The Mask of Dimitrios Page #4

Synopsis: A mystery writer named Leyden is intrigued by the tale of notorious criminal Dimitrios Makropolous, whose body was found washed up on the shore in Istanbul. He decides to follow the career of Dimitrios around Europe, to learn more about the man. Along the way, he is joined by mysterious Mr. Peters, who has his own motivation.
Director(s): Jean Negulesco
Production: Warner Bros. Pictures
 
IMDB:
7.2
APPROVED
Year:
1944
95 min
196 Views


Completely unmoral.

But fascinating.

That's funny...

would you be so good

as to shut the door behind you?

I think if you

stretched out your left hand,

you could do it

without moving your feet.

What is the meaning

of all this?

This is

most awkward.

I didn't expect you

back so soon.

I can see that.

I had hoped to get

things tidied up. Such vandalism.

A book is

a lovely thing.

A garden stocked

with beautiful flowers.

A magic carpet on

which to fly away to unknown climes.

What are you

talking about?

A little frankness,

mr. Leyden, please.

There could only be

one reason

why your room should

be searched,

and you know that

as well as i do.

Of course

i can understand your difficulty.

You're wondering

exactly where i stand.

If it's any consolation

to you, however, i may say my difficulty

is wondering exactly

where you stand.

I'm tired.

I'll go to bed.

Say, what on earth

are you doing here?

Last night i met you

on a train.

You said you were

going to bucharest.

Now i find you here

waving this silly pistol

in my face.

I can only conclude

you're a thief or you're drunk.

Are you drunk, sir?

Maybe you're mad.

Well, in that case,

i can only humor you

and hope for the best.

Perfect.

No, no.

Keep away from that

telephone, please.

Since you have returned

so unexpectedly,

since i can no longer

meet you on a basis of,

may i say,

disinterested friendship,

let us be frank

with one another.

Why are you

so interested in dimitrios?

Dimitrios?

Yes,

dear mr. Leyden, dimitrios.

You've come from

the levant.

Dimitrios came

from there.

In athens, you were

very energetically seeking his record

in the relief

commission archives. Why?

Well-

wait before you answer.

I have no animosity

towards you.

I bear you no ill will,

let that be clear.

But as it happens,

i, too, am interested in dimitrios.

And because of that

i am interested in you.

Now, mr. Leyden, tell me

frankly where you stand.

What-forgive the

expression, please-

is your game?

My game, huh?

Well, i'll tell you

what my game is

if you tell me yours.

I have nothing to hide.

Would you mind telling me

what you hope to find

in the bindings of

my books or in the tube of my toothpaste?

Would you mind

telling me that?

I was looking

for an answer to my question.

But all i found

was this.

You see, i felt that if

you hid papers between the leaves of books,

you might also hide

more interesting papers in the bindings.

It was never intended

to be hidden.

And is this

all you know

about dimitrios,

mr. Leyden?

No.

Now, who, i wonder,

is this colonel haki

who seems so

well-informed and so indiscreet?

The name is turkish.

And poor dimitrios

was taken from us in istanbul, was he not?

And you have come

from istanbul, haven't you?

Mm-hmm.

You know,

it almost looks as if you'd been reading

a turkish police

dossier,

now, doesn't it, eh?

For every question

you ask,

you'll have to

answer one.

Had you ever met him?

I mean, actually met him?

I don't think you're

very sure of yourself, mr. Leyden.

I have an idea that i

can tell you much more

than you can tell me.

I think i must be going.

Good night.

I thought

you were going. Good night.

Istanbul, istanbul,

smyrna, 1922, sofia.

Now, i wonder...

i wonder if it would be

very stupid of me to imagine

that you were thinking

of going to belgrade in the near future,

would it, mr. Leyden?

You'll like belgrade.

Such a beautiful city.

The views from the turrets-

you can't imagine.

Magnificent.

See here.

Mr. Peters, a moment ago

you mentioned

a bureau of records in athens.

Weren't you there

while i was there?

The stout gentleman!

Then it was

no accident

that you were on

the same train,

in the same

compartment,

no accident that

you recommended the hotel.

I've known everything

you've done

since you left

the record bureau in athens.

I've already told you

i'm interested in anyone

that's interested

in dimitrios.

But what on earth is

your great interest in dimitrios?

Money? He had none.

I saw his body

at the mortuary,

but you're certain-

what's the matter?

Did i understand you

to say

that you actually saw

the body of dimitrios

in the mortuary?

I said i did.

What do you want?

Take your hands

off me!

Say, you

are insane.

Mr. Leyden,

we must reach

an understanding.

We must stop

this quarreling.

It's absolutely

essential that i know what you're after.

And i want to know-

no, no, no.

Please don't interrupt me.

I admit i probably need

your answers more than you need mine,

but i cannot give you

mine at present.

Then you won't

get mine.

Yes, yes, i heard

what you said,

but i'm talking

seriously.

Listen, please.

If you go to belgrade,

you will not discover

a single trace of dimitrios.

Furthermore, you may

find yourself in trouble with the authorities

if you pursue the matter.

There's only one man

who could and would, under certain circumstances,

tell you what you

want to know.

He lives near geneva.

Now, then,

i will give you his name,

and i will give you

a letter to him,

but first i must know

why you want this information.

Your passport describes

you as a writer,

but that is

a very elastic term.

Who are you,

mr. Leyden?

And what is

your game?

I have no game.

Naturally when i ask

what your game is,

i use the phrase

in a specific sense.

Your game is of course

to get money.

But that is not

the answer i mean.

Are you rich,

mr. Leyden?

Ha.

No. Then what

i have to say may be simplified.

I am proposing

an alliance, mr. Leyden.

A pooling of

resources.

I am aware of

certain facts

which i cannot

at the moment tell you about.

You, on the other hand,

possess an important

piece of information.

You may not know

that it is important,

but nevertheless it is.

Now, my facts alone are

not worth a great deal.

Your piece of

information

is quite valueless

without my facts.

The two together,

however,

are worth

at the very least-

at the very least-

a million

french francs.

One million?

What do you say

to that?

You'll forgive me,

mr. Peters,

but i don't understand

what you're talking about,

not that it makes

any difference what i do or not,

but... oh,

i think i'm tired.

I'm very tired,

and i want to go to bed.

One million, huh?

No, mr. Peters.

Well, i suppose

there's no reason

why i shouldn't

tell you

what my interest

in dimitrios is,

but it certainly

isn't money.

I make

a decent living.

As you know,

detective stories sell very well.

Detective stories...

mr. Leyden,

may i use your paper?

Oh, go right ahead.

You used everything else.

Detective stories.

Now, that's most

interesting to me, mr. Leyden.

I'm so fond of them.

I'm glad you like them.

Well, the first time

i heard about dimitrios was in istanbul,

from colonel haki.

I don't know exactly

how it happened,

but somehow i found

myself trying to trace his strange career.

Why?

Partly for my amusement,

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Frank Gruber

Frank Gruber (born February 2, 1904, Elmer, Minnesota, died December 9, 1969, Santa Monica, California) was an American writer. He was an author of stories for pulp fiction magazines. He also wrote dozens of novels, mostly Westerns and detective stories. Gruber wrote many scripts for Hollywood movies and television shows, and was the creator of three TV series. He sometimes wrote under the pen names Stephen Acre, Charles K. Boston and John K. Vedder. Gruber said that as a 9-year-old newsboy, he read his first book, "Luke Walton, the Chicago Newsboy" by Horatio Alger. During the next seven years he read a hundred more Alger books and said they influenced him professionally more than anything else in his life. They told how poor boys became rich, but what they instilled in Gruber was an ambition at age nine or 10, to be an author. He had written his first book before age 11, using a pencil on wrapping paper. Age 13 or 14, his ambition died for a while but several years later it rose again and he started submitting stories to various magazines, like Smart Set and Atlantic Monthly. Getting rejected, he lowered his sights to The Saturday Evening Post and Colliers, with no more success. The pulps were getting noticed and Gruber tried those but with no success. As a story came back with a rejection slip, he would post it off again to someone else, so he could have as many as forty stories going back and forth at different times, costing him about a third of his earnings in postage. Erle Stanley Gardner called him the fighter who licked his weight in rejection slips. February 1927, he finally sold a story. It was bought by The United Brethren Publishing House of Dayton. It was called "The Two Dollar Raise" and he got a cheque through for three dollars and fifty cents. Answering an ad in the Chicago Tribune, he got a job editing a small farm paper. In September he got a better paid job in Iowa and soon found himself editing five farm papers. He had lots of money and even wrote some articles for the papers but found he had no time to write the stories he wanted to write. In 1932 the Depression hit, and he lost his job. 1932 to 1934 were his bad years. He wrote and wrote, many stories typed out on an old "Remington" but of the Sunday School stories, the spicy sex stories, the detective stories, the sports stories, the love stories, very few sold, with some companies paying him as little as a quarter of a cent per word. He had a few successes and remained in Mt. Morris, Illinois for 14 months before deciding to head to New York on July 1, 1934. There were numerous publishing houses in New York and he could save money on postage but this led to him walking miles to deliver manuscripts as he had so little money, not even enough for food most of the time. He stayed in a room in the Forty Fourth Street Hotel ($10.50 per week). In his book, The Pulp Jungle (1967), Gruber details the struggles (for a long time, at least once a day he had tomato soup, which was free hot water in a bowl, with free crackers crumbled in and half a bottle of tomato sauce added) he had for a few years and numerous fellow authors he became friendly with, many of whom were famous or later became famous. Early December 1934 and with endless rejection slips, he got a phone call from Rogers Terrill. Could he do a 5,500 word filler story for Operator #5 pulp magazine by next day? He did and got paid. Even better, they wanted another one next month, and another. He was then asked to do a filler for Ace Sports pulp, which sold. Gruber's income from writing in 1934 was under $400. In 1935, his stories were suddenly wanted and he earned $10,000 that year. His wife came to live with him (she had been living with relatives) and he lived the good life, moving into a big apartment and buying a Buick ($750). January 1942, Gruber decided to try Hollywood, having heard about the huge sums some stories sold for and stayed there till 1946. Gruber—who stated that only seven types of Westerns existed—wrote more than 300 stories for over 40 pulp magazines, as well as more than sixty novels, which had sold more than ninety million copies in 24 countries, sixty five screenplays, and a hundred television scripts. Twenty five of his books have sold to motion pictures, and he created three TV series: Tales of Wells Fargo, The Texan and Shotgun Slade. His first novel, The Peace Marshall, which was rejected by every agent in New York at the time, became a film called "The Kansan", starting Richard Dix. The book has been reprinted many times with total sales of over one million copies. He bragged that he could write a complete mystery novel in 16 days and then use the other 14 days of the month to knock out a historical serial for a magazine. His mystery novels included The French Key (for which he sold the motion picture rights for $14,000 in 1945) and The Laughing Fox. more…

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Submitted on August 05, 2018

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