Jamaica Inn

Synopsis: Set in Cornwall where a young orphan, Mary, is sent to live with Aunt Patience and Uncle Joss who are the landlords of the Jamaica Inn. Mary soon realizes that her uncle's inn is the base of a gang of ship wreckers who lure ships to their doom on the rocky coast. The girl starts fearing for her life.
Genre: Adventure, Crime
Director(s): Alfred Hitchcock
Production: Paramount Pictures
 
IMDB:
6.3
Rotten Tomatoes:
55%
NOT RATED
Year:
1939
98 min
Website
607 Views


(Wind howls)

- Can you make out the beacon light?

- Not yet!

- About time we came up with it.

- Look to starboard!

Where?

I've lost it. It's gone. Did you see it?

No.

Nothing there!

(Crash)

Argh!

Argh!

Tell 'em to make sure

no-one gets clear of the wreck!

No-one, d'you hear?

(Man shouts orders)

That's all! Load up the horses!

Carry the rest yourselves!

Come on!

(Man barks orders)

Get the stuff up to the inn!

Come on!

Come along now!

You're sure no-one got away?

You can reckon on that, Joss.

Aye, you can reckon on that.

Joss!

Help!

I told you to make certain, you fool!

Can't you use your eyes?

Do you want the lot of us to swing?

(Agonised scream)

(Whistling)

I don't like it. I don't like it at all.

- That place gives me the creeps.

- Eh?

That place. Jamaica Inn. It's got a bad name.

It's not healthy, that's why.

There's queer things goes on there.

Queer things. I won't stop there,

not if she were to offer me double fare.

Is Jamaica Inn on this road?

Yes.

How much further is Jamaica Inn?

Come on! Come on!

Come on! Gee up!

Why are we going so fast?

What's happened? Have the horses bolted?

BOTH:
It's Jamaica Inn.

But this is where I want to get out.

Hi, coachman! Why don't you stop?

I want to get out!

Coachman, listen to me, you fool!

Pull up at once!

Why don't you stop, you fool?

Stop, I tell you!

Whoa!

Why didn't you stop? Are you deaf?

I've been shouting myself silly.

You've taken me past Jamaica Inn.

Take me back at once.

You'd better try Squire Pengallan's instead.

They say he's partial to young women.

Here's your box. Gee up!

MAN:
I think we owe a toast to Sir Humphrey.

Sir Humphrey.

Eh? What?

Jove, yes.

Pengallan.

Thank you.

Might have asked you to drink the health of

His brand-new Majesty George IV, but I forgot.

Fact is, I haven't been on speaking terms

for years with the fat fool.

You were much in his company at

one time, Sir Humphrey.

When Charlie Fox and Sheridan would

be there with him in the Pavilion at Brighton.

In those days he was still a gentleman.

Now he's nothing but a painted bag

of maraschino and plum pudding.

WOMAN:

Last summer we made a tour of the lakes.

Which lake do you admire the most,

Sir Humphrey?

Chadwick!

Which lake did I admire the most?

- Windermere, sir.

- Windermere.

It is very beautiful.

Why not a toast to beauty, Sir Humphrey?

Why not?

Chadwick, my figurine.

I need inspiration, by gad.

- Oh, there's beauty.

- But it's not alive.

It's more alive than half the people here.

Look at them, what?

You want to see beauty alive? Chadwick!

Ask Sam how long Nancy's going to be.

- Nancy?

- The most beautiful creature west of Exeter.

That's why he stays here

and never comes to London any more.

He keeps a girl here, the monster.

- Then I prefer not to make her acquaintance.

- No. I'm curious.

Yes, by Jove.

Have her in, Pengallan.

Here she is.

My exquisite Nancy.

(Horse whinnies)

(Murmurs of surprise)

Brought me in a hundred guineas yesterday.

Ran away with the Bodmin Steeplechase,

didn't you, my dear? Chadwick, what's that?

It's a woman, sir.

Don't argue with your women

when I'm entertaining.

WOMAN:
The coachman left me stranded.

Ask your master to lend me a horse and trap.

Let's have a look at her.

Ringwood, bet you 20-1 in guineas she's ugly.

I'll take you.

Would you er...

oblige me by taking off that coat for a moment?

Why should I?

I have a wager here.

Always respect a wager.

Would you allow me?

But you're an exquisite shape, too.

My dear,

you're a beauty.

Ringwood!

You've won.

Here y'are!

RINGWOOD:

Look, here. I say, my bet, you know.

"She walks in beauty like the night.

Of cloudless climes and starry skies, hmm?

And all that's best of dark and bright

Meet in her aspect...

...and her eyes."

Thank you, sir, but I didn't come for poetry,

but for a horse.

A horse?

Being worthy of Lord Byron's poetry,

you shall have the horse.

My name is Sir Humphrey Pengallan.

I'm squire of Pengallan and justice of the peace.

I'm Mary Yellan from Ireland.

- And you're going where?

- To Jamaica Inn.

To Jamaica Inn?

You can't go there.

- Why not?

- Sam!

This young lady wants to know

why she can't go to Jamaica Inn. Tell her.

Ooh, very rough there, miss.

No place for a young lady.

See, even Sam knows that.

No, you better stay here.

No, of course not.

I've come all the way from Ireland alone,

because I've nobody there now.

Your parents?

I'm going to Jamaica Inn,

because my Aunt Patience is there.

What a lovely horse.

Yes. Could you ride her?

Yes, of course.

I've been riding since I was a child.

Well, you shall ride her to the inn.

Thank you,

but I've got a box outside.

Oh, um... l'll take the box

and conduct you myself to er... your relative.

Sam, saddle the bay as well.

Chadwick!

Chadwick, this is Miss Mary Yellan

who's going to Jamaica Inn.

So she said, sir. I don't understand.

You've never understood anything,

so why be surprised at yourself now?

Try to understand this.

Miss Yellan is my friend.

If she returns here at any time, admit her at

once. See that she has everything she requires.

Give me my greatcoat and muffler.

And a thick scarf for this lady.

Pardon me.

Chadwick,

I'll have some hot brandy when I come back

and see that they put a warming pan in the bed.

Very good, Sir Humphrey.

If you'll wait a moment, miss, I'll get the scarf.

But I really don't need it.

If I can be of any service, please command me.

Remember, I'm Pengallan,

and this is Pengallan land.

- Don't forget, now.

- No, I won't.

Good night, Miss er... Yellan.

Good night, Sir Humphrey.

(Woman sobbing)

(Men laughing)

(Woman sobbing)

Who's there?

What do you want?

Does Mrs Patience Merlyn live here?

She might.

And she might not.

Depending on your business.

I'm her niece from Ireland.

You must have heard.

I'm coming to live with my aunt and uncle.

What?

What put that in your head?

Who told you so, eh?

That's my business.

Go and tell your master I'm here.

Aren't you going to give me a kiss first?

You'll... You'll suffer for this when my uncle's

told of it. I'll have you turned out of here.

- You'll see.

- Oh, you wouldn't be hard on us, ma'am.

- You see, your aunt would miss me.

- Get out of my way!

Correct.

Entirely correct.

I'm your aunt's loving husband,

your great big uncle Joss.

Come on.

WOMAN:
Who's there?

There we are.

Aunt Patience.

Mary. Mary, my sister's Mary.

- You know me, then, Aunt Patience?

- Yes, my dear, yes.

You're so like your mother.

When I heard your voice at first,

I thought it was hers.

And then when I saw you,

I thought for the moment...

She said you were expecting her to stay.

No, Joss, no.

But I wrote to you telling you everything.

Nothing came.

You wrote...

Mary,

you're in black.

Yes.

Mother died three weeks ago today.

(Mumbles) I'll have a drink.

How did it happen?

She hadn't been well,

but she said she must leave her bed and work.

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Sidney Gilliat

Sidney Gilliat (15 February 1908 – 31 May 1994) was an English film director, producer and writer. He was the son of George Gilliat, editor of the Evening Standard, born in the district of Edgeley in Stockport, Cheshire. In the 1930s he worked as a scriptwriter, most notably with Frank Launder on The Lady Vanishes (1938) for Alfred Hitchcock, and its sequel Night Train to Munich (1940), directed by Carol Reed. He and Launder made their directorial debut co-directing the home front drama Millions Like Us (1943). From 1945 he also worked as a producer, starting with The Rake's Progress, which he also wrote and directed. He and Launder made over 40 films together, founding their own production company Individual Pictures. While Launder concentrated on directing their comedies, most famously the four St Trinian's School films, Gilliat showed a preference for comedy-thrillers and dramas, including Green for Danger (1946), London Belongs to Me (1948) and State Secret (1950). He wrote the libretto for Malcolm Williamson's opera Our Man in Havana, based on the novel by Graham Greene. He had also worked on the film. more…

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Submitted on August 05, 2018

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