All language subtitles for Topaz.1969.EXTENDED.720p.BluRay.H264.AAC-RARBG

Topaz - Alfred Hitchcock Thriller 1969
[H264-mp4] Subtitles English

(DRUMS BEATING)

(BRASS BAND PLAYING)

(INAUDIBLE)

(HORNS HONKING)

What shall we do now?

BORIS: Excuse me. We
are strangers here.

Could you please tell me where the
tour of the factory commences?

WOMAN: Just go through the gates.
It's the first door on the left.

The first door on the
left. Thank you.

MAN: Well, ladies and gentlemen,
it is time that we start.

Will you be kind
enough to follow me?

What I'm going to show you will
be mainly the traditional things.

Up here I can show you the
detail in the production,

which we are rather
proud of showing.

What you're seeing now is
a model, petal by petal.

And this is an art which has
survived here at the factory

for almost 200 years.

And you will see the garland there,
it takes two days to complete.

As you see, the flowers are
modeled petal by petal

and stamen by stamen.

Even in very small flowers, you can
find as many as 10 to 15 stamens.

And the garland, you see here,
takes around two days to complete.

The figurine, which you see being
ornated with flowers here,

was first made as a gift from
Danish women to our Danish king.

Please follow me
farther up here.

As we walk farther down here, I
can show you overlay painting

represented by...

You can move around here, I think
that everybody will be able to see.

Why don't you come a bit
closer and have a look

at how things are painted?

Still around 1,000 different
colors are used for the set,

all painted by freehand.

And now we can proceed to the next
department. Please follow me here.

(INAUDIBLE)

(SHATTERS)

I'm sorry. Can I pay for this?

(INAUDIBLE)

You can dial the
number yourself.

Thank you.

Miss Kusenov, where's
your father?

Oh. (SIGHS)

Fine.

All right. Now listen to this.

Do you know a department
store here in Copenhagen

called Den Permanente?

Den Permanente. That's right.

It closes at 5:30.

I want you and your father and mother
to be there at 5: 15, shopping.

As soon as you arrive there, be
aware that we will be outside.

(INAUDIBLE)

(ALARM RINGING)

(HORN HONKING)

(HORN HONKS)

(BICYCLE BELL DINGS)

(SCREAMS)

Tamara!

(GROANING)

(TIRES SCREECHING)

Get your heads down, quick!

All right. All
right, they're gone.

(GROANS)

(SOBBING)

Here. Oh, thank you.

(SOBBING CONTINUES)

(ENGINE HUMMING)

Go right on up.

Thank you.

All right, thank you.

(CLANKING)

Are you all right now?

It was very clumsy,
this operation.

What?

This, in front of the
store. Very clumsy.

Well, you got away, didn't you?

It wasn't the way we
would have done it.

(ENGINE DRONING)

Give that...

When you contact Wiesbaden, ask
them how long a wait there'll be

on that C-135 to Washington.

And ask them to send
somebody over to the PX

and get some stockings for
a young lady about 5'6".

Couple of different
sizes, I guess.

MAN 1: Hello...

MAN 2: Hi...

This is Mr. And Mrs. Kusenov
and their daughter, Tamara.

This is Mr. McKittreck
and Mr. Blake.

Madam.

Would you come this way, please?

Well, what's he like?

He's a darling
man. You'll see.

He's what you wanted.
He's really a big one.

(ENGINE STARTS) They must be
raising hell in Moscow today.

Is that the White House?

No, that's the Capitol building,
seat of the government.

I'll show you the White
House further along.

There it is.

It's nice.

Good morning, Howard.
Good morning.

This is where you'll live
for a while. Come along.

Good morning. Morning.

What is this?

We'd like you to be comfortable
here and to feel at home.

If there is anything
at all we can do...

Is it your house?

No, but I'll be coming
here quite often.

Mrs. Fawcett, this is Mr. And Mrs.
Kusenov and their daughter, Tamara.

Mrs. Fawcett will be
looking after you.

You must be tired.

Yes.

I'll take you upstairs
in just a few minutes.

Mr. Kusenov, we would like you
in here for a few minutes,

please, if you don't mind.

All right. Yes.

McKITTRECK: All three
of you, please.

Why?

I beg your pardon?

It isn't necessary for them.

We will want all three of
you, please. One at a time.

Mrs. Kusenov, please.

Now what's the matter, Mike?

Couldn't that wait
till tomorrow?

Why?

Well, they've had a pretty rough
24 hours. They need to relax.

Didn't they relax on the
plane? I always do.

GENERAL: Here he is.

Hmm? Devereaux.

Good.

I ask you not to be difficult.

Then let him show some respect.

Respect is something he rarely
shows. He is second in command...

I am not such an imbecile
that he has to tell me

what to say and what not
to say. (PROTESTING)

No, I do not need him
at military meetings.

Yes, you do. Huh?

I'm sorry. You've been here
from Paris only a few months.

He has been here in
Washington several years.

And he is too close
to the Americans.

(CHUCKLES) I agree.

But the closeness has value.

He's built up the best intelligence
organization in the western hemisphere.

He is very expert, and
he is a dedicated man.

And I, too, sometimes wish that
he would show some respect.

(INTERCOM BUZZES)

WOMAN: Mr. Devereaux is here.

Yes. Let him come in.

Yes, sir.

Good morning, D'Arcy.

(DOOR CLOSES)

Good morning, General.

Received a message from Paris.

A high Russian
intelligence official

has defected to the Americans.

How long ago?

We don't know.

Why didn't you know about this?

Because the Americans
didn't tell me.

How did Paris know about this?
Did the Russians tell them?

It's peculiar, don't you think?

A Russian intelligence
officer defects,

and someone in Moscow rushes over to
the phone and calls someone in Paris.

Who? Why?

What?

No, Andre. How Paris got its
information is not our concern.

We're being asked to find out

where the Americans are
hiding the defector and how.

Why?

Huh?

What will Paris do once
we have found out?

Pass the information
back on to Moscow?

Andre.

And so two men will
arrive to liquidate him?

What are you trying to say?

Nothing, General.

I just wonder how Paris
got the information.

Anything else?

No.

(PIANO PLAYING)

This is the dress you
showed me in that magazine.

Yes, it is.

Yes, that's right. He's
here. I'll tell him.

These are six classified
top secret documents

of the North Atlantic
Treaty Organization.

NATO. I am an
authority on NATO.

That's what you keep telling us.

They're numbered and
they are initialed.

And we want to know which of them
crossed your desk in Moscow.

This one.

They are fakes, those two, to see
if I really know, to test me.

(SCOFFS) You are childish.
These are fakes.

When did you become a
deputy chief of KGB?

This is of no concern to you.

We would like to be the
ones to decide that.

No. I will decide.

What the hell do you
think you're here for?

I asked for sanctuary and protection
for myself, my wife and my child.

And you got it.

But I gave you no understanding.

The hell you didn't.

You're in this business.
You know the score.

Still, I gave you
no understanding.

Look, the way you're going,

you may find yourself
on the front steps

of the Russian embassy tomorrow.

And that would be
the end for me.

But you would never
get another defector.

(PHONE RINGING)

Colonel Kusenov, does the word
"Topaz" mean anything to you?

In what context?

Just the word "Topaz."

BORIS: It's a gem, a
stone used in jewelry.

In intelligence matters.

Where have you seen this word?

INTERROGATOR: What
does it mean to you?

It's for you, Mike.

(WHISPERS) I'll
be right there.

Nothing.

You have never used or heard
it used? Topaz as a code word?

No.

INTERROGATOR: Colonel
Kusenov, here is a list of...

Who is it? Your secretary.

Yes, Peggy, what is it?
From the French what?

Andre Devereaux?
What did he want?

Oh!

All right. Call him back and say
yes, and find out what time.

Right. See you later.

What did he want?

He called and asked
me to dinner.

Well?

I had dinner with him
only two nights ago.

(DOOR CLOSES)

Hello, Bea. Where's
Mrs. Devereaux?

She just went into
the dining room.

Did she get my message?

Yes, she did.

Yes, I did.

Hello, my love. Hello.

Why are we having Mike
Nordstrom for dinner?

I thought it would be nice.

I ran into him and he said it had
been so long since he had seen you,

so I asked him to dinner.

Suddenly? Today?

What are we having for dinner?

Roast of veal gourmand.
You know what that is.

Mmm! It's heaven.

And I made it
especially for you.

If we had known you were
bringing Mike Nordstrom,

we'd have made a
Yankee pot roast.

(LAUGHS)

Let's have a drink.

Mmm-hmm.

ANDRE: Is the ice out, Bea?

BEA: It's there.

Now, why did you suddenly
ask Mike to dinner?

Because he adores your food.

And you want something
out of him.

I promise you, it's going
to be a short evening.

Oh, I wish we could
go home to Paris.

You could easily have a job
in the foreign office.

Who said so?

Claire D'Arcy.

Diplomats' wives
should not talk.

All wives talk.

She also said that you are too
involved with the Americans.

D'Arcy's an ass.

Andre, you are French.

You are not supposed to be
mixed up in this Cold War

between the Americans
and the Russians.

You are neutral.

No one is neutral.

I don't want you to be killed.

I'll go in just a
minute, I promise.

No, no, no, no, no. We
don't want you to go.

Don't be polite. I just
want to finish my coffee.

You know, I've often wondered
why that lethal weapon

has such a place of
honor on your wall.

ANDRE: That carbine,
it's Nicole's.

I used it in the Resistance.

Okay. I'm going.

And you two secret agents can
settle down and be secret agents.

(CHUCKLES) I wish you wouldn't
use such words, my love.

Why?

Who do you think you are
fooling, my master spy?

Everybody in Washington knows that
you are not a commercial attaché.

Everybody in Washington knows that
the chief of Russian intelligence

is the chauffeur who
drives a car for...

Everybody in Washington
does not know these things,

and I will thank you
not to repeat them.

Go to bed.

Nicole, where did you hear that

about the chief of
Russian intelligence?

From my butcher.

I'll be glad when Michele gets
here and I can talk to someone

who is not looking
over his shoulder.

Is your daughter coming
over from Paris?

With her husband.

He's covering the opening of the
United Nations for a Paris newspaper.

And we are going to
see them in New York

and to have a marvelous holiday.

And we are not going to see
a single solitary spy.

You might stumble over a few if
you go to the United Nations.

We are not going to
the United Nations.

Michele and her
husband are going.

We are going to have fun, right?

Right.

I seem to gather, Nicole, that you
don't care much for the work we do.

How do you guess?

You should be used
to it by this time.

A wife never gets used to it.

But I like you, Mike.

For an intelligence
man, you are very nice.

Thank you.

Thank you very much for
a beautiful dinner.

Brandy? Yes, thanks.

She wants you to quit.
You thinking about it?

ANDRE: No.

I understand you have
a Russian defector.

What is his name?

Boris Kusenov. We have him at a
safe house outside Washington.

Don't you think I knew
what I was getting into

when I was asked to dinner?

Then why did you come?

To tell you everything
you want to know.

Provided I don't pass the
information back on to Paris.

Mmm-hmm.

McKittreck says I'm
taking a big chance.

Am I?

Mike, you and I have done
things for each other

that no other agents
in this town would do.

And I'd like to
keep it that way.

NORDSTROM: What do you
mean? MRS. KUSENOV: Boris!

BORIS: I will not
betray my country!

I will not destroy my country!

No, Papa!

Boris! It is not to destroy.

I'm sick of these questions.

I'm sick of this inquisition.

You knew what you were in for.

If you had me in Russia
and I wouldn't talk,

what do you think
would happen to me?

All right, here it is.

You're being asked to tell
us the things we must know.

In return for that,
you've got this.

A new identity, a new life.

We'll see to it they'll never
be able to track you down.

You can go out in the
world without fear.

More than that, we'll
give you a business.

A chance to make
a decent living.

And for your daughter, a
full, paid-up scholarship

to any music school
in the country.

A chance to develop her talent

and to do whatever she wants
to do for the rest of her life

without fear.

Papa, I want this.

And what is the alternative?

Fake identity papers. Taxi
fare to the nearest airport.

Tickets to a city
of your choice.

One month's allowance.

BORIS: And after that?

You're on your own.

Colonel Kusenov, we would like to
know everything you can tell us

about one subject. Cuba.

Cuba. The technicians.

The Russian technicians in Cuba.

How many are there?

My estimate, 4,500.

By now, possibly 5,000.

Military?

Military, civilian,
construction crew.

Mostly technical and electronic
experts of the highest order.

What are they doing there?

They came bearing gifts
from Russia to Cuba.

What kind of gifts?

The KGB is carefully divided.

Cuba was never in my field.

I cannot give you facts.

Damn it.

Kusenov, you made an
agreement with me!

Yes, I know.

I made my bargain
with the devil.

Facts. Yes, I will tell you
where you will find your facts.

There is a Cuban named
Rico Parra. You know him.

A leader of the
Cuban government.

He was in the movement
from the beginning.

That's correct.

He was in Moscow recently
for conferences,

then flew directly to New York

as head of the Cuban delegation
to the United Nations.

I met him in Moscow.

What were the conferences?

To draw up an agreement,
or call it a trade pact,

or call it an aide-mémoire.

An agreement between the
Soviet Union and Cuba,

setting down exactly
what the Soviet Union

is now supplying and
will supply to Cuba.

Offensive weapons?

Have the Russians brought
offensive weapons into Cuba?

I told you, I cannot
give you facts.

But Rico Parra has
the trade pact.

He has the aide-mémoire.

It's all there for you to
read, if you can obtain it.

Who else might handle these
papers besides Rico Parra?

Ah!

You have become smart.

Yes, there is another man.

Luis Uribe, Rico
Parra's secretary.

He is a security risk.

How do you know?

I have used him.

But the Cubans don't
know. He can be bought.

But he is of no use to you.

Why?

He hates Americans.

Does he hate American money?

He would never take
it from an American.

You can believe me.

So now I've given
you my information.

What will you do with it?

NICOLE: Michele! Andre!

Mother!

Francois! Good to see you.

Hello, Francois.

Hello, Father.

You look wonderful. You too.

You have done something
to your hair. Let me see.

Do you like it?

My husband wants me to
cut it. No, I like it.

Agreed. Come along.

How long can you
stay in New York?

When do you have to
go back to Paris?

In five days.

Then we will stay five days.

There's so much to see and
do. New York is marvelous.

And we will do it all.

Did you check our rooms
at the St. Regis?

We have already moved in.

Oh!

And your work goes well
at the United Nations?

Marvelous. He is already
writing his articles,

and he has made marvelous
sketches of the delegates.

Everything is marvelous!

With a wife like this, one
can afford to be modest.

And they are so wonderful
to watch, the delegates,

especially the Africans,
with their marvelous robes.

And the Cubans. Oh,
I love the Cubans.

They are so wild!

(ALL LAUGH)

(INDISTINCT)

NICOLE: Well, it all
starts so well.

(TALKING INDISTINCTLY)

Oh! It's them.

Thank you.

Hello, Nicole, Andre.

I hope you don't mind my
dropping in like this.

I wanted to be sure the flowers

were in the room
when you arrived.

Michele, you remember
Mr. Nordstrom?

Oh, yes.

It's been a couple of years.

Francois Picard,
Michael Nordstrom.

How do you do? How do you do?

BELLBOY: Your bags
are all in, sir.

Andre?

Yes.

Thank you.

I understand that you're
here for a Paris newspaper.

Yes. For the opening
of the United Nations.

Francois, we have to
change for our dinner.

Hmm?

Oh, yes. Excuse me.

(DOOR CLOSES)

I do apologize, Nicole.

Thanks for the flowers, Mike.

Now, before you say, "What do you
want" or "Get the hell out,"

consider that I wouldn't be
here if I didn't have to be.

You can't do this to Nicole.

I have to, Andre.

How did you find us?
Well, you told me...

Never mind.

You both told me you were going
to be in New York. It was...

Never mind.

What do you want?

There is an arrangement
in writing

between Russia and
Cuba that we must see.

Now, Rico Parra is in...

I can't talk to Rico Parra.

He hates my guts. I know that.

Rico Parra has a secretary
named Luis Uribe.

Why don't you do
this job yourself?

We can't. Uribe can't be
approached by an American.

No. I'm sorry.

Just one of your people here
to photograph those papers.

Just a taxi ride to Harlem,
that's all we're asking of you.

This Uribe can be bought.

Andre, do this for us.

You know I wouldn't be here
if there was any other way.

Francois, the sketches you
made at the United Nations,

did you do the Cuban delegates?

Some, yes.

Did you make a sketch of
a man named Luis Uribe?

I'll see.

FRANCOIS: There he is.

Could we have this page?

If it's for a good cause.

I would hate to
have to do it over.

You'll get it back.

Okay. You can have it.

Could I ask you what this is
about? I am your son-in-law.

You're also a newspaperman.

Take care of the women.

I'll get to the colony
as soon as I can.

You're going out?

Have your drinks.

I'll try to get there before
you start your dinner.

And tell Nicole not to worry.

(CHUCKLES) I'll let
Michele tell her.

Thank you. Thank
you very much.

You're welcome.

The money.

You understand, this can't
have anything to do with us.

If anything goes wrong,
it's your operation.

I know.

I'll head back to Washington.
Will you call me tomorrow?

Yes.

I would like to
see Mr. Dubois.

Whom shall I say?

Franco-American
Finance Company.

Oh, hello. Come in. Come in.

It's a long time since
you came yourself.

It was that sudden.

I have an urgent and vital
job to be done tonight.

I hope you are free.

Always free for you.

Can we go into your office?

No, that's all open.

We'd better go in here.

You might find it a bit chilly.

(INAUDIBLE)

You remember his name?

Yes. Luis Uribe.

Why does he hate Americans?

I was told he lost a son
at the Bay of Pigs.

Oh.

This is all pretty iffy. I won't have
much chance to organize anything.

You'll just have to improvise.

Oh, lots of luck.

What about your camera?

Always ready and loaded.

This way.

Be sure you let him know you
are French, not American.

Better than that. I'm from
the island of Martinique.

That makes us
practically related.

Good.

Here is my little one.

How do you propose
to get up there?

I think I'll be a reporter.

I'm loaded with press cards.

Who do you think I ought to work
for tonight? Ebony? Playboy?

The Jersey City Post Ledger?

Ebony.

I think they identify
better with Playboy.

Ebony.

Oh, man, are you square.
Okay. Let's go.

Oh! One tiny
matter. The money.

Benny, work on this
cross, will you?

And don't brighten
it up too much.

I'll try not to.

(HORNS HONKING)

(CROWD CHEERING)

(WHOOPING)

Where will you be?

Along in here, across the road.

Watch yourself, Philippe.

It's the best thing I do.

(INAUDIBLE)

(CHEERING CONTINUES)

(INAUDIBLE)

(HORNS HONKING)

(PEOPLE TALKING INDISTINCTLY)

What do you want?

I have an appointment with Señor
Parra's secretary. Uribe.

Go ahead. There he is now.

Thanks, Mac.

I said no. Now, go on.

But Rico told me
he would see us.

MAN: Yes, he told us he
would see us this morning.

Well, I tell you tonight, he will not
see you. Now, get out, both of you.

Who are you to tell us...

Look, I said he
will not see you!

Rico! It's me, Matteo Gomez!

And Tomas Bosch.

MATTEO: Rico!

GUARD: I said get
out, both of you!

Where are those
papers now, exactly?

In a red leather case

on the floor, next
to his desk, locked.

If I get Parra
away from his desk

for a few minutes
for an interview,

can you get the case
and bring it here?

He will not give
you an interview.

Then I fail.

But I'm not going to fail
in your bathroom. Come on.

Wait one minute. Who is he?

It is all right,
Hernandez. Please.

RICO: Get out. Get the
hell out of here!

Fools! You want to get us
all arrested? Get out!

But, Rico, you said you wanted us
to show that we're not afraid.

That we're not afraid
of the Americans.

So you're going to bomb
the Statue of Liberty?

(CURSING IN SPANISH)

Get out! Señor Parra.

I wonder if I could have just
a few minutes of your time.

Who are you? Wait one minute.

Comrade Rico, this man
is from Ebony magazine.

If you will speak to
him for a minute.

I give no more interviews.

What is the matter?
Are you anti-Negro?

Leave him alone.

There are no color
barriers in Cuba.

We are a free and democratic
nation. All men are comrades.

Then you will talk to me.

After what your American newspapers
said about the Cuban delegation?

DUBOIS: I am not the
American newspapers.

I would like you to come
out on the balcony with me

and let me photograph you waving
to our people, to my people.

Will you do that?

And what will you
print about Cuba?

Whatever you tell me. One statement
to go with the pictures.

(PEOPLE CHEERING)

(HORNS HONKING)

What is this?

This is my camera.

It's a funny little camera.

It does very good work.

(CROWD CHEERING)

(CAMERA CLICKING)

How about one this way?

No, no. Keep waving,
please. Keep waving.

(CHEERING CONTINUES)

(CLICKING)

I think you've had enough.

No, just two more,
please. Two more.

(CROWD CHEERING)

Thank you, Señor Parra.

Now, what do you want me to
say to go with the pictures?

Tell your people, we are
a small country now,

but soon, very soon,

we'll not be afraid of
anybody, not of anybody.

Good. Something is happening.

No, I did not say that.
Only write what I say.

Good. Thank you, Señor Parra.

Comrade. Comrade.

Comrade.

Orlando, I want two
copies of this.

(TYPEWRITER CLACKING)

Orlando.

Where is the red case?

Uribe took it.

Uribe.

Why? He has no key. I
have the only key.

Hernandez.

Have you got your gun?

Come with me.

Excuse me.

(CROWD TALKING INDISTINCTLY)

Give me your gun.

(WOMAN SCREAMS)

(GUN FIRING)

Get him!

Come with me!

(PEOPLE SHOUTING)

(WHISTLE BLOWING)

(HORN HONKING)

There he is!

(WHISTLE BLOWING)

(HORNS HONKING)

(GRUNTING)

(PEOPLE SHOUTING)

Sorry, señor.

(PEOPLE SHOUTING)

All right, Benny.
I'll finish it.

Is it okay?

It looks fine.

Does Rene D'Arcy know that
you're going to Cuba?

Yes, of course.

Does Paris know?

I assume so.

Do they know why you
are going to Cuba?

You know I go four or five
times a year on business.

Andre, I don't want you to go.

I'm afraid for you, for
your career, for your life.

I've got to. I promised.

I started all this, and
I'm going to finish it.

Let the Americans do
their own dirty work.

ANDRE: They can't.

They have no organization in
Cuba since the Bay of Pigs.

All their agents are
dead or in jail.

And so they asked you?

Yes.

It can be no one but you?

I want it to be me.

Those papers we photographed
the other day in New York

scared the hell out of me.

Not just the Americans. Me.

I've got to see what the
Russians are up to in Cuba.

There is a woman in Cuba, isn't
there, named Juanita de Cordoba?

Where did you hear that name?

Where else? From
Claire D'Arcy.

Who got it from her husband,

who got it from your
French office in Havana.

I don't want that name
used, mentioned ever.

Why? What is she to you?

She's in the Cuban underground.
She sometimes works for me.

Ah.

What else does she do for you?

Nicole, she is the head
of a network in Cuba.

I shouldn't tell
you these things.

It is dangerous to talk of her,
even to hint that you know...

But I do know. That's the
trouble. I wish I didn't.

I know that you go to Cuba
four or five times a year,

and that she's beautiful.

I go to Cuba four or five times
a year because it is my job.

That's all.

Now I don't want
to talk about it.

Will you come down with me?

Good-bye.

(FOOTSTEPS FADING)

Nicole?

(DOOR CLOSES)

(INAUDIBLE)

You'd better wait.

I'll send the boy out.

Give him my overnight
case and the typewriter.

And take this and the suitcase
in the back to the residence.

What time will you be
in Havana tomorrow?

I'll call you when to
send a car for me.

(DOOR OPENS)

Juanita. Hello.

Señor Parra.

Monsieur Devereaux.
You're back soon.

ANDRE: I'm always happy
to return to Cuba.

RICO: Hmm. I'm sure you are.

ANDRE: And to come here
to pay my respects.

I'm happy to see you, Juanita.

Thank you.

Nylon things from
the United States.

I hope your government
won't mind.

I didn't inform the customs.

And how are things
in Washington?

Routine. Nothing exceptional.

I was in New York
only 24 hours ago.

Oh?

How are things in New
York? See any good shows?

No. Routine. Nothing exciting.

Will I see you tonight?

No. Not tonight.

Well, you'll be at the rally
tomorrow? Fidel expects you.

Mmm-hmm.

Is there a rally tomorrow?

Mmm.

I'd like to listen to Castro.

I'm sorry we can't have you
with us on the platform.

No, no. I like to be
part of the crowd.

(CHUCKLES)

(ENGINE STARTS)

Señor Devereaux.

Get my things, will you?

MonsieurVatel knows which ones.

Yes, sir.

I am very glad to see you, sir.

Please take this in for
me, Tomas. Yes, señora.

Thank you.

You sent no word.

Tried to phone you from
Mexico City between planes.

Didn't the office call you?

Less than an hour ago,
when he was here.

(SIGHS)

You picked a hell
of a time to come.

Security's tight. This island
is crawling with Russians.

I know. I have come to take a look
at them and what they're up to.

I haven't been able to send any
information out to Miami in weeks.

Well, I'm here now
to do all I can.

(CHUCKLES)

So, Rico Parra is still your
faithful companion and protector.

And landlord.

Did he come to collect the rent?

How is your wife?

(BOTH CHUCKLE)

Maybe we ought to
start all over again.

I think we'd better.

(MOANS)

(SIGHS) I don't get this.

The French don't give a damn
what the Russians do in Cuba.

The Americans do.

Well, that's going to be tough.

Cuba's locked up. The
Russians have it like this.

I'm going to need help
from your organization.

No use. Most of my
people are in hiding.

The only thing you can do is
stay with me for a few days.

Then go home.

That wouldn't be bad.

But there are things
I've got to know.

What kind of Russian missiles,

the launching sites

and close photographs
of the Port of Viriel.

What do you know about Viriel?

No one's allowed near it. All
Cubans have been moved out.

It's a Russian unloading
port for missiles now.

Precisely.

What do you know?

I got it from your
friend, Rico Parra.

Rico told you?

No.

I had his papers photographed
while he was in New York.

(LAUGHING)

You really did?

(INAUDIBLE)

Let's get down to the business
of opening our present.

Our present?

Yes.

Yours and mine.

A radio?

A Geiger counter.

This will tell us if the Russians
have brought in nuclear warheads.

There's a tape recorder inside.

Clever.

You'll have to find out what
streets in Havana they use

to transport the
missiles at night.

That's a job for
Tomas. And this one?

Oh, we have got lots of cameras.

Not like this one.

(CLICKING)

Remote control.

You can put the camera
half a mile away.

And take pictures of what?

The missiles, of course.

At San Cristano?

We'll never get near there,
darling. We have tried.

I'll show you how
in the morning.

Now, the other things I need.

What units of Soviet
troops are here,

any new types of
aircraft, and the caves.

Where are the biggest caves?

The biggest ones are at Managua.

Good.

Is that all?

I think so.

Oh, I nearly forgot.

A non-electronic present.

Oh, is that beautiful!

Thank you. (KISSES)

Let me show you how this works.

(CLICKING)

It's the radium in the clock
figures that's causing it.

(CLICKING STOPS)

Not yet 10:00 and you've
done nearly a day's work.

That's organization for you.

I showed Tomas what to
do with the typewriter.

I know. He'll do the job.

And now you'll go into Havana

and behave like an innocent
commercial attaché.

And you go to the rally
with your landlord.

See you tonight.

Adiós.

Please sit down, Mrs. Mendoza.

We are leaving now.

No, no, sit down. Is
everything ready?

Yes, señora. Just this last,
the long-distance lens.

Good. And look, señora.

JUANITA: Very good.

And here.

Cover them up. All right.

We must make sure Pablo
does not eat the camera.

(LAUGHING)

Here, here, señora.

From here I can get a
clear view of everything

that's going on in
the Port of Viriel.

Aren't you too near the road?

I promise you, it is safe.

Then here is your picnic.
Have a good time.

You will take care of Mrs.
Mendoza? God bless you.

Thank you.

Take care of your man.

I will.

(ENGINE STARTS)

(CAMERA CLICKING)

(MEN SINGING IN RUSSIAN)

(GULL SQUAWKING)

(INDISTINCT)

(SQUAWKING)

(LOUD SQUAWKING)

Ricardo, take a look.

There's someone up there.

(ENGINE REVVING)

(INAUDIBLE)

(DRIVING AWAY)

It was a man and a woman.

Manuel, Enrique, Rafael.
You others, stay here.

(ENGINE STARTS)

How long have you been here?

Some time.

You can see, we're broken down.

Have you seen any other car
go by in the last minute?

Yes, I saw one a
few moments ago.

It went down the road.

What kind of a car?

PABLO: I think it
was a black one.

RICARDO: Who was in it?

PABLO: A man and a
woman, I think.

(GASPS)

Ricardo! It's them!

Pablo! Pablo!

PABLO: (YELLS) Carlotta!

Take 'em.

Señor, you're making a mistake.

We don't know why
you're taking us.

Follow us.

(ENGINE STARTS)

(INDISTINCT)

(MARCHING BAND PLAYING)

(CROWD SINGING ALONG)

(TALKING INDISTINCTLY)

(CROWD CHEERING)

(INAUDIBLE)

(CROWD CHEERING)

(APPLAUSE)

(INAUDIBLE)

(SONG ENDS)

(APPLAUSE)

There is a man. The night the papers
were photographed in New York,

outside the Theresa Hotel.

Where?

(CHEERING AND APPLAUSE)

Are you sure?

100%.

He was as close to me
then as you are now.

Shall I have him picked up?

No. Not yet.

(CHEERING CONTINUES)

(CROWD CHANTING)

Well, that's understandable.
After all...

May I join you for coffee?

Rico, let me give you
some dinner. Dolores!

Just coffee, thanks.
I've had dinner.

Too bad. It's
beautiful chicken.

Oh?

Black market. You
might have phoned.

It was a sudden urge.

Señora?

Ask Tomas to bring some
coffee for Señor Parra.

Sí, señora.

Please sit down.

I've just come from having a long
talk with my ex-secretary Uribe.

You know Uribe?

No.

RICO: You know of him?

ANDRE: No.

Why did you dismiss Uribe?

He turned out to
be unsatisfactory.

Still, he was persuaded to
tell me what I wanted to know,

before he went on his journey.

Journey?

The journey from which no
traveler ever returns.

What had he done?

It seems he was working
for the French.

And the French, I suspect, were
working for the Americans.

So you had a sudden
urge to come here.

What does that have
to do with Andre?

Just because he's French?

The night in New York

when Uribe gave documents
to a Frenchman

to photograph inside
the Theresa Hotel,

there was another Frenchman
outside the hotel.

There may have been several.

Mmm.

Well, the only one I
give a damn about

is the one who was so
conveniently knocked over

when the French spy escaped.

That was smart.

What's this about?
Were you in New York?

Yes. For fun.

You are putting two and two
together and getting eight.

And the things you learned from
those papers about Russia and Cuba

are the reason why
you're suddenly here.

And that makes nine.

I was in New York.

I did go up to Harlem to see
the show you were putting on.

And it was a very good show.

The rest is coincidence.

Now, this is what I
came to tell you.

If it were not for her,

if it were not that it might involve
her, you would disappear tonight.

You would be with Uribe.

Your country would receive
bewildered apologies,

but you would never
be heard from again.

She is a widow of a
hero of the revolution.

She is loved and honored
in this country.

You are an intelligence agent.

Your association with her can
put her in grave danger.

I want you out of the country on the
next plane early tomorrow morning.

And if you have been
collecting information

about what the Russians are
doing in Cuba to help us here,

don't think for one minute you
will take it out with you.

You will not.

You will be searched at
the airport, completely.

And if anything is found on
you, you will be arrested.

And what can happen to you after
that is something you know about.

Now, if you don't mind
cutting your dinner short,

I'll take you back to
Havana to pack your bags.

No, you will not take
him back to Havana.

He is my guest.

He will have his dinner and he will enjoy
my company for as long as he pleases.

And when he's ready to
go back into Havana,

he will phone the residence for
a car to come and get him.

You're being a damned fool.

You've made up this story because
it's what you want to believe,

because of me.

I don't believe he had any
contact with your man Uribe,

and I don't think
anyone else would.

If you're doing him any harm,

I will raise such hell,

and you know I can.

And next time you decide to drop in on
me like this, please telephone first.

Tomorrow morning.

(DOOR OPENS)

(KNOCK ON DOOR)

Come in.

I have brought the
typewriter. It is done.

Good, Tomas.

And the car is waiting for you.

May I show you?

What time did the missiles
go through Havana?

Just before 3:00
in the morning.

On long trailers with soldiers
and jeeps and many, many trucks.

ANDRE: And the thing clicked?

TOMAS: Oh, how it clicked.

Not from the missiles, but when the trucks
went by, covered with canvas, then.

Click, click, click.

Look. Just the way
you showed me.

The tapes are right in
the center of the spool.

They would have to undo yards
of ribbon to find them.

Good boy.

Where is the information
about the Russian troops,

the caves and the installations?

Here. All neatly typed
out and miniaturized

as a microdot on
the bottom period.

All right.

Now, you will give me your
own razor and extra blades?

Here is your new razor and the
cartridge for the blades.

How do you fit the
film in there?

We just fold each one.

ANDRE: (CHUCKLES) Very good.

Something for you to
read on the plane.

Thank you.

No. Not now.

I will take these down.

Come. No.

No farewells at the front door.

I shall say good-bye
to you here,

where I own you.

If things get worse for you
here, we'll get you out.

I have ways.

I'll never leave here.

I'm Cuban. I love my country.

No matter what, I have
to see it through.

I shall worry about
you at the airport.

I'll get through.

I don't know.

Will you phone me before
you get on the plane?

Be sure.

There's something I
have to tell you.

Tell me now.

No. But before you
get on the plane.

All right.

(SOBS SOFTLY)

Go.

(DOOR CLOSES)

You found out?

Yes.

Who were they working for?

Ask her.

Well, who?

You ask her.

Who were you working for?

(INAUDIBLE)

Who sent you to spy at Viriel?

Who?

(WHISPERS) Cordoba.

What? Say it.

Juanita

de Cordoba.

MUÑOZ: Guerrero, get down to
the airport. I'll call you.

You'd better get out there.

SOLDIER: Search everywhere. Turn
the house inside out. Everything.

Look in her bedroom.

What's all this?

You will not touch my bedroom!

(GRUNTING)

Rico, stop this!

Come down.

(FOOTSTEPS)

(DOOR OPENS)

(DOOR CLOSES)

TOMAS: No, no! Keep out.
You cannot go in there!

DOLORES: Tomas, stop
them! (SCREAMING) No!

(TOMAS SCREAMS) Dolores!

You know some people
named Mendoza?

Yes.

They have been saying
terrible things about you.

I do not believe them.

Muñoz believes. I can't.

They were tortured?

If you torture people
long enough...

I do not want to believe them.

Hey, Rico. We have found
it. In the pantry.

A darkroom for cameras
for developing pictures

and all kinds of machinery
to make them small.

And it's all true. They've been
operating from this house.

Get me the airport.

You know what this is?
For razor blades.

It is where they hide the film.

Hello, airport?
Get me Guerrero.

Guerrero. Do you still
have the Frenchman?

Nothing? All right.

I'll tell you where to find it.

In a small package of razor
blades, the injector type razor.

The small, thin ones
that slide out!

Call me back! You know where.

(RECEIVER SLAMS)
So it is true.

I have to believe now.

The things that you
have done against us,

against what we
are trying to do.

Why?

Because you make my
country a prison.

No. You cannot judge.

Not you.

You shouldn't have done this.

To fool me,

to work against me.

You're part of it.

So now we'll have to do to you
what we did to the Mendozas,

to find out the names
of all the others

and all the things
that you have done.

And we will find out.

The things that will
be done to your body,

this body.

(GUNSHOT)

(CHOKES)

(PHONE RINGING)

MUÑOZ: Yes, Guerrero.

What? Nothing?

No film?

But what was in the
razor blade case?

Razor blades?

Guererro, what do you mean
you had to let him go?

All right.

All right!

They let him go.

(PHONE RINGS)

Hello. Who's this?

Oh, Señor Devereaux.

Señora de Cordoba?
I'm afraid not.

Something has happened.

She's dead. Shot.

Señor Parra? He is gone.

(ENGINE STARTS)

That's quite a pile of mail.
Has Nicole gone away?

Yes, yes. I didn't tell you.

She thought she might go
to Paris for a while,

as long as I was
going to be away.

She didn't see as much of Michele
in New York as she hoped.

That was my fault. I'm
sorry about that.

No, no, she got a bit
homesick for Paris anyway,

and she didn't know how
long I would be in Cuba.

The amount of junk mail that
accumulates in just a few days.

Come and have a drink.

You sure you wouldn't like to
be alone, unpack, call Nicole?

No. Besides, you should be able to
phone your office in a few minutes.

They must have that stuff
from Cuba processed by now.

I won't be a minute,
I'll just get some ice.

(DOORBELL RINGS)

(DOOR OPENS)

ANDRE: Ah, Rene, come in.

(DOOR CLOSES)

I've come to... You
know Mike Nordstrom?

Rene D'Arcy.

Yes. Hello.

Hello.

We're just about to have a
drink. Will you join us?

No, I only dropped by to see
you now that you're back.

If I could speak to
you alone. I'll go.

No, no, please. We
can go to my study.

Here, make yourself a
drink. Come, Rene.

Sit down.

Since you did not choose
to come to see me,

I've come to see you.

I'm sorry. I had something
quite important.

I was given the time of your
flight from Havana to Mexico City.

The time of your flight from
Mexico City to Washington.

I sent Peugeot to Dulles
Airport to meet you.

You were not on the plane.

No. Nordstrom met me in
Mexico City. He flew me here.

In an Air Force plane.

I gathered that.

But I'm not supposed to
ask you why or what.

That is beyond me now.

People in higher places
will ask you that.

You left quite a few
complications behind.

Yes, I know.

So it is done, whatever
you have done.

The Cuban government has
protested your activities

directly to Paris.

I am here to instruct you to be on
the next plane to Paris tonight.

You'll report to the
director general.

(DOOR OPENS)

(DOOR CLOSES)

Well, the end of
Washington for me.

I've been recalled.

I'm sorry.

You know how grateful we all
are for your contribution.

It confirms our information
from other sources,

including the U-2 photos.

What do you think
will happen in Paris?

Oh, a board of
inquiry, I suppose.

Why I went to Cuba, what I did,

who I did it for, why
I did it for you,

and what I found out.

I want you to take a ride with
me out to the safe house.

While you were away,
the Russian came up

with some revelations
that'll shake you.

What about?

The leaks in Paris.

He spelled the whole
thing out for us.

I want you to listen to him before
you face those people over there.

Thank you, Mrs. Fawcett.

I will serve the coffee.

Mrs. Fawcett makes
wonderful coffee.

Will that be all?

NORDSTROM: Yes, thank
you, Mrs. Fawcett.

Monsieur Devereaux?

No, thank you.

Mr. Nordstrom. Black
with one sugar?

Mr. McKittreck. Black?

Could I offer you a cigarette?

Ah, no. You are smoking.

And now again, Topaz.

These gentlemen have asked me to
repeat to you about Topaz. Why?

Please do us a favor. Tell
him what you told us.

Then you succeeded in getting
them the information from Cuba?

Yes.

And now they are afraid
that you will be obliged

to pass it on to
your government.

And what is Topaz?

Topaz is a code name

for a group of French
officials in high circles

who work for the Soviet Union.

I don't believe there
is an organized ring.

The head of the ring has
a code name Columbine.

I do not know him, but I know
he is important and powerful.

Second man in line
is Henri Jarre.

Jarre! Yes.

Henri Jarre.

He was my direct contact.

Any vital document that passed
across his desk came to me.

Do you know him, Andre?

Yes. He's an
economist at NATO.

Do you know him well?

Yes.

Then it is believable?

It's possible.

It's more than
possible. It's true.

So, now you will want
to talk, you three,

and I will go for a walk in the
garden before the sun goes down.

NORDSTROM: Blake.

You would like it here.
It's a charming house.

Shall we go for a nice walk?

All right.

Monsieur Devereaux, you are faced
with the same problem I had.

Whether to obey your conscience
or to obey your government.

Let me give you a piece
of advice. Don't go home.

These people will give you a new
life, a new job, everything.

Think it over.

Well?

Our government is preparing to take
any action against Cuba or Russia

that circumstances demand.

Any leak to the Russians of what we
know at this time could be fatal.

If the Russians learn
we're on the move

because of all the
information we have,

they could make those missiles
operational almost immediately,

pointed at every big
city in America.

ANDRE: And that means
France will be involved.

We have to inform our
allies of our intentions.

When?

An American mission will
arrive in Paris in three days.

And I am supposed to keep my
mouth shut and uncover Topaz

at the risk of my own skin?

(CHUCKLES)

That's quite a job, my friends.

When do you go before
the board of inquiry?

I don't know.

I would have found
out this afternoon

if my plane hadn't been delayed.

Seven hours on the
ground at New York,

and I missed that
cocktail party.

I feel pretty foolish

after phoning Jacques
Granville to arrange it.

He has invited government
people that I wanted to see,

who can help.

It's easier to catch
them at a party

than to have to run
around to their offices.

You could still make it if
traffic's not too heavy in Paris.

Then go, Francois.

You know, Mother will be there.

Well?

You will speak to her?

Of course I'll speak to her.

She left me, I didn't leave her.

Move, Francois.

Okay, I'll leave you now.

Oh, Francois, why
can't you stay?

I have to get back
to the newspaper.

I'll see you later for dinner.

Okay. Thank you, Francois.

Nothing.

Good-bye, my love. Good-bye.

Jacques has done well
for himself this time.

Did the new wife own the
house when he married her?

This one, and one on the Côte
d'Azur and one in Switzerland.

Jacques always had an
eye for a good thing.

Good afternoon.

I hope Mother hasn't gone...

There she is.

(INAUDIBLE)

Excuse me.

I'm sorry you have
been recalled.

It is not the way you meant
for me to come to Paris.

No.

Hello, Nicole.

Hello.

Andre.

Ah, Jacques.

Mama, please. He is
in terrible trouble.

There is nothing I can do.

I've got to talk to you.

You bet you've got
to talk to me.

What kind of fool have you been?

Anybody I know here?

There were, but most
of them are gone.

It's late. Waiter?

What will you drink?

Scotch.

Claude Martin is still here
and a couple of others.

You've raised a hell
of a fuss, you know?

What do they expect when the
Russians and Americans...

MAN: Andre.

Ah! There is Claude Martin.

Look. How are you, Claude?

Good. What is all
this trouble?

Have you been having an
affair with the Americans?

Don't you believe it.

It was purely platonic.

Besides, you should know,
when you do have an affair,

it's a two-way street. You give
a little, you get a little.

And now you're in trouble.

You want me to help you?

Yes, I do.

Both of you.

All right. What do you want?

I want to see some of my friends
in the department, alone.

Tomorrow. A private lunch.

Good. Very good.

I will arrange it at Pierre's.

The private room upstairs.

Claude?

Yes, yes. I'll be there.
Who else do you want?

Jean Jarre.

Weak.

But well placed. He can help.

Emile Redon.

Good.

And Henri Jarre.

Jarre? Do you know him well?

Yes. And I respect him.

Is there any reason why
he shouldn't be there?

No.

No, fine.

Anybody else?

No, I

(INAUDIBLE)

Think that's enough.
Five men who might help.

Especially you two.

Excuse me.

(INAUDIBLE)

Claude, I'm worried about him.

He might have a chance.

Someone told me
Nicole has left him.

Yes.

Very rough.

It's sad for me.

We've been close since our
days together in the war.

The three of us,
we were like this.

People wondered which she
would marry, Andre or me.

She married Andre.

Let me understand something.

Nobody up high is to know
that we are here with Andre.

Otherwise, I shall
have to leave.

It is understood, Jean. You
have nothing to be afraid of.

I am not afraid. It's
a matter of protocol.

He has not seen the
director general.

That is true.

And for myself, I don't
see how we can help.

Jacques, when you spoke to
Jarre... Ah! Here he is.

Good afternoon.
Good afternoon.

I'm sorry I'm late.
Andre, how are you?

ANDRE: I'm glad
you came, Henri.

Good. We are all here.

Let's sit down.

Now, this is a serious
matter for Andre.

Very grave.

And he has asked us to give
him whatever advice we can

before he faces the
director general.

It is not so much the
director general.

It is the whole board of inquiry
he has to look out for.

There is nothing
I can tell them.

Nonsense. You went to Cuba on
a mission for the Americans.

You obtained certain information
for them. That's true.

Yes.

And you refuse to pass it
on to your own government.

I cannot, my
friends. Believe me.

Why not?

Because there are leaks
in our government,

and I don't know where they are.

I think I must go.

No, Jean, stay.

No one will be compromised,
I promise you.

Andre, to be a man of
principle is one thing,

but a man doesn't cut his
throat on principle.

I have no desire
to cut my throat.

CLAUDE: Then tell us, your
friends. That's why we're here.

Be reasonable, Andre. We
are trying to help you.

Yes, my friends.
Slowly. Slowly.

Let Andre tell us
in his own way.

Have any of you, in your
official work, had any hint

of a spy ring called Topaz?

No?

What kind of a ring?

There's a number of Frenchmen,
compatriots of ours,

high in official circles,

working for the Soviet Union.

I go.

Jean, sit down. I need you.

I have nothing to do with spies.

I'm concerned with
exposing them.

This is a fairy tale.

How do you know about
this ring of spies?

The Americans have a Russian
defector high in KGB.

We know that.

Yes, that is known.

I saw him. I was allowed
to talk to him.

He told me.

A spy ring called Topaz?

ANDRE: Yes.

What is the name
of the defector?

Boris Kusenov.

But, Andre, that's not possible.

Why?

(CHUCKLES) The KGB official
of whom you speak,

Boris Kusenov, has been
dead for over a year.

This man who has been
planted on the Americans

is obviously a double agent.

And he has taken in the Americans,
and he has taken in you.

How do you know that?

What makes you think that?

It's a matter of record.

I have it in my file.

(HORN HONKS)

You know you're not supposed
to come here unless I ask you.

I've been calling your
office all afternoon.

I even called this number.

I was with my dear wife.

She wants to buy me a new
painting for my study.

I apologize for this
invasion of your privacy.

Why did you permit Devereaux
to include me at that lunch?

If I had not, he
would have wondered.

If you had not come, he
would have wondered more.

But he knew. You could see
that he knew about me.

No. He wasn't sure.

He was trying to find out.

And you, who behaved so
well at the beginning,

then did something extremely
foolish. (CHUCKLES)

You said that the Russian
defector was dead.

It shook him. It stopped him.

For the moment. By now, he's
checking with the Americans.

By tomorrow,

he will know that we are lying.

What will we do?

(CHUCKLING)

Nothing.

Let me give you something
to settle your nerves.

A cognac?

You don't think Devereaux
should be treated seriously?

An ominous and subtle
suggestion, Henri.

But these things are
not done in panic.

You'll forgive me if
I don't join you,

for I am expecting a guest.

If I am Devereaux's target now,

how long before he
will become a threat

to others?

Jacques,

this is not the first time we
have been faced with a problem

that demanded the
final solution.

Now, if you will
finish that cognac...

They are beginning
to publish things

in the newspaper that
make me nervous.

Ah. (LAUGHS)

What things?

Those little hints of possible
leaks in the government, in NATO?

Pay no attention.
It's nothing.

Nothing for you. Nobody would
think of you in your position.

But me...

And now some journalist has called
to ask me for an interview.

About what?

NATO.

That's perfectly innocent. Give
it to him. Did you refuse?

No. I said I would.

Very intelligent.

Jacques, if Devereaux
has information

from the Russian defector
that I think he has,

he must be stopped now.

Believe me. (CHUCKLES)

Hmm! How bloodthirsty you are.

What, Devereaux dead?
A grieving widow?

And an official investigation?

I hate to seem impatient, but
I'm expecting a visitor.

You can find your way out.

Shall I call you
after the interview?

What time will it be?

9:00.

Call me afterwards.

(DOORBELL BUZZING)

Thank you for coming.

Why shouldn't I come?
I'm a free woman.

(DOORBELL RINGS)

Good evening. Francois Picard.

You're early.

We said 8:30.

No, we said 9:00.

I'm very sorry. If it
inconveniences you...

No, come in. Come in,
as long as you're here.

Thank you.

Sit down.

Thank you.

Could I give you something?

No, thanks.

First, I want to thank you
for permitting me to come.

Don't mention it. Yours
is a very good newspaper.

Not like some of these...

(LAUGHS)

But I don't know exactly
what you want of me.

Nothing extraordinary.

I'm just inquiring into
the workings of NATO,

and since you're one of
the top officials...

Do you mind if I sketch
you while we talk?

It's one of my specialties, to
sketch the people I'm interviewing.

The newspaper likes it.

Go ahead.

Okay.

Just relax, Monsieur Jarre.

I am relaxed. (CHUCKLES)

Good.

I only wonder what
questions you want to ask.

They are very simple.

For example, you're a
civilian official of NATO.

How does your authority
compare with the military?

The importance of people in
NATO has nothing to do with

whether they wear
a uniform or not.

Very good.

Then you are among those
who make the decisions.

Yes, of course.

Even if they are military?

Military considerations are
always subject to politics

and the relations
between countries.

I see.

And so you have access to all
decisions that are made,

military as well as political?

I did not say that.

(CHUCKLES) I'm afraid
you assumed too much.

(CHUCKLES) I'm very sorry.

But we can assume, can't
we, that in your position,

you've access to
confidential files?

I beg your pardon.

I don't see how that can
be of interest to you.

Oh, Monsieur Jarre,

the readers of our newspaper
find such things fascinating.

For them, to know that
a civilian like you

can have access to
military secrets...

You cannot print that I have
access to military secrets.

Even if it were true, it would
be classified information.

(SCOFFS) What a shame.

But you said before...

I said that I help
make decisions.

That is different.

Okay. It's too bad.

But you see, sir, it is a rule for
a newspaperman not to be dull.

Surely I can print that
files marked "top secret"

cross your desk every day.

Why do you stay on this subject?

What are you trying to find out?

Well, everyone knows that
there are leaks in NATO.

What has that to do with me?

(CHUCKLES)

I'm just trying to clear up a
discrepancy for my article.

What discrepancy?

Well, you see, sir,
it is our information

that a head of the
Russian NATO desk,

Boris Kusenov, has defected
and is now in Washington.

But we are also informed that you
claim Boris Kusenov is dead.

Could you clear up
this discrepancy?

(DRAWER OPENS)

This is not a
newspaper interview?

No, but I wouldn't
mind publishing it.

Who sent you?

My father-in-law.

Who is he?

Andre Devereaux.

He sent you because
I don't know you.

And because I'm a
journalist. I can probe.

There is nothing to probe for.

Your mission has failed.

Oh, no, sir.

This cannot be escaped.

Boris Kusenov is alive and has
stated you were his direct contact.

The Americans have NATO
documents that you gave to him

with your name on them,
your initials on them,

even notations signed by you.

Those documents can
be on the desk

of the head of our
government in eight hours.

I do not think I have failed.

What do you want of me?

Information.

And in return?

You'll be given
time to disappear.

We know you'll be
welcome elsewhere.

I am not going to talk to you.

Will you talk to Devereaux?

May I call Devereaux?

Yes.

Call him.

He must come here.

I'll talk to him here alone.

Understood.

(DOORBELL RINGS)

Yes. Come in.

Hello, Michele? Let me
talk to Andre, quick.

(DOOR CLOSES)

(INDISTINCT)

Andre, listen. It's done. Yes.

Alone?

Well, stay until I get there.

Then you can wait
for me outside.

(DIAL TONE)

Francois. Francois!

What is it?

I think we have been cut off.

Jarre, Jarre. Here it is.

(PHONE RINGING)

There is no answer.

Something has happened.

I'm going over
there. I'm coming.

No, you stay here.
I'm coming with you!

Here you are.

Good. There. His car is here.

He must still be upstairs.

(MICHELE GASPS)

What's the matter?

Look. Look.

I want to go down.
I want to go down!

(MICHELE GASPS)

ANDRE: Jarre.

(RATTLING)

(DOORBELL BUZZING)

Michele? Is that you?

Francois?

(SOBBING)

Sit down. I'll get
you something.

What's the matter?

Francois.

What's happened to him? What's
happened to him? (CRYING)

He disappeared. He went
to do a job for me.

What kind of job?

To interview a man in our
government named Jarre.

He was working for the Russians.

(CRYING)

You sent a boy?

We don't know what's
happened yet.

All these years, I
have been afraid

that something like
this would happen.

I know.

(GASPS) Andre, how I have...

Francois!

(WINCES) Be careful.

What is it?

Well, to be honest, I've
been shot just a little.

Come on. Sit down.

There.

Mama!

Oh! Take it easy.
Wait, Michele. Wait.

It's nothing, I promise you.

Hurts a little, but I don't
even think it's bleeding.

What do you mean, not bleeding?

Go get some alcohol.

We haven't got any.

Then eau de cologne.
That's alcohol.

And a bandage.

Is the bullet in?
Let me have a look.

No, it just grazed you.

I told you, it's nothing.

Nothing! You disappear,
it's nothing!

Could I have some whiskey?

You are shot, it's nothing!

Here, cognac.

Thank you.

(COUGHING)

What happened?

I don't know.

I was talking to you on
the phone, remember?

Then I heard Jarre let some
men into the apartment.

And then someone must
have hit me on the head.

Feel that.

Oh, my God. Yes.

And the next thing I knew, I was
sitting in a car between two men.

They stopped to
make a phone call,

because they didn't know
what to do with me.

They thought I was still
unconscious. (WINCES)

When the car door opened, I jumped
out and ran. There were two shots.

You might have been killed.

Did you go around to
Jarre's apartment?

Yes. He's dead.

Dead? Shot by those men?

They made it look like suicide.

A window was open, and his
body was lying in a courtyard.

Who could they have been?

Messengers from Columbine,
the head of Topaz.

Why?

I must have shaken
Jarre at that lunch.

He became a risk.

Ah.

Then Columbine must
have been there, too.

Yes.

But who?

(INHALES SHARPLY) It hurts.

It can't be helped.

Don't you think we
should get a doctor?

No, not yet.

It may involve us
with the police.

I just remembered. I
might get involved.

How?

My sketchbook. I
left it there.

No, I brought it away with us.

Here.

Thank you.

Look, Michele,

portrait of a dead traitor.

ANDRE: And if you had arrived later,
you would never have seen him.

FRANCOIS: I'm cold.

MICHELE: Come and lie down.
I'll get you a blanket.

FRANCOIS: Oh, Andre.

There is one thing I didn't
tell you that's important.

When the men stopped to phone,
just before I got away,

I heard one ask the other
for a phone number.

It was Babylon-8583.

You are sure?

I'm positive. Babylon-8583.

I can have it tracked
down in no time.

You don't have to
trace that number.

It's a small house hidden
away on the Left Bank.

Jacques Granville.

Horrible. Horrible!

Mr. Ambassador, how are you?

Good to see you.

How do you do?

Good to see you again,
Mr. Ambassador.

Hi. How are you, sir?

Anything on Topaz?

Who's running it?

Jacques Granville,
a friend of mine.

A friend? Yeah.

Up till 10:00 last night.

But I can't nail him down.

No proof.

I brought this old
picture along.

It'll help you recognize him.

He's bound to be at your meeting
with our people this afternoon.

That poses a problem
for us, doesn't it?

How can we tell the
French about Cuba when...

MAN: Mike!

Thank you. Take care.

(INDISTINCT)

Are you sure? Positive.

Gentlemen, will you be kind enough
to take your seats at the end?

All right. Yes. Thank you.

What do you suggest we do?

What I suggest we do is
to tell them right away.

NORDSTROM: Gentlemen,
one moment, please.

(SPEAKING INDISTINCTLY)

Just a moment.

Look, Jacques, I am very sorry,

but the Americans would rather
that you are not present.

There is no time to explain
now. I'll explain later.

Well, bon voyage.

How can they let him
get away like this?

I told you, my love. He
doesn't miss a trick.

They have nothing against him.

Anyway, that's the end of Topaz.