Original subtitles

(upbeat music)

- Well there you are, old boy.

Take a look at that.

Bags of fresh air, bags of sunshine,

view of the Mediterranean.

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 another?

When you and some of the other RAF types

threw that going away party for me, remember?

- I can't say I remember much about the end of it.

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

- That was you, was it?

I wondered how I got there.

You been in America since ever since?

- Ever since.

Gee, this is really nice.

I owe you a commission.

How about taking you to lunch?

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

- Oh?

How about a drink? - Well, that's a good idea.

Just time for a quickie.

- What are we waiting for?

Come on.

- They have a nice little bar down here.

The trouble is, they don't have barmaids these days.

- [Man] Oh.

- Oh, Tony.

- Well hello, Mitzi.

May I introduce Mr. Philip Graham.

Mr. Graham, Ms. Molnaur, Mr. Carey.

- Hello.

- Mr. Philip Graham the songwriter?

- Uh-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 fiance has a villa just along the coast.

(people talking)

Hello, my darling.

May I introduce you to Mr. Philip Graham.

Mr. Darius.

- Hello, Mr. Darius.

- And Mr. Darius' niece, Marina.

- Marina.

Would you join us for a drink?

- No, thank you.

We will drink at table.

Max.

- Excuse me, will you, Phil?

- Fix me a drink, eh?

Whiskey and soda.

(singing in foreign language)

(slow music)

(singing in foreign language)

(people talking)

- That's lovely.

- I'm glad you liked it.

It's a recording that I made myself in a small village-

- I know exactly where you got it from.

- Where?

- Las Vertas.

- 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 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.

- [Marina] How would you tell?

- Oh, I just could.

You do dance, huh?

- Yes.

- Professionally?

- Of course not.

I'm a collector too, of folk dances.

- Say, maybe you'll let me watch sometime, huh?

- All right, here at the hotel this afternoon.

I'm rehearsing some small girls in a dance

for our local fiesta.

(upbeat music)

- Well I'm sorry to break this up

but I promised to drive Graham to the airport.

Listen, I just had an urgent phone call from London.

I've got to get back there right away.

Would you ride me out to the airport and bring my car back?

- Sure.

- Just have time to catch that plane.

- When are you coming back, soon?

- I don't know, Phil.

- What are you going to 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?

- I'd take care of all the expenses and so on.

- Kind of all of a sudden. - You wouldn't be gone long.

What do you say? - Okay.

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

Where have they got to.

- Si, senor?

- Oh, I want my bill, please.

Antony Roscoe.

(upbeat music)

You also have an envelope of mine in the safe.

Here's the receipt.

This is going to take a million years.

Please hurry, will you?

I got a plane to catch.

Look, I remember now.

I saw your father put it in that drawer.

It's locked.

- One moment, senor.

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.

(people talking)

Better hurry.

Look, can I please have my envelope?

- I'm very sorry, senor.

My wife has gone to Madrid.

She has taken by mistake the key.

She will not be back until Monday.

- Well, I can't wait 'til Monday

and I've got to have that envelope before I leave.

You don't have to break the door open somehow.

- But you know what you're asking is impossible.

- I don't think you're going to make that plane.

- But that envelope is not mine

and I'm responsible for seeing it's delivered.

- I can do it for ya.

- No, you can't. I have to do it personally.

- Where do you have to deliver it?

- London.

- So I'll bring it to you when I bring you the car.

- Can you get there soon?

- 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, senor.

- I shouldn't bother to wait, old boy.

I'll see you in London.

(plane engines roaring)

(dramatic music)

(fist thudding)

(slow music)

(Philip groaning softly)

(car door thudding)

- You?

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?

How did this happen to you?

- That's what I'd like to know.

- Where is Mr. Roscoe?

- Oh, he caught his plane all right.

This happened when I was driving his car back to the hotel.

- I see.

- Boy, they sure hit me on the head.

- Perhaps you ought to report this to the police.

Did they steal anything?

- They don't seem to have.

- And they didn't take your car.

- 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, just the same. I think I can drive my car-

- No, no, Pepe will drive Mr. Roscoe's car.

You come with me.

- There's only a tiny scratch.

- Oh, fine thing.

No sympathy, huh?

(slow music)

Oh, look at that, huh?

Boy oh boy, what a night.

- [Marina] It is a beautiful night.

- You know, this is the Spanish night

that every American dreams about,

an enormous moon, starry sky,

the scent of lilies and tuberoses.

Lazy fingers strumming on a guitar.

And a senorita.

Above all, a senorita.

Mysterious as the moonbeams, lovelier than the lilies.

- That was nice, and full of Moorish influence.

You've learned quite a lot since you've been in Spain.

- Yes, I have.

- That's a handsome wedding ring.

- My wife gave it to me.

She died a couple of years ago.

- I'm sorry.

- Kind of like 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.

- When may I hear it?

- Oh, it'll have to be tomorrow.

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

- What?

- Yeah.

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-hm, 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 ya?

- I'm going to London too.

My uncle just told me.

- Say, that's great.

What's your phone number there?

- You give 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 you haven't caught cold.

Especially after the unfortunate incident this evening.

By the way, is Roscoe an old friend

or did you meet him here for the first time?

- Oh no, we were in the war together.

Same squadron, as a matter of fact,

'til I left the RAF and joined up with our own air force.

- And what sort of a chap was he then, hm?

- What do you mean?

- Well, he strikes me as being a little unscrupulous, hm?

- Tony?

Oh no, 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 him, Mr. Darius,

but I'm afraid that Senor Gonzalez

will be just wasting his time.

- No, no, no, no.

These matters should be attended to promptly.

He will see you here at 10:30 tomorrow morning.

- Oh.

- Let me know how you get on with Gonzalez.

- Yes, I will, thank you.

(man talking)

- Have you forgotten? - What?

- Your telephone number.

- Oh, here you are.

Don't forget to use this.

- They didn't touch your car.

They didn't take your money.

There was no robbery, nothing, nothing that my men

can sort of speak their teeth into.

This affair was obviously a case of mistaken identity.

- Well, who 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?

- Some associates of his would quarrel with him.

Perhaps he was involved in some risky venture,

something not too strictly legal,

so my information leads me to believe.

- Who told you this?

- 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 fellows

in that squadron felt the same way.

He was always very well thought of.

- 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.

- Maybe you're right.

Meanwhile, Mr. Graham, I will keep you informed.

- But I had planned to start driving to London.

- Oh.

- Take my friend's car there tomorrow.

- I think that will 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' idea.

I didn't think it was worth bothering about myself.

- Always notify the police.

- You know something, policemen frighten me.

- Present company excepted, I hope.

(both laughing)

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.

- Goodbye.

- I'm so sorry Senor Roscoe had to leave without this.

My wife was too careful with the key.

- No harm done.

- I hope you will visit us soon again.

- Oh, I intend to.

- And recommend us to your friends.

(rain pattering)

(phone ringing)

- Yes.

- [Man] Your call, sir.

- Oh, thank you.

Hi, Tony.

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.

Ah, that's Beverley Court, isn't it?

Yeah, I know.

I'll be seeing ya.

(slow suspenseful music)

(doorbell buzzing)

(doorbell buzzing)

- Can I help you, sir?

- This is Mr. Roscoe's apartment, isn't it?

- Yes, sir.

- I have a 6:30 appointment with him.

Doesn't even answer.

- You're right too, he doesn't seem to be in.

- My name's Philip Graham.

I'm a friend of his.

I just brought back his car,

parked it out by the front door there. Is that okay?

- Yeah, sir, I'll put it away for you.

- That'll be fine.

There's his keys.

Here.

- Thank you, sir. Would you care to wait in the lounge?

- I think I'll stick around for a minute or two.

Might be taking a shower.

- Yes, sir.

I'll put Mr. Roscoe's car away, sir.

- Oh, thanks.

(door knocking)

(suspenseful music)

(window rattling)

(intense suspenseful music)

(slow dramatic music)

(phone ringing)

(doorbell buzzing)

(dramatic music)

(traffic roaring)

- Give me the Royalty Theater please, backstage.

And call me back, huh.

Thank you.

(phone ringing)

Hello, I'd like to talk to Ms. Mitzi Molnaur.

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 running down at 10:15.

Come straight to my dressing room.

Adios for now, Mr. Graham darling.

- Who was that?

- Philip Graham.

He wants so badly to write some lyrics for me.

I think I should let him try.

- Don't let him try anything else.

- Nonsense, Maxwell.

He's such a sweet boy really, and so clever.

Spain, Spain.

You can breathe in the south, the sunlight, the moonlight.

- A very romantic country.

- Oh yes.

But there was no romance for me in Spain.

- Oh?

I thought you were visiting

your fiance down there, Mr. Darius.

- That's what I meant, darling.

- Oh.

- When can we get together on those songs

you are going to write for me?

- Ah, well, there's something else

I've got on my mind right now.

- Yes?

- You 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, darling?

- A thing of the past, huh?

That's why you threw those letters into the fire.

- So it was you who tried to get when I was there?

You're in this with Roscoe too.

You're both blackmailing me to Mr. Darius.

- Is that why you did it?

- Yes. - What?

- Of course that's why I burned them. What else could I do?

- No, that's not what I meant.

- When'd you see Roscoe last?

- At the bar of 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 to ask 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 darkroom?

- He's dead?

- Yeah, 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 at six o'clock,

someone by the name of Maxwell Carey, you know him?

- Yes.

So do you. You met him at the same time as you met me,

at the Chula Vista Bar.

- Don't seem to remember.

Had he known Roscoe long?

- Roscoe did quite a bit of photography for Maxwell?

- What kind of photography, you know?

- No, I don't.

- Mitzi, for both of our sakes,

you better find 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.

Should I phone you afterwards?

What's your number?

- Well, I'd rather see you, if that's possible.

- That would be more interesting.

But I think I better come to your flat.

My fiance may not like it very much if you came to mine.

- Okay, I'll give you my address.

Got a piece of paper? - Sure.

I'll keep the whole evening open for you, darling.

- You think that you can persuade Carey

to take you out to lunch?

- [Mitzi] Mm, leave it to me.

- Yes, I'm sure you can.

Good luck. I'll see you tomorrow night, huh?

- Oh, darling.

My letters.

- I'll give them to you tomorrow night.

(phone ringing)

Hello.

Ah, tell them to come up please.

(door knocking)

Come in, inspector.

- I'm the inspector, Inspector Goldfinch.

- Oh.

- This is Sergeant Ramsey.

- Sergeant.

- We are making inquiries into the death

of Mr. Antony Roscoe of 8 Beverley Court.

- Yes, won't you sit down?

- Oh, thank you.

- Oh, would you care for coffee?

- Oh, no, thank you.

You know, 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 just brought back Mr. Roscoe's car from Spain

and that you arrived in England yesterday?

- That's correct.

- [Inspector] You knew him pretty well, I imagine.

- Oh, very well. We were in the air force together.

- Mm, was he in any sort of trouble?

- Not that I know of, why?

- Had you seen much of him recently?

- Not since the war.

Well, that is not until just this past week.

- [Sergeant] Mm-hm.

- Did you find him changed 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.

- Had he anything to 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.

- [Sergeant] Mm-hm.

(phone ringing)

- I'm much obliged for your help.

- [Philip] You're welcome.

- [Inspector] I think that covers everything, Mr. Graham.

- Mm-hm.

- For the moment.

- Bye. - Bye.

(phone ringing)

- Hello.

This is Mr. Graham.

Hi, Marina, how are ya?

- Sure I meant it.

How about this afternoon?

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

What time is tea time?

And your address?

Okay.

I'll see you at four then, huh?

Bye.

(slow dramatic music)

- [Man] Why, why did I let Roscoe

get his hands on that microfilm?

- [Woman] 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 melodramatic, 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 the money.

- That's the irony of it.

- [Nancy] But it doesn't seem fair.

- Do you like your fish cake?

- Oh yes, it's delicious.

I'm just not hungry.

- [Man] I betrayed my profession and my firm.

Now I've let you down too.

Well, Nancy, if I could only get that film and burn it.

No matter how poor we might be,

we'd still be able to face life.

Why do I have to let things like this happen?

- [Nancy] Things happen to you.

- [Man] 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?

- No, thank you.

I won't retain 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 wasn't able to get it before he left.

- I don't think you mentioned it this morning.

- I didn't think it was very important.

- I cam assure you, sir, that everything is of importance

in any inquiry of this sort.

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

- Yes, you didn't think?

- I didn't think it was important.

- I see.

And what did you do with it?

- I mailed it. - Hm?

- From Spain?

- No, I mailed it after I got back here.

- Oh, he told you not to post it

'til you got back to London?

- No, matter of fact, I forgot I had it.

- And when you remembered you stamped it and posted it.

- That's right.

- What was the address?

- Ah, it was somewhere here in London.

I think it was in, I'm not sure.

- And the name?

- Johnson or Johnstone.

- I see, Johnson or Johnstone.

- I'm sorry I can't be more helpful.

- And what kind of envelope was it?

- It was rather long and 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 happen to recollect it,

just get in touch with me.

- Yes, I will.

Oh, 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.

Well, thank you again, Mr. Graham.

- You're welcome.

Goodbye.

I'm going to be inquisitive again.

What about your uncle's girlfriend, Mitzi Molnaur?

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

He's sort of collecting Mitzi.

- Well, doesn't he have any affection for her?

- I don't think he's got much affection

for anybody, except Kim.

- Kim?

- His dog. - Oh.

- 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 run of people,

but my dog would endanger nobody.

He's a perfect specimen, you know.

- Well, I'm sure he is.

Oh, gee, I didn't realize it was as late as it is.

Better be going.

I have somebody important I-

- You can't go without seeing some of my treasures.

- Well.

- Are you interested in miniatures?

- Yes, but I think I better take a rain check.

- Oh, look at this.

Isn't she beautiful?

Painted on thick ivory before they learned

how to shave ivory thin.

- Mr. Graham has to leave.

- Yes, I do.

I'm very sorry.

I would like to see your miniatures some other time.

- You must ask Mr. Graham to come again.

- All right, I better be going.

Oh, shall I leave this?

Would you like to hear those 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 for this?

- Soon.

Come in, Ms. Molnaur.

- Have you got my letters?

- Have you got my information?

- Let's have the letters first.

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

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

Shall we forget the letters for a while?

- I think I 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.

And I'm not paying you 250 pounds or even pennies.

- For what?

- That's what you told her you wanted, wasn't it?

- I told her what?

- [Maxwell] And for that you'd keep

your trap shut about her letters.

- (laughs) She's quite an actress.

- I'll pay you 50 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 did.

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.

- Can't, I don't have it.

- Give me the microfilm.

- 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.

- Hm.

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?

- Oh, I don't think he'd like that.

You better let me take care of this myself.

- Trust you with all that money?

Oh, don't worry.

I'll see that you get your cut.

- Okay, I'll see if he's here tomorrow about the same time.

- Don't let me down.

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 low.

- That's more like it.

We're only interested in the big stuff, aren't we?

(slow upbeat music)

- 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 blackmailer like Roscoe.

- No, I'm not a blackmailer.

- Then why did you threaten to tell

those gangsters in my firm about me?

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

that I can make you come here and talk with me.

What have you done with the microfilm?

- What microfilm?

- The microfilm that I gave you yesterday.

- What?

But, good gracious.

You mean to say that's been in my pocket all the time?

Why give it to me yesterday and take it back today?

- 'Cause I felt sorry for ya.

You seemed to be in a tight spot.

- They 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 going to use them as bait.

Maybe I can catch the fellow that's behind all of this.

- These formula are useless to you and me,

entirely valueless except to someone-

- What formula?

- The formula on the microfilm for a new process,

a new antibiotic drug.

- Like penicillin?

- 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 works then?

- I think you should let me destroy those microfilms.

My whole career-

- Will you trust 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.

(door knocking)

- Where's our friend?

- 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 own a chemical works, do ya?

- I'll tell you what I'll 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'll get my coat.

- My car's outside.

(slow dramatic music)

This way.

- Don't tell me that your boss

is in the theatrical business.

- Of course not.

Just a little sideline of mine.

Hm?

(slow dramatic music)

The office is upstairs.

Very useful for private business.

Go ahead.

- After you.

(dramatic music)

- So, his office isn't upstairs, huh?

(slow dramatic music)

- Clever of you to get those microfilms for nothing.

- Quite a grapevine you've got here.

- It works.

(dramatic music)

(Maxwell groaning)

(fist thudding)

(Philip grunting)

(fist thudding)

(Maxwell screaming)

(fire roaring)

(alarm ringing)

(traffic rumbling)

- Morning, Mr. Darius in?

- I am sorry, sir.

Mr. Darius has been called away.

- Oh?

Well, when will he be back?

- I don't know, sir.

- Well, what's his address?

Where'd he go?

- He didn't say, sir.

Mr. Darius usually wires us

where he's going to be when he gets there, sir.

- I see.

- Just one moment, sir.

I've got something for you the senorita left, sir.

- Thank you.

- Senor.

(plane engines roaring)

(people talking)

- [Announcer] British European Airways

announce the departure of Flight 215 to Barcelona.

Will all passengers holding boarding card number four.

(slow music)

- May I take these now, sir?

- Oh yes, thank you.

- Are you quite comfortable, sir?

- Fine, thank you.

(upbeat music)

- Don't close the door. - What is it?

- [Man] Is there a Mr. Graham on board?

- [Woman] He's the American gentleman.

Yes, he's sitting over there.

Mr. Graham. - Yes.

- [Woman] I'm sorry to trouble you, sir.

- Oh, what?

- Your passport.

- Thank you.

(upbeat music)

Marina. - Philip.

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.

(women speaking in foreign language)

(upbeat 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.

Well, not kind, generous in a way.

And yet he has never really loved me.

Or anybody else.

He could have done everything you say.

(upbeat music)

Philip, if he did.

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.

- What about you?

You must see the police to clear yourself.

- Do you suppose they'll believe me?

- I believed you.

(slow music)

- Yes, yes you did.

But will the police, will Senor Gonzalez?

- Of course.

He's bound to realize you are telling the truth.

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

- How else are we to judge

what we do and trust our feelings?

Oh, Philip. - Yes.

- I must get back to my rehearsal.

(bells ringing)

(upbeat music)

(crowd talking)

(phone ringing)

- Si.

(speaking in foreign language)

Tell him to come in please, huh?

- Good afternoon, Mr. Graham.

- Afternoon.

- It's nice to see you so soon again.

- Thank you.

Nice to see your 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 the rehearsals.

She sends her regards to you.

Why does she teach those little middle class ladies

to prance like peasants, hm?

Oh, but I forgot.

You too are an amateur of folk dancing.

- Mr. Darius, shall we get down to business?

I have come all the way from London to talk to you.

- All that way to talk to me.

What on earth could be so important?

- I thought I told you on the phone.

- You merely said that you had something

that might interest me.

The only things I collect nowadays are miniatures.

- This is a miniature.

- Hm.

Very interesting.

And how much would you say this was worth?

- I don't want any money. Just information.

- Could I see the rest?

What sort of information did you want?

- When you went to Tony Roscoe's apartment

the evening that he was killed,

were you alone or was your secretary with you?

- I cannot conceive why either of us should have been there.

- I can, with these miniatures lying around.

- Oh, 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 are not dealing with imagination, Mr. Graham.

We are 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 have given many such handkerchiefs

to my friends, including Mr. Roscoe.

- Tell that to the police.

(upbeat music)

- 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's 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.

(upbeat music)

(Philip grunting)

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 fellow

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.

- [Philip] Nevertheless, you were there

that evening, weren't ya?

- [Mr. Darius] 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.

(speaking in foreign language)

- [Philip] I don't know of any facts

more convincing than a set of fingerprints.

When you went through those microfilms

you left enough prints-

(speaking in foreign language)

- [Mr. Darius] I wonder how these highly-colored ideas-

(whistle blowing)

(upbeat music)

(crowd talking)

(upbeat music)

- Hey, what about the kids back there? If something happens.

- Don't worry.

The children are going to the plaza to join the procession.

(dog whining)

- It looks like he got away.

- I don't think so.

We have the hotel surrounded.

(men speaking in foreign language)

- He's got him.

- Mr. Darius.

(gun firing) (children screaming)

(men speaking in foreign language)

- Well, it worked our little plan, huh? (laughs)

(man speaking in foreign language)

- Senorita.

Senorita.

(speaking in foreign language)

- Well, Marina, what about their fiesta?

Come on.

(upbeat music)

(upbeat music)