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85, 90, | 0:01:07 | 0:01:08 | |
95, 100. | 0:01:08 | 0:01:10 | |
5, 10, 15, 20, | 0:01:10 | 0:01:12 | |
25, 30, 35, | 0:01:12 | 0:01:14 | |
40, 45, 50. | 0:01:14 | 0:01:16 | |
551 pounds, two shillings, and sixpence... | 0:01:16 | 0:01:19 | |
in full - back pay, rations, and quarters, | 0:01:19 | 0:01:21 | |
allotments allowable during period of internment | 0:01:21 | 0:01:23 | |
as prisoner of war, plus transportation | 0:01:23 | 0:01:25 | |
back to point of induction, Montreal, Canada. | 0:01:25 | 0:01:28 | |
You fight an expensive war, Flight Lieutenant. | 0:01:32 | 0:01:35 | |
Well, good luck. | 0:01:35 | 0:01:37 | |
And don't plop all that down | 0:01:37 | 0:01:40 | |
on the first pigeon you meet in Montreal. | 0:01:40 | 0:01:41 | |
I should think from this | 0:01:49 | 0:01:51 | |
you would have had enough of France. | 0:01:51 | 0:01:53 | |
This is business. | 0:01:53 | 0:01:54 | |
Yes, I understand. Of a personal nature, of course. | 0:01:54 | 0:01:57 | |
My wife's estate. | 0:01:57 | 0:01:59 | |
She was a French citizen. | 0:01:59 | 0:02:01 | |
We were married during the German occupation. | 0:02:01 | 0:02:04 | |
Yes or no? | 0:02:04 | 0:02:06 | |
Well, all passports to the continent require investigation. | 0:02:06 | 0:02:08 | |
How long would that take? | 0:02:08 | 0:02:10 | |
Oh, a month, perhaps. | 0:02:10 | 0:02:12 | |
It's difficult to say, | 0:02:12 | 0:02:13 | |
depending upon the circumstances. | 0:02:13 | 0:02:14 | |
SHOUTING IN FRENCH | 0:03:25 | 0:03:27 | |
C'est tout ce soir. | 0:03:35 | 0:03:37 | |
You? | 0:03:53 | 0:03:54 | |
Come, come. | 0:03:58 | 0:04:00 | |
Ah, tut, tut. You must forgive me. | 0:04:00 | 0:04:03 | |
There is so much to do, | 0:04:03 | 0:04:04 | |
it sometimes gets away from me. | 0:04:04 | 0:04:06 | |
Sit down. | 0:04:06 | 0:04:08 | |
La. | 0:04:08 | 0:04:09 | |
Getting dark. | 0:04:12 | 0:04:13 | |
Better. | 0:04:18 | 0:04:20 | |
Ah, you are getting very careless about what you let in. | 0:04:20 | 0:04:24 | |
As you see, we are disorganised. | 0:04:27 | 0:04:29 | |
It is still very difficult to get suitable assistance. | 0:04:29 | 0:04:33 | |
Well, my boy, how are you? | 0:04:36 | 0:04:39 | |
A foolish question. | 0:04:39 | 0:04:40 | |
As we see, you are quite well again, | 0:04:40 | 0:04:43 | |
and able to be travelling. | 0:04:43 | 0:04:44 | |
Isn't it so, Etienne? | 0:04:44 | 0:04:46 | |
Yes, Etienne... | 0:04:48 | 0:04:50 | |
I know. | 0:04:50 | 0:04:50 | |
Your letter came to the hospital. | 0:04:50 | 0:04:53 | |
How did it happen? | 0:05:07 | 0:05:08 | |
How was Celeste killed? | 0:05:08 | 0:05:10 | |
As I wrote, there is nothing more. | 0:05:10 | 0:05:13 | |
She couldn't have made a mistake. | 0:05:13 | 0:05:14 | |
I knew her too well. Who betrayed her? | 0:05:14 | 0:05:17 | |
-If there was any betrayal, -I -betrayed her... | 0:05:17 | 0:05:20 | |
by fathering her in a century of violence. | 0:05:20 | 0:05:23 | |
She died well. | 0:05:24 | 0:05:26 | |
Celeste made no mistakes. | 0:05:26 | 0:05:27 | |
Then how? Who was responsible? | 0:05:27 | 0:05:30 | |
Someone was responsible! | 0:05:30 | 0:05:31 | |
Who was it? | 0:05:31 | 0:05:33 | |
It's no use. | 0:05:33 | 0:05:34 | |
Oh, the fight's gone out of you. | 0:05:34 | 0:05:37 | |
The prefect has his old job back. | 0:05:37 | 0:05:39 | |
Sit there and stew in your own juice if you want to. | 0:05:39 | 0:05:42 | |
Scramble your papers! | 0:05:42 | 0:05:43 | |
Ah, you forget too easily. | 0:05:43 | 0:05:45 | |
Forget? Ha! | 0:05:45 | 0:05:46 | |
What do you think these are? | 0:05:46 | 0:05:48 | |
Recipes for soup? | 0:05:48 | 0:05:49 | |
Charges and countercharges. | 0:05:49 | 0:05:50 | |
Endless charges! | 0:05:50 | 0:05:52 | |
Hoarding potatoes and licking a pair of Prussian boots. | 0:05:52 | 0:05:54 | |
I have a job to do! | 0:05:54 | 0:05:56 | |
And so do I! | 0:05:56 | 0:05:58 | |
My wife is dead. | 0:05:58 | 0:05:59 | |
YOUR wife is dead? | 0:05:59 | 0:06:00 | |
Thousands of wives are dead. | 0:06:00 | 0:06:02 | |
Who are you to tell me this? | 0:06:02 | 0:06:04 | |
Your wife of 20 days | 0:06:04 | 0:06:06 | |
was my daughter of more than 20 years! | 0:06:06 | 0:06:09 | |
Where is the grave? | 0:06:14 | 0:06:15 | |
I would like to see it. | 0:06:15 | 0:06:17 | |
The grave is the wind. | 0:06:19 | 0:06:21 | |
Let the grave be the way we remember her. | 0:06:22 | 0:06:25 | |
I would like to see it... | 0:06:25 | 0:06:26 | |
now. | 0:06:26 | 0:06:28 | |
She was too young. | 0:06:59 | 0:07:00 | |
She was meant to have more than a few weeks' happiness. | 0:07:02 | 0:07:05 | |
Some people do not have THAT much. | 0:07:05 | 0:07:08 | |
How many others were there? | 0:07:17 | 0:07:18 | |
We don't know. | 0:07:18 | 0:07:20 | |
They were shot against the wall of the cave | 0:07:20 | 0:07:22 | |
and buried with dynamite. | 0:07:22 | 0:07:24 | |
We found the bodies of 50. | 0:07:24 | 0:07:26 | |
Why were they shot? | 0:07:26 | 0:07:27 | |
They were French. | 0:07:28 | 0:07:30 | |
Did I know any of them? | 0:07:30 | 0:07:33 | |
You knew Corveau, I think. | 0:07:36 | 0:07:37 | |
Perhaps you did not know his name. | 0:07:37 | 0:07:40 | |
It was Corveau who found you. | 0:07:40 | 0:07:42 | |
And Pitoux. | 0:07:42 | 0:07:44 | |
Pitoux hid you at the farm. | 0:07:44 | 0:07:46 | |
He brought you to us. | 0:07:46 | 0:07:48 | |
Henriette... | 0:07:48 | 0:07:50 | |
you remember Henriette. | 0:07:50 | 0:07:52 | |
She was the same age as Celeste. | 0:07:52 | 0:07:55 | |
Father Tournadelle... | 0:07:55 | 0:07:57 | |
Father Tournadelle who married you. | 0:07:57 | 0:07:59 | |
Did you know he also baptised Celeste? | 0:07:59 | 0:08:02 | |
'Celeste.' | 0:08:02 | 0:08:02 | |
Fouget. | 0:08:02 | 0:08:03 | |
'Celeste.' | 0:08:03 | 0:08:04 | |
Deschamps. | 0:08:04 | 0:08:05 | |
'Celeste.' | 0:08:05 | 0:08:06 | |
Le Brun. | 0:08:06 | 0:08:07 | |
'Celeste.' | 0:08:07 | 0:08:08 | |
HE HEARS GUNSHOTS | 0:08:08 | 0:08:10 | |
Laurence... | 0:08:13 | 0:08:14 | |
Who ordered this? Who did it? | 0:08:16 | 0:08:18 | |
You have fought well. Now you are tired. | 0:08:18 | 0:08:21 | |
You have just left the hospital, | 0:08:21 | 0:08:23 | |
perhaps too quickly. | 0:08:23 | 0:08:25 | |
Celeste is gone. | 0:08:25 | 0:08:27 | |
I know it is not easy to accept. | 0:08:27 | 0:08:28 | |
Later, when you are more rested... | 0:08:28 | 0:08:31 | |
Who did it? | 0:08:31 | 0:08:32 | |
There is nothing you can do. | 0:08:32 | 0:08:33 | |
There is one thing I can do. | 0:08:33 | 0:08:36 | |
Who ordered it? | 0:08:36 | 0:08:37 | |
Who killed them? | 0:08:37 | 0:08:38 | |
Jarnac. | 0:08:38 | 0:08:39 | |
Marcel Jarnac. | 0:08:39 | 0:08:41 | |
You did not know him. | 0:08:41 | 0:08:42 | |
He came after you were captured. | 0:08:42 | 0:08:44 | |
French? | 0:08:44 | 0:08:45 | |
Vichy. | 0:08:47 | 0:08:47 | |
Where is he? | 0:08:47 | 0:08:49 | |
Where is Jarnac? | 0:08:51 | 0:08:52 | |
Officially, he's dead. | 0:08:52 | 0:08:54 | |
Come, come. I will show you. | 0:08:54 | 0:08:56 | |
Jarnac... | 0:09:02 | 0:09:03 | |
Marcel Jarnac. | 0:09:03 | 0:09:06 | |
Birthplace - Marseilles, 1901. | 0:09:06 | 0:09:10 | |
State prosecutor, 1941-1943. | 0:09:10 | 0:09:14 | |
Formerly corporation counsel. | 0:09:14 | 0:09:15 | |
Also, attache protocol with Ambassador Petain, Madrid, 1939. | 0:09:15 | 0:09:21 | |
Assassinated by terrorists, Aubagne, July, 1943. | 0:09:21 | 0:09:26 | |
Church record, | 0:09:26 | 0:09:27 | |
notarised affidavit of crematorium, | 0:09:27 | 0:09:30 | |
certificate of widow's payment of estate tax. | 0:09:30 | 0:09:34 | |
Signed, sealed, and delivered to oblivion. | 0:09:34 | 0:09:37 | |
Was supposed to fall into our hands, just as it did. | 0:09:41 | 0:09:44 | |
All these witnesses to Jarnac's death - where are they? | 0:09:44 | 0:09:46 | |
The priest? | 0:09:46 | 0:09:47 | |
There are many caves in France. | 0:09:47 | 0:09:49 | |
Jarnac's widow? | 0:09:49 | 0:09:49 | |
Disappeared. | 0:09:49 | 0:09:51 | |
Is Jarnac alive? | 0:09:51 | 0:09:53 | |
Is he alive, or isn't he? | 0:09:54 | 0:09:56 | |
What do you think? | 0:09:56 | 0:09:57 | |
I believe he's not dead. | 0:09:57 | 0:09:59 | |
I believe everything about him here is a lie. | 0:09:59 | 0:10:01 | |
Somebody someplace must know something about him. | 0:10:01 | 0:10:04 | |
Laurence, you are a stubborn fool. | 0:10:05 | 0:10:07 | |
I told you Jarnac was a name on a piece of paper. | 0:10:07 | 0:10:11 | |
There are no photographs of him. | 0:10:11 | 0:10:13 | |
No-one here even saw his face. | 0:10:13 | 0:10:15 | |
Whatever was done was done for him by his rubber stamp. | 0:10:15 | 0:10:19 | |
Who was the rubber stamp? | 0:10:19 | 0:10:21 | |
Albert Joppe. | 0:10:21 | 0:10:22 | |
Then let's begin with him. | 0:10:22 | 0:10:23 | |
Vanished into thin air. | 0:10:23 | 0:10:24 | |
What was he? | 0:10:24 | 0:10:26 | |
District Commissioner. | 0:10:26 | 0:10:27 | |
Well, then, somewhere in Marseilles | 0:10:27 | 0:10:29 | |
he must have left a trace of himself. | 0:10:29 | 0:10:32 | |
Laurence... | 0:10:32 | 0:10:33 | |
Laurence, you are a stubborn fool. | 0:10:34 | 0:10:37 | |
In Marseilles, I suggest you get in touch | 0:10:37 | 0:10:39 | |
with Monsieur Trabeau of the police department. | 0:10:39 | 0:10:42 | |
Monsieur Trabeau... | 0:10:56 | 0:10:58 | |
I understand your impatience, Lieutenant Gerard. | 0:10:58 | 0:11:01 | |
MISTER Gerard. | 0:11:01 | 0:11:02 | |
I understand your impatience, Mr Gerard. | 0:11:02 | 0:11:07 | |
We have also been looking for... | 0:11:07 | 0:11:11 | |
for Joppe for some time, | 0:11:11 | 0:11:12 | |
for reason I do not need to explain to you. | 0:11:12 | 0:11:16 | |
I am hopeful... | 0:11:17 | 0:11:18 | |
..but that is the most I can say. | 0:11:19 | 0:11:22 | |
TELEPHONE RINGS | 0:11:22 | 0:11:23 | |
Hello? | 0:11:24 | 0:11:25 | |
Oui. | 0:11:26 | 0:11:27 | |
It appears we have your friend cornered. | 0:11:29 | 0:11:31 | |
Where? | 0:11:31 | 0:11:32 | |
Chaumage, a small village about 20 kilometres. | 0:11:32 | 0:11:35 | |
What happened? | 0:11:52 | 0:11:53 | |
Monsieur Joppe sensed our approach | 0:11:53 | 0:11:55 | |
and evidently set about burning his papers. | 0:11:55 | 0:11:58 | |
As you see, he did it quite carelessly. | 0:11:58 | 0:12:00 | |
You let him get away? | 0:12:00 | 0:12:02 | |
Would appear your search is ended, monsieur. | 0:12:08 | 0:12:10 | |
What about his papers? | 0:12:10 | 0:12:11 | |
Wasn't there anything? | 0:12:11 | 0:12:12 | |
Absolutely nothing, monsieur. | 0:12:12 | 0:12:14 | |
Nothing but ashes. | 0:12:14 | 0:12:15 | |
Perhaps I can be of service, monsieur. | 0:12:29 | 0:12:31 | |
What is it you're looking for? | 0:12:31 | 0:12:33 | |
I don't know. | 0:12:33 | 0:12:35 | |
I'm sorry, monsieur, | 0:14:03 | 0:14:04 | |
but the policy in question has been settled, | 0:14:04 | 0:14:07 | |
and I have no information. | 0:14:07 | 0:14:08 | |
Er, you were a friend of Monsieur Jarnac? | 0:14:09 | 0:14:12 | |
Madeleine Jarnac. | 0:14:12 | 0:14:13 | |
I spent a couple of summers with them in Germany. | 0:14:13 | 0:14:16 | |
What's the last address you have for Madame Jarnac? | 0:14:16 | 0:14:20 | |
I'm sorry, but of course, I couldn't... | 0:14:20 | 0:14:23 | |
er... | 0:14:23 | 0:14:24 | |
The last I heard of her, | 0:14:24 | 0:14:26 | |
several summers ago... | 0:14:26 | 0:14:27 | |
..she was living near here | 0:14:28 | 0:14:30 | |
with friends. | 0:14:30 | 0:14:32 | |
She no longer lives at this address, | 0:14:32 | 0:14:36 | |
but a letter would be forwarded. | 0:14:36 | 0:14:38 | |
Do give her my regards. | 0:14:40 | 0:14:42 | |
Pardon me. | 0:15:35 | 0:15:36 | |
Follow me, please. | 0:16:17 | 0:16:19 | |
Check your passports here, please. | 0:16:26 | 0:16:28 | |
Gerard? | 0:16:35 | 0:16:36 | |
Moreno? | 0:16:41 | 0:16:42 | |
Welcome to Buenos Aires, senor. | 0:16:42 | 0:16:44 | |
Thanks. | 0:16:45 | 0:16:47 | |
I was beginning to fear I had missed you. | 0:16:47 | 0:16:49 | |
These aeroplane people | 0:16:49 | 0:16:50 | |
have such a passion for secrecy | 0:16:50 | 0:16:52 | |
and organisation. | 0:16:52 | 0:16:53 | |
They even refused to page me at the bar | 0:16:53 | 0:16:55 | |
where I could wait for my clients | 0:16:55 | 0:16:57 | |
in comfort and dignity. | 0:16:57 | 0:16:59 | |
But once I have my eye on a man, I am untiring | 0:17:00 | 0:17:03 | |
and even talented. | 0:17:03 | 0:17:04 | |
You're wasting your talents. | 0:17:06 | 0:17:08 | |
I'm not a tourist. | 0:17:08 | 0:17:08 | |
And I'm not a tourist guide, | 0:17:08 | 0:17:10 | |
in the strictest sense. | 0:17:10 | 0:17:12 | |
You will find me quite helpful | 0:17:12 | 0:17:13 | |
in whatever manner you choose to relax | 0:17:13 | 0:17:15 | |
from the rigours of...electrical engineering. | 0:17:15 | 0:17:19 | |
I have excellent contacts. | 0:17:19 | 0:17:21 | |
Who am I supposed to be? | 0:17:22 | 0:17:23 | |
Oh, I am the soul of discretion. | 0:17:23 | 0:17:26 | |
Trust me to protect the name of Stephen Gerard. | 0:17:26 | 0:17:29 | |
That's fine, but my name's not Stephen Gerard. | 0:17:29 | 0:17:31 | |
Is it possible I have made a great mistake? | 0:17:31 | 0:17:34 | |
It's possible. | 0:17:34 | 0:17:35 | |
You just put it right there. | 0:17:44 | 0:17:46 | |
Muchas gracias, senor. | 0:17:46 | 0:17:47 | |
When you require the valet or the maid, | 0:17:47 | 0:17:50 | |
you depress the suitable button. | 0:17:50 | 0:17:51 | |
Buenas tardes, senor. | 0:17:51 | 0:17:53 | |
Pasco 4098. | 0:18:43 | 0:18:45 | |
4098, yes. | 0:18:46 | 0:18:48 | |
Madame Jarnac? | 0:18:55 | 0:18:56 | |
This is Mr Gerard. | 0:18:59 | 0:19:00 | |
When do you expect her? | 0:19:00 | 0:19:02 | |
Er, Gerard. Mr Gerard...of, er... | 0:19:04 | 0:19:07 | |
"Bernar and Company." | 0:19:07 | 0:19:08 | |
It's, er, concerning Mr Jarnac's insurance. | 0:19:08 | 0:19:11 | |
Thank you. | 0:19:13 | 0:19:14 | |
TELEPHONE RINGS | 0:19:26 | 0:19:29 | |
Hello? | 0:19:33 | 0:19:34 | |
Well, tell him I... | 0:19:35 | 0:19:36 | |
He's on his way up? | 0:19:36 | 0:19:39 | |
Oh. | 0:20:07 | 0:20:07 | |
Hello. | 0:20:07 | 0:20:08 | |
What took you so long? | 0:20:08 | 0:20:10 | |
Mr Gerard, I felt impelled to apologise | 0:20:10 | 0:20:13 | |
for my gaucherie at the airport... | 0:20:13 | 0:20:15 | |
and to make amends somewhat by introducing you | 0:20:15 | 0:20:17 | |
to one aspect of South American culture | 0:20:17 | 0:20:19 | |
you might otherwise be denied. | 0:20:19 | 0:20:21 | |
There are still one or two good things left | 0:20:21 | 0:20:24 | |
in this sordid world, | 0:20:24 | 0:20:26 | |
if one knows where to look for them. | 0:20:26 | 0:20:28 | |
I'm afraid, however, that the quality of the liquor | 0:20:28 | 0:20:31 | |
is holding up better than the quality of the women. | 0:20:31 | 0:20:34 | |
You're an American? | 0:20:34 | 0:20:35 | |
No. | 0:20:35 | 0:20:36 | |
Good. | 0:20:36 | 0:20:37 | |
I find Americans a little abrupt | 0:20:37 | 0:20:39 | |
in their approach to both subjects. | 0:20:39 | 0:20:42 | |
What b...? | 0:20:43 | 0:20:45 | |
Oh. | 0:20:45 | 0:20:46 | |
What business did you say | 0:20:46 | 0:20:48 | |
you were in, Mr Gerard? | 0:20:48 | 0:20:49 | |
I think you said engineering. | 0:20:49 | 0:20:51 | |
HE CHUCKLES | 0:20:51 | 0:20:52 | |
In any event, | 0:20:52 | 0:20:54 | |
I would like to be what help to you I can. | 0:20:54 | 0:20:57 | |
Why? | 0:20:57 | 0:20:58 | |
I like to turn each day to some account, | 0:20:58 | 0:21:00 | |
and today would otherwise be a total loss, | 0:21:00 | 0:21:02 | |
thanks to my stupidity. | 0:21:02 | 0:21:04 | |
I thought perhaps if your telephoning had proved futile, | 0:21:04 | 0:21:07 | |
you would like to spend the evening with me. | 0:21:07 | 0:21:10 | |
I had in mind a party | 0:21:10 | 0:21:12 | |
that should appeal to a man of your blood. | 0:21:12 | 0:21:14 | |
No, thanks. | 0:21:14 | 0:21:15 | |
Charming people. Wonderful people. | 0:21:15 | 0:21:16 | |
A rare opportunity. | 0:21:16 | 0:21:18 | |
No, thanks. | 0:21:18 | 0:21:19 | |
A rare opportunity | 0:21:19 | 0:21:21 | |
to crash a circle of enlightened decadence | 0:21:21 | 0:21:24 | |
seldom open to the casual visitor. | 0:21:24 | 0:21:26 | |
A circle without a shred of moral purpose. | 0:21:28 | 0:21:31 | |
Personally, | 0:21:32 | 0:21:33 | |
I deplore the present growth of moral purpose... | 0:21:33 | 0:21:36 | |
especially in women. | 0:21:36 | 0:21:38 | |
It dulls their senses. | 0:21:38 | 0:21:40 | |
They dissipate themselves talking politics. | 0:21:40 | 0:21:44 | |
But, ah, la senora Camargo... | 0:21:44 | 0:21:46 | |
THERE is a woman. | 0:21:48 | 0:21:49 | |
A woman in the grand tradition. | 0:21:49 | 0:21:52 | |
You're sure you won't reconsider? | 0:21:53 | 0:21:56 | |
I'll think it over. | 0:21:56 | 0:21:57 | |
What's Camargo do to get all this? | 0:22:12 | 0:22:15 | |
Oh, manufacturing, varied interests. | 0:22:15 | 0:22:16 | |
A very influential man. | 0:22:16 | 0:22:18 | |
May I? | 0:22:18 | 0:22:19 | |
Pardon, monsieur. | 0:22:46 | 0:22:47 | |
Oh, I... | 0:22:47 | 0:22:48 | |
All right. | 0:22:50 | 0:22:51 | |
A fine party. | 0:22:53 | 0:22:54 | |
A fine party, I promise you. | 0:22:54 | 0:22:56 | |
Few people have the talent any more. | 0:22:56 | 0:22:59 | |
My friend Hermann Goering had it, for one. | 0:22:59 | 0:23:01 | |
Before the war, of course. | 0:23:01 | 0:23:03 | |
Ah, those were parties. | 0:23:03 | 0:23:04 | |
Roman festivals to pink the cheeks of Dionysus. | 0:23:04 | 0:23:07 | |
Ah, zut. C'est la guerre. | 0:23:07 | 0:23:09 | |
What are you, French or German? | 0:23:09 | 0:23:11 | |
I'm an epicure. | 0:23:12 | 0:23:14 | |
No, thanks. | 0:23:14 | 0:23:15 | |
A camp follower of culture. | 0:23:15 | 0:23:16 | |
My blood is a mixture | 0:23:16 | 0:23:18 | |
of excellent European wines. | 0:23:18 | 0:23:19 | |
My ancestors have always been less interested | 0:23:19 | 0:23:22 | |
in a woman's nationality | 0:23:22 | 0:23:23 | |
than the quality of her complexion. | 0:23:23 | 0:23:25 | |
Have you seen Madame Jarnac? | 0:23:25 | 0:23:27 | |
Senor, such haste. | 0:23:27 | 0:23:29 | |
Of all women, a lovely widow | 0:23:29 | 0:23:31 | |
should be approached with caution. | 0:23:31 | 0:23:32 | |
Senor Repetto, Mr Gerard. | 0:23:32 | 0:23:34 | |
Excuse me, please. | 0:23:34 | 0:23:36 | |
Come. Let's meet our hostess. | 0:23:36 | 0:23:38 | |
I don't understand your technique, | 0:23:43 | 0:23:45 | |
so I don't know why you brought me here. | 0:23:45 | 0:23:47 | |
It wasn't an accident, | 0:23:47 | 0:23:49 | |
and I don't know what you've got in mind. | 0:23:49 | 0:23:51 | |
Whatever it is, whoever you are, | 0:23:51 | 0:23:53 | |
if he's here - and I think he is - I'll get him. | 0:23:53 | 0:23:56 | |
Dress it up with wine, women, and song, I'll get him. | 0:23:56 | 0:23:59 | |
I've got proof he's alive. Good proof. | 0:23:59 | 0:24:02 | |
So forget the tricks, tubby. | 0:24:02 | 0:24:04 | |
You might get in trouble. | 0:24:04 | 0:24:05 | |
Senor... | 0:24:05 | 0:24:06 | |
Let's meet the hostess. | 0:24:06 | 0:24:08 | |
Darling. | 0:24:15 | 0:24:16 | |
May I present Mr Gerard? | 0:24:17 | 0:24:19 | |
This is our lovely hostess, Senora Camargo. | 0:24:19 | 0:24:21 | |
Oh, yes. | 0:24:21 | 0:24:22 | |
Good evening. | 0:24:22 | 0:24:23 | |
This would be the celebrated young Canadian flyer | 0:24:23 | 0:24:26 | |
you mentioned on the phone. | 0:24:26 | 0:24:27 | |
Tomas. | 0:24:27 | 0:24:28 | |
My husband. | 0:24:28 | 0:24:30 | |
Mr Gerard. | 0:24:30 | 0:24:31 | |
GERARD: How do you do? | 0:24:31 | 0:24:33 | |
Welcome, Mr Gerard. | 0:24:33 | 0:24:34 | |
I trust you will enjoy Buenos Aires. | 0:24:34 | 0:24:38 | |
Will you excuse me? | 0:24:38 | 0:24:39 | |
Well, I see you are in the best of care, | 0:24:41 | 0:24:44 | |
so with your permission... | 0:24:44 | 0:24:45 | |
I'm getting behind in my hand-kissing. | 0:24:45 | 0:24:48 | |
How did Melki ever find you? | 0:24:48 | 0:24:50 | |
I've been wondering. | 0:24:50 | 0:24:51 | |
He has an instinct for amusing people. | 0:24:51 | 0:24:54 | |
I depend upon him a great deal. | 0:24:54 | 0:24:56 | |
Giving a party here is not as easy | 0:24:56 | 0:24:59 | |
as it was in Europe. | 0:24:59 | 0:25:00 | |
These romantic Latins are really a fraud. | 0:25:00 | 0:25:03 | |
So placid and normal. | 0:25:03 | 0:25:05 | |
Look. | 0:25:05 | 0:25:06 | |
Not an ounce of intrigue in their blood. | 0:25:07 | 0:25:10 | |
I noticed a little. | 0:25:10 | 0:25:11 | |
Oh, business and politics. | 0:25:11 | 0:25:12 | |
You can't count that. | 0:25:12 | 0:25:13 | |
Not more than three husbands | 0:25:13 | 0:25:15 | |
will be compromised here tonight. | 0:25:15 | 0:25:17 | |
Who are the other two? | 0:25:17 | 0:25:19 | |
Senorita Vasquez, Senor Dumon... | 0:25:20 | 0:25:21 | |
Enchante. | 0:25:21 | 0:25:22 | |
Senor Repetto. | 0:25:22 | 0:25:23 | |
Madame Jarnac. | 0:25:23 | 0:25:25 | |
Mr Gerard. | 0:25:25 | 0:25:27 | |
How do you do? | 0:25:27 | 0:25:29 | |
How do you do? | 0:25:29 | 0:25:31 | |
Madame, may I? | 0:25:32 | 0:25:33 | |
Excuse me. | 0:25:33 | 0:25:34 | |
See what I mean? | 0:25:36 | 0:25:38 | |
I invite a lawyer to amuse the intellectuals, | 0:25:38 | 0:25:40 | |
and he plays chess. | 0:25:40 | 0:25:42 | |
You are ruining my reputation, Dr Santana. | 0:25:42 | 0:25:45 | |
This is Mr Gerard. | 0:25:45 | 0:25:47 | |
GERARD: How do you do, sir? | 0:25:47 | 0:25:48 | |
How do you do? | 0:25:48 | 0:25:50 | |
Very dull, | 0:25:52 | 0:25:54 | |
but I have to ask him. He's my husband's uncle. | 0:25:54 | 0:25:56 | |
Oh, my dear lady. | 0:25:56 | 0:25:58 | |
Oh, I beg your pardon. | 0:25:58 | 0:26:00 | |
Monsieur Perchon, Mr Gerard. | 0:26:00 | 0:26:01 | |
Good evening. | 0:26:01 | 0:26:02 | |
Like all bankers, | 0:26:02 | 0:26:03 | |
he takes himself far too seriously, but I like him. | 0:26:03 | 0:26:06 | |
Mr Gerard has just come from the continent. | 0:26:06 | 0:26:09 | |
Oh. Do you know my beautiful Belgium, monsieur? | 0:26:09 | 0:26:11 | |
I saw it from the air. | 0:26:11 | 0:26:13 | |
It looked a little shot up. | 0:26:13 | 0:26:15 | |
Hmm. Yes. | 0:26:15 | 0:26:16 | |
Madame? | 0:26:16 | 0:26:17 | |
Do you mind? | 0:26:17 | 0:26:18 | |
Go ahead. | 0:26:18 | 0:26:19 | |
Senor? | 0:26:24 | 0:26:25 | |
No, thanks. | 0:26:25 | 0:26:26 | |
You fool. You fat fool. | 0:26:37 | 0:26:39 | |
Why bring him here? | 0:26:39 | 0:26:41 | |
Careful. | 0:26:45 | 0:26:46 | |
No, thank you. | 0:26:56 | 0:26:57 | |
You're expecting someone? | 0:26:57 | 0:26:59 | |
Yes. | 0:26:59 | 0:27:00 | |
You got my message? | 0:27:00 | 0:27:01 | |
Yes. Please. This is scarcely the place to talk business. | 0:27:01 | 0:27:04 | |
Seems to be a lot of it going on here. | 0:27:04 | 0:27:06 | |
Ernest... | 0:27:06 | 0:27:08 | |
Monsieur Gerard, I presume you know Monsieur Dubois. | 0:27:08 | 0:27:11 | |
I'm afraid not. | 0:27:11 | 0:27:12 | |
No? I'm surprised. | 0:27:12 | 0:27:13 | |
Monsieur Dubois is also in the insurance business. | 0:27:13 | 0:27:16 | |
He's the representative here of Bernar and Company. | 0:27:16 | 0:27:19 | |
He arranged my husband's estate. | 0:27:19 | 0:27:22 | |
Good evening. | 0:27:22 | 0:27:23 | |
Good night. | 0:27:42 | 0:27:43 | |
Your maid let me in, but she got sleepy. | 0:27:53 | 0:27:56 | |
I promised her I'd wait up for you. | 0:27:56 | 0:27:59 | |
You'd better get rid of her. She's French. | 0:27:59 | 0:28:01 | |
She asked me how it was in Paris | 0:28:01 | 0:28:04 | |
when Paris was liberated. | 0:28:04 | 0:28:06 | |
And she cried. | 0:28:06 | 0:28:07 | |
She probably wouldn't like working for a collaborator. | 0:28:07 | 0:28:10 | |
What do you want? | 0:28:10 | 0:28:11 | |
Where's your insurance salesman? | 0:28:11 | 0:28:12 | |
What do you want? | 0:28:12 | 0:28:14 | |
Your husband... | 0:28:19 | 0:28:21 | |
Marcel Jarnac. | 0:28:21 | 0:28:23 | |
I'm afraid you're confused. | 0:28:23 | 0:28:25 | |
My husband is dead, Monsieur Gerard. | 0:28:25 | 0:28:27 | |
He was killed in 1943 | 0:28:27 | 0:28:29 | |
by terrorists in Aubagne. | 0:28:29 | 0:28:31 | |
OK. Where is he now? | 0:28:31 | 0:28:33 | |
Don't you think perhaps you've had | 0:28:33 | 0:28:36 | |
a little too much to drink? | 0:28:36 | 0:28:38 | |
A little. | 0:28:38 | 0:28:39 | |
What are you doing here? | 0:28:39 | 0:28:41 | |
Here? | 0:28:41 | 0:28:42 | |
Here. Buenos Aires. | 0:28:42 | 0:28:44 | |
I like it here. | 0:28:44 | 0:28:46 | |
I have a great many friends, and... | 0:28:46 | 0:28:48 | |
May I go to bed now? | 0:28:48 | 0:28:50 | |
How did you and your friends know I was coming? | 0:28:50 | 0:28:53 | |
Monsieur, I know nothing at all about you... | 0:28:53 | 0:28:55 | |
except you're drunk and mistaken. | 0:28:55 | 0:28:57 | |
For whatever reason, you're still fighting the war, | 0:28:57 | 0:29:00 | |
like some sort of patriot. | 0:29:00 | 0:29:01 | |
For whatever reason you're following me... | 0:29:01 | 0:29:03 | |
To find your husband! | 0:29:03 | 0:29:05 | |
You're wasting your time. | 0:29:05 | 0:29:07 | |
Monsieur Jarnac is dead. | 0:29:07 | 0:29:09 | |
Monsieur Jarnac is dead, | 0:29:09 | 0:29:10 | |
leaving a sad and lovely widow | 0:29:10 | 0:29:12 | |
and a whole army of lovely people to make it stick. | 0:29:12 | 0:29:15 | |
Only it doesn't stick. | 0:29:15 | 0:29:16 | |
Why was I steered to the party tonight? | 0:29:16 | 0:29:19 | |
To find out how dangerous I was? | 0:29:19 | 0:29:22 | |
Well, I AM dangerous | 0:29:22 | 0:29:23 | |
because I've got proof, and because I'm stubborn. | 0:29:23 | 0:29:26 | |
From now on, you won't have so much fun living here. | 0:29:26 | 0:29:29 | |
I'll be following you and your friends. | 0:29:29 | 0:29:31 | |
If you've got a conscience, | 0:29:31 | 0:29:32 | |
it's guilty because you were once French. | 0:29:32 | 0:29:35 | |
Anybody with a guilty conscience | 0:29:35 | 0:29:36 | |
will make a mistake sooner or later. | 0:29:36 | 0:29:39 | |
Good night, monsieur. | 0:29:42 | 0:29:44 | |
Even if you haven't got a conscience, | 0:29:49 | 0:29:51 | |
you'll make a mistake, and I'll be there. | 0:29:51 | 0:29:54 | |
Then you and I will have a talk with Jarnac... | 0:29:54 | 0:29:56 | |
just to be sure he's really dead. | 0:29:56 | 0:29:59 | |
INAUDIBLE | 0:30:36 | 0:30:37 | |
INAUDIBLE | 0:30:53 | 0:30:55 | |
Cerveza. | 0:31:03 | 0:31:04 | |
May I join you? | 0:31:09 | 0:31:11 | |
Thank you. | 0:31:12 | 0:31:13 | |
I've looked forward to a talk with you | 0:31:15 | 0:31:18 | |
since our meeting at the Camargos'. | 0:31:18 | 0:31:20 | |
Do you remember me, senor? | 0:31:20 | 0:31:22 | |
Manuel Santana - distinguished lawyer, distinguished family, | 0:31:22 | 0:31:24 | |
including a nephew named Tomas Camargo, spelled fascist, | 0:31:24 | 0:31:27 | |
who's hiding a collaborator behind a lot of champagne. | 0:31:27 | 0:31:31 | |
May I reciprocate? | 0:31:31 | 0:31:34 | |
Laurence Gerard - | 0:31:34 | 0:31:35 | |
Flight Lieutenant, Royal Canadian Air Force, | 0:31:35 | 0:31:37 | |
volunteer. | 0:31:37 | 0:31:38 | |
Twice shot down over France. | 0:31:38 | 0:31:40 | |
Assisted by free French forces of the interior. | 0:31:40 | 0:31:42 | |
Married. Wounded... | 0:31:42 | 0:31:43 | |
You shouldn't have gone to all that trouble. | 0:31:43 | 0:31:45 | |
You interested me. | 0:31:45 | 0:31:46 | |
I felt we should understand each other. | 0:31:46 | 0:31:48 | |
Consider that I may not be what I seem... | 0:31:48 | 0:31:51 | |
I did that. I considered, | 0:31:51 | 0:31:53 | |
and you came out the worst kind of fascist. | 0:31:53 | 0:31:55 | |
Respected by your country. | 0:31:55 | 0:31:57 | |
Lots of front and polish to make your nephew look good. | 0:31:57 | 0:32:00 | |
What is your precise objective here, senor? | 0:32:00 | 0:32:02 | |
You think I'm a fool? | 0:32:02 | 0:32:04 | |
I'm coming rapidly to that conclusion. | 0:32:04 | 0:32:06 | |
You are making a great mistake, senor. | 0:32:10 | 0:32:13 | |
Hear me out. | 0:32:13 | 0:32:14 | |
If you continue to follow Madame Jarnac now, | 0:32:14 | 0:32:16 | |
the consequences may be serious. | 0:32:16 | 0:32:18 | |
That's what I had in mind. | 0:32:18 | 0:32:20 | |
I must warn you. I must command you... | 0:32:20 | 0:32:22 | |
do not follow Madame Jarnac. | 0:32:22 | 0:32:24 | |
I'll tell you what - | 0:32:24 | 0:32:25 | |
I've decided not to pay any attention to you. | 0:32:25 | 0:32:28 | |
Monsieur Gerard! | 0:33:15 | 0:33:16 | |
SHE GASPS | 0:33:18 | 0:33:19 | |
Follow that car. | 0:33:36 | 0:33:37 | |
ENGINE WON'T START | 0:33:39 | 0:33:42 | |
Never mind. Hotel Regent. | 0:33:43 | 0:33:45 | |
I see the lovely young widow has eluded you. | 0:33:49 | 0:33:51 | |
How do I know that? | 0:33:51 | 0:33:53 | |
Vermouth and soda. | 0:33:53 | 0:33:54 | |
Quite simple - otherwise you wouldn't be here, | 0:33:54 | 0:33:57 | |
steeping yourself in alcohol. | 0:33:57 | 0:33:59 | |
I've also been watching you | 0:33:59 | 0:34:00 | |
while you were watching Madame Jarnac. | 0:34:00 | 0:34:02 | |
That's chummy. Who watches you? | 0:34:02 | 0:34:04 | |
I only dropped by to clear the air | 0:34:04 | 0:34:06 | |
with a small confession that can do no harm... | 0:34:06 | 0:34:09 | |
since you guessed it anyway. | 0:34:09 | 0:34:10 | |
I was engaged to meet you at the airport. | 0:34:10 | 0:34:13 | |
But you weren't supposed to take me to the party? | 0:34:13 | 0:34:16 | |
I think perhaps that was an interesting idea. | 0:34:16 | 0:34:18 | |
Who hired you, Camargo or Santana... or both? | 0:34:18 | 0:34:20 | |
You can't be serious. | 0:34:20 | 0:34:22 | |
I'm always serious. | 0:34:22 | 0:34:23 | |
I'm not sure why I was engaged to meet you. | 0:34:23 | 0:34:26 | |
I can tell you that much. | 0:34:26 | 0:34:28 | |
But if I told you who engaged me, | 0:34:28 | 0:34:30 | |
you could never trust me again. | 0:34:30 | 0:34:32 | |
A man who dishonours one business confidence will dishonour 20. | 0:34:32 | 0:34:35 | |
And I still feel we can do business. | 0:34:35 | 0:34:38 | |
How interested would you be | 0:34:39 | 0:34:41 | |
in knowing where Madame Jarnac is at the moment? | 0:34:41 | 0:34:44 | |
That depends on where she is. | 0:34:44 | 0:34:45 | |
Let's not haggle like a pair of common merchants. | 0:34:45 | 0:34:48 | |
Come on. I'll show you. | 0:34:48 | 0:34:50 | |
I do not pretend to know | 0:34:56 | 0:34:58 | |
the meaning of these little visits to the convent. | 0:34:58 | 0:35:00 | |
She has gone to great pains | 0:35:00 | 0:35:03 | |
to keep them secret, however, | 0:35:03 | 0:35:04 | |
so I thought you would be intrigued. | 0:35:04 | 0:35:07 | |
I understand your disappointment. | 0:35:07 | 0:35:08 | |
You are thinking that a nunnery | 0:35:08 | 0:35:10 | |
would be a highly impractical place to hide Monsieur Jarnac. | 0:35:10 | 0:35:13 | |
Vesper services for the soul? | 0:35:21 | 0:35:23 | |
What are you doing here? | 0:35:23 | 0:35:24 | |
Making it easier for you. | 0:35:24 | 0:35:26 | |
You wanted to talk to me on the street a while ago, | 0:35:26 | 0:35:29 | |
only I turned out to be somebody else. | 0:35:29 | 0:35:32 | |
I'm afraid I must disappoint you. | 0:35:32 | 0:35:34 | |
This will lead you nowhere. | 0:35:34 | 0:35:35 | |
I can follow it up, now that I have the address. | 0:35:35 | 0:35:38 | |
This is important to me, | 0:35:38 | 0:35:40 | |
but it can't concern you or Jarnac. | 0:35:40 | 0:35:43 | |
Doesn't he know what a pious little girl you are? | 0:35:44 | 0:35:47 | |
Please leave this alone. Believe me. | 0:35:47 | 0:35:49 | |
You haven't said anything yet. | 0:35:49 | 0:35:51 | |
I'll just have to keep on finding out things for myself. | 0:35:51 | 0:35:54 | |
All right. I'll tell you whatever I can. | 0:35:54 | 0:35:57 | |
I'm ready. | 0:35:57 | 0:35:58 | |
Not here. I can't. | 0:35:58 | 0:35:59 | |
You made them suspicious of me. | 0:35:59 | 0:36:01 | |
I'm watched constantly. | 0:36:01 | 0:36:02 | |
You saw the man on the street tonight. | 0:36:02 | 0:36:04 | |
I'll get in touch with you at your hotel. | 0:36:04 | 0:36:07 | |
I've got to be careful. | 0:36:07 | 0:36:09 | |
I'd rather have it quick than careful. Where's Jarnac? | 0:36:09 | 0:36:12 | |
I... I'm not sure. | 0:36:12 | 0:36:15 | |
About 10.00? | 0:36:15 | 0:36:16 | |
I'll try to find out something for you by then. | 0:36:16 | 0:36:19 | |
All right. | 0:36:19 | 0:36:20 | |
No calls for me yet? | 0:36:45 | 0:36:47 | |
I thought you'd gone up, senor. | 0:36:47 | 0:36:49 | |
A message was just sent to your room. | 0:36:49 | 0:36:52 | |
DOOR CLOSES > | 0:37:05 | 0:37:06 | |
Who are you? | 0:37:27 | 0:37:28 | |
My name is Diego. I am the valet. I am new here. | 0:37:28 | 0:37:32 | |
This has been opened. | 0:37:40 | 0:37:42 | |
I believe you're right, senor. | 0:37:42 | 0:37:44 | |
Perhaps the lady had an afterthought. | 0:37:44 | 0:37:46 | |
What are you doing here this late? | 0:37:46 | 0:37:49 | |
The other valet quit | 0:37:49 | 0:37:50 | |
before he finished his work this afternoon. | 0:37:50 | 0:37:52 | |
I was straightening up. Shall I continue? | 0:37:52 | 0:37:55 | |
May I take the liberty of suggesting caution, senor? | 0:38:21 | 0:38:23 | |
What do you mean? | 0:38:23 | 0:38:25 | |
You are a stranger. This is a large city. | 0:38:25 | 0:38:27 | |
Any large city has women who take advantage of strangers. | 0:38:27 | 0:38:30 | |
Where have I seen you before? | 0:38:33 | 0:38:35 | |
I remember you quite well from the Camargo party. | 0:38:35 | 0:38:38 | |
I'm flattered that you remember a waiter. | 0:38:38 | 0:38:40 | |
This doesn't pay very much, | 0:38:40 | 0:38:42 | |
but I make a little extra working at parties. | 0:38:42 | 0:38:45 | |
Who are you? What are you up to? | 0:38:45 | 0:38:47 | |
My name is Diego, senor. I'm a valet. | 0:38:47 | 0:38:50 | |
Sometimes... I'm a waiter. | 0:38:50 | 0:38:52 | |
Lobby. | 0:39:04 | 0:39:05 | |
Lobby, sir. | 0:39:06 | 0:39:07 | |
TWIG SNAPS | 0:39:26 | 0:39:28 | |
RUSTLING | 0:39:28 | 0:39:31 | |
FOOTSTEPS | 0:39:42 | 0:39:45 | |
FOOTSTEPS PASS | 0:39:52 | 0:39:55 | |
< CRASH! | 0:41:18 | 0:41:20 | |
There's no-one on the other end of the line. | 0:41:20 | 0:41:23 | |
No Joppe. Joppe is dead, Monsieur Jarnac. | 0:41:23 | 0:41:26 | |
Jarnac? | 0:41:26 | 0:41:27 | |
You've heard of him. | 0:41:27 | 0:41:29 | |
Yes. | 0:41:29 | 0:41:30 | |
Yes, of course I have heard of Marcel Jarnac. | 0:41:30 | 0:41:34 | |
But you're somebody else? | 0:41:34 | 0:41:35 | |
I assure you I am. | 0:41:35 | 0:41:37 | |
Good, you assure me. | 0:41:37 | 0:41:38 | |
You are not Marcel Jarnac. You are now Ernest Dubois. | 0:41:38 | 0:41:41 | |
You sell insurance. | 0:41:41 | 0:41:43 | |
I am going to kill an innocent insurance salesman. | 0:41:43 | 0:41:46 | |
If I kill enough innocent insurance salesmen, | 0:41:46 | 0:41:48 | |
I'll eventually kill Marcel Jarnac. | 0:41:48 | 0:41:50 | |
Sorry to cut short your trip, Mar... | 0:41:50 | 0:41:53 | |
You should not drink quite so much, Mr Gerard. | 0:42:06 | 0:42:09 | |
It was necessary to assist you forcibly. | 0:42:09 | 0:42:13 | |
Well, Senor Santana. | 0:42:19 | 0:42:21 | |
The birds begin to come out of the bushes. | 0:42:21 | 0:42:25 | |
Thanks for the valet. | 0:42:28 | 0:42:29 | |
How did you get him in the hotel? | 0:42:29 | 0:42:31 | |
We have friends in the hotel business. | 0:42:31 | 0:42:34 | |
All right. | 0:42:34 | 0:42:35 | |
Looks like your move. Let's have it. | 0:42:35 | 0:42:38 | |
This is my house, and you are my guest. | 0:42:40 | 0:42:42 | |
It's late. | 0:42:42 | 0:42:43 | |
You have had a strenuous evening. | 0:42:43 | 0:42:45 | |
I can make you quite comfortable here. | 0:42:45 | 0:42:47 | |
I suggest we talk in the morning. | 0:42:47 | 0:42:50 | |
I don't like talk. I'm in a hurry. | 0:42:50 | 0:42:52 | |
I can't be bought off or scared off. | 0:42:52 | 0:42:54 | |
You've stopped me once, OK. | 0:42:54 | 0:42:56 | |
There's only one way of stopping me for good, | 0:42:56 | 0:42:59 | |
and you're holding it. | 0:42:59 | 0:43:00 | |
You're a very reckless man. | 0:43:00 | 0:43:02 | |
You've made a great many mistakes | 0:43:02 | 0:43:04 | |
since coming to Buenos Aires. | 0:43:04 | 0:43:06 | |
Now if you will sit down and put this away, | 0:43:06 | 0:43:09 | |
we would like to discuss with you | 0:43:09 | 0:43:12 | |
OUR arrangements for the destruction | 0:43:12 | 0:43:13 | |
of Marcel Jarnac. | 0:43:13 | 0:43:15 | |
Our objective is much the same as yours. | 0:43:15 | 0:43:17 | |
We differ only in method. | 0:43:17 | 0:43:19 | |
I am hoping that can be adjusted. | 0:43:19 | 0:43:22 | |
May I see the letter, please? | 0:43:22 | 0:43:25 | |
This is not Madame Jarnac's handwriting, | 0:43:35 | 0:43:37 | |
of course. | 0:43:37 | 0:43:38 | |
No, it is not. | 0:43:38 | 0:43:40 | |
You realise you were taking a tremendous chance? | 0:43:40 | 0:43:43 | |
He was packing a suitcase. | 0:43:43 | 0:43:45 | |
Men who pack suitcases make me nervous. | 0:43:45 | 0:43:47 | |
May I give you some background? | 0:43:47 | 0:43:49 | |
We have long been certain of Camargo's connection | 0:43:49 | 0:43:51 | |
with fascists here and abroad. | 0:43:51 | 0:43:53 | |
When Madame Jarnac arrived, | 0:43:53 | 0:43:55 | |
obviously under his sponsorship, | 0:43:55 | 0:43:56 | |
we were prepared to suspect her. | 0:43:56 | 0:43:58 | |
Inasmuch as the estate was settled through my office, | 0:43:58 | 0:44:01 | |
I was in a natural position to cultivate her. | 0:44:01 | 0:44:03 | |
I have done fairly well. | 0:44:03 | 0:44:04 | |
I believe she has been on the point | 0:44:04 | 0:44:07 | |
of confiding in me... | 0:44:07 | 0:44:08 | |
Tonight's scheme was for you | 0:44:08 | 0:44:10 | |
to eliminate Dubois before that happened, | 0:44:10 | 0:44:12 | |
and as a murderer, to eliminate yourself. | 0:44:12 | 0:44:14 | |
That is beside the point. | 0:44:14 | 0:44:15 | |
We've become increasingly sure | 0:44:15 | 0:44:17 | |
that Jarnac is alive and followed his wife here | 0:44:17 | 0:44:19 | |
by way of Montevideo. | 0:44:19 | 0:44:20 | |
Dubois was going there tonight | 0:44:20 | 0:44:22 | |
to check passports. | 0:44:22 | 0:44:23 | |
We felt... | 0:44:23 | 0:44:24 | |
Wait a minute. | 0:44:24 | 0:44:25 | |
What's this "we"? What's the organisation? | 0:44:25 | 0:44:27 | |
There is no organisation. | 0:44:27 | 0:44:29 | |
Today there is only the right side and the wrong side. | 0:44:29 | 0:44:32 | |
Fine, we're on the right side. | 0:44:32 | 0:44:34 | |
And we drink a lot of coffee. | 0:44:34 | 0:44:36 | |
But I haven't heard anything yet. | 0:44:36 | 0:44:38 | |
You don't even know | 0:44:38 | 0:44:40 | |
which of these monkeys is Jarnac. | 0:44:40 | 0:44:42 | |
It would be interesting and daring | 0:44:42 | 0:44:44 | |
if Jarnac were some jolly, apparently harmless fellow | 0:44:44 | 0:44:46 | |
under our very noses. | 0:44:46 | 0:44:47 | |
But we don't think so. | 0:44:47 | 0:44:49 | |
Our opponents are not writing a cheap melodrama. | 0:44:49 | 0:44:52 | |
He is here, undoubtedly, | 0:44:52 | 0:44:53 | |
but we suspect he is someone we do not know | 0:44:53 | 0:44:56 | |
and have never seen. | 0:44:56 | 0:44:57 | |
The important thing is not who Jarnac is, | 0:44:57 | 0:45:00 | |
it's what he's doing. | 0:45:00 | 0:45:01 | |
I know what he did. He killed my wife. | 0:45:01 | 0:45:04 | |
Which gives you the insane privilege | 0:45:04 | 0:45:06 | |
of blowing people to bits? | 0:45:06 | 0:45:08 | |
Destroying all our work? | 0:45:08 | 0:45:09 | |
Another few seconds... | 0:45:09 | 0:45:10 | |
and you would have killed the one man | 0:45:10 | 0:45:13 | |
who may be able to break down Madame Jarnac. | 0:45:13 | 0:45:15 | |
Your wife is dead. We all sympathise. | 0:45:15 | 0:45:18 | |
I don't want sympathy. I want Jarnac. | 0:45:18 | 0:45:20 | |
So do I. I want to bring him to justice, | 0:45:20 | 0:45:23 | |
but I cannot do that without evidence. | 0:45:23 | 0:45:25 | |
I know what I'm doing. | 0:45:25 | 0:45:27 | |
I have not attended these endless parties | 0:45:27 | 0:45:29 | |
because I am a masochist. | 0:45:29 | 0:45:31 | |
The whole group is rotten. | 0:45:31 | 0:45:33 | |
Worst is my nephew, Tomas Camargo. | 0:45:33 | 0:45:36 | |
I am deeply ashamed for him. | 0:45:36 | 0:45:38 | |
My family has an honourable tradition here. | 0:45:38 | 0:45:41 | |
I've got a tradition, too. | 0:45:41 | 0:45:43 | |
As far as I can remember, | 0:45:43 | 0:45:45 | |
the men in my family have gotten mad | 0:45:45 | 0:45:47 | |
when their wives were murdered. | 0:45:47 | 0:45:49 | |
I was saying that we all have feelings we must control. | 0:45:49 | 0:45:52 | |
There's no place in our programme | 0:45:52 | 0:45:54 | |
for revenge or murderous hate. | 0:45:54 | 0:45:56 | |
Our job is too big for that. Our enemies are too dangerous. | 0:45:56 | 0:45:59 | |
They are more than war criminals fleeing a defeated nation. | 0:45:59 | 0:46:02 | |
They do not consider themselves defeated. | 0:46:02 | 0:46:04 | |
We must destroy not only the individuals, | 0:46:04 | 0:46:06 | |
but their friends, their means of existence, | 0:46:06 | 0:46:08 | |
wherever they entrench themselves. | 0:46:08 | 0:46:10 | |
Not only here, but everywhere. | 0:46:10 | 0:46:12 | |
In the United States, in England, in France, | 0:46:12 | 0:46:14 | |
in Alaska, or East Africa. | 0:46:14 | 0:46:16 | |
You cannot bring them into the open by blustering, | 0:46:16 | 0:46:19 | |
by bragging in public that you have evidence against Jarnac. | 0:46:19 | 0:46:22 | |
We must produce the evidence. | 0:46:22 | 0:46:24 | |
We must have facts, senor, facts, facts, facts. | 0:46:24 | 0:46:26 | |
They are afraid of facts. | 0:46:26 | 0:46:28 | |
And the facts exist, I am sure. | 0:46:28 | 0:46:30 | |
There are records. There must be. | 0:46:30 | 0:46:32 | |
Camargo must have a gun in Jarnac's ribs and vice versa. | 0:46:32 | 0:46:36 | |
We want the gun before Jarnac dies. | 0:46:36 | 0:46:39 | |
We must ask your cooperation. | 0:46:42 | 0:46:44 | |
It is extremely important | 0:46:44 | 0:46:45 | |
that you do not see Madame Jarnac at present. | 0:46:45 | 0:46:47 | |
We need her. We do not want her frightened away. | 0:46:47 | 0:46:50 | |
If you choose to help us, | 0:46:50 | 0:46:52 | |
we can both achieve our ends. | 0:46:52 | 0:46:54 | |
And if I don't choose? | 0:46:54 | 0:46:56 | |
That might be very dangerous for you. | 0:46:56 | 0:46:59 | |
Thanks for the coffee. | 0:46:59 | 0:47:01 | |
RINGING | 0:47:05 | 0:47:07 | |
Madame Jarnac is not here, monsieur. | 0:47:15 | 0:47:18 | |
SANTANA: 'You cannot bring them into the open | 0:48:26 | 0:48:28 | |
'by blustering, by bragging. | 0:48:28 | 0:48:30 | |
'You must have evidence against Jarnac. | 0:48:30 | 0:48:32 | |
'We must produce the evidence. | 0:48:32 | 0:48:34 | |
'We must have facts, senor, | 0:48:34 | 0:48:36 | |
'facts, facts, facts, facts!' | 0:48:36 | 0:48:38 | |
Pasco 4041. | 0:48:49 | 0:48:52 | |
Incza? Gerard. | 0:48:54 | 0:48:56 | |
Meet me in the restaurant in half an hour. | 0:48:56 | 0:48:59 | |
Good. | 0:48:59 | 0:49:00 | |
Senor, I shall begin by saying | 0:50:05 | 0:50:08 | |
that I was not at all surprised by your call. | 0:50:08 | 0:50:10 | |
And I am at your service. | 0:50:10 | 0:50:12 | |
Mozo. | 0:50:12 | 0:50:13 | |
I take it that whatever information | 0:50:15 | 0:50:17 | |
you received from Madame Jarnac | 0:50:17 | 0:50:18 | |
at the convent last night was quite inaccurate | 0:50:18 | 0:50:21 | |
and led you on a bootless chase. | 0:50:21 | 0:50:23 | |
I felt it would be. | 0:50:23 | 0:50:25 | |
Senor, I suspect that you were a very fine flyer | 0:50:25 | 0:50:28 | |
and before that, perhaps a promising shoe salesman. | 0:50:28 | 0:50:31 | |
But you're a gross amateur at intrigue. | 0:50:31 | 0:50:33 | |
You cannot expect to catch a trout | 0:50:33 | 0:50:36 | |
by shouting at it from the river bank, | 0:50:36 | 0:50:38 | |
proclaiming that you're a great fisherman. | 0:50:38 | 0:50:40 | |
You need a hook with feathers on it. | 0:50:40 | 0:50:43 | |
Have you really got a clear picture of what's going on? | 0:50:43 | 0:50:46 | |
Or are you Camargo's errand boy? | 0:50:46 | 0:50:48 | |
I wouldn't trust you | 0:50:48 | 0:50:49 | |
no farther than I can throw you anyway. | 0:50:49 | 0:50:52 | |
I want you to run an errand. | 0:50:52 | 0:50:54 | |
You might as well know enough to be intelligent about it. | 0:50:54 | 0:50:57 | |
Jarnac did all his dirty work in France | 0:50:57 | 0:51:00 | |
through a man named Joppe. | 0:51:00 | 0:51:02 | |
Joppe arranged for his death and for his escape. | 0:51:02 | 0:51:04 | |
But collaborators don't trust each other, | 0:51:04 | 0:51:07 | |
any more than we do. | 0:51:07 | 0:51:09 | |
So he had a complete file on Jarnac. | 0:51:09 | 0:51:11 | |
Good description. | 0:51:11 | 0:51:13 | |
Are you interested? | 0:51:13 | 0:51:14 | |
Joppe is dead. | 0:51:14 | 0:51:17 | |
And what became of the file on Jarnac? | 0:51:17 | 0:51:20 | |
Joppe tried to burn it. | 0:51:20 | 0:51:22 | |
I brought most of it with me - | 0:51:22 | 0:51:24 | |
the important parts - | 0:51:24 | 0:51:25 | |
to show Senor Camargo. | 0:51:25 | 0:51:27 | |
He's mentioned in several places. | 0:51:27 | 0:51:29 | |
Oh. | 0:51:29 | 0:51:30 | |
I thought you might like to talk to him | 0:51:30 | 0:51:32 | |
before I make it public. | 0:51:32 | 0:51:34 | |
That's excellent. | 0:51:34 | 0:51:35 | |
It's a very canny plot. | 0:51:35 | 0:51:36 | |
Senor Camargo will never stand | 0:51:36 | 0:51:38 | |
the strain of blackmail. | 0:51:38 | 0:51:39 | |
We will force him to deliver Jarnac to you | 0:51:39 | 0:51:42 | |
and pay me well for my services. | 0:51:42 | 0:51:44 | |
OK. Tell him how much trouble I went to | 0:51:44 | 0:51:47 | |
to get this. | 0:51:47 | 0:51:48 | |
This is my life insurance. | 0:51:48 | 0:51:49 | |
It's going in the hotel safe. | 0:51:49 | 0:51:51 | |
If anything happens to me, | 0:51:51 | 0:51:53 | |
it will be forwarded to the Canadian legation. | 0:51:53 | 0:51:56 | |
He's shrewd, senor. | 0:51:56 | 0:51:57 | |
He will ask me if I have seen the document. | 0:51:57 | 0:52:00 | |
I will have to say, "no", of course. | 0:52:00 | 0:52:02 | |
Of course. | 0:52:02 | 0:52:04 | |
If you have any trouble with him... | 0:52:04 | 0:52:07 | |
..show him this. | 0:52:10 | 0:52:12 | |
Now we are getting someplace. | 0:52:12 | 0:52:14 | |
Now we are getting someplace. | 0:52:14 | 0:52:16 | |
Er, did you know the Camargos took a suite here? | 0:52:16 | 0:52:20 | |
Here? Why? | 0:52:20 | 0:52:21 | |
They have stayed here before, on occasions, | 0:52:21 | 0:52:23 | |
to be in town. | 0:52:23 | 0:52:25 | |
Otherwise I might say | 0:52:25 | 0:52:26 | |
Senora Camargo wanted to be near you. | 0:52:26 | 0:52:29 | |
Good fishing. | 0:52:29 | 0:52:30 | |
You may expect a call from me | 0:52:30 | 0:52:33 | |
later in the evening. | 0:52:33 | 0:52:34 | |
TELEPHONE RINGS | 0:52:42 | 0:52:44 | |
Yes? | 0:52:50 | 0:52:51 | |
I'd like to talk to you, too, but where? | 0:52:51 | 0:52:55 | |
Where? | 0:52:55 | 0:52:58 | |
I'll be alone. | 0:53:00 | 0:53:02 | |
DOOR CLOSES | 0:53:12 | 0:53:13 | |
TELEPHONE RINGS | 0:53:13 | 0:53:16 | |
Monsieur Gerard. | 0:53:42 | 0:53:43 | |
OK, what is this? | 0:53:43 | 0:53:45 | |
Monsieur, I am sorry. | 0:53:45 | 0:53:46 | |
TRAIN ENGINE ROARS | 0:53:46 | 0:53:49 | |
Monsieur, I am sorry, but... | 0:53:52 | 0:53:54 | |
I know. Come on. | 0:53:54 | 0:53:55 | |
Please, I must be careful. | 0:53:55 | 0:53:57 | |
The last time you were careful, I almost got killed. | 0:53:57 | 0:54:00 | |
I tried to contact you. | 0:54:00 | 0:54:01 | |
When it was possible to call, there was no answer. | 0:54:01 | 0:54:04 | |
I know. Who wrote the letter for you? | 0:54:04 | 0:54:07 | |
The letter? | 0:54:07 | 0:54:08 | |
Don't arch your eyebrows. It's too late. | 0:54:08 | 0:54:10 | |
I've got business tonight. | 0:54:10 | 0:54:12 | |
Whatever you've got to say, say it. | 0:54:12 | 0:54:14 | |
I cannot help you, monsieur. | 0:54:14 | 0:54:17 | |
I have tried, but I cannot help you. | 0:54:17 | 0:54:19 | |
I have no right to ask, | 0:54:19 | 0:54:21 | |
but there is nobody else. | 0:54:21 | 0:54:22 | |
Will you help me? | 0:54:22 | 0:54:24 | |
What kind of help? | 0:54:24 | 0:54:25 | |
I thought perhaps you would give me money to go away. | 0:54:25 | 0:54:29 | |
Please, monsieur, I cannot stay here. I am afraid. | 0:54:29 | 0:54:31 | |
I did try to help you. | 0:54:31 | 0:54:33 | |
I went to Senor Camargo to find out something, | 0:54:33 | 0:54:36 | |
without letting him know why or what I would do. | 0:54:36 | 0:54:39 | |
I thought if I could find out who is Jarnac... | 0:54:39 | 0:54:42 | |
But I was stupid, and he threw me out. | 0:54:42 | 0:54:44 | |
How could I hope to find out in a few hours | 0:54:44 | 0:54:47 | |
what they so carefully hid in two years? | 0:54:47 | 0:54:50 | |
Find out what? | 0:54:55 | 0:54:56 | |
Find out who is Jarnac. | 0:54:56 | 0:54:58 | |
Well, who are you? | 0:54:58 | 0:55:00 | |
What does it matter? | 0:55:00 | 0:55:02 | |
Oh, you mean I am Madame Jarnac. | 0:55:02 | 0:55:06 | |
I have never even seen Jarnac. | 0:55:06 | 0:55:08 | |
Or maybe I HAVE seen him. | 0:55:08 | 0:55:10 | |
Perhaps he was one of the men who saw my father. | 0:55:10 | 0:55:13 | |
My father was, I suppose you would call it, | 0:55:13 | 0:55:16 | |
a collaborator. | 0:55:16 | 0:55:17 | |
I'm telling you my family story. | 0:55:17 | 0:55:19 | |
Sounds like a good story. | 0:55:19 | 0:55:21 | |
I didn't like him much. | 0:55:21 | 0:55:23 | |
I didn't see him after he got in trouble. | 0:55:23 | 0:55:26 | |
I didn't know what it meant | 0:55:26 | 0:55:28 | |
when Monsieur Joppe asked me to help him prove | 0:55:28 | 0:55:30 | |
that Jarnac had been killed. | 0:55:30 | 0:55:32 | |
I understand only I was to be Madame Jarnac | 0:55:32 | 0:55:35 | |
and what I was to say. | 0:55:35 | 0:55:37 | |
"Monsieur Jarnac is dead. Monsieur Jarnac is dead." | 0:55:37 | 0:55:39 | |
You didn't have to do it. | 0:55:39 | 0:55:41 | |
Life in France is not pleasant for a collaborator's daughter, | 0:55:41 | 0:55:44 | |
even if she IS innocent. | 0:55:44 | 0:55:45 | |
I didn't have to do it, | 0:55:45 | 0:55:47 | |
but it meant I could have money | 0:55:47 | 0:55:50 | |
to leave the country with my sister. | 0:55:50 | 0:55:52 | |
You found out it is my sister | 0:55:52 | 0:55:55 | |
who was at the convent? | 0:55:55 | 0:55:57 | |
If you won't help me, don't hurt me. | 0:55:57 | 0:55:59 | |
She'll never get well or speak again... | 0:55:59 | 0:56:02 | |
What happened to her? | 0:56:02 | 0:56:03 | |
Did you forget there were people on the ground | 0:56:03 | 0:56:05 | |
when you dropped your bombs? | 0:56:05 | 0:56:07 | |
She's at the hotel. | 0:56:07 | 0:56:08 | |
Look, I'm sensitive. I remember things. | 0:56:08 | 0:56:10 | |
I walked into one of your traps. | 0:56:10 | 0:56:13 | |
You must trust me. I'm completely alone. | 0:56:13 | 0:56:15 | |
If Camargo finds me, | 0:56:15 | 0:56:17 | |
I don't know what he will do to me. | 0:56:17 | 0:56:19 | |
I must take my sister away, | 0:56:19 | 0:56:21 | |
but I have no money. | 0:56:21 | 0:56:23 | |
I never had my own money. | 0:56:23 | 0:56:25 | |
Please help me. | 0:56:25 | 0:56:26 | |
No, that's a crazy story. | 0:56:26 | 0:56:28 | |
You may be a child, and it may be true. | 0:56:28 | 0:56:30 | |
It's easy to prove. | 0:56:30 | 0:56:32 | |
A sick sister wouldn't prove anything. | 0:56:32 | 0:56:34 | |
You don't believe me. Why? | 0:56:34 | 0:56:36 | |
Because you've been here long enough | 0:56:36 | 0:56:38 | |
to know which side people are on. | 0:56:38 | 0:56:41 | |
If that story were true, | 0:56:44 | 0:56:46 | |
you could have sold it in the open market, | 0:56:46 | 0:56:49 | |
to Santana or to your boyfriend Dubois. | 0:56:49 | 0:56:51 | |
You wouldn't have come to me. | 0:56:51 | 0:56:53 | |
You don't know me that well. | 0:56:53 | 0:56:55 | |
You are sick. | 0:57:05 | 0:57:07 | |
I'm all right. | 0:57:07 | 0:57:08 | |
This just hits me when I get all wound up. | 0:57:08 | 0:57:11 | |
They told me to expect it. | 0:57:11 | 0:57:13 | |
You are sick with fear. | 0:57:13 | 0:57:15 | |
You have been hurt so deeply, | 0:57:15 | 0:57:16 | |
you cannot trust anyone but yourself. | 0:57:16 | 0:57:18 | |
You are even afraid of me. | 0:57:18 | 0:57:21 | |
You are even more alone than I am. | 0:57:21 | 0:57:24 | |
Good evening, madame. | 0:57:48 | 0:57:50 | |
Does she ever have any visitors? | 0:58:00 | 0:58:02 | |
Madame Laurent? No. | 0:58:02 | 0:58:03 | |
Let me know if she does | 0:58:03 | 0:58:05 | |
or if she checks out. | 0:58:05 | 0:58:07 | |
Si, senor. | 0:58:07 | 0:58:08 | |
Gerard - 404 Regent Hotel. | 0:58:08 | 0:58:10 | |
Gracias. | 0:58:11 | 0:58:13 | |
Mr Gerard, I've been trying to reach you for three hours. | 0:58:15 | 0:58:18 | |
Where have you been? | 0:58:18 | 0:58:20 | |
I went for a walk. | 0:58:20 | 0:58:22 | |
I dropped our little bombshell in Senor Camargo's lap. | 0:58:22 | 0:58:25 | |
The effect was splendid. | 0:58:25 | 0:58:26 | |
We frightened him, I'm sure. | 0:58:26 | 0:58:28 | |
What did he say? | 0:58:28 | 0:58:29 | |
He asked to see you immediately. | 0:58:29 | 0:58:31 | |
I promised to send you to his suite this evening. | 0:58:31 | 0:58:34 | |
You coming? | 0:58:34 | 0:58:35 | |
I think not. | 0:58:35 | 0:58:37 | |
We have to give the impression | 0:58:37 | 0:58:38 | |
of organisation and confidence. | 0:58:38 | 0:58:40 | |
Room 510. | 0:58:40 | 0:58:41 | |
I beg your pardon. Have you a match? | 0:58:48 | 0:58:51 | |
Yes. | 0:58:51 | 0:58:52 | |
Get outside. | 0:58:54 | 0:58:55 | |
The lobby will be quiet soon. | 0:58:55 | 0:58:57 | |
When I return from the bar, | 0:58:57 | 0:58:59 | |
go to the desk. | 0:58:59 | 0:59:00 | |
Give me a slight lead. | 0:59:00 | 0:59:02 | |
Hello. | 0:59:14 | 0:59:15 | |
Your husband is expecting me. | 0:59:15 | 0:59:17 | |
Won't you come in? | 0:59:17 | 0:59:18 | |
My husband's apologies, senor. | 0:59:21 | 0:59:23 | |
He was called out, | 0:59:23 | 0:59:24 | |
and he suggested you wait, if you will. | 0:59:24 | 0:59:27 | |
May I make you a drink? | 0:59:27 | 0:59:29 | |
Thank you. | 0:59:29 | 0:59:30 | |
I keep forgetting we're not settled here. | 0:59:36 | 0:59:38 | |
The cupboard is bare. | 0:59:38 | 0:59:40 | |
I'll send downstairs. | 0:59:40 | 0:59:41 | |
What would you like? | 0:59:41 | 0:59:43 | |
I'll have a bottle of beer. | 0:59:43 | 0:59:45 | |
The bar, please. | 0:59:46 | 0:59:48 | |
TELEPHONE RINGS | 0:59:49 | 0:59:51 | |
Hello. Bar. | 0:59:53 | 0:59:54 | |
Suite 510? | 0:59:56 | 0:59:57 | |
Thank you. | 0:59:57 | 0:59:58 | |
Senor. | 1:00:20 | 1:00:21 | |
Do you have a single room with bath? | 1:00:21 | 1:00:23 | |
I believe we have. | 1:00:23 | 1:00:25 | |
Oh, I wonder if you could put this | 1:00:27 | 1:00:29 | |
in your safe for me tonight? | 1:00:29 | 1:00:32 | |
Certainly. | 1:00:32 | 1:00:33 | |
Maybe I'd better put my name on it. | 1:00:33 | 1:00:35 | |
Thank you. | 1:00:38 | 1:00:39 | |
It's one of the large hotel envelopes | 1:01:08 | 1:01:11 | |
with his name on it. | 1:01:11 | 1:01:13 | |
LIFT DOOR OPENS | 1:01:18 | 1:01:19 | |
Get out of here. | 1:01:42 | 1:01:44 | |
Call the police. | 1:02:01 | 1:02:03 | |
Get the police. | 1:02:03 | 1:02:04 | |
< Give me the police, please. | 1:02:10 | 1:02:12 | |
Who are you? | 1:03:25 | 1:03:26 | |
What do you want? | 1:03:26 | 1:03:28 | |
My name is Diego. I am the valet. | 1:03:28 | 1:03:30 | |
May I have Senor Gerard's envelope? | 1:03:30 | 1:03:33 | |
You fool. | 1:03:35 | 1:03:36 | |
Get away from that door. | 1:03:36 | 1:03:38 | |
First I must have that envelope. | 1:03:38 | 1:03:40 | |
Huh. | 1:03:40 | 1:03:42 | |
That's nothing. | 1:03:43 | 1:03:44 | |
It's... It's absolutely nothing. | 1:03:44 | 1:03:45 | |
It's a joke. | 1:03:45 | 1:03:46 | |
See, I'm a friend of Senor Gerard's. | 1:03:46 | 1:03:49 | |
It would spoil the joke if you would disclose me. | 1:03:49 | 1:03:52 | |
I must ask you to show me the joke, Senor Incza. | 1:03:52 | 1:03:57 | |
You fool! | 1:03:58 | 1:03:59 | |
The envelope. | 1:04:00 | 1:04:01 | |
Get away from me. | 1:04:01 | 1:04:03 | |
Get away from me! | 1:04:04 | 1:04:06 | |
The envelope. | 1:04:06 | 1:04:07 | |
You are an extraordinary man. | 1:04:11 | 1:04:14 | |
Do you know why you interest me? | 1:04:14 | 1:04:17 | |
No. I've been wondering. | 1:04:17 | 1:04:18 | |
What's supposed to happen | 1:04:18 | 1:04:20 | |
while I spend the evening with you? | 1:04:20 | 1:04:22 | |
You might get to like me a little. | 1:04:22 | 1:04:25 | |
Don't you think you're making yourself | 1:04:25 | 1:04:27 | |
unnecessarily miserable | 1:04:27 | 1:04:28 | |
by clinging to the memory | 1:04:28 | 1:04:30 | |
of a girl you knew less than a month? | 1:04:30 | 1:04:33 | |
Somebody must be passing out copies of my biography. | 1:04:33 | 1:04:36 | |
I've tried to picture her. | 1:04:36 | 1:04:38 | |
A girl who could do what she's done to you | 1:04:38 | 1:04:41 | |
must have been extremely beautiful. | 1:04:41 | 1:04:42 | |
Tell me about her. Try to make me see her. | 1:04:42 | 1:04:45 | |
I'd be wasting my time. | 1:04:45 | 1:04:47 | |
Oh, tell me. | 1:04:48 | 1:04:50 | |
Was she so much more attractive than I am? | 1:04:50 | 1:04:53 | |
Her teeth were crooked. | 1:04:56 | 1:04:57 | |
She was too thin. | 1:04:57 | 1:04:59 | |
She was too thin | 1:05:06 | 1:05:07 | |
because she was squeezed in between a couple of wars. | 1:05:07 | 1:05:11 | |
I don't think she ever had the kind of food | 1:05:11 | 1:05:14 | |
that goes into a good figure. | 1:05:14 | 1:05:16 | |
I can't even remember | 1:05:16 | 1:05:17 | |
exactly what she looked like. | 1:05:17 | 1:05:19 | |
War does something to your memory. | 1:05:19 | 1:05:21 | |
It gets sharper. | 1:05:21 | 1:05:22 | |
You forget the way people looked | 1:05:22 | 1:05:25 | |
and remember the important things. | 1:05:25 | 1:05:27 | |
That kind of remembering | 1:05:28 | 1:05:30 | |
keeps you warm on cold nights. | 1:05:30 | 1:05:32 | |
Now that you've made your moral point, | 1:05:42 | 1:05:44 | |
why don't you relax and get comfortable? | 1:05:44 | 1:05:47 | |
Would you mind some advice? | 1:05:48 | 1:05:50 | |
You're wasting your youth here. | 1:05:51 | 1:05:53 | |
How do you fit into all this? | 1:05:53 | 1:05:56 | |
What's your function? | 1:05:56 | 1:05:57 | |
Shall I be honest? | 1:05:57 | 1:05:59 | |
Don't strain yourself. | 1:05:59 | 1:06:00 | |
I have no function... | 1:06:00 | 1:06:01 | |
except to enjoy myself. | 1:06:01 | 1:06:03 | |
I like the life. | 1:06:03 | 1:06:04 | |
I like the money. | 1:06:04 | 1:06:06 | |
What do you use for morals? | 1:06:06 | 1:06:09 | |
I think they're a little overrated. | 1:06:09 | 1:06:12 | |
Wouldn't you like to kiss me? | 1:06:13 | 1:06:15 | |
Where is your husband? | 1:06:26 | 1:06:27 | |
He won't be back. | 1:06:27 | 1:06:29 | |
Don't go. | 1:06:29 | 1:06:30 | |
I could make you forget. | 1:06:30 | 1:06:31 | |
I could make you forget. | 1:06:46 | 1:06:48 | |
But not for long and not enough. | 1:06:48 | 1:06:50 | |
For that you'd have to have a heart. | 1:06:50 | 1:06:54 | |
Tell your husband I dropped around, | 1:06:54 | 1:06:56 | |
but I couldn't wait. | 1:06:56 | 1:06:58 | |
I got bored. | 1:06:58 | 1:06:59 | |
Senor Gerard. | 1:07:12 | 1:07:14 | |
Laurence Gerard? | 1:07:17 | 1:07:18 | |
That's right. | 1:07:20 | 1:07:21 | |
Where have you been | 1:07:21 | 1:07:22 | |
during the last half hour? | 1:07:22 | 1:07:24 | |
Upstairs. | 1:07:25 | 1:07:26 | |
With whom? | 1:07:26 | 1:07:27 | |
Senora Tomas Camargo. | 1:07:27 | 1:07:30 | |
Suite 510. | 1:07:31 | 1:07:32 | |
Ask Senora Camargo | 1:07:32 | 1:07:33 | |
to come down, please. | 1:07:33 | 1:07:35 | |
Am I supposed to know what's under there? | 1:07:35 | 1:07:38 | |
When did you see him last? | 1:07:44 | 1:07:47 | |
Last night. | 1:07:47 | 1:07:48 | |
Not since last night? | 1:07:49 | 1:07:50 | |
I was out most of the day. | 1:07:50 | 1:07:52 | |
I went out again after dinner. | 1:07:52 | 1:07:54 | |
And after you returned? | 1:07:54 | 1:07:55 | |
I told you. I went upstairs. | 1:07:55 | 1:07:58 | |
By elevator? | 1:07:58 | 1:07:59 | |
It's the fifth floor. | 1:07:59 | 1:08:00 | |
Did you take Senor Gerard | 1:08:01 | 1:08:03 | |
to the fifth floor this evening? | 1:08:03 | 1:08:05 | |
I took up a lot of people, | 1:08:05 | 1:08:07 | |
but I couldn't be sure of the floor. | 1:08:07 | 1:08:09 | |
I think I did, but I'm not sure. | 1:08:09 | 1:08:12 | |
The valet was alone when you met him? | 1:08:12 | 1:08:15 | |
MAID: He told me 404. | 1:08:15 | 1:08:17 | |
This room needed towels. | 1:08:17 | 1:08:18 | |
I had to go to the linen closet in the basement. | 1:08:18 | 1:08:22 | |
When I came back... | 1:08:22 | 1:08:24 | |
he was like that. | 1:08:24 | 1:08:26 | |
You are friendly with the Camargos? | 1:08:26 | 1:08:28 | |
No. | 1:08:28 | 1:08:30 | |
I went to see Senor Camargo on business, | 1:08:30 | 1:08:31 | |
and he wasn't in. | 1:08:31 | 1:08:33 | |
I had beer with his wife and left. | 1:08:33 | 1:08:36 | |
Come in, please. | 1:08:42 | 1:08:43 | |
Who is it? | 1:08:44 | 1:08:46 | |
You know Senor Gerard, of course. | 1:08:46 | 1:08:47 | |
Yes. I have met him. | 1:08:47 | 1:08:49 | |
The floor valet was killed here. | 1:08:49 | 1:08:51 | |
This is Senor Gerard's apartment. | 1:08:51 | 1:08:53 | |
Sometime during the last half hour. | 1:08:53 | 1:08:56 | |
Er, what time did Senor Gerard | 1:08:56 | 1:08:58 | |
come to your apartment? | 1:08:58 | 1:09:00 | |
I beg your pardon? | 1:09:00 | 1:09:01 | |
What time did he come | 1:09:01 | 1:09:03 | |
to your apartment this evening? | 1:09:03 | 1:09:05 | |
I'm afraid you've been misinformed. | 1:09:05 | 1:09:07 | |
I was alone all evening until now. | 1:09:07 | 1:09:11 | |
I met my husband at the elevator. | 1:09:11 | 1:09:13 | |
OK. I know when I've been fixed. | 1:09:13 | 1:09:16 | |
Let's go. | 1:09:16 | 1:09:17 | |
May we go, too? | 1:09:19 | 1:09:21 | |
Certainly. | 1:09:21 | 1:09:22 | |
Hold him outside. | 1:09:26 | 1:09:28 | |
It's true that the stories were conflicting, | 1:09:28 | 1:09:31 | |
but until Gerard chooses to cooperate, | 1:09:31 | 1:09:32 | |
I must hold him on suspicion of murder. | 1:09:32 | 1:09:35 | |
It should have been obvious | 1:09:35 | 1:09:37 | |
that Senora Camargo was in a compromising position. | 1:09:37 | 1:09:39 | |
She couldn't admit Gerard was in her room | 1:09:39 | 1:09:41 | |
without incurring her husband's jealousy. | 1:09:41 | 1:09:43 | |
Nevertheless, a murder was committed. | 1:09:43 | 1:09:45 | |
Although I honour your position | 1:09:45 | 1:09:47 | |
as an attorney... | 1:09:47 | 1:09:48 | |
I'm not asking for honour for myself | 1:09:48 | 1:09:51 | |
or special favours for Gerard, | 1:09:51 | 1:09:52 | |
but the balance of testimony is in his favour. | 1:09:52 | 1:09:55 | |
It would be a mistake to bring him | 1:09:55 | 1:09:58 | |
to trial on this charge. | 1:09:58 | 1:10:00 | |
Are you suggesting you'll defend him? | 1:10:00 | 1:10:02 | |
I'm suggesting, | 1:10:02 | 1:10:03 | |
on a very friendly basis, | 1:10:03 | 1:10:04 | |
that it would be simpler to release him | 1:10:04 | 1:10:07 | |
because of insufficient evidence. | 1:10:07 | 1:10:09 | |
Yes. | 1:10:09 | 1:10:10 | |
We have the waiter. | 1:10:10 | 1:10:11 | |
Bring him in. | 1:10:11 | 1:10:13 | |
You delivered drinks | 1:10:17 | 1:10:18 | |
to the Camargo suite last night? | 1:10:18 | 1:10:21 | |
Senor Gerard was there? | 1:10:22 | 1:10:23 | |
Why did you run away? | 1:10:28 | 1:10:29 | |
I...I was threatened, senor. | 1:10:29 | 1:10:32 | |
I, er... | 1:10:32 | 1:10:33 | |
By whom? | 1:10:33 | 1:10:34 | |
All right. | 1:10:38 | 1:10:39 | |
All right. | 1:10:39 | 1:10:40 | |
Hold him, | 1:10:42 | 1:10:43 | |
and prepare a release on Laurence Gerard. | 1:10:43 | 1:10:46 | |
His passport isn't in order. | 1:10:46 | 1:10:48 | |
Advise the immigration authorities. | 1:10:48 | 1:10:49 | |
If it's not cleared within 48 hours, | 1:10:49 | 1:10:51 | |
I will recommend deportation. | 1:10:51 | 1:10:53 | |
Is there anything we can do? > | 1:11:07 | 1:11:10 | |
It's OK. I'll be all right. | 1:11:10 | 1:11:12 | |
I only wanted you to know | 1:11:12 | 1:11:13 | |
why I decided to help you. | 1:11:13 | 1:11:15 | |
Thanks. I know. | 1:11:15 | 1:11:16 | |
You wanted me out of the country. | 1:11:16 | 1:11:19 | |
Send the basket of fruit to the boat. | 1:11:19 | 1:11:21 | |
You have yourself to blame for the deportation. | 1:11:21 | 1:11:24 | |
You're extremely irresponsible. | 1:11:24 | 1:11:25 | |
I even debated with myself | 1:11:25 | 1:11:26 | |
whether it wouldn't be simpler | 1:11:26 | 1:11:28 | |
to leave you in jail, out of the way, | 1:11:28 | 1:11:31 | |
but I found I couldn't ignore your record. | 1:11:31 | 1:11:33 | |
I respect that deeply. | 1:11:33 | 1:11:34 | |
And I couldn't let you suffer | 1:11:34 | 1:11:36 | |
for something you'd caused only indirectly. | 1:11:36 | 1:11:39 | |
I'm sorry about Diego. | 1:11:39 | 1:11:40 | |
He was a good soldier. | 1:11:40 | 1:11:42 | |
He fought in France, you know. | 1:11:42 | 1:11:44 | |
It's too bad he returned to his own country | 1:11:44 | 1:11:47 | |
to die at the hands of the enemies | 1:11:47 | 1:11:49 | |
he helped you defeat aboard. | 1:11:49 | 1:11:51 | |
Do you know who killed him? | 1:11:51 | 1:11:53 | |
I've got an idea. | 1:11:53 | 1:11:54 | |
I'll call you before I leave. | 1:11:54 | 1:11:56 | |
Be careful. | 1:11:56 | 1:11:57 | |
DRINK BEING POURED > | 1:12:03 | 1:12:06 | |
Well, the fat's in the fire now, my friend. | 1:12:06 | 1:12:10 | |
I should have expected that. | 1:12:16 | 1:12:18 | |
I'll break your neck. | 1:12:18 | 1:12:19 | |
Good! Good! | 1:12:19 | 1:12:20 | |
Make sure I cannot help you find Jarnac. | 1:12:20 | 1:12:24 | |
Come on. Hit me. | 1:12:24 | 1:12:24 | |
Everything else has failed. | 1:12:24 | 1:12:26 | |
You're in trouble with the police. | 1:12:26 | 1:12:28 | |
You have 48 hours to find Jarnac | 1:12:28 | 1:12:31 | |
and no chance without me. | 1:12:31 | 1:12:33 | |
What else is there but to hit me? | 1:12:33 | 1:12:35 | |
You fool. You... You animal! | 1:12:35 | 1:12:36 | |
Show me how strong you are. | 1:12:36 | 1:12:38 | |
Talk fast. | 1:12:38 | 1:12:39 | |
Yes, I'll talk fast. | 1:12:39 | 1:12:40 | |
Here. | 1:12:42 | 1:12:43 | |
Confidential file indeed(!) | 1:12:43 | 1:12:45 | |
A worthless pack of stationery. | 1:12:45 | 1:12:47 | |
What do you take me for? | 1:12:47 | 1:12:49 | |
I could have saved you the trouble | 1:12:49 | 1:12:51 | |
of robbing the hotel safe. | 1:12:51 | 1:12:52 | |
Me? A childish deduction. | 1:12:52 | 1:12:53 | |
I arranged for you to meet Camargo. | 1:12:53 | 1:12:56 | |
A great many things followed. | 1:12:56 | 1:12:58 | |
Assume I arranged them, too. | 1:12:58 | 1:13:00 | |
I don't care. | 1:13:00 | 1:13:00 | |
Someone committed robbery and murder | 1:13:00 | 1:13:02 | |
to get these papers and failed. | 1:13:02 | 1:13:04 | |
I still don't care, | 1:13:04 | 1:13:05 | |
because I found them an hour ago, | 1:13:05 | 1:13:08 | |
and I know they're worthless. | 1:13:08 | 1:13:09 | |
Had I chosen to go to Camargo with this, | 1:13:09 | 1:13:12 | |
he would have been free to kill you. | 1:13:12 | 1:13:14 | |
What was stopping you? | 1:13:14 | 1:13:16 | |
Supposing I had gone to him and said, | 1:13:16 | 1:13:18 | |
"Alas, we've been tricked. This is worthless." | 1:13:18 | 1:13:21 | |
I would have become worthless also | 1:13:21 | 1:13:23 | |
and been dismissed with a "Well done, | 1:13:23 | 1:13:25 | |
"good and faithful servant." | 1:13:25 | 1:13:26 | |
But a man cannot retire on praise. | 1:13:26 | 1:13:29 | |
Get to the point. | 1:13:29 | 1:13:30 | |
Camargo controls great wealth. | 1:13:30 | 1:13:32 | |
I want part of it. | 1:13:32 | 1:13:33 | |
I will not be denied. | 1:13:33 | 1:13:35 | |
I've waited patiently to strike, | 1:13:35 | 1:13:36 | |
and the means are at hand, | 1:13:36 | 1:13:38 | |
but there's precious little time. | 1:13:38 | 1:13:40 | |
He called me this afternoon. | 1:13:40 | 1:13:41 | |
He made us a proposition | 1:13:41 | 1:13:42 | |
which amounts to this - | 1:13:42 | 1:13:44 | |
your envelope in exchange for Marcel Jarnac. | 1:13:44 | 1:13:48 | |
Go on. | 1:13:48 | 1:13:50 | |
He regrets his bargain with Jarnac. | 1:13:50 | 1:13:52 | |
He's as anxious to destroy him as you are. | 1:13:52 | 1:13:55 | |
First he must have these papers, | 1:13:55 | 1:13:57 | |
which I convinced him would ruin him. | 1:13:57 | 1:13:59 | |
Then he'd control the company alone, | 1:13:59 | 1:14:01 | |
and you'd have your man. | 1:14:01 | 1:14:02 | |
How do you keep him from knowing | 1:14:02 | 1:14:05 | |
these papers are a bluff? | 1:14:05 | 1:14:06 | |
Ah, he's frightened. | 1:14:06 | 1:14:07 | |
Quivering like a bride. | 1:14:07 | 1:14:09 | |
He'll do whatever I say. | 1:14:09 | 1:14:11 | |
At the moment, | 1:14:11 | 1:14:12 | |
I'm telling you only what he proposes. | 1:14:12 | 1:14:15 | |
He contends Jarnac is away | 1:14:15 | 1:14:16 | |
but is returning tomorrow, | 1:14:16 | 1:14:17 | |
that they're meeting at Jarnac's office. | 1:14:17 | 1:14:19 | |
He proposes to take us there | 1:14:19 | 1:14:22 | |
and let us participate in the meeting. | 1:14:22 | 1:14:24 | |
I presume you know what I propose. | 1:14:24 | 1:14:26 | |
I'm afraid not. | 1:14:26 | 1:14:27 | |
You are very naive. | 1:14:27 | 1:14:29 | |
I do not believe Jarnac is away. | 1:14:29 | 1:14:32 | |
I believe Camargo is setting another trap for you. | 1:14:32 | 1:14:35 | |
My thought is | 1:14:35 | 1:14:37 | |
that if we could locate the young lady | 1:14:37 | 1:14:39 | |
who calls herself Madeleine Jarnac, | 1:14:39 | 1:14:41 | |
we could arrange | 1:14:41 | 1:14:43 | |
a surprise meeting of our own tonight. | 1:14:43 | 1:14:45 | |
Where is she? | 1:14:45 | 1:14:47 | |
I don't know. | 1:14:47 | 1:14:48 | |
What's she got to do with it? | 1:14:48 | 1:14:51 | |
I was clinging to that one hope. | 1:14:51 | 1:14:53 | |
I was sure you knew where she is. | 1:14:53 | 1:14:56 | |
What's she got to do with it? | 1:14:56 | 1:14:58 | |
I believe she knows where Jarnac's office is. | 1:14:58 | 1:15:00 | |
It's somewhere in the waterfront area, | 1:15:00 | 1:15:02 | |
but I don't know exactly where. | 1:15:02 | 1:15:04 | |
Senor Gerard, | 1:15:04 | 1:15:05 | |
I've been dangerously candid with you. | 1:15:05 | 1:15:07 | |
I have the right to ask the same in return. | 1:15:07 | 1:15:11 | |
You know where Madeleine Jarnac is? | 1:15:11 | 1:15:13 | |
I said no. | 1:15:13 | 1:15:14 | |
I'll be in touch with you tomorrow. | 1:15:14 | 1:15:17 | |
KNOCK AT DOOR | 1:15:48 | 1:15:50 | |
KNOCK AT DOOR | 1:15:52 | 1:15:53 | |
Yes, what is it? | 1:15:53 | 1:15:55 | |
< Madame Laurent? | 1:15:55 | 1:15:57 | |
Yes? | 1:16:02 | 1:16:03 | |
Monsieur Gerard. | 1:16:04 | 1:16:06 | |
Anybody been here today? | 1:16:08 | 1:16:10 | |
Yes. | 1:16:10 | 1:16:11 | |
Who? | 1:16:11 | 1:16:12 | |
Santana and Dubois. | 1:16:12 | 1:16:14 | |
You were right. They believed me. | 1:16:14 | 1:16:16 | |
They are helping me to go away. | 1:16:16 | 1:16:19 | |
Where? | 1:16:19 | 1:16:20 | |
It doesn't matter. | 1:16:20 | 1:16:21 | |
To wherever they can arrange. | 1:16:21 | 1:16:23 | |
I'm packing to be... | 1:16:23 | 1:16:24 | |
What about your sister? | 1:16:24 | 1:16:26 | |
My sister is gone, monsieur. | 1:16:27 | 1:16:28 | |
Where? | 1:16:28 | 1:16:29 | |
I'm sorry. | 1:16:34 | 1:16:35 | |
When was it? | 1:16:35 | 1:16:37 | |
In her sleep last night. | 1:16:37 | 1:16:40 | |
It's better, I guess. | 1:16:40 | 1:16:41 | |
Like this, she'll never know what I have done, | 1:16:41 | 1:16:45 | |
what I have been. | 1:16:45 | 1:16:46 | |
I'm sorry, but there's not much time. | 1:16:46 | 1:16:48 | |
Do you know where Jarnac's office is? | 1:16:48 | 1:16:52 | |
Office? | 1:16:52 | 1:16:53 | |
Where he meets Camargo, | 1:16:53 | 1:16:54 | |
somewhere in the waterfront section. | 1:16:54 | 1:16:56 | |
Where is it? | 1:16:56 | 1:16:58 | |
There is no office. | 1:16:58 | 1:16:59 | |
But there is a place where they meet? | 1:16:59 | 1:17:02 | |
Yes. There used to be. | 1:17:02 | 1:17:03 | |
Why didn't you tell me? | 1:17:03 | 1:17:04 | |
I forgot. | 1:17:04 | 1:17:05 | |
I made myself forget. | 1:17:05 | 1:17:07 | |
Oh, it was a long time ago, | 1:17:07 | 1:17:09 | |
and I found out accidentally. | 1:17:09 | 1:17:11 | |
I was with a man one night. | 1:17:11 | 1:17:13 | |
He took me to hear a singer in a cheap cafe. | 1:17:13 | 1:17:17 | |
Camargo came in. | 1:17:17 | 1:17:19 | |
He started for the back - a stairway. | 1:17:19 | 1:17:21 | |
Then he saw me and went out again. | 1:17:21 | 1:17:23 | |
The next night, | 1:17:23 | 1:17:24 | |
I teased him about it. | 1:17:24 | 1:17:26 | |
He was furious. | 1:17:26 | 1:17:27 | |
I only guessed it was where he was meeting Jarnac, | 1:17:27 | 1:17:30 | |
but I'm sure they never went there again. | 1:17:30 | 1:17:33 | |
Why is it important? What's happening? | 1:17:33 | 1:17:35 | |
I'm not sure. | 1:17:35 | 1:17:37 | |
Maybe Incza's double-crossing somebody - probably me. | 1:17:37 | 1:17:39 | |
Incza? | 1:17:39 | 1:17:40 | |
He wants me to go there with him tomorrow. | 1:17:40 | 1:17:43 | |
I'm going alone tonight. | 1:17:43 | 1:17:44 | |
What can you do? | 1:17:44 | 1:17:45 | |
I don't know. Look around. | 1:17:45 | 1:17:46 | |
If I'm early, maybe I'll wait. | 1:17:46 | 1:17:49 | |
Maybe I'll still be there when Jarnac shows up. | 1:17:49 | 1:17:52 | |
Maybe I'll surprise somebody. | 1:17:52 | 1:17:53 | |
Where is it? | 1:17:53 | 1:17:55 | |
Please. Jarnac is dangerous. | 1:17:55 | 1:17:56 | |
Don't go there. Wait... | 1:17:56 | 1:17:57 | |
I can't. I'm in trouble with the police. | 1:17:57 | 1:17:59 | |
It'll be worse | 1:17:59 | 1:18:00 | |
if I'm still here tomorrow. | 1:18:00 | 1:18:01 | |
What's the name of the cafe? | 1:18:01 | 1:18:04 | |
Fortuna. | 1:18:04 | 1:18:06 | |
The Bar Fortuna. | 1:18:06 | 1:18:08 | |
When are you leaving? | 1:18:12 | 1:18:13 | |
I hope tomorrow. | 1:18:13 | 1:18:16 | |
Thanks. | 1:18:16 | 1:18:17 | |
Be careful. | 1:18:23 | 1:18:24 | |
You know the Bar Fortuna, | 1:18:31 | 1:18:32 | |
a joint on the waterfront section? | 1:18:32 | 1:18:34 | |
It would be closed, senor. | 1:18:34 | 1:18:36 | |
It is too late. | 1:18:36 | 1:18:37 | |
Good. Let's go. | 1:18:37 | 1:18:39 | |
FOOTSTEPS APPROACH | 1:19:21 | 1:19:23 | |
CRASH! | 1:20:53 | 1:20:55 | |
I see you found your way, senor. | 1:23:03 | 1:23:06 | |
The gun is unnecessary. | 1:23:07 | 1:23:09 | |
This is a friendly meeting. | 1:23:09 | 1:23:11 | |
I just want to be sure I'm chairman. | 1:23:13 | 1:23:15 | |
Are we going to be alone? | 1:23:17 | 1:23:19 | |
Quite alone...until our mutual friend Incza arrives. | 1:23:19 | 1:23:22 | |
I'm afraid I'm a little early. | 1:23:22 | 1:23:24 | |
A little, but I hoped you'd come tonight. | 1:23:24 | 1:23:27 | |
I hoped Incza would be able | 1:23:27 | 1:23:29 | |
to arouse your curiosity. | 1:23:29 | 1:23:31 | |
I see he did. Sit down. | 1:23:31 | 1:23:33 | |
I apologise for the indirection and trickery. | 1:23:41 | 1:23:44 | |
It was necessary to locate Madeleine, | 1:23:44 | 1:23:46 | |
and I wasn't sure | 1:23:46 | 1:23:48 | |
you would reveal her location otherwise. | 1:23:48 | 1:23:50 | |
It has nothing to do with our scheme, of course, | 1:23:50 | 1:23:54 | |
but she became a bit, er... | 1:23:54 | 1:23:56 | |
too emotional for her job. | 1:23:56 | 1:23:58 | |
I'll have to make some other arrangements, | 1:23:58 | 1:24:00 | |
if you have no objections, of course. | 1:24:00 | 1:24:03 | |
No objections. | 1:24:03 | 1:24:04 | |
Good. | 1:24:04 | 1:24:05 | |
Thank you. | 1:24:07 | 1:24:08 | |
Oh... | 1:24:08 | 1:24:10 | |
So it's Perchon, the big Belgian banker. | 1:24:10 | 1:24:13 | |
Stand still! | 1:24:15 | 1:24:17 | |
Stand quite still, Monsieur Gerard. | 1:24:18 | 1:24:21 | |
I am not ready to kill you yet. | 1:24:26 | 1:24:29 | |
No. | 1:24:30 | 1:24:32 | |
It is not Perchon. | 1:24:32 | 1:24:34 | |
No, no, don't. Don't strain your eyes. | 1:24:34 | 1:24:38 | |
It is unnecessary. You wouldn't recognise me. | 1:24:38 | 1:24:41 | |
You have never seen me before. | 1:24:41 | 1:24:43 | |
It would be unnecessary for us to meet now... | 1:24:49 | 1:24:52 | |
if my loyal associates | 1:24:52 | 1:24:54 | |
knew how to proceed simply. | 1:24:54 | 1:24:56 | |
The situation was extremely complicated. | 1:24:56 | 1:24:58 | |
No real harm has been done. | 1:24:58 | 1:25:00 | |
An exciting little game we are playing, isn't it? | 1:25:00 | 1:25:03 | |
What happy children we are. | 1:25:03 | 1:25:05 | |
Making our scalps tingle with excitement. | 1:25:05 | 1:25:08 | |
The next time you must indulge | 1:25:08 | 1:25:10 | |
your hot Spanish passion for dramatics, | 1:25:10 | 1:25:11 | |
put on a uniform with polished boots | 1:25:11 | 1:25:14 | |
and stomp around your wife's bedchamber. | 1:25:14 | 1:25:16 | |
Do not attempt brilliant decisions. | 1:25:16 | 1:25:18 | |
I will tell you | 1:25:18 | 1:25:19 | |
when I want to make my job more difficult | 1:25:19 | 1:25:22 | |
by losing track of Madeleine completely. | 1:25:22 | 1:25:24 | |
We know where she is now. Incza's undoubtedly... | 1:25:24 | 1:25:26 | |
What? What? What? | 1:25:26 | 1:25:28 | |
Incza? | 1:25:28 | 1:25:29 | |
By what authority did you employ that fat sycophant? | 1:25:29 | 1:25:32 | |
How many times must I tell you | 1:25:32 | 1:25:34 | |
that our chief aim for the next five years - | 1:25:34 | 1:25:37 | |
for the next 20 years if necessary - | 1:25:37 | 1:25:39 | |
is complete and absolute obscurity? | 1:25:39 | 1:25:41 | |
You threaten that obscurity | 1:25:41 | 1:25:42 | |
by forcing me to clean up the mess you have created. | 1:25:42 | 1:25:46 | |
I want no mistakes tonight. | 1:25:46 | 1:25:49 | |
None. You understand? | 1:25:49 | 1:25:51 | |
Monsieur Gerard's death | 1:25:51 | 1:25:53 | |
must be covered up completely. | 1:25:53 | 1:25:54 | |
What are we waiting for? | 1:26:04 | 1:26:07 | |
I understand your bloated drinking companion | 1:26:07 | 1:26:10 | |
is bringing the mysterious dossier on me. | 1:26:10 | 1:26:13 | |
We will wait for it, unless you have it yourself. | 1:26:13 | 1:26:17 | |
Does it really describe the colour of my eyes? | 1:26:22 | 1:26:26 | |
Is it actually so interesting? | 1:26:26 | 1:26:28 | |
You're worried. | 1:26:30 | 1:26:31 | |
I'm cautious. | 1:26:32 | 1:26:34 | |
Like some of my friends here, | 1:26:34 | 1:26:35 | |
Albert Joppe was too fond of intrigue | 1:26:35 | 1:26:38 | |
for its own sake. | 1:26:38 | 1:26:39 | |
He liked to put things down on paper. | 1:26:39 | 1:26:42 | |
We will wait and see. | 1:26:42 | 1:26:44 | |
Sorry to tie you up. | 1:26:44 | 1:26:46 | |
Monsieur... | 1:26:46 | 1:26:48 | |
you have been a nuisance, | 1:26:48 | 1:26:51 | |
but you are also reassuring. | 1:26:51 | 1:26:53 | |
You should be dangerous | 1:26:53 | 1:26:55 | |
because you're a fanatic, | 1:26:55 | 1:26:56 | |
but you're not dangerous | 1:26:56 | 1:26:58 | |
because you're a fanatic without real purpose. | 1:26:58 | 1:27:00 | |
Oh, yes, I understand I was remotely responsible | 1:27:00 | 1:27:02 | |
for your wife's death and you would like to kill me, | 1:27:02 | 1:27:06 | |
but what sort of political programme is that, huh? | 1:27:06 | 1:27:09 | |
Oh, no, monsieur. | 1:27:09 | 1:27:10 | |
I'm afraid the Anglo-Saxon's a poor fanatic. | 1:27:10 | 1:27:13 | |
He takes action | 1:27:13 | 1:27:14 | |
only when you disturb his visceral emotions. | 1:27:14 | 1:27:17 | |
He thinks with his gall bladder. | 1:27:17 | 1:27:18 | |
We're stinking poor fighters, too. | 1:27:18 | 1:27:20 | |
We got lucky | 1:27:20 | 1:27:21 | |
and plastered you off the map by accident. | 1:27:21 | 1:27:23 | |
Remember, you plastered us off the map | 1:27:23 | 1:27:26 | |
once before. | 1:27:26 | 1:27:27 | |
You held the fruits of victory in your hands, | 1:27:27 | 1:27:31 | |
but you let them decay. | 1:27:31 | 1:27:33 | |
We caught the soggy rot | 1:27:33 | 1:27:35 | |
that dribbled through your fingers and used it. | 1:27:35 | 1:27:37 | |
You did not understand our methods. | 1:27:37 | 1:27:40 | |
You do not understand now. | 1:27:40 | 1:27:42 | |
You continue to attack the wrong things | 1:27:42 | 1:27:45 | |
in the wrong way. | 1:27:45 | 1:27:46 | |
You attack the evil in man. We accept it. | 1:27:46 | 1:27:49 | |
We find it good and fertile. | 1:27:49 | 1:27:51 | |
Wherever you create misery and discontent, | 1:27:51 | 1:27:53 | |
in whatever country, | 1:27:53 | 1:27:55 | |
wherever men cannot earn the money to feed their children, | 1:27:55 | 1:27:57 | |
there you will find us at work, if you look. | 1:27:57 | 1:28:01 | |
I do not think you will look. | 1:28:01 | 1:28:03 | |
Your political arteries will harden again. | 1:28:03 | 1:28:06 | |
You will forget. You will forget that we have... | 1:28:06 | 1:28:08 | |
< DOOR OPENS | 1:28:08 | 1:28:10 | |
I should like you to see how we deal with incompetence, | 1:28:15 | 1:28:19 | |
but for a while, you must appear dead. | 1:28:19 | 1:28:22 | |
Casse-lui la gueule. | 1:28:22 | 1:28:24 | |
Oh! | 1:28:26 | 1:28:28 | |
It worked. It worked perfectly. | 1:28:32 | 1:28:34 | |
He went straight to the mark. | 1:28:34 | 1:28:37 | |
I have the address. | 1:28:37 | 1:28:38 | |
Ah, behold the avenger. | 1:28:38 | 1:28:41 | |
His bloody plan comes home to plague him, | 1:28:41 | 1:28:44 | |
commending the poisoned chalice to his own lips. | 1:28:44 | 1:28:47 | |
He's not dead. | 1:28:50 | 1:28:52 | |
What has happened? | 1:28:52 | 1:28:53 | |
Oh, I persuaded him to sit down and wait. | 1:28:53 | 1:28:57 | |
Wait? Wait for what? | 1:28:57 | 1:28:58 | |
It should've been done immediately, | 1:28:58 | 1:28:59 | |
and I must demand an explanation. | 1:28:59 | 1:29:02 | |
Sit down and put your hands on the table. | 1:29:02 | 1:29:04 | |
I have upheld my end of the bargain. | 1:29:04 | 1:29:07 | |
Why didn't you kill him? | 1:29:07 | 1:29:09 | |
I thought it best to wait for the papers. | 1:29:09 | 1:29:11 | |
YOU thought it best? | 1:29:11 | 1:29:13 | |
I told you I'd bring the papers. I have them here. | 1:29:13 | 1:29:15 | |
How much longer do you think | 1:29:15 | 1:29:17 | |
I'll be willing to play the court jester for you? | 1:29:17 | 1:29:20 | |
I refuse to continue taking all the risks | 1:29:20 | 1:29:23 | |
and getting nothing in return. | 1:29:23 | 1:29:25 | |
You will get these papers | 1:29:25 | 1:29:26 | |
only when you're in a position | 1:29:26 | 1:29:28 | |
to repay me for my trouble. | 1:29:28 | 1:29:30 | |
In other words, when Jarnac's dead. Where is he? | 1:29:30 | 1:29:33 | |
Don't lie to me. Where is Jarnac? | 1:29:33 | 1:29:36 | |
You're covered, tubby. | 1:29:37 | 1:29:39 | |
I'm delighted to meet you after so long. | 1:30:06 | 1:30:08 | |
I believe you will admit | 1:30:08 | 1:30:10 | |
I've laboured diligently on your behalf | 1:30:10 | 1:30:12 | |
and that I can be of noteworthy service to you. | 1:30:12 | 1:30:15 | |
I will take the papers now. | 1:30:15 | 1:30:17 | |
The papers. | 1:30:20 | 1:30:21 | |
Do you have them or don't you? | 1:30:23 | 1:30:25 | |
I do not have them, of course, | 1:30:25 | 1:30:28 | |
because there are no papers. | 1:30:28 | 1:30:29 | |
For a while, Mr Gerard defrauded me | 1:30:29 | 1:30:32 | |
into believing they existed, | 1:30:32 | 1:30:33 | |
but I've known the truth for some time, | 1:30:33 | 1:30:36 | |
ever since the evening I was forced to kill the valet | 1:30:36 | 1:30:39 | |
to keep our little plot secret. | 1:30:39 | 1:30:41 | |
I discovered then | 1:30:41 | 1:30:42 | |
that the envelope contained nothing but blank paper. | 1:30:42 | 1:30:45 | |
I decided - | 1:30:45 | 1:30:46 | |
and I believe you will admit | 1:30:46 | 1:30:49 | |
that I have made a shrewd decision - | 1:30:49 | 1:30:52 | |
to keep my discovery from Senor Camargo. | 1:30:52 | 1:30:54 | |
I have doubted his integrity on several occasions. | 1:30:54 | 1:30:56 | |
My opinion was confirmed | 1:30:56 | 1:30:58 | |
when he suggested betraying you. | 1:30:58 | 1:31:00 | |
Of course I realise | 1:31:00 | 1:31:01 | |
that perhaps you were merely testing my loyalty | 1:31:01 | 1:31:04 | |
in a very shrewd manner. | 1:31:04 | 1:31:06 | |
By keeping my wits about me, | 1:31:06 | 1:31:08 | |
I've located Madeleine for you | 1:31:08 | 1:31:09 | |
and brought you Gerard to do with as you will. | 1:31:09 | 1:31:12 | |
All I ask... | 1:31:12 | 1:31:14 | |
All I ask is the privilege of serving you | 1:31:14 | 1:31:17 | |
whenever the moment calls for a clever man. | 1:31:17 | 1:31:20 | |
You are a clever man. | 1:31:20 | 1:31:22 | |
GUNSHOT | 1:31:28 | 1:31:29 | |
You are so clever, but you talk too much. | 1:31:31 | 1:31:36 | |
GUNSHOTS | 1:31:36 | 1:31:38 | |
GUNSHOTS CONTINUE | 1:31:39 | 1:31:41 | |
That face will be very difficult to recognise now. | 1:31:43 | 1:31:47 | |
Get to a phone. Call the police in ten minutes. | 1:31:50 | 1:31:53 | |
Don't give them your name. | 1:31:53 | 1:31:54 | |
You were just passing. | 1:31:54 | 1:31:56 | |
You heard a disturbance here. Vite, vite. | 1:31:56 | 1:31:58 | |
Pas par la, imbecile. | 1:31:58 | 1:31:59 | |
The back way through the barbershop. | 1:31:59 | 1:32:01 | |
And don't come back. | 1:32:01 | 1:32:02 | |
There will be enough of my papers here | 1:32:02 | 1:32:05 | |
to prove that this is Marcel Jarnac... | 1:32:05 | 1:32:07 | |
and enough of yours for you to tell the police | 1:32:07 | 1:32:10 | |
Jarnac and Gerard were blackmailing you. | 1:32:10 | 1:32:12 | |
You can't leave me here with... | 1:32:12 | 1:32:15 | |
It's insane. | 1:32:15 | 1:32:16 | |
How could they possibly kill each other? | 1:32:16 | 1:32:19 | |
I'll leave that to your imagination. | 1:32:19 | 1:32:21 | |
No! | 1:32:21 | 1:32:22 | |
Suppose we both left... | 1:32:22 | 1:32:25 | |
just the two bodies were found. | 1:32:25 | 1:32:27 | |
Why not do it that way? | 1:32:27 | 1:32:29 | |
I want there to be no doubt about my death. | 1:32:29 | 1:32:32 | |
You are a responsible man. | 1:32:32 | 1:32:33 | |
When you say I'm dead on the floor, | 1:32:33 | 1:32:36 | |
you will not be challenged. | 1:32:36 | 1:32:38 | |
You'll wait for the police. | 1:32:38 | 1:32:39 | |
I refuse. I protest. | 1:32:39 | 1:32:40 | |
You have no protest, no existence, no identity, | 1:32:40 | 1:32:42 | |
as long as I have this. | 1:32:42 | 1:32:44 | |
If I exercise the power of attorney, | 1:32:44 | 1:32:47 | |
you'll be scraping the gutter for food. | 1:32:47 | 1:32:49 | |
You'll do as I say. You have no choice! | 1:32:49 | 1:32:52 | |
Stop it, Gerard! | 1:33:56 | 1:33:57 | |
That's a present for you. | 1:34:03 | 1:34:05 | |
I hope you like it. | 1:34:05 | 1:34:07 | |
I could've killed him, | 1:34:09 | 1:34:10 | |
and I almost did. | 1:34:10 | 1:34:13 | |
But I decided just to quiet him down a little | 1:34:13 | 1:34:16 | |
so he could talk to you. | 1:34:16 | 1:34:18 | |
He likes to talk. | 1:34:18 | 1:34:20 | |
He made a couple of big speeches. | 1:34:20 | 1:34:23 | |
That's when I began to catch on. | 1:34:23 | 1:34:26 | |
You were right about me. | 1:34:26 | 1:34:28 | |
I was offside. I... | 1:34:28 | 1:34:30 | |
I guess I was a little kill-crazy. | 1:34:30 | 1:34:32 | |
Sorry I got in your hair. | 1:34:32 | 1:34:35 | |
But he's all yours now. | 1:34:35 | 1:34:37 | |
Let's wake him up. | 1:34:37 | 1:34:39 | |
He's dead. | 1:34:39 | 1:34:40 | |
Pour some water on him. | 1:34:40 | 1:34:41 | |
I've got a few questions | 1:34:41 | 1:34:43 | |
I'd like to ask him myself. | 1:34:43 | 1:34:45 | |
He's dead, senor. | 1:34:45 | 1:34:46 | |
Are you sure that was Jarnac? | 1:34:48 | 1:34:51 | |
You've accomplished your mission, senor. | 1:34:52 | 1:34:54 | |
You better leave. | 1:34:54 | 1:34:56 | |
I'm sorry. | 1:34:56 | 1:34:57 | |
I'll make the best of it. | 1:34:57 | 1:34:59 | |
The police will be here soon. | 1:34:59 | 1:35:01 | |
We called them as soon as Madeleine reached us. | 1:35:01 | 1:35:04 | |
Where is she? | 1:35:04 | 1:35:05 | |
Waiting in my car. Let me handle it. | 1:35:05 | 1:35:07 | |
It don't know just what this is, | 1:35:15 | 1:35:18 | |
but it had Camargo tied up. | 1:35:18 | 1:35:20 | |
It gave Jarnac some sort of power of attorney over him. | 1:35:20 | 1:35:23 | |
It looks like it has the whole set-up. | 1:35:23 | 1:35:25 | |
It may be what you've been looking for. | 1:35:25 | 1:35:28 | |
Is that any good? | 1:35:38 | 1:35:41 | |
Yes. Yes, I think it is. | 1:35:41 | 1:35:43 | |
Is there another way out of here? | 1:35:43 | 1:35:45 | |
Quickly, then. Leave this to us. | 1:35:45 | 1:35:47 | |
Who have you got to pin this on? | 1:35:50 | 1:35:52 | |
Please, you must hurry. | 1:35:52 | 1:35:54 | |
It wouldn't look good on you, would it? | 1:35:54 | 1:35:57 | |
I better stick around. | 1:35:59 | 1:36:02 | |
They might be confused by all the bodies. | 1:36:02 | 1:36:04 | |
We had some trouble here. | 1:36:04 | 1:36:06 | |
This guy without a face was a tourist guide. | 1:36:06 | 1:36:09 | |
He talked too much. At least this guy thought so. | 1:36:09 | 1:36:11 | |
This one had some idea about starting another war. | 1:36:11 | 1:36:14 | |
I had to kill him. | 1:36:14 | 1:36:16 | |
I didn't mean to. | 1:36:16 | 1:36:17 | |
It got rough. I went off my head. | 1:36:17 | 1:36:19 | |
This is my lawyer. He rates around here. | 1:36:19 | 1:36:21 | |
We'll put on a good show for you. | 1:36:21 | 1:36:24 | |
A very good show. | 1:36:24 | 1:36:25 | |
Is this the great Dr Santana rushing to the defence | 1:36:25 | 1:36:28 | |
of a hoodlum in a barroom brawl? | 1:36:28 | 1:36:30 | |
You'll be surprised at what I can make | 1:36:30 | 1:36:33 | |
out of a barroom brawl. | 1:36:33 | 1:36:34 | |
A waterfront thug's been killed. | 1:36:34 | 1:36:36 | |
A waterfront thug who represented Nazis and collaborators, | 1:36:36 | 1:36:38 | |
a war criminal who controlled all the industries | 1:36:38 | 1:36:40 | |
supposedly owned by my nephew Tomas Camargo, | 1:36:40 | 1:36:42 | |
whom you'll find at home hiding under the bed. | 1:36:42 | 1:36:45 | |
You'll have a chance to prove that in court. | 1:36:45 | 1:36:48 | |
I welcome the chance. This is the proof. | 1:36:48 | 1:36:51 | |
This is what controlled Camargo | 1:36:51 | 1:36:52 | |
and the others less harmless. | 1:36:52 | 1:36:53 | |
It is a sharp knife. | 1:36:53 | 1:36:55 | |
We'll turn it against them. | 1:36:55 | 1:36:56 | |
We cannot kill the whole animal at one blow, | 1:36:56 | 1:36:59 | |
but we'll make him scream. We'll make a start. | 1:36:59 | 1:37:02 | |
See what I mean? | 1:37:02 | 1:37:04 | |
OK, I'll take the same cell | 1:37:10 | 1:37:12 | |
if you haven't rented it. | 1:37:12 | 1:37:14 | |
You're a widow again. | 1:37:14 | 1:37:15 | |
Who's this? | 1:37:15 | 1:37:16 | |
The name's Laurent. Madeleine Laurent. | 1:37:16 | 1:37:18 | |
She was a little confused, | 1:37:18 | 1:37:20 | |
but she's all right now. She's a good girl. | 1:37:20 | 1:37:23 | |
She's French. | 1:37:23 | 1:37:24 | |
Let's go. > | 1:37:24 | 1:37:25 | |
Don't worry. We've got a fine case. | 1:37:26 | 1:37:28 | |
It won't be long. | 1:37:28 | 1:37:30 | |
Take care of yourself. | 1:37:32 | 1:37:34 |