The Spence.
Mr. Cary Grant, a star of The Black Path of Fear,
a defense play produced, edited, and directed by William Spears.
The Spence.
It was our first day in Havana.
We'd taken a hack, an open horse-drawn carriage,
and spent the afternoon driving around to see the sights.
She was always crazy about jade.
So in Chinatown we stopped in a little curiosity shop.
We never steered the students.
We bought a few gadgets there and started back toward the main part of the town.
It was getting dark, and she snuck it up close to me there in the carriage.
It's been a wonderful day, Scotty.
Yeah, yeah.
I was scared at first.
A couple of times I thought I saw him in the crowds there in Chinatown.
Guess it was just my imagination.
Sure it was.
He wouldn't find me rust up this far from his home base.
He could be a little Caesar around his night clubs back in Florida.
But here in Kielba he's just another alien that better not get caught carrying a gun.
He said he'd get me if I ever left.
No matter where I went.
Nah, but he sent a radiogram wishing us luck.
That's what worries me.
He didn't say which kind of luck.
Alto, Glover. Alto.
So what's this, driver?
It's Floppy Joe's. Big attraction in Havana.
Of course, Floppy Joe's.
Want to go in, darling?
Why not? We can only die once.
So I paid the coachman. We went into Floppy Joe's.
The place was jammed with a sidewalk line and so noisy you couldn't hear yourself think.
It was like a football scrimmage when you moved in.
And like sardines in a can when you stood still.
And then suddenly the crowd divided in front of us like a Red Sea.
And a little photographer came through using an old fashioned tripod for a battering ram.
He set up his camera and pointed it in our direction.
And he said your handy lady would like a picture for to show their friends back in the...
Oh, thanks.
Oh, please, Scotty. We've never had a picture taken together.
Together? With forty hundred people jammed up against us on all sides?
Well, instead of maybe you come to my studio.
Calle Barrios. It's not far.
Oh, no. All right. Go on. Shoot it here.
Ah, well, I make a pose, please.
Uh-huh.
Much corino, much love.
Ah, bueno. Once di Verdi. Hold it.
Ha-ha. That is all. I have the picture.
Here is my card. Thank you. Come.
Hey.
It should be ready tomorrow.
Oh, come on. He's taking it now, darling.
Come on, honey. Everybody's looking at it.
Don't rush me, Scotty. Give me time.
Hey, what is it? Why are you so limp? What's wrong?
I knew we wouldn't make it.
But what do we care?
Part of a night's better than none at all.
Eve!
Just stay with me a minute. It won't take long.
Darling, what happened? What happened?
Scotty, that was the first picture we ever had taken together.
Let me know how it turns out.
Oh, Eve! Eve, darling!
She's dead.
She doesn't move anymore.
Somebody do something!
She's been knifed.
Right here in my arm.
Havana is a fast town for anything.
Love, life, and death, too.
A minute ago, I'd been half of a honeymoon couple getting their first picture
snapped by a little Cuban photographer in Sloppy Joe's.
Now I was alone with a corpse in an empty saloon.
But that didn't go on for long, either.
There were cops there in half a minute and finally a detective.
This woman is dead.
Yeah, I know.
You were the man with her?
I was the man with her.
Your name?
Oh, Scott. Bill Scott.
Mr. Scott, how long have you been in Havana?
Four hours.
You were with this girl here in this bar?
Yeah. No, no.
No, we were only in here long enough to have our picture taken.
You were traveling together?
That's right.
Her name on her tourist card is Mrs. Edward Spinelli.
Yeah.
Where is Mr. Spinelli?
Not where I'd like him to be, which is...
You are not being very cooperative, Mr. Scott.
Okay, I'll tell you the whole story.
She was a singer in a nightclub in Tampa, Florida.
Spinelli owned the nightclub.
He packed a gun, and so did the waiters in the joint.
He gave her the choice between getting killed and marrying him.
So she married him.
And how did you meet her?
I worked for Spinelli. I drove his car.
You are not a chauffeur by profession. Are you Mr. Scott?
No. I took the job to get her away from him.
Is there anything wrong in that?
The murder weapon, this knife. What do you know about it?
What are you driving at?
Is this your knife, Mr. Scott?
No. No, but it's a pretty close match.
I bought one just like it this afternoon in the curiosity shop.
Wait a minute, I'll show you. I've got it in my pockets right...
Put that in your pocket.
Wait a minute. Wait a minute.
Don't get so excited.
Okay, it's in this pocket. Now fish it out yourself if you want to.
There is no knife here.
There's got to be. It was a knife of the Jane Hannell.
Like that one you've got there with a monkey carved on it.
But the monkey on the one I bought was holding his hands over his ears.
There were three of them in the shop. You know the type.
See no evil, hear no evil, speak no evil.
I only know that you bought a knife this afternoon,
that you no longer have the knife,
and that a knife has been used to stab this woman.
But it's not the same knife, I tell you. I can prove it.
Give me a chance to prove it, will you?
All right, Mr. Scott.
I will give you a chance.
So we went back to the shop where I bought the knife,
back to Chinatown.
Inspector Acosta, that was the Cuban detective's name,
questioned the old duck who sold it to me.
You remember this man buying something in here this afternoon, Viejo?
Yes.
Gentlemen buy knife, all-in-metal knife.
A knife with jade handle.
Well, describe the jade handle.
Jade handle have monkey.
We know that. Describe the monkey.
Pretty sure monkey hiding eyes.
So, see no evil.
You're crazy. What's the matter with you?
What are you trying to do to me?
I bought the one holding its ears. You know that.
Veochin, this man's life may depend on what you are saying.
Are you absolutely sure?
Knives come by trees. First one is sold to this gentleman.
Other still got, I can show you.
Can't line your teeth.
Listen Acosta, so what if he shows you a set with that one missing?
He's probably got a hundred sets in the store room.
Only one set imported. Can show customs invoices.
How did this man and the woman act when they came into the shop?
They acted scared, very scared.
The man Scott take out knife, he feel to see if sharp.
He go over to lady with it. He do like this for joke.
Sure, what about that joke?
Lady don't think it's joke.
Oh, she turn really pale and act scared.
She say, she say go ahead.
She say she tired waiting for to be stabbed with knife.
Ah, really Scott?
I think she did say something like that.
She was afraid Spinelli was going to have her bumped off.
Well, he did it.
And this guy has been paid to frame me. Can't you see that?
I am sorry Mr. Scott.
But I must please you under arrest for the murder of Mrs. Eve Spinelli.
As we threaded our way back through Chinatown in the police car,
I thought the whole thing over and came to a decision.
The car was creeping along in a stale space through the crowded streets.
I was in the middle, Acosta and the other dick on either side of me.
The car fitted in the narrow lane like a cork in a bottle.
If it came to a halt in front of the door of a building,
then find me a ditch just that.
I bolted and they came after me fast.
The door I ducked into opened onto a pitch black hallway.
I groped around until I found a flight of stairs and started climbing.
My heart! How did I shoot?
Go ahead and shoot.
They didn't start shooting right away.
They had to swap me with their lights first.
The rays from their pocket flashes kept stabbing past me like tracer bullets.
The light could only shine in the straight light beam
and I could go around the curve at the head of each flight.
The third term was the last.
There was a square vent at the back of a passage and I could see the stars through it.
There was a ladder of rusty twisted chains with rotten wood cross pieces.
I knew I never had time for it.
And suddenly the light hit me.
So the bullet didn't.
I ducked back in the shadows and turned the knob at the nearest door,
tossing my head over the foot of a ladder to make it look as if I lost it while climbing.
I backed through the door into a room.
In the dark room I stood very still and listened.
They were separating to case the roofs along a block.
And I was safe for a few minutes anyway.
Tried to figure out where I am.
A room.
A dark room.
I strained my eyes into the blackness.
Then something cool and metallic found the side of my neck.
It was the business edge of a knife.
Bueno.
I...
No hablo español.
No me verse.
Take it easy, take it easy.
I can't talk your language.
Put that knife down, will you miss?
Take it usted.
Polizia.
Vestecnci.
Understand?
Compromi?
Up there on the stairs.
I don't know how to say it.
Polizia.
They're after me.
Cops.
Cops?
Why didn't you say so before?
I hate cops.
Oh, you do talk English.
I ought to.
I've been in enough of your jails to take out naturalization papers.
Get over there, I'll do what I can for you.
Where's our keys?
I don't see them.
They're in the bathroom.
They're coming back.
I better get out of here.
Don't be a fool.
There's 20 of them down in the street now.
They almost want you bad, chico.
Well, they say I killed my girl.
They say wrong.
They say very wrong.
Another man took her away from you, eh?
No, I took her away from another man.
Ah, you're an only fool of a policeman,
knowing you didn't kill her.
You never kill what doesn't belong to you, only what does.
Tell them that.
Uh-oh, here comes payday.
Quickly, get into the cop there.
Cover yourself up.
Do as I tell you.
Take off that shirt.
Don't stop for buttons.
Tear it off.
Now then, face the wall.
Hey, what are you doing?
Carefully, still, and don't rub against the covers.
No, don't move.
You...
Excuse me, have you seen a man,
very sick, an American?
No, I haven't seen anyone.
Do you have a doctor?
No, no man.
We'll see.
He's very sick.
Viruela.
Viruela?
Yes, Viruela.
Look, she's in quarantine.
It's true.
Viruela.
Let's go.
Excuse me, good night.
Good night, sir.
Good night.
What was all that about?
Hey, what are all these red spots on me?
I put them there, with lipstick.
I told the cop you were my husband
and now a smallpox.
Oh, and they believed it?
Why not?
I showed them the quarantine sign on the door.
Manolito, that was my man.
He died of smallpox in this room.
Huh?
Oh, don't be alarmed.
It has all been disinfected.
Oh.
Well, say thanks.
Why did you go to bed for me like that anyway?
Eh, different reason.
Flowers on a grave, I guess.
Flowers on a...
What does that mean?
It's hard to explain.
It's my way of doing something for someone
that isn't around anymore, I guess.
It's the only way I have.
I don't know any other way.
You see, I know what it is to lose someone you love, too,
just like you.
Oh, Manolito?
He got the smallpox in jail.
He came back here to me to die.
What is your name, guapo?
Bill Scott.
Is Scott?
No, Scott, with an S.
It's too hard to say. I call you guapo.
That means handsome.
Well, thanks.
What shall I call you?
Ah, a Rani's neighborhood.
They call me Mea Noce.
Mea...
It means midnight.
Try that way.
Okay. Midnight?
They call me that because now I always hang around late by myself
since he's gone.
Well, midnight, I, uh...
I don't know what to say to you except thanks.
No, nada.
Flowers on a grave.
Yeah.
Well, I guess I'd better get going.
What do you want to throw away all my hard work for?
They spot you at the next corner.
Well, I can't hang around here for the rest of the night.
What's the matter with you here?
Why, nothing, but...
How do you figure on getting out of town even if you do get out of here?
I don't know.
You don't know Havana, you don't know Cuba.
You're on an island, water all around you.
Yeah.
You don't get away.
Well, looks like I stay in Havana.
Oh, if I could only get hold of that photographer.
Photographer?
Yeah.
There was a photographer in Sloppy Joe's.
He was snapping a picture of us just when it happened.
Hey, you think maybe this picture is the man who killed your sweetheart, eh?
Pretty sure of it.
See, guapo, what do you remember about this photographer?
Well, he was just a typical cheap photographer, a tourist.
Hey, wait a minute.
He said something about having a studio somewhere near Sloppy.
He gave me a car.
Where is it?
Calle Barrios?
Yeah, that's it.
Calle Barrios.
You know that guy?
Cesar's got there with girls to get their pictures taken.
His name is Tepe Campos.
Oh, well, I've got to get that picture at midnight.
I'll have to risk it.
Well, one momento.
I'll get you some other clothes.
Here, I think these fit you.
Where?
Manolito was one big sailor.
Now, listen, I tell you how to get away from here.
Over the Calle Barrios so maybe the police don't see you.
Yeah?
You go right down the mouth of the alley and you turn to the right.
That's his hand here.
Just a few steps from there.
It was so dark, I almost hit the fire.
I'm afraid it's the same guy.
It was so dark, I almost had to feel my way along the streets.
Suddenly out of nowhere came a voice.
There were two of them there keeping the alley covered.
I looked back the way I'd come.
Someone was coming along slowly.
I waited there, paralyzed.
Quitaro, Maranello?
Huh?
What?
Are you lonesome?
Yeah, sure, yeah.
Look, you want to take a walk, sister?
You say.
All right, a walk close to me like this.
No, no, lean up closer.
Get your face up on the mind here.
That's it.
Give me a little more affection.
That's it.
Now walk down this way with me, just past the corner, huh?
You said it, big boy.
You said it.
Where should we go, honey?
You said it.
That's good.
Here's the turn.
Goodbye, sister.
Keep scared!
Keep scared, bella!
Keep scared!
I was afraid her yelling might attract the cops,
so I took off down the street and then I ducked into an alley
to catch my breath.
I looked up, and there was a sign on the shop.
Campos Retratos de Fotografias.
At first I didn't get it.
And then all of a sudden I knew I was there.
I opened the door and walked in.
Señor?
You, uh, you took a picture this evening
of me and a lady in Sloppy Joe's.
I want that picture.
Oh, no me recuerdo.
I do not record, señor.
There was trouble right afterwards.
A lot of noise.
Oh, sí, sí.
I remember.
I am just developing the pictures I have taken today.
Come with me.
This is my dark room.
The most latest equipment.
Istman Kodakos.
Yeah, yeah, well, where's that picture?
Uh, they are all in the bar.
No momento.
Oh, is this the one?
No, no.
No, no, that's not.
How long are they going to...
Hey, wait a minute.
I think that's it.
Yes, be kind.
Be kind.
Yeah, that's us.
Yeah.
Oh, someone leans over the lady's shoulder, no?
Yes.
Let's have some more light on the subject.
Is he someone you know, señor?
Yes, it's someone I know.
His name is...
Never mind the name, Scotty.
I'll introduce myself.
Spinelli.
Stand over against the wall.
You know, I'm glad you found this picture, Scotty.
I was kind of nervous about having a thing
like this floating around.
You can understand my feelings.
You surprised me, Spinelli.
I didn't think you'd be brave enough to stab a woman in the back
without your gorillas around to protect you.
Don't make me angry, Scotty.
I'm in a bad mood.
I didn't know you were smart like you are either, Spinelli.
I apologize.
That was a cute trick, hiring a cab driver
to steer us to that shop in Chinatown.
But what I still can't figure out is how you switched those knives.
I didn't.
I still have the knife you bought.
I first get out of your pocket.
Would you like to see it first?
Pretty, ain't it?
You know, we've always had a knife for jades,
and this is definitely the best of the three.
I hate to spoil such a pretty knife,
but the revolver, it makes too much noise.
I think I'll use the knife on you, too.
I like things symmetrical, like Romeo and Juliet in it.
What was that?
Don't move, Scotty.
Guapo, Guapo, you in here?
Ha ha!
His sweetheart not dead an hour and already he has another.
Midnight, get out of here quick. This man is a killer.
I'm not afraid of you, big boy.
Keep away from me.
Don't try any funny business.
Me, hombre, he was just like you.
He talk very mean, but he don't hurt me, not one little bit.
I don't only talk, big sister.
Now look, I got a job to do here.
I'll talk to you when I've shut your boyfriend's trap for good.
My boyfriend?
Ha ha ha, you kidding?
Go ahead, finish him off. He take a part of me.
He's the ink.
Ha ha, ran out on her, eh?
Why, Scotty, you ought to be ashamed of yourself.
You're rich. You got many diamonds.
I like you, miss.
Stop mooching around.
Midnight, I tell you, this guy is a killer. Now watch out.
Ah, shut up. How about it, big boy?
Huh?
Stick around, sister.
I can use talent like yours.
Kiss me, big boy.
Later, later.
Right now. I yell very loud, make big trouble.
Ha ha, you're pretty hot stuff, aren't you, huh?
You don't know the half from me, big boy.
Huh? Come here.
Hmm.
No, no, your chance. Drop the gun.
Why, you dirty little stupid. Shut up.
Finnelli, I've got the gun now.
Ah, Scotty, I was only throwing a scare into you.
I would have knocked you off right away if that's what I meant to do, wouldn't I?
Huh?
What's it worth to you to stay alive, Finnelli?
A hundred thousand dollars, Scotty.
In the bank, right here in the van, just let me get over to the table there.
Check the bearer. No strings.
A hundred thousand.
Well, a hundred and fifty thousand, Scotty. What do you want?
I want Eve back again. Alive.
Two hundred thousand. Chicago account thrown in, two hundred and fifty thousand.
That's a quarter of a million, Scotty.
I want Eve. I want her back again.
You can't bring the dead to life, Scotty. But you can be rich.
Kill me and you get nothing but a murder rap.
The picture don't show me sticking a knife in her. The knife don't mean nothing.
Chin and the driver will never talk.
You're just fixing up a nice murder rap for yourself, Scotty.
And over under the light. I don't want to miss.
Scotty.
No. Don't do it, Scotty.
Scotty.
You win.
Scotty.
So that's the story.
And so I've come to give myself up for the murder of Ed Spinelli.
Well, Inspector, what are you going to do about it?
About what?
About what? About what I just told you. Murder.
You speak English so good. I often miss hearing things that I...
especially when they are said too fast.
I can say it slower. I just kill the...
My English stinks today. I don't understand.
You don't understand. I say...
Please, would you mind not coming in here mumbling in this English of yours
that I do not understand.
Well, okay by me. That's the way you feel about it.
Oh, Mr. Scott, this girl is media notch.
Media? You mean midnight?
What about her? You know where she is?
That girl, that woman, she has been raising canine in my jail all night.
All day yesterday.
Well, what's she charged with?
Well, my foolish officers questioned her and did not know any better
than to put some charge all in a book.
Mr. Scott, we have been stuck with her ever since.
She is like a hurricane.
I'll agree with you there.
Mr. Scott, if you haven't got enough to bail her out,
I'll pay that in my own pocket.
Anything to get her out.
Well, midnight, it's over.
Si, guapo. It is over.
Hey, you got any idea where we're headed for?
Eslapi Joel.
The feet of an Americano in Havana work always in the direction of Eslapi Joel, no?
Yeah, yeah, I can hear it already.
Will it come in between midnight?
No, guapo. You go in alone.
Won't you just have one with me, please?
No.
Why not?
There's someone waiting for you in the...
Oh, that's crazy. I don't know anybody in Havana, except you.
Someone is waiting for you in there, guapo.
Flowers on the grave, no?
Flowers on the grave.
In Eslapi Joel.
Love makes any place beautiful, even Eslapi Joel.
Go on, guapo.
Buy her a drink at the bar and tell her how that picture you took turned together out.
You promised you would, remember?
How do you tell something to somebody who's dead?
In your mind, guapo. Where she will always be.
I'll try and tell her midnight. I'll tell her about you, too.
Oh, no. She will be jealous.
Not when I tell her.
You don't know women, guapo.
Maybe not. Well...
Adios, guapo.
Goodbye, midnight.
This is the Armed Forces Radio Service.
The Armed Forces Radio Service.