 Suspend, the Kerry Grant, a star of the Black Path of Fear, a cement play produced, edited, and directed by William Spear. Suspend! First day in Havana, we'd taken a hack and opened 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 that drivers steered us to. We bought a few gadgets there and started back toward the main part of the town. 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. Oh, sure it was. He wouldn't try to rust up this far from his home base. He may be a little seizure around his nightclubs back in Florida. But here in Cuba, he's just another radiant that better not get caught carrying a gun. He said he'd get me if I ever left him. Oh. No matter where I went. Well, I'm going to send a radiogram wishing us luck. That's what worries me. He didn't say which kind of luck. Elbow cover. Elbow. So what's this, driver? It's sloppy joes. Speak the Turks and the Habanas. Of course, sloppy joes. Want to go in, darling? Why not? We can only die once. So I paid the cost when we went into sloppy joes. 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 the 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 lady would like a picture for to show their friends back in the theater. Perfect. Oh, please, Scotty. We've never had a picture taken together. Together? With forty-hundred people jammed up against us on all sides? And instead of maybe you come to my studio, call you Barrios. It's not Barrios. Oh, no. All right. Go on. Shoot it here. Oh, well. I'll make a pose, please. Much green. You're much longer. Oh, well, no. What's the birthday? Hold it. Ha-ha. That's it all. I have the picture. Here is my card. Take the card. Hey. Just 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 knife better than none at all. Eve. 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 nice. Right here in my arms. Fast town for anything. Love, life and death, too. A minute ago, I've been half of a honeymoon couple getting their first picture snapped by a little Cuban photographer and sloppy joes. Now I was alone with a corpse in an empty saloon. But that didn't go on for long either. They were cops there in half a minute and finally a detective. This woman is dead. Yeah, I know. You know the man with her? I was the man with her. Your name? 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 on her tourist card is Mrs. Edward Espenelli. Yeah. Where is Mr. Espenelli? 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 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, 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? We don't know that. Wait, wait, wait. I'll take it home. Oh, it's so excited. Put it in this pocket. Now, fish it out yourself if you want to. There is no knife here. But there's got to be. There 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 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. Espenelli. I'll 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? Uh, yes. Uh, gentlemen, buy knife. Or the metal knife. Uh, knife with a Jane handle. Well, describe the Jane handle. Uh, Jane 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. This man's life may depend on what you are saying. Are you absolutely sure? Uh, a knife come by trees. First one is sold to this gentleman. Others still go. 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 his storeroom. Only one set important. Can't show costumes in voices. Uh, how did this man and the woman act when they come into the shop? Uh, really, at the scare. Very scare. The man takes off knife. He, uh, feel to see if sharp. He, uh, go over to Lady with it. He do like this. Uh, for joke. Sure, but it wasn't joke. Lady don't think it's joke. Oh, she turn very pale. She say, uh, she say, go ahead. She say, she tired waiting for to be stabbed with knife. Uh-huh. Well, Scott. Well, 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 place you under arrest for the murder of Mrs. Eva Spinelli. Spreaded our way back through Chinatown in the police car. I thought the whole thing over was a decision. The car was creeping along in a snail's pace through the crowded streets. I was in the middle. I crossed any 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, it finally did. Just that. I bolted and it 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. 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. I ducked back in the shadows and turned the knob at the nearest door, tossing my head over the foot of 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. I was blocked. 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 espanol. No moverse. I can't talk your language. Put that knife down, will you miss? Te quiero usted. Besticency. Understand? Company, up there on the stairs. I don't know how to say it. Police here. They're after me. 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 up naturalization papers. Get over there. I'll do what I can for you. 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 wrong? They say very wrong. Another man took her away from you, eh? Well, I took her away from another man. Then any fool of a policeman knows 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. Quick, get into the copter. Cover yourself up. Do as I tell you. Take off that shirt. Don't stop for a button. Here we go. Not in. Face the wall. Hey, what are you doing? No. Don't move. Muy macizo. Un americano. No, I've visto a nadie. Tienes ese? Mi hombre. Mi hombre. Está muy enfermo. Quiero ver la, mire la cuarentena. Oh, what was all that about? Hey, where are all these red spots on me? No, I put them there with lipstick. Oh, right. I told the cops you were my husband in that very small box. 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? Ah, different reasons. 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. Ah, Manolito? He got the smallpox in the chair. He came back here to me to die. What does your name go up? Bill Scott. Scott? No, Scott, with a nest. It's too hard to say. I'll call you Wapo. That means handsome. Well, thanks. What shall I call you? Around this neighborhood, they call me Milianoche. Maybe a... Give me a sweet night. Drive that way. OK. Midnight? They call me that because now I always hang around late by myself since you've gone. Well, Midnight, I... I don't know what to say to you except thanks. No, no, no, no. Flowers on a grave. Yeah. Well, I'd better get going. What do you want to throw away all my hard work for? They spot you in the next corner. I can't hang around here for the rest of the night. What's the matter with you here? 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. I mean, you know, you think maybe these pictures, he's the man who killed your sweetheart, eh? I'm pretty sure of it. You're handsome. What do you remember about these photographers? Well, he was just a typical cheap photographer for tourists. Hey, wait a minute. I'm in a studio, somewhere near Sloppy Joe's. He gave me a car. Where is it? At Calle Barrios? Yeah, that's it. Calle Barrios. You know that guy? The savers go there with calls to get their pictures taken. His name is Pepe Campos. Oh, well, I got to get that picture midnight. I'll have to risk it. Well, one momento. I'll get you some other calls. Sierra, I think these pictures too. Manolito was one big saver. 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 we turn to the right. I'll just hand you just a few steps from there. It was so dark, I almost had to feel my way along the streets. And 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. It's Al, my neighbor. Huh? What? Are you lonesome? Yeah. Sure, yeah. Look, you want to take a walk, sister? Yes, sir. All right. 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. Goodbye, sister. Shit! She was yelling when I tracked 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. Lamp posts, retratos, 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. I took a picture this evening of me and a lady in sloppy joes. I want that picture. Oh, don't you remember? I do not recall, sir, you know? 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 lightest equipment. It's the Monkota house. Yeah, yeah. Well, where's that picture? They are all in the bar. This is the one. No, no, that's not. How long are they going to... Hey, wait a minute. I think that's a... 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 it someone you know, sir? Yes, it's someone I know. His name is... Never mind her name. Spinelli. Stand over against the wall. You know I'm glad you found this picture, Scali. 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, Scali. 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 got out of your pocket. Would you like to see it first? Pretty, ain't it? You know, we've always set an eye for jades, and this is definitely the best of the three for the 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, Scali. Bravo. Bravo, you in here? His 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 crap for good. My boyfriend? You kidding. Go ahead, finish him off. He'll take a part on these things. Ran out on her, eh? Why, Scali, you ought to be ashamed of yourself. You're rich. You got many diamonds. I like you, Mr. 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. You're pretty hot stuff, aren't you? You don't know the half from me, big boy. Well, come here. Why, you dirty little stupid... Shut up, Spinelli. I've got the gun now. Oh, Scali, 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, eh? What's it worth to you to stay alive, Spinelli? $100,000, Scali. In the bank, right here in the banner. Just let me get over to the table there. Check the bearer. How many strings? $100,000. Look, a hundred and fifty thousand, Scali. 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, Scali. I want Eve. I want her back again. You can't bring the dead to life, Scali. 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, Scali. Stand over under the light. I don't want to miss. Scali. No. Don't do it, Scali. Scali. 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 stinks today. I don't understand. You don't understand. 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. Scali. This girl is media notch. Media? 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. I did not know any better than to put some charge all in a book. Mr. Scali, we have been stuck with her ever since. She is like a hooligan. I'll agree with you there. Mr. Scali, if you haven't got enough to bail her out, I'll pay that out of my own pocket. Anything to get her out. Well, midnight? It's over. Say, Guapo, it is over. Hey, you got any idea where we're headed for? The sloppy joes. The feet of an Americano in Havana work always in the direction of a sloppy joe, 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 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 in sloppy joe. 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 that'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. Are you really jealous? Not when I tell her. You don't know women, Guapo. Maybe not. Well... Adios, Guapo. Goodbye, midnight.