Jamaica Inn Page #6

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
619 Views


to get a little sleep, so much the better?

Will you make my excuses for me?

Tell Lord George I'll be back for dinner.

- Yes, sir.

- Oh, thank you so much.

Robbins!

Where is my coach?

Isn't it ready?

The young lady came round the back

and took it, sir.

BOTH:
What?

- She said you had ordered it for her, sir.

- Do you think?

- Horses! Quick, will you?

You must come away with me while there's time.

That man I cut down was a law officer.

He's on his way here now with Sir Humphrey.

They've sent to Truro for help.

I must change.

Get your things together before they come.

I must tell Joss.

- No time.

- I'll not leave without Joss.

They know the truth and, Aunt Patience, so do I.

This is your last chance to be free of him.

No.

He's a wrecker, a murderer.

But he's my husband. Oh, Mary,

you don't understand. You don't know him.

(Footsteps)

She's come here to warn us. We must get away.

Where's that fellow? Where's Trehearne?

Joss, they're coming for you.

Trehearne's a law officer. We can't...

(Knock at door)

(Knocking continues)

Keep quiet.

I don't think I need tell you

why I'm here with this officer, Merlyn.

I fancy you'll be able to guess.

I demand the right to search your premises.

Perhaps you'd show us round, Mr Merlyn?

All clear in there, Sir Humphrey.

So, you're here.

How quick of you, Mr Trehearne,

but law officers waste very little time.

I'm sorry. Come here, Mrs Merlyn.

- She had nothing to do with this.

- I hope not.

Why didn't you tell me who you were?

So you could have warned your aunt?

And why not? She's innocent. She won't run

away. Nothing will drive her away from Joss.

If that is the case, perhaps Mrs Merlyn

will mix us something to drive out the cold.

What would you like?

A hot brandy, if you'd be so kind.

JEM:
Up the stairs, Joss. Go on! Get up.

- Joss?

I'm sorry about this, believe me.

But try not to worry. We'll do our best.

Aunt Patience,

you've known about Joss all along.

I love him. People can't help

being what they are. Joss can't. I can't.

- There's nothing to be done.

- Even now you could leave him.

Go and put the kettle on the fire

while I get the brandy.

This is where he comes in, up these stone steps.

You're expecting a visitor, aren't you?

He comes to one of these rooms.

I've tried that door, but it's locked.

Give me the key.

- I'll break that door down.

- Don't be a fool. Give him the key.

Go on. Get in.

Mind your head, Sir Humphrey.

These doors are rather low.

Oh, er, thank you.

- This looks more like it.

- Never used.

- What did you say, Merlyn?

- I say it's never used.

- No? Then why is that fire alight?

- You're right.

Our friend's apparently expected very soon.

Deuced considerate of the fellow.

I like a good fire.

Here's something!

- What do you make of it?

- It's blood on silk.

We got silk from last night's wreck.

You see? He was here last night.

JEM:
Foolish of you to overlook this, Joss.

- One might even say careless.

See that, Sir Humphrey?

There's been many others, too.

An unusual place. Behind the curtain.

- A signal?

- You've hit it.

- Open the door at the end of the passage.

- Certainly.

- Thank you.

- Oh. Thank you.

- Joss, who is it who comes here?

- Would you like to know?

I'll tell you. Santa Claus. Every Christmas.

Things'll be a lot easier, if you tell me.

You don't plan these wrecks.

- Who does?

- You'll find out, Mr Law Officer.

The wall's covered in plaster!

- I left the door open for him.

- Good.

What about the signal? Better light it up for him.

I'll do that.

What about the women? Better bring them up.

Right. I'll get them.

- Watch him.

- Fetch my toddy while you're about it.

Right.

SIR HUMPHREY:
Still blowing?

- Hard as ever, sir.

- Take your orders, Merlyn.

Another wreck? Tonight?

Captain Murray

would like to have dined with me.

He dislikes the food on shipboard, you know?

He was particularly mortified

at having to sail past here at dinner time,

which means, let's see, er, Barnard's Head...

- Nine o'clock or thereabouts.

- Yes, sir.

- What are they carrying, sir?

- Among other things, gold.

You must make quite certain.

I need the money very particularly.

I hope the wind drops after.

- I'm an indifferent sailor.

- What?

I'm going to take a little holiday.

I advise you to do the same.

- Why? What's happened? Is...

- Nothing yet.

But the authorities sent Mr Trehearne

down into Cornwall.

You see, they suspect.

I shall come back when it's blown over.

Then it's the last one?

It's the last of this series.

I shall catch the Falmouth packet tonight

for St-Malo.

I shall call back on the way,

so have the gold and valuables ready for me.

They're extremely fond of such things in France.

What about Trehearne?

When will your men be here?

If this is what saving your life

has brought us all to, I wish...

You don't think I'm enjoying this?

(Raucous laughter)

- Is anything wrong?

SIR HUMPHREY:
Oh, no.

Our friend made a very elementary joke.

We're ready.

I've locked the women in the bedroom.

Everything, in fact, except the man himself.

Your groom left just before us.

An hour and a quarter there and back.

Which means Captain Boyle should be here

within ten minutes.

There's only one way you might save your skin.

Name the man and tell the whole story.

I took the precaution of bringing this warrant

for the fellow's apprehension.

His name will have to be filled in later

when we know it.

Like to write it in for us, Joss?

You've taken all the risks so far,

you and Harry and Salvation and the rest.

And what have you got out of it?

The bare pickings.

Have you thought of that?

You've a chance to break free of him for good.

Turn king's evidence. Why don't you?

Do you think he'd hesitate in your shoes? No.

- A man like that would save his own skin first.

- You think so?

- He'd sacrifice anybody.

- You seem to have a very clear picture of him.

What sort of a fellow do you think he really is?

This man deliberately plans the wrecking

of ships and the cold-blooded slaughter

of any who survive the wreck.

He remains aloof,

content to hire the scum

to do his murderous work for him,

thinking there's no blood on his own hands,

but there is, blood on his soul...

(Downstairs door bangs open)

- The military!

Watch him. I'll go down and tell them to surround

the place and to lie low till we give the word.

- Oh, what a beauty.

- (Laughter)

Stay where you are.

You devil!

Sir Humphrey!

- Look out! Some of the gang are here!

- He's got somebody with him.

- See nobody gets outside.

- Sir Humphrey!

There's no other way.

HARRY:
Are you up there, Joss?

Joss?

(Harry whistles)

Squire Pengallan?

That's right. Your respected justice of the peace

brought here by your pal Mr Trehearne.

- Who forgot to tell you he's a law officer.

- What's that?

What do you think?

They came here to hang us over the wreck.

We'll make a real job of it this time. Come on.

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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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