1:01:01
I came in on a motorbike
in wheat-coloured...
1:01:04
Now, please, don't get carried away.
1:01:06
I remind you,
you are not the star of this drama
1:01:09
but merely a supporting player.
A very minor one, at that.
1:01:13
If life, like the theatre,
came equipped with programmes,
1:01:16
your billing, way down on the page
and in tiny letters,
1:01:20
would simply be second policeman.
1:01:23
As I was saying,
what he doesn't know, poor Rick,
1:01:27
is that the girl is ours.
1:01:31
Can we trust
a creature of the streets,
1:01:33
with a police record
as long as your arm?
1:01:36
Nothing will go wrong,
my dear Philippe.
1:01:39
There's a tiny chink
in Rick's armour. A pretty face.
1:01:42
One way or another,
using such talent as she has,
1:01:45
the girl will extract from him
the details of the plan.
1:01:49
The plan. But should they not
be followed? I have the car.
1:01:54
There would be no point.
Rick is a master.
1:01:57
No policeman alive can stay on
his trail if he wishes to elude him.
1:02:01
Yes...
1:02:02
- No.
- No.
1:02:03
I shall have a glorious lunch,
everything to be cooked, of course,
1:02:08
in this remarkable
non-fattening safflower oil,
1:02:11
and eventually,
having followed my luncheon
1:02:13
with several digestifs
and a short walk,
1:02:15
rejoin my friend tonight for
the climax of his adventures at...
1:02:20
At...?
1:02:23
The Eiffel Tower?
Brilliant, Inspector. Brilliant.
1:02:34
To the studio, François, please.
1:02:36
Studio?
1:02:38
I said, I have to stop at my office
and pick something up there.
1:02:42
Have you been inside
a motion-picture studio?
1:02:45
No. Are you in the movie business?
1:02:48
In a way.
1:02:50
The studio is particularly marvellous
on a holiday like this.
1:02:54
Silent. Empty.
1:02:57
The vast sound stages
completely deserted.