Public Reel

SECRET AGENT (1936)

358 shots over 1:25:55, read from the Internet Archive copy Hitchcock_Secret_Agent (Secret_Agent.mp4, 624×480, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: SECRET AGENT No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 358 shots judged colour), average shot 14.4s long, a frontal face detected in 45% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive).

Beats

170 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Frame at 1:13, shot 01:13
1 of 1 shots sampled

1. Beat 1 0:00–2:26 unchecked

Evidence and details

Starts here: start of film. Sequence 1 · shots 0–0 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:32, shot 12:32
1 of 1 shots sampled

2. Beat 2 2:26–2:39 unchecked

Evidence and details

Starts here: pause in speech. Sequence 2 · shots 1–1 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:58, shot 22:58
1 of 1 shots sampled

3. Beat 3 2:39–3:16 unchecked

Evidence and details

Starts here: pause in speech. Sequence 3 · shots 2–2 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 3:52, shot 33:52Frame at 4:31, shot 44:31
2 of 2 shots sampled

4. Beat 4 3:16–4:34 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 4 · shots 3–4 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 7:17, shot 57:17
1 of 1 shots sampled

5. Beat 5 4:34–10:00 unchecked

Evidence and details

Starts here: pause in speech. Sequence 5 · shots 5–5 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 10:33, shot 910:33Frame at 10:49, shot 1110:49Frame at 10:53, shot 1310:53Frame at 10:57, shot 1510:57
4 of 7 shots sampled

7. Beat 7 10:27–10:59 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 5 · shots 9–15 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 11:01, shot 1611:01Frame at 11:04, shot 1711:04Frame at 11:10, shot 1911:10Frame at 11:15, shot 2011:15
4 of 5 shots sampled

8. Private office 10:59–11:17 unchecked

A man in a suit and fedora speaks while another man hides behind a chair. The dialogue suggests a conversation about knowing each other and a possible divorce.

2 people observed.

“No way, Albert.” 11:00 · “I've already known you for 24 hours.” 11:01

Evidence and details

Starts here: topic shift in dialogue. Sequence 5 · shots 16–20 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, white shirt, dark tie, fedora hat, medium build, appears 30s-40s visible, audible
  • man with dark hair, wearing light-colored shirt, seen from behind and peeking over chair visible
Seen happening
  • A man hides behind a chair, adjusting his hair. [frame:2]
  • The hiding man peeks over the chair back. [frame:3]
  • The hiding man continues to peek over the chair. [frame:4]
Also said
“Sure, that means in 48 you'll know me twice as well.” 11:04 · “A divorce, it looks like.” 11:16
Seen
fedora hat, wooden chair with carved back, paneled wall, door with paneling
Interpretation
Model opinion, not evidence: mood: tense and conversational; themes: espionage, deception, personal relationships; style notes: static medium shots, high-contrast lighting, classic 1930s studio framing
Frame at 11:19, shot 2111:19Frame at 11:37, shot 2211:37
2 of 2 shots sampled

9. Beat 9 11:17–11:55 unchecked

Evidence and details

Starts here: cutting rhythm changes. Sequence 5 · shots 21–22 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 11:59, shot 2311:59
1 of 1 shots sampled

10. Beat 10 11:55–12:03 unchecked

Evidence and details

Starts here: pause in speech. Sequence 5 · shots 23–23 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:20, shot 2412:20
1 of 1 shots sampled

11. Beat 11 12:03–12:37 unchecked

Evidence and details

Starts here: pause in speech. Sequence 6 · shots 24–24 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 13:07, shot 2513:07
1 of 1 shots sampled

12. Beat 12 12:37–13:37 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 7 · shots 25–25 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:33, shot 2814:33
1 of 1 shots sampled

14. Beat 14 14:15–14:50 unchecked

Evidence and details

Starts here: pause in speech. Sequence 8 · shots 28–28 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 16:57, shot 3316:57
1 of 1 shots sampled

17. Beat 17 16:56–16:58 unchecked

Evidence and details

Starts here: pause in speech. Sequence 9 · shots 33–33 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 18:58, shot 4318:58
1 of 1 shots sampled

21. Beat 21 18:54–19:02 unchecked

Evidence and details

Starts here: pause in speech. Sequence 11 · shots 43–43 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 19:07, shot 4419:07
1 of 1 shots sampled

22. Beat 22 19:02–19:11 unchecked

Evidence and details

Starts here: pause in speech. Sequence 12 · shots 44–44 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 19:55, shot 4719:55
1 of 1 shots sampled

24. Beat 24 19:43–20:07 unchecked

Evidence and details

Starts here: pause in speech. Sequence 14 · shots 47–47 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 20:10, shot 4820:10
1 of 1 shots sampled

25. Beat 25 20:07–20:13 unchecked

Evidence and details

Starts here: pause in speech. Sequence 15 · shots 48–48 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 20:36, shot 4920:36
1 of 1 shots sampled

26. Beat 26 20:13–21:00 unchecked

Evidence and details

Starts here: pause in speech. Sequence 16 · shots 49–49 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 21:25, shot 5021:25
1 of 1 shots sampled

27. Beat 27 21:00–21:51 unchecked

Evidence and details

Starts here: pause in speech. Sequence 17 · shots 50–50 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 22:38, shot 5322:38
1 of 1 shots sampled

29. Beat 29 22:37–22:39 unchecked

Evidence and details

Starts here: pause in speech. Sequence 18 · shots 53–53 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 22:39, shot 5422:39
1 of 1 shots sampled

30. Beat 30 22:39–22:40 unchecked

Evidence and details

Starts here: pause in speech. Sequence 19 · shots 54–54 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 23:13, shot 5823:13
1 of 1 shots sampled

32. Beat 32 23:00–23:26 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 20 · shots 58–58 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 23:29, shot 5923:29
1 of 1 shots sampled

33. Beat 33 23:26–23:31 unchecked

Evidence and details

Starts here: pause in speech. Sequence 21 · shots 59–59 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 23:43, shot 6023:43
1 of 1 shots sampled

34. Beat 34 23:31–23:55 unchecked

Evidence and details

Starts here: pause in speech. Sequence 21 · shots 60–60 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 23:56, shot 6123:56
1 of 1 shots sampled

35. Beat 35 23:55–23:57 unchecked

Evidence and details

Starts here: pause in speech. Sequence 21 · shots 61–61 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 24:37, shot 6624:37
1 of 1 shots sampled

37. Beat 37 24:16–24:59 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 22 · shots 66–66 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 25:06, shot 6725:06Frame at 25:19, shot 6825:19
2 of 2 shots sampled

38. Beat 38 24:59–25:25 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 23 · shots 67–68 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 27:31, shot 6927:31
1 of 1 shots sampled

39. Beat 39 25:25–29:37 unchecked

Evidence and details

Starts here: pause in speech. Sequence 24 · shots 69–69 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 30:54, shot 7530:54
1 of 1 shots sampled

41. Beat 41 30:53–30:55 unchecked

Evidence and details

Starts here: pause in speech. Sequence 26 · shots 75–75 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 31:02, shot 7631:02
1 of 1 shots sampled

42. Beat 42 30:55–31:08 unchecked

Evidence and details

Starts here: pause in speech. Sequence 27 · shots 76–76 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 31:48, shot 7731:48
1 of 1 shots sampled

43. Beat 43 31:08–32:28 unchecked

Evidence and details

Starts here: pause in speech. Sequence 28 · shots 77–77 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 33:04, shot 7833:04
1 of 1 shots sampled

44. Beat 44 32:28–33:40 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 28 · shots 78–78 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 35:30, shot 9035:30
1 of 1 shots sampled

48. Beat 48 35:21–35:39 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 28 · shots 90–90 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 35:59, shot 9135:59
1 of 1 shots sampled

49. Beat 49 35:39–36:18 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 29 · shots 91–91 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 37:37, shot 9437:37
1 of 1 shots sampled

51. Beat 51 37:35–37:40 unchecked

Evidence and details

Starts here: pause in speech. Sequence 30 · shots 94–94 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 37:42, shot 9537:42
1 of 1 shots sampled

52. Beat 52 37:40–37:44 unchecked

Evidence and details

Starts here: pause in speech. Sequence 30 · shots 95–95 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 37:46, shot 9637:46
1 of 1 shots sampled

53. Beat 53 37:44–37:49 unchecked

Evidence and details

Starts here: pause in speech. Sequence 31 · shots 96–96 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:01, shot 9738:01
1 of 1 shots sampled

54. Beat 54 37:49–38:13 unchecked

Evidence and details

Starts here: pause in speech. Sequence 32 · shots 97–97 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:14, shot 9838:14
1 of 1 shots sampled

55. Beat 55 38:13–38:15 unchecked

Evidence and details

Starts here: pause in speech. Sequence 33 · shots 98–98 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:17, shot 9938:17
1 of 1 shots sampled

56. Beat 56 38:15–38:18 unchecked

Evidence and details

Starts here: pause in speech. Sequence 34 · shots 99–99 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 40:25, shot 11440:25
1 of 1 shots sampled

62. Beat 62 40:24–40:26 unchecked

Evidence and details

Starts here: pause in speech. Sequence 37 · shots 114–114 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 41:47, shot 12641:47
1 of 1 shots sampled

67. Beat 67 41:45–41:48 unchecked

Evidence and details

Starts here: pause in speech. Sequence 42 · shots 126–126 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 41:49, shot 12741:49
1 of 1 shots sampled

68. Beat 68 41:48–41:50 unchecked

Evidence and details

Starts here: pause in speech. Sequence 43 · shots 127–127 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 43:30, shot 14343:30
1 of 1 shots sampled

73. Beat 73 43:29–43:31 unchecked

Evidence and details

Starts here: pause in speech. Sequence 45 · shots 143–143 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 43:35, shot 14443:35
1 of 1 shots sampled

74. Beat 74 43:31–43:38 unchecked

Evidence and details

Starts here: pause in speech. Sequence 46 · shots 144–144 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 43:39, shot 14543:39
1 of 1 shots sampled

75. Beat 75 43:38–43:40 unchecked

Evidence and details

Starts here: pause in speech. Sequence 47 · shots 145–145 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 43:40, shot 14643:40
1 of 1 shots sampled

76. Beat 76 43:40–43:41 unchecked

Evidence and details

Starts here: pause in speech. Sequence 48 · shots 146–146 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 47:04, shot 16047:04
1 of 1 shots sampled

79. Beat 79 47:01–47:08 unchecked

Evidence and details

Starts here: pause in speech. Sequence 48 · shots 160–160 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 47:19, shot 16147:19
1 of 1 shots sampled

80. Beat 80 47:08–47:30 unchecked

Evidence and details

Starts here: pause in speech. Sequence 49 · shots 161–161 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 47:32, shot 16247:32
1 of 1 shots sampled

81. Beat 81 47:30–47:35 unchecked

Evidence and details

Starts here: pause in speech. Sequence 50 · shots 162–162 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 50:18, shot 16550:18
1 of 1 shots sampled

83. Beat 83 48:28–52:09 unchecked

Evidence and details

Starts here: pause in speech. Sequence 51 · shots 165–165 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 53:16, shot 16853:16
1 of 1 shots sampled

85. Beat 85 52:44–53:47 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 53 · shots 168–168 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 54:11, shot 17554:11
1 of 1 shots sampled

87. Beat 87 54:10–54:12 unchecked

Evidence and details

Starts here: pause in speech. Sequence 53 · shots 175–175 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 54:14, shot 17654:14
1 of 1 shots sampled

88. Beat 88 54:12–54:15 unchecked

Evidence and details

Starts here: pause in speech. Sequence 54 · shots 176–176 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 54:40, shot 18154:40
1 of 1 shots sampled

90. Beat 90 54:32–54:48 unchecked

Evidence and details

Starts here: pause in speech. Sequence 54 · shots 181–181 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 55:57, shot 18255:57
1 of 1 shots sampled

91. Beat 91 54:48–57:05 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 55 · shots 182–182 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 57:12, shot 18357:12
1 of 1 shots sampled

92. Beat 92 57:05–57:18 unchecked

Evidence and details

Starts here: pause in speech. Sequence 56 · shots 183–183 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 57:51, shot 18657:51Frame at 58:00, shot 18858:00Frame at 58:17, shot 19158:17Frame at 58:25, shot 19358:25
4 of 8 shots sampled

94. Beat 94 57:49–58:27 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 57 · shots 186–193 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:03:36, shot 2451:03:36Frame at 1:03:49, shot 2461:03:49
2 of 2 shots sampled

114. Beat 114 1:03:34–1:04:00 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 67 · shots 245–246 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:07:08, shot 2731:07:08Frame at 1:07:21, shot 2741:07:21
2 of 2 shots sampled

124. Beat 124 1:07:04–1:07:30 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 73 · shots 273–274 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:15:14, shot 3171:15:14Frame at 1:15:42, shot 3181:15:42
2 of 2 shots sampled

147. Beat 147 1:14:51–1:15:46 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 89 · shots 317–318 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:18:04, shot 3241:18:04Frame at 1:18:42, shot 3251:18:42
2 of 2 shots sampled

152. Beat 152 1:17:31–1:18:47 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 93 · shots 324–325 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:20:21, shot 3281:20:21
1 of 1 shots sampled

155. Beat 155 1:19:59–1:20:43 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 94 · shots 328–328 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:22:20, shot 3341:22:20Frame at 1:22:27, shot 3351:22:27Frame at 1:22:33, shot 3361:22:33
3 of 3 shots sampled

160. Beat 160 1:22:16–1:22:36 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 98 · shots 334–336 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:22:45, shot 3371:22:45Frame at 1:22:57, shot 3381:22:57
2 of 2 shots sampled

161. Beat 161 1:22:36–1:23:01 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 98 · shots 337–338 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1132 segments kept, 291 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:19 I'm sorry.
  2. 1:25 I'm going to go.
  3. 1:45 I'm
  4. 1:59 He said an orphan soldier dies in his bed these days. No, sir.
  5. 2:02 No such luck, sir.
  6. 2:03 Pretty sudden, wasn't it?
  7. 2:04 Cheville carried him off with his son, mister.
  8. 2:06 A week ago, he was as fit as you and I when he came home on leave. Well, there's one thing.
  9. 2:11 Brody the novelist will be remembered.
  10. 2:13 when half the great soldiers of the war have been forgotten by certain surprises.
  11. 2:17 No, not so much.
  12. 2:19 By the way, Wednesday funeral, Morrison.
  13. 2:21 Requires in the country. Thank you
  14. 2:33 So long, girls.
  15. 2:34 You'll be in work getting less than those, sir. Red Cross, munitions, what not.
  16. 2:50 Oh, my God.
  17. 2:59 I'm...
  18. 3:07 I'm going to go.
  19. 3:15 I'm going to go.
  20. 3:35 I'm sorry.
1112 more segments
  1. 3:58 Come in.
  2. 4:08 What's that, dear? What's the meaning of all this? Who are you? Stevenson, the soldier of the sad news. Look, yes, sir.
  3. 4:13 I don't even know what your name is. You can call me R.
  4. 4:16 - Ah, exclamation. - No, arforododendron.
  5. 4:19 Did you have a good crossing from France?
  6. 4:21 Only to find out as soon as I landed in England that I was dead.
  7. 4:24 Very sad. Casualty has been very heavy at least. But look, yes, have you seen this?
  8. 4:27 Mm-hmm. What's the explanation of that?
  9. 4:31 Well, the explanation of that is this.
  10. 4:35 What does that mean?
  11. 4:36 It means that we can't advance a yard in Palestine until we're quite sure that the Arabs are behind us.
  12. 4:39 We're not quite sure, is that it?
  13. 4:41 And the sensor lets up to this extent.
  14. 4:42 Things are pretty critical. Yes, but look, Hesar, I don't see. No, and you won't see if you keep on talking.
  15. 4:47 No.
  16. 4:48 Germany is making every effort at the moment to buy up the arrow.
  17. 4:51 Tell me.
  18. 4:52 You love your country?
  19. 4:54 Well, I'll just die for it.
  20. 4:55 You can't guess why?
  21. 4:57 I suppose I'm waiting for you to tell me.
  22. 5:03 These areas always upset the goldfish. You never know what to do with them.
  23. 5:07 Here are your passports.
  24. 5:09 One British, one American.
  25. 5:11 You have the reputation of being a shoot observer of life, Ashington.
  26. 5:15 Ashen, with me?
  27. 5:16 Yes, you.
  28. 5:18 The late lamented Brodie was much too well known for our present purpose.
  29. 5:21 Hey, what are you driving at?
  30. 5:23 Ashenden is going to Switzerland to locate a certain German agent who is leaving for Arabia very shortly via Constantinople.
  31. 5:29 Description?
  32. 5:30 None.
  33. 5:30 Well, that's helpful.
  34. 5:32 But your predecessor...
  35. 5:34 Rest his soul...
  36. 5:38 In his last message said he thought he was staying at Hotel Excelsior.
  37. 5:42 I want you to go there.
  38. 5:44 Now, in this envelope is the name of a man playing for both sides who may help you to find him.
  39. 5:49 And when I have found him...
  40. 5:52 That sounded just like a pistol shot, didn't it?
  41. 5:55 Report to me and you'll be given further instructions.
  42. 5:58 I see.
  43. 6:00 Come on.
  44. 6:02 He's not to be allowed to reach Constantinople.
  45. 6:04 Precisely.
  46. 6:06 I like a man who makes quick decisions.
  47. 6:09 Tonight, a car will take you to Dover.
  48. 6:11 It'll change into civis on the destroyer, which will take across the channel.
  49. 6:14 From there you'll go to Switzerland by a roundabout route.
  50. 6:16 Your assistant will be there before you.
  51. 6:19 Time to have an assistant, am I?
  52. 6:20 Yes, and in the circumstances, a very useful one.
  53. 6:23 We call him the hairless Mexican. Oh, why? Cheaply because he's got a lot of curly hair and isn't a Mexican.
  54. 6:28 You can call him the general. He isn't a general, but he'll appreciate the compliments.
  55. 6:31 You'll see it yourself.
  56. 6:33 Where's the general? He took to the cello, sir, when the raid began.
  57. 6:35 Funny, he can't have lost his nerve.
  58. 6:37 Mr. Ashenden will be leaving in a few minutes. Very good.
  59. 6:40 Come on. Let's go.
  60. 6:41 Right. Where's my cap? Hold on.
  61. 6:51 now bear in mind if the swiss police know what you're up to they'll have you in the jug that you are watch my step
  62. 7:00 You're steady, steady, my girl. It's much safer down here than upstairs, you know. I'd rather be upstairs with a bomb than downstairs with some people.
  63. 7:08 He's coming, Daddy Donald! Hello, General. I did you an injustice. I thought you came down here to dodge the bombs. But, Mr. R., you should know me better. This is Ashendom.
  64. 7:17 General Pompilio Motosuma, de la belleza del conde y de la en vous, very please.
  65. 7:20 Excuse me, I have some very important business. See you in Switzerland.
  66. 7:24 - I did it.
  67. 7:24 Hello, dearie, sweetie.
  68. 7:27 Yes, the woman. I love you. Lady Kille. Not only ladies.
  69. 7:30 I'm going to go.
  70. 7:32 Well, now that you've met, we won't delay your departure no longer. I'd better go and see what he's up to. So long.
  71. 7:42 I'm going to go.
  72. 7:49 The
  73. 8:32 Come on now.
  74. 8:41 I'm going to go.
  75. 8:47 - I'll give you a little bit.
  76. 8:50 Good evening. You got some room for me, I believe? Oh, yes. My name's Ashen.
  77. 8:52 I will see.
  78. 8:55 I shouldn't have.
  79. 8:56 Oh, yes, monsieur.
  80. 8:57 Room 254 and five, second floor, bedroom and sitting room.
  81. 9:01 Could you sign your name?
  82. 9:04 Private Barthorne knows that first.
  83. 9:06 Certainly, monsieur. Madame Achenden has insisted on a private party.
  84. 9:11 Cool.
  85. 9:11 Madame.
  86. 9:13 You're right, Mr.
  87. 9:14 She arrived yesterday.
  88. 9:15 You were not expecting us so soon.
  89. 9:18 No, not quite so soon.
  90. 9:22 Doesn't surprise for me, isn't it?
  91. 9:23 Indeed, yes, monsieur.
  92. 9:26 Mrs Ashington looking well.
  93. 9:28 Madame Lux.
  94. 9:29 Robinson, monsieur.
  95. 9:30 Well, that is nice, isn't it?
  96. 9:32 Well, I made a message, ma'am.
  97. 9:34 I'll do another one upstairs.
  98. 9:36 Rooms 234 and 5, you said?
  99. 9:39 I suppose Mrs. Ashland has the key. Yes, monsieur.
  100. 9:42 - How can you say, sir?
  101. 9:44 No, no, no, no. I think I'll...
  102. 9:45 Just surprise her on my own, if you don't mind.
  103. 9:47 - Come on, you say Napoleon? - Certainly.
  104. 9:50 What were those numbers again?
  105. 9:51 234 and 5.
  106. 9:53 I'll write them down for you, sir.
  107. 9:55 Thank you very much.
  108. 10:02 All right.
  109. 10:05 One of them. Yeah, yeah.
  110. 10:07 - It's all right. - I'm so sorry. I'm afraid it was entirely my fault.
  111. 10:10 I know it's quite all right. No harm done. Sure, I haven't had him. Not a bit.
  112. 10:13 Glad to see you.
  113. 10:14 OK.
  114. 10:15 Poor old boy. Loose. What is loose? What is geschehen? Oh, garnished. Karnished. Someone just trotted his foot, my dear. That's all. Nothing.
  115. 10:23 Where is that?
  116. 10:25 England, didn't you?
  117. 10:26 Yeah.
  118. 10:40 Aren't you two that bad?
  119. 10:42 I'm crying, my dear.
  120. 10:43 Good news.
  121. 10:45 What are we gonna do tomorrow?
  122. 10:46 My feet.
  123. 10:48 Why is she going out with me?
  124. 10:49 Didn't you promise?
  125. 10:50 What about a nice private picnic in the wood around here somewhere?
  126. 10:54 Well, I've probably come to the dining room downstairs.
  127. 10:57 Oh, Laylee, didn't I make any better hit with you than that?
  128. 11:00 No way, Albert.
  129. 11:01 I've already known you for 24 hours.
  130. 11:04 Sure, that means in 48 you'll know me twice as well.
  131. 11:07 By the end of the week...
  132. 11:10 Looking for anybody around here? Only my wife. And by the end of the week 4.
  133. 11:16 A divorce, it looks like.
  134. 11:18 Are you Mr. Ashenden? Guilty.
  135. 11:20 Darling, you're here at last. Angel, how well you're looking.
  136. 11:27 Delicious.
  137. 11:28 I hope you haven't been lonely. Oh, no. This gentleman and I picked each other up in the lounge yesterday, didn't we?
  138. 11:32 Yes, a good angel threw us together. He's been most kind and entertaining.
  139. 11:36 Mr. Roger Martin, isn't it?
  140. 11:39 Sounds well the way you say it, but it's really Robert Marvin. Oh, please to meet you Mr. Lockett.
  141. 11:44 How do you do, Mr. Ashencan? Well, it's all.
  142. 11:46 Well, I suppose it's not.
  143. 11:47 time now for the triangle to retire from the family circle.
  144. 11:51 exit to
  145. 11:52 Baffled.
  146. 12:04 I wasn't expecting you quite so soon. So I gathered. Tell us. My good girl, there's no need for you to play a part now. Kindly tell me who you are, what your name is,
  147. 12:12 And why are you passing yourself off as my wife? My name is Elsa Carrington.
  148. 12:16 I thought you could have answered the other question for yourself. Do you mean that old ruffian hour has gone and unloaded you on me? Yes, as you so elegantly put it. But you're on the same job.
  149. 12:24 Yes, I'll send for me and tell me to come out here to join my husband, Mr. Richard Ashen. Yes.
  150. 12:28 Well, here I am, Dickie dear. How do I know you're really the person you say you are?
  151. 12:36 Here's my passport.
  152. 12:38 That's better.
  153. 12:40 Who is it?
  154. 12:41 All right, stick them down there.
  155. 12:43 Anything else?
  156. 12:45 First of all, I'd like to see yours. Oh, that's better still.
  157. 12:53 All right?
  158. 12:54 I acknowledge you as my true and lawful husband.
  159. 12:57 What did I see you?
  160. 13:00 It's in my bedroom.
  161. 13:02 Our bedroom...
  162. 13:03 Mine? You sleep there.
  163. 13:04 Oh.
  164. 13:09 Here it is.
  165. 13:29 Well, what does it say?
  166. 13:31 You mind if I come in? You don't want the hotel to do here, do you? You don't mind my getting on with the day's work? No, not the least.
  167. 13:42 I had to work it out. It's in code. I know. You opened it? Of course I did. Don't be silly.
  168. 13:48 Father concerns you, says...
  169. 13:50 I'm making you a married man just to round off your new character. What else did he say? Your wife comes a fighting stock.
  170. 13:56 A regular little fire eater, in fact, on the building.
  171. 13:59 I look to you to direct her energies into the right channels.
  172. 14:02 Be as connubial as possible as yours are.
  173. 14:05 What does communion mean?
  174. 14:07 Luxorious.
  175. 14:08 What's that mean, speak English? Fictionary, in a big way. Well, that shouldn't be difficult.
  176. 14:13 Well...
  177. 14:14 What do you think of your new husband?
  178. 14:17 I'm agreeably surprised. Thank you.
  179. 14:19 Surely, Mr. Barr.
  180. 14:20 Lizzie, I've been reading your books for years and years, and I sort of pictured you as a very old gentleman.
  181. 14:25 Well, not so bad as I thought. Not very kind of you, Lester.
  182. 14:27 - It's too hot, yeah. - What do you think of me? I don't know. I'll tell you when you finish putting on your face.
  183. 14:33 Look here, what did you really take this job on for?
  184. 14:35 What else was there to do? Oh, all sorts of things. You might have been a nurse or something.
  185. 14:37 Me? I know Ministering Angel.
  186. 14:40 I cover Switzerland for a thrill. Do you think I'm going to give it to you? Goodness, no. You're only the means to an end. The end being? Excitement, big risks, danger.
  187. 14:48 Perhaps even a little.
  188. 14:52 All that sort of thing may not be quite so amusing as you think.
  189. 14:55 Now, look here, let's understand each other.
  190. 14:57 I've burnt my boat, I've called dozens of people to come out here to do something worthwhile.
  191. 15:01 There's no good you're standing there looking middle-aged and bleeding about. All right, all right, all right.
  192. 15:06 Ah.
  193. 15:08 Well, how do we start?
  194. 15:10 I suppose I'll tell you what we're here for.
  195. 15:12 A little. He said, "You tell me the rest." What on earth, Sassy?
  196. 15:18 - Hello. - Good heavens. How did you get here?
  197. 15:20 My dear old friend...
  198. 15:23 How do you do? Yeah, yeah, yeah, yeah, yeah. Steady on. Oh, Ashton, how have you been all the time? I haven't seen you. Yes, yes, yes. All right, all right. Take it easy, General. Take it easy. How did you get in?
  199. 15:32 Oh, I was sitting on door all the time, but...
  200. 15:35 And I was knocking and barking, but you did not hear.
  201. 15:39 To be in company of...
  202. 15:41 beautiful
  203. 15:42 Woman.
  204. 15:43 the lady
  205. 15:44 Good. You know this man, do you then?
  206. 15:46 Oh, I think he's a conjurer or something, follows me about the hotel and tries to show me some silly trick with pen.
  207. 15:51 Very nice trick.
  208. 15:53 Your wife, huh?
  209. 15:54 How do you know this lady is my wife?
  210. 15:56 How do I? Very simple. Passport.
  211. 15:59 in tables.
  212. 16:00 Each one inside of each other one. No flies on you, are there?
  213. 16:04 You know him? Of course I do. He's one of our colleagues, aren't you, General? General.
  214. 16:07 General Pompilio Montezuma de la Villa del Conde de Lambour.
  215. 16:11 As I said before. I may as well tell you at once that this lady is not my wife.
  216. 16:15 Then what?
  217. 16:16 This lady's been issued to me officially by old man R.
  218. 16:19 He should, what, what you mean he should.
  219. 16:22 Issued like, like, uh, passports?
  220. 16:25 Oh, you mean given to you?
  221. 16:28 Oh, this is too much. And who has given her to you? Will you tell me who has given her?
  222. 16:34 Oh, maybe perhaps this odd
  223. 16:36 Oh, this old fool is terrible! Impossible man! This awful! This is too much!
  224. 16:42 Really too much!
  225. 16:44 For you beautiful woman? And what for me? What for me? Nothing!
  226. 16:48 Nobody, nothing!
  227. 16:49 No, this...
  228. 16:50 Caramba, the fiocha!
  229. 16:52 Caramba!
  230. 16:58 No, no.
  231. 16:59 No.
  232. 17:00 Mm.
  233. 17:02 I have to cry.
  234. 17:04 General, does you listen if you're quite finished?
  235. 17:06 Brodie was a bachelor, therefore Ashenden has to be a married man. It makes it much safer, that's all.
  236. 17:10 This girl's been issued to me as part of my disguise.
  237. 17:13 I'll resign. She's nothing to me, I tell you, and I'm nothing to her. Can't you understand?
  238. 17:18 No, no.
  239. 17:19 Harry.
  240. 17:21 Or maybe, perhaps,
  241. 17:22 Is lies true? Well, of course it's true. What do you mean?
  242. 17:25 Oh, then in this case,
  243. 17:28 may be a section of
  244. 17:31 Beautiful lady.
  245. 17:32 are free for me?
  246. 17:34 completely free.
  247. 17:36 Absolutely, as far as I'm concerned.
  248. 17:38 Can't you do anything about this? Do I look as if I enjoy conjuring tricks? Yeah, yeah, yeah, General. No lovemaking, no funny business. We can't afford to take risks.
  249. 17:46 The Swiss police would be on us in no time.
  250. 17:48 You've got to get a move on.
  251. 17:50 What have you done since we've got here anyway?
  252. 17:52 Oh, me.
  253. 17:53 me much to be gentle and
  254. 17:55 Elvis.
  255. 17:56 Ronto Fledi.
  256. 17:58 I dare say it.
  257. 17:59 Let me remind you we're here for a purpose and we've got to start tomorrow.
  258. 18:02 Our first job is to go to a village in the mountains called Langenthal.
  259. 18:06 In Liantal there's a church.
  260. 18:07 In that church we'll find the organist who ours says here has been working for the Germans but is now on our side.
  261. 18:12 We've got to get in touch with him.
  262. 18:14 and he'll put us onto the track of the man right after.
  263. 18:16 What do I do?
  264. 18:17 Nothing. You stay here and wait in case that phone call comes through from Missouri. Thank you. That'll be a good start.
  265. 18:22 Don't you mind removing your friends so I can get on with my dressing?
  266. 18:25 Go on, General. Out you go.
  267. 18:39 Well?
  268. 18:41 Well?
  269. 18:42 How does Mrs. Ashlandon look now?
  270. 18:44 This has all been done to your special benefit. Better kind of you, I'm sure.
  271. 18:48 Good fun of yourself, aren't you?
  272. 18:55 Married life has begun.
  273. 18:56 All right, chat about that as much as you like.
  274. 18:59 Don't forget we've got a job to do, and it's part of that job to keep it secret, whatever happens.
  275. 19:18 Ah!
  276. 19:20 Uh...
  277. 20:12 Is it?
  278. 20:33 I'm going to go.
  279. 20:48 What do we do? Write three candles in the code signal.
  280. 20:53 He'll see us in his minute.
  281. 21:02 - United prayers. - Do not insult me, please. I'm not insulting you.
  282. 21:06 Come on.
  283. 21:27 I'm going to go.
  284. 21:42 Put those back here, fool.
  285. 21:55 This floor makes my beautiful legs very angry.
  286. 21:59 Come on.
  287. 22:01 He's better to keep a lookout. He might not work with the other side.
  288. 22:42 Strangled.
  289. 22:44 Nice work.
  290. 22:46 Neat, very neat.
  291. 22:49 Someone very much did not want
  292. 22:51 We should speak to him. That's what it looks like, doesn't it?
  293. 22:55 Oh, look.
  294. 22:56 What's that?
  295. 22:59 Not so neat after all. Big struggle before he died.
  296. 23:04 Me better, much better.
  297. 23:06 Jeez, terrible, isn't he? The man who owns this is with a man who killed him.
  298. 23:10 Yes, sir.
  299. 23:12 Listen here, also he's the man we are looking for to find.
  300. 23:16 You're right. That's the motive.
  301. 23:18 Hmm, one way of stopping a fellow's mouth.
  302. 23:21 I said look, I've got someone's coming.
  303. 23:57 I'll see you next time.
  304. 24:27 of what happened to her poor little general.
  305. 24:33 and
  306. 24:46 Hey!
  307. 24:47 I say, do let's stay here a little longer. I've always wanted to come to Switzerland. The people are so nice.
  308. 24:52 Dead.
  309. 24:52 Especially Charlie there.
  310. 24:53 Hey, Fred.
  311. 24:55 You mind moving down a bit so we can see the scenery? Oh, no, too. He's nice.
  312. 24:59 Are those your own teeth? Of course they're a little silly. Put yours on.
  313. 25:03 I never thought to look. Wait a minute.
  314. 25:08 You mind holding them for me? They're disgusting.
  315. 25:12 Look at that nose.
  316. 25:14 Boy, I bet you could squeeze it and get a quart of whiskey out of it.
  317. 25:18 Hey, Sam. George. Give me some smoke, will you?
  318. 25:23 Smoke.
  319. 25:24 I'm sorry.
  320. 25:27 Oh, there, I dropped an H. No. Bully, boo, uh...
  321. 25:36 I'm found out of you.
  322. 25:38 I was afraid of that.
  323. 25:39 No, you don't understand.
  324. 25:40 uh...
  325. 25:42 Uh...
  326. 25:43 from...
  327. 25:44 Seagull.
  328. 25:45 Sigaruchin.
  329. 25:46 No?
  330. 25:48 Compris.
  331. 25:49 What is this strange fire you have over Coach Fonson?
  332. 25:52 Mm-hmm.
  333. 25:53 No mystery, lady. Just a well-equipped young man at home in every language. Hmm, bad language.
  334. 25:57 Why, you?
  335. 25:59 Man paralyzed when a bunch of striped woman.
  336. 26:04 What's the matter, when?
  337. 26:06 No, love. What, again?
  338. 26:08 Why not?
  339. 26:09 Speaking of love, do you think that bow-legged husband of yours would mind if I kissed you? He's not bow-legged. I'll call him for me. He is too bow-legged.
  340. 26:15 Oh.
  341. 26:16 Well, if you won't let me kiss you, do you mind if I bite you Adam's apple? Oh.
  342. 26:19 Speaking of your husband, if you go on defending him like that, the idea might get around that you love him.
  343. 26:23 I think I do.
  344. 26:26 Oh.
  345. 26:27 Mm-hmm.
  346. 26:27 Oh.
  347. 26:29 How long has this been going on?
  348. 26:30 Since yesterday.
  349. 26:32 Yesterday.
  350. 26:33 That's a fine thing after the way you practically...
  351. 26:36 flung yourself at me. I'll call the police.
  352. 26:39 I'll find it.
  353. 26:42 Vivantère.
  354. 26:44 home, James.
  355. 26:46 I mean the casino.
  356. 26:48 Can you play a duet?
  357. 26:54 Diablo, she's not in dining room.
  358. 26:56 Where can she be? I don't know, I'm sure. What's the matter with you? Me still blind on this ear. All right, all right. Calm down, you know. Calm down. She's probably in the internal somewhere.
  359. 27:04 Uh...
  360. 27:05 How did you see Mrs. Ashland this evening?
  361. 27:07 Madam is going with another gentleman to the casino.
  362. 27:10 Better get 'em for you.
  363. 27:14 Come on.
  364. 27:16 I'm going to go.
  365. 27:35 Consult general. Silly. First find men, then I do my job.
  366. 27:41 Let's go to casino to see nice Mrs. Asheron. Can't you keep your mind on the business, General? This is urgent.
  367. 27:46 You are always jumping conclusions.
  368. 27:48 Maybe nice Mrs. Ashen has found out something, huh? Let's go. - Penny, Arne, we can't go in these clothes. They won't let us in. We should have to go and change. - Yes.
  369. 28:03 Oh, my God.
  370. 28:11 Come on.
  371. 28:15 Oh, my God.
  372. 28:32 Hey!
  373. 28:40 I'm gonna ship today. Yes, sir.
  374. 28:42 Good job. No problem.
  375. 28:46 That all I get? Yes, sir.
  376. 28:48 Here's your own money. I have a bag.
  377. 28:52 All right.
  378. 28:55 Oh, my God.
  379. 28:55 - What? -
  380. 29:01 Okay.
  381. 29:02 I could put all those on too.
  382. 29:04 Sentiment.
  383. 29:05 Two stands for twin.
  384. 29:06 I thought you and I were going to raise when we settled down together.
  385. 29:09 What do you say?
  386. 29:14 Oh.
  387. 29:15 Don't be a piker, what?
  388. 29:17 Let's do this in a big way.
  389. 29:19 I'm good.
  390. 29:23 Oh, look, that's the dog I put on in the hotel.
  391. 29:26 Yes.
  392. 29:26 He's a bear in a malice, does he?
  393. 29:31 Would you like him?
  394. 29:32 You know exactly I hate all those.
  395. 29:41 Oh, my God.
  396. 29:50 I'm going to go.
  397. 29:56 Hello, darling.
  398. 29:57 I'm here.
  399. 30:00 You must have had a long walk. I got all aboard staying in the hotel, so I came along here with Mr. Marvin.
  400. 30:04 You don't mind, do you? Good heavens, now. Good evening. Good evening. Nine of them. What do you think of that?
  401. 30:09 Thank heavens you've come along and take your dull wife off my hands.
  402. 30:11 I'm tired of talking in words of one syllable.
  403. 30:14 Oh, you don't know each other, do you?
  404. 30:16 This is the gentleman I was talking to you about this morning.
  405. 30:19 General Pompilio Motesuma, de la Villa del Conde de Longu.
  406. 30:23 - Would you mind if I call you Charlie?
  407. 30:25 I mind. Sergeant! Pardon me while I pick up my winning.
  408. 30:33 Yeah.
  409. 30:35 - Well, what? - What happened? You get any results?
  410. 30:38 Some total of our day's work.
  411. 30:41 What is happening? I can't tell you yet. Oh, sorry.
  412. 30:44 Oh.
  413. 30:46 - Reset. - Reset.
  414. 30:56 That's a lot of button for somebody.
  415. 30:58 You'll have to pay seven buttons, won't you?
  416. 31:01 Well, it's one of yours, isn't it?
  417. 31:03 What?
  418. 31:04 I suppose it must be.
  419. 31:18 I'm going to keep you.
  420. 31:19 I'm not asking you, will you kindly take that dog out of the cave? Oh nonsense, the dog was tied up. Look, it's broken its lead. Why did you look so startled? What is that back model again? That's our man. Oh no. You mean the man you may have to?
  421. 31:33 How thrilling.
  422. 31:36 I'm glad you think that. I'm very English.
  423. 31:39 - He won't pretend he did. - Let me have another look at him.
  424. 31:41 - That is quite forbidden that dogs should be brought-- - Well, I don't worry about the wood.
  425. 31:47 I'm going to be here.
  426. 31:49 He looks so hot.
  427. 31:51 The head director will explain to you then, what is here? I told you five or six times he must take a gun out.
  428. 31:57 So I think it's a man. Oh, boy. It's just that sense of anybody. That's not doing any harm. Couldn't fight anybody. Detroit, I'm going to make you ridiculous. But about the dog being. It's all right. What's the trouble? Seems the sausage hound has busted the regulations.
  429. 32:10 Good heavens, how many of them?
  430. 32:11 All of them, I guess.
  431. 32:13 But are these the regulations governed by the Geneva Convention of 1864? No, monsieur. They are the regulations of the casino. Have you got a copy of the regulations? There's no need. They are well known. He hasn't got a copy of the rules.
  432. 32:26 He's gonna stand the center under no circumstances whatever and we allow to have this dog molested unless you show us a copy of the regulations governing the Transportation of livestock in this casino, right?
  433. 32:35 I would do the whole thing over again.
  434. 32:36 - Yes. - You understand? - Now I go immediately to my office.
  435. 32:40 And then we said see you.
  436. 32:42 Hey, pick up.
  437. 32:43 Come, Maria. What do you say?
  438. 32:45 Livestock. That's in the fire, director.
  439. 32:49 - May I introduce you? - The dog's already done that in the hotel. My name's Kepa.
  440. 32:54 You're going to my wife, do you? I know I do.
  441. 32:57 Oh, there you are, Uncle.
  442. 33:02 Are you also a friend of Aschenden's?
  443. 33:05 Yes, me friend of every man's beautiful wife. Oh, that reminds me I was going to see my wife. She's watching the dance floor.
  444. 33:10 I think this calls for a celebration. Anybody here on the wagon? Well, I'm hardly dressed for a party. He's been kind of you, Mr. Marvin. I've been kind of you all day. Up by Langanthal.
  445. 33:17 In that case, you're entitled to the first drink. Have a long.
  446. 33:22 Did you hear...
  447. 33:23 He was in same village today, Viver. Yes, I heard. Go on. Go and talk to him. I've got an idea. He's courage, boy. No simpatico. Get along with you.
  448. 33:43 I thought you were starting on your long trip today. No, no, no. Day after tomorrow.
  449. 33:47 Oh, good.
  450. 33:53 yeah i want you to meet mr mscash
  451. 33:55 and my wife.
  452. 33:57 I think you've already met Mr. Marvin.
  453. 33:59 General, look at your ties. It's terrible. Come here.
  454. 34:02 Did you hear her? He's leaving the day after tomorrow.
  455. 34:05 I understand.
  456. 34:06 - Okay, this is what I want you to do.
  457. 34:08 Have you been away from England long?
  458. 34:10 I have never been to England.
  459. 34:13 And I have never before
  460. 34:14 been away from Germany.
  461. 34:17 Come on.
  462. 34:20 Come.
  463. 34:21 What's your hand?
  464. 34:23 I'll have double gin and tonic. I refuse to discuss the matter any further, General. That's quite enough. It is not enough.
  465. 34:27 Me just beginning. Boy...
  466. 34:30 How about a nice, friendly little drink? Pull yourself together, General. Don't make a scene. Shut up, do you hear? -Me not? -Shut up!
  467. 34:35 Hey, what's the trouble?
  468. 34:36 me not shut up it doesn't matter it's nothing at all it's perfectly all right i'd like a conyacht it is not all right he insults me in very big way he says this thing is nothing i say this thing is very big something you bet your sweet little life now general really no no no no no i make the propuesta that we should climb the mountain all together he saved me not fit for mountain climbing
  469. 35:01 because I only think I'm beautiful women.
  470. 35:04 Now, that is true, my dear General. All I said was, you couldn't go climbing, my master, taking your beautiful women with you.
  471. 35:08 - Sure, that's all, gentlemen. He was only joking. Forget it. - Don't be so touchy, gentlemen. - Me touchy as much as I want.
  472. 35:15 I bet you five English pounds.
  473. 35:18 that I can climb mountains much higher than you can. Oh, don't be so cynical. Go on, Ash. You at least call you bluff. No, no, no, but it's ridiculous to say a joke like a single idiot. You see? You see? You see?
  474. 35:28 He's making the climb-bought.
  475. 35:29 - You mean the back down. - That's what that said.
  476. 35:33 Well, uh, to bed is it?
  477. 35:35 All right, I'm on.
  478. 35:36 Fine.
  479. 35:37 Ladies and gentlemen, the fight's on. All we need now is a little mountain.
  480. 35:40 Anyone got a bottle? No.
  481. 35:42 Well, there's the, uh, the Langen Elk.
  482. 35:45 You better take some old hand with you.
  483. 35:47 There's rather a tricky bit about you.
  484. 35:48 and
  485. 35:49 About a thousand feet above the sunny girl.
  486. 35:52 Oh, well, I wonder if there's anybody in the town where we can get a guide.
  487. 35:55 - Of course you know somebody. - I think he is a whole port is an address.
  488. 35:59 As a matter of fact, if I weren't going away the day after tomorrow, I'd have to keep taking you off myself.
  489. 36:05 I'm sorry.
  490. 36:08 That would have been awful about it.
  491. 36:10 What pity.
  492. 36:11 Oh, of course, it can't be held.
  493. 36:15 I suppose you couldn't make it tomorrow, would you?
  494. 36:19 Well, it doesn't matter what I could, of course.
  495. 36:21 But how about you, General? It means breaking a date, wouldn't it? Why, and what for?
  496. 36:26 There's one climbed mountain in the middle of night.
  497. 36:29 Well, the guide is engaged.
  498. 36:31 While the boys are mobilizing, what about a dance for you and me? Sorry, I'm just a little old-fashioned wife.
  499. 36:36 How about it?
  500. 36:37 - Come on, sit down. - Excuse us, don't you?
  501. 36:46 Oh, my God.
  502. 36:47 Come on.
  503. 36:49 You were wonderful.
  504. 36:52 What are you going to do?
  505. 36:53 Wasn't it marvelous the way he fell for it?
  506. 36:55 Glad you enjoyed it anyway.
  507. 36:59 No, you wouldn't be coming with us if you did.
  508. 37:00 Okay, you've got to stay behind and look after Mrs. Kaper. Oh, why?
  509. 37:04 Well, somebody's gonna keep an occupied.
  510. 37:06 You better practice German conversation with us. But why can't I come with you? Oh, don't be absurd.
  511. 37:11 Oh, I see. I've got to stay at home with a stuffy old house, Frau, while you go out hunting and get all the fun. I call it rock.
  512. 37:17 - Mr. Brad, tell you something. - What? We aren't hunting a fox, we're hunting a man. An oldish man with a wife.
  513. 37:25 Oh, I know it's war and it's our job to do it. So it doesn't prevent us being murderous.
  514. 37:30 It's simple murder. All you can see in it is fun.
  515. 37:49 I'm going to go.
  516. 37:58 Oh, shit.
  517. 38:02 Come here.
  518. 38:03 Come on, come to me, will you?
  519. 38:06 Yeah.
  520. 38:08 Don't you take any notice of that funny dog.
  521. 38:22 I suppose your husband's a very good man, Janir.
  522. 38:25 Yes.
  523. 38:26 Then he is there.
  524. 38:27 all each safely.
  525. 38:31 Is this your home?
  526. 38:33 Mr. Ball's our home.
  527. 38:35 Where you lived before the war.
  528. 38:37 If you please.
  529. 38:38 They do not talk about divorce.
  530. 38:41 Will you sit down?
  531. 38:42 and we will have a little German conversation, yes?
  532. 38:46 I'd love to.
  533. 38:47 How many gentlemen do you know?
  534. 38:49 I'm afraid very little.
  535. 38:51 Hey.
  536. 38:51 Suppose you say to me the days of the week in Germany.
  537. 38:56 Mm-hmm.
  538. 38:57 Um...
  539. 38:58 - Son-tag?
  540. 39:00 Montag.
  541. 39:01 The Instaar?
  542. 39:03 - But what?
  543. 39:04 That is good.
  544. 39:05 but pronounce the word broader so. Sonntag, Montag.
  545. 39:11 Mmm.
  546. 39:11 - Yes. - Yes.
  547. 39:17 Please, ma'am, my mummy says, "Have you room for a new boy in your class?"
  548. 39:20 No, go away.
  549. 39:21 Pardon me, I was speaking to the teacher.
  550. 39:23 Do you understand German, Mr. Marvin?
  551. 39:26 Not a word.
  552. 39:27 They speak affluently.
  553. 39:30 I'll sit down here by this little girl.
  554. 39:33 I promise to be good. I won't pull your hair or anything.
  555. 39:37 Here.
  556. 39:38 Little girl shouldn't smoke cigarettes in class.
  557. 39:41 Would you like to try it, please?
  558. 39:43 Days of the week in German.
  559. 39:46 Sure.
  560. 39:48 Uh, Sontag?
  561. 39:50 Montag...
  562. 39:53 Mm-hmm.
  563. 39:54 Um...
  564. 39:56 He was gone.
  565. 39:58 Oh.
  566. 39:59 - You're a good one.
  567. 40:00 The pronunciation is terrible. I thought so. Look what it's done to the dog.
  568. 40:08 Hmph.
  569. 40:13 Oh, we ought to be back in comfortable time for dinner.
  570. 40:15 What appetites we'll have generally?
  571. 40:17 Sure, sure.
  572. 40:18 We'll have big fun.
  573. 40:20 When this thing is over...
  574. 40:26 Now, perhaps you are going to an odette.
  575. 40:29 And you wish to engage your room.
  576. 40:32 In what way would you say?
  577. 40:34 I would say I want a double bedroom and bath for myself and my beautiful wife.
  578. 40:38 This is my beautiful wife. No, no. I speak to Missy.
  579. 40:41 Ashen, didn't you?
  580. 40:43 What would you say?
  581. 40:44 I would say...
  582. 40:46 I want a single room.
  583. 40:48 - Yes.
  584. 40:50 is Mercer, a sign of Simmer.
  585. 40:54 Mm-hmm.
  586. 40:57 What's the...
  587. 41:01 Well, the...
  588. 41:03 Going's not too bad so far, is it? No, pretty good, really.
  589. 41:06 I suppose we saw the works child's preview, eh, General?
  590. 41:08 Oh, for me, just second nature.
  591. 41:12 Look, we've got a grand day for it.
  592. 41:14 Oh, yes. As Englishmen say, the more better the day, the more better the deed.
  593. 41:20 Correct.
  594. 41:21 Yes.
  595. 41:22 approximately
  596. 41:23 Mm-hmm.
  597. 41:25 Mm-hmm.
  598. 41:26 Sister, come. Come here, Sister. Come.
  599. 41:29 He is always troubled when his master is away.
  600. 41:33 He thinks of himself.
  601. 41:35 All the time.
  602. 41:37 I'll do that again.
  603. 41:41 Was kostet es für eine Nacht?
  604. 41:50 Come on.
  605. 41:51 This milk going through with it, too, yeah?
  606. 41:54 We'll be out of luck.
  607. 41:56 forget instructions of Mr. R. You prepared me finish.
  608. 42:00 Besides...
  609. 42:01 What about my money for this job?
  610. 42:03 What are you waiting for?
  611. 42:07 You two fellows still at it?
  612. 42:09 He makes again the back down and, I mean, the clamber.
  613. 42:13 He's tired, he says. Oh, look here, if you're tired, let's cut it out.
  614. 42:16 Good.
  615. 42:17 No, no, no. This is only trick.
  616. 42:18 For me losing my bet. Oh, you won your bet, all right, if you like. I'll pay you the money, darling. No, but there is my honor.
  617. 42:24 To make the climb.
  618. 42:25 All right, well then go and climb by yourself.
  619. 42:27 Stay back here with me, will you, Kepa?
  620. 42:29 No, please, please, come with me. No, you stay here. Let him carry on alone. No, no, no. I think I'd better go with him. It's a bit tricky up there.
  621. 42:35 Thank you. Now, look here. You can see us reach the top from the observatory over there.
  622. 42:38 Come on, General, I'll reach you.
  623. 42:43 Mm-hmm.
  624. 42:48 No, he's being a very bad dog.
  625. 42:51 Yes.
  626. 42:52 Mm-hmm.
  627. 42:54 Mm-hmm.
  628. 42:58 Mickey.
  629. 42:59 When your master comes home, I tell him how you behave.
  630. 43:02 And then what will happen, huh?
  631. 43:05 Now you lie there like a good little dog.
  632. 43:08 Now, Mrs. Pati,
  633. 43:10 We go back to our lesson.
  634. 43:12 You think 20 marks is too much for your room, so what do you say?
  635. 43:18 Come on.
  636. 43:19 That is too...
  637. 43:21 Oh, I don't know. What is it matter?
  638. 43:25 Sure.
  639. 43:26 Now you will see them easily.
  640. 43:28 Thanks very much.
  641. 43:43 You've never liked this before.
  642. 43:46 Monday night.
  643. 43:47 Mr. John.
  644. 43:48 Come on.
  645. 43:51 *crickets*
  646. 43:53 For God-keeper, for God's sake!
  647. 43:58 *whistling*
  648. 44:10 *crickets*
  649. 44:18 "Fassy honey has a throat, he's hearted children on pockets of room, but temple looks so dry, and he's dry, and he's dry, and he's dry, and he's dry."
  650. 44:53 The Red Catboy
  651. 44:55 You're a bit of quiet tonight.
  652. 44:57 Oh
  653. 44:58 What's the matter?
  654. 45:00 Bring you on a nice little steamer trip and this is how you behave.
  655. 45:06 No, sorry, I apologize.
  656. 45:09 Missing her dear little American friend, my person.
  657. 45:22 Hello, hello, General. How are you?
  658. 45:26 Here we are. Good evening. How have you been? Good evening.
  659. 45:30 How are you?
  660. 45:33 How did the police inquiry go?
  661. 45:35 Oh, perfectamente, perfectamente.
  662. 45:38 Beautiful accident. Very, very sad, but could not be helped.
  663. 45:43 poor, poor gentleman.
  664. 45:45 Didn't they find out any more about him?
  665. 45:46 Oh, nothing important, only...
  666. 45:49 photography of his wife when she was young.
  667. 45:51 and photography of little English village where he lived once.
  668. 46:17 Oh, come on.
  669. 46:19 I forgot.
  670. 46:20 I have telegram for you, waiting in hotels.
  671. 46:23 But me, gentlemen, I have not opened it.
  672. 46:27 Oh, yeah.
  673. 46:33 Come on, I'll have to be clean.
  674. 46:44 Chocolate.
  675. 46:46 Oh, my God.
  676. 46:56 Oh, dear.
  677. 47:39 It's a bucket.
  678. 47:50 The wrong man.
  679. 48:01 Seems very much like those buttons.
  680. 48:03 Are more coming here than we thought.
  681. 48:33 # # That we are, that we are, that we are... # # Lovely place to look for an idiot. So gay, such charming people. I think I've ever met so many really charming people in one place. I love them all, especially generals. I think generals are so... so funny, don't you? - Elsa, please. - And there's only more I've got to say.
  682. 48:55 I hope you won't be very schoolgirlish, but I would like to tell you how wonderful it's been meeting you, Mr. Ashton. I'd often wonder what you were like, of course, but now I know. I really know. Think of that. Shut up. For God's sake. Well, leave. You're trying to snub me.
  683. 49:09 Please don't. I'm being terribly sincere about all this. In fact, I'm going to be quite shameless. I'm going to tell you a secret. I fell in love with you at first sight. Now, this is a crush, man. A crash. Doesn't that amuse you? I thought it would. I've been so faithful to my love for you. I can't tell you how I'm kind I've been to poor Marvin. I'm glad it's over now. I see. It's over.
  684. 49:36 Yes, isn't it funny? I thought it never could end, but it has. Aren't you glad? It's so boring being idolized. Oh, yes, of course I'm glad.
  685. 49:46 Because after this you'll be able to treat the whole thing just as an ordinary job, something you're paid for.
  686. 49:52 You are paid a salary, I suppose. Oh, yes, that's what I'm doing it for, money. Didn't you know? It isn't.
  687. 49:59 - You know it isn't. - Yes, it is, I tell you.
  688. 50:04 Only somehow I don't like murder at close quarters as much as I expected. Or murderers for that matter.
  689. 50:13 Let John is on me.
  690. 50:18 I don't like them much either, as a matter of fact. Oh, don't make me laugh!
  691. 50:23 I'm going to go.
  692. 50:36 It hasn't been much fun for me either lately.
  693. 50:40 I wonder.
  694. 50:42 I didn't kill him, you know.
  695. 50:47 You were there when it was done.
  696. 50:49 Oh, yes. I was there all right.
  697. 50:52 Half a mile away at the other end of a telescope.
  698. 50:56 Yes, it's quite true.
  699. 50:58 Just one of those long-range accessories.
  700. 51:04 That doesn't make it any better, does it?
  701. 51:09 I think you are beginning to find that out too.
  702. 51:12 Aren't you?
  703. 51:15 Oh, I say, don't cry. Have a cigarette.
  704. 51:24 Why can't we give it all us?
  705. 51:29 Why, would that make any difference?
  706. 51:31 To us?
  707. 51:35 Yes, but I...
  708. 51:36 Thought you said it was all over.
  709. 51:49 You know,
  710. 51:50 You weren't the only one that crashed.
  711. 51:53 Hmm?
  712. 51:57 Come on, it's getting cold. That's good.
  713. 52:10 There are times, Mrs. Ashton.
  714. 52:14 Well, it is almost a pleasure to be alive. Is this one, Mr. Ashenden? I don't quite know yet. Just hold this cup and I'll let you know.
  715. 52:21 No.
  716. 52:25 Ah, yes, it is. Idiot. Here, here, it's my cup of tea.
  717. 52:28 No, no, no, no, no, business first.
  718. 52:29 - Are you finished that letter of resignation? - Yes, it is on the table.
  719. 52:33 Shouldn't think I'll be very pleased when you get this.
  720. 52:35 Especially the postscript.
  721. 52:43 Here, will you give me another cup of coffee, please?
  722. 52:46 What's going to happen when we get back to England? Oh, nothing much.
  723. 52:49 I'll just send somebody else out to take my place, that's all.
  724. 52:52 Why, it doesn't matter much to you, does it?
  725. 52:53 Here, answer the telephone. Answer it yourself, lazy. That's a rude.
  726. 52:59 Yes.
  727. 53:03 Hello. You've been coming to...
  728. 53:06 Mm-hmm.
  729. 53:07 Yes?
  730. 53:08 Oh.
  731. 53:09 Is that the ugliest woman in the world?
  732. 53:11 Who is it?
  733. 53:12 Your hated rival.
  734. 53:14 with all my hated rivals. What do you do this time?
  735. 53:16 Marvin.
  736. 53:18 Yes.
  737. 53:19 Yes, Hank. Much better.
  738. 53:22 Yes, all alone.
  739. 53:24 the neglected wife as usual.
  740. 53:27 Yes, will have my permission to spill it?
  741. 53:29 Oh!
  742. 53:31 That's very sudden and... Shattering. Shattering for a girl.
  743. 53:35 Yes.
  744. 53:37 Oh.
  745. 53:38 What?
  746. 53:39 Oh, Andre, I can't. Because I promised my husband I'd...
  747. 53:43 Oh, you better not let him hear that.
  748. 53:47 You can cut out that Darby and Jones stuff.
  749. 53:50 You see, I know your husband.
  750. 53:55 And look what you're passing up.
  751. 53:57 Me? Me?
  752. 53:58 A caveman with a college education.
  753. 54:01 What more do you want for heaven's sake?
  754. 54:03 You're breaking my back.
  755. 54:06 Well, this is my last word.
  756. 54:07 Listen.
  757. 54:16 pardon me while the brain reels.
  758. 54:19 Uh, first kiss.
  759. 54:21 Or am I just goofy?
  760. 54:22 Was that really you?
  761. 54:24 Yes, my love, not art, it wasn't.
  762. 54:26 Hey, what's the idea?
  763. 54:28 Whom have I been kissing? Hold on here, get a little help. Oh.
  764. 54:33 Hello.
  765. 54:34 Is that you at last?
  766. 54:36 Let me get this straight. Whom have I been kissing? You or the old man?
  767. 54:42 Very well. I'm satisfied.
  768. 54:44 Now get me.
  769. 54:47 This, madam, is the end.
  770. 54:49 The laws?
  771. 54:50 And goodbye.
  772. 54:51 And may you have quintuplets.
  773. 54:53 You know, I'm quite sorry for that chap. I believe he's really fond of you.
  774. 54:56 Isn't anyone else?
  775. 54:58 Me.
  776. 54:59 Oh, hello, General. Morning.
  777. 55:00 Come to join the celebrations? Yes.
  778. 55:02 making the
  779. 55:04 Morning husband and wife exercises?
  780. 55:06 No, not this time.
  781. 55:07 - A genuine article today. - One dozen daily.
  782. 55:12 I'm true, yes?
  783. 55:13 No, nothing but this general.
  784. 55:15 You've just come to a decision and we're celebrating it, that's all. Correct.
  785. 55:19 We're going away from here tomorrow.
  786. 55:21 I've resigned.
  787. 55:25 I agree simply.
  788. 55:27 Resign? What does this word mean? In middle of war? Impossible. Imagine, could I resign in middle of war? Or imagine whole army and front line would do this resign business? I wouldn't do it if I were in the army.
  789. 55:40 Hiding in the front lines of dance, I've cleaned their jobs in this. And then?
  790. 55:43 the most respectful
  791. 55:46 Mr. R.
  792. 55:47 does not accept your assignment, and he certainly will not. Oh, I can't help that.
  793. 55:53 then what
  794. 55:55 Listen, look here, I'm fed up with this whole business.
  795. 55:57 It isn't as if we've done any good since we've been out here so far.
  796. 56:00 We aren't trained bloodhounds either of us. What do you mean? What do you mean? They can quite easily find somebody much better than we are to take our place.
  797. 56:05 Maybe for you, maybe for you, the chemistine. Not for me. Me certainly.
  798. 56:15 Yes?
  799. 56:16 Then it's good.
  800. 56:17 Come here, I'll tell you. What is it now?
  801. 56:21 Why I am hearing this means very big, important news.
  802. 56:24 very best
  803. 56:25 up to now. I dare say, I dare say. Directamente to men.
  804. 56:29 To the right men. No making mistakes this time. Please. No good. Nothing doing. I'm finished. I'm finished. Me, me, promise me. Do everything. You only give advice.
  805. 56:38 Word of honor, I mean, promise.
  806. 56:45 Don't go.
  807. 56:47 It's all right, I've shrugged more than a few minutes.
  808. 56:51 and Susan
  809. 56:55 It's all right.
  810. 56:57 I'll do best.
  811. 57:10 I'm sorry.
  812. 57:18 Well, I was...
  813. 57:24 Yeah, we've got to park your room anyway.
  814. 57:25 Yes, but here is my little baby, Salon.
  815. 57:29 Whoa, whoa!
  816. 57:30 Rida, caridissima!
  817. 57:32 How have you been all the time?
  818. 57:34 I brought your very fine gentleman friend of mine to see you.
  819. 57:38 Oh, why have you come into my bedroom in hell? I'm a nice girl.
  820. 57:41 So I got it. How'd you do?
  821. 57:43 Isn't she sweet?
  822. 57:44 Please, sit down.
  823. 57:47 Your secretary general, I suppose.
  824. 57:49 No, yes, my private secretariat. Isn't she sweet? Oh, come on, come on, General. What's it all about? There is very much all about. You wait and see. You see, last night we met in August's house. I play...
  825. 58:00 my little penny game with her.
  826. 58:02 So?
  827. 58:03 We get acquainted very quickly.
  828. 58:05 Of course, you would. We also thought.
  829. 58:07 after all. I wonder what about? Little conversation.
  830. 58:10 She tells me about her fiancé.
  831. 58:13 What is he here to?
  832. 58:14 Oh, no, no, no, no. He works in chocolate factory on the top floor.
  833. 58:19 But he's in big money. He makes about four times as big money as any other Clark.
  834. 58:24 And here I come to the point.
  835. 58:26 I can't believe it.
  836. 58:28 You go and play find and seek with him.
  837. 58:32 Yes?
  838. 58:33 Here, baby.
  839. 58:35 WHISTLE BLOWS
  840. 58:36 Brian!
  841. 58:37 Ha! Yes!
  842. 58:39 You see this?
  843. 58:40 Chocolate factory is not only factory, but it is also, and now you will see,
  844. 58:44 that me very first got bloodhound, that me big patriot.
  845. 58:48 You know what it is?
  846. 58:49 You know...
  847. 58:50 No, no, no, I don't know. It's the big...
  848. 58:52 German.
  849. 58:53 five post office.
  850. 58:55 It's in the clearinghouse for information.
  851. 58:57 Yes, exactly. But secret, very secret, no one knows.
  852. 59:00 Even manager does not know. Only one or two workmen know.
  853. 59:04 - I'm not shooting her boyfriend last night.
  854. 59:05 Exactly.
  855. 59:08 Yesterday, a message came through.
  856. 59:09 which is a very big sensation.
  857. 59:12 Message for someone.
  858. 59:14 You mean for the man we'll after?
  859. 59:16 Exactly.
  860. 59:16 Are you quite sure of that?
  861. 59:18 positive
  862. 59:19 Well, I'm doing this time, really.
  863. 59:20 That's what I said.
  864. 59:22 Yes, but did the boyfriend mention any names? No, he did not. Well, then what's the good of that?
  865. 59:26 But he knows.
  866. 59:27 And I'm quite sure he will tell for a small money amount. Five thousand francs!
  867. 59:33 What?
  868. 59:34 Are you crazy?
  869. 59:35 Are you completely crazy?
  870. 59:37 Didn't I give you already big money amount for you?
  871. 59:40 One kind of friend?
  872. 59:41 Huh?
  873. 59:42 Oh, that was for me? Yes? The others for Carl. Oh. Because we want to get married.
  874. 59:46 Room 2, 3, 4, please.
  875. 59:57 Hello? Listen, Elsa, something's happened. I'm going to go out to the house.
  876. 1:00:00 A couple of hours.
  877. 1:00:00 Will you send one of the boys down to the hall with my head and coat?
  878. 1:00:03 We can easily still catch the night train.
  879. 1:00:09 Did you get that?
  880. 1:00:11 Yeah.
  881. 1:00:14 I'm sorry, my dear, but I can't help it.
  882. 1:00:16 I must.
  883. 1:00:18 No, I haven't time to explain the details, but I'll let you know as soon as I get back.
  884. 1:00:22 I shan't be long, really.
  885. 1:00:26 You do understand, then, Joseph?
  886. 1:00:28 Yeah.
  887. 1:01:06 I'll go and find them at Semi-Gold.
  888. 1:01:10 Come along. Here's our guy.
  889. 1:02:40 I'm going to go.
  890. 1:03:15 Police, please.
  891. 1:03:20 What is that?
  892. 1:03:21 I speak of the Musharwere.
  893. 1:03:23 Fiesta?
  894. 1:03:26 What, you have two English Spione?
  895. 1:03:29 What's going on? - The Central! - The Central!
  896. 1:03:36 Ah, the director of the chocolate factory.
  897. 1:03:40 Two English, no one.
  898. 1:03:44 I'm going to go.
  899. 1:03:46 Are you two Englishmen here?
  900. 1:03:49 Englander?
  901. 1:03:51 You mean the two are not going to be with a school?
  902. 1:03:53 Yeah.
  903. 1:03:54 Huh?
  904. 1:03:54 Yeah, yeah, they're since flying with the fabrique.
  905. 1:03:57 Yeah.
  906. 1:03:58 Yeah, yeah, yeah, yeah, sure, yeah.
  907. 1:04:01 Make the big deal ready for Portal 2. We have to go.
  908. 1:05:44 Come on.
  909. 1:06:44 Oh, my God.
  910. 1:07:34 No, no.
  911. 1:07:34 and found
  912. 1:07:35 Oh, you know, from me, he's really a fan.
  913. 1:07:41 You have the money.
  914. 1:07:46 What does it mean? No.
  915. 1:08:13 My other trunk.
  916. 1:08:14 Has it come down yet?
  917. 1:08:16 Yes, madam.
  918. 1:08:17 But there is no label on it.
  919. 1:08:19 Where shall I send it to?
  920. 1:08:21 Oh, hi.
  921. 1:08:23 I don't know.
  922. 1:08:25 Could you send it to the station and...
  923. 1:08:26 in my name to be called for.
  924. 1:08:28 Yes, madam.
  925. 1:08:30 And there's my letter...
  926. 1:08:40 Hello, Elsa.
  927. 1:08:41 You're leaving.
  928. 1:08:42 Yes.
  929. 1:08:43 Madam, this is the end.
  930. 1:08:45 Didn't you hear me? Yes, I didn't think you meant it seriously. I have to leave, all right.
  931. 1:08:49 I just had a hurry-up call back home, so if I don't check out now, it's...
  932. 1:08:53 Goodbye to seeing the rest of little old Europe this trip anyway.
  933. 1:08:56 Where are you going?
  934. 1:08:57 to Greece first, I think.
  935. 1:09:00 I was leaving this for you.
  936. 1:09:02 Something to remember me by.
  937. 1:09:09 I'm going to go.
  938. 1:09:18 Where are you going?
  939. 1:09:19 I haven't the faintest idea.
  940. 1:09:27 I think.
  941. 1:09:28 I look as though I've been crying.
  942. 1:09:31 No, I don't think so. Why? Anything wrong?
  943. 1:09:35 I need him too.
  944. 1:09:37 What about your husband?
  945. 1:09:42 I haven't went.
  946. 1:09:44 Anymore?
  947. 1:09:45 But look, only this morning you told me... Please don't ask me to explain.
  948. 1:09:49 Well, the car is waiting.
  949. 1:09:53 I could come with you, couldn't I?
  950. 1:09:56 Oh, I couldn't. I mean... I promised I wouldn't get in your way or interfere with anything you wanted to do. I couldn't...
  951. 1:10:02 I mean, shouldn't you go back to England? Oh, no.
  952. 1:10:05 I couldn't do that.
  953. 1:10:07 There, least of all.
  954. 1:10:09 I'd be terrified.
  955. 1:10:10 Please let me come, won't you?
  956. 1:10:12 Only a few minutes left, sir.
  957. 1:10:14 Please.
  958. 1:10:17 All right, come on.
  959. 1:10:19 I'm going to go.
  960. 1:10:25 Yes, sir. Yes.
  961. 1:10:28 No, sir.
  962. 1:10:29 Mrs. Heshenden has just left, sir.
  963. 1:10:32 Yes, sir.
  964. 1:10:33 left the hotel.
  965. 1:10:36 Mr. Marvin, sir.
  966. 1:10:38 He's gone too.
  967. 1:10:40 Yes.
  968. 1:10:41 to the railway station with Madame.
  969. 1:10:45 What do you think?
  970. 1:10:48 Don.
  971. 1:10:49 Is this funny?
  972. 1:10:51 Elsa's gone with him.
  973. 1:10:52 No.
  974. 1:10:53 She must have been on to him after all.
  975. 1:10:54 She's the first-classes blockhounds of all of us. Come on!
  976. 1:10:59 What an actress. She jumps ahead of us all the time.
  977. 1:11:14 Colonel Anderson!
  978. 1:11:20 Here you are. Here's your mat, sir.
  979. 1:11:22 Upside down. Oh, sorry. Sit down.
  980. 1:11:28 What's the matter, feeling wet?
  981. 1:11:29 Oh, no.
  982. 1:11:31 Mm-hmm.
  983. 1:11:31 Clear with that girl, getting ahead of them like that.
  984. 1:11:34 With any luck, I shouldn't have known to get him on the Greek front here.
  985. 1:11:37 here before he sits out of neutral territory into Turkey.
  986. 1:11:40 Supposing Ashenden makes a mess of it.
  987. 1:11:43 We'll see about that.
  988. 1:11:44 Get me on my headquarters in the line when I get back.
  989. 1:11:47 You don't think there's any danger to this man getting through?
  990. 1:11:50 I don't.
  991. 1:11:51 Get me that line.
  992. 1:11:57 I'm
  993. 1:12:21 Not as hope. It's no use. No one's allowed on the platform until the train starts.
  994. 1:12:26 The idea, maybe if I give money to this son of a ranking file, you know about this?
  995. 1:12:32 I hate these people. They only do everything only for money. - Well, go on, try and see what happens. - Hello. Hello.
  996. 1:12:38 Money, boxes? One, two.
  997. 1:12:47 More ones. Come here, more batches. Come here. One, two, now. - - What are you doing with this mag? Me, general, you know. Me go to station master.
  998. 1:12:58 You will see.
  999. 1:12:59 Hello, station master? Listen, I'm going to get some cigarettes. You'd better go into the compartment. Have I time to get a magazine? Yes.
  1000. 1:13:12 Elsa!
  1001. 1:13:14 Elsa, darling! Oi!
  1002. 1:13:17 Hey!
  1003. 1:13:18 You of all people...
  1004. 1:13:20 Oh, no, I can't get out of here. They won't let me through. How are you, darling? Oh, I'm so glad to see you. How on earth did you get here?
  1005. 1:13:26 Why do you take that risk?
  1006. 1:13:40 No more killing, no more Mexicans.
  1007. 1:13:43 He has permission! I have permission! Here, here! He has permission, here!
  1008. 1:13:51 Oh, everybody has permission. Oh, our beautiful detective. How else did you find out that Mother is in our house?
  1009. 1:14:00 You didn't know?
  1010. 1:14:02 I'd be crazy. He's fooled her, too. Where is he now?
  1011. 1:14:06 He's got to get some cigarettes. And of course he hasn't got onto the train that's going to Constantinople. Constantinople.
  1012. 1:14:10 Just in the territory.
  1013. 1:14:29 I've seen it. He's just getting on. But it's ridiculous. It's impossible. He's been so kind and friendly. Yes, friendly. Much too friendly.
  1014. 1:14:38 My instincts mean treating them all the time.
  1015. 1:14:40 Now we do our last job, then we get to the point in view. You must be fooling. That's what it is. It's fooling. It's Mr. Jones.
  1016. 1:14:50 Wait until I come back. The red coat is in the back of your head.
  1017. 1:14:55 I'm coming with you.
  1018. 1:15:00 - Bring your name to my book. - Yes.
  1019. 1:15:10 We're out of mutual country. Listen, Elsa, when the man comes to the picket... I'm not going to kill him.
  1020. 1:15:16 You mad. Come away from that, that's all. I'm not going to let you do this. It's cold-blooded murder. You know you're trying to stop us now. It's got to be done, that's all. We'll be in enemy country in a few minutes. We must be at the frontier now. Look here. I've got to do it. It's my job. You know that perfectly well. I've got to do anything in the world. You're a moment of pain, but I couldn't see you dead be made to go through with it. Don't be clear at all when I see you. Of course I do. You know that quite well.
  1021. 1:16:25 Mr. Crowe!
  1022. 1:16:28 All right.
  1023. 1:16:30 That's a pretty sight for me.
  1024. 1:16:34 You see that spy?
  1025. 1:16:37 Free today. Only. To English?
  1026. 1:16:41 No, American.
  1027. 1:16:42 Come on.
  1028. 1:16:43 I have leaped Chicago Town.
  1029. 1:16:45 What?
  1030. 1:16:46 Three years, where you live.
  1031. 1:16:48 Uh, Hollywood.
  1032. 1:16:50 You're in Latin America.
  1033. 1:16:51 Sure.
  1034. 1:16:52 Time.
  1035. 1:16:54 Baby.
  1036. 1:17:00 Now you can tell. Please.
  1037. 1:17:14 Come on.
  1038. 1:17:26 Why are you on the sink?
  1039. 1:17:28 Because I'm going to come to San Antonio for it.
  1040. 1:17:31 Are you alone?
  1041. 1:17:34 Yes.
  1042. 1:17:36 Come along with me.
  1043. 1:17:41 No problem.
  1044. 1:17:43 I'm going to go.
  1045. 1:18:13 Oh
  1046. 1:18:16 Hold on, hold on!
  1047. 1:18:20 I'd better keep this handy.
  1048. 1:18:24 Amen.
  1049. 1:18:24 You see, I don't trust him.
  1050. 1:18:29 Now what are you doing on this train? I told you.
  1051. 1:18:31 You're here on business.
  1052. 1:18:33 Old man R's business.
  1053. 1:18:34 You're in the spy racket too, aren't you? I don't know what you're talking about. All right.
  1054. 1:18:39 I can place you now the lovely neglected white and I felt.
  1055. 1:19:09 Do you realize where you are?
  1056. 1:19:12 You're in my country.
  1057. 1:19:13 Enemy fairs, Harry.
  1058. 1:19:21 Where are you, too, friends?
  1059. 1:19:23 On the train somewhere? How on earth did they get on this train?
  1060. 1:19:27 It's their headache, not mine.
  1061. 1:19:32 But if they have... they're dead men.
  1062. 1:19:41 Why don't you have the train searched? Exactly what I'm going to do. When you do, perhaps you'll believe me.
  1063. 1:19:48 Oh, my God.
  1064. 1:20:00 I hope you're not bluffing me.
  1065. 1:20:02 Why should I? Surely a clever man like you can guess.
  1066. 1:20:05 Guess what?
  1067. 1:20:07 Why, I've trailed halfway across Europe with you.
  1068. 1:20:13 Really?
  1069. 1:20:17 How long has this been going on?
  1070. 1:20:19 I think from the first day we met.
  1071. 1:20:22 Before the villain was unmasked?
  1072. 1:20:24 From the very beginning.
  1073. 1:20:27 How did you find out about me? Ashman told me. When?
  1074. 1:20:30 Or a long time ago. It made no difference. None.
  1075. 1:20:37 You're either the biggest double-crossing liar I've ever met or...
  1076. 1:21:00 - Congratulations on the punctuality of your airport. - I'm afraid they've made a mistake. They've taken you off the train before they started this. - I tell you, I've got nothing to do with it. You know I'm here.
  1077. 1:21:18 - I don't know that arm, making sure. - If your friends fail, the enemy must step in. - What, I'm afraid you're waiting.
  1078. 1:21:29 - I'm afraid you're waiting.
  1079. 1:21:32 Chivalrous German spy protects British lady from British bombs.
  1080. 1:21:38 That's very funny, isn't it?
  1081. 1:21:39 Come on.
  1082. 1:21:41 Too bad I didn't love him.
  1083. 1:21:43 I never did.
  1084. 1:21:45 You know that, don't you?
  1085. 1:21:55 Meal, very meal.
  1086. 1:22:01 Mrs. Ashland, you use too much lipstick.
  1087. 1:22:03 Well gentlemen,
  1088. 1:22:05 What's on your mind, General?
  1089. 1:22:10 My dear friend, you have given us big, big trouble for a long time. Couldn't you tell us in Switzerland? Sorry, but I had other business to attend to first. That organist in the church, for instance. Unfortunately. Yes. And now is yours, sir. Yes, it looks like it.
  1090. 1:22:28 - You may certainly. - Sure. I congratulate you all.
  1091. 1:22:33 Especially, madame. Excuse me.
  1092. 1:22:38 Convenient coincidence.
  1093. 1:22:41 Heaven is always with a good cause. I think we can forego the Thanksgiving service.
  1094. 1:22:49 Well, I'll go.
  1095. 1:22:50 When does the shooting begin? Nelson, please go outside.
  1096. 1:22:54 New gun.
  1097. 1:22:56 This is Maddox, you know.
  1098. 1:22:59 He's sad.
  1099. 1:23:06 You go with madame. Our conference will be very short. Call you back soon. Wait a minute.
  1100. 1:23:12 Whatever I said just now, I meant it.
  1101. 1:23:14 I think if you're dead, then if you do this. You realize it might be the end of our forties, isn't he? What difference does that make to me? His life against a life of thousands. What do I care about them? What do I care about him?
  1102. 1:23:23 We don't get hundreds on our functions. Listen.
  1103. 1:23:40 Come on.
  1104. 1:23:48 I'm going to go.
  1105. 1:24:05 I'm going to go.
  1106. 1:24:25 Come on.
  1107. 1:24:28 I'm going to go.
  1108. 1:24:30 What, sir?
  1109. 1:24:32 Uh-huh.
  1110. 1:24:34 Come on.
  1111. 1:24:45 General, I'm not too much.
  1112. 1:25:32 Oh, my God.
The video itself is not here and never will be; only the shot list, one small frame per shot, and text read off the frames by OCR. The status badge is the registry's finding about the copyright record, which is separate from whether this particular Archive copy is the film it says it is.
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NEW ENEMY PLEDGE Ma the police not onty theer of told to nad even the he wert he war te the with ine Worn out by war strain Captain Edgar Brodie succumbed un- mer expectedly an attack of cart thes to ge te influenza while home Le the cow of an leave from the Western
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EL EXCELSIO ON ESPION AGE WORK TAKE STEPS
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Lian irche
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181 54:32–54:48 15.8s similar
shot 182
182 54:48–57:05 137.1s similar
shot 183
183 57:05–57:18 12.4s similar
shot 184
184 57:18–57:30 12.1s similar
shot 185
185 57:30–57:49 19.2s similar
shot 186
186 57:49–57:52 2.8s similar
shot 187
187 57:52–57:54 2.3s similar
shot 188
188 57:54–58:05 11.2s similar
shot 189
189 58:05–58:14 8.5s similar
shot 190
190 58:14–58:16 1.6s similar
shot 191
191 58:16–58:18 2.2s similar
shot 192
192 58:18–58:24 6.1s similar
shot 193
193 58:24–58:27 3.2s similar
shot 194
194 58:27–58:40 12.7s similar
shot 195
195 58:40–59:32 52.2s similar
shot 196
196 59:32–59:33 1.6s similar
shot 197
197 59:33–59:38 4.5s similar
shot 198
198 59:38–59:47 9.2s similar
shot 199
199 59:47–59:58 10.5s similar
shot 200
200 59:58–1:00:05 7.3s similar
shot 201
201 1:00:05–1:00:07 2.3s similar
shot 202
202 1:00:07–1:00:10 2.5s similar
shot 203
203 1:00:10–1:00:12 1.7s similar
shot 204
204 1:00:12–1:00:15 3.8s similar
shot 205
205 1:00:15–1:00:19 4.0s similar
shot 206
206 1:00:19–1:00:23 3.2s similar
shot 207
207 1:00:23–1:00:24 1.9s similar
shot 208
208 1:00:24–1:00:27 2.9s similar
shot 209
209 1:00:27–1:00:42 14.3s similar
shot 210
210 1:00:42–1:00:45 3.7s similar
shot 211
211 1:00:45–1:00:56 10.2s similar
shot 212
212 1:00:56–1:01:29 32.9s similar
shot 213
213 1:01:29–1:01:43 14.3s similar
shot 214
214 1:01:43–1:01:47 4.3s similar
shot 215
215 1:01:47–1:01:50 2.5s similar
shot 216
216 1:01:50–1:01:52 2.4s similar
shot 217
217 1:01:52–1:01:59 6.8s similar
shot 218
218 1:01:59–1:02:07 8.1s similar
shot 219
219 1:02:07–1:02:09 2.1s similar
shot 220
220 1:02:09–1:02:12 2.4s similar
shot 221
221 1:02:12–1:02:14 2.6s similar
shot 222
222 1:02:14–1:02:16 2.2s similar
shot 223
223 1:02:16–1:02:18 2.1s similar
shot 224
224 1:02:18–1:02:25 6.7s similar
shot 225
225 1:02:25–1:02:31 6.0s similar
shot 226
226 1:02:31–1:02:34 2.5s similar
shot 227
227 1:02:34–1:02:38 4.4s similar
shot 228
228 1:02:38–1:02:41 2.4s similar
shot 229
229 1:02:41–1:02:43 2.8s similar
shot 230
230 1:02:43–1:02:48 4.7s similar
shot 231
231 1:02:48–1:02:51 2.8s similar
shot 232
232 1:02:51–1:02:55 4.5s similar
shot 233
233 1:02:55–1:02:58 2.2s similar
shot 234
234 1:02:58–1:03:01 3.4s similar
shot 235
235 1:03:01–1:03:05 3.7s similar
shot 236
236 1:03:05–1:03:06 1.5s similar
shot 237
237 1:03:06–1:03:13 6.8s similar
shot 238
238 1:03:13–1:03:16 3.0s similar
shot 239
239 1:03:16–1:03:21 4.7s similar
shot 240
240 1:03:21–1:03:23 2.3s similar
shot 241
241 1:03:23–1:03:28 4.8s similar
shot 242
242 1:03:28–1:03:29 1.0s similar
shot 243
243 1:03:29–1:03:32 3.1s similar
shot 244
244 1:03:32–1:03:34 2.5s similar
shot 245
245 1:03:34–1:03:38 3.4s similar
shot 246
246 1:03:38–1:04:00 22.4s similar
shot 247
247 1:04:00–1:05:10 69.7s similar
shot 248
248 1:05:10–1:05:20 9.8s similar
shot 249
249 1:05:20–1:05:23 2.8s similar
shot 250
250 1:05:23–1:05:26 3.4s similar
shot 251
251 1:05:26–1:05:43 16.9s similar
shot 252
252 1:05:43–1:05:50 7.3s similar
shot 253
253 1:05:50–1:05:52 1.9s similar
shot 254
254 1:05:52–1:06:10 18.2s similar
shot 255
255 1:06:10–1:06:14 4.0s similar
shot 256
256 1:06:14–1:06:16 2.1s similar
shot 257
257 1:06:16–1:06:21 4.3s similar
shot 258
258 1:06:21–1:06:23 2.3s similar
shot 259
259 1:06:23–1:06:26 2.8s similar
shot 260
260 1:06:26–1:06:28 2.3s similar
shot 261
261 1:06:28–1:06:31 3.1s similar
shot 262
262 1:06:31–1:06:34 2.5s similar
shot 263
263 1:06:34–1:06:36 2.1s similar
shot 264
264 1:06:36–1:06:38 1.8s similar
shot 265
265 1:06:38–1:06:42 4.3s similar
shot 266
266 1:06:42–1:06:47 4.8s similar
shot 267
267 1:06:47–1:06:51 4.0s similar
shot 268
268 1:06:51–1:06:52 1.4s similar
shot 269
269 1:06:52–1:06:54 2.0s similar
shot 270
270 1:06:54–1:06:58 3.6s similar
shot 271
271 1:06:58–1:07:00 1.9s similar
shot 272
272 1:07:00–1:07:04 4.5s similar
shot 273
273 1:07:04–1:07:11 7.0s similar
shot 274
274 1:07:11–1:07:30 19.2s similar
shot 275
275 1:07:30–1:07:37 6.8s similar
shot 276
276 1:07:37–1:07:39 1.7s similar
shot 277
277 1:07:39–1:07:48 9.5s similar
shot 278
278 1:07:48–1:07:52 3.8s similar
AMASKUS NENNT
shot 279
279 1:07:52–1:07:54 1.8s similar
shot 280
280 1:07:54–1:07:56 1.8s similar
shot 281
281 1:07:56–1:07:58 2.1s similar
shot 282
282 1:07:58–1:08:33 35.1s similar
shot 283
283 1:08:33–1:08:35 2.1s similar
shot 284
284 1:08:35–1:08:38 3.0s similar
shot 285
285 1:08:38–1:08:56 18.2s similar
shot 286
286 1:08:56–1:09:01 4.5s similar
shot 287
287 1:09:01–1:09:05 4.4s similar
shot 288
288 1:09:05–1:09:10 4.3s similar
shot 289
289 1:09:10–1:09:12 2.1s similar
shot 290
290 1:09:12–1:09:13 1.7s similar
shot 291
291 1:09:13–1:09:17 3.3s similar
shot 292
292 1:09:17–1:09:19 2.0s similar
shot 293
293 1:09:19–1:09:50 31.7s similar
shot 294
294 1:09:50–1:09:54 3.5s similar
shot 295
295 1:09:54–1:09:57 3.3s similar
shot 296
296 1:09:57–1:10:00 2.9s similar
shot 297
297 1:10:00–1:10:04 3.5s similar
shot 298
298 1:10:04–1:10:08 4.3s similar
shot 299
299 1:10:08–1:10:10 2.1s similar
shot 300
300 1:10:10–1:10:11 1.4s similar
shot 301
301 1:10:11–1:10:14 2.5s similar
shot 302
302 1:10:14–1:10:15 1.0s similar
shot 303
303 1:10:15–1:10:18 2.8s similar
shot 304
304 1:10:18–1:10:23 5.5s similar
shot 305
305 1:10:23–1:10:27 3.3s similar
shot 306
306 1:10:27–1:10:43 16.6s similar
shot 307
307 1:10:43–1:10:47 4.3s similar
shot 308
308 1:10:47–1:11:40 52.5s similar
shot 309
309 1:11:40–1:12:14 33.6s similar
shot 310
310 1:12:14–1:12:18 4.0s similar
shot 311
311 1:12:18–1:13:01 43.0s similar
shot 312
312 1:13:01–1:14:01 60.4s similar
shot 313
313 1:14:01–1:14:04 3.3s similar
shot 314
314 1:14:04–1:14:13 8.1s similar
shot 315
315 1:14:13–1:14:21 8.1s similar
shot 316
316 1:14:21–1:14:51 29.9s similar
shot 317
317 1:14:51–1:15:38 47.1s similar
shot 318
318 1:15:38–1:15:46 8.3s similar
shot 319
319 1:15:46–1:17:02 76.5s similar
shot 320
320 1:17:02–1:17:07 4.8s similar
shot 321
321 1:17:07–1:17:09 1.9s similar
shot 322
322 1:17:09–1:17:12 2.5s similar
shot 323
323 1:17:12–1:17:31 19.2s similar
shot 324
324 1:17:31–1:18:38 66.8s similar
shot 325
325 1:18:38–1:18:47 9.2s similar
shot 326
326 1:18:47–1:19:41 54.4s similar
shot 327
327 1:19:41–1:19:59 18.1s similar
shot 328
328 1:19:59–1:20:43 43.4s similar
shot 329
329 1:20:43–1:20:49 6.6s similar
shot 330
330 1:20:49–1:21:13 23.7s similar
shot 331
331 1:21:13–1:21:18 4.5s similar
shot 332
332 1:21:18–1:21:21 3.8s similar
shot 333
333 1:21:21–1:22:16 54.6s similar
shot 334
334 1:22:16–1:22:24 7.5s similar
shot 335
335 1:22:24–1:22:30 6.3s similar
shot 336
336 1:22:30–1:22:36 6.1s similar
shot 337
337 1:22:36–1:22:53 17.1s similar
shot 338
338 1:22:53–1:23:01 8.2s similar
shot 339
339 1:23:01–1:23:11 10.0s similar
shot 340
340 1:23:11–1:23:18 6.3s similar
shot 341
341 1:23:18–1:23:19 1.3s similar
shot 342
342 1:23:19–1:23:20 1.4s similar
shot 343
343 1:23:20–1:23:25 4.6s similar
shot 344
344 1:23:25–1:23:26 0.8s similar
shot 345
345 1:23:26–1:23:32 6.7s similar
shot 346
346 1:23:32–1:23:33 0.7s similar
shot 347
347 1:23:33–1:23:47 14.2s similar
shot 348
348 1:23:47–1:23:50 2.3s similar
shot 349
349 1:23:50–1:24:02 12.7s similar
shot 350
350 1:24:02–1:24:23 20.7s similar
shot 351
351 1:24:23–1:24:40 17.4s similar
shot 352
352 1:24:40–1:24:42 1.5s similar
shot 353
353 1:24:42–1:25:20 38.2s similar
shot 354
354 1:25:20–1:25:32 11.4s similar
shot 355
355 1:25:32–1:25:34 2.7s similar
shot 356
356 1:25:34–1:25:36 2.1s similar
shot 357
357 1:25:36–1:25:55 18.3s similar