Kees. As they approach Paris, Kees jumps off the train. He goes to Michele, but she turns him away, not realizing he has the money. Lucas meets her and explains what has happened. He says de Koster is alive, but Kees does not know this, and Lucas fears he will now do something desperate. As Lucas hopes, Michele wants the money enough to trace Kees, and the police follow her to him. But she helps him get away and stay with Louis (Ferdy Mayne), her lover, who lives over a garage near train tracks. She tells Kees that within a couple of days Louis will provide Kees with fake papers so he can leave the country. Kees is suspicious enough to hide the money, in an abandoned car near the tracks, before Louis is able to search his effects. Bored with hiding out and tired of belittling remarks about his status, he decides to "live dangerously" and takes Michele out on the town. She seems to warm to him and he is seduced into trusting her. Drunk and infatuated, he phones Lucas to taunt him, promises Michele they will go away together, and then tells her where the money is. She goes there, but Lucas has already found it. He offers her immunity if she helps him find Kees. Kees gets away from Lucas, steals a knife from a shop window, and goes to the garage. At knifepoint, Louis phones Michele and asks her to come. Kees confronts Michele and threatens to prove his worth by killing her—and then he does. With Lucas in pursuit, he runs onto the train tracks and directly toward an approaching train. At the last moment it reaches a switch and crosses onto another track. Kees rambles deliriously as Lucas arrests him. Cast Claude Rains as Kees Popinga Marius Goring as Lucas Märta Torén as Michele Rozier Ferdy Mayne as Louis Herbert Lom as Julius de Koster Jr Lucie Mannheim as Maria Popinga Anouk Aimée as Jeanne Eric Pohlmann as Goin Felix Aylmer as Mr Merkemans Gibb McLaughlin as Julius de Koster Sr Michael Nightingale as Popinga's Clerk Critical reception TV Guide wrote that the film "boasts good performances from Rains, Toren, and Lom, but is hampered by the static direction of Harold French"; whereas Culture Catch called it a "solid adaptation," which "embraces Simenon's favorite archetype, an innocent who mistakenly thinks he has committed