very difficult for me.
00:42:06I'm afraid I've got to ask you a lot of questions.
00:42:09Now, about those men.
00:42:10I've told you before,
00:42:11he's the most harmless person in the whole world.
00:42:13He wouldn't do anything to...
00:42:14Did these men arrive together, or one by one?
00:42:24Yes, sir.
00:42:26Did you recognize any of them?
00:42:28Yes.
00:42:30Are you quite certain that you didn't know one of them by sight?
00:42:33Yes, I have certainly.
00:42:34Does he know the way to...
00:42:35What the hell?
00:43:03Yes.
00:43:05Yes
00:43:29Stevie
00:43:35They're beauties. Which one's the hen?
00:43:41You'll have to wait till one of them lays an egg.
00:43:44Wouldn't it fool everybody if one day the gent laid an egg?
00:43:47Gosh, wouldn't that be funny?
00:43:49You're right.
00:43:50By the way, has that two reel gone over to the counterpart yet?
00:43:54Oh, there's plenty of time.
00:43:56I was just wondering. Maybe you could take it along now.
00:43:59Of course, there's another little job I want doing at the same time.
00:44:03You know, kill two birds with one stone.
00:44:06Not my birds.
00:44:07No, no, they'll be here when you come back.
00:44:09No, it's that projector gadget one seeing tube.
00:44:13Harris out at Watford says he'll do it cheaper than they will in town.
00:44:17But he can't come right over here and fetch it.
00:44:19So what they do is this.
00:44:21You leave it in the cloakroom at Piccadilly Circus.
00:44:24Harris picks it up at half past one.
00:44:26But can he get it without the ticket?
00:44:28Oh, that's all right.
00:44:30You leave the ticket with the man.
00:44:32Harris knows him. We've done this before.
00:44:37You'd better get along now.
00:44:38Well, there's no hurry.
00:44:40You'll have to walk all the way.
00:44:42Walk? What for?
00:44:44You know, you can't take film tints in public vehicles.
00:44:47Oh, yes, I forgot.
00:44:49You needn't tell your sister that you're going as far as Piccadilly.
00:44:53You know what she is.
00:44:54Always thinking you're going to get run over.
00:44:56Oh, she needn't worry.
00:44:58Heads I wash, tails I don't.
00:45:01Tails it is.
00:45:03For God's sake, why don't you go?
00:45:09I mean, hurry up.
00:45:11You might be late.
00:45:12Don't forget it's going to be there by 1.30 at the latest.
00:45:15Don't forget it's going to be there by 1.30 at the latest.
00:45:18Don't forget it's going to be there by 1.30 at the latest.
00:45:21Oh, you might be there by 1.30 at the latest.
00:45:22Don't forget it's going to be there at the latest.
00:45:23Why don't you go?
00:45:24Why can't you go?
00:45:26Why don't you go?
00:45:28I mean, hurry up.
00:45:31You might be late.
00:45:32Don't forget it's got to be there by 1.30 at the latest.
00:45:37Don't forget it's going to be there by 1.30 at the latest.
00:45:41Hello, Steve. What have you got there?
00:45:55I'm taking a two-reeler over to the Canterbury.
00:45:57Hmm. Bartholomew the Strangler. That sounds a juicy one.
00:46:01Have you seen it?
00:46:02Fourteen times.
00:46:03Must be quite a wrench parting from it.
00:46:05Well, so long, Bartholomew.
00:46:06So long. Careful of the crossing.
00:46:08I can look after myself, can't I?
00:46:09Oh, Steve. Is Mr. Verlach in?
00:46:12Yes, I just left him.
00:46:21I'm afraid I've had to impose on you, Mr. Verlach.
00:46:24I couldn't afford to let you in on this.
00:46:26Now I can put my cards on the table.
00:46:30I've come here to ask for your help. Nothing more.
00:46:34I see.
00:46:36About those men who were here the other night.
00:46:38But, uh, when I dropped in myself, I've been instructed to get a little information about them.
00:46:44We'd be very grateful if you'd help us.
00:46:46Well, any help I can give him, of course.
00:46:49About yourself, Mr. Verlach, when did you first come to this country?
00:46:53Can I get you a drink or something?
00:46:55Not now, thanks.
00:46:57Well, I've got to think now. Let's see.
00:46:59Perhaps it would be better if you put it down on paper.
00:47:01Just a formality.
00:47:03Could you find a pen and ink?
00:47:05We can start right away.
00:47:06You know, I, Carl Anton Verlach.
00:47:09Give me up, boy.
00:47:10Give me up.
00:47:11Give me up.
00:47:12Give me up.
00:47:12Give me up.
00:47:13Give me up.
00:47:13You're a young boy now.
00:47:18Hi.
00:47:18Now, ladies and gentlemen, I want to ask you a question.
00:47:21What does it cause his teeth to fall out?
00:47:24Why, a plunge on the jaw.
00:47:26The process of decay, inevitable in all human organisms.
00:47:30But decay can be arrested, instantaneously arrested.
00:47:33And by what?
00:47:34A copper.
00:47:35Yes, exactly.
00:47:37But, if I may say so, by rather more than one copper, by a few coppers.
00:47:42I have here in my hand a tube of that remarkable preparation, salvo don.
00:47:46Derived from two Greek words, salvo no more and don't toothache.
00:47:52Sixpence for a small tube and a shilling for the large tube containing four times as much.
00:47:58Now, let me give you just a little demonstration.
00:48:00Now, if somebody...
00:48:01Ah, I see you're the young gentleman who I'm sure will be happy to assist me.
00:48:05No, I wouldn't.
00:48:06Yes, you wouldn't.
00:48:07Come on, bug him up.
00:48:08All right, now, in the chair, sir, if you don't mind.
00:48:10But I...
00:48:10And I'm going to relieve you of the toffee, eh?
00:48:13It isn't toffee, and I thought...
00:48:14All right, all right, all right.
00:48:15Stay where you are.
00:48:16Don't get excited.
00:48:16Now, let's...
00:48:17Here we are.
00:48:18The first thing to do is to take the tube in the left hand and remove the cap, like so.
00:48:23Then we pick up the toothbrush, and we squeeze some of the salvo don along the bristles, like so.
00:48:30Then, uh, I want you to observe, ladies and gentlemen, that the young gentleman's teeth are very dirty.
00:48:35No, no, not.
00:48:36Yes, they are.
00:48:36Now, come on, open your mouth.
00:48:37That's a good boy.
00:48:38Now, we now proceed to use the brush.
00:48:40Now, with the ordinary commercial dentifrices, what happens?
00:48:43It is either too gritty and takes all the enamel off, or it ain't, and it don't take nothing off.
00:48:49But with salvo dons, that's the happy medium.
00:48:52It's neither too strong nor too weak.
00:48:55It performs the functions that nature forgot.
00:48:58It cleanses the teeth, refreshes the mouth, and removes all traces of halitosis.
00:49:03Halitosis?
00:49:03Halitosis?
00:49:03Now, ladies and gentlemen, you will observe that I have, unfortunately, disarranged the young gentleman's hair, but that is easily attended to.
00:49:19Now, I have here a bottle of Losswell, a shillin for that size, but I have a large size four times the size, which is only 18 feet.
00:49:27I will now give you a demonstration about you.
00:49:29You put it on the air like that, you see?
00:49:32It's a remarkable stuff.
00:49:34It is guaranteed to give the appearance of patent leather to the human fetch.
00:49:38You are now groomed to stardom, as they say.
00:49:42Go on, buzz off your little basket.
00:49:46Hey, all right, gentlemen.
00:49:47Now, let's go.
00:49:57Let's go.
00:50:18What do you want?
00:50:22What do you want?
00:50:24Let's go!
00:50:25Hey, where are you going?
00:50:26Go on, back here, please.
00:50:27Go on.
00:50:28Go on.
00:50:29Go on.
00:50:30Go on.
00:50:31Go on.
00:50:32Go on.
00:50:33Go on, son.
00:50:34Get right back.
00:50:35Here they come.
00:50:38Go on, son.
00:50:39Get right back.
00:50:50Here they come.
00:51:08Get right back.
00:51:09Come on.
00:51:10Go on, son.
00:51:11Go on, son.
00:51:13Go on, son.
00:51:15Where are you going?
00:51:16I'm sure there are.
00:51:17Let's go.
00:51:18Here they come.
00:51:19Come on.
00:51:20I'm sure there.
00:51:21Come on.
00:51:22There.
00:51:23Let's go.
00:51:24Let's go.
00:51:25Give it up.
00:51:26Come on, son.
00:51:27Why are you going to do something else?
00:51:28Come on.
00:51:29Put your hands up.
00:51:30Let's go.
00:51:31All right.
00:51:32All right.
00:51:33Let's go.
00:51:34All right.
00:51:35Let's go.
00:51:36Let's go.
00:51:37Oh, my God.
00:52:07Oh, my God.
00:52:37Oh, my God.
00:52:47I said, you think we'll get to Pigazilli by 1.30?
00:52:49Yes, 1.30 in the morning.
00:52:51You've got to meet a young lady there.
00:52:53Here, you can't bring those in a public vehicle.
00:52:55They're films, aren't they?
00:52:56Yes. Then they're flammable.
00:52:57Go on, off, off, big boy.
00:52:59But I've got to get to Pigazilli.
00:53:00Can't I leave him out there on the platform or somewhere?
00:53:02Oh, it's Bartholomew the Strangler.
00:53:04Oh, well, it's you, Bartholomew, old fellow. You can stay.
00:53:06As long as you promise not to sit about me or any of the passengers.
00:53:10Oh, it's Bartholomew...
00:53:12It's Bartholomew.
00:53:14Come.
00:53:15Come.
00:53:16It's Bartholomew.
00:53:17Come.
00:53:18Come.
00:53:19Come.
00:53:20Come.
00:53:21Come.
00:55:22Ralph, would you have your drink after all?
00:55:25No, thanks.
00:55:33Come in.
00:55:33Oh, excuse me.
00:55:36Will you ring up Whitehall, 1212?
00:55:39May I use your phone?
00:55:49Put me through to Superintendent Palbert, please.
00:55:51Spencer, yes, sir?
00:55:57A whole busload of people have been blown up in the West End.
00:56:11How awful.
00:56:13What time?
00:56:14Why'd you ask?
00:56:17Well, after all, I can't be in two places at the same time, can I?
00:56:21I suppose not.
00:56:22I may be back later on.
00:56:29I may be back later on.
00:56:29I may be back later.
00:56:40We'll be back later on.
00:56:42Here we go.
00:56:43Let's go.
00:57:06Cut onto anything?
00:57:08I'm not sure.
00:57:09Well, make up your mind.
00:57:10What is it anyway?
00:57:12Bartholomew something?
00:57:15Well, that's a film tin, isn't it?
00:57:18I thought you said Verlach hadn't been out since this morning.
00:57:21He hadn't.
00:57:22Well, you'd best go back there and see if that's one of their films.
00:57:24You want me, sir?
00:57:25Yes, yes. You'd better join Hollington at the bird shop.
00:57:27Yes, sir.
00:57:28Don't go inside. Just keep your eyes open.
00:57:29I will, sir.
00:57:30All right, Spencer. Cut off.
00:57:35Is that anything to do with it, Mr. Spencer?
00:57:39Bartholomew the string.
00:57:41That's a film tin, isn't it?
00:57:45No.
00:57:46Hardeen's.
00:57:47He's all right.
00:57:48He can take care of himself.
00:57:49You've got nothing to worry about.
00:57:50He needs big bomb sensation.
00:57:52Big bomb sensation.
00:57:53Give me a pill.
00:57:54Alex, the news.
00:57:55Alex, the news.
00:57:56Big bomb sensation.
00:57:57Alex, the news.
00:57:58Big bomb sensation.
00:57:59Alex, the news.
00:58:00Big bomb sensation.
00:58:01He's all right.
00:58:02He can take care of himself.
00:58:03You've got nothing to worry about.
00:58:04Alex, the news.
00:58:05Alex, the news.
00:58:06Big bomb sensation.
00:58:07Big bomb sensation.
00:58:08Give me a pill.
00:58:09Alex, the news.
00:58:10Big bomb sensation.
00:58:11Big bomb sensation.
00:58:12Give me a pill.
00:58:13Alex, the news.
00:58:14Alex, the news.
00:58:15Alex, the news.
00:58:16Big bomb sensation.
00:58:17Alex, the news.
00:58:18Alex, the news.
00:58:19Alex, the news.
00:58:20Big bomb sensation.
00:58:21Big bomb sensation.
00:58:22Alex, the news.
00:58:23Come on, come on, come on, come on, give us some air, please go, wait a minute, come on,
00:58:45come on, come on.
00:58:53I want Mr. Verloc. I want to see Mr. Verloc.
00:59:01I didn't mean any harm to come to the boy.
00:59:06Come on, you've got to think of tomorrow.
00:59:10You'll need all your wits about you if they get on to me.
00:59:16You might answer, Othello.
00:59:23Do be reasonable.
00:59:25What would it have been if you had lost me?
00:59:35That swine in the aquarium.
00:59:39You silly, jeering, dangerous brute with no more sense than...
00:59:44You didn't know. Quite right, too.
00:59:48I'm not a chap to worry a woman that's fond of me.
00:59:55You have no business to know.
00:59:57No.
01:00:09You'll have to pull yourself together, my girl.
01:00:12What's done can't be undone.
01:00:21You go to bed now.
01:00:23What you want is a good cry.
01:00:28I know how you feel.
01:00:31Do you think it doesn't touch me?
01:00:33Do you think I fixed it so that he'd be killed?
01:00:36No.
01:00:38But I tell you who did.
01:00:40Your Scotland Yard friend from next door.
01:00:42Ted. Blame him.
01:00:44I'd have carried the thing myself, but he was hanging around watching, spying.
01:00:47I couldn't get away.
01:00:52I couldn't get away.
01:00:59Listen.
01:01:01It's done now.
01:01:03And there's the future.
01:01:05Perhaps...
01:01:07I don't know.
01:01:09Perhaps if we...
01:01:11had a kid of our own.
01:01:22It's done now.
01:01:23I've been to a young man.
01:01:25A man.
01:01:26I'm a young man.
01:01:28A man.
01:01:29Oh, he isn't it.
01:01:31A man.
01:01:32I'm a young man.
01:01:33I'm a young man.
01:01:35He's a young man.
01:01:37A man.
01:01:38A man.
01:01:40A man.
01:01:42A man.
01:01:44A man.
01:01:46A man.
01:01:47A man.
01:01:48Oh, fascinate me.
01:02:18Oh, who killed cock robin?
01:02:26I've langst to stop. Young Stevie ain't in, but I've laid for him.
01:02:32I'm getting the lung now.
01:02:36Who killed cock robin?
01:02:42Who killed cock robin?
01:02:45Who killed cock robin?
01:02:49Who killed cock robin?
01:02:52Who killed cock robin?
01:03:00Pulled yourself together a bit.
01:03:03That's better.
01:03:06Never green.
01:03:16Why can't that woman cook green stuff any better?
01:03:19Surely she's been long enough here to know how fond I'm of that sort of thing.
01:03:36I don't think I want any cabbage.
01:03:51Couldn't we send next door for some?
01:03:54You should pay them to surprise me soon.
01:04:04Sounds good.
01:04:09You should choose from this.
01:04:13Number two.
01:04:15You soi truck, ar stolen,
01:05:24Hey, Todd!
01:05:25Stephen!
01:05:37Stephen!
01:06:21You've heard?
01:06:42Yes.
01:06:44I'm terribly sorry.
01:06:47I don't know what to say.
01:06:51You know why I'm here?
01:06:53Yes.
01:06:54I'll have to arrest him.
01:06:57Yes.
01:06:59I'll help him if I can, of course.
01:07:01For your sake, if not for his.
01:07:04I'd do anything for you.
01:07:05You know that, don't you?
01:07:06It's very good of you, Ted.
01:07:09There isn't anything you can do for either of us.
01:07:11Things aren't as bad as that.
01:07:13The evidence is against him, I admit.
01:07:16But nothing's going to happen to you.
01:07:21I know this isn't a very good time to tell you.
01:07:24I shouldn't tell you at all, I suppose.
01:07:27But before I take him along, I want you to know that...
01:07:31what happens to you means a lot to me.
01:07:33I didn't want to tell you how I felt about you, but...
01:07:36there it is.
01:07:36Here we go.
01:07:38Here we go.
01:07:40Here we go.
01:07:41Let's go.
01:08:11I can't stop shivering.
01:08:12For God's sake, what happened?
01:08:14I killed Stevie.
01:08:17I feel warmer now.
01:08:19Let's go.
01:08:19Go where?
01:08:20To the police, of course.
01:08:22No. Hold on. Wait a minute.
01:08:23My friend, take a look at this spook.
01:08:41Do you realize what this means to you?
01:08:43To the police, to the police, to the police.
01:09:14Listen to me. You can't get through with this.
01:09:16Ted, let me go.
01:09:18You're not guilty. I know it was an accident.
01:09:20Anyway, you only did the hang of the job for him.
01:09:22Please let me go.
01:09:23I know the fact, but no one else does.
01:09:25What chance would you stand with the judge and jury?
01:09:27I don't care anymore.
01:09:29You're telling me you've nothing more to live for, isn't it?
01:09:31Look at me.
01:09:35Ted.
01:09:35My dear, we're going to get out of all this.
01:09:37Clear out.
01:09:39You know it's no good.
01:09:40You'll just ruin yourself.
01:09:42What to hell with that?
01:09:43It's at midnight.
01:09:44We don't need passports for the covenant if we ask for weekend tickets.
01:09:47The train leaves at nine.
01:09:49Will someone try and get in that room?
01:09:51Mrs. Jones or anyone?
01:09:52Mrs. Jones comes in at eight o'clock in the morning.
01:09:55Eight o'clock?
01:09:56And you say we've got no chance?
01:09:58Why, we've 12 hours stopped before anyone can find him.
01:10:01You shut up.
01:10:01I don't want to hear another word from you.
01:10:03Now go straight to that cinema and bring that birdcage right back before the police get there and find it.
01:10:07How could you have been so mad it's a dooster thing?
01:10:09A birdcage with a bomb in it.
01:10:11My dear, I couldn't help it.
01:10:12Well, you can help now.
01:10:14Here's your hat and your coat.
01:10:15My dear, but what of the risk?
01:10:16Risk?
01:10:16Who to?
01:10:17You?
01:10:18What about me and the child?
01:10:19Coming down live has been one long risk for months.
01:10:22Now go on, get into that taxi.
01:10:24And get that birdcage.
01:10:26Visio Cinema Penforfer.
01:10:30Follow that taxi.
01:10:46Put this through the yard.
01:10:49Please, Van.
01:10:50What's our number?
01:10:51UDC 4768.
01:10:53Reporting.
01:10:54Man under observation.
01:10:56Just left bird shop.
01:10:58Is making for the Bijou Cinema.
01:10:59In a taxi which we are following.
01:11:02Any instructions?
01:11:08Reply is, arrest man and Verloc on arrival at cinema.
01:11:12Chief Inspector coming from yard.
01:11:16I'm all right now.
01:11:17I just...
01:11:18You mustn't look as if you've been crying.
01:11:20I'm all right.
01:11:21Come on.
01:11:23Dead.
01:11:23Dead.
01:11:26Whatever happened...
01:11:27You've got it again, my friend.
01:11:44You've got it.
01:11:44You've seen it.
01:11:45You've heard about it.
01:11:47Yes, Mr. Verlocum.
01:11:48What is it?
01:12:01Please.
01:12:01Come on.
01:12:03Up that way.
01:12:03Are you in charge?
01:12:17Sorry, no time now, madam.
01:12:19But I'm Mrs. Verlach.
01:12:20Oh, where have you been, Spencer?
01:12:21He was just taking me along to the police station.
01:12:23Oh, I see.
01:12:24Does Mrs. Verlach know we won't have questioned her?
01:12:26Yes, he's explained all that.
01:12:27I told him I wanted to make a statement.
01:12:29Statement, eh? What kind of statement?
01:12:31Mrs. Verlach, you can make your statement later at the station.
01:12:33All right, Spencer. I'm in charge of it.
01:12:35A statement to do with your husband?
01:12:36The old man's gone through to the back, sir.
01:12:37Right. I'm coming over.
01:12:38You wait here. Your husband will be along in a minute.
01:12:40It's no time.
01:12:41But Mrs. Verlach.
01:12:41Yes, no time now, I'm afraid. Later.
01:12:43You stay here for the car, Spencer.
01:12:45How many men have gone round the back?
01:13:03Mr. Verlach.
01:13:04Mr. Verlach.
01:13:04Come on, Grandpa. Open up.
01:13:09It'll save a lot of trouble.
01:13:10If you open that door, I don't miss my life.
01:13:12Perhaps they've got a bomb.
01:13:13Half a day. Better clear the cinema.
01:13:14I'll look after the old man.
01:13:15Thanks. I'm staying here.
01:13:16You've got a wife.
01:13:17All the more reason why I should stop.
01:13:24Go on. Get the audience out.
01:13:25Come on.
01:13:26Come on.
01:13:27Come on, Grandpa. Open up.
01:13:28It'll save a lot of trouble.
01:13:29If you open that door, I don't miss my life.
01:13:32Perhaps they've got a bomb.
01:13:33Half a day. Better clear the cinema.
01:13:35I'll look after the old man.
01:13:36Thanks. I'm staying here.
01:13:37You've got a wife.
01:13:38All the more reason why I should stop.
01:13:40Come on. Get the audience out.
01:13:50He's gone to the back.
01:13:51He's got a bomb. He says he's going to use it.
01:13:52Bomb? Is Verlach inside too?
01:13:54I don't know. Perhaps something happened to him.
01:14:03Ladies and gentlemen, I must ask you all please.
01:14:04He's starting to get an armed department.
01:14:10Come on.
01:14:24Mrs Verlach, is your husband inside there?
01:14:25He knows nothing, sir.
01:14:26Why do you keep interfering, Spencer?
01:14:28Yes, he's inside.
01:14:29The old man's got a bomb.
01:14:31What's your husband's nerve like?
01:14:33Can he control him?
01:14:34No.
01:14:35He can't.
01:14:37He's dead.
01:14:40He's dead.
01:14:41Come on.
01:14:42Come on.
01:14:43Come on.
01:14:48Come on.
01:14:49Come on.
01:14:50Come on.
01:14:51Come on.
01:14:52Come on.
01:14:53Come on.
01:14:54Come on.
01:14:55Come on.
01:14:56Come on.
01:15:01There you are.
01:15:02The room's gone.
01:15:04The whole of the back of a place clean-blown art.
01:15:06Anybody...
01:15:07All the audience would care.
01:15:08Thank goodness.
01:15:09Oh, my goodness, Mr. Burlick, I'm the old boy.
01:15:11I saw some things in the war, but...
01:15:15Any enough left to identify?
01:15:16I wouldn't say so, sir.
01:15:18You'd better get a first-aid man to attend to that head of thought.
01:15:23Here, Spencer.
01:15:27You'd better look after Mrs. Burlick.
01:15:29Her husband's dead, blown to glory.
01:15:33You can break each other.
01:15:36There'll be a few inquiries later.
01:15:38There's nothing against her, so far as I can gather.
01:15:40Yes, sir.
01:15:54Make way there.
01:15:56That's queer.
01:15:57Isn't that girl psychic?
01:15:59She said that Burlick was...
01:16:01Dead, sir?
01:16:02You don't need second sight in a case like this.
01:16:04But she said it before.
01:16:06How was it after?
01:16:10I can't remember.
01:16:11I can't remember.
01:16:17I can't remember.
01:16:19The End