Original subtitles

(DRUMS BEATING)

(BRASS BAND PLAYING)

(INAUDIBLE)

(HORNS HONKING)

What shall we do now?

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.

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?

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?

on. (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)

(INAUDIBLE)

(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)

(ENGINE HUMMING)

Go right on up.

Thank you.

All right, thank you.

(CLAN KING)

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.

MAN 11 Hello...

MAN 21 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.

ls 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...

ls it your house?

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

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

please, if you don't mind.

All right. Yes.

McKlTTRECK: 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.

Huh? Yes, you do.

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.

(PIANO PLAYING)

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.

This one.

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.

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.

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.

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.

ls 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?

ANDREI N0.

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 |?

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.

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?

Andre! NICOLE: Michele!

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.

(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 andloaded.

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 Sefior 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.

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! Sefior 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, Sefior 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, Sefior Parra.

Comrade.

Comrade.

Comrade.

Orlando, I want two copies of this.

(TYPEWRITER CLAC KING)

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, sefior.

(PEOPLE SHOUTING)

All right, Benny. I'll finish it.

ls 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.

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.

ANDREI 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 butyou?

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)

Juanfia. HeHo.

Sefior Parra.

Monsieur Devereaux. You're back soon.

ANDREI 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.

ls 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)

Sefior Devereaux.

Get my things, will you?

Monsieur Vatel knows which ones.

Yes, sir.

I am very glad to see you, sir.

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

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.

(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?

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.

ls 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.

Adiés.

Please sit down, Mrs. Mendoza.

We are leaving now.

No, no, sit down. ls everything ready?

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

Good. And look, sefiora.

JUANITA: Very good.

And here.

Cover them up. All right.

We must make sure Pablo does not eat the camera.

(LAUGHING)

Here, here, sefiora.

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.

Sefior, 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)

(some 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.

Sefiora?

Ask Tomas to bring some coffee for Sefior Parra.

Si, sefiora.

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?

ANDREI N0.

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 becauseifs 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.

(soss SOFTLY)

Go.

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.

Juanfla

de Cordoba.

MUNOZ: 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.

Mufioz 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, 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)

MUNOZ: 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, Sefior Devereaux.

Sefiora de Cordoba? I'm afraid not.

Something has happened.

She's dead. Shot.

Sefior 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 ofjunk 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.

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?

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.

Yes Jane!

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.

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.

NORDSTROMI Blake.

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.

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?

ANDREI 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 hate to seem impatient, but I am expecting a visitor.

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?

(CHUCKUNG)

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, Henfl.

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)

How bloodthirsty you are.

What, Devereaux dead? A grieving widow?

And an official invesfigafion?

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?

9100.

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 Jane,

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.

(MICHELE GASPS)

ANDRE". Jane.

(RATTLING)

(DOORBELL BUZZING)

Michele? ls 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 ofjob?

To interview a man in our government named Jarre.

He was working for the Russians.

(GASPS) Andre, I had a headache.

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.

ls 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.

(coueunue)

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 oar 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.

Oh, I just remembered. I might get involved.

H ow?

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.

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.

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.

(GUNSHOT)