:13:03
I-I don't know how to thank you,
Mr Martin.
:13:05
Go ahead, Barry.
:13:06
Go ahead and do the things
I wish I could do.
:13:13
Hitchcock,
in making this picture about
:13:17
the activities of
:13:20
what you may call traitors
within the community...
:13:23
within the American community,
:13:25
set out to cast people...
:13:27
who were as neighbourly and as
acceptable as Americans as possible.
:13:33
He got otto Kruger,
:13:35
who was the soul
of drawing room drama.
:13:39
otto Kruger was as smooth
as you could get.
:13:43
No, no, Susie. Those are not for Susie.
Those are for the gentlemen.
:13:47
All right. Let's go.
:13:49
And Alma Kruger ...
no relation to otto ...
:13:53
she was almost a matronly-like person.
:13:57
Nothing very dark about her,
:14:00
although she was engaged
in these traitorous activities.
:14:04
Please don't discuss things
of that sort here.
:14:06
It's rather nauseating
and quite out of place.
:14:08
We're in trouble now.
He got Alan Baxter.
:14:11
That mild, meek manner
you knew contained a killer.
:14:16
Sometimes l wish my younger child
had been a girl.
:14:19
In fact, my wife and I often argue
over a little idiosyncrasy I have.
:14:23
I don't want his hair cut
short until he's much older.
:14:26
Do you think it will be bad for him?
:14:28
Hitchcock, he had an instinct
about human behaviour at times.
:14:34
And in Saboteur,
:14:37
the whole business of Alan Baxter,
:14:41
who had curls as a little boy...
:14:43
When I was a child,
I had long golden curls.
:14:47
People used to stop
on the street to admire me.
:14:49
lt's something Hitch went after
without all the modern psychoanalysis,
:14:54
because his instinct as an artist
:14:57
drew him to
:14:59
this very offbeat character,