All language subtitles for The.Deadly.Game.1955

[MUSIC]

[MUSIC] Well, there you are, old boy.

Take a look at that.

Bags of fresh air, bags of sunshine,

here at the Mediterranean.

A bit better than that dump

I found you staying at, eh?

No comparison.

Hey, this is great.

Lucky thing for you, you

ran into me, really, isn't it?

Boy, was I surprised.

Let's see, when was the

last time we saw one of that?

When you and some of the other raft types

threw that going away party for me,

remember?

Can't say I remember

much about the end of it.

No, as I recall, I poured you into bed.

It was you, wasn't it?

I wondered how I got there.

You've been in America ever since?

Ever since.

Gee, this is really nice.

How are you, commission?

How about taking a lunch?

I'm sorry, I have a date for lunch.

Huh?

How about a drink?

Well, that's a good idea.

Just time for a quickie.

What are you waiting for?

Come on.

Have a nice little bar down here.

Probably a seven and a half bar, mate.

Oh, okay.

Oh, teni.

Hello, Mitzi.

I introduced Mr. Philip Graham.

Mr. Graham.

Miss Moll now, Mr. Carey.

Oh.

Mr. Philip Graham, the songwriter.

Ah-huh.

Perhaps I can persuade you to write a

number for me for my new show.

Perhaps.

I always insist on staying here.

Although my fiancee has

a village's longer coast.

Mr. Mr. Mr. Moll, Mr. Scratchis Gracias.

Hello, my darling.

May I introduce you to Mr.

Philip Graham, Mr. Darius.

Oh, Mr. Darius.

And Mr. Darius's niece, Marina.

Marina.

Well, would you join us for a drink?

No, thank you.

We will drink a table.

Max?

Excuse me, will you, Phil?

Mix me a drink, eh?

Whiskey and soda.

(SINGING IN FOREIGN LANGUAGE)

La, la.

That's lovely.

Oh, I'm glad you like it.

It's a recording that I

made myself in a small village.

I know exactly where you got it from.

Where?

That's worthless.

Ah.

You're quite an expert, aren't you?

I love folk music.

Me too. It's my hobby.

I've been collecting them from all over

on my tape recorder.

So, uh, anytime you want to listen,

you'll know where to come.

That's very kind of you.

Thank you.

Well, looks like we have

something in common, huh?

Do you like folk dances?

Oh, yes, I do very much.

Then that's another

thing we have in common.

You're a dancer.

How would you tell?

I just could. You do dance, huh?

Yes.

Professionally?

Of course not.

I'm a collector, too, of folk dances.

Say, uh, maybe you'll let

me watch some time, huh?

All right. Here at the

hotel this afternoon.

I'm rehearsing some small girls in a

dance bar, local fiesta.

Well, I'm sorry to break this up, but I

promised to drive Graham to the airport.

Listen, I've just had an

urgent phone call from London.

I've got to get back to work.

Would you drive me out to the

airport and bring my car back?

Sure. Just enough

time to kill that plane.

When are you coming back, soon?

I don't know, Phil.

What are you gonna do

about your car? Leave it here?

Well, I haven't really

figured that one out.

Listen, you wouldn't like to drive it

back to England for me, would you?

What?

Well, I'd take care of

all the expenses and so on.

Kind of all of a sudden.

Well, you wouldn't be gone long.

What do you say?

Okay.

Thanks, Phil. I can't thank you enough.

Thank God. You're welcome. Oh, I want my bill, please, Antony Roscoe.

You also have an

envelope of mine, I will say.

Here's the receipt.

This is gonna take a million years.

Please hurry, will you?

I've got a plane to catch.

Well, I remember now I saw your father put it in that drawer.

It's locked.

One moment, Señor. I get my father.

She'll never make it now.

Oh, by the way, Phil, you'll need these

papers to get the car back to England.

Look, can I please have my envelope? -

I'm very sorry, Señor.

My wife has gone to Madrid.

She has taken
my mistake, the key.

She will not be back until my son is gone. She has taken my mistake, the key. She

will not be back until Monday.

Well, I can't wait till Monday, and I've

got to have that envelope before I leave.

You'll have to break the drawer somehow.

But Señor, what you

asked there is impossible.

I don't think you're

gonna make the plane.

But that envelope is not mine, and I'm

responsible for seeing it's delivered.

I can do it for you.

No, you can't. I have

to do it personally.

Where do you have to deliver?

London.

So I'll bring it to you

when I bring you the car.

Can you get that soon?

Oh, I don't know, about a week from now.

All right, let's go.

And don't hand that envelope

to anybody but this gentleman.

Very good, Señor.

I shouldn't bother to wait,

old boy. I'll see you in London.

(SIGHS)

You?

Well, where is Mr. Roscoe?

I saw his car outside, and I came inside

to find out what was wrong.

What have they done to you, my boy?

Have you been held up?

Why, how did this happen to you?

That's what I'd like to know.

Well, where is Mr. Roscoe?

Oh, he caught his plane all right.

This happened when I was

driving his car back to the hotel.

Oh, I see.

Boy, shoot me under the head.

Perhaps we ought to

report this to the police.

Did they steal anything?

They don't seem to have.

They didn't take your car?

Oh, that's something.

Very mysterious.

Can I give you a lift back to your hotel?

I was just on my way back

there to pick up my niece.

Oh, thanks, Mrs. Señor. I

think I can drive my car.

No, no, no. Pippi will drive Mr. Roscoe's

car. You come with me.

There's only a tiny scratch.

Oh, fine thing. No sympathy, huh?

Ah, look at that, huh?

Oh, oh, boy. What a night.

Just a beautiful night.

You know, this is the Spanish night that

every American dreams about.

An enormous moon, starry sky.

A scent of lilies and two barroses.

Lazy fingers strumming in a guitar.

And a Señorita.

Above all the stars. And a Señorita.

Above all the Señorita.

Mysterious as the

moonbeams, lovelier than the lilies.

That was nice.

And full of Moorish implements.

You've learned quite a lot

since you've been in Spain.

Yes, I have.

It's a handsome idea.

And my wife gave it to me. She died a

couple of years ago.

I'm sorry.

Kind of liked the idea of wearing it.

Say, I made a tape recording of some very

unusual folk music from several little

villages in Andalusia.

Bet you'd love it.

Oh, why may I hear it?

Oh, and we'll have to be tomorrow.

I've got to go to London day after this.

What?

I promised my friend Tony Roscoe that I'd

take his car back to him.

You're going to London.

Yeah, I wish I didn't have to now.

Why?

Do I have to answer that?

Mm-hmm.

If you'll make me another one of those

fine speeches full of Moorish influence.

You make it very difficult for me. You

know that, don't you?

I'm going to London, too.

My uncle's just told me.

Say, that's great. What's

your phone number, then?

You get me yours.

Okay. Spanish nights are treacherous,

Marina. You better get your coat on.

In any case, it's time we went home.

Mr. Graham, I hope we

haven't caught cold.

Especially after that unfortunate

incident this evening.

By the way, is Roscoe an old friend, or

did you meet him here for the first time?

No, no, we were in the war together. Same

squadron, as a matter of fact,

till I left the RAF and

joined up with our own Air Force.

And what sort of a trappity, then?

What do you mean?

Well, he strikes me as

being a little, um...

Unscrupulous? Hmm?

Tony? Oh, he's a great guy.

Oh, I'm glad to hear it.

Incidentally, I have just

telephoned Senor Gonzalez.

Oh, who's he?

He is the Chief Criminal Investigation

Officer for this district.

He has promised to take

charge of your case personally.

Well, that's very

kind of you, Mr. Darius,

but I'm afraid that St. Eganzales will be

just wasting his time.

No, no, no, no. These mappers should be

attended to promptly.

He will see you here at

10.30 tomorrow morning.

Oh?

Let me know how you get on with Gonzales.

Yes, I will, thank you.

(SPEAKING SPANISH)

Have you forgotten?

What?

Your telephoned.

Oh!

There you are.

Don't forget to use us now.

They didn't touch your car.

They didn't take your money.

There was no robbery, nothing.

Nothing that my men can't, so to speak,

get their teeth into.

No?

This affair was obviously a

case of mistaken identity.

Well, what do you

suppose they thought I was?

Who else but your friend, Mr. Roscoe?

After all, you were driving his car.

Who'd want to kidnap Tony Roscoe?

Oh, some associates of

his would quarrel with him.

Perhaps he was involved

in some risky venture,

something not too strictly legal, no,

so my information leads me to believe.

Who told you this?

Oh, I have various

sources of information.

Mr. Darius feels that

Mr. Roscoe may be engaged

in some questionable business.

I was never aware of any

shady side to Tony's character,

and I'm sure all the fellas in the

earth's garden felt the same way.

He was always very well followed.

Mr. Graham, is it not

possible that after the war,

your friend missed the

excitement of battle,

he missed the thrill

of flying fast machines,

and perhaps because of that,

he drifted into something a little too,

shall we say, adventurous.

It's possible, I

suppose, but not very likely.

Well, maybe you're right.

Meanwhile, Mr. Graham, I

will keep you informed.

Oh, but I had planned to

start driving to London,

with my friend's car there, tomorrow.

I think that'll be all right.

No, there's no reason why

you should change your plans,

but may I hope that soon you will come

back again to Spain?

I intend to.

Good.

You know, I wish I could

have been of more assistance.

Oh, this is all Mr. Darius's idea.

I didn't think it was

worth bothering about myself.

Always notify the police.

You know something?

Policemen frighten me.

President company accepted, I hope.

(LAUGHS) Well, Mr. Graham, have a

pleasant trip back to London.

Oh, by the way, I will give you my card.

Here.

And when next you get back to Spain,

you must let me take you to

my favorite little restaurant.

Well, that'd be very nice. Thank you.

-Goodbye, Mr. Graham. -Bye.

I'm so sorry, Senor Rosco,

had to leave without this.

My wife was too careful with the key.

No, I'm not.

I hope you will visit us soon again.

Oh, I intend--

And recommend us to you, you friends.

(PHONE RINGS)

(PHONE RINGS)

Yes?

No, thank you.

All right, Tony.

Hey, it's Phil.

I'm here in London with your car.

I got it right here in my hand.

I told you I'd get it to you, didn't I?

Yeah, I'm anxious to see you, too.

I got a lot to talk to you about.

I had a pretty

exciting time after you left.

All right, I'll see you at 6.30.

Uh, that's a bibbly court, isn't it?

Yeah, I know. I'll be seeing you.

(BUZZER)

Uh, can I help you, sir?

Uh, this is Mr.

Rosco's apartment, isn't it?

Yes, sir.

I have a 6.30 appointment with him.

Doesn't seem to answer.

You're all right, sir.

He doesn't seem to be in.

Uh, my name's Philip

Graham. I'm a friend of yours.

He just brought back his car.

Watch it out by the front

door there. Is that okay?

Yes, sir. I'll put it away for you.

I'll be fine.

There's his keys.

Yeah.

Thank you, sir. Would you

care to wait in the lounge?

I think I'll stick

around for a minute, too.

I'll be taking a shower.

Yes, sir. I'll put Mr.

Rosco's car away, sir.

Oh, thanks.

(KNOCKING)

(DOOR OPENS)

(DOOR OPENS)

(MUSIC PLAYING)

(MUSIC PLAYING)

(MUSIC PLAYING)

(MUSIC PLAYING)

(DOOR OPENS)

(MUSIC PLAYING)

(DOOR OPENS)

(DOOR OPENS) (DOOR OPENS) (WHOOSHES) (DOOR OPENS)

(DOOR OPENS) (DOOR OPENS)

Give me the

royally-theated, please. Backstage.

You can call me back, huh?

Thank you.

(DOOR OPENS)

(phone ringing)

- Hello, I'd like to

talk to Miss Mitzi Malnar,

and would you tell her that

Philip Graham is calling, please?

Yes, hello.

I was afraid you wouldn't remember me.

- But certainly, Mr. Graham.

How nice of you to call me.

It was such fun meeting you in Spain.

When can you get here? Oh, that would be wonderful.

We're ringing down at 10.15.

Come straight to my dressing room.

Adios for now, Mr. Graham, darling.

- Who is that?

- I'm very Graham.

He wants her belly to

write some lyrics for me.

I think I should let him try.

- Then let him try anything else?

- Nonsense, Maxell.

He's such a sweet boy, really.

I'm so clever.

- I'm not a good guy. I'm so clever.

- Spain, Spain.

You can breathe in the sun,

the sunlight, the moonlight.

- Here, very romantic country.

- Oh, yes.

But there was no romance for me in Spain.

- No?

I thought you were

visiting your fiancé down there,

Mr. Tarrice.

- That's what I meant, darling.

- Oh.

- When can we get together?

On those songs you were

going to write for me.

- Well, I...

There's something else

I've got in my mind right now.

- Yes?

- Uh, you, uh, knew Tony Roscoe pretty

well at one time, didn't you?

- Jealous already.

- You did, didn't you?

- At one time, yes, but...

Aren't you being a tiny

bit too personal, Danny?

- Thing in the past, huh?

That's why you threw

those letters into the fire.

- So it was you who tried

to get in when I was there.

You're in this with Roscoe, too.

You're both

blackmailing me to Mr. Tarrice.

- Is that why you did it? - Yes.

- What?

- Of course that's why it burned. The

more that's good I do.

- No, that's not what I meant.

Where did you see Roscoe last?

- At the bar or at the hotel with you.

- Didn't he let you into

his apartment this afternoon?

- No, I had a key.

We were working on

some photographs together.

- I'm sorry.

I'm sorry I had asked so many personal

questions, but I had to.

To find out if it was you who killed him.

- Killed him?

- Didn't you see his

body there in the dark room?

- He's dead?

- He was shot.

- You know our

fingerprints are all over that place.

- They might think that I killed him?

- You had a motive.

And you were there about

the time that he was killed.

Someone had an appointment with him.

It's six o'clock.

Someone by the name of

Maxwell Carey, do you know him?

- Yes.

So do you.

You met him at the same time as you met

me at the Chula Vista bar.

- I seem to remember.

- Have you known Roscoe Law?

- Roscoe did quite a bit

of photography for Maxwell.

- What kind of photography, do you know?

- No, I don't.

- Mitzi, for both of our sakes, you

better find out as much information as

you can about Maxwell Carey and his

dealings with Roscoe.

Do you suppose that you could arrange to

have lunch with him tomorrow?

- All right.

Shall I phone you afterwards?

What's your number?

- I'd rather see if that's possible.

- That would be more interesting.

But I think I'd better come to your flat.

My fiance may not like it

very much if you give to mine.

- Okay, I'll give him my address.

- Sure.

I'll keep the whole

evening open for you, Danny.

- Do you think that you can persuade

Carey to take you out to lunch?

- Leave it to me.

- Yes, I'm sure you can.

- Good luck. I'll see

you tomorrow night, huh?

- Oh, darling.

My letters.

- All right, give them to you tomorrow night.

- Hello.

Tell them to come up, please, huh? (knocking on door)

- Come here, Inspector.

- I'm the Inspector. Inspector Goldfield.

- Oh, thank you.

- This is Sergeant Ramsey.

- Sergeant?

- We are making inquiries into the death

of Mr. Anthony Roscoe

of Lumberate Beverly Court.

- Yes, why don't you sit down?

- Oh, thank you.

- Oh, did you get some coffee?

- Oh, no, thank you.

- You?

- I won't take up much of your time,

but I'm afraid we'll have to bother you

with one or two questions.

- Certainly.

- Now, could you tell me, is it correct,

that you've just brought back Mr.

Roscoe's car from Spain

and that you arrived

in England yesterday?

- That's correct.

You and you went pretty well, I imagine.

- Oh, very well. We were

in the Air Force together.

- Was he in any sort of trouble?

- Not that I know of. Why?

- Have you seen much of him recently?

- Not since the war.

Well, that is not

until just this past week.

- Did you find him change very much?

- Didn't seem to be.

- Why did he leave his car in Spain?

- Well, he received a phone call to come

back here to London immediately.

- Oh. - Who was the call from, do you know?

- No, I don't know. He didn't tell me.

- How do you say when you

returned the car to him?

- Well, I didn't see him. He wasn't at

his apartment when I got there.

- So what did you do?

- Well, I left the

car keys with a porter.

- I'm much obliged for your help.

- Welcome.

- I think that covers

everything, Mr. Graham.

- All the moment.

- Bye.

- Hello.

- Now, this is Mr. Graham.

- Hi, Marina. How are you?

- I'm sure I'm in it.

- How about this afternoon?

- Okay. I'll bring my tape and the recorder along with me, huh?

- I'll be right back. - I'll bring my tape and the

recorder along with me, huh?

- What time is tea time?

- And, uh, your address?

- Okay. I'll see you at four then, huh?

- Bye.

[music]

[music]

- Why?

Why did I let Roscoe get

his hands on that microfilm?

- Now Roscoe's dead.

- You showed me the

paper already. I know.

- What about the police?

What if they should suspect you?

- Don't be minute dramatic, Nancy. They

could never suspect me of that.

- But you were in the flat last night.

I know there was nobody

there, but the porter saw you.

Besides, your name was on the microfilm.

- If only I could get it back.

I was so weak, so cheap, to

accept money from Roscoe for it.

- But he never paid you for money.

- That's the irony of it.

- But it doesn't seem fair.

- Oh, did you like your fish cake?

- Oh, yes. It's delicious.

I, uh, I'm just not hungry.

I betrayed my profession, my firm.

Now I've let you down too.

Well, Nancy, if I could

get that film and burn it,

no matter how poor with my treatment, I'd

still be able to face life.

Why do I have to let things get this way?

- Things happen to you.

- Darling, it's you I'm thinking of.

If I could only think of some way of getting you out of this mess.

- Oh, good afternoon, Mr. Graham.

The good lady who does your room for you

told us to come in and wait.

- Good.

Glad she did.

Sit down, won't you? - Oh, no, thank you.

I will detain you for more than a moment.

There's one little matter

you might be able to clear up.

I believe you picked up an envelope

belonging to Mr. Roscoe at the hotel

where you were staying.

- Oh, yes. It was locked up in the safe.

He, uh, wasn't able to

get it before he left.

- I don't know. I don't think you

mentioned it this morning.

- Oh, I didn't think

it was very important.

- I assure you so that everything is of

importance in any inquiry of this sort.

- I'm sorry, I didn't think.

- Yes, you didn't think. - Well, I didn't

think it was important.

- I see. And what did you do with it?

- I mailed it. - Mm-hmm. From Spain?

- Uh, no, I mailed it

after I got back here.

- Oh, he told you not to post

it till you got back to London.

- No, uh, matter of

fact, I forgot I had it.

- And when you remembered,

you stamped it and posted it.

- Yeah, that's right.

- What was the address?

- Uh, it was somewhere

here in London. - Hmm.

- I think it was N-W-I'm not sure.

- And the name?

- Uh, Johnson or Johnstone.

- I see, Johnson or Johnstone.

- I'm sorry, I gave

you more help for that.

- And what kind of envelope was it?

- Well, it was rather, uh, long and, uh,

narrow about like that.

- I see. You can remember the size and

shape of the envelope,

but you can't remember

the name and address.

- That's right. - Well, if you should

have them do a recollected,

just get in touch with me. - Yes, I will.

- Oh, uh, you did say this morning that

you hadn't seen Roscoe since the war.

- That is until last

week. - That's right.

- Yes, I thought so. - Oh,

thank you again, Mr. Graham.

- Welcome. - Bye.

- I, uh, I'm gonna be inquisitive again.

What about your uncle's

girlfriend, Mitzi Mollmar?

- He's a great collector of works of art.

He's sort of collected, Mitzi.

- Well, doesn't he have

any affection for him?

- I don't think he's got

much affection for anybody.

- Except Kim. - Kim?

- His dog. - Oh.

- We were just talking about the fact that he was a man. - We were just talking

about Kim. - Oh, yes, yes.

I wish I could bring him to England.

These quarantine regulations may be all

right for the general,

a run of people, but my

dog would endanger nobody.

He's a perfect specimen, you know.

- I'm sure he is. - Oh, gee, I didn't

realize it was as late as it is.

- Where are we going? I,

uh, I see what he important.

- You can't go without

seeing some of my treasures.

- Well, are you, uh, interested in miniatures?

- Yes, but, uh, I think

I'd better take a range here.

- Oh, look at this. Isn't she beautiful?

Painted on thick ivory before they

learned how to shave ivory thin.

- Um, Mr. Graham has to leave.

- Yes, I do. I'm very sorry.

I would like to see a

miniature some other time.

- You must ask Mr. Graham to come again.

All right, I better be going, huh?

Oh, uh, uh...

Charlie, Liz, uh, would you, uh, like to

hear this other songs?

- I'd love to.

- Okay. You sure you know how to play it?

- You're a good teacher.

- You're a good student. Well...

- You'll be coming back with us.

- Soon.

Come in, Miss Muller.

Have you got my letters?

- You got my information?

- Let's have the letters first.

- I'm not so sure you can be trusted.

- No, I, uh, don't think I can be.

So we forget the letters for a while?

- I, uh, think I'd better

trust you. I'll get the letters.

- Well, how about my information now?

- Have fun, boys.

- I think I'll have a drink.

- I imagine you think you've

been pretty smart, don't you?

Let me tell you what I think.

I think you've bitten

off more than you can chew.

I've seen your kind before, Graham.

Now, I'm not paying you two

fifty pounds or even pennies.

- For what?

- That's what you told

her you wanted, wasn't it?

- I told her what?

- And for that, you'd keep

your trap shut about her letters.

- She's quite a actress.

- I'll pay you fifty pounds for those

letters. Not a penny more.

- No, you won't. She just walked out of here with them.

- She what?

- Looks like we've both been taken.

You paid Roscoe a visit

yesterday, didn't you?

At six o'clock?

- Yes, I didn't.

But I didn't kill him

if that's what you mean.

Maybe you did.

- You were there too, Mitzi tells me.

Did you find what you were looking for?

- What do you mean?

- Well, you found Mitzi's letters.

Did you find the other thing too?

- What other thing?

- No, no. You tell me.

- Something to do with chemicals?

- Hand it over.

- You can't, I don't have it.

- Keep me at the microphone.

- I gave it back to the

man that it belongs to.

- It belongs to me.

Quite a lot of money has

been paid out for this property.

According to him, he

didn't receive any money for it.

- Oh. So Roscoe kept it, eh?

- Well, I don't know about that.

- We'll have to buy it back.

How soon can you put me in

touch with that other man?

- No, I don't think he'd like that.

- You better let me

take care of this myself.

- Trust you with all that money?

- No, don't worry. I'll

see that you get you cut.

- Okay. I'll see you DC

tomorrow about this same time.

- God be darned.

- I wouldn't like it.

- There's a lot more in this

for you than in Mitzi's letters.

- You still think that I was interested

in making money off those letters, huh?

- I'm not that law.

- That's more like it.

We're only interested in the big stuff.

Won't we?

- Yes, yes, you told me on the telephone,

but it makes no sense.

- You still don't

believe that I was here, huh?

- Yes, you've proved

that you were eavesdropping

and that you're a

black manner like Roscoe.

- No, I'm not a black manner.

- Then why did you threaten to tell those

gangsters on my phone about me?

- I'm sorry, but it seemed to be the only

way that I could make you

come here and talk with me.

What have you done with a microfilm?

- What microfilm?

- A microfilm that I gave you yesterday.

- Aww.

- But, good gracious, you mean to say

that's been in my pocket all the time?

- Now, I give it to me

yesterday and take it back today.

- Because I felt sorry for you. You seem

to be in a tight spot.

- Then why don't you

let me have it today?

- Because I'm in a tight spot now.

I think the police suspect

that I killed Tony Roscoe.

- But what use are the microfilms to you?

- I'm gonna use them as bait.

Maybe I can catch the

fellow that's behind all of this.

- But these formula are

useless to you and me.

Entirely, valueless, except to someone...

- What formula?

- The formula on the microfilm.

- A new process. A new antibiotic drug.

- Like benicillin?

- Much more important than penicillin,

especially to someone

who has done research

which would tie into the work

that we've done in our labs.

- Do you think that I should start

looking for someone who

owns a big chemical work cell?

- I think you should let me destroy those

microfilms. My whole career is...

- You'll destroy me?

I'm going to do everything

I can not to involve you.

You seem to be in

worse trouble than I am.

- Good luck to you.

- Thanks, and don't worry.

- What's up, Fran?

- I've already seen him.

- I've got it.

- How much do you want for it?

- I want to see your boss about that.

- I'm my own boss.

- Maybe. But you don't know how the

chemical works, do you?

- I'll tell you what I do.

I'll take you along to him straight away.

And you can hand over the film yourself.

- Who is he?

- Come and see for yourself.

- Got the film on you?

- I've got it. I get my coat.

- My car's outside.

[music]

- This way.

- Don't tell me that your boss is in the

theatrical business.

- Of course not. Just a

little sideline of mine.

- Hmm?

- Well, the office is upstairs.

Very useful for

private business. Go ahead.

- All right, dear.

[music]

- Sir.

- His office isn't upstairs, huh?

- Clever of you to get

those microphones for nothing.

- Quite a grapevine you've got.

- It works.

[music] [music]

[music]

[screams]

[music]

[gunshot]

[alarm]

[indistinct chatter]

[gunfire]

- Morning. Mr. Darius in?

- I am sorry, sir. Mr.

Darius has been called away.

- Oh? Well, uh... when'll he be back?

- I don't know, sir.

- Well, what's his

address? Where'd he go?

- We didn't say, sir. Mr. Darius usually

wires us where he's going

to be when he gets there.

- All right, sir. - Just one moment, sir.

I've got something for

you, the senorita left.

- Thank you. - Senor.

[car starting]

- British European Airways announced the

departure of flight

number 215 to Barcelona.

Will all passengers holding

boarding card number four?

May I take these now,

sir? - Oh, yes, thank you.

- Are you quite comfortable,

sir? - Fine, thank you. Bye.

- Just close the door. - What is it?

- Is there a Mr. Graham aboard? - He's

the American gentleman.

Yes, he's sitting over there. Mr. Graham.

- Yes? - I'm sorry to trap you, sir.

- Oh? What? - Impossible.

- Thank you.

[car starting]

- Marina. - Hello.

Philip, what a wonderful

surprise. - Good to see you again.

- I didn't dream I'd see you so soon. -

Marina, can I talk to you?

What's happened?

Yes, of course. In the patio.

Maria Luisa, the textore copler.

No, senorita, la segunda. - Esta bien.

La segunda.

[music]

Of course I believe you.

But I don't understand why

I didn't notice anything.

He seems such a respectable man, and he's

always been so kind to me.

Though not kind, generous, in a way.

And yet, he has never really loved me.

Or anybody else.

He could have done everything you say.

Philip, if he did.

[music]

You came out here to see

the police, didn't you?

Yes, I did.

But I don't want to do anything that's

going to hurt you in any way.

But what about you? You must see the

police to clear yourself.

You suppose they believe me?

I believed you.

Yes. Yes, you did.

But will the police? Will Senor Gonzalez?

Of course. He's bound to

realize you were telling the truth.

You have a lot of faith in me, don't you?

How else are we to judge if

we don't trust our feelings?

Philip?

Yes.

I must get back to my rehearsal.

[music] [music]

[phone rings]

See?

I think, look, eh, tell

them to come in, please, eh?

Good afternoon, Mr. Graham.

It's nice to see you so soon again.

Thank you. Nice to see

you, Butler, again, too.

My Butler. Let me introduce you to my

secretary, Don Jose

Cuevas, Mr. Philip Graham.

Senor.

I left my niece down at her rehearsals.

She sends her regards to you.

Why does she teach those little

middle-class ladies to

prance like peasants?

Oh, but I forgot. You tore an amateur of folk dancing.

Mr. Graham, shall we get out of business?

Thanks.

I come all the way from

London to talk to you.

All that way to talk to me.

What on earth could be so important?

Well, I told you on the phone.

You merely said that you were something

that might interest me.

Only things I collect

nowadays are miniaturals.

This is a miniature.

(MUSIC PLAYING)

Very interesting.

And how much would

you say this was worth?

I don't want any money. Just information.

Could I see the rest?

(MUSIC PLAYING)

What sort of information did you want?

When you went to Tony Rosker's apartment

the evening that he was killed,

were you alone or was your...

was your secretary with you?

I can't conceive why either

of us should have been there.

I can't.

Were these miniatures lying around?

No, Mr. Graham.

I am not the sort of person, nor is mine

the sort of position,

that allows me to let myself be involved

in, shall I say, dramatic escapades.

Nevertheless, you were there that

evening, weren't you?

Oh, I think you're allowing your

imagination to get the upper hand.

But we're not dealing

with imagination, Mr. Graham.

We're dealing with reality,

and reality depends on facts.

Well, I don't know of any facts more

convincing than a set of fingerprints.

And when you went through those

microfilms, you left enough prints to...

paper the walls of Scotland Yard.

I wonder how these highly

colored ideas got into your mind.

Fingerprints, you know, are

not always evidence of facts.

Oh?

But that handkerchief of yours might be.

I understand that the police found one

just like that in Tony Roscoe's hand.

No doubt.

I've given many such handkerchiefs to my

friends, including Mr. Roscoe.

Tell that to the police.

(DOOR OPENS)

You were very foolish to do this.

I have no intention of saying anything

worth putting on the record, except this.

A little knowledge is

supposed to be dangerous.

You, I think, know enough to have put

yourself in some danger.

What danger?

There is always danger

for inquisitive people,

especially for a person who tries to add

my confession to a

collection of folklore.

Don't forget, Mr. Graham, it is dangerous

to be too clever with me.

Oh, I'm not apt to forget. Not after what

happened to Tony Roscoe.

Oh, please don't think that I'm in the

habit of eliminating people,

or that it gives me any kind of pleasure.

But there are considerations which you

cannot even begin to understand

that involve millions of pounds,

thousands of workers,

the dynamics of a great

and powerful industry.

No one, no individual,

can be allowed to jeopardize

the interests of so many people or of

such an organization.

Mr. Roscoe was foolhardy enough to

interfere with some vital plans,

which, of course, is

why he died so young.

You, too, have made the same mistake of

trying to take advantage of your

knowledge at my expense.

That did not work with

Roscoe, nor has it worked with you.

(GRUNTS)

(DOOR OPENS)

Oh, but this is all supposition.

Just a little detective story that you

and I have made up between us.

You know I'm not the sort of fella to

behave like a common crook.

Incidentally, I think the

police would find it hard

to prove that I was even in London at the

time of the tragedy.

Nevertheless, you were there that

evening, weren't you?

Oh, I think you're allowing your

imagination to get the upper hand.

But we are not dealing

with imagination, Mr. Graham.

We are dealing with reality.

Reality depends on facts.

Well, uh, I don't know of any facts.

Worked with some sort of figures.

When you went through those microfilms,

you left enough print to...

(ALL TALKING OVER EACH OTHER)

I wonder how these

highly-coloured ideas got into your...

(WHISTLE BLOWS)

(MUSIC PLAYS) (MUSIC CONTINUES)

Hey, what about the kids

back there if something happens?

Don't worry. The children are going to

the pluses to join the procession.

(WHISTLE BLOWS)

Well, looks like you got away.

I don't think so. We have the hotel surrounded.

Come here.

(SPEAKING SPANISH)

Please do not.

(SPEAKING SPANISH)

(GUNSHOT)

(WHISTLE BLOWS)

(SPEAKING SPANISH)

Well, it worked a little plan, eh?

(SPEAKING SPANISH)

(SPEAKING SPANISH)

Well, Marita, what about their fiesta?

Come on.

(MUSIC CONTINUES)

(MUSIC CONTINUES)

(MUSIC CONTINUES)