All language subtitles for Beautiful.Stranger.1954_eng

- Just a minute, please.

Mademoiselle Victor.

Mademoiselle Victor, telephone.

- Okay!

Thank you, Nichole.

Hello?

Good morning
darling, how are you?

- Oh, good morning, Louis.

I have a surprise for you.

- A surprise, wonderful!

- It's here in my office.
- At your office?

Yes, I'll come down.

Wearing my gayest dress.

All right, I'll be there
as soon as I'm dressed.

- Okay.
- Goodbye.

Nichole, I must dress in a hurry.

Yes miss.

- Johnny.
- Am I gay enough?

- Enormously gay.

Johnny it's a tonic just to look at you.

- Now, what was that surprise
you lured me here with?

- Come with me.
- Where are we going?

- Come on!
- All right.

Oh, there we go again.

- Darling, I'm sorry.

Hello.

What's that?

Perhaps you've
rethought your 10,000.

- No, no, the whole 20,000.
- No, no, no, no, no.

- Yes, but they've got to
sell, that's their position.

- Yes, yes, yes, yes.

I'll take your counter offer.

- Now get ahead with him,

don't bring me back until
the dealer's closed.

Right.
- Naturally.

The surprise, please.

- Close your eyes.

Both of them, turn around, come with me.

Open them.

- Oh, Louis!

Oh, what a beauty!

Do you mean to tell me that...

- It's for us.

She'll be in the harbour in two days.

But you've already got one.

- This is a better one.

Besides, the old one's
had too many people on it.

All the associations
with this will be ours.

Do you like her?

- Like her?

Who wouldn't?

- There's a price for naming her,

now put your thinking cap on.

- All right, I'll try.

Princess.

- No.
- Pandora.

- No.

- Sea Witch?
- No.

Josephine, Camille?

- Not the name of a
woman unless it's yours.

- Johnny, oh no, she's
much too grand for that.

- Well then something gay,

something that dances over the water.

Something that dances.

Are we going to have telephones on board?

- I'm sorry, darling.
- Well we won't have for long.

Something that dances.
- Hello?

What's that?

I talked to our...

- Rumba!

- He has?
- Yes.

- Tango!

- I'm glad to hear he moved fast for once.

- Carioca.

Not bad.

- Yes?

- But not right.
- Oh dear.

The sea music, little
waves dancing, I've got it.

Calypso!
- Calypso.

You're right, it fits
perfectly, you get first prize.

- Oh, Louis.

Always ships and cargos and high finance

and telephones and more telephones.

When will you ever escape, Louis?

When will you find time
to be on the Calypso?

- I shall, Johnny.

With you and just the future head of us.

- I hope so.
- Soon.

Quite soon.

And now, your prize.

For naming the boat with my love.

- Oh, Louie.
- I adore you, Johnny.

- I don't know what to say.

- Don't say anything.

Wear it to the casino tonight,

we'll break the bank to celebrate.

- Oh Louis, you've been so good.

- So you won't run away
from me back to the states?

You know what I'd do if you did?

- What?

- I'd buy the ship you were sailing on

and turn it right back here.

- Oh, I wouldn't put you
to all that trouble.

- Besides, I have a boat of my own now.

- Yes, the Calypso?

You, me, and tomorrow.

- And the telephones.

You'll never escape.

- You think not?

Yes, Mr. Galt?

- Tell the exchange to lock
all my calls till after lunch.

Yes, Mr. Galt.

- You see?

- I don't believe it.

Well hurry up before someone
else sends a carrier pigeon.

- Goodbye, Mademoiselle Plesier.

Goodbye, Mademoiselle Victor.

- Johnny, will you wait for me in the car?

- But you said...
- Just for a moment.

- All right.

Well?

The gold is here and the
new pressings from London.

- And?

- We made a few trials.

Beautiful.

- Good work, Luigi.

Good work.

Card?

- Card.

- It's a good night for
the Calypso, keep it going.

Yes?

- Telephone, monsieur.
- All right.

- Your luck's in.
- Excuse me.

Johnny, I have to leave right away.

- Oh, well, I don't mind going.

- No, no, you stay and have fun.

I'll have to take the car, I'm afraid,

but I'll fix one for you.

- There's nothing wrong, is there?

- No, of course not.

Just those wretched telephone again.

I say.

- Well, we said we'd
break the bank, didn't we?

- I think you're breaking the customers.

Sorry to rush off, darling.

I'll phone you later.

Order Miss Victor a car
as soon as she's ready.

Yes, Mr. Galt.

- Marie?
- Hello, Louis.

- Why didn't you tell me you were coming?

I would've met you.

Is everything all right in Paris?

- Everything.

And here?

I've not heard from you.

- You'll have to forgive me, Marie,

I've been very busy.
- Yes.

Hasn't it gone a little too far this time?

- You worry too much.

- Perhaps because I have
no taste for ridicule,

of myself or of you.

- Nor I, Marie.

We don't have to dramatise this.

- That remark is usually
a demand for tolerance,

from one side only.

- Or a demand that the mind

should be sharper than the tongue.

You're quite right.

This isn't only my worry, Louis.

- Forgive me, I don't understand you.

- My family have come
into it, my brothers.

Your extravagant with
more than your charm.

They're worried, Louis.

- I have made them rich.

Even your father could never have dreamed

that the business would be
as great as it is today.

- But they and I still
control the business.

They could vote you out of it, ruin you,

they told me so.

They don't like you, Louis.

- Indeed.

- You can't buy everything,

and if you couldn't buy
anything, what then?

- Did they ask you to
come here and make threat?

- Of course not.

I came because I agree with them,

that I ought to know more of the truth.

- All right.

I'll go to Paris and see your brothers.

Maybe I do owe them an explanation.

- Don't you owe me one?

- Come with me.

- No, I think I'll stay here a while.

- There's nothing here, the season's over.

Everyone's gone.

- No, I'll stay here.

Till you come back.

- As you wish, Marie.

Will you change
these for large plaques, please?

- Johnny.

- Emil.

Well, I didn't quite
recognise you for a moment.

- You didn't?

- What have you done to your hair?

- I watched you playing just now.

Oh, you were lucky.

- Yes, I did rather well, didn't I?

- May I buy you a drink?

- All right.

But I can't stay very long.

- Well madam, there is
a car waiting for you.

- Oh, will you ask him to wait, please?

- Very good, madam.

- What a lucky coincidence
me meeting you here tonight.

- Yes, what a nice thing.

Good evening
madam, good evening sir!

What would you like to drink, Dubonnet?

- Yes.
- Two.

Two Dubonnet.

- Johnny, you look wonderful.
- Thank you.

How is Susan?

I haven't heard lately.

- About the same.

You must forgive Susan if
she doesn't write too much,

but you know, when the mind is...

- She should write only
when she feels like it.

She has been getting my
parcels at the sanatorium?

- Oh yes, every week.

You are very kind.

I should've written to you myself, but.

Have a cigarette.

Oh, I must get some.

- Oh, don't bother.

I have some.

A whole case full.

- Thanks.

- Don't worry too much about
Susan, she'll be all right.

- She isn't strong, like you.

- Give her time.

That tour of theatrical
flops we performed in

wasn't exactly a rest cure.

- No.

I was sorry for you girls.

- Is that why you followed
us from town to town?

- I suppose.

Susan thought I was following you.

- Did she?

But you married her.

- Yes, I married her.

She went from one flop to another.

- I don't think Susan would think that.

- From the man you are going to marry?

Yes.

- I've seen him, he's a
nice man, respectable.

When is it going to be, the wedding?

- As soon as his divorce becomes final.

- Divorce?

I'm sorry.

- He's been legally separated for years,

but the divorce'll be
coming through any day now.

- Oh, then I'm happy for you.

Cheers.

- Thanks.

And thanks for the drink,
now I must be going.

- Already?

Uh, Johnny.

- It's rather late.

- Johnny, I hate to, uh...

- Hey Emil, is there something wrong?

The bill sir?

Thank you sir.

Let's talk on the way out.

Would you cash these, please?

Thank you.

Well, you idiot, why didn't you
get in touch with me before?

- I hated to ask you.

You've helped us so often, but.

It's all for Susan, it's
the sanatorium, the bills...

- This ought to take
care of it for a while.

- I'll pay you back.

- Forget it, I must go, my car is waiting.

- Johnny, I'm sorry for you.

- You're sorry for me?

- That you have a friend like me.

- Don't be silly.

Give my love to Susan, good night.

- No, no, no, no, large plaques.

- Oh, good morning, Nichole.

Good morning, Mademoiselle.

- How are you this morning?

- Ah, my feet, Mademoiselle, my feet.

- Oh, I'm sorry.

Hello?
- Hello, Johnny.

- Oh, hello Louis.

You didn't call me last night.

I couldn't darling.

Did you have a good time at the casino?

- Yes.
- Good.

Listen, Johnny, I have to
go to Paris for a few days.

Why not come too, take
a look at the shops?

Would you like that?

- Oh, I'd love to, when?
- Today.

- Today, oh, do I have
time for a cup of coffee?

- We don't have to leave
until the 6:30 plane.

- All right.

Well, then I have time to have a shampoo.

- All right, darling.

We'll have a wonderful time.

Bye.

- Lovely job, these new pressings.

Even the Bank of England
couldn't make 'em any better.

- These need rubbing down a little.

They're too bright for the date 1910.

- I fixed that.

- We're gonna leave it to him, Mr. Galt.

This guy can do anything with gold.

- How many agents do we have
working on these things?

- 18.

- And they all have
sovereigns in hand unsold?

- Plenty, why?

- Prices are unsteady.

I can get $20 to a sovereign in Rome.

In Cairo, they dropped 18.

But Tangier, prices are
rising all the time.

- You wanna send some stuff there?

Is one of your company ships going over?

- I'm shipping the whole
minting plant to Tangier.

Making the coins there.

It's an international
zone, the law's easier.

Besides, I have gold in Tangier.

- Where will you ship from?

- Here.

I just have to go to Paris
first, settle something there.

In the meantime, you'll have to work fast,

see all the agents,

get back all the sovereigns not yet sold,

or else the money for them.

- By when?
- Within six days.

I want the money for what they've
sold or the gold returned,

and no excuses.

- There won't be any.

- Good.

- It's lovely to have
you back with us again,

and you are looking so elegant.

I'm sorry you missed my gorgeous party.

- I'm sorry too, Helen.

- You know we missed you, we
missed you all the summer.

Hello madame, hello.

- I didn't know you'd arrived.

- That's quite all right,
Nino, I was a little early.

Besides, you have the best
collection of magazines in town.

I get a better
manicure here than I do in Paris.

- Shall I send the beauty
preparations, madame?

- I should like to take
them with me, please.

Of course.

- Did you have a good summer?

- Oh, disgustingly good.

Not a single scandalous
thing happened to me,

I was absolutely furious.

Do you think I should have my face lifted?

- Certainly not.

- Well, it's horrible.

Yet, you can tell Louis that
I'm furious with him, too.

He never comes around.

It's nothing but work,
work, work, with that one.

He's been very busy.

- Now that you're back,

you must stop him, bring him to dinner.

We'll all four of us have dinner together.

- Oh, I am glad to hear that.

- What?

You heard I'd separated with Phillip?

- Well, I'd hoped it wasn't true.

Of course not.

I walked out for a little.

Gave me great emotional satisfaction.

But we're no more separated
than you and Louis were.

Except by distance, oh, incidentally,

you can stay for the
weekend when you come.

- I'd like to very much.
- Madame.

- Thank you, good afternoon.

Yes Madam?

- Just a moment, please.

Madame Galt!

Madame Galt, your handbag.

- Oh thank you, good afternoon.

Good afternoon.

Hello, madame, I apologise
for running away,

but someone left a bag.

Yes madame.

Tomorrow, three o'clock,
I made a note of it.

Goodbye madame.

- Madame, madame, if madame
will please come this way.

- I'm sorry, I just remembered
I have another engagement.

But why?

Why?

- Because I'm in love with you.

And if I had told you my
divorce was not a fact

but a long battle far from won,

you'd never have come near me.

Would you?

You see, I was right.

Can you blame me?

Divorce here is slow and tortuous.

I tried to make you happy.

You've been happy.

You've made me ashamed.

Ashamed that I ever believed you.

- But Johnny, it's not what you think.

My wife came here to talk
about a money settlement

without involving a battery of lawyers.

- Can't I make you understand how I feel?

Don't you realise what
all of this has made me?

Would you've been
happier with the whole truth?

Would you?

- Even when I was working
in dirty little theatres

and living in crummy hotels,
at least I had my pride.

But now I have to be here
in all of this to feel cheap

for the first time in my life.

Johnny listen to me.

It won't be long now until
everything is all right.

This, you must understand.

Understand.

That's very funny.

I never trusted anyone ever before,

and now you, of all
people, should lie to me.

And about something so important.

It was important
to me to hold onto you.

And that's the truth.

- I know the truth, and I hate it.

You made me even hate myself.

- Yes?
- Mr. Galt?

It's for you.

- Hello?
- It's Luigi.

- I told you never to call me here.

Did you come up with an amount?

- I'll have to charter
a later plane to Paris.

Happy birthday!

- I'm terribly sorry.

Sorry we
thought it was Annabelle.

Oh I'm sorry, but do you
have a telephone here?

No, is something wrong?

- I wrecked my car down the road and I...

- Come inside, are you hurt?

No, I'm not hurt,
but I am shaken up a bit.

- Oh, sit down here.
- Thank you.

- We thought you were someone else.

- Yes, oh, I see.

Oh, we thought
you were Annabelle.

- What happened?

- Well, my car hit the post on the bend.

- Stay here for a while, relax.

You need it after all that.

- Oh, thank you.

- I'll make you some hot coffee.

- Oh no, no, please don't...

- Oh no, it's nothing.

- Is it in anyone's way?

- No.

- Then why worry?

You should be very happy to be
alive after hitting the post.

- He's right.

Are you visiting Cannes?

- I live here

at the end of the Croisette.

- It will be ready in one minute.

- Then Pierre can drive
you home in his jeep.

- Don't go, it's a horrible experience.

- I have the oldest jeep in France.

They can laugh, but they
will walk home otherwise.

- Roger, music please!

- George will see about
your car in the morning.

His brother has a garage here.

- Thank you.

- George can organise absolutely anything.

Except Annabelle.

- I'm terribly sorry

to have interrupted your party like this.

- No, no, you are very welcome.

- Ah, there it is.

This is Annabelle's party.

I suppose she's still working at the cafe.

- Oh?

- Yes, she has to work to
pay for her painting lessons.

- Thank you.
- I hope you feel better

after this.

Do you want some cognac in it?

- No, thanks.

Are you all artists?

- Oh, one kind or another, yes,

but we have other jobs as well

so we can afford to be artists.

- Is this your studio, Monsieur...

- Clermont, Pierre Clermont, no,

a friend is letting me use it
for the winter, Miss, Missus?

- Miss, Victor.

Johnny Victor.

- Johnny?

- It's a nickname for Joan.

- Ah.

Annabelle!

- Excuse me.

Roger! Some music!

- Don't ever disappear
like that again, ever.

And Johnny,

don't ever assume there's
a separate choice for you.

There's no life for me without you.

And there's no life for you with out me,

there couldn't be, I
wouldn't let there be.

Remember that.

Goodnight, darling.

I'll be back as soon as I can.

You are
going to wake up my kids!

Yes, yes, do
not see that I'm doing my best!

Pierre!

Pierre Clermont!

Hi!

- Hello!

Hello.

- What are you trying to
do, start a revolution.

- Yes.

My jeep is stuck again.

Yes, yes
I'm coming! Wait a minute!

You see, they are going to murder me.

Could you tow my car for me please?

- Okay.

- I have a rope.

You just have to drive down there.

- Uh huh, but don't let them see the rope

before I get there.

Now press with
your knuckles on the outside,

like I did on the last one.

- Like this?
- That's right.

Keep going.

- Ha, it's fascinating!

- Yes.

I never imagined I could
do anything like this.

- Lift up your hands, Johnny.

What shape do you want?

- Something with a bulge
in the centre, I think.

- All right.

You press with your left hand here

where you want the bulge, right?

- Yes.
- Like this.

- I'll do it.
- Excuse me.

Gently, gently, not so fast.

- Isn't that a big enough bulge?

- Just a little bit more I think.

- Now you press with your two hands here.

- Yes, I saw you, I'll do it.

- Stop Johnny, stop Johnny.

Take your hands away.

You are a potter.

- I did it.

I actually made that.

- I told you you could.

It is exciting to make
something, isn't it?

To put a little bit of
yourself into a piece of clay.

I never thought I
could do a thing like that.

- You should've seen my first vase.

It was like the Tower of Pisa.

- Really?
- Yes.

- Well this one is pretty
straight, don't you think?

- Oh yes, pretty straight.

- Thank you.

- Just a minute.

- Oh my, what a sight.

- How do you like yourself as a potter?

- Well, I don't know,

but I look rather workman like, I think.

- Then you must finish your job.

It's not finished yet.

- Oh, isn't it?
- No.

- Oh, well then tell me
what to do and I'll do it.-

- But you can't now.

You see, it has to dry for
one day, then be glazed,

and fired, and maybe painted.

The whole thing takes about a week.

Now I see.

- Naturally, I could
finish the job myself.

- Oh, be careful!

- Of course.

- Well, when may I glaze it?

- When I glaze all the others, tomorrow?

About this time.

- What is that?

- What?

- That.
- A fruit bowl.

- How interesting.

- You see, the handles keep the fruit in,

and the fruit falls to the
bottom because it's curved.

- Well now that makes sense.

Well then all of these

have a practical idea
behind them haven't they?

- There has to be, I have to sell it.

- Ah-ha.

- And you know art isn't
divorced from life,

it's part of it.

- Maybe you're a genius.

- Maybe.

- Well, I'll be back
tomorrow and do my own vase

so you won't have to touch it until then.

All right, Johnny.

- Now, I'm ready to go shop.

Oh.

Oh no, no, no, no that's not!

- Hello, Luigi.

Have you got it?

- What?
- The money.

- Oh, the money, yes, yes,
I'm getting it for you.

Don't worry.
- I must have it today.

- Today?
- Today.

It's been the same for every agent.

And I'm being pressed.

- By this man you work for?

Ah, shall I talk to him for you?

- He takes no excuses.

- Oh, that's too bad.

I'm sorry for you, Luigi.

Here, have a cigarette.

Oh, I must get some.

- So you don't have the money?

- I need a little time, I'm getting it.

- Thanks.

- Don't bother to get it.

- I needn't?

I needn't get the money?

But how do you mean?

Come Luigi, sit down.

Here, have a drink, too.

How do you mean?

- Because if you haven't got the money,

you must have the sovereigns,
I'll take those back instead.

- But I've sold all the sovereigns.

Then you must have the money.

You must have one or the other.

- If I haven't got the money,
I must have the sovereigns.

If I've sold all the sovereigns,
I must have all the money.

But I haven't.
- You haven't?

- I haven't collected it.

I'm collecting it tomorrow, I promise.

- You have 24 hours.

And no excuses.

- 24 hours.

And no excuses.

- Well hurry up.

- Come in.

Come in!

- Emil.

What are you doing here?

- Another coincidence.

- Coincidence?

- I saw your maid on her
way home from your villa

and she told me.

- Oh, I see.

Pierre Clermont, this is Emil
Landosh, a friend of mine.

- How are you?
- Hello.

- Did you know that I'd become a potter?

- Yes, I know, Johnny.

It's about Susan again.

She...
- Yes, I know.

- What?
- I telephoned the sanatorium.

- Oh.

- I've sent Susan a check.

She'll be looked after, you needn't worry.

Now would you like to
come and help us stoke?

- Stoke?

- Yes, we're firing my vase today.

Oh, isn't that a wonderful fire.

- Yes, it gives a tremendous heat.

A man could be a puff of dust in there

but like that.

- I think I'll have to go now.

So soon?

- Yes, I have some work to do.

- Oh, you're working very hard, Emil.

- Yes, very hard.

24 hours.

Bye Johnny.

- Drop in anytime.

- Yes.

- Strange fellow, huh?

- Yes.

He's married to a friend of mine.

I'll tell you about it sometimes.

Oh, here's the good one, oh!

- Johnny!

- Oh no, no, no, Pierre, please.

There are many things
that I must say to you.

- What are you thinking about?

- That this is another wonderful day

I never want to come to an end.

- Every day can be like that, Johnny.

- I never felt like this
before, completely at peace.

- I don't understand why.

You know, Johnny,

I have always heard about
the poor little rich girl,

but I never believed
in her until I met you.

Me, rich?

That's a laugh.

I started to work when I was 14 in Detroit

and earned enough money
to buy a ticket to Chicago

where I joined a chorus line.

- Where were your parents?

- I never knew them.

Surprises you, doesn't it?

To know somebody and not know them at all.

- I know a part of you.

I know you when you smile, when you laugh.

I know you like the
people and things I like.

You are not complicated then.

- Everything is.
- Why is it?

Tell me now, what is so complicated?

- No, if I told you, it
would only spoil all of this.

- Would it make any difference

if I told you that I have
fallen in love with you?

- Oh Pierre, please.

- I want to be with you
and have you with me,

and stop you being sad.
- Listen.

Someone was here.

- What?

- Someone was here watching us.

- What do you mean, watching us?

- I'm sorry Pierre, but I must go.

Johnny, what's wrong?

- I must leave right away.
- May I go with you?

No, no, no.

I'll follow you home in my jeep.

No Pierre, I don't want you to.

Of course I am going with you.

- No, I must go...
- But why, why not?

Really I must, I'm sorry.

Hello, Johnny?

- Yes, Pierre.

Are you all right?

- Yes.

I had to
ring you, what's wrong?

Why you run away like that?

Hello?

- Well darling, how are you?

Where have you been hiding,

I phoned you a dozen times in Paris,

and again tonight when I got back.

You're never at home.

- This is Cannes 70364,
you have the wrong number.

- I didn't hear your car.

- No, Luigi dropped me,
he's waiting in the road.

I can only stay a moment.

I thought I'd surprise you.

I'm afraid I've surprised
you a little too much.

Don't look so startled, Johnny.

I have some wonderful news.

Come on, I'll tell you.

I'll tell you what I've done.

First of all, I saw the lawyers in Paris

and arranged the whole
business of the divorce,

the alimony, everything,
so it won't be long now.

And we're going away.

Won't you go answer the phone, darling?

- Yes.

- Did you say going away?

- Tomorrow.

I've sold my directorship
in the business, my house,

everything that reminds me of the past.

We can start again from here, Johnny.

And we've got enough to take us

anywhere in the world we like.

No ties, no responsibilities,
nothing, except each other.

There's no limit, we can do what we like.

- Louis, I have something to say.

- So have I.

This is the moment I've
been waiting for, Johnny.

To break with a past I've come to hate.

And to start again with you.

- Louis please listen.

- Don't worry, darling,
you have no more problems.

We'll take away from here
tomorrow night in the yacht

right away.

You see, I've kept my word to you.

Now I must go, Luigi's waiting for me.

Oh, I almost forgot.

I have something for you.

- Oh Louis, please listen.

- Would you mind keeping
quiet while I put this on?

I'll telephone you in the morning.

Good night, darling.

This is what I want you to do.

Get all your papers signed

and the yacht cleared by
the customs this evening.

And take it out to sea out of sight.

When it's dark, douse your
lights and head back to shore.

Make for a cove course in Valery.

Anchor there and send a boat ashore.

Do you know that beach?

- Yes, Monsieur.

Deep water.

- Exactly.

I want you there at four o'clock.

Miss Victor, myself, and
Luigi will be on the shore.

We'll have some goods to take on board.

We must be out to sea before daybreak.

We'll have the coast
guard asking questions.

I want no mistakes, that's all.

- Yes, Monsieur.

Hello, Luigi.
- Hello, Captain.

- All done?

- All the money owed us,

and I got back all the unsold coins.

Money's here.

- And the sovereigns?

- Some at Rene's warehouse,
the rest at my place.

$200,000 worth.

I'm sharing that room with
a five-year jail sentence.

- Don't worry, I'm moving it soon.

Did you have any trouble
collecting the money?

- No, some needed a little pressure,

but I got it all.

Oh, one of them paid up with this.

I had it checked, it's good.

- A man you picked?
- Yeah, lives here.

- Yes?

- Gambling type, pretty shifty.

Has something for the women, I think.

- It would seem so.

- You know, my boys kept
saying Landosh won't pay.

Well, there it is.

- Yes.

There it is.

I'll tell you how and
when you move the presses

when you get here tonight.

Be here at 9:30.

9:30, all right.

I'll be glad when this
is over, I can tell you.

- Hello, Louis.

- Marie.

I didn't want to disturb you last night,

I got back rather late.

I didn't see your brothers,
they were both away.

I couldn't stay any longer in Paris.

- I doesn't matter, you made the gesture.

Somehow I feel more
settled now that I'm home.

I hope we may both feel more settled

and do without these upsets
and weeks away from each other.

I'd like to think so.

- Of course, Marie.

- By the way, Helen and
Phillip are coming to tea

and staying for drinks.

- But it's almost tea time now.

- I know, aren't you packing up for today?

- No, I have some unfinished
business to do at the office.

- Oh let it wait, they'll
think it's so rude

if you're not here.

- It's very urgent, Marie.

- You can't escape, they're here already.

I'll see them in.

- Hello.

Pierre, why did you come here?

- Because you don't answer the telephone.

I have tried for hours,
and I knew you were here.

Can I come in?

- All right, come in.

Perhaps it's better that you are here

so that I can tell you
rather than write to you

or tell you over the telephone.

- Tell me?

What?

- Pierre, this isn't any sudden decision.

I thought it about it all last
night and all this morning.

I'm not going to see you anymore.

- But, I don't understand.

What has gone wrong?

- Nothing has gone wrong.

We've had a lot of fun, I've
enjoyed every minute of it.

It's just that, well the
party's over, Pierre.

- You're not fooling me,

you're not fooling yourself, don't worry.

- Pierre, you don't know me at all.

Where do you think all
of this has come from,

my house, my car, my
jewels, everything I have?

- I'm not an idiot, Johnny.

Now, will you stop with all this nonsense?

I am in love with you,

and I don't care about anything else.

I only care about now, and from now on.

- Oh, Pierre.

Don't you see, I never expected
to fall in love with anyone.

And well, he's been so good to me.

- Are you in love with him?

- I felt beaten and sick of being poor.

I said are
you in love with him?

- He's done everything for me,

and I can't do anything to hurt him.

I said love.

- I'm leaving tonight, and
we're going to be married.

- But you don't love him.

- Oh, stop saying that.
- Is that true, Johnny?

- No it isn't, will you please go?

- Listen, listen.

I love you.

Now look at me and tell
me you don't love me.

And then I go.

I wish you would go.

- Look at me and say that.

I can't.

And you know I can't.

Because I love you and you know that, too.

Oh, darling.

I just didn't know what to do,

I didn't want to hurt you,
I didn't want to hurt him.

I didn't know what to do.

- Johnny, I can't offer you
more than all the love I have.

That's all I have.

That and being happy when you are here.

Johnny, come away with me.

Marry me.

If this man has the heart you say he has,

we'll tell him about us,
and he will understand.

- I know it'll hurt him
terribly, I know it will.

- We'll tell him together.

- No, I understand him darling,
I better tell him alone.

- Why, I don't see why you have...

- I want to, darling.

- All right, Johnny.

- Louis, what's the matter?

What are you looking at me like that for?

- I should've realised
last night when I was here.

Your being so nervous.

- Realised what?

- About this penniless
fool you're mixed up with.

Louis.

I wanted to tell you everything myself.

Oh Louis, I should've told you last night,

I wanted to, but you wouldn't let me.

- You'd been with him then, haven't you?

- Oh, Louis, Louis.

I don't know what's been told to you,

but you've been wonderful to me,

and I owe everything to you.

Oh Louis, please understand.

It's very difficult for me to say

because I've never felt like this before.

Louis, this is the first time in my life

I've ever been in love.

- Love?

Are you out of your mind?

I know this man, and you
couldn't possibly love him.

- Oh, Louis.

Louis this the one thing I
didn't want to have happen.

- Don't worry.

It won't.

- All right.

If that makes you feel better.

- I took you out of squalor and failure

and gave you all this,
everything you have.

I'm not giving you up now, do you hear?

- Let me go, let me go!
- Not to anyone,

not another cheap liar who
plays you for the fool you are.

- Let go!

- The thought of what you're doing,

I tell you, I know this lover of yours.

- He's not my lover!
- Don't lie to me,

I know he is!

Don't tell me you lied before.

- I've never lied to you!

- No one cheats me, no one!

And anyone who stands
in my way, I'll smash.

Like that, and that, and that!

- You're crazy.

- You're coming away with me tonight.

This man doesn't love you.

You think anything you give
him, the things I gave you,

he'd probably kill you for
the half million dollars

in that safe now.

Stop talking like That.

- Don't meet him again
or try to speak to him

or try to get in touch with him.

And I'll have him killed.

Beaten and killed.

- Louis, Louis!

Louis, no, no, leave him alone!

- Then you stay here

because if you see him
again, I'll kill him.

- No Louis, do whatever
you want to with me,

but leave him alone, please.

- You're coming away with me tonight.

- All right, all right,
anything, anything.

- And you better be here when I get back.

Here.

And this time, keep it.

Hello, Johnny.

Johnny, is that you?

- I, I can't.

Johnny, what's wrong?

- No, no, I don't want
you to get mixed up in it.

Don't come here, stay away from me!

- I'm on my way, right now.

Wait there!

Johnny, Johnny!

Johnny!

Answer, answer me Johnny!

- Emil, Emil is that you?

Emil, it's Johnny, please answer me.

- What do you want, Johnny.

- Oh, I'm glad you're
there, I need your help.

Something terrible has happened.

- Something terrible?

What Johnny, what, what's happened?

- Louis Galt is in a blind rage.

He's threatened to kill an innocent man.

- Who?
- Pierre, the artist you met.

- Oh yes, yes.

- Well Pierre is on his way to my villa,

and when he sees everything in shambles,

he'll start looking for Louis,

and this mustn't happen.

He'll be in great danger.

- Yeah, but Johnny, what can I do?

- Search for Pierre.

I know he'll start looking for Louis

when he finds me gone.

- What are you talking
about, finds you gone,

where are you now?

- I'm telephoning from a garage.

- Then who is at your villa?

No one.

Only I know that Louis I
stopping by there later

to collect something from the safe.

- Safe, yes yes, I'm beginning to see.

What time is Galt stopping by your villa?

- Oh, in an hour or so,

plenty of time for you to head off Pierre.

- I'm sorry, Johnny.
- Emil!

Emil!

- I'm sorry.

- Andre and Gerard have
the sovereign presses

and the ingots at the warehouse.

So send one of your
drivers there with a truck

at two o'clock.

How many cases of sovereigns have you?

- Four.

- You can drive me to
Miss Victor's from here,

then take the cases to the warehouse.

Take the truck on the road to St. Valery

to get there at exactly four o'clock.

You'll found the yacht in the
bay and a boat on the beach.

Get rid of the truck as
soon as you unload it

and get the stuff aboard, then
wait for Miss Victor and me.

We should be arriving in her car.

Well?

Well?

- The coast guards are
getting lively, you know?

Handling this in small lots
and often is one thing,

but this is different.

- The pay is different.

- Why do we have to take
everything all in one load?

- Because I'm leaving the country.

For good.

- Andre and Gerard don't
like it either, Mr. Galt.

There was a boatload of
sovereigns cut outside too long.

The crew got three years.

We'll be carrying 50
times more than they were.

- Good.

I wish it were a hundred times.

Anymore questions?

- I'm only telling you, Mr, Galt.

- Is your car outside?
- Yeah.

- Then wait for me.

- You want to go to Miss Victor's now?

- Wait outside.

- I can't believe it.

Even knowing all I do,

I can't believe anyone
could be as vile as you.

- Go to bed.

- You're sneaking away like
the common thief you are.

- What's that?

- Yes thief, my brothers
have called me from Paris,

they've told me about
the money you paid them

from the vaults.

Have you gone mad?

- I took my share.

You'll ruin
us and yourself, too.

- Why?

I need the money, I'm
going on a business trip.

So I heard.

Criminal business.

How can you do this?

- Because I have expensive tastes.

And find ordinary commerce dull.

- Oh, you're cruel and
cynical about everything.

Nothing's sacred to you,
neither laws nor obligations.

- You're boring me.

- You still think money
can buy you everything.

Even dirty money.

But it's all vanity, Louis, arrogance.

You're even buying this
girl to satisfy your vanity,

you don't love her.

You don't love anyone.

- But you hate her, don't you?

- I pity her, I know what she has to face.

And I'm appalled because
I can remember you

when you were different.

When you had some spark
of pity in you, too.

- It's been over strained by
your self-righteous moralising.

And your pride.

- My pride, how much have you left me?

- I hate emotional
scenes, they embarrass me.

- You're rotten, Louis,
you're rotten right through.

And the real madness of it is

that I'm still in love with you.

I'm not gonna let you do this.

- You're in my way.

- Excuse me, do you
know the yacht Calypso?

- Yes, Monsieur, Monsieur Galt's yacht.

Whose?

- Monsieur Galt, Louis Galt, sir.

- Where is it?
- Calypso.

- But you know, don't you?

- It's at that end, that way.
- Thank you.

- Mademoiselle Victor.

- Andre.
- Ah, Mademoiselle Victor.

- Andre, the Calypso, where is she?

- She's sailed a few hours ago.

- She sailed?

Well do you know whether Monsieur
Galt was on board or not?

- No, he was not.

I saw him drive away with someone
before the Calypso sailed.

- Drove away, thank you.

Johnny!

- Pierre!

- Thank heaven you are safe.

I just come from your Villa.

Was it Galt?

- Yes, but I'm all right.

- I knew I should never
have let you see him alone.

Where is he?

- Oh no, Pierre, you
mustn't try to find him.

- Tell me where he is.

- No, you mustn't try to find him,

you don't know what he's
like, he's dangerous.

- Listen, stop being afraid.

There's no life in
being afraid, no future,

there is nothing, don't you see that?

- I know, I know.

- Then where is he?

- He's at my villa or his,

but you must let me go with you.

- All right.

My jeep is at the other
end of the harbour.

We'll use your car.

- Will you tell Monsieur
Galt Miss Victor is here,

wants to see him.

- He's not at home,
Monsieur, he's gone out.

- But, but do you know where?

- I do not know where, Mademoiselle.

Thank you.

Give me the police.

- Meet me at St. Valery
beach at four o'clock.

- I hope you're right about that.

- I shall be in Miss Victor's car.

I haven't much time.

- So she sent for you.

You were going to clean me out.

You were going to take everything I have

and disappear together.

- Together?
- Where is she?

- Who?

- Don't act with me.

I know what's been going on.

- And I know what you're
thinking, Monsieur,

but it's a mistake.

- I know that Johnny has been fool enough

to fall in love with you.

A thing like you.

Where is she?

- Johnny, in love with me?

Monsieur, it's a mistake.
- No mistake!

I told her I'd kill you.

- It's another man.

An artist, a sculptor, um.

- What?
- Pots!

- What?
- A man who makes pottery,

I've seen them together at his studio.

What's his name?

- Um.

- His name?
- I'm trying to think.

Trying to remember.

- You're lying.

- No, I'm not lying.

I'm trying to help you.

And I'm sorry for you, monsieur.

I'm sorry that Johnny doesn't
love you and what's his name.

- You knew just when to come
when the safe was stacked.

She must've told you.

- No, I came for myself.

You can have me beaten and
killed if I lie, as you said.

- She told you I said so.
- Oh, no!

- She even gave you the bracelet.

You paid Luigi off with it.

- Bracelet?

Gave it to me?

No, monsieur, I swear to
you, I stole the bracelet.

I stole it, I am innocent.

You're a liar.

You're a thief and a liar.

Artist, sculptor.

It's you!
- No, it's not me!

I work for Luigi.

I work for you.

I'm your friend, and I'm sorry for you.

- He's been here.
- What?

- He must've left in an awful hurry.

You know, since he hasn't
been able to find me,

he'll be looking for you.

I'm sure he'll go right to your studio.

Do you know where?

You remember the night

I felt we were being spied upon,

well someone has told him about you.

He must've left this
place in a terrific rage.

Yes, almost in
a panic, by the look of it.

Yes yes, he
knew what he was doing

when he was watching him.

But you know,
not enough to close the safe

and leave money on the floor.

More like an escape than a pursuant.

He's still loves me.

I'm certain he's gone to your studio.

- We meet him there.

- No, darling.
- Johnny.

It's all right.

- I'll do it.

- This must belong to Galt.

- So does the money, I
think, what's left of it.

He would've kept it here
under the circumstances.

He was coming here
anyway, his wife told me.

Then leaving on the yacht.

- Well it's left without him.
- I know.

Something's gone wrong.

Violently wrong.

- Blood stains lead right
round to the front of the villa

to where cars are parked.

Someone, dead or wounded,
was dragged that far.

You can see the marks.

No sign of any weapon.

- The girl's the answer.

She was supposed to leave with Galt,

but she altered her mind.

Altered it for this other
man, what's his name?

- Pierre Clemont.
- Are you sure.

- Absolutely.

He's well known in the
harbour, he paints there.

I was told they were
both looking for Galt,

they were both very excited,
and the man was angry.

- Obviously they caught up with him here.

Men must've fought over the girl,

and something happened to one of them.

- But which one?

- Do you know where the artist lives?

- Yes.
- We'll go there.

Perhaps his place will tell a story, too.

- There's no one here, come on.

Wait a minute.

Come in now.

Relax, darling.

There's nothing more we can do tonight.

Sit down, there.

I'll get you some coffee.

- Listen, what was that?

- It's nothing, you are
just tired and nervous.

Drink this.

- Would you please look outside?

- All right.

There's nothing, Johnny.

Tell me, when Galt smashed the place

then threatened to kill me,

did he have a weapon of any kind?

- No, why?

- It's not important, put your feet up.

- The money, money!

It's my money!

It's money!

It has to stop burning, it's my money!

- Emil!

This will stop, stop, stop!

- It's Louis!

- Go inside, Johnny.

You are mad!

- Let me go, he's dead,
what does it matter?

- Watch out Johnny, he's crazy!

- My money!
- There's a rope, Johnny,

in the kitchen!

- I was going away tonight,
but he thought I was you.

I didn't mean to kill him.

He thought I was you, you understand.

You'd both be dead now, I saved you both.

You got me into this, you and Johnny.

I was sorry for Susan, I
was sorry for everybody,

I was even sorry for Galt.

Nobody's been sorry for me.

Nobody's ever been sorry for me.

Now, we must burn the body.

Nobody will know.

We can escape and be free!

Give me the rope.

He's insane.

The police will take care of him.

Luigi!

What's the matter now?

Any sign of them yet?

They're 20 minutes late!

- Your watch is too fast.

I don't like this any more than you do.

- Marcel, hello, Marcel, hello Marcel.

This is Anton speaking, Anton speaking.

Yeah, there's a message about
the motor yacht, Calypso.

Repeat, Calypso.

The yacht must be intercepted,
and all on board under arrest.

You may encounter resistance.

Proceed at speed and report your progress.

End of message.

- Hello, Anton, Marcel speaking.

Message received.

Proceed to area 12 immediately.

- Yes, sir.

- They're here now!

We're all set, everything's a...

What's the idea?

- Yeah, what is the idea?

What is this, where's Galt?

- Emil, Emil, no, no, no, you mustn't.

Emil, you mustn't!

No, Emil!

Pierre, Pierre!

- Keep the man covered, whoever he is.

I'll get the other one, we have to.

- Mr. Galt killed by that guy Landosh.

I'll settle him, give me that gun.

- Don't move!

- Why don't you want
me to go after Landosh?

- I told you, the police
will take care of him.

- So we finally caught up with you, too!

- What do you mean?

- Listen, I tell you.

He had a gun.

We fell and the gun went off.

Now if we burn the
body, we'll all be free.

Free.

- And that was the gun
I found at the villa.

- You'll be needed at the inquest.

Otherwise you're free to go.

- Thank you.