All language subtitles for Topaz.1969.1080p.EUR.BluRay.VC-1.DTS-HD.MA.2.0-FGT.En

(DRUMS BEATING)

(BRASS BAND PLAYING)

(INAUDIBLE)

(HORNS HONKING)

What shall we do now?

MAN: Well, ladies and gentlemen,
it is time that we start.

Will you be kind
enough to follow me?

What I'm going to show you will
be mainly the traditional things.

Up here I can show you
the detail in the production,

which we are
rather proud of showing.

What you're seeing now
is a model, petal by petal.

And this is an art which has
survived here at the factory

for almost 200 years.

And you will see the garland there,
it takes two days to complete.

As you see, the flowers
are modeled petal by petal

and stamen by stamen.

Even in very small flowers, you can
find as many as 10 to 15 stamens.

The figurine, which you see being
ornated with flowers here,

was first made as a gift from
Danish women to our Danish king.

Please follow me
farther up here.

As we walk farther down here, I
can show you overlay painting

represented by...

You can move around here, I think
that everybody will be able to see.

Why don't you come a bit
closer and have a look

at how things are painted?

And now we can proceed to the next
department. Please follow me here.

(INAUDIBLE)

(SHATTERS)

I'm sorry.
Can I pay for this?

(INAUDIBLE)

You can dial
the number yourself.

Thank you.

Miss Kusenov,
where's your father?

Oh. (SIGHS)

Fine.

All right.
Now listen to this.

Do you know a department
store here in Copenhagen

called Den Permanente?

Den Permanente.
That's right.

It closes at 5:30.

I want you and your father and mother
to be there at 5:15, shopping.

As soon as you arrive there, be
aware that we will be outside.

(INAUDIBLE)

(INAUDIBLE)

(INAUDIBLE)

(ALARM RINGING)

(HORN HONKING)

(HORN HONKS)

(BICYCLE BELL DINGS)

(SCREAMS)

Tamara!

(GROANING)

(TIRES SCREECHING)

Get your heads down,
quick!

All right.
All right, they're gone.

(GROANS)

(SOBBING)

(ENGINE HUMMING)

Go right on up.

Thank you.

All right, thank you.

(CLANKING)

Are you all right now?

It was very clumsy,
this operation.

What?

This, in front of the store.
Very clumsy.

Well, you got away,
didn't you?

It wasn't the way we
would have done it.

(ENGINE DRONING)

Give that...

When you contact Wiesbaden, ask
them how long a wait there'll be

on that C-135
to Washington.

MAN 1: Hello...

MAN 2: Hi...

This is Mr. and Mrs. Kusenov
and their daughter, Tamara.

This is Mr. McKittreck
and Mr. Blake.

Madam.

Would you come
this way, please?

Well, what's he like?

He's a darling man.
You'll see.

He's what you wanted.
He's really a big one.

(ENGINE STARTS) They must be
raising hell in Moscow today.

Is that the White House?

No, that's the Capitol building,
seat of the government.

I'll show you the White
House further along.

There it is.

It's nice.

- Good morning, Howard.
- Good morning.

This is where you'll live for a while.
Come along.

- Good morning.
- Morning.

What is this?

We'd like you to be comfortable
here and to feel at home.

If there is anything
at all we can do...

Is it your house?

No, but I'll be
coming here quite often.

Mr. Kusenov, we would like you
in here for a few minutes,

please,
if you don't mind.

All right. Yes.

McKITTRECK: All three
of you, please.

Why?

I beg your pardon?

It isn't necessary
for them.

We will want all three of you, please.
One at a time.

Mrs. Kusenov, please.

Now what's
the matter, Mike?

Couldn't that
wait till tomorrow?

Why?

Well, they've had a pretty rough 24 hours.
They need to relax.

Didn't they relax on the plane?
I always do.

GENERAL: Here he is.

- Hmm?
- Devereaux.

Good.

I ask you not to
be difficult.

Then let him
show some respect.

Respect is something he rarely shows.
He is second in command...

I am not such an imbecile
that he has to tell me

what to say and what not to say.
(PROTESTING)

No, I do not need him
at military meetings.

- Yes, you do.
- Huh?

I'm sorry. You've been here
from Paris only a few months.

He has been here in
Washington several years.

And he is too close
to the Americans.

(CHUCKLES) I agree.

But the closeness
has value.

He's built up the best intelligence
organization in the western hemisphere.

He is very expert,
and he is a dedicated man.

And I, too, sometimes wish that
he would show some respect.

(INTERCOM BUZZES)

WOMAN:
Mr. Devereaux is here.

Yes. Let him come in.

Yes, sir.

Good morning, D'Arcy.

(DOOR CLOSES)

Good morning, General.

Received a message
from Paris.

A high Russian intelligence official
has defected to the Americans.

How long ago?

We don't know.

Why didn't you
know about this?

Because the Americans
didn't tell me.

How did Paris know about this?
Did the Russians tell them?

It's peculiar,
don't you think?

A Russian
intelligence officer defects,

and someone in Moscow rushes over to
the phone and calls someone in Paris.

Who? Why?

What?

No, Andre. How Paris got its
information is not our concern.

We're being asked
to find out

where the Americans are
hiding the defector and how.

Why?

Huh?

What will Paris do
once we have found out?

Pass the information
back on to Moscow?

Andre.

And so two men will
arrive to liquidate him?

What are you
trying to say?

Nothing, General.

I just wonder how Paris
got the information.

(PIANO PLAYING)

Yes, that's right.
He's here. I'll tell him.

These are six classified
top secret documents

of the North Atlantic
Treaty Organization.

NATO. I am an authority on NATO.

That's what you
keep telling us.

They're numbered and
they are initialed.

And we want to know which of them
crossed your desk in Moscow.

This one.

This one.

This one.

They are fakes, those two, to see
if I really know, to test me.

(SCOFFS) You are childish.
These are fakes.

When did you become
a deputy chief of KGB?

This is of
no concern to you.

We would like to be
the ones to decide that.

No. I will decide.

What the hell do you
think you're here for?

I asked for
sanctuary and protection

for myself,
my wife and my child.

And you got it.

But I gave you
no understanding.

Look, the way
you're going,

you may find yourself
on the front steps

of the Russian embassy
tomorrow.

And that would
be the end for me.

But you would never
get another defector.

(PHONE RINGING)

Colonel Kusenov, does the word
"Topaz" mean anything to you?

In what context?

Just the word "Topaz."

BORIS: It's a gem,
a stone used in jewelry.

In intelligence matters.

Where have you
seen this word?

INTERROGATOR:
What does it mean to you?

It's for you, Mike.

(WHISPERS)
I'll be right there.

Nothing.

You have never used or heard it used?
Topaz as a code word?

No.

INTERROGATOR: Colonel
Kusenov, here is a list of...

- Who is it?
- Your secretary.

Yes, Peggy, what is it?
From the French what?

Andre Devereaux?
What did he want?

Oh!

All right. Call him back and say
yes, and find out what time.

Right. See you later.

What did he want?

He called and
asked me to dinner.

Well?

I had dinner with him
only two nights ago.

Now, why did you suddenly
ask Mike to dinner?

Because he adores
your food.

And you want
something out of him.

I promise you, it's going
to be a short evening.

Oh, I wish we could
go home to Paris.

You could easily have a job
in the foreign office.

Who said so?

Claire D'Arcy.

Diplomats' wives
should not talk.

All wives talk.

She also said that you are too
involved with the Americans.

D'Arcy's an ass.

Andre, you are French.

You are not supposed to be
mixed up in this Cold War

between the Americans
and the Russians.

You are neutral.

No one is neutral.

I don't want you
to be killed.

Okay. I'm going.

And you two secret agents can
settle down and be secret agents.

(CHUCKLES) I wish you wouldn't
use such words, my love.

Why?

Who do you think you are
fooling, my master spy?

Everybody in Washington knows that
you are not a commercial attach�.

Everybody in Washington knows that
the chief of Russian intelligence

is the chauffeur who
drives a car for...

Everybody in Washington
does not know these things,

and I will thank you
not to repeat them.

Go to bed.

Nicole,
where did you hear that

about the chief of
Russian intelligence?

From my butcher.

I'll be glad when Michele gets
here and I can talk to someone

who is not looking
over his shoulder.

Is your daughter
coming over from Paris?

With her husband.

He's covering the opening of the
United Nations for a Paris newspaper.

And we are going to
see them in New York

and to have
a marvelous holiday.

And we are not going to see
a single solitary spy.

You might stumble over a few if
you go to the United Nations.

We are not going to
the United Nations.

Michele and her husband
are going.

We are going to
have fun, right?

Right.

I seem to gather, Nicole, that you
don't care much for the work we do.

How do you guess?

You should be used
to it by this time.

A wife never
gets used to it.

But I like you, Mike.

For an intelligence man,
you are very nice.

Thank you.

Thank you very much
for a beautiful dinner.

- Brandy?
- Yes, thanks.

She wants you to quit.
You thinking about it?

ANDRE: No.

I understand you have
a Russian defector.

What is his name?

Boris Kusenov. We have him at a
safe house outside Washington.

Don't you think I knew
what I was getting into

when I was
asked to dinner?

Then why did you come?

To tell you everything
you want to know.

Provided I don't pass the
information back on to Paris.

Mmm-hmm.

McKittreck says I'm
taking a big chance.

Am I?

Mike, you and I have done
things for each other

that no other agents
in this town would do.

And I'd like to
keep it that way.

Colonel Kusenov, we would like to
know everything you can tell us

about one subject. Cuba.

Cuba. The technicians.

The Russian technicians
in Cuba.

How many are there?

My estimate, 4,500.

By now, possibly 5,000.

Military?

Military, civilian,
construction crew.

Mostly technical and electronic
experts of the highest order.

What are they
doing there?

They came bearing gifts
from Russia to Cuba.

What kind of gifts?

The KGB is
carefully divided.

Cuba was never
in my field.

I cannot give you facts.

Damn it.

Kusenov, you made
an agreement with me!

Yes, I know.

I made my bargain
with the devil.

Facts. Yes, I will tell you
where you will find your facts.

There is a Cuban named Rico Parra.
You know him.

A leader of
the Cuban government.

He was in the movement
from the beginning.

That's correct.

He was in Moscow
recently for conferences,

then flew directly to New York
as head of the Cuban delegation

to the United Nations.

I met him in Moscow.

What were the conferences?

To draw up an agreement,
or call it a trade pact,

or call it
an aide-m�moire.

An agreement between
the Soviet Union and Cuba,

setting down exactly
what the Soviet Union

is now supplying and
will supply to Cuba.

Offensive weapons?

Have the Russians brought
offensive weapons into Cuba?

I told you,
I cannot give you facts.

But Rico Parra
has the trade pact.

He has the aide-m�moire.

It's all there for you to
read, if you can obtain it.

Who else might handle these
papers besides Rico Parra?

Ah!

You have become smart.

Yes, there is another man.

Luis Uribe,
Rico Parra's secretary.

He is a security risk.

How do you know?

I have used him.

But the Cubans don't know.
He can be bought.

But he is of no use
to you.

Why?

He hates Americans.

Does he hate
American money?

He would never take it
from an American.

You can believe me.

So now I've given
you my information.

What will you
do with it?

- NICOLE: Michele!
- Andre!

Mother!

- Francois!
- Good to see you.

Hello, Francois.

Hello, Father.

- You look wonderful.
- You too.

You have done something to your hair.
Let me see.

Do you like it?

- My husband wants me to cut it.
- No, I like it.

- Agreed.
- Come along.

How long can you
stay in New York?

When do you have to
go back to Paris?

In five days.

Then we will stay
five days.

There's so much to see and do.
New York is marvelous.

And we will do it all.

(INDISTINCT)

NICOLE: Well, it all
starts so well.

(TALKING INDISTINCTLY)

Oh! It's them.

Thank you.

Hello, Nicole, Andre.

I hope you don't mind
my dropping in like this.

I wanted to be sure the
flowers were in the room

when you arrived.

Michele, you remember
Mr. Nordstrom?

Oh, yes.

It's been
a couple of years.

Francois Picard,
Michael Nordstrom.

- How do you do?
- How do you do?

BELLBOY: Your bags
are all in, sir.

Andre?

Yes.

Thank you.

I understand that you're
here for a Paris newspaper.

Yes. For the opening
of the United Nations.

Francois, we have to
change for our dinner.

Hmm?

Oh, yes. Excuse me.

(DOOR CLOSES)

I do apologize, Nicole.

Thanks for
the flowers, Mike.

Now, before you say, "What do you
want" or "Get the hell out,"

consider that I wouldn't be
here if I didn't have to be.

You can't do this
to Nicole.

I have to, Andre.

- How did you find us?
- Well, you told me...

Never mind.

You both told me you were going
to be in New York. It was...

Never mind.

What do you want?

There is
an arrangement in writing

between Russia and Cuba
that we must see.

Now, Rico Parra is in...

I can't talk
to Rico Parra.

- He hates my guts.
- I know that.

Rico Parra has a secretary
named Luis Uribe.

Why don't you do
this job yourself?

We can't. Uribe can't be
approached by an American.

No. I'm sorry.

Just one of your people here
to photograph those papers.

Just a taxi ride to Harlem,
that's all we're asking of you.

This Uribe can be bought.

Andre, do this for us.

You know I wouldn't be here
if there was any other way.

Francois, the sketches you
made at the United Nations,

did you do
the Cuban delegates?

Some, yes.

Did you make a sketch
of a man named Luis Uribe?

I'll see.

FRANCOIS: There he is.

Could we have this page?

If it's for
a good cause.

I would hate to
have to do it over.

You'll get it back.

Okay. You can have it.

Could I ask you what this is about?
I am your son-in-law.

You're also a newspaperman.
Take care of the women.

I'll get to the colony
as soon as I can.

You're going out?

Have your drinks. I'll try to get
there before you start your dinner.

And tell Nicole
not to worry.

(CHUCKLES)
I'll let Michele tell her.

Thank you.
Thank you very much.

You're welcome.

The money.

You understand, this can't
have anything to do with us.

If anything goes wrong,
it's your operation.

I know.

I'll head back to Washington.
Will you call me tomorrow?

Yes.

I would like
to see Mr. Dubois.

Whom shall I say?

Franco-American
Finance Company.

Oh, hello. Come in. Come in.

It's a long time
since you came yourself.

It was that sudden.

I have an urgent and vital
job to be done tonight.

I hope you are free.

Always free for you.

Can we go
into your office?

No, that's all open.

We'd better go
in here.

You might find
it a bit chilly.

(INAUDIBLE)

You remember his name?

Yes. Luis Uribe.

Why does he
hate Americans?

I was told he lost a son
at the Bay of Pigs.

Oh.

This is all pretty iffy. I won't have
much chance to organize anything.

You'll just have
to improvise.

Oh, lots of luck.

What about
your camera?

Always ready
and loaded.

This way.

Be sure you let him know you
are French, not American.

Better than that. I'm from
the island of Martinique.

That makes us
practically related.

Good.

Here is my little one.

How do you propose
to get up there?

I think I'll
be a reporter.

I'm loaded
with press cards.

Who do you think I ought to work
for tonight? Ebony? Playboy?

The Jersey City
Post Ledger?

Ebony.

I think they identify
better with Playboy.

Ebony.

Oh, man, are you square.
Okay. Let's go.

Oh! One tiny matter.
The money.

Benny, work on this
cross, will you?

And don't brighten
it up too much.

I'll try not to.

(HORNS HONKING)

(CROWD CHEERING)

(WHOOPING)

Where will you be?

Along in here,
across the road.

Watch yourself, Philippe.

It's the best
thing I do.

(INAUDIBLE)

(CHEERING CONTINUES)

(INAUDIBLE)

(HORNS HONKING)

(PEOPLE TALKING INDISTINCTLY)

What do you want?

I have an appointment with Se�or
Parra's secretary. Uribe.

Go ahead.
There he is now.

Thanks, Mac.

I said no.
Now, go on.

But Rico told me
he would see us.

MAN: Yes, he told us he
would see us this morning.

Well, I tell you tonight, he will not see
you. Now, get out, both of you.

Who are you
to tell us...

Look, I said he
will not see you!

Rico! It's me,
Matteo Gomez!

And Tomas Bosch.

Rico!

GUARD: I said get
out, both of you!

Where are those
papers now, exactly?

In a red leather case

on the floor,
next to his desk, locked.

If I get Parra away from
his desk for a few minutes

for an interview,

can you get the case
and bring it here?

He will not give you
an interview.

Then I fail.

But I'm not going to fail
in your bathroom. Come on.

Wait one minute.
Who is he?

It is all right,
Hernandez. Please.

RICO: Get out.
Get the hell out of here!

Fools! You want to get us all arrested?
Get out!

But, Rico, you said you wanted us
to show that we're not afraid.

That we're not afraid
of the Americans.

So you're going to bomb
the Statue of Liberty?

(CURSING IN SPANISH)

- Get out!
- Se�or Parra.

I wonder if I could have just
a few minutes of your time.

- Who are you?
- Wait one minute.

Comrade Rico, this man
is from Ebony magazine.

If you will speak
to him for a minute.

I give no more
interviews.

What is the matter?
Are you anti-Negro?

Leave him alone.

There are no
color barriers in Cuba.

We are a free and democratic nation.
All men are comrades.

Then you will
talk to me.

After what your American newspapers
said about the Cuban delegation?

DUBOIS: I am not
the American newspapers.

I would like you to come out
on the balcony with me

and let me photograph you waving
to our people, to my people.

Will you do that?

And what will you
print about Cuba?

Whatever you tell me. One statement
to go with the pictures.

(PEOPLE CHEERING)

(HORNS HONKING)

What is this?

This is my camera.

It's a funny
little camera.

It does very good work.

(CROWD CHEERING)

(CAMERA CLICKING)

How about one this way?

No, no. Keep waving,
please. Keep waving.

(CHEERING CONTINUES)

(CLICKING)

I think
you've had enough.

No, just two more, please.
Two more.

(CROWD CHEERING)

Thank you, Se�or Parra.

Now, what do you want me to
say to go with the pictures?

Tell your people, we are
a small country now,

but soon, very soon,

we'll not be afraid of
anybody, not of anybody.

Good.
Something is happening.

No, I did not say that.
Only write what I say.

Good. Thank you,
Se�or Parra.

Comrade.

Comrade.

Comrade.

Orlando, I want two
copies of this.

(TYPEWRITER CLACKING)

Orlando.

Where is the red case?

Uribe took it.

Uribe.

Why? He has no key.
I have the only key.

Hernandez.

Have you got your gun?

Come with me.

Excuse me.

(CROWD TALKING INDISTINCTLY)

Give me your gun.

(WOMAN SCREAMS)

(GUN FIRING)

Get him!

Come with me!

(PEOPLE SHOUTING)

(WHISTLE BLOWING)

(HORN HONKING)

There he is!

(WHISTLE BLOWING)

(HORNS HONKING)

(GRUNTING)

(PEOPLE SHOUTING)

Sorry, se�or.

(PEOPLE SHOUTING)

All right, Benny.
I'll finish it.

Is it okay?

It looks fine.

Does Rene D'Arcy know
that you're going to Cuba?

Yes, of course.

Does Paris know?

I assume so.

Andre, I don't
want you to go.

I'm afraid for you, for
your career, for your life.

I've got to.
I promised.

I started all this, and
I'm going to finish it.

Let the Americans do
their own dirty work.

ANDRE: They can't.

They have no organization in
Cuba since the Bay of Pigs.

All their agents
are dead or in jail.

And so they asked you?

Yes.

It can be no one
but you?

I want it to be me.

Those papers we photographed the other day
in New York scared the hell out of me.

Not just the Americans. Me.

I've got to see what the
Russians are up to in Cuba.

There is a woman in Cuba, isn't
there, named Juanita de Cordoba?

Where did you
hear that name?

Where else?
From Claire D'Arcy.

Who got it from her husband, who got
it from your French office in Havana.

I don't want that name used,
mentioned ever.

Why? What is she to you?

She's in the Cuban underground.
She sometimes works for me.

Ah.

What else does she
do for you?

Nicole, she is the head
of a network in Cuba.

I shouldn't tell you
these things.

It is dangerous to talk of her,
even to hint that you know...

But I do know. That's the trouble.
I wish I didn't.

I know that you go to Cuba
four or five times a year,

and that she's beautiful.

I go to Cuba four or five times
a year because it is my job.

That's all.

Now I don't want
to talk about it.

Will you come down
with me?

Good-bye.

(FOOTSTEPS FADING)

Nicole?

(DOOR CLOSES)

(INAUDIBLE)

You'd better wait.

I'll send the boy out.

Give him my overnight case
and the typewriter.

And take this and the suitcase
in the back to the residence.

What time will you
be in Havana tomorrow?

I'll call you when
to send a car for me.

(DOOR OPENS)

- Juanita.
- Hello.

Se�or Parra.

Monsieur Devereaux.
You're back soon.

ANDRE: I'm always happy
to return to Cuba.

RICO: Hmm.
I'm sure you are.

ANDRE: And to come here
to pay my respects.

I'm happy to
see you, Juanita.

Thank you.

Nylon things from
the United States.

I hope your government won't mind.
I didn't inform the customs.

And how are
things in Washington?

Routine.
Nothing exceptional.

I was in New York
only 24 hours ago.

Oh?

How are things in New York?
See any good shows?

No. Routine.
Nothing exciting.

Will I see you tonight?

No. Not tonight.

Well, you'll be at the rally tomorrow?
Fidel expects you.

Mmm-hmm.

Is there
a rally tomorrow?

Mmm.

I'd like to
listen to Castro.

I'm sorry we can't have you
with us on the platform.

No, no. I like to
be part of the crowd.

(CHUCKLES)

(ENGINE STARTS)

Se�or Devereaux.

Get my things,
will you?

Monsieur Vatel
knows which ones.

Yes, sir.

I am very glad
to see you, sir.

- Please take this in for me, Tomas.
- Yes, se�ora.

Thank you.

You sent no word.

Tried to phone you from
Mexico City between planes.

Didn't the office
call you?

Less than an hour ago,
when he was here.

(SIGHS)

You picked a hell
of a time to come.

Security's tight. This island
is crawling with Russians.

I know. I have come to
take a look at them

and what they're up to.

I haven't been able to send any
information out to Miami in weeks.

Well, I'm here now
to do all I can.

(CHUCKLES)

So, Rico Parra is still your
faithful companion and protector.

And landlord.

Did he come to
collect the rent?

How is your wife?

(BOTH CHUCKLE)

Maybe we ought to
start all over again.

I think we'd better.

(MOANS)

(SIGHS)
I don't get this.

The French don't give a damn
what the Russians do in Cuba.

The Americans do.

Well, that's going to
be tough.

Cuba's locked up. The
Russians have it like this.

I'm going to need help
from your organization.

No use. Most of my
people are in hiding.

The only thing you can do is
stay with me for a few days.

Then go home.

(INAUDIBLE)

Let's get down to the business
of opening our present.

Our present?

Yes.

Yours and mine.

A radio?

A Geiger counter.

This will tell us
if the Russians

have brought in
nuclear warheads.

There's a tape
recorder inside.

Clever.

You'll have to find out what
streets in Havana they use

to transport
the missiles at night.

That's a job for Tomas.
And this one?

We have got
lots of cameras.

Not like this one.

(CLICKING)

Remote control.

You can put the camera
half a mile away.

And take pictures
of what?

The missiles, of course.

At San Cristano?

We'll never get near there, darling.
We have tried.

I'll show you
how in the morning.

Now, the other things
I need.

What units of
Soviet troops are here,

any new types of aircraft,
and the caves.

Where are
the biggest caves?

The biggest ones
are at Managua.

Good.

Is that all?

I think so.

Oh, I nearly forgot.

A non-electronic present.

Oh, is that beautiful!

Thank you. (KISSES)

Let me show you
how this works.

(CLICKING)

It's the radium in the clock
figures that's causing it.

(CLICKING STOPS)

Not yet 10:00 and you've
done nearly a day's work.

That's organization
for you.

I showed Tomas what to
do with the typewriter.

I know.
He'll do the job.

And now you'll go
into Havana and behave

like an innocent
commercial attach�.

And you go to the rally
with your landlord.

See you tonight.

Adi�s.

Please sit down,
Mrs. Mendoza.

We are leaving now.

No, no, sit down.
Is everything ready?

Yes, se�ora. Just this last,
the long-distance lens.

- Good.
- And look, se�ora.

JUANITA: Very good.

And here.

- Cover them up.
- All right.

We must make sure Pablo
does not eat the camera.

(LAUGHING)

Here, here, se�ora.

From here I can get
a clear view of everything

that's going on in
the Port of Viriel.

Aren't you
too near the road?

I promise you,
it is safe.

Then here is your picnic.
Have a good time.

You will take care of Mrs. Mendoza?
God bless you.

Thank you.

Take care of your man.

I will.

(ENGINE STARTS)

(CAMERA CLICKING)

(MEN SINGING IN RUSSIAN)

(GULL SQUAWKING)

(INDISTINCT)

(SQUAWKING)

(LOUD SQUAWKING)

Ricardo, take a look.

There's someone up there.

(ENGINE REVVING)

(INAUDIBLE)

(DRIVING AWAY)

It was a man and a woman.

Manuel, Enrique, Rafael.
You others, stay here.

(ENGINE STARTS)

How long have you
been here?

Some time.

You can see,
we're broken down.

Have you seen any other car
go by in the last minute?

Yes, I saw one
a few moments ago.

It went down the road.

What kind of a car?

PABLO: I think it
was a black one.

RICARDO:
Who was in it?

PABLO: A man and a
woman, I think.

(GASPS)

Ricardo! It's them!

Pablo! Pablo!

PABLO: (YELLS) Carlotta!

Take 'em.

Se�or, you're making
a mistake.

We don't know why
you're taking us.

Follow us.

(ENGINE STARTS)

(INDISTINCT)

(MARCHING BAND PLAYING)

(CROWD SINGING ALONG)

(TALKING INDISTINCTLY)

(CROWD CHEERING)

(INAUDIBLE)

(CROWD CHEERING)

(APPLAUSE)

(INAUDIBLE)

(SONG ENDS)

(APPLAUSE)

There is a man. The night the papers
were photographed in New York,

outside the Theresa Hotel.

Where?

(CHEERING AND APPLAUSE)

Are you sure?

100%.

He was as close to me
then as you are now.

Shall I have him
picked up?

No. Not yet.

(CHEERING CONTINUES)

(CROWD CHANTING)

Well, that's understandable.
After all...

May I join you
for coffee?

Rico, let me give you
some dinner. Dolores!

Just coffee, thanks.
I've had dinner.

Too bad.
It's beautiful chicken.

Oh.

Black market.
You might have phoned.

It was a sudden urge.

Se�ora?

Ask Tomas to bring some
coffee for Se�or Parra.

S�, se�ora.

Please sit down.

I've just come from having a long
talk with my ex-secretary Uribe.

You know Uribe?

No.

RICO:
You know of him?

ANDRE: No.

Why did you dismiss Uribe?

He turned out to
be unsatisfactory.

Still, he was persuaded to
tell me what I wanted to know,

before he went
on his journey.

Journey?

The journey from which
no traveler ever returns.

What had he done?

It seems he was
working for the French.

And the French, I suspect, were
working for the Americans.

So you had a sudden
urge to come here.

What does that
have to do with Andre?

Just because he's French?

The night in New York

when Uribe gave documents to a Frenchman
to photograph inside the Theresa Hotel,

there was another Frenchman
outside the hotel.

There may have
been several.

Mmm.

Well, the only one
I give a damn about

is the one who was so
conveniently knocked over

when the French spy
escaped.

That was smart.

What's this about?
Were you in New York?

Yes. For fun.

You are putting two and two
together and getting eight.

And the things you learned from
those papers about Russia and Cuba

are the reason why
you're suddenly here.

And that makes nine.

I was in New York.

I did go up to Harlem to see
the show you were putting on.

And it was a very good show.

The rest is coincidence.

Now, this is what
I came to tell you.

If it were not for her,

if it were not that it might involve
her, you would disappear tonight.

You would be with Uribe.

Your country would receive
bewildered apologies,

but you would never
be heard from again.

She is a widow of
a hero of the revolution.

She is loved and honored
in this country.

You are
an intelligence agent.

Your association with her
can put her in grave danger.

I want you out of the country on the
next plane early tomorrow morning.

And if you have been
collecting information

about what the Russians are
doing in Cuba to help us here,

don't think for one minute
you will take it out with you.

You will not.

You will be searched
at the airport, completely.

And if anything is found on
you, you will be arrested.

And what can happen to you after
that is something you know about.

Now, if you don't mind
cutting your dinner short,

I'll take you back to Havana
to pack your bags.

No, you will not
take him back to Havana.

He is my guest.

He will have his dinner and he will enjoy
my company for as long as he pleases.

And when he's ready
to go back into Havana,

he will phone the residence
for a car to come and get him.

You're being a damned fool.

You've made up this story because
it's what you want to believe,

because of me.

I don't believe he had any
contact with your man Uribe,

and I don't think
anyone else would.

If you're doing
him any harm,

I will raise such hell,

and you know I can.

And next time you decide to drop in on
me like this, please telephone first.

Tomorrow morning.

(DOOR OPENS)

(KNOCK ON DOOR)

Come in.

I have brought the typewriter.
It is done.

Good, Tomas.

And the car is
waiting for you.

May I show you?

What time did the missiles
go through Havana?

Just before 3:00
in the morning.

On long trailers with soldiers
and jeeps and many, many trucks.

ANDRE:
And the thing clicked?

TOMAS:
Oh, how it clicked.

Not from the missiles, but when the trucks
went by, covered with canvas, then.

Click, click, click.

Look. Just the way
you showed me.

The tapes are right in
the center of the spool.

They would have to undo
yards of ribbon to find them.

Good boy.

Where is the information
about the Russian troops,

the caves and
the installations?

Here. All neatly typed
out and miniaturized

as a microdot
on the bottom period.

All right.

Now, you will give me your
own razor and extra blades?

Here is your new razor and the
cartridge for the blades.

How do you fit
the film in there?

We just fold each one.

ANDRE: (CHUCKLES) Very good.

Something for you
to read on the plane.

Thank you.

No. Not now.

I will take these down.

- Come.
- No.

No farewells
at the front door.

I shall say
good-bye to you here,

where I own you.

If things get worse for you
here, we'll get you out.

I have ways.

I'll never leave here.

I'm Cuban.
I love my country.

No matter what,
I have to see it through.

I shall worry about
you at the airport.

I'll get through.

I don't know.

Will you phone me before
you get on the plane?

Be sure.

There's something
I have to tell you.

Tell me now.

No. But before you
get on the plane.

All right.

(SOBS SOFTLY)

Go.

Go.

(DOOR CLOSES)

You found out?

Yes.

Who were they
working for?

Ask her.

Well, who?

You ask her.

Who were you working for?

(INAUDIBLE)

Who sent you to
spy at Viriel?

Who?

(WHISPERS) Cordoba.

What? Say it.

Juanita

de Cordoba.

MU�OZ: Guerrero, get down to the airport.
I'll call you.

You'd better
get out there.

SOLDIER: Search everywhere. Turn
the house inside out. Everything.

Look in her bedroom.

What's all this?

You will not touch
my bedroom!

(GRUNTING)

Rico, stop this!

Come down.

(FOOTSTEPS)

(DOOR OPENS)

(DOOR CLOSES)

TOMAS: No, no! Keep out.
You cannot go in there!

DOLORES: Tomas, stop them!
(SCREAMING) No!

(TOMAS SCREAMS)
Dolores!

You know some people
named Mendoza?

Yes.

They have been saying
terrible things about you.

I do not believe them.

Mu�oz believes.
I can't.

They were tortured?

If you torture people
long enough...

I do not want to
believe them.

Hey, Rico. We have found it.
In the pantry.

A darkroom for cameras
for developing pictures

and all kinds of machinery
to make them small.

And it's all true. They've been
operating from this house.

Get me the airport.

You know what this is?
For razor blades.

It is where
they hide the film.

Hello, Guerrero.

Do you still
have the Frenchman?

Nothing? All right.

I'll tell you
where to find it.

In a small package of razor
blades, the injector type razor.

The small, thin ones
that slide out!

Call me back!
You know where.

(RECEIVER SLAMS)
So it is true.

I have to believe now.

The things that you
have done against us,

against what we
are trying to do.

Why?

Because you make
my country a prison.

No. You cannot judge.

Not you.

You shouldn't have
done this.

To fool me,

to work against me.

You're part of it.

So now we'll have to do to you
what we did to the Mendozas,

to find out the names
of all the others

and all the things
that you have done.

And we will find out.

The things that will be
done to your body,

this body.

(GUNSHOT)

(CHOKES)

(PHONE RINGING)

MU�OZ: Yes, Guerrero.

What? Nothing?

No film?

But what was in
the razor blade case?

Razor blades?

Guererro, what do you mean
you had to let him go?

All right.

All right!

They let him go.

(PHONE RINGS)

Hello. Who's this?

Oh, Se�or Devereaux.

Se�ora de Cordoba?
I'm afraid not.

Something has happened.

She's dead. Shot.

Se�or Parra?
He is gone.

(ENGINE STARTS)

That's quite a pile of mail.
Has Nicole gone away?

Yes, yes.
I didn't tell you.

She thought she might go
to Paris for a while,

as long as I was
going to be away.

She didn't see as much of Michele
in New York as she hoped.

That was my fault.
I'm sorry about that.

No, no, she got a bit
homesick for Paris anyway,

and she didn't know how
long I would be in Cuba.

The amount of junk mail that
accumulates in just a few days.

Come and have a drink.

You sure you wouldn't like to
be alone, unpack, call Nicole?

No. Besides, you should be able to
phone your office in a few minutes.

They must have that stuff
from Cuba processed by now.

I won't be a minute.
I'll just get some ice.

(DOORBELL RINGS)

(DOOR OPENS)

ANDRE: Ah, Rene, come in.

(DOOR CLOSES)

I've come to...
You know Mike Nordstrom?

Rene D'Arcy.

Yes. Hello.

Hello.

We're just about to have a drink.
Will you join us?

No, I only dropped by to see
you now that you're back.

- If I could speak to you alone.
- I'll go.

No, no, please.
We can go to my study.

Here, make yourself
a drink. Come, Rene.

You left quite a few
complications behind.

Yes, I know.

So it is done,
whatever you have done.

The Cuban government has protested
your activities directly to Paris.

I am here to instruct you to be on
the next plane to Paris tonight.

You'll report to
the director general.

(DOOR OPENS)

(DOOR CLOSES)

Well, the end of
Washington for me.

I've been recalled.

I'm sorry.

You know how grateful we all
are for your contribution.

It confirms our information from other
sources, including the U-2 photos.

What do you think
will happen in Paris?

Oh, a board of inquiry,
I suppose.

Why I went to Cuba,
what I did,

who I did it for,
why I did it for you,

and what I found out.

I want you to take a ride with
me out to the safe house.

While you were away, the Russian came up
with some revelations that'll shake you.

What about?

The leaks in Paris.

He spelled the whole
thing out for us.

I want you to listen to him before
you face those people over there.

Thank you, Mrs. Fawcett.

I will serve the coffee.

Mrs. Fawcett makes
wonderful coffee.

Will that be all?

NORDSTROM: Yes, thank
you, Mrs. Fawcett.

Monsieur Devereaux?

No, thank you.

Mr. Nordstrom.
Black with one sugar?

Mr. McKittreck. Black?

Could I offer you
a cigarette?

No. You are smoking.

And now again, Topaz.

These gentlemen have asked me to
repeat to you about Topaz. Why?

Please do us a favor.
Tell him what you told us.

Then you succeeded in getting
them the information from Cuba?

Yes.

And now they are afraid
that you will be obliged

to pass it on
to your government.

And what is Topaz?

Topaz is a code name

for a group of French
officials in high circles

who work for
the Soviet Union.

I don't believe there
is an organized ring.

The head of the ring
has a code name Columbine.

I do not know him, but I know
he is important and powerful.

Second man in line
is Henri Jarre.

- Jarre!
- Yes.

Henri Jarre.

He was my direct contact.

Any vital document that passed
across his desk came to me.

Do you know him, Andre?

Yes. He's an economist at NATO.

Then it is believable?

It's possible.

It's more than possible.
It's true.

So, now you will
want to talk, you three,

and I will go for a walk in the
garden before the sun goes down.

NORDSTROM: Blake.

Monsieur Devereaux, you are faced
with the same problem I had.

Whether to obey your conscience
or to obey your government.

Let me give you a piece of advice.
Don't go home.

These people will give you a new
life, a new job, everything.

Think it over.

Well?

Our government is preparing
to take any action

against Cuba or Russia

that circumstances demand.

Any leak to the Russians of what we
know at this time could be fatal.

If the Russians learn
we're on the move

because of all
the information we have,

they could make those missiles
operational almost immediately,

pointed at every
big city in America.

ANDRE: And that means
France will be involved.

We have to inform our
allies of our intentions.

When?

An American mission will
arrive in Paris in three days.

And I am supposed to keep my
mouth shut and uncover Topaz

at the risk of
my own skin?

(CHUCKLES)

That's quite a job,
my friends.

Let me understand
something.

Nobody up high is to know
that we are here with Andre.

Otherwise,
I shall have to leave.

It is understood, Jean. You
have nothing to be afraid of.

I am not afraid.
It's a matter of protocol.

He has not seen
the director general.

That is true.

And for myself, I don't
see how we can help.

Jacques, when you spoke to Jarre...
Ah! Here he is.

- Good afternoon.
- Good afternoon.

I'm sorry I'm late.
Andre, how are you?

ANDRE: I'm glad
you came, Henri.

Good. We are all here.

Let's sit down.

Now, this is a serious
matter for Andre.

Very grave.

And he has asked us to give
him whatever advice we can

before he faces
the director general.

It is not so much
the director general.

It is the whole board of inquiry
he has to look out for.

There is nothing
I can tell them.

Nonsense. You went to Cuba on
a mission for the Americans.

You obtained certain information for them.
That's true.

Yes.

And you refuse to pass it
on to your own government.

I cannot, my friends.
Believe me.

Why not?

Because there are
leaks in our government,

and I don't know
where they are.

I think I must go.

No, Jean, stay.

No one will be compromised,
I promise you.

Andre, to be a man of
principle is one thing,

but a man doesn't cut his
throat on principle.

I have no desire
to cut my throat.

CLAUDE: Then tell us, your friends.
That's why we're here.

Be reasonable, Andre.
We are trying to help you.

Yes, my friends.
Slowly. Slowly.

Let Andre tell
us in his own way.

Have any of you, in your
official work, had any hint

of a spy ring
called Topaz?

No?

What kind of a ring?

There's a number of Frenchmen, compatriots
of ours, high in official circles,

working for
the Soviet Union.

I go.

Jean, sit down.
I need you.

I have nothing
to do with spies.

I'm concerned
with exposing them.

This is a fairy tale.

How do you know
about this ring of spies?

The Americans have a Russian
defector high in KGB.

We know that.

Yes, that is known.

I saw him. I was allowed
to talk to him.

He told me.

A spy ring called Topaz?

ANDRE: Yes.

What is the name
of the defector?

Boris Kusenov.

But, Andre,
that's not possible.

Why?

(CHUCKLES) The KGB official
of whom you speak,

Boris Kusenov, has been
dead for over a year.

This man who has been
planted on the Americans

is obviously
a double agent.

And he has taken in the Americans,
and he has taken in you.

How do you know that?

What makes you
think that?

It's a matter of record.

I have it in my file.

(HORN HONKS)

You know you're not supposed
to come here unless I ask you.

I've been calling your
office all afternoon.

I even called this number.

I hate to seem impatient,
but I am expecting a visitor.

I apologize for this
invasion of your privacy.

Why did you permit Devereaux
to include me at that lunch?

If I had not,
he would have wondered.

If you had not come,
he would have wondered more.

But he knew. You could see
that he knew about me.

No. He wasn't sure.

He was trying
to find out.

And you, who behaved so
well at the beginning,

then did something extremely foolish.
(CHUCKLES)

You said that the Russian
defector was dead.

It shook him.
It stopped him.

For the moment. By now, he's
checking with the Americans.

By tomorrow,

he will know
that we are lying.

What will we do?

(CHUCKLING)

Nothing.

Let me give you something
to settle your nerves.

A cognac?

You don't think Devereaux
should be treated seriously?

An ominous and subtle
suggestion, Henri.

But these things
are not done in panic.

You'll forgive me
if I don't join you,

for I am expecting
a guest.

If I am
Devereaux's target now,

how long before
he will become a threat

to others?

Jacques,

this is not the first time we
have been faced with a problem

that demanded
the final solution.

Now, if you will
finish that cognac...

They are beginning to publish
things in the newspaper

that make me nervous.

Ah. (LAUGHS)

What things?

Those little hints of possible
leaks in the government, in NATO?

Pay no attention.
It's nothing.

Nothing for you. Nobody would
think of you in your position.

But me...

And now some journalist has called
to ask me for an interview.

About what?

NATO.

That's perfectly innocent. Give it to him.
Did you refuse?

No. I said I would.

Very intelligent.

Jacques, if Devereaux has information
from the Russian defector

that I think he has,

he must be stopped now.

Believe me.
(CHUCKLES)

How bloodthirsty
you are.

What, Devereaux dead?
A grieving widow?

And an official
investigation?

I hate to seem impatient,
but I'm expecting a visitor.

You can find your way out.

Shall I call you
after the interview?

What time will it be?

9:00.

Call me afterwards.

(DOORBELL BUZZING)

Thank you for coming.

Why shouldn't I come?
I'm a free woman.

(DOORBELL RINGS)

Good evening.
Francois Picard.

You're early.

We said 8:30.

No, we said 9:00.

I'm very sorry. If it
inconveniences you...

No, come in. Come in,
as long as you're here.

Thank you.

- Sit down.
- Thank you.

Could I
give you something?

No, thanks.

First, I want to thank you
for permitting me to come.

Don't mention it. Yours
is a very good newspaper.

Not like
some of these...

(LAUGHS)

But I don't know exactly
what you want of me.

Nothing extraordinary.

I'm just inquiring
into the workings of NATO,

and since you're
one of the top officials...

Do you mind if I sketch
you while we talk?

It's one of my specialties, to
sketch the people I'm interviewing.

The newspaper likes it.

Go ahead.

Okay.

Just relax,
Monsieur Jarre.

I am relaxed.
(CHUCKLES)

Good.

I only wonder what questions
you want to ask.

They are very simple.

For example, you're a
civilian official of NATO.

How does your authority
compare with the military?

The importance of people in
NATO has nothing to do with

whether they wear
a uniform or not.

Very good.

Then you are among those
who make the decisions.

Yes, of course.

Even if
they are military?

Military considerations are
always subject to politics

and the relations
between countries.

I see.

And so you have access to all
decisions that are made,

military as well
as political?

I did not say that.

(CHUCKLES) I'm afraid you
assumed too much.

(CHUCKLES)
I'm very sorry.

But we can assume, can't
we, that in your position,

you've access
to confidential files?

I beg your pardon.

I don't see how that can
be of interest to you.

Oh, Monsieur Jarre,

the readers of our newspaper
find such things fascinating.

For them, to know
that a civilian like you

can have access to
military secrets...

You cannot print that I have
access to military secrets.

Even if it were true, it would
be classified information.

(SCOFFS) What a shame.

But you said before...

I said that I
help make decisions.

That is different.

Okay. It's too bad.

But you see, sir, it is a rule for
a newspaperman not to be dull.

Surely I can print that
files marked "top secret"

cross your desk
every day.

Why do you stay
on this subject?

What are you
trying to find out?

Well, everyone knows that
there are leaks in NATO.

What has that
to do with me?

(CHUCKLES)

I'm just trying to clear up
a discrepancy for my article.

What discrepancy?

Well, you see, sir,
it is our information

that a head of
the Russian NATO desk,

Boris Kusenov, has defected
and is now in Washington.

But we are also informed that you
claim Boris Kusenov is dead.

Could you clear up
this discrepancy?

(DRAWER OPENS)

This is not
a newspaper interview?

No, but I wouldn't
mind publishing it.

Who sent you?

My father-in-law.

Who is he?

Andre Devereaux.

He sent you because
I don't know you.

And because I'm a journalist.
I can probe.

There is nothing
to probe for.

Your mission has failed.

Oh, no, sir.

This cannot be escaped.

Boris Kusenov is alive and has
stated you were his direct contact.

The Americans have NATO
documents that you gave to him

with your name on them,
your initials on them,

even notations
signed by you.

Those documents
can be on the desk

of the head of our
government in eight hours.

I do not think
I have failed.

What do you want of me?

Information.

And in return?

You'll be given time
to disappear.

We know you'll be
welcome elsewhere.

I am not going to
talk to you.

Will you talk
to Devereaux?

May I call Devereaux?

Yes.

Call him.

He must come here.

I'll talk to him
here alone.

Understood.

(DOORBELL RINGS)

Yes. Come in.

Hello, Michele? Let me
talk to Andre, quick.

(DOOR CLOSES)

(INDISTINCT)

Andre, listen.
It's done. Yes.

Alone?

Well, stay
until I get there.

Then you can
wait for me outside.

(DIAL TONE)

Francois. Francois!

What is it?

I think we have
been cut off.

Jarre, Jarre.
Here it is.

(PHONE RINGING)

There is no answer.

Something has happened.

- I'm going over there.
- I'm coming.

No, you stay here.

I'm coming with you!

Here you are.

Good. There.
His car is here.

He must still
be upstairs.

(MICHELE GASPS)

What's the matter?

Look. Look.

(MICHELE GASPS)

ANDRE: Jarre.

(RATTLING)

(DOORBELL BUZZING)

Michele? Is that you?

Francois?

(SOBBING)

Sit down.
I'll get you something.

What's the matter?

Francois.

What's happened to him? What's
happened to him? (CRYING)

He disappeared. He went
to do a job for me.

What kind of job?

To interview a man in our
government named Jarre.

He was working
for the Russians.

(GASPS)
Andre, I had a headache.

Francois!

(WINCES) Be careful.

What is it?

Well, to be honest, I've
been shot just a little.

Come on. Sit down.

There.

Mama!

- Oh! Take it easy.
- Wait, Michele. Wait.

It's nothing,
I promise you.

Hurts a little, but I don't
even think it's bleeding.

What do you mean,
not bleeding?

Go get some alcohol.

We haven't got any.

Then eau de cologne.
That's alcohol.

And a bandage.

Is the bullet in?
Let me have a look.

No, it just grazed you.

I told you,
it's nothing.

Nothing! You disappear,
it's nothing!

Could I have
some whiskey?

You are shot,
it's nothing!

Here, cognac.

Thank you.

(COUGHING)

What happened?

I don't know.

I was talking to you
on the phone, remember?

Then I heard Jarre let some
men into the apartment.

And then someone must have
hit me on the head.

Feel that.

- Oh, my God.
- Yes.

And the next thing I knew, I was
sitting in a car between two men.

They stopped to
make a phone call,

because they didn't know
what to do with me.

They thought I was still unconscious.
(WINCES)

When the car door opened, I jumped out
and ran. There were two shots.

You might have been killed.

Did you go around
to Jarre's apartment?

Yes. He's dead.

Dead?
Shot by those men?

They made it
look like suicide.

A window was open, and his
body was lying in a courtyard.

Who could they have been?

Messengers from Columbine,
the head of Topaz.

Why?

I must have shaken
Jarre at that lunch.

He became a risk.

Ah.

Then Columbine must
have been there, too.

Yes.

But who?

(INHALES SHARPLY)

- It hurts.
- It can't be helped.

Don't you think we
should get a doctor?

No, not yet.

It may involve us
with the police.

Oh, I just remembered.
I might get involved.

How?

My sketchbook.
I left it there.

No, I brought it away
with us.

Here.

Thank you.

Look, Michele,

portrait of
a dead traitor.

ANDRE: And if you had arrived later,
you would never have seen him.

MICHELE: Come and lie down.
I'll get you a blanket.

FRANCOIS: Oh, Andre.

There is one thing I didn't
tell you that's important.

When the men stopped to phone,
just before I got away,

I heard one ask the other
for a phone number.

It was Babylon-8583.

You are sure?

I'm positive.
Babylon-8583.

I can have it
tracked down in no time.

You don't have to
trace that number.

It's a small house hidden
away on the Left Bank.

Jacques Granville.

Horrible. Horrible!

Mr. Ambassador,
how are you?

Good to see you.

How do you do?

Good to see you again,
Mr. Ambassador.

- Hi.
- How are you, sir?

Anything on Topaz?

Who's running it?

Jacques Granville,
a friend of mine.

- A friend?
- Yeah.

Up till
10:00 last night.

But I can't
nail him down.

No proof.

I brought this
old picture along.

It'll help you
recognize him.

He's bound to be at your meeting
with our people this afternoon.

That poses a problem
for us, doesn't it?

How can we tell the French
about Cuba when...

MAN: Mike!

Thank you.
Take care.

(INDISTINCT)

- Are you sure?
- Positive.

Gentlemen, will you be kind enough
to take your seats at the end?

All right. Yes.
Thank you.

What do you
suggest we do?

What I suggest we do is
to tell them right away.

NORDSTROM: Gentlemen,
one moment, please.

(SPEAKING INDISTINCTLY)

Just a moment.

Look, Jacques,
I am very sorry,

but the Americans would rather
that you are not present.

There is no time to explain now.
I'll explain later.

(GUNSHOT)