Original subtitles

(dramatic orchestral music)

- Good morning. - Good morning, sir.

- Good morning.

- Good morning, Mr. Kay, Mrs. Kay.

Are you still enjoying London?

- I always enjoy London.

- Oh, Stan seems so blase, but don't be fooled by him.

Between you and me, my husband's like a kid

with a new train set every morning.

- Oh yeah, and who dragged me out

to see the Tower last night?

"It's better when it's floodlit," she says.

It's also better when it isn't raining.

I'll take these in fives please.

And the way Susie's been spending,

I'll probably be back for more within an hour.

- Fine, Mr. Kay, I wonder if you'd mind,

my son, he likes very much jazz piano.

- Oh sure.

- Frankly, I lean towards the classics myself.

- Well, do me a favor, don't talk him out of it

or I might not be able to cash any more checks.

What's his name?

- [Bank Teller] Alec.

- For Alec, Stan Kay.

Here, I'll swap you.

Thank you.

And now, Mrs. Kay.

(dramatic orchestral music)

Do what he says.

Just stay out of the way.

- [Masked Man] You've got sense.

Help him fill it.

(dramatic orchestral music)

- No! (screams)

(gun fires)

(screams)

- Susie.

Susie.

- [Masked Man] Stay clear.

(gun fires)

(screams)

(alarm ringing)

(mysterious orchestral music)

(moves into jazz piano music)

- Is it all right?

- It's fine.

- And the acoustics, do they suit you?

- They're great.

It's a long time since I've heard notes slice

so sweet you could hear a pin drop in this room.

- In those days, they believed in conversation.

They wanted to make sure they could hear each other.

- Just as long as they stop talking when I start playing.

- [Julie] Oh, that's never been a problem for you, Mr. Kay.

- That's the way I like to hear my agents talk.

- I'm a fan, even before I joined the agency.

When I heard you were coming over,

I practically blackmailed Ted

into letting me handle some of your tour.

- She's a very good agent, too, your Miss Gordon.

I had my daughter, Claudia, twisting one arm

and this little lady twisting the other.

Has she told you what I have to pay you

to play at my daughter's engagement party?

- Oh, I'm the last of the wines, Sir Peter.

You should understand about that.

- Oh beware, Mr. Kay, the wine market's

taking a bit of a knock.

I've got a cellar full of miraculous clarets downstairs

that nobody can afford to buy.

You wouldn't care to be paid in wine, I suppose?

- That's right.

- Nobody's ever sympathetic to a wine shipper.

They all think we have far too good a time of it.

I'll leave you in Miss Gordon's capable hands.

- Where do you want to go?

- I think over by the fire would be nice.

- All right.

This way.

- [Stan] Ah yes, thank you.

- It must be a strain for you coming back to this country.

- Hmm?

- Oh, I read it, I've read everything about you.

Your wife killed and you blinded.

I don't see how you can bear to come back to us at all.

- Oh, that was 10 years ago.

You cope, you adjust.

- [Julie] They never caught them, did they?

- No, they never did.

- Oh, I'm sorry, I shouldn't--

- No, no, no, no, don't be sorry.

Fortunately, I'm in the one business

where you can do without your eyes.

It was tougher learning to do without Susie,

but things fade.

Uh oh, young lady, if you'd be kind enough

to take me to my dressing room,

I'd better start getting changed.

- Oh sure.

And it's Julie.

- Right, well it sure is nice having you around, Julie.

- [Julie] Here's the first step.

- [Stan] Uh huh.

- You're still bent on getting engaged

to this dreadful child of mine then, Robert, huh?

- I might as well I suppose, sir.

It's been a pretty dull week up until now.

(laughing) - Oh, that's your problem.

- Hey, hey, hey.

- Down, Claudia.

- Claudia, here we are, my darling.

- Claudia could have done a lot worse.

- [James] She could have done a lot better, too.

- She could be going to marry you, James, you mean.

All her money would have gone straight into your racing cars

and straight out again through the exhaust.

No, you stick to robbing banks,

or whatever it is you do to get all that money you burn.

- Listen, Mr. Pelham, you had hopes there, too, I know that.

When you bought your partnership with Sir Peter,

I bet you had in mind being his son-in-law, too, eh?

- When I bought my partnership, Claudia was 12 years old.

- What did you buy it with anyway?

You never had two fivers keeping company in your life.

- That's a question of the magic moment, isn't it?

Got to be ready to take your chance when it comes.

Isn't that right, Alan?

Like you with your first big scrap iron deal.

How did you swing that?

- Oh, luck. - Oh ho ho.

- [James] Here's the piano wizard.

- How brave to come all the way from America on his own.

- Oh, he has a man who travels with him.

But I read he got some kind of virus

on the way over and had to stay in town.

That very pretty girl with him is looking after him for now.

- Lucky girl, he's a dish.

I wouldn't mind looking after him myself.

- Oh.

- Sir Peter's a self-made man himself.

That's why he gets on so well with his future son-in-law.

- He's seems self-made?

I thought he inherited it all.

- Don't you believe it.

He started with one wine at his door.

Then about 10 years ago, he foresaw that wine was about

to take off, so he got some capital

from somewhere and started to expand.

Look where he's finished up.

Sir Robert Carroll's the same.

He came like a rocket out of nowhere.

- It was my idea.

I've got all his records.

- I think he was absolutely brilliant.

- Yes, well we'll see you a little later.

- Oh, how nice.

- Well, he's certainly very good looking.

- Who is?

- Robert Carroll, Claudia's fiance.

- Oh, the boy wonder.

- Why'd you call him that?

- Don't you know?

- Ladies and gentlemen,

ladies and gentlemen,

may I have your attention please?

The man you've all been waiting for, Mr. Stan Kay.

(applauding)

- Thank you.

- Why did you call Robert Carroll the boy wonder?

- 10 years ago, he was as broker's clerk.

And some obscure aunt nobody had ever heard

of before died and left him a fortune.

Now, he's one of the biggest money brokers in the city.

- But he must have ability, as well as luck.

- Luck and money means very little,

just a truck to carry home the loot.

- Ooh, they say men aren't catty.

- Sh.

(jazz piano music)

- Where did you say your first big deal was?

- You know, sir, when I come to a party, I come to a party--

- Sh.

(jazz piano music)

- Is not together now.

(screams)

(gun fires)

(jazz piano music)

(screams)

(gun fires)

(piano blaring)

- [Man] He's drunk or high or something.

(jazz piano music)

(applauding)

- Stan.

Are you all right?

- Yes, sure, I'm fine.

- You don't look it, you're shaking.

- Oh, that's just anger at myself.

I botched up a whole phrase.

- Stan, something is wrong.

- Maybe, who was it?

- Who?

- Somebody spoke right towards the end there.

Who was it, did you see him?

- Just some fool suggesting you were drinking.

- Oh no, not him, I made him.

He was standing just off to my right, yes?

- Yes.

- No. This was before, earlier.

I caught just a snatch of it.

It didn't make sense.

- Does it matter?

- No, no, no, I guess not.

It's just imagination.

- You sure you're all right?

- Nothing that a good drink won't cure.

- Champagne?

- How about bourbon?

- Right.

What happened?

- Imagination, I don't know.

A trick of memory, let's leave it at that.

- Here.

I'm really sorry someone spoke while you were playing.

I'll make sure next time they're really quiet.

- On no, it's not them.

You play well enough, they'll listen.

If a musician loses his audience, that's his own fault.

- Well, whatever you heard, I didn't.

- I warned you, remember?

I have tricky hearing, a pin drop at 40 paces.

The acoustics in this place are good, too.

Maybe too darn good.

Yeah, that voice just seemed to come out of everywhere.

Couldn't place it.

- Hey, it was imagination, remember?

- Yeah.

Please.

- Why was it so important anyway?

- It wasn't important.

- Here.

But don't let your host see you drinking whisky.

He's a wine shipper, remember?

He might get a bit upset.

- That's true.

- [Unknown Man] Well, sweetheart.

(dramatic orchestral music)

- Stan.

(gun fires)

What is it? - Quit.

- [Unknown Man] Well, I'm not too clear.

- [Stan] It is him.

Where is he, do you see him?

- See who?

- [Stan] Him, the man who spoke just now.

- Stan, everybody's speaking.

I can't pick out one from this crowd.

- [Stan] I can, he's there, he's over there.

- Mr. Kay, you were fantastic, do you know that?

I've always thought you were fantastic, but now I know.

- Stan, this is Claudia Hastings, it's her party.

- Oh yes, thank you very much, Miss Hastings.

It's a wonderful party, congratulations.

- Oh, thank you.

I never dreamed we'd be able to get you.

You will play some more for us later, won't you?

- Sure, it'll be my pleasure.

- What is it?

- No, I can't hear him anymore, he's gone.

- Hear who, what are you hoping to hear?

- Not hoping, Julie.

- Stan, would you tell me what this is all about?

- Yeah, but someplace else, huh?

Could we go someplace where it's quiet?

- Yeah, come on.

(disco music)

Sorry.

I forgot.

They set up a disco in there for the pop fiends.

- [Guest] Terrific, really marvelous.

- Thank you very much.

- Oh, I could listen to you all night, Mr. Kay.

- [Guest] Mr. Kay, might I have your autograph please?

- Later please.

- [Guest] I'm sure he'll give it to you later, my dear.

- There's a couch over here.

Come and sit down.

Now, what is it?

- I think I told you that I'd adjusted.

I said that things fade.

- Yes.

- Well, some things don't fade, at least one thing didn't.

The killer's voice.

- [Julie] The killer's voice?

- Yes, I heard him speak.

He said, "You have sense, help him fill it,

"and stay clear, stay clear."

And Susie didn't stay clear, she got in the way.

Well, he was wearing a hood over his head

so his voice was muffled, but

I've got one of the best ears in the business,

and singers call perfect pitch,

and I could pick him out of a baseball crowd.

And tonight, I heard that voice again.

The man who killed my wife, who blinded me, is here.

- But that can't be.

- Why not? - Oh because--

- Because our host wouldn't know such a man.

- Yes.

- Look, a man went to jail for armed robbery

just a few months ago, and I seem

to remember he had a big house near here.

- Well, all right, there are some--

- Well, criminals don't go around looking

like criminals anymore.

I mean, he might not even be a criminal now.

He may have made his stake and gone straight,

that can happen.

- Look, this is all just on a voice

you heard 10 years ago.

Can't you be mistaken?

- No.

- What did it sound like, this voice?

- Well, there's nothing extraordinary about it.

I mean, the way it sounds to me might not make sense

to you because I hear it differently, you see.

I hear a certain register in it.

- How do you know I don't hear the same way?

- Well, maybe you do but I don't think so

because it's a question of tones,

you see, vibes and half tones.

Look, tonight, I didn't even hear the words.

All I was getting was the shape,

the structure of the sounds.

- [Julie] Well, if we don't hear voices--

- Sh.

- What?

- There's someone outside the door.

- There are a hundred people.

- This one isn't moving.

He's listening to us.

Now, he's moving.

- What are you doing in here?

- I didn't know that part of this house were off limits.

Not that it's any of your business.

- Oh, but it is.

- Who are you?

- Ben Tamplin, security.

There's lot of valuable stuff in this house.

Them pictures, for instance.

Not my type, but they run into thousands, some of them.

- You just stopped us from cutting them out of the frames.

- Eh?

- And passing them to our gang out the window, right?

- You're joking.

- That's right, I'm joking.

- And you're being presumptuous and rude.

You must know who Mr. Kay is,

even if you don't know who I am.

- [Ben] Kay? Oh, the entertainer.

- Now, wait a minute.

- No, drop it, Julie.

The man paid me a compliment, entertainer.

- Well, I'm doing me job.

- Very badly. - Leave it alone, Julie.

After all, Mr. Tamplin is going to apologize to you,

aren't you, Mr. Tamplin?

- I'm sorry if I was a bit abrupt.

There's lots of valuable things in this house.

- Come on, we'll leave this man to count his silver.

(laughing)

- I had no idea you have such a temper.

- I just get angry, that's all.

I'm sorry.

- [Stan] Don't be, I'm told a temper suggests

a passionate nature.

- [Julie] Oh?

No? - No.

- Maybe you were right the first time, just imagination.

- I bought it the first time, yes.

The second time, it's him, he's here.

- Look, there must be a guest list.

- Julie, I don't know his name.

Just the sound, the feel, the nuances of his voice.

- What are you going to do?

- Look, I'll need your help, hmm?

- Right.

- Would you steer me around this place

so I can listen?

- All right.

- [Guest] And then he just stopped at the water

and pitched me straight over his head.

(laughing)

- [Guest] I've never seen such a polished bunch

of epaulettes in my life.

(laughing)

(people talking)

- It's that wonderful touch.

One can recognize it instantly.

My son has something of the same quality.

- [Guest] He's very lucky to get Claudia.

He kept some pretty strange company a few years ago.

- [Guest] Well, I suppose we've all sown

our wild oats, you know.

- Indeed, sometimes I can hardly distinguish his playing

from that of dear Mr. Kay's.

- [Julie] How old is he?

- Eight, but he has been learning for nearly two years.

- Would you excuse us, please?

- I wonder if I might have--

- Sorry.

Excuse us, please.

- Oh, Mr. Kay, please play for us in here, do.

- I'm sorry, not right now.

- Oh, but you must, you can't disappoint us.

- I said, "I'm sorry"

Julie, would you get me out of here.

- Mr. Kay's promised to play again later.

- Well.

- I'm sorry about that, Julie.

- Stan, can't you possibly be mistaken?

- I know what I heard, I know.

Now, stop treating me like a child.

Look, I didn't mean to start on you.

I'd like another drink.

- You've already had two large ones.

Oh, all right, another drink.

Come on.

Wait here.

(people talking)

- [Guest] Here you are, lovely to see you.

I'll be with you in a moment.

- [Unknown Man] Hey, Ludo.

(gun fires)

(screams)

- [Ludovic] Oh God, not you again.

- [Unknown Man] You've lost your bet

about the Saint Emilion, I've just tasted it.

- Well, you always did get ahead of the game.

Well, don't worry, I'll catch up with you

as soon as I've dumped Nancy's coat.

See you in a moment.

- Oh, Mr. Kay.

- Is something wrong?

- Darling.

- I'm sorry, Ludo, where's Ludo?

- Ludo's a game.

- No, he's a man, he was just here.

- Right, drunk.

- Dear Mr. Kay, can I help you?

- Mr. Kay. - Julie.

Julie. - Miss Gordon, Miss Gordon.

- Julie.

- Oh, Stan.

Stan.

What is it?

- There, on the stairs, who is he?

Who's on the stairs?

- The stairs are there.

There's no one there.

- He was there, I heard him.

- Stan, you're beginning to lose your reputation.

You know, the cool pianist.

- I heard him loud and clear this time.

- Oh, Stan, I believe you.

He'd gone when I looked.

Well, do you know where he went?

Did you get the feeling that he'd come past you?

- I don't think so.

All I could hear was stairs.

People going up and down stairs.

So, maybe he went up.

Well, it's not really your problem, is it?

- He's out of his skull.

- I know.

Come on.

Here's the first step.

Here's another step.

There are four doors here.

This is your bedroom.

- [Stan] Have a look.

- There's no one there.

That was the bathroom and it's empty.

That was a bedroom and it's just full of coats.

- Nancy's coat. - What?

- Mr. Ludo, the man that he was talking to,

he said he was gonna dump Nancy's coat.

Let's find it.

- Here.

(suspenseful orchestral music)

Oh well.

Well, you can see for.

Stan, the bed is just piled high with them.

- Where's the bed?

- Here.

- Nancy's coat should be near the top.

Find Nancy, find Ludo, find the man I'm after.

It's possible, I suppose, that Nancy whoever left something

in her pocket, something with her name on it.

- Stan.

- Well, help me.

(suspenseful orchestral music)

Julie, what is this, a notebook, a pocketbook, what?

Julie.

- Stan, we're not alone.

- That's right.

Well, the entertainer.

Funny kind of entertainment, this.

- [Julie] Look, I know this looks odd.

- Very odd, goin' through people's pockets.

- You're just jumping to conclusions.

- Oh, am I?

- Because you don't know the full facts.

- Well, you'd better give them to me then, hadn't ya?

- That's enough, I'm gonna find Sir Peter.

- Not until I've had the full facts.

Well?

- All right, look it was more than 10 years ago.

A bank raid.

And that's it, he's here, I heard it.

- It's crazy.

Recognizing a voice after 10 years.

Do you believe this?

- Yes. - No, maybe she'd like to.

Maybe she even half believes, but completely.

Nevertheless, the man who killed my wife is in this house.

- What'd he say, this man you heard tonight?

- [Stan] He said, "Ludo, you've lost your bet

about the Saint Emilion, I've just tasted it.

Look, if we could just find this Ludo--

- And ask him who said that to him?

Well, I won't say I don't believe you.

- [Stan] But you have heard crazier things.

- Maybe.

Tell you what I'll do.

Got some police friends.

I'll check up on the bank raid story.

- [Julie] And if it checks out?

- Then I'll start looking for Ludo.

I'm not saying I'm convinced, mind.

Just gonna check up, that's all.

- Julie, what did his face look like, our security friend?

Is it skeptical, humoring, or does he really mean

to do something?

- I think he'll do what he said he'll do.

Now, come on, let's go back to the party.

Oh Stan, I don't think you ought

to tell anyone else about that voice.

- In case they lock me up.

- No, I didn't mean that.

- What do you mean?

- I mean if it's true then--

- If it's true, you see, I was right about you.

You'd like to believe but you can't.

- I was going to say, if it is true,

then the fewer people who know the better

in case he gets to know.

Then you'd be in danger, wouldn't you?

- Your hand.

You know, Julie, I thought I'd adjusted.

10 years of adjustment, and for the first time,

I find myself wishing for the impossible, my sight.

Well, if this is a party,

do you suppose you could find me some champagne?

- (laughing) Sure, come on.

- Anyway, I'm pleased.

Robert's a fine chap, came right out of the blue.

- In more ways than one, eh, Sir Peter?

- Hmm?

- Well, a few years ago, who had heard of Robert Carroll?

And now suddenly, he's the bright star.

- Oh, that's the way things are these days, meteoric.

Besides that--

- Excuse me, sir. - Yes.

- Is there a phone I could use, sir, it's private?

- Oh, in the study there.

- Oh, thank you, sir.

- Is something wrong?

- No sir, nothin' I can't handle, sir.

- Oh.

- You don't say.

So, he was telling the truth about the bank raid anyway.

- [Guest] Ludo!

Hey Ludo!

- George, I'll call you back.

- The nuances of fine wine mean nothing,

absolutely nothing to the uninitiated.

But to the connoisseur, well, every single wine.

- [Julie] Is it all right to speak,

or are you listening?

- Sit down, Julie, tell me all your hopes and fears.

- Hopes?

Here.

- Thank you.

- Oh, happy life, husband, kids,

but most of all the hope that you are mistaken

about that voice.

- Hmm, that's sad.

I mean, a forlorn hope is always sad, isn't it?

But I'm sure that your husband and kids will work out.

- Well, and then that brings me to my fears.

I know a lot of those people down there.

And my fear is that it might be one of them.

- Ludo? Oh, you mean old Ludovic Bates, why?

- You ever bet with him, sir, about some wine?

Some Saint Emilion or something.

- No.

- Know who did?

- I haven't the slightest idea.

Look here, what is all this?

- It's important I have a word with him, sir.

Do you know where he is?

- Well, he was around here when I yelled at him.

He seems to have shoved off.

Ah, I know, follow me.

- No one yet.

It's soft.

It's span an octave.

Aha, musician, huh?

- Go on, Mr. Holmes.

- Well, the accent doesn't fool me.

I'd say half and half.

Mother European.

- Father.

- So, he must have traveled a good bit.

Too young to be a war baby,

so I'd guess he was a salesman of some kind?

- Well, he was.

He's dead now.

- Ah, but mom is alive, looking half her age

and twice as beautiful.

- Hey.

- And like mother, like daughter.

No, I checked all this out with your boss, my agent.

And he tells me you're a really sensational looking lady.

(laughing)

What's going on down there?

- The party's livening up.

- Well, do you see Tamplin?

- Nope.

(disco music)

(screams)

- Mr. Bates.

(laughing)

- I thought we might find him in there.

He usually starts baying off to broken glass

right around midnight.

(screams)

Looks as if you'll have to chase

all through the wine cellars now.

(laughing)

- Gotcha.

Now, it's my turn. - No.

- Well, you were first, right?

- You don't, don't you dare.

- Mr. Bates.

Security, I'd like a word.

You there?

(giggling)

- Who did he say he was?

- I don't know and I don't care.

Two's company and all that.

- [Ben] Mr. Bates.

About the wine.

Your bet with someone.

(suspenseful orchestral music)

Mr. Bates, you here?

(suspenseful orchestral music)

Bates!

- He's getting nearer.

- Persistent delivery.

- Should we tell him we're here?

- Definitely not.

- Mr. Bates.

(giggling)

Mr. Bates.

(foreboding orchestral music)

- There you are, you wanted to see it.

That little bottle set me back 3,000 to the wine auction.

- 3,000 for one bottle of wine.

- It's not just a bottle of wine, it's an investment.

1812 burgundy, just think,

Victoria not on the throne yet.

- And probably quite undrinkable.

- [Peter] Without a doubt.

- [Man With Mustache] Oh surely not.

- That's right, Peter, why not crack it

open now and let's try some?

- No, I must split back to the party,

and find that daughter of mine and her fiance.

Where is he anyway?

- [Man With Mustache] Deserted out already.

- Don't be ridiculous.

- Well, darling, where on Earth have you been?

I've been looking everywhere for you.

- Sorry, darling.

- I might have known, you've been down

in the cellars looting Daddy's claret.

- I've been doing nothing of the sort.

As a matter of fact, I dropped my lighter behind a radiator.

I had to be a contortionist to get it back.

- Now, you come and have a talk to Stan Kay.

You haven't exchanged a word with him all night.

- Later, sweetheart, I've just got

to complete a deal with old Townsend..

- Robbie, you can't.

- [Julie] So, I decided to join the agency.

- I'm sorry, look, I hate to keep bothering you,

but Tamplin's been such a long time now.

"Just one phone call," he said.

- Maybe he's found him.

Or he's still looking.

- Please.

- All right.

I'll go see what's happening.

Oops, sorry.

I'll be right back.

- [Unknown Man] I know I left the cigarettes somewhere.

(dramatic orchestral music)

Probably left them in my coat.

(dramatic orchestral music)

- [Peter] Get him in the study.

That's it, up.

Right behind you is my study.

Just put him down there.

- [Guest] Been acting strangely all evening.

- Yes, well.

Now look, don't hang about.

All is well, we'll get on with it now.

Do carry on with the party, will you?

Thank you very much indeed for all you've done.

Miss Gordon, luckily it seems we have a doctor

in the house, Dr. Mace.

- Is he all right?

- I don't know yet.

Would you mind waiting outside please?

- Yes, we'll wait outside, hmm?

Come on, let's don't spoil Claudia's party.

Yes, he'll be all right.

Now, come on, you too.

Come on, Miss Gold.

Now, he's in expert hands.

- Mr. Kay.

- [Unknown Man] Mr. Kay.

Mr. Kay.

(knocking)

- Would you mind going away?

I have a patient in here.

- [Unknown Man] I'm so sorry.

- You must rest, Mr. Kay.

Rest.

You had a fall.

You must take it easy for a while, Mr. Kay.

- Come with me.

- Why, where are you taking me to?

- Come on.

You wait and see.

We'll be safe.

Oh, ruffian.

Spoil sport.

- Woo.

Look what I've got for you.

- Ugh.

(laughing)

The hair of the dog for him?

- It's ice water.

- Oh, I think he's all right.

There's no concussion.

More shaken than anything.

Just you take it easy for a bit Mr. Kay.

- Thank you.

- Thank you, doctor.

- Julie?

- Yeah.

Here's some water.

- No, thank you.

- How are you feeling?

- Fine.

- Oh, Stan.

- No, I mean it.

Are we alone?

- Yeah.

- Julie, I'm right.

I've been proved right.

See, I heard that voice, and I started toward it

and he hit me with something.

But don't you see, it proves that I know

what I'm talking about.

Because he attacked me.

Not only do I know about him,

now obviously he knows about me.

I was moving up the stairs toward him

because he planned it that way.

He spoke so I would hear him, so I would move toward him.

And he was just standing there waiting for me.

Boy, lamb to slaughter.

(solemn orchestral music)

- Where are you going?

- He's still here.

- You don't know that.

- Oh yes, I do.

Now, I do.

- Stan.

- Look, Julie, Julie, if I'm right,

how does he know that I know?

- When you were telling Tamplin.

- Sure, you mean in that room upstairs.

Yeah, it was quiet.

He must have been outside the door listening.

- But suppose-- - No, no, hear me out.

If he did hear, then why didn't he just leave this party?

Why didn't he run?

Because he can't?

- Because he's important and it would

be noticed if he left early.

- He's stuck here, Julie.

I'm gonna find him. - But how?

- Tamplin, what's happened to Tamplin?

- Well, does it matter?

- You bet it does, because Tamplin must know now, too.

He left that room, you remember, half believing me?

He was gonna check out my story, find Ludo, whoever he is.

The man with the voice would never let that happen.

- Do you mean that Tamplin--

- Tamplin could be on his way to an accident, too.

- Oh.

- Well, hold on, where you going?

- Well, to find Tamplin, to ask some questions.

- But ask who, who can you trust?

- Sir Peter, you've heard him speak, it's not him.

The waiters, the staff.

Well, a waiter would hardly be making a bet

with a guest, would he?

- No, no, you're right.

Okay, take me with you.

I can't do much but I can listen.

- If you promise to stay put.

(laughing)

Now, stay here out of trouble.

(dramatic orchestral music)

- Ludovic, you promised me the very next dance.

Ludovic, Ludo.

- Ludo?

- That's right.

He's mine.

- Look, I just wanna ask him some questions.

- So, do I.

- Ludo. - Ludo.

- [Julie] Come on, Ludo.

- Come on, Ludo.

- [Julie] Wake up, Ludo, come on.

(dramatic orchestral music)

Ludo.

- I told you, he's mine.

Actually, I think we're engaged.

- [Julie] Ludo.

- Hello.

- [Julie] You made a bet about wine.

Can't you get him some black coffee?

- Oh, I would but I don't think my legs are moving.

(dramatic orchestral music)

- Dear Mr. Kay, I've been trying all evening

to get your autograph.

- Oh, all right.

- Ah, Pelham, there you are.

I've been looking for you.

Where did you disappear to?

- Drinking the profits.

- [Stan] Sir Peter.

- Oh, okay, it'll keep, I'll see you later.

- Very well.

- Are you fully recovered?

I'm sorry to hear about your accident.

- I wasn't drunk, Sir Peter.

- Yeah, I can see that.

- But you heard I was?

- Well, this place is like a battlefield, rumors fly.

- I'll bet old Ludo went along with them.

- Ludo?

- Yes, he's a guest here.

- Well, I don't know him, but I don't know

half the people here, Claudia's friends, you know.

- Oh, well that must make things pretty tough for security.

- I have a fellow looking after that,

a chap called Tamplin.

- Say, is he anywhere around?

- I don't see him.

Why do you want him?

- There's just something I wanted to ask him.

- I got the impression, I saw him heading

towards the wine cellar, but that was half an hour ago.

- You know, I heard so much about these famous wine cellars

of yours, I was wondering, is there any chance

that I might go down there?

- Well.

- I really would love to sample a claret.

- And so you shall and so shall I.

Come along.

- I didn't wanna put you to all this trouble.

- It's no trouble at all.

Frankly, I'm glad of an excuse to get away from this lot.

Here we are.

Here's the staircase.

Nine steps altogether, not too slippery.

Put your hand on my shoulder.

- Oh, thank you.

I thought if you had a wine steward or a cellar man

that I could talk to him, he'd take care of me.

- Well, there's Parkinson, of course,

but he has retired, passed by now, I think.

- Oh?

- Over zealous sampling of the product.

(laughing)

A good wine is stronger than his Rockshore beer.

He usually manages to get to his room, collapse on the bed.

Occasionally, Scrub makes it to the staircase.

Next morning he resigns.

- Yes, did he?

- I reject his resignation.

It's a game we've been playing for years.

- He sounds like quite a character.

I'd like to have met him.

- Well, you may be lucky, but I doubt it.

- At these parties, can just anybody come down

and taste the wine?

- No, only close friends.

- [Stan] And have any of them done it tonight?

- Well now, steady.

I believe Alan Richards said something.

Now, he's got a good palate

even though he is a millionaire.

Come along this way.

(dramatic orchestral music)

Parkinson.

Curious how sound deadening this place is.

- Yes, it gets absorbed because there's no feedback.

This is what they made studios like

at the beginning of radio.

Sound is a living thing, you see.

And they just took all the life out of it.

- Parkinson!

Parkinson!

Oh, steady, over.

And up, yeah, that's right.

Just over to the left a bit.

Nope, down a step there.

That's right.

- Sh.

- Hm?

- I'm sorry, I thought I heard something.

- Here we are, this way.

- [Julie] Here.

- Oh, what a punch in the Saint Emilion.

- [Julie] Drink it.

Go on, drink it.

- Oh, I do so admire a dominant woman.

- No Parkinson, I'm afraid.

Oh, he's been at the '69 Chambertin again.

And the '66 Saint Emilion.

- Well, you have to admit, the man has taste.

What is this, a visitor's book?

- No, a cellar book.

The name of the wine, name of the shipper,

vintage, where we bought it, price, comments, et cetera.

- Comments?

- Well, what we thought of it,

what our guests thought of it,

whether it's still improving some.

- Well, you mean if anyone had been tasting tonight,

Parkinson would have written down their names

and what they said?

- He might have done, depending on A,

how conscientious he was feeling,

and B, how drunk he was.

(laughing)

- Well, I've heard a couple of people mention

the Saint Emilion.

Has he written about anyone tasting that?

- Well, he was just about able to hold the pen apparently.

Two friends tasted it, John Pelham, and James Townsend.

Pelham said, excellent, and Townsend, knockout.

Would you like to taste something?

- Oh, well how about that Saint Emilion

I've been hearing so much about?

- Good idea, and so shall I.

Ah, I see that it's in a bin back near the staircase.

Now, you stay put, I won't be a minute.

- All right.

Richards, Pelham, Townsend.

Richards, Pelham, Townsend.

- Oh, excellent coffee.

I say, did you make it yourself?

- Look, you made a bet about wine.

- Oh, I make a lot of bets, dear girl.

In fact, if I put mind to it,

I bet I could take you out to dinner.

- [Nancy] No, you don't.

- It's just a joke, you understand.

- Look, this is very, very important, do you understand?

- Very, very, very important.

- No, that's one very too many.

She only said very, very and you said.

- [Both] Very, very, very.

- Please.

Oh God, Ludo, come on.

- Ludo.

- Now, where were we?

- You made a bet about the Saint Emilion.

- You know, I rather believe I did.

- With who?

- With whom, dear girl, really--

- All right, with whom?

- I've forgotten. (laughing)

- Will you concentrate and try to remember?

Please.

(footsteps)

- Here we are, blessed Saint Emilion.

May God bless all who drink him.

Especially with my name on the bottom of the label.

(laughing)

- You know, I've been thinking, it might be fun

after we've tasted it to compare notes

with the others who've been down here tonight.

- Yes, of course.

- I don't think I've met any of these people.

- Well, we can soon remedy that.

Now then, let's give it a little oxygen, shall we?

Oh yeah, that's all right.

A little decanting.

(phone ringing)

Oh.

Now, do you think you could carry on decanting, Stan?

- Well, of course, you don't think

we'd treat California's finest

with any less respect, do you?

- Touche, my boy, very palatably touche.

Hello, yes, speaking.

Oh, what is it?

Oh, I see, yes, thank you.

Well, I'm sorry, there's a call come through upstairs

from the states for me, but why they have to pick this day.

I'll be as quick as I can.

Will you be all right down here?

- Just worry about your wines, Sir Peter,

I'll be fine as long as I can resist temptation.

- Back soon.

- Oops.

- Excuse me.

(dramatic orchestral music)

(bottles clinking)

(dramatic orchestral music)

- Who is it?

Who's there, what happened?

(solemn orchestral music)

Tamplin?

(solemn orchestral music)

(bottles clinking)

- Foster, which line is the American call supposed to be on?

- American call, Sir Peter?

- Someone rang down to the cellar on the house phone.

There's nothing on either of my private lines,

now is it the one is the study, I wonder?

- I've not heard of any outside calls, Sir Peter.

I'll make inquiries at once.

- Thank you very much.

- See, phone.

(clicking)

(dinging)

Hello, hello, this is Stan Kay.

I'm down in the basement.

There's a dead man here.

I need help.

Did you hear me?

- Loud and clear.

Clear.

(screams)

- Stay clear.

(bottles clinking)

(door shutting)

(dramatic orchestral music)

- [Nancy] Simon?

Edward?

Nigel?

Alan?

Peter?

- Alan, of course, now how could I forget?

Blighter owes me a tenner.

- Alan who?

Alan who?

- Alan Richards, of course.

- Have you seen Alan Richards?

- No.

- Do you know where you last saw him?

- No.

Hey look, he's probably with Sir Peter.

He said he couldn't possibly leave the party

without concluding some deal or other with Sir Peter.

Why don't we sit down and have a drink?

(bottles clinking)

- Oh, Mr. Kay.

What great, beautiful ears you've got.

Acute perfect pitch.

Seeking,

finding.

I'm respectable now, Mr. Kay.

Respected,

influential friends.

You're not going to spoil all of that now.

Not with those ears of yours.

But they won't do you any good now.

(glass breaking)

- Mr. Pelham, I'm looking for Sir Peter.

It's very important, have you seen him?

- No, I'm afraid I haven't.

- Oh, I think he went into the study.

(dramatic orchestral music)

- I see, and you have tried that.

Yeah.

Well, I can't understand it, but thanks anyway.

- [Julie] Sir Peter.

Have you seen Alan Richards?

- Well, not recently.

- Do you know where you last saw him?

- What, at this party?

Yes, Foster.

- It must have been a hoax, Sir Peter,

no trace of a call from the states today.

- I left Stan for nothing then.

I hope the Saint Emilion is safe.

- You left Stan where?

- Well, down in the cellar.

He wanted to taste the wine.

- He's there alone?

- Well, he said he'd be okay.

I wouldn't have done it if it hadn't been

for this hoax call I was supposed

to get from the United States.

Oh my God.

(dramatic orchestral music)

- [Julie] Stan!

- Stan, Stan Kay!

- Stan!

Stan!

- Stan!

Good grief.

Stan!

- [Julie] Stan!

- [Peter] Stan, where are you, Stan?

(dramatic orchestral music)

- [Julie] Stan!

Oh, Stan.

(dramatic orchestral music)

- Stan.

- Oh Stan, are you all right?

- I hit for the sound, I just hit for the sound.

It was the only thing I could do.

I just kept hitting till he stopped moving.

Is he dead?

Well, tell me, have I killed him?

- No, but pretty near.

- Thank God.

I wanted to.

10 years of hatred, 10 years I wanted to kill him.

And now, I'm glad I didn't.

- It's finished now, Stan.

- Well, don't you go away now, you hear.

I want you close.

Lead me.

(dramatic orchestral music)