All language subtitles for The.Alfred.Hitchcock.Hour.S01E06.Final.Vow.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

("Alfred Hitchcock" theme song)

(tattoo machine buzzing)

- Oh, good evening.

I'm taking up a new hobby,
tattooing.

It's a rather neglected
art form, a shame really.

For it has many advantages
over more conventional forms.

Tattooing adds a dimension

most paintings do not have,
motion,

and it sometimes adds the
element of sound

when I stick the needle in too
far.

Actually, I'm only an
apprentice.

I'm practicing on this
piece of raw beefsteak.

My assignment is to use
varying shades of brown

to make the steak look medium
rare.

In this way, if the aspiring
artist can't sell his canvases,

he can always eat them.

I think tattooing will
revolutionize the cosmetic
field.

If your lips aren't red enough,

or you want the roses put
in your cheeks, allow me,

or if you wish to avoid military
service,

I'm quite good at varicose
veins.

But enough about body murals.

We are almost ready for
tonight's narrative.

First, however, an item that is
certain

to get under your skin.

(suspenseful music)

(mellow music)

(glass crashing)

(dramatic music)

- Oh, I'm so sorry.

- It's all right, Sister,
perfectly all right.

No, please, please, it's my
duty.

- Just let me help.

Excuse me.

(dramatic music)

- Oh, Sister, no tears again.

You've cried a whole
river these past weeks.

- Sorry, Sister Jem.

I have only myself to blame.

- You're not thinking of what
we spoke of the other day?

- I haven't been thinking
of anything, Sister.

I've tried not to think.

- Have you prayed?

- I've prayed, Sister.

I've prayed for humility and
obedience,

but there was no answer in my
heart,

Sister Jem, only silence!

- Hush, child.

- If I'm wrong, Sister,
if I truly belonged here,

wouldn't I know?

Wouldn't I feel it inside?

- You must give yourself time,
my child.

These things can't be hurried.

- I don't feel worthy of
renewing my first vows,

- You mustn't talk like that.

Oh, dear, Reverend
Mother wants to see you.

She's with Sister Lydia in the
infirmary.

- [Sister Pamela] Is Sister
Lydia worse?

- No, it's about something else.

Go on, hurry.

(whimsical orchestral music)

- [Sister Pamela] Good
morning, Reverend Mother.

- Good morning, Sister Pamela.

Sister Lydia wants to talk to
you.

- [Sister Pamela] Yes, Reverend
Mother.

- I'm so glad you're here,
Sister.

Please, sit down.

I know how troubled you are,
Sister.

I know the signs.

I was a novice myself at your
age.

I remember all my tears and
all my unanswered questions.

Then something happened.

I was teaching in the parochial
school and there was a boy.

His name was William Michael
Downey.

A wild, unruly boy.

He became a criminal, Sister.

- I'm sorry for you, Sister.

- For 30 years I wrote to him

hoping that the change would
take place.

He never answered until now.

He wants me to come and
see him in his fine home.

- I'm happy for you, Sister.

- Of course I can't go now,

but I want you to go for me.

I want you to see what
faith and prayer will do.

Will you do it for me, Sister?

- I'll be honored.

(train horn blowing)

- [Train Announcer] The
Pacemaker
arriving on track eight.

- We'll have to find a bus

that goes past Mr. Downey's
house.

- Oh dear, I do hope it
won't be a long ride.

I, I'm exhausted and it's so
warm.

- It's a long trip.

- Well, I don't mind.

I'll certainly sleep like a log
tonight.

Even in a strange bed
at a hotel (chuckles).

- Oh, Sister.

(whimsical orchestral music)

- Come in, Sisters.

Mr. Downey will be right with
you.

Please make yourselves
comfortable.

- Thank you.

Ah, so nice and cool in here.

- Sister Jem, did you notice
this painting, Sister?

(Sister Jem sighs)

- How do you do, Sister?

- I'm Sister Pamela.

This is Sister Jem.

I'm afraid the trip has tired
her out.

- No, no, don't wake her up.

I'd much rather have a
little private talk with you.

I'd feel much better if you sit
down.

- Of course.

- How's Sister Lydia?

- Not well, but very happy
to hear from you at last.

She's told me all about you.

- Yes, very dear lady.

She never lost faith in
me in spite of everything.

For 30 years she kept up with
me,

in prison and out, a card a
Christmas,

a letter on my birthdays,

and I've got a hunch she's still
mentions me in her prayers.

- I'm sure of it.

You should be very glad.

- Glad, Sister?

I suppose you think her
prayers have helped me.

- Yes, I do.

- Have all your prayers
been successful too?

- Your home is lovely, Mr.
Downey.

You must be a great art
collector.

- It's funny, isn't it, an old
heathen like me (chuckles)?

You still haven't answered
my question, Sister.

- Prayers aren't business
deals, Mr. Downey.

They can't be judged as
successes or failures.

- Sounds like your prayers
haven't been working out so
good.

Then you're new at the game.

You look very young, Sister.

I suppose you haven't
been at the convent long.

- No.

- It was a lot better than
facing

a cold, cruel world, wasn't it?

- Why did you say that?

- Because there's
something about you that.

Look, Sister, I've been
through it all myself.

The world's a noisy, messy
place, full of problems,

so why ask for trouble
if you can avoid it.

Run from it.

Find a quiet hiding place,
retreat.

- Please.

- I'm not blaming you, Sister.

That's not what I got you here
for.

- Yes, sir.

- Bring it in, Arnold.

- Yes, sir.

- Our business won't take long,
Sister,

but I hope you and your
friend will stay for dinner.

- We had planned to eat
at the hotel, Mr. Downey.

Sister Jem is very tired.

- Whatever you say.

I wanted to give Sister Lydia
this.

- It's beautiful.

(whimsical orchestral music)

- Should look nice in the
chapel, don't you think?

- This is very kind of you, Mr.
Downey.

- I would've preferred handing
it to Sister Lydia myself,

but I went to parochial school
there and that was enough,

and I'll be blessed it I set
foot

in that gloomy, old place again.

- Yes.

(whimsical orchestral music)

It must be very old.

- About five centuries.

Comes from the Medici Palace.

Sculpted by Donatello.

- Donatello?

- It's priceless.

Donatello did some
beautiful work in bronze,

but this is one of his
masterpieces.

- It's magnificent, Sister
Jem, Sister Jem, look.

- Oh my goodness.

Did I fall asleep?

- [Sister Pamela] Look, Sister.

- Saint Francis.

For the moment I thought
I was still dreaming.

- It's a Donatello, Sister,
a priceless art treasure,

and Mr. Downey's giving it to
Sister Lydia in the Holy Name.

- How do you do, Sister?

- I don't know what to say,
Mr. Downey, except, thank you.

- Now, perhaps you'll change
your mind and stay for dinner.

- I don't know, I--

- Oh, Sister Lydia will
be so happy to see this.

I think we'd better go back
to the convent tonight.

It will be better than medicine
for her.

- Yes, there is one
more train if we hurry.

Thank you, Mr. Downey.

- I'll have my man get you a
cab.

Tell Sister Lydia I'm sorry
I never answered her letters.

I hope this will make it up to
her.

Don't pour it on too thick.

- [Train Announcer] Train number
two

arriving on track eight from
Chicago, South Bend, Toledo.

- Let me carry the satchel
awhile.

- No, that's all right.

I can manage.

I just want to check the train
schedule.

I just don't understand
all these little notations.

Oh, here it is.

We'd better hurry.

- [Sister Jem] Mm hmm.

- Excuse me, can I help you,
Sister?

- No, thank you, I can manage.

- No, please, please, I'd like
to help.

I saw it was too heavy for you.

You ah, you know the track
number?

- Yes, track 15.

- Track 15 is this way.

You follow me.

- [Train Announcer] Train
number eight, The Wolverine,

arriving on track three.

(crowd chattering)

- Hurry, Sister, we'll be late.

Thank heavens for that man.

- I don't see him.

Where did he go?

- Oh, I'm sure it's all right.

He knows we're going to track
15.

(suspenseful music)

- [Train Conductor] All aboard!

- Do you see him anywhere?

- He must be here.

Perhaps he's gone on the train.

Excuse me, did you see a young
man

carrying a long, narrow, brown
suitcase,

and he had another black one,

and he was wearing a gray hat.

- Sorry, Sister, an awful lot of
people

have gone through this gate.

- He's not here.

He's not here!

- He's got to be here.

- Oh, Sister, how could you do
it?

How could you trust that man?

- He's got to be here!

(suspenseful music)

("Funeral March of a
Marionette")

- Okay, Sergeant, bring them in.

- [Sergeant] All right,
Clancy, send them in.

- Now, be sure and look them
over carefully, Sisters.

All the men you'll see here
today

have committed the same crime in
the past,

so we may be lucky.

- Can these men see us,
Lieutenant?

- No, they can't, Sister.

You've nothing to worry about.

All right, Sergeant.

- [Sergeant] Number one, step
forward.

Take off your hats.

- Next.

- Step back, number two, step
forward.

Number five, step forward.

- No.

- [Sister Pamela] Mm mm.

- [Lieutenant] All right,
Sergeant.

- [Sergeant] Step back, all
right, take them out, Clancy.

- Lieutenant, do you think the
man

knows what he stole, it's true
value?

- Well, naturally, we're
keeping that fact quiet.

If he knew the statue was worth
a fortune,

he'd be that much harder to
find.

All right, Sergeant.

- Send them in, Clancy.

Come on, come on, move lively,
men.

Pick a spot.

Take off your hats.

- Recognize somebody, Sister?

- I'm not sure, but the one on
the end.

- [Lieutenant] Number five,
Sergeant.

- Number five, front and center.

State your name.

- My name's ah, James K.
Bresson.

That's with a B.

What can I do for you, Sarg?

- [Sergeant] I'll ask the
questions.

What're you doing these days,
Bresson?

Still working the terminal?

- Nah, you got me all wrong,
Sarg.

You know, I'm ah, duly employed.

- Mm hmm, where?

- At the ah, Gramercy Appliance
Company

over on 9th Street.

I'm in the shipping department
there,

but I won't be for long

if you guys keep picking me up
like this.

- Not snatching anymore
suitcases?

- I never snatched suitcases.

That last time was a bum rap.

- [Sergeant] And that assault
charge you served time for.

Was that a bum rap too?

- What do you think, Sister?

- It's the voice.

The voice more than anything.

- [Sergeant] You ah, ever
go to church, Bresson?

- (chuckles) Who me, Sarg?

What're you trying to do,
convert me?

- He could be the one.

He could be the one.

- Oh, no, Sister, he was much
taller.

Don't you remember?

And much younger.

- [Sergeant] You were hanging
around

the Union Terminal Friday
night, weren't you?

- Was that Friday night?

- [Sergeant] Yeah, say around
6:30.

- No, no, I was out with my
girl Friday night, Sergeant.

Ah, you won't believe me, ask
her.

I was there from ah, five to
ah, midnight, yeah, midnight.

- What's the name of your girl?

- Ah, her name's Bess Macken.

She lives at 200 Rice Avenue.

I ah, never left her joint for a
minute.

- You see, how could he be?

We can't accuse an innocent man.

- He's so much like him.

- Now, don't let his
alibi fool you, Sisters.

His witness is his girlfriend,

and you know what that's worth.

- We can't be sure.

It happened so fast.

- What ah, (yawns) what do you
say, Sarg?

- I'm just not sure, Lieutenant.

- All right, Sergeant.

- Step back, Bresson.

(suspenseful music)

- I wish to leave the
order, Reverend Mother.

- You can't know what you're
saying.

- I know, Reverend Mother.

- But you're not a child, Sister
Pamela.

You mustn't respond to
trouble like a child.

- I've thought about it,
Reverend Mother.

I've thought and I've prayed.

- When a child is naughty, it
wants to run away from home,

but your home is with God.

You can not run away from him.

- I'm not running away from God.

I wish to leave the
order, Reverend Mother.

I'm not suited.

I've known it for some time.

Mr. Downey was right about me.

- Mr. Downey, why should
anything

that Mr. Downey says effect you?

- Because he knew the truth.

Some people retreat to God,
not advance towards him,

and that's what I've done.

I've hidden myself away from the
world

for what I know to be selfish
reasons.

- But is that so bad, Sister?

- I haven't been honest.

Not with myself, not with
you, and not with God.

What happened in that terminal
was like a sign from heaven

telling me I couldn't be
trusted.

I failed in my responsibility.

- Nonsense.

- Poor Sister Lydia.

What shall I give her, my
sincere regrets?

That stature would've
meant so much to her.

It's was more than a
gift to the Holy Name.

It was a reward for a lifetime
of work.

- We will pray for its return.

Now, take hold of yourself.

- I've got to leave.

- Very well, Sister
Pamela, but think, pray,

and if ever you want to come
back.

- I've got to leave, Reverend
Mother.

There's no other way.

- Of course it looks a lot
better when the sun comes out,

and um, you can see the
river on a good day.

I ah, think you'll be nice and
comfy here.

- It'll be fine, thanks.

- Anything else you
need, you just call me.

- Thank you.

(whimsical orchestral music)

(moves into light jazz music)

- Only thing about girls
who come to work for us,

eight out of 10 of them wind up

getting married and having
babies.

It's nice for them I suppose,

but it's awfully tough on
the personnel department.

I see you're not married,
engaged?

- No.

- Well, that's a relief.

Your typing test is pretty good.

How come you never had a job
before?

- I didn't need to work.

- Oh, I see.

Well, we do have an opening
in the billing department

that pays a little more.

Ever learn to use a
statistical typewriter?

- No, I'm afraid not.

I've only learned general
typing.

- Oh, well, Mrs. Irving will be
glad

to get you in the typing pool,
I'm sure.

I'll process your application,

and if it's okay with Mrs.
Irving,

you can start work on Monday,

and I'm sure it's going to be
okay.

Well, here's an employee's
manual

and some other information
you'll need.

You might as well take it along.

- [Pamela] Thank you.

- And don't get married over the
weekend.

- No.

- Beep beep, got to watch
yourself.

(light jazz music)

- That concludes the first half

of The Alfred Hitchcock Hour.

We now have what is
known as a station break.

I know that during a coffee
break, one drinks coffee.

I have no idea what one
drinks during a station break.

Quite some time ago, I mentioned
that during a coffee break,

one drinks coffee,

but I had no idea what one
drank during a station break.

After enduring that last one, I
know.

If your constitution can stand
it,

we have one more commercial,

and then the second half of
Final Vow.

("Funeral March of a
Marionette")

(whistle blowing)

- Would you like to have
lunch with us, Pamela,

we're going to The Griddle.

- Oh, no thank you.

I brought my lunch today.

I thought I'd try and save until
payday.

- Okay, we'll see you later.

- Hey, (clears throat) you got a
match?

- No, I'm sorry.

- Hmm.

I've been seeing you
around the joint here.

You ah, what do you work
for old lady Irving or what?

- Yes.

- Yeah (chuckles), she's
an old battleax, ain't she?

- She's very nice to me.

- Yeah.

Hey, let me ah, let me
give ya a little ah,

little advice about
this place around here.

You don't wanna be an eager
beaver.

You know what I mean?

Nobody likes a hard worker
around here.

They ah, they spoil it for
the rest of us (chuckles).

You got a sack lunch?

- Oh, ah.

- Hmm, good job.

My name's Jimmy.

What's ah, what's your name?

- Pamela.

- Pamela, Pamela, woo
(chuckles), Pamela.

Kind of a high-class name, isn't
it?

I mean that's one of these
social register stuff, or ah.

Yeah, yeah, you can call me
James

if you'd like to pip, pip, pip.

Let's see that ah.

No, no, wait.

Don't get excited, don't get
excited.

I'm just ah, just
looking for the evidence.

Yeah, I'm just checking, you
know.

Just checking for rings, and
ah, stuff like that, you know.

Everything checks out just fine.

Every thing.

- I think I'll get some milk.

One milk, please.

- Listen ah, you live here in
town?

- Yes.

- What do ya say let's you and
me take in a movie tonight?

- Tonight?

- Yeah, tonight, and tomorrow
night, and the night after.

You ah, tell ya, you ask your

social secretary when you're
free.

You know, rather pip, pip, poo,
poo.

What's the matter?

What's the matter, you got
something against me, huh?

You got something against me,

or is it the shipping
department?

- It's not that.

- The typing pool ain't
exactly the executive floor.

Or is that what you're waitin'
for?

Okay, okay, you had your chance.

- [Pamela] No, please, wait!

(suspenseful music)

- What ah, you afraid
to go out with me alone?

I mean you been hearing things
about me?

- No, I haven't heard anything.

- Oh, yeah, well, come here,
come here.

There's ah, gonna be a little
party Friday night see.

You know, a few friends of mine.

Some of them will come from
here.

You know, a little party.

And I thought ah, maybe
you'd like to come over.

Let me ah, let me give
you the address here.

It's ah, 200 ah, 200 Rice
Avenue.

That's apartment ah, 4C,
and the name is Bess Macken.

I won't be able to pick you up.

Ah, think maybe you can
find it by yourself?

- Bess Macken.

- Yeah, yeah, that's right, Bess
Macken.

It's ah, let's see, you
try to be over there,

oh, about ah, about
nine o'clock, got that?

And I ah, I think we'll have a
ball.

(mellow music)

(dramatic music)

- [The Landlady] Ah, Miss Wiley.

- [Pamela] Yes?

- A letter came for ya.

- Oh, thank you.

- It's ah, from a convent.

You got friends in a convent?

- Yes.

- [Sister Jem Voiceover]
Dearest Sister, these past weeks

have been empty ones for me
since you left the Holy Name.

We speak of you often and pray
that someday you will return.

As for Sister Lydia,

she was given extreme unction
last week,

but the poor woman sat out the
crisis.

Was well enough by morning
to take a little nourishment.

However, the doctor isn't very
hopeful.

(dramatic music)

(moves into light jazz music)

(lively dance music)

- Hey, hey, hey, hey, hey,
hey, come on, come on.

Come on, you bum.

Back to the cheaper seats back
there.

Some people, they don't know

where they belong, huh,
princess?

(Jimmy groans)

Hey, you, you ain't, you ain't
got one, take a little drink.

- No, no, no thanks, really.

- Come on, just a little drink.

No, really, I don't want it.

- (sighs) I can't get you
the champagne, pip, pip,

but I, I can offer you a bit of
whiskey.

- No thanks, really.

- No.

(lively dance music)

Look at those two.

Look, look at those two dance
(laughs).

Personally, I'm ah, I'm thinking
of taking up the minuet.

You know what I mean?

What ah, how about it?

You wanna minuet with me?

Well, what do ya know?

What do ya know?

I didn't think you could even
smile.

Maybe there's ah, maybe there's

some hope for ya there,
princess.

Ah (grunts), I'm a lot of
laughs when you get to know me.

- Um, I'm awfully warm.

- Yeah, yeah, oh yeah, yeah.

It's hotter than an oven
in this joint, ain't it?

Look ah, maybe ah, maybe you and
me,

we could, we could go for a
little walk.

What do you say, huh, a little
walk?

Here, come, take this.

- Oh, Jimmy, I could use some
help.

- Yeah, hey, wait a minute.

I'll be back in a minute.

(lively dance music)

- I think I'll be leaving.

- Wait, wait a minute.

I'll show ya out.

Wait, wait, wait a minute.

You know ah, the party ain't
over yet, ah.

Some of the crowd are gonna
meet me over at the Moon Garden.

You know what I mean?

It's ah, come here.

The Moon Garden, it's ah,
it's a real nice place.

You know what I mean?

I think you'd like it.

It's that kind of thing.

- I think I'd rather
be getting home really.

- Wait, wait, wait, wait, no.

We can sleep all in the morning,
princess.

It's a Saturday, you know.

Can you do that?

Hey look, come on, Pamela, look.

You're a nice kid, real nice
kid.

I mean you just gotta relax.

You gotta have some fun.

You gotta have some games.

You know, I'm just the boy
to show you how to do it.

I know all the rules, you know.

Come on, what do you say?

- Please let me go, please.

- [Jimmy] Now look.

(hand thuds)

- [Bess] You bum!

You no good--

(hand thuds)

- [Jimmy] Ah, come on, take it
easy, Bess!

(hand thuds)

- [Bess] Bum!

- [Jimmy] Come on, Bess, take it
easy!

- [Bess] Let me go, let me go!

- Come on, take it easy, Bess!

(hand thuds)

All right, all right, now look.

I ain't got all night.

You coming with me?

- I can't, I really can't!

- All right, all right!

(door thuds)

- What do you want?

What're you hangin' around for
anyway?

- I'm sorry, Bess.

I didn't mean to cause any
trouble.

- Trouble, you, you don't
know what trouble is.

(sniffs) Have you got a hanky?

That bum, ooh, he's rotten.

You were smart not to go with
him.

You can't trust a guy like that.

- Don't, don't drink anymore.

- Listen, don't give me orders!

I take enough orders.

There's a hundred
million men in the world,

and I gotta get stuck with Jimmy
Bresson.

He's no good.

He never was any good, jailbird.

Sure, he's out on parole right
now.

Where are the cigarettes?

- But he is trying to reform,
isn't he?

I mean he has a job.

- You call that a job?

60 bucks a week?

He only took that to
satisfy his parole officer.

He spends more than that on hair
tonic.

Well, don't just sit there!

Help me find a cigarette for
Pete's sake.

You think he ever takes me
anywhere, buys me anything?

Look at this.

- It's very pretty.

- Glass, that's all he ever
gives me.

He's got plenty of dough to
spend on the horses though!

For that he hocks everything he
can get,

including what he can get from
me!

And all I get back are the pawn
tickets.

Maybe I can find one in the
kitchen.

(light piano music)

I'm fed up, let me tell you.

You watch, he'll come
crawling back here tonight.

Only he's gonna be surprised.

I'm throwing him right out on
his ear!

That's what I'm doing!

The minute he walks in here.

(dramatic piano music)

Hey, what're you doing
with that pawn ticket?

What are you anyway?

Some kind of a fancy snake
thief?

- I'm sorry, Bess.

- Go on, get outta here!

You caused enough trouble
already!

Out!

(dramatic piano music)

(bell ringing)

- Pawn or buy?

- [Pamela] What?

- Do you wanna hock something
or sell something, lady?

- Buy, but I don't know
if you have what I want.

I'm looking for something
ornamental for my apartment.

- Well, like what?

- Oh, I don't know, an
interesting lamp maybe.

- Sorry, I don't carry lamps.

- Well, an interesting antique?

- You're looking for
the antique shop, lady.

This is a pawn shop.

- Well, do you have any
religious objects?

- I got rosaries and
jewelry, some pictures.

Tell me what you want
and I'll see if I got it.

- I'm not sure.

Maybe a piece of sculpture would
be nice.

- Sculpture, you man like
statues?

- Why yes, yes, that would be
perfect.

Do you have an religious
statues, small ones?

- Wait a minute, I'll check.

(suspenseful music)

- How about that?

That's a real fine piece of
work, lady.

It ain't one of them cheapies.

- How much?

- Well, since we don't
sell much stuff like this,

I'll let you have it for 20
bucks.

- It's exactly what I've been
looking for.

- All right, 20 bucks.

(dramatic music)

Here, I'll do it for ya.

- What're you doing?

- Helping ya, lady.

- But why, I just wanted
to buy the statue.

- Sure ya did.

All I wanna do is check.

In the his business, I like
to know who I'm dealing with.

(bell ringing)

What took you so long?

I stalled her as long as I
could.

You only had to come around the
corner.

- You find anything?

- No, nothing, no gun,
identification, nothing.

You sure she's a cop?

- I don't know.

I don't know, but she's been
acting like a cop all right.

That's why I told you to call
me when she showed up here.

All right, bright girl!

You wanna do a little
talking now, sweetie?

- Please, Jimmy, I just came
to buy something, this statue!

- Yeah, you just came to
buy something all right.

Bess told me you asked about
the pawn tickets last night

when I came back to her place
(chuckles).

You never figured on that
though.

- I'm not with the police, I
swear it!

- Yeah, well then why all the
nosing

around here, bright girl?

- Jimmy, I don't want no trouble
in here!

She ain't a cop!

- She's something, Wormer.

I mean she's gotta be something.

Aren't ya something, huh, huh?

- Please, I just wanted
the statue, that's all!

- You're the nun?

- What?

- She's a nun, Wormer.

A nun, she was carrying
this thing in the terminal.

Only, how'd you find out about?

How did you find out about me,
huh?

How'd you find out about me?

Why don't you talk to me!

Talk to me, talk to me!

- I left the order over a month
ago.

I had, I found out where you
were

because of the police lineup.

- What're, what're you
talking about the police?

- I had to find the statue
again.

Don't you understand?

It was a gift to the convent.

It meant so much to them.

- Oh, bad luck, Jimmy,
bad luck robbing a nun!

- Shut up!

- I didn't come to get
you into trouble, Jimmy!

All I wanted was the statue, I
swear that.

- Yeah, you went to a lot
of trouble, didn't ya?

You got a job down at Gramercy

just to get next to me, you
little!

(Pamela grunts)

That statue must be quite a
statue, huh?

- A mess, a mess, Jimmy.

I don't want this kind of
business.

Why couldn't you be more
careful?

- Ah, go on, get.

It's valuable.

- It belongs to the convent,
Jimmy.

I wanted to see it back where it
belonged.

Please let me have it.

I swear not to involve you!

- That's, that's sacred stuff,
Jimmy.

We can't fool around with stuff
like that.

- You stop bothering me, you
jerk.

This thing is old.

I should've seen that before.

Maybe, maybe hundreds of years
old.

- [Wormer] So what, so what good
is it?

- This thing may be worth
a fortune, that's what.

- You know, you may be right.

You know something?

That religious stuff is worth
thousands.

I only heard once about it.

- Yeah, maybe we could ah,

handle it through some art
collector,

or maybe we could ah,

just handle it through
Mike the Broker, ya know?

You know what this thing's
worth?

- [Wormer] You're gonna
bring Mike in on this?

- Yeah, bring Mike in on this,
why not?

What do you mean?

You had it yourself with your
nickel and dime stuff here!

- What about her?

- Ah, that depends.

- You don't have to sell it,
please.

I'll pay anything you ask!

- Yeah, how much, honey?

Huh, how much?

You think maybe you could ah,

maybe scrape up a couple grand?

- If you'll give me time.

- (chuckles) You see there,
Wormer?

This thing must be worth plenty.

All right, girl, get in the back
room.

You call Mike.

You tell him to come to us.

- He won't come.

- He'll come when he
hears what we got here.

I got a feeling about this,
Wormer.

Yeah, I got a real good feeling.

(suspenseful music)

("Funeral March of a
Marionette")

(suspenseful music)

(book thuds)

(suspenseful music)

(telephone ringing)

- Yeah, it's Mike.

He's calling from someplace
in the neighborhood.

- Yeah, why don't you just
ah, just double check it.

He's a wise fox that Mike.

You ah, you tell him
everything's
okay to come on over.

- Mike, it's okay.

Come on over.

Bresson, what about her?

- [Jimmy] Just relax, just
relax.

- No, I mean afterwards, after
we make the deal with Mike.

That's what I wanna know about.

- Ah, but if the deal's
good enough, don't worry.

Don't worry about it, Wormer.

People disappear, don't they?

I mean you read about
it everyday, you know.

- [Wormer] You mean that you'd--

- [Jimmy] That's right.

I'm tired of these nickels and
dimes.

I'm sick of these little deals,
Wormer.

I wanna reach out for once in my
life.

I wanna grab something golden,
real gold.

You know what I mean?

This might be it, right?

(bell ringing)

Hey, hey, hey, girl.

Psst, hey, hey, hey, baby.

(hands thudding)

Look over here.

Look at me, hey.

Look at old Jimmy.

Come on (whistles),
hey, princes, come here.

Hey (foot thudding), princess
(whistling).

Come here, hey, come here.

Come here, hey.

Come on, look at me!

- This is a pretty, little
picture.

Only I can all the way
across town for this,

so make it fast and good.

Who's the girl?

- Mister--

- Shut up, I didn't ask you.

- She's a nun (laughing).

A nun, Mike, no kidding.

- Don't give me that.

Since when do nuns wear
lipstick?

- Please, I--

- Shut up, can't you keep her
quiet?

- Now you keep your mouth
shut like Mike said!

She was a nun, Mike, only
she left the convent see.

She was after this
statue I swiped from her,

and that's how come I knew
the statue was so valuable.

- What statue?

- We thought it might be worth
money.

We figured that you'd know.

We figured maybe we could make a
deal.

- Yeah, yeah, that's right,
Mike.

Only we want a straight cut.

We want a good terms this time.

We want it straight down the
middle 50/50.

- Uh huh, what happens to the
girl after?

- We'll take care of her.

You can trust us.

- Yeah, I bet I can.

Did you have this thing on sale?

- Well, yeah, but that was
before.

- How much?

- [Wormer] Ah, hmm?

- What were you pricing it at?

- Well, we didn't know what to
ah, put, you know (chuckles).

- Well, you know, I was
gonna sell it for 20 bucks.

Can you imagine a thing like
that?

(all laughing)

- You're a fool, Wormer.

You melt this down for scrap,
it's worth maybe two bucks.

Next time you wanna handle
junk, call a junk dealer,

but don't call Mike.

- Hey, now, wait a minute, Mike.

This thing gotta be worth
something.

I mean that dame went to
so much trouble with it.

- Don't teach me my business,
junior.

If it was worth something, I'd
handle it.

That's my livelihood.

It's a cheap copy of something

that wasn't very good in the
first place.

There's a million of them
floating around the country.

- Yeah, but the nun was--

- Yeah, the nun.

(suspenseful music)

It's what you get for
being so stupid, Bresson.

She doesn't understand about
money.

They'll knock themselves
out for a scrap of junk

just because it's been blessed,

and you better be careful.

This one's liable to say a
prayer,

and send you both to the devil.

Not that you don't deserve it.

- What we do now?

- Do, well, you let her
go, of course, what else?

- No, wait, wait, wait, Mike.

We can't do that.

- Oh, please, do as Mike says.

We don't need that kind of
trouble.

- All right, all right, all
right.

Now, you listen and you
listen good to me, princess.

I swear, I'll kill ya.

I mean I'll kill ya if ya
turn me in, you understand?

- I said I wouldn't give you
away, Jimmy!

All I ever wanted was the
statue!

- Just a minute.

(whimsical orchestral music)

Take it.

- Hey, you can't do that.

- Go on, Sister.

- Go on, do what he says!

(bell ringing)

- You said 20 bucks?

Here, consider yourself lucky.

- Well, at least I got 20 bucks.

- Ah, shut up.

(car horns blowing)

(whimsical orchestral music)

- Sister Pamela, can I give you
a lift?

You want me to wait for ya?

- No, you don't have to wait?

I'm going to stay, goodbye.

- Goodbye.

Sister!

I said some rough things to ya.

I mean the day you came to see
me.

I just wanted you to
know that I was wrong.

You're not hiding from anything.

- Thank you.

- Don't forget to say hello
to Sister Lydia for me.

Come on, let's get outta here.

(whimsical orchestral music)

to working with a live model.

I'm quite excited.

In some localities
busybodies are destroying

the natural beauty of the
landscape by removing
billboards.

We hope to circumvent this
by tattooing advertisements

on the sides of the animals
that graze along the highway.

That's art, nature, and commerce
a fuse

in a beautiful tribute to man's
ingenuity.

And speaking of commerce.

(cow mooing)

("Funeral March of a
Marionette")

(dramatic orchestral music)