 It was our first day in Havana, we'd taken a hack and 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 the driver steered us to. We bought a few gadgets there and started back toward the end of the day. It was getting dark and she snuggled 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 crowd there in Chinatown. Guess it was just my imagination. Of course, sure it was. I thought I saw him in the crowd there in Chinatown. I thought I saw him in the crowd there in Chinatown. I thought I saw him in the crowd there in Chinatown. Guess it was just my imagination. Oh, sure it was. He wouldn't try to rust up this far from his home base. He may be a little Caesar around his nightclubs back in Florida. But here in Kielba he's just another radiant that better not get caught carrying a gun. He said he'd get me if I ever left him. No matter where I went. No, but he sent a radio gram wishing us luck. That's what worries me. He didn't say which kind of luck. Alpha, Alpha, Alpha. So what's this driver? It's Sloppy George. Speak the Turks in the Habana. Of course. Sloppy George. Want to go in, darling? Why not? We can only die one. So I paid the cost when we went into Sloppy George. The place was jammed at the 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. I think that your handy-dandy would like a picture for to show their friends back in the estate. Oh, thanks. Oh, please, Scotty. Well, 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 Barrios. Oh, no, all right. Go on, shoot it here. Ah, well, I make a post, please. Oh. Masquerino, much love. Okay. Ah, bueno. Happy birthday. Hold it. That's it all. I have the picture. Here's my card. Pick me up. Hey. You'll be ready tomorrow. Oh, come on. He's taking it now, darling. Well, 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 knife better than none at all. Eve! Just stay with me a minute. It won't take long. Darling, what happened? What happened? Scotty, yet that was the first picture we ever had taken together. Let me know how it turned out. Oh, Eve. Eve, darling. She's dead. She doesn't move anymore. Somebody do something. She's been nice. Right here in my arms. It's 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. And I was alone with a corpse in an empty saloon. But that didn't go on for long either. They were caught 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? Hmm? Oh. Scott. Bill Scott. Mr. Scott, how long have you been in Havana? Four hours. You quarreled 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 and her tourist card is Mrs. Edward Espenelli. Yeah. Where is Mr. Espenelli? Not where I'd like him to be. You are not being very cooperative, Mr. Scott. Okay, I'll tell you the whole story. She was a singer in the nightclub in Tampa, Florida. Espenelli owned the nightclub. He packed the 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 Espenelli. I drove his car. You are not a chauffeur by profession. Are you Mr. Espenelli? No. I took the job to get her away from him. Is there anything wrong in that? Uh, the murder weapon. This knife. What do you know about it? What are you driving at? Is this your knife, Mr. Espenelli? No. No, but it's a pretty close match. I bought one just like it this afternoon in a curiosity shop. Wait a minute, I'll show you. I've got it in my pockets, right? Put that away, sir. Wait a minute, wait a minute. Oh, it's so excited. Okay, it's in this pocket. Now, fish it out yourself if you want to. There is no knife here. But there's got to be. It was a knife with a Jane handle. 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 types, 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 stop these women. 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. Esca. 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 these men buying something in here this afternoon, Vierho? Uh, yes. Uh, gentlemen, buy knife. Or the metal knife. Uh, knife with jade handle. Well, describe the jade handle. Uh, jade handle have monkey. We know that. Describe the monkey. Uh, 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. Vierho Chin, this man's life may depend on what you are saying. Are you absolutely sure? Uh, knives come by trees. First one is sold to this gentleman, although still got, I can't 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 storeroom. Only one set important. Can't show costumes in voices. Uh, how did these men and the woman act when they come into the shop? Uh, really, I'm scared, very scared. Uh, the man has got to take out knives. He, uh, I'll feel to see if it's sharp. He, uh, go all too ready with it. He do like this, uh, for joke. Sure, well, it wasn't joke. I really don't think it's joke. Oh, she turn very pale and at the scare, she say, uh, she say, go ahead. She say, she tired waiting for to be stabbed with knife. Uh-huh. Well, it's got. Well, I think she did say something like that. She was afraid Spinelli was gonna 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. Escobar, but I must place you on to arrest for the murder of Mrs. Eva 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 snail space through the crowded streets. I was in the middle, I crossed in the other deck 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, I knew it did. Just that. I bolted, and they came after me fast. The door had nothing to open up to a pitch-black hallway. I groped around until I found a flight of stairs and started climbing. Go ahead and shoot! They didn't start shooting right away. They had to swap him 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, a rusty twisted chain with rotten wood cross pieces. I knew I never had time for it, and suddenly the light hit me. But the bullet didn't. I ducked back in the shadows and turned the knob at the nearest door, tossing my head over before the 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. Well, I was safe for a few minutes anyway. I 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? No hablo español. No movestre. Take it easy, take it easy. I can't talk your language. Put that knife down, will you miss? Te quiero usted. Policie. Vesticency. Understand? Comroni? Up there on the stairs. I don't know how to say it. Policie. 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. They're coming back. I'd better get out of here. Don't be a fool. There's 20 of them down in the street now. They sure must 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. All right. Been in the pool of a policeman. Knows you didn't kill her. You never kill what doesn't belong to you. Only what does. Tell them that. Here comes payday. Quick, you get into the copter. Cover yourself up. But... Do as I tell you. Take off that shirt. Don't stop for buttons. There you go. Not in. Face the wall. Hey, what are you doing? Perfectly stealing. Don't rub against the covers. No. Don't move. Dispense. I've seen a man who killed an American. I've never seen anyone. What's his name? My man. What's his name? He's very sick. Viruela. Viruela? Yes, Viruela. Look at the quarantine. Look. Viruela. Let's go. Dispense. Good night. Good night. Good night. Good night. Well, what was all that about? Hey, where are all these wet spots on me? Put them there. With lipstick. All right. I told the cops you were my husband, and I was 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. Say thanks. Why did you go to bed for me like that anyway? Different reasons. Flowers on a grave, I guess. Flowers on it. 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. Manolito? Yes. He got the smallpox in the chair. He came back here to me to die. What is your name, Guapo? Bill Scott. Scott? No. Scott. With a nest. It's too hard to say. I call you Guapo. That means Huntsman. Well, thanks. What should I call you? Around his neighborhood, they call me Mirianoche. It means Midnight. Try that way. OK. Midnight? They call me that because now I always hang around late by myself since he's gone. Well, Midnight, I don't know what to say. Do you accept thanks? No, no, no. A large sunny 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 within each corner. Well, I can't hang around here for the rest of the night. What's the matter with you here? Well, nothing, but... How do you figure in 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, it looks like I stay in Havana. Oh, if I can 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, Mira, you think maybe this picture is the man who killed your sweetheart, eh? Pretty sure of it. In guapo, what do you remember about these photographers? Well, he was just a typical cheap photographer, a tourist. Hey, wait a minute. He said something about having a studio, somewhere near Sloppy's. He gave me a car. Where is it? Calle Berrios. Well, that's it. Calle Berrios. You know that guy? Sailors go there with girls to get their pictures taken. His name is Pepe Campos. Oh, well, I've got to get that picture midnight. I'll have to risk it. Well, one momento. I'll get you some other clothes. Mira, I think these suit you. Manolito was one big sailor. Now listen, I tell you how to get away from here. Over the Calle party also maybe the police don't see you. Yeah? You go right down the mouth of the alley and you turn to the right. At this hand here. Just a few steps from there. 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 at the way I'd come. Someone was coming along slowly. I waited there. He's, uh, my neighbor? Huh? What? Are you lonesome? Yeah. Sure, yeah. Look, you want to take a walk, sister? You say. I walk close to me like this. Oh, no. Lean up closer. Get your face up on the mind. Yeah, that's it. Give me a little more affection. That's it. Now walk down this way with me. Just pass the corner, huh? You said it before, you said it. Where should we go, honey? You said it. That's good. Here's the turn. Good bye, sister. I prayed her yelling, but it dragged the cops. So I took off down the street and then I ducked into an alley to catch my breath. I looked up. There was a sign on the shop. Camp post with Tratso's e-photographies. 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. You took a picture this evening of me and a lady in sloppy joes. I want that picture. Oh, no. Where, though? I do not record. There was trouble right afterwards. A lot of noise. Oh, see, see. I remember. I am just developing the pictures I have taken today. Come with me. This is my dark room. The most latest equipment. It's the Mancoda house. Well, where's that picture? Uh, they are all in the bar. One moment, though. Oh. Uh, do you see one? Oh, no. No, no, that's not. How long are we going to... Oh. Hey, wait a minute. I think that's it. Ah. Yeah, it's beginning to come through. 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, sir? Yes, it's someone I know. His name is... Never mind her name. Spinellis. This is 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 switch 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. 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, ain't it? What's that? Don't move, Scotty. Bravo? Bravo, you in here? Ha-ha! Here's sweetheart, not dead an hour and already 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 works just like you. He talks 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. Ha-ha! Ran out of there, 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. I 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. My God. Why, you dirty little stoopid, you're not up to anything. 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? Wouldn't I, huh? What's it worth to you to stay alive, Spinelli? $100,000, Scotty. In the bank, right here in the van, just let me get over to the table there. Check to bearer. No strings. $100,000? Well, $150,000, Scotty. What do you want? I want Eve back again. Alive. $200,000. Chicago account thrown in $250,000. 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. She'll mean 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. Head over under the light. I don't want to miss. Scotty. No. Don't do it, Scotty. 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. I don't 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 them. My English stands today. I don't understand. You don't understand. Please, would you mind not coming in here mumbling in this English of yours? I do not understand. Well, okay, by me. That's the way you feel about it. Oh, Mr. Scott. This girl is maybe an orchard. Me here? Midnight? What about her? You know where she is? That girl, that woman. She has been raising Ken in my jail all night. All day yesterday. Well, what's she charged with? My foolish officer's question. She 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 hooligan. I'll agree with you there. Mr. Scott, if you haven't got enough to bail her out, I paid her out of my own pocket. Anything to get her out. Well, Midnight? It's over. See you, Guapo. It is over. Hey, you got the idea where we're headed for? The sloppy joes. The feet of an Americano and a Bano work always in the direction of a sloppy joe, no? Yeah. Yeah, I can hear it already. Will it come in the middle of the 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 there. 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 sloppy joe. Love makes any place beautiful, even the sloppy joe. Go on, Guapo. Buy her a drink at the bar and tell her how that victory will turn together out. You promised you would, remember? How do you tell something to somebody who is dead? In your mind, Guapo. Where she will always be. I'll try and tell her, Midnight. I'll tell her about you, too. No, I know. She will be jealous. How can I tell her? You don't know women, Guapo. Maybe not. Well... Adios, Guapo. Goodbye, Midnight.