0:01:12 > 0:01:16Good night, darling. Now remember your promise.
0:01:16 > 0:01:18From now on, I'm a respectable investment broker.
0:01:18 > 0:01:21I promise not to try to solve any more crimes. And?
0:01:21 > 0:01:24You know you're the only girl in my life.
0:01:24 > 0:01:26Yes, dear.
0:01:26 > 0:01:28Oh, no, no, O'Connor, 499.
0:01:31 > 0:01:34Good night, darling. Good night, Isabel.
0:02:20 > 0:02:22Ahem. Oh, senor.
0:02:22 > 0:02:25If you don't mind a suggestion, you're making too much noise.
0:02:25 > 0:02:28SHE LAUNCHES INTO RAPID SPANISH
0:02:28 > 0:02:31I don't believe a word of it. Oh, you must believe me, senor.
0:02:33 > 0:02:35Please don't turn me over to the police.
0:02:54 > 0:02:57Oh, thank you, senor. Oh, that's all right.
0:02:57 > 0:02:59Call on me anytime.
0:02:59 > 0:03:01I am in such terrible trouble, senor.
0:03:01 > 0:03:03I am - what do you call it - an art student.
0:03:03 > 0:03:07One of my paintings was stolen. It's inside. I called Senor Grenville.
0:03:07 > 0:03:10I ask for my painting back and what does he do? He laugh at me! At me!
0:03:10 > 0:03:12Oh, I could kill him.
0:03:12 > 0:03:14You will help me, yes? What, to kill him?
0:03:14 > 0:03:18No, no. To get my painting. You will, please?
0:03:20 > 0:03:22Isabel wouldn't like this.
0:03:46 > 0:03:47Wait for me here.
0:04:04 > 0:04:05Oh!
0:04:08 > 0:04:11So this is the work of an art student, is it?
0:04:11 > 0:04:16My dear, you're a very charming liar. Oh no, senor, I told you the truth.
0:04:16 > 0:04:20The truth of the matter is you didn't paint it, you posed for it.
0:04:20 > 0:04:21Am I right?
0:04:24 > 0:04:28You may take the next few minutes to think up another story.
0:04:28 > 0:04:30Dolores, huh?
0:04:30 > 0:04:34Lovely name. What's the rest of it?
0:04:34 > 0:04:36Return ticket to Mexico City.
0:04:38 > 0:04:42That must be a valuable painting if you'd make a trip like that after it.
0:04:45 > 0:04:47SHE SCREAMS
0:04:47 > 0:04:48Sshh!
0:04:54 > 0:04:56Do you know this man?
0:05:01 > 0:05:03Of course you did. Who is he? Quick!
0:05:03 > 0:05:05CRASHING
0:05:41 > 0:05:43Get your hands up!
0:05:43 > 0:05:44On your feet!
0:05:50 > 0:05:52I'm sorry, Officer.
0:05:52 > 0:05:55You see, there's been a shooting here and I... Oh, I see, all right.
0:05:55 > 0:05:57Who are you? What are you doing here?
0:05:57 > 0:06:00My name's Tom Lawrence. I'm well known down at headquarters.
0:06:00 > 0:06:02He's the one they call the Falcon.
0:06:02 > 0:06:05I have assisted the police department from time to time.
0:06:05 > 0:06:09All right, all right, you're not going to talk your way out of anything. Take a look around.
0:06:09 > 0:06:11Look, officer, I came here with a young lady.
0:06:11 > 0:06:15If you'll step into the next room, I'm sure we can clear this up.
0:06:17 > 0:06:20I was investigating a stolen painting for her... For who?
0:06:22 > 0:06:26She was right here... Take it easy, you're not going anywhere!
0:06:26 > 0:06:28Neat job. If you hadn't set off the burglar alarm,
0:06:28 > 0:06:30you'd have got away with it too.
0:06:30 > 0:06:32Hey, what do you think you're doing?
0:06:32 > 0:06:35Calling police headquarters. Oh, you are, are you? What for?
0:06:35 > 0:06:37Because while you're wasting your time with me,
0:06:37 > 0:06:39the young lady's getting away.
0:06:39 > 0:06:42Oh, that's too bad. What's her name?
0:06:42 > 0:06:47Dolores. I don't know her last name. There's a picture of her over there.
0:06:52 > 0:06:54Dolores, huh?
0:06:59 > 0:07:05Painted by Humphrey Wade, born 1878, died 1929.
0:07:05 > 0:07:07Humphrey Wade, huh? Yes.
0:07:07 > 0:07:11And according to this, he's been dead for 15 years.
0:07:11 > 0:07:1515? Well, that would make the model at least 40 years old by now.
0:07:15 > 0:07:18She wasn't a day over 25.
0:07:18 > 0:07:20Of course, it may not be a genuine Humphrey Wade.
0:07:20 > 0:07:22Somebody thinks so.
0:07:22 > 0:07:24$21,000 for it.
0:07:24 > 0:07:29Sold to James Winthrop Hughes, 542 Parkway.
0:07:29 > 0:07:31That's "Lucky Diamond" Hughes!
0:07:31 > 0:07:36On the other hand, the girl admitted to having posed for the picture herself.
0:07:36 > 0:07:39Quite a problem, isn't it?
0:07:39 > 0:07:41You'll have plenty of time to work it out.
0:07:42 > 0:07:44Got a light?
0:07:46 > 0:07:47Thanks.
0:07:52 > 0:07:55Give me homicide. Ajax Patrol, Hoffman speaking.
0:07:55 > 0:07:59Yeah, we're at the Grenville Art Galleries. A case of murder.
0:07:59 > 0:08:01Grenville himself.
0:08:01 > 0:08:04Yeah, and we've got the man who did it.
0:08:05 > 0:08:07THUD
0:08:09 > 0:08:12Hey, what's up? He got away!
0:08:12 > 0:08:14THEY BLOW WHISTLES
0:08:21 > 0:08:23INAUDIBLE OVER MUSIC
0:08:58 > 0:09:01LOW WHISTLE
0:09:06 > 0:09:08I wouldn't do that, Mr Hughes.
0:09:12 > 0:09:15I think you should know that statistics prove
0:09:15 > 0:09:1790% of bedside guns shoot their owners.
0:09:17 > 0:09:20You don't have to shoot me. I know what you're after.
0:09:20 > 0:09:22Here, take it.
0:09:22 > 0:09:25Famous lucky diamond, huh?
0:09:25 > 0:09:28Thanks, but I'm not collecting jewellery this evening.
0:09:28 > 0:09:31I came to ask your opinion about this painting.
0:09:31 > 0:09:33Where did you get that? It's mine.
0:09:33 > 0:09:37Is it a genuine Humphrey Wade? Of course it is. Quite positive?
0:09:37 > 0:09:40Young man, nobody knows his technique better than I do!
0:09:40 > 0:09:44Every Humphrey Wade canvas that's not in an art gallery is in my own private collection!
0:09:44 > 0:09:48Strange you missed this one until recently. It's just been discovered.
0:09:48 > 0:09:50Look out for that, it's valuable.
0:09:50 > 0:09:52Far more valuable than you think.
0:09:52 > 0:09:54Can you tell me who the model was?
0:09:54 > 0:09:56Probably some Mexican girl.
0:09:56 > 0:09:58Ask Wade's family, his daughter.
0:09:58 > 0:10:01Don't ask me. His daughter, huh? Where will I find her?
0:10:01 > 0:10:03How should I know?
0:10:03 > 0:10:06KNOCKING Mr Hughes? Are you all right?
0:10:06 > 0:10:08Yes, yes, Jarvis, I'm all right.
0:10:18 > 0:10:19Jarvis!
0:10:19 > 0:10:22My painting, stolen!
0:11:55 > 0:11:57DOOR CLOSES
0:11:59 > 0:12:02WOMAN'S FOOTSTEPS
0:12:08 > 0:12:10What are you doing here?
0:12:10 > 0:12:12Waiting up for you to come home.
0:12:12 > 0:12:14PHONE RINGS
0:12:17 > 0:12:20It's probably the police to ask if you had a visit from the Falcon. Yes?
0:12:20 > 0:12:24That's who I am. You're Miss Wade, I presume. I'm happy to know you.
0:12:24 > 0:12:26Don't tell them I'm here.
0:12:28 > 0:12:29Hello?
0:12:29 > 0:12:32Yes, this is Miss Wade.
0:12:32 > 0:12:35Why shouldn't I? You must know something about all this?
0:12:36 > 0:12:41If you say nothing about me, I'll return the favour.
0:12:41 > 0:12:42Hello?
0:12:42 > 0:12:45Hello, Miss Wade? Yes?
0:12:45 > 0:12:49No, no, I wasn't talking to anyone.
0:12:49 > 0:12:54I'm alone. Oh, well, we thought maybe the Falcon was at your place.
0:12:54 > 0:12:59But as long as you say he's not, that's OK, Miss Wade. Good night.
0:13:01 > 0:13:05Something funny going on. We better take a run over there.
0:13:08 > 0:13:09You seem to recognise it.
0:13:09 > 0:13:13No, I've...never seen it before.
0:13:13 > 0:13:15It's only that the style is like...
0:13:15 > 0:13:17like my father's.
0:13:17 > 0:13:22The girl who posed for this is the only witness to what really happened tonight. Girl?
0:13:22 > 0:13:24Well, how could she still be a girl?
0:13:24 > 0:13:27I know, it was painted a long time ago.
0:13:27 > 0:13:30Nevertheless, I saw the model this evening and she was as young as ever.
0:13:30 > 0:13:32My father's been dead for years.
0:13:32 > 0:13:34I don't see how...
0:13:34 > 0:13:37unless... Unless what?
0:13:37 > 0:13:38I... I don't know.
0:13:38 > 0:13:41You were going to tell me something. What is it?
0:13:41 > 0:13:45I'd rather not say. You'd only laugh at me.
0:13:45 > 0:13:47On the contrary, I'm in serious trouble
0:13:47 > 0:13:50and what you know may help me to clear it up.
0:13:51 > 0:13:54Well...I don't know anything for certain.
0:13:56 > 0:13:58You see, three years ago,
0:13:58 > 0:14:02something strange happened to me when I was very ill.
0:14:02 > 0:14:04I'd been delirious for days
0:14:04 > 0:14:08but this particular night, my head seemed quite clear.
0:14:08 > 0:14:10And I was wide awake.
0:14:10 > 0:14:13Suddenly, I saw a face bending over me.
0:14:13 > 0:14:18Such a kind, friendly face that I wasn't at all afraid.
0:14:18 > 0:14:21A voice said, "Barbara, I'm your father..."
0:14:21 > 0:14:24I want you to get well, dear.
0:14:24 > 0:14:27If ever you need me, remember this -
0:14:27 > 0:14:29I'll always be near you.
0:14:34 > 0:14:36Always be near you.
0:14:39 > 0:14:42I know how it must sound to you.
0:14:42 > 0:14:45My stepmother always tells me I was dreaming.
0:14:45 > 0:14:48Just the same, I've had the idea ever since
0:14:48 > 0:14:50that he might be alive somewhere.
0:14:50 > 0:14:53I would have searched for him if I had any reason to hope...
0:14:53 > 0:14:55DOOR BUZZER
0:14:55 > 0:14:58Answer it. Who is it?
0:14:58 > 0:15:02Inspector O'Shea, police department. We want to see you, Miss Wade.
0:15:02 > 0:15:06Just a minute while I throw something on. All right, Miss.
0:15:06 > 0:15:08Wait! Where are you going?
0:15:08 > 0:15:12Taking the first plane for Mexico City. Let me go with you, please!
0:15:12 > 0:15:15I'd be delighted to, but... You've got to take me.
0:15:15 > 0:15:17You see, my father died in Mexico.
0:15:17 > 0:15:20Now, after what you told me, I feel more than ever that it isn't true.
0:15:20 > 0:15:24You might be some help after all. Get your things quickly.
0:15:31 > 0:15:33Anything wrong, Miss?
0:15:33 > 0:15:34Just a minute!
0:15:49 > 0:15:52She copped a sneak on us!
0:16:46 > 0:16:50Detectives. Are you sure? My dear, I can spot them a mile away.
0:16:50 > 0:16:52Thank you, gracias.
0:16:53 > 0:16:55Take this, get a cab and wait for me.
0:16:58 > 0:16:59Taxi, senor?
0:16:59 > 0:17:02Taxi? I speak English, Mister.
0:17:02 > 0:17:06I have the fine automobile. No, thanks. I can guide you anywhere.
0:17:06 > 0:17:08I show off the sights but good. That's what I'm afraid of.
0:17:08 > 0:17:11Thanks, but I won't need a guide. Why do you repulse me, senor?
0:17:11 > 0:17:15Mexico, she's heaven, but without me, she's disappointment.
0:17:15 > 0:17:16No doubt.
0:17:22 > 0:17:24Barbara?
0:17:39 > 0:17:41Let's hurry. I don't want him to see us together.
0:17:55 > 0:17:58I think you need me now. Your lady friend take a talcum, no?
0:17:58 > 0:18:00A powder? Yes.
0:18:00 > 0:18:05Perhaps I can find out for you where she has gone. Quien sabe?
0:18:05 > 0:18:09Er, perhaps this will help you to make up your mind.
0:18:09 > 0:18:12Pancho, where is this lady going?
0:18:12 > 0:18:14Oh, Pancho!
0:18:14 > 0:18:17The sign on the car, she say Pasquero.
0:18:17 > 0:18:19Pancho is my son.
0:18:19 > 0:18:22I'm teaching him the business. You are in good hands, senor.
0:18:22 > 0:18:26I am Manuel Romero. Come, we take you.
0:18:31 > 0:18:34What's this? I own a Tradine, senor.
0:18:34 > 0:18:36A Tradine? Si, si, a Tradine.
0:18:36 > 0:18:38You "trade-ine" the old car for a new one.
0:18:38 > 0:18:41Get in, senor. Get in.
0:18:57 > 0:18:59What is this Pasquero, a nightclub?
0:18:59 > 0:19:02Oh no, senor, she's just a little town down the road.
0:19:02 > 0:19:05On your right, you are now passing the Palacio de Bellas Artes.
0:19:12 > 0:19:14Very nice, Manuel.
0:19:14 > 0:19:16But how far is it to Pasquero?
0:19:16 > 0:19:18She is very pretty drive.
0:19:18 > 0:19:21Maybe 200, 300 miles. 300 miles?
0:19:21 > 0:19:23Alameda Park, she's very historical.
0:19:28 > 0:19:31There's somebody following us a little way back.
0:19:31 > 0:19:34Yes, I know. Is there any chance of losing them?
0:19:34 > 0:19:38Don't worry, senor. Nobody knows the Mexican police like Manuel.
0:19:38 > 0:19:41You don't think I'm going to lose a good passenger, eh? The Caballito.
0:19:41 > 0:19:44If you get lost, you come here and they find you out.
0:19:44 > 0:19:46You want to make circle around?
0:19:46 > 0:19:49Not just now. Look, the sooner we lose them, the better.
0:19:49 > 0:19:51And the slower, the surer.
0:19:51 > 0:19:53Don't worry, we still have a long way to go.
0:19:54 > 0:19:56The motor, she don't feel so good.
0:19:56 > 0:20:00Every village we come to, she gets worse.
0:20:00 > 0:20:02But she does!
0:20:02 > 0:20:06Turn off the road. Down that alleyway. Si.
0:20:28 > 0:20:31What seems to be the matter? Everything, senor!
0:20:31 > 0:20:34Some day I get mad at this car and turn him in for junk!
0:20:37 > 0:20:39Hey, what about us?
0:20:39 > 0:20:41Maybe you can do something, Mister.
0:20:50 > 0:20:53Bring the luggages. What's this, another Tradine?
0:20:53 > 0:20:55No, senor.
0:20:55 > 0:20:57She's a Downpayment.
0:20:57 > 0:21:01Never heard of it. Downpayment. I give them money and they take the old car for the down payment.
0:21:01 > 0:21:05Look...from here on you'd better stick to the back roads.
0:21:05 > 0:21:08No, senor, that's where you make the big mistake.
0:21:08 > 0:21:09The police don't look for this car.
0:21:09 > 0:21:12You seem to know the police pretty well. They look for the old car.
0:21:12 > 0:21:16And when they find out what's happened, we are in Pasquero.
0:21:41 > 0:21:43Donde hay un buen hotel? Siga delante y a la derecha.
0:21:43 > 0:21:46Muchas gracias. Por nada.
0:21:46 > 0:21:48Let me give the thanks for my own questions, please!
0:22:11 > 0:22:13La Casa del Lago, huh?
0:22:13 > 0:22:16Isn't this the place where Humphrey Wade did most of his painting?
0:22:16 > 0:22:18Quien sabe? If she is, I'll find out for you
0:22:18 > 0:22:21which room Senor Wade has died in and you sleep in the same bed, no?
0:22:21 > 0:22:23No. No.
0:22:30 > 0:22:31Buenos dias, senorita.
0:22:31 > 0:22:33Good evening, sir.
0:22:38 > 0:22:40May I help you? I'd like to register, please.
0:22:40 > 0:22:42I'm sorry, but the rooms are all taken.
0:22:45 > 0:22:47Who's in number 17?
0:22:47 > 0:22:49It's reserved for one of our oldest guests, Lucky Diamond Hughes.
0:22:49 > 0:22:53That explains it, then. Lucky Diamond reserved it for me.
0:22:53 > 0:22:55Don't breathe a word of this
0:22:55 > 0:22:57but Mr Hughes sent me here on a confidential mission.
0:22:57 > 0:22:59Do I need to say any more?
0:22:59 > 0:23:02He didn't mention your name in his telegram. Of course not.
0:23:02 > 0:23:03He's much too clever for that.
0:23:03 > 0:23:07Now where is this room? We take it. What kind of number's his room got?
0:23:07 > 0:23:0817. Louisa?
0:23:14 > 0:23:15I fix it up for you, eh?
0:23:15 > 0:23:19Ask Manuel, he know the ropes and he pull the strings. Mm-hm.
0:23:26 > 0:23:29MUSIC AND SINGING
0:24:03 > 0:24:05Haven't we met somewhere before?
0:24:05 > 0:24:06Sshh!
0:24:08 > 0:24:11GIRLS SING IN SPANISH
0:25:05 > 0:25:07Que simpaticas son estas ninas de los Estados Unidos!
0:25:12 > 0:25:15And here I thought you were alone in a strange country.
0:25:15 > 0:25:17Who was that man you drove away with?
0:25:17 > 0:25:20I'm sorry. I didn't mean to run out on you.
0:25:20 > 0:25:23Oh, of course not. You knew I was bound to meet you here.
0:25:23 > 0:25:26There's something I can't explain to you yet,
0:25:26 > 0:25:28but I can tell you this -
0:25:28 > 0:25:32my father lived at this inn when he was alive. He painted here.
0:25:32 > 0:25:34LOUD MUSIC BEGINS
0:26:16 > 0:26:19APPLAUSE
0:26:29 > 0:26:31Barbara! Hello, darling!
0:26:31 > 0:26:34It's so nice to see you.
0:26:34 > 0:26:37You know what happened? Yes, I told her. It means nothing to us.
0:26:37 > 0:26:39But it does.
0:26:39 > 0:26:41It means my father may be alive.
0:26:44 > 0:26:46Come along now.
0:26:53 > 0:26:55Oh, good, we have so much to talk about.
0:26:56 > 0:26:58I'm sorry to barge in like this
0:26:58 > 0:27:01but Barbara's told me so much about Raquel and Anton
0:27:01 > 0:27:02that I felt I just had to meet you.
0:27:02 > 0:27:05Raquel, this is Mr Lawrence.
0:27:05 > 0:27:10But it is nice of you, Mr Lawrence, to barge in. I'm Barbara's mother.
0:27:10 > 0:27:12This is Anton, my husband.
0:27:12 > 0:27:15Darling, will you fix us a drink?
0:27:15 > 0:27:16Did you say mother?
0:27:16 > 0:27:18Stepmother.
0:27:18 > 0:27:20You see, I was the second Mrs Wade.
0:27:28 > 0:27:30You've travelled quite a bit.
0:27:30 > 0:27:31Uh-huh.
0:27:33 > 0:27:36It's strange we didn't meet on the plane.
0:27:36 > 0:27:39What plane? What do you mean?
0:27:39 > 0:27:40According to this poster,
0:27:40 > 0:27:44you and Anton were dancing at the Orinoco Club on the 24th,
0:27:44 > 0:27:48the night a man named Grenville was murdered.
0:27:48 > 0:27:51No such luck, Mr Lawrence. Our engagement was cancelled.
0:27:51 > 0:27:55We danced here that night. Everyone knows that.
0:27:55 > 0:27:57And it was you and Anton behind the masks, not someone else.
0:27:57 > 0:28:00Anton! What's the matter, dear?
0:28:00 > 0:28:02You haven't forgotten our next dance?
0:28:02 > 0:28:05Oh. El Cuchillo.
0:28:05 > 0:28:09The dance of the knife. I don't need this to convince Mr Lawrence
0:28:09 > 0:28:13it would be unwise to interfere in what is none of his business.
0:28:13 > 0:28:15The police seem to think it's very much my business.
0:28:15 > 0:28:17KNOCKING
0:28:17 > 0:28:20Go back to your table, Barbara.
0:28:25 > 0:28:28You put on your mask.
0:28:28 > 0:28:30I'd advise you to keep away from Barbara.
0:28:30 > 0:28:33She's young and imaginative and you influence her mind.
0:28:33 > 0:28:36She dreams now that her dead father has come to life again.
0:28:36 > 0:28:40I can't permit that, do you understand?
0:28:40 > 0:28:43You make it very clear. Good.
0:28:43 > 0:28:45Then get out of Mexico!
0:28:48 > 0:28:51Good night, Mr Lawrence.
0:29:12 > 0:29:14I believe you dropped this.
0:29:15 > 0:29:18Thank you, Mr Lawrence.
0:29:18 > 0:29:20I wasn't sure you would come.
0:29:20 > 0:29:23Then you don't know me very well, which is easily remedied.
0:29:27 > 0:29:29It would be dreadful if we were seen together.
0:29:29 > 0:29:32My husband is frightfully jealous.
0:29:32 > 0:29:35I... I can't say that I blame him.
0:29:39 > 0:29:41Mr Lawrence?
0:29:41 > 0:29:43I need your help.
0:29:43 > 0:29:45What's the trouble, Raquel?
0:29:45 > 0:29:47I'll try to explain.
0:29:47 > 0:29:51I was quite young when my first husband killed himself.
0:29:51 > 0:29:53Humphrey Wade, huh? Yes.
0:29:53 > 0:29:57After his death, it turned out that his investments were worthless.
0:29:57 > 0:29:59His painting wasn't yet recognised
0:29:59 > 0:30:03and all his insurance went to Barbara.
0:30:03 > 0:30:05I had no money, nothing.
0:30:05 > 0:30:09Anton and I became partners and... And he persuaded you to marry him?
0:30:09 > 0:30:12Flores, senor, senorita? Of course.
0:30:15 > 0:30:17Gracias, senor.
0:30:19 > 0:30:22Thank you, senor. Now, just how can I help you?
0:30:24 > 0:30:28Stop this search for Humphrey Wade.
0:30:28 > 0:30:31He's dead and buried, I assure you. You're simply wasting your time.
0:30:31 > 0:30:33And so are you.
0:30:33 > 0:30:35I'm not looking for Wade,
0:30:35 > 0:30:39I'm looking for a model of his named Dolores.
0:30:39 > 0:30:41But you have given me an idea.
0:30:41 > 0:30:43If Wade is still alive,
0:30:43 > 0:30:46you'd find yourself with two husbands on your hands.
0:30:46 > 0:30:48Insolente! Atrevido!
0:30:48 > 0:30:51The art dealer who was murdered may have known that.
0:30:51 > 0:30:53In fact, that might be the reason he was killed.
0:30:57 > 0:30:59What is the matter? Did you say something wrong?
0:30:59 > 0:31:03Oh no, no, she doesn't seem to like flowers.
0:31:10 > 0:31:12You're a very elusive young lady.
0:31:12 > 0:31:14Hello, Mr Lawrence.
0:31:14 > 0:31:16I don't blame you for wondering about me.
0:31:16 > 0:31:18I want to explain something.
0:31:18 > 0:31:20About Raquel and Anton?
0:31:20 > 0:31:22When we first came to Mexico,
0:31:22 > 0:31:25I was afraid they were somehow involved in all this.
0:31:25 > 0:31:27That's why I ran away from you.
0:31:27 > 0:31:31Now I'm convinced they're innocent. I see.
0:31:31 > 0:31:33Something I can do for you?
0:31:33 > 0:31:37Miss Wade thinks her father might have occupied one of these rooms.
0:31:37 > 0:31:39If she'd asked me, I would have shown her gladly.
0:32:05 > 0:32:08Many tourists ask to see this room.
0:32:08 > 0:32:10Even after all these years.
0:32:10 > 0:32:13I've kept his old studio as a sort of shrine,
0:32:13 > 0:32:16with everything just as your father left it.
0:32:18 > 0:32:22It's difficult to imagine the long hours he worked here.
0:32:22 > 0:32:26There was no recognition for him then, and very little money.
0:32:26 > 0:32:30Many's the time he said no man in his right mind would spend his life painting, that people were fools,
0:32:30 > 0:32:33afraid to attach value to something that could be duplicated
0:32:33 > 0:32:36or improved upon by the artist's own hand.
0:32:36 > 0:32:39Those were the drawings he made before he started each painting.
0:32:39 > 0:32:43Perhaps you'll recognise some of his better-known works.
0:32:43 > 0:32:46That was done the summer before he died.
0:32:46 > 0:32:48These are his personal effects.
0:32:48 > 0:32:51Although of course, we have none of his canvases.
0:32:51 > 0:32:54He sold them as he finished them.
0:32:54 > 0:32:57And now it would take a fortune to buy back just one of them.
0:33:00 > 0:33:03If you don't mind, this has been a trying experience for Barbara.
0:33:03 > 0:33:05Perhaps she could come back some other time?
0:33:05 > 0:33:07You've been very kind. Not at all.
0:33:07 > 0:33:11If you ask at the desk, I'll show you up here any time. Thank you.
0:33:23 > 0:33:25What is it?
0:33:25 > 0:33:27I don't know.
0:33:27 > 0:33:30Something when we passed that door.
0:33:30 > 0:33:33Just silly. I'm beginning to imagine things.
0:33:33 > 0:33:35We might as well have a look.
0:33:35 > 0:33:38How can we get in? The same way I got into your apartment.
0:34:19 > 0:34:21Would you say this was your father's?
0:34:21 > 0:34:24I don't know. It seems to be.
0:34:26 > 0:34:29It's nearly had time to dry, but not quite.
0:34:51 > 0:34:55Raw umber. That's sometimes used to make paintings look aged.
0:34:55 > 0:34:57I'm afraid you didn't understand.
0:34:57 > 0:35:00I can't allow you to wander all over the inn.
0:35:00 > 0:35:03Is this another lost masterpiece of Wade's?
0:35:03 > 0:35:05That happens to be mine. Oh.
0:35:05 > 0:35:08And the sweater? I came for it.
0:35:08 > 0:35:11Then this pipe must be yours, too.
0:35:11 > 0:35:14You know where my father is. Don't be a little fool.
0:35:14 > 0:35:17I can assure you better than anyone that he is dead.
0:35:17 > 0:35:19I was with him until the end.
0:35:19 > 0:35:22None of the other women he wasted his life on thought that much of him.
0:35:22 > 0:35:25I studied your father's work while he was alive. He often helped me.
0:35:25 > 0:35:27I was always able to imitate his style.
0:35:27 > 0:35:31Well enough to pass it off as an original if it was properly aged?
0:35:31 > 0:35:34If I wish to imitate his technique, there's no law to prevent it.
0:35:34 > 0:35:36As for the sweater,
0:35:36 > 0:35:39it was left behind by a guest who asked me to send it to him.
0:35:39 > 0:35:41As I said, I merely came for it.
0:35:41 > 0:35:44Now would you please leave my room?
0:35:44 > 0:35:46Come along, Barbara.
0:35:51 > 0:35:54That painting might explain a lot of things.
0:35:57 > 0:35:59Perhaps you'll have dinner with me?
0:35:59 > 0:36:01I'd love to. I'll see you downstairs.
0:36:12 > 0:36:14I'm sorry to be such a poor host, Dolores.
0:36:14 > 0:36:17But I wasn't exactly sure when you'd come for your painting.
0:36:17 > 0:36:19Let me go!
0:36:25 > 0:36:26What are you doing here?
0:36:26 > 0:36:29I found this young lady in my room.
0:36:29 > 0:36:32She's wanted by the States police for questioning about a murder.
0:36:32 > 0:36:35You must be out of your mind! I've never been to the United States.
0:36:35 > 0:36:36I know nothing about a murder.
0:36:36 > 0:36:39Then why were you trying to steal your own portrait?
0:36:39 > 0:36:41I wasn't! I don't know what you're talking about!
0:36:41 > 0:36:43No need to get excited.
0:36:43 > 0:36:47This portrait you speak of. Where is it? In my room.
0:36:47 > 0:36:49I'll get it.
0:37:34 > 0:37:35Manuel!
0:37:40 > 0:37:41What are you doing here?
0:37:41 > 0:37:44Somebody ran down the hallway. I tried to stop him.
0:37:44 > 0:37:47Who was it? That's what I was going to ask you. Oh.
0:37:47 > 0:37:49What have you got there?
0:37:49 > 0:37:51A turkey leg. You like to try some?
0:37:51 > 0:37:52Not just now, thanks.
0:38:00 > 0:38:01Where's Dolores?
0:38:01 > 0:38:06Surely you didn't expect me to hold the daughter of Don Carlos Ybarra against her will?
0:38:06 > 0:38:08If you have anything further to say to her,
0:38:08 > 0:38:10why don't you call on her at their hacienda?
0:38:10 > 0:38:12I will. Where is it?
0:38:12 > 0:38:15Turn south on the main road. Anyone can tell you. Thanks.
0:38:20 > 0:38:22Manuel, get the car. We're going to the Ybarra hacienda.
0:38:22 > 0:38:24The car is right here!
0:38:24 > 0:38:27What, again? Si! A brand new second-hand Reducement.
0:38:27 > 0:38:29A what? Reducement!
0:38:29 > 0:38:33The payments on the other car come too high, so they make a reducement on the contract.
0:38:59 > 0:39:02Amigo! Go call your boss Don Carlos, pronto.
0:39:02 > 0:39:06I am Don Carlos. My apologies, senor. I am Tom Lawrence.
0:39:06 > 0:39:08I'd like to speak to your daughter, Dolores.
0:39:08 > 0:39:10I'm afraid that is impossible.
0:39:10 > 0:39:13She has not yet returned from the United States.
0:39:13 > 0:39:16But we just see her at the Casa del Lago. You saw her? Si!
0:39:16 > 0:39:19Strange. I have reason to think her life might be in danger.
0:39:19 > 0:39:22I find that hard to believe, Senor Lawrence.
0:39:22 > 0:39:24But we shall look for her if you wish.
0:39:24 > 0:39:26She often goes sailing on the lake.
0:39:26 > 0:39:30In our peaceful country, life is very seldom in danger.
0:39:52 > 0:39:56This is where my daughter usually keeps her boat. But this is not it.
0:39:56 > 0:39:58Then we take this boat and look for her.
0:39:58 > 0:40:00I'm the best sailing man I ever saw!
0:40:00 > 0:40:02Thanks, we can manage. Oh, senor!
0:40:26 > 0:40:30It is hard to believe there could be trouble in a place of such beauty.
0:40:30 > 0:40:32And yet your daughter must have had some reason
0:40:32 > 0:40:35for her...rather strange actions.
0:40:35 > 0:40:37Why did she make that hurried trip to the States?
0:40:37 > 0:40:42Let me see... I believe she said she had to help a friend.
0:40:42 > 0:40:44I have forgotten just what it was.
0:40:44 > 0:40:46Do you know who this friend was? It's very important.
0:40:46 > 0:40:48Oh, one of the artists.
0:40:48 > 0:40:52I suppose she told me, but there are so many of them from year to year.
0:40:52 > 0:40:55The beauty of this lake is always a challenge to their brushes.
0:40:55 > 0:40:58Your daughter's beauty must be an equal challenge.
0:40:58 > 0:41:01Yes, she posed for many of them.
0:41:01 > 0:41:02I remember now.
0:41:02 > 0:41:06It was one such painting that she wanted to get back for the artist.
0:41:06 > 0:41:08It had been sent to an art dealer in your country.
0:41:08 > 0:41:11Why couldn't this artist go himself?
0:41:11 > 0:41:13I only know what my daughter told me.
0:41:13 > 0:41:16He could not permit it to be publicly exhibited.
0:41:16 > 0:41:19I think I know who this mysterious artist was.
0:41:19 > 0:41:21Humphrey Wade. Humphrey Wade!
0:41:21 > 0:41:23Yes, I knew him quite well.
0:41:23 > 0:41:26I hardly think so, my son.
0:41:26 > 0:41:29You see, I myself attended his funeral service.
0:41:29 > 0:41:32It was here on the island of Janitzio that he was buried
0:41:32 > 0:41:35in the little churchyard.
0:41:35 > 0:41:37Ah... It was a...
0:41:37 > 0:41:41Que hay, chico? Has visto a mi hija Dolores?
0:41:41 > 0:41:42No, senor.
0:41:44 > 0:41:45Strange.
0:41:47 > 0:41:49We can enquire in the village.
0:41:58 > 0:42:01Look, the fishing fleet is returning.
0:42:01 > 0:42:03Those are our famous butterfly boats.
0:42:20 > 0:42:23They do not usually return so early in the day.
0:42:25 > 0:42:28Come, someone is sure to have seen her.
0:42:45 > 0:42:46What's the trouble?
0:42:46 > 0:42:49Something has happened. They are carrying someone.
0:42:49 > 0:42:52Don Carlos! Don Carlos!
0:42:52 > 0:42:53La nina!
0:43:05 > 0:43:07How did it happen? Drowned, senor.
0:43:07 > 0:43:11We found her body floating in the lake. I'll go tell the police now.
0:43:14 > 0:43:16Oh, by the way...
0:43:16 > 0:43:20are you sure Dolores Ybarra went home after she left you?
0:43:20 > 0:43:22Are you trying to infer I had something to do with her death?
0:43:22 > 0:43:26Oh, so you know about it? You were the last person seen with her.
0:43:26 > 0:43:29I don't know why I should stand for this questioning.
0:43:29 > 0:43:31I'm sure the local police will take care of that.
0:43:35 > 0:43:38Are you by any chance following me?
0:43:38 > 0:43:42Since the first moment I saw you I've done nothing else. Do you blame me?
0:43:44 > 0:43:46Excuse me.
0:43:46 > 0:43:48Just a moment. How long have you been out?
0:43:48 > 0:43:51Since about one o'clock, if it's any of your business.
0:43:51 > 0:43:54Then you'd just about have had time. What do you mean?
0:43:54 > 0:43:56Come on, Anton. We have a rehearsal. Come on.
0:44:13 > 0:44:16What do you think you're doing?
0:44:16 > 0:44:18I unpack the luggages so the senor don't get wrinkles.
0:44:18 > 0:44:21What gave you the idea I'd hired you as a valet?
0:44:21 > 0:44:22I gave myself the idea, senor.
0:44:22 > 0:44:25I double up the job and undouble the clothes.
0:44:25 > 0:44:27You're up to something. Me, senor?
0:44:27 > 0:44:29You're not a chauffeur or a guide. What are you?
0:44:29 > 0:44:33I'm anything you want, senor. I am the best bodyguard, chauffeur,
0:44:33 > 0:44:37guide, mechanic, waiter, butler, downstairs man and upstairs man...
0:44:37 > 0:44:40You're all fired. Me too, mister?
0:44:40 > 0:44:43Yes, you too.
0:44:43 > 0:44:44Come, Pancho.
0:44:51 > 0:44:53CAR ENGINE
0:45:07 > 0:45:09This place hasn't changed a bit.
0:45:09 > 0:45:12No service, no management...
0:45:12 > 0:45:13nothing.
0:45:29 > 0:45:31Good evening, Mr Hughes.
0:45:31 > 0:45:34Ah, you're here at last.
0:45:40 > 0:45:42What are you staring at?
0:45:42 > 0:45:46I never expected to see Lucky Diamond Hughes without his diamond.
0:45:46 > 0:45:50Well, if you think I'm going to wear diamonds after what's happened to me, you're mistaken.
0:45:50 > 0:45:52One of my Wade paintings stolen,
0:45:52 > 0:45:55thugs, footpads invading my bedroom in the middle of the night,
0:45:55 > 0:45:58I don't know what will happen next!
0:45:58 > 0:46:00Get my bags up to my room, will you?
0:46:00 > 0:46:03Margarita, have someone bring up Mr Hughes' bags, please?
0:46:03 > 0:46:06Yes, ma'am. By the way, you won't have your usual room.
0:46:06 > 0:46:10Why not? Because I've given it to your confidential agent. My...
0:46:10 > 0:46:12What are you talking about?
0:46:12 > 0:46:14A Mr Lawrence said you sent him here.
0:46:14 > 0:46:17Lawrence? Don't tell me he's in again!
0:46:22 > 0:46:26Senor! Do you think we permit strangers to take ladies by the arm?
0:46:26 > 0:46:27But senora, I was just trying...
0:46:27 > 0:46:30I suppose you think you're being very clever. Come on.
0:46:30 > 0:46:33Just a minute, you!
0:46:33 > 0:46:35Where's my painting? That's what I'd like to know.
0:46:35 > 0:46:39It was stolen from me, and I wouldn't steal it from myself, would I?
0:46:39 > 0:46:42I'm not so sure you wouldn't. You'd steal from anybody!
0:46:42 > 0:46:43I'm going to call the police.
0:46:43 > 0:46:45Call them by all means.
0:46:45 > 0:46:48I haven't broken any laws in my own country, much less this one.
0:46:48 > 0:46:51What about that warrant charging you with murdering Grenville?
0:46:51 > 0:46:54They can't prove something I didn't do. Besides,
0:46:54 > 0:46:56the Mexican police won't arrest me without notification
0:46:56 > 0:46:59from the US authorities. All right, I'll get authority. Fine.
0:46:59 > 0:47:01Long distance.
0:47:05 > 0:47:07Senor Falcon?
0:47:07 > 0:47:10Yes, what is it, Pancho? I tell you something very valuable.
0:47:10 > 0:47:13The question is, will I run out of loose change
0:47:13 > 0:47:16before you run out of information? Now, just what have I bought?
0:47:16 > 0:47:20You come with me. Pancho will show you.
0:47:23 > 0:47:25Senor!
0:47:25 > 0:47:28This is the car that bring Senor Hughes. I thought I'd fired you.
0:47:28 > 0:47:32Oh, is OK, I don't blame you too much. We all make mistakes sometime.
0:47:32 > 0:47:34What these tyres mean to you?
0:47:34 > 0:47:36Is muddy.
0:47:36 > 0:47:39Seems Mr Hughes made a detour by the lake shore.
0:47:39 > 0:47:42Si. And whoever murdered the senorita has taken boat across the lake.
0:47:42 > 0:47:44I'd better have a talk with him. Stay here, Pancho.
0:47:44 > 0:47:46I can save you trouble, senor.
0:47:46 > 0:47:48This car belongs to the inn.
0:47:48 > 0:47:50I myself brought Senor Hughes from the station.
0:47:50 > 0:47:52But we did not stop at the lake.
0:47:52 > 0:47:55Well, who did? You have to ask that to Senora Paula.
0:47:55 > 0:47:58She uses the car sometimes for her business.
0:48:06 > 0:48:09SHE SINGS IN SPANISH
0:48:49 > 0:48:51That man Lawrence. Now he's got my table!
0:48:51 > 0:48:54I'm sorry, sir. There was a mix-up in the reservations.
0:48:54 > 0:48:56If there was, he caused it.
0:48:56 > 0:48:59I have another table for you. Right here, Mr Hughes.
0:48:59 > 0:49:02SINGING CONTINUES
0:49:25 > 0:49:29APPLAUSE
0:49:31 > 0:49:33Barbara!
0:49:33 > 0:49:36What's wrong? Anton, what's the matter with her?
0:49:36 > 0:49:39How should I know? Someone get a doctor, quickly.
0:49:45 > 0:49:47What are you doing here?
0:49:47 > 0:49:50First, the one senorita is murdered. Then something else happens.
0:49:50 > 0:49:52I think, senor, you need a corpse guard.
0:49:52 > 0:49:56You mean a bodyguard. That's right, I take care of your body.
0:50:03 > 0:50:07How is she? The doctor doesn't know yet. He's doing all he can.
0:50:07 > 0:50:10It was poison. That's settled. Which one of you gave it to her?
0:50:10 > 0:50:15You were at her table. There's already a murder charge against you.
0:50:15 > 0:50:17I'm afraid I'm not in the running.
0:50:17 > 0:50:21Whoever killed the art dealer killed Dolores and poisoned Barbara.
0:50:21 > 0:50:23All three of them could have answered one important question
0:50:23 > 0:50:25which doesn't involve me -
0:50:25 > 0:50:28whether or not Humphrey Wade is still alive.
0:50:28 > 0:50:30I hope for your sake he isn't.
0:50:30 > 0:50:33It would be very awkward to be married to two men at the same time.
0:50:33 > 0:50:35I see what you mean. You are suggesting it may ruin
0:50:35 > 0:50:38the professional standing of Raquel and Anton.
0:50:38 > 0:50:41Surely, if a man has been missing as many years as Wade,
0:50:41 > 0:50:43his wife is entitled to marry again.
0:50:43 > 0:50:46But you didn't wait. You assumed Wade had died.
0:50:46 > 0:50:49He did. But you are clever enough to paint like him.
0:50:49 > 0:50:52You sent that portrait to the art dealer, he recognised the fraud,
0:50:52 > 0:50:53so you killed him.
0:50:53 > 0:50:56In fact, any number of Wade's paintings may be forgeries.
0:50:56 > 0:50:59Don't tell me I don't know a Wade when I see one!
0:50:59 > 0:51:02I've bought too many to be fooled. Oh, yes.
0:51:02 > 0:51:04And if Wade was still alive,
0:51:04 > 0:51:06those paintings would be worthless, wouldn't they?
0:51:06 > 0:51:08You're not going to laugh it off any more than I am.
0:51:08 > 0:51:11My good woman, when Grenville was killed,
0:51:11 > 0:51:13I was home in bed, as he will tell you.
0:51:13 > 0:51:15Ha-ha. You're quite right.
0:51:15 > 0:51:17You were home in bed.
0:51:17 > 0:51:19By the time I got there.
0:51:19 > 0:51:21You could have gone to the art gallery and returned.
0:51:21 > 0:51:25I wasn't here when the painting was stolen. Even you know that!
0:51:25 > 0:51:28Then it's probably Wade - half-crazed and hiding out somewhere.
0:51:28 > 0:51:30If he is,
0:51:30 > 0:51:34you help him. You were always in love with him, weren't you?
0:51:34 > 0:51:36Don't think I didn't know.
0:51:36 > 0:51:38Doctor, how is she? You can see her now, if you like.
0:51:38 > 0:51:41She's out of danger. Oh, good, thank you.
0:51:41 > 0:51:43What kind of poison was it, Doctor?
0:51:43 > 0:51:46Some deadly agaric found its way among the mushrooms she ate.
0:51:46 > 0:51:49Only a little, though, or the accident might have been fatal.
0:51:49 > 0:51:51Accident? Undoubtedly.
0:51:51 > 0:51:54Agaric is a common toadstool which closely resembles mushrooms.
0:51:54 > 0:51:57Oh, well, I'd better make sure the accident isn't finished.
0:51:57 > 0:52:00Barbara?
0:52:00 > 0:52:02Do you hear me? It's Raquel.
0:52:02 > 0:52:06Barbara, open the door! Barbara, let me in!
0:52:06 > 0:52:08There is someone in there. I heard them talking.
0:52:08 > 0:52:10The door is locked from the inside.
0:52:17 > 0:52:19Who was in here? Who was it?
0:52:19 > 0:52:21Father.
0:52:21 > 0:52:24Poor darling. You're ill. You don't know what you are saying.
0:52:24 > 0:52:28It was. He came to see me.
0:52:41 > 0:52:44Mr Wade, just a minute. Stay where you are.
0:52:44 > 0:52:46You let him get away. That was Wade.
0:52:46 > 0:52:48Wade's dead, I tell you. Barbara recognised him.
0:52:48 > 0:52:51The girl is neurotic. She has dreams, hallucinations.
0:52:51 > 0:52:53You're coming with me.
0:52:53 > 0:52:56Isn't this a rather public place for a shooting?
0:52:56 > 0:52:59You're coming with me, I said. You put that gun down.
0:52:59 > 0:53:02Manuel don't like to shoot ladies in the back. Nice work, Manuel.
0:53:02 > 0:53:04Keep the hands up, senor.
0:53:05 > 0:53:08You wish this man killed? He's wanted for murder.
0:53:08 > 0:53:11I was taking him aside to hold for the police.
0:53:11 > 0:53:13Sometimes, women talk but they don't say something.
0:53:13 > 0:53:15I think you go now.
0:53:20 > 0:53:23What do you say? This Manuel comes up handy, eh?
0:53:23 > 0:53:25I work for you some more now?
0:53:25 > 0:53:27Your salary starts the moment you put that gun away.
0:53:27 > 0:53:30I be your corpse guard, eh? How do you know she don't come back?
0:53:30 > 0:53:33These women always change their mind, sometimes.
0:53:33 > 0:53:37Manuel, you've got it. I've got what it?
0:53:37 > 0:53:40She's changed her mind. That's what had me stumped.
0:53:40 > 0:53:43She started this whole thing by sending that painting to Grenville.
0:53:43 > 0:53:48She couldn't go through with it. Now she's sorry for what she did and trying to protect Wade.
0:53:48 > 0:53:50I'm glad I figured it out for you. We'll search her room.
0:53:50 > 0:53:53I've an idea we'll find the evidence I've been looking for.
0:53:53 > 0:53:55Tell the word, we steal the whole room.
0:53:55 > 0:53:57You wait here. Sure.
0:53:57 > 0:54:01If somebody is coming, I give them the tour with my pistola.
0:54:27 > 0:54:29Oh! What are you looking for?
0:54:29 > 0:54:31Oh, it's you.
0:54:31 > 0:54:37I... I was trying to find something that might tell me if Wade is still alive. Oh.
0:54:37 > 0:54:40Well, suppose we join forces? We seem to have the same idea in mind.
0:54:40 > 0:54:42All right.
0:54:58 > 0:55:01Must be something in the back of that.
0:55:11 > 0:55:14What else do we need? Paula's behind those murders.
0:55:14 > 0:55:16We mustn't jump to conclusions.
0:55:16 > 0:55:19Somebody may have planted it to throw suspicion on Paula.
0:55:19 > 0:55:21Wade himself, for example.
0:55:21 > 0:55:24Or, for that matter... Go on, say it.
0:55:24 > 0:55:27I could have put it there, I suppose. It's not impossible.
0:55:27 > 0:55:30We have to find Paula and see what she has to say.
0:55:30 > 0:55:33I go along too, senor. We give Paula the four degrees, no?
0:55:33 > 0:55:36Third degree, Manuel. Third degree?
0:55:36 > 0:55:38Four degrees is one better.
0:55:53 > 0:55:55Pancho.
0:55:55 > 0:55:57Have you seen Paula, the lady who runs the inn?
0:55:57 > 0:56:01Papa was looking for her all night long. I am looking too.
0:56:01 > 0:56:03Looking, like this?
0:56:03 > 0:56:05If she comes in, I see her, don't I?
0:56:37 > 0:56:39What is it this time? Guide or bodyguard?
0:56:39 > 0:56:42Get your hands up, please. Castro! Martinez!
0:56:44 > 0:56:47You have been watched from the minute you arrived in Mexico
0:56:47 > 0:56:51by orders of our federal police. These men are my assistants. Police?
0:56:51 > 0:56:53Then what's the idea of leaving the body here?
0:56:53 > 0:56:59To throw the killer off guard, let him believe his crime has not been discovered. I see. Do you mind...?
0:56:59 > 0:57:02My apologies, Mr Lawrence. It was for your own protection.
0:57:02 > 0:57:05The slightest move and my men would have been forced to open fire.
0:57:05 > 0:57:08The boat drifted in here. Get it out of sight. Si, Manuel.
0:57:08 > 0:57:10Mr Lawrence...
0:57:11 > 0:57:15You are Miss Wade? Yes. You want to know about your father, Senor Wade?
0:57:15 > 0:57:17Of course. Tell me, what do you know?
0:57:17 > 0:57:19You come with me.
0:57:21 > 0:57:24I can see now why you were such an authority on police matters.
0:57:24 > 0:57:27You too, in your own country. We've heard of the Falcon.
0:57:27 > 0:57:29I wondered why I wasn't arrested.
0:57:29 > 0:57:31It looks like Wade is the man we want.
0:57:31 > 0:57:34It's one of the strangest cases I have ever been on.
0:57:34 > 0:57:37A series of murders committed by a man supposed to be dead.
0:57:37 > 0:57:39Can you prove he isn't? The facts indicate it.
0:57:39 > 0:57:43One of his paintings turned up, and Dolores Ybarra posed for him.
0:57:44 > 0:57:46You know Wade's reputation.
0:57:46 > 0:57:48One romantic adventure after another.
0:57:48 > 0:57:50Not the first painter to be a romanticist.
0:57:50 > 0:57:52At the time Wade disappeared,
0:57:52 > 0:57:55we found out the innkeeper, Paula, was secretly in love with him.
0:57:55 > 0:57:57She resented his flirtations.
0:57:57 > 0:57:59I suppose the one with Dolores became too serious.
0:57:59 > 0:58:01Paula was determined to stop it.
0:58:01 > 0:58:05She signed Wade's name to the painting and sent it to an art dealer, knowing it would expose him.
0:58:05 > 0:58:07That hardly explains the murders.
0:58:07 > 0:58:10It might be that Wade was discovered trying to get his painting back.
0:58:10 > 0:58:12Once having committed murder,
0:58:12 > 0:58:15he had to dispose of everyone who could testify he was still alive.
0:58:15 > 0:58:16Including Paula.
0:58:16 > 0:58:20But you'll see, when we arrest Wade we'll have the answer.
0:58:20 > 0:58:23Yes, if your theory is correct.
0:58:24 > 0:58:26Oh, where is Mr Lawrence?
0:58:26 > 0:58:30What is the matter, senora? Somebody fall in trouble? Looking for me?
0:58:30 > 0:58:33Barbara is missing. I can't find her anywhere.
0:58:36 > 0:58:39Mr Lawrence, I think there is something you should know.
0:58:39 > 0:58:41My husband, Anton, left early this morning.
0:58:41 > 0:58:43He wouldn't tell me where he was going.
0:58:43 > 0:58:45It's better we find Barbara now
0:58:45 > 0:58:48so we don't find her later in a sailboat.
0:58:55 > 0:58:58Barbara Wade, the American girl staying at the inn.
0:58:58 > 0:59:01Have you seen her? Si, senor. She is with the boatmen.
0:59:05 > 0:59:08They seem to be going to the island. Yes, it's carnival time. Fiesta.
0:59:08 > 0:59:12Each year they hold a celebration on the island of Janitzio.
0:59:12 > 0:59:14Everyone will be there. Perhaps we'd better go over there.
0:59:14 > 0:59:16Yes. Come, we will get a boat.
1:00:36 > 1:00:38Barbara! The crypt is empty.
1:00:38 > 1:00:41Work of vandals. I'm not so sure.
1:00:41 > 1:00:44Just like I said. Wade is still alive.
1:00:44 > 1:00:46Come back here, please.
1:00:48 > 1:00:50Who paid you? Answer or I will place you under arrest.
1:00:50 > 1:00:54Senor Anton. The dancer at the inn.
1:00:54 > 1:00:57He told me to show this girl her father is dead.
1:00:57 > 1:01:01He'd better be able to explain why. Come on.
1:01:13 > 1:01:16There they are! Hey, Lawrence! Barbara!
1:01:16 > 1:01:20Oh, you frightened me. Don't you ever go away like that again.
1:01:20 > 1:01:22See how foolish you were to worry?
1:01:22 > 1:01:25Your husband's probably here too. Is Anton here? We haven't seen him.
1:01:25 > 1:01:28Never mind, he'll be here.
1:01:28 > 1:01:29Look, Mr Hughes.
1:01:29 > 1:01:33Even on their holidays, they don't forget their fishing.
1:01:36 > 1:01:39Well, let's be on our way. See you later!
1:01:43 > 1:01:46Find out anything yet? Everything is in order.
1:01:46 > 1:01:49Nothing to report of importance. Everything is important. Let me hear.
1:01:49 > 1:01:52A fisherman drank too much wine. A man fighting with his wife.
1:01:52 > 1:01:55A report that one of the masked dancers had his costume stolen.
1:01:55 > 1:01:57A masked dancer, huh?
1:01:57 > 1:02:00Where was his costume stolen? At the end of the plaza.
1:02:00 > 1:02:03Only one man would be that anxious to keep anyone from recognising him.
1:02:03 > 1:02:06Humphrey Wade. Those masks are used in the old man's dance.
1:02:06 > 1:02:08It's going on now. Let's hurry.
1:02:41 > 1:02:42We're too late.
1:02:45 > 1:02:49There aren't many of them. We can separate and reach them all.
1:03:06 > 1:03:08Barbara.
1:03:11 > 1:03:13It's your father.
1:03:17 > 1:03:19Father!
1:03:19 > 1:03:21It IS you.
1:03:21 > 1:03:24Tell me, why did you disappear,
1:03:24 > 1:03:26hide away all these years?
1:03:26 > 1:03:29Because my life was a failure.
1:03:29 > 1:03:32I determined to make a success as a painter
1:03:32 > 1:03:34but I couldn't earn enough to provide for you.
1:03:34 > 1:03:38And I made up my mind I wouldn't make you suffer for my shortcomings.
1:03:38 > 1:03:39There seemed only one way out,
1:03:39 > 1:03:42to kill myself so you would get the money for my insurance.
1:03:42 > 1:03:45I realised that would be cowardly so I disappeared instead.
1:03:45 > 1:03:49We're together now. That's what really matters to me.
1:03:49 > 1:03:52I'd have risked anything to talk to you.
1:03:52 > 1:03:54Your life is in danger, dear. Yours and mine.
1:04:01 > 1:04:04SHOUTING IN SPANISH
1:04:06 > 1:04:08You'd better start explaining.
1:04:08 > 1:04:11I didn't do it, but I would have if I had the chance.
1:04:12 > 1:04:16Wade can't pull through. We're holding Anton as a precaution.
1:04:16 > 1:04:19I don't think you'll get anything out of him.
1:04:19 > 1:04:21We've forgotten the one person who has most to lose.
1:04:21 > 1:04:25The man who owns the paintings. Lucky Diamond Hughes. Hughes?
1:04:25 > 1:04:27With Wade alive, the value of that art collection would drop.
1:04:27 > 1:04:30But Hughes is a millionaire. He was.
1:04:30 > 1:04:34But why did he arrive in Mexico without his famous diamond, the pride of his life?
1:04:34 > 1:04:38It's a complete contradiction of character. I think you'll find he has lost a lot of money.
1:04:38 > 1:04:42We know more than you think. There's a full report on Mr Hughes.
1:04:42 > 1:04:46Lost heavily in the stock market, valuable property listed for sale, secured mortgage on his home.
1:04:46 > 1:04:50Then you were right. But you can't arrest a man for not having any money.
1:04:50 > 1:04:53We've still got to find some way of proving he's guilty.
1:04:53 > 1:04:55Hughes doesn't know how badly Wade was wounded.
1:04:55 > 1:04:57If somebody appeared on a street with Barbara
1:04:57 > 1:05:01wearing Wade's costume... What Hughes tried once, he'd try again.
1:05:01 > 1:05:03But who's fool enough to let himself be shot at?
1:05:09 > 1:05:12Don't look at me! There isn't much danger.
1:05:12 > 1:05:14My men will be watching.
1:05:25 > 1:05:27Don't stay too close to me.
1:06:10 > 1:06:13Hello, Barbara. Sorry we can't stay. You'll be back, wait and see.
1:06:13 > 1:06:16Everyone comes back to Mexico. Goodbye. Goodbye.
1:06:16 > 1:06:18Goodbye, Mr Lawrence.
1:06:18 > 1:06:19Senor.
1:06:21 > 1:06:25This isn't mine. Pancho buy this little memorandum for you.
1:06:25 > 1:06:27With the tips you thought you gave me.
1:06:27 > 1:06:29So you will make another trip to Mexico.
1:06:42 > 1:06:46Subtitles by Red Bee Media Ltd
1:06:57 > 1:06:59Did the 1966 World Cup
1:06:59 > 1:07:01mark the birth of modern football?
1:07:01 > 1:07:04Would we starve without bees?
1:07:04 > 1:07:06Why do Buddhists meditate?
1:07:06 > 1:07:09Is rocket science easier than you think?