Escape Route

"Berlin. A city divided . . ." The Charlottenburg district of Berlin, looking from Kurfürstendamm towards Breitscheidplatz towards the ruins of the Kaiser Wilhelm Memorial Church. In front, a tram consist of the BVG-West from the pre-war period.

Nick Boorman provides this comparison of the famous landmark with the replacement belfry added in 1963.

". . . Where the frequent disappearance of prominent West Berliners and the recent abduction of famous scientist from the American Sector resulted in mass demonstrations." Schöneberg district, Rudolph-Wilde-Platz, later John-F-Kennedy-Platz, facing Dominicusstraße. The footage is of a mass gathering in front of the town hall following the kidnapping of West Berlin citizen Walter Linse by the GDR state security on July 8, 1952.

The Steglitz district of Berlin where an establishing shot in the Lichterfelde borough at the intersection of Drakestraße and Gerichtstraße, later Walter-Linse-Straße, near the Goethe-Gymnasium, where, according to the script by John Baines, a nuclear scientist is kidnapped on the street.

"This is how it was done." A Kidnapper approaches the Scientist asking for a light before bundling him into the car.

"Clues, bearing out eye-witness accounts, were his spectacles and further along the route of the kidnappers' car, one of his shoes. Lost, or kicked out, on the way to the Soviet Zone border."

"But this was only part of a pattern." An establishing shot from an American Sector border crossing, probably in the Berlin Teltow district.

"A similar incident occurs in London". Facing Trafalgar Square, London WC2 from The Mall in SW1.

Taken from the corner of Spring Gardens and The Mall looking north-east. SJ

A Scientist crosses the road to hail a cab when a car stops beside him and one of the Occupants pulls him inside before driving away. Dave W, having checked the spelling tells us that this is one of London's hallowed groves of academe, Senate House, north block seen from Malet Street, WC1. Also seen in 'Cheer Boys Cheer', 'Their Finest', 'Nineteen Eighty-Four', 'Blue Ice', 'Dunkirk' and 'It's Not Cricket'. (RL)

Behind the blue hoarding and tree which seems to have appeared from nowhere lies the matching building. SJ

"And in New York City, Dr. Andre Halas, a prominent designer of jet planes, was picked off a side walk." An establishing shot of Midtown Manhattan, New York, New York, where the view looks towards the Helmsley Building, a 35-story skyscraper situated onto Park Avenue, with Chrysler Building behind it. The Newsweek Building, located at 444 Madison Avenue, can be recognized on the far left and 400 Madison Avenue, a 22-story office building to see at the bottom right.

Following the disappearance of Stephen Rossi, Dr. Halas' production expert, the story proper begins with a BOAC (British Overseas Airways Corporation) Boeing 377 Stratocruiser landing at London Airport. London Airport, Heathrow Airport from September 1966, in Hillingdon, Middlesex.

Disembarking from the 'Monarch' flight, FBI undercover agent Steve Rossi looks towards a group of buildings as he follows his fellow Travellers across the Tarmac.

Watching Passengers head towards the Immigration Hall . . .

. . . Steve Rossi (George Raft) falls back unnoticed. London Airport in Middlesex.

The American makes his way towards an unsecured exit. The buildings stand at London Airport on Bath Road, Hillingdon.

Looking from behind a wall, Steve sees a Gentleman leave the airport and get into a Rolls Royce before approaching and asking for a ride. The Passenger Exit on North Road at London Airport in Hillingdon with Bath Road behind the trees to the right.

A Stewardess reports Rossi missing to Airport Security as the noble 1936 Rolls Royce Barker limousine arrives in the the centre of London. Charles Street W1 with Berkeley Square in the distance.

The railings match on the right but a pity about the rather red obstruction on the left. SJ

Inspector Reid at Scotland Yard is contacted by Airport Security as Rossi gets out of the car and thanks the Gentleman before heading to the Albany Club. In the background stands The Only Running Footman public house at the corner of Hay's Mews and Charles Street in Mayfair. The pub can also be seen in 'The Ware Case'.

Hay's Mews has pubs on both ends with The Footman here and The Coach and Horses on the north end. SJ

Patrol cars are alerted to detain the fugitive alien.

Rossi enters the club and orders a scotch and soda from Bailey the barman.

Asking Bailey about Michael Grand, Rossi is handed a bill for his "on the house" drink before taking a cab to the address written on it. Eaton Mews North, London SW1, which is also seen in 'Stage Fright'. SJ

The arches on the junction with Lyall Street. SJ

Rossi leaves the mews after calling at number 2 where a dubious Blonde provides him with a light trench coat, a dark hat and changes his US dollars into British pounds.

The mews' exit looks a little tidier now. SJ

Rossi hails a taxi to be taken to Grand's address, which the Blonde gave him for a few dollars more. Lyall Street SW1 with the corner of Eaton Place to the top left.

Panning left shows the utility cover in the same place bottom right. SJ

The Austin cab with Rossi turns around and drives to number 18 Kingston Road, next door to Kingston House, Grand's home. Lyall Street at the intersection of Eaton Place, SW1. SJ

Getting a bit dark. SJ

The cab turns into the film's Kingston Road. Facing west along Prince's Gardens from Ennismore Gardens SW7, with Exhibition Road in the distance. An almost identical shot can be seen in 'Cross-Roads'.

The block on the left has replaced the terrace, which can also be seen from round the corner in 'Nowhere to Go'. SJ

Getting out of the cab, Rossi pays the fare and tells the Taxi Driver (Howard Douglas) to keep the change. Outside the since demolished number 18 Prince's Gardens.

When the Austin FX3 taxi drives from view, Rossi walks towards Kingston House. To the right stands Kingston House South on Ennismore Gardens SW7

Some gentle scaffolding on the scene. SJ

Pausing outside, Rossi enters the building and takes the lift to Mr. Grand's furnished apartment where he finds Joan Miller who claims to be his secretary. Outside Kingston House South which can be seen in 'Terror Street', ‘Cross-Roads’, 'Suspended Alibi' and 'The Vicious Circle'.

The essential similarities are there. SJ

After Joan Miller (Sally Gray) responds to Rossi's intrusive questioning by holding a Baby Browning gun under his nose, she telephones her boss before directing him to the rear of the building where they get into her car. The car park at the rear of Kingston House South in Knightsbridge which was accessed from Ennismore Place, now occupied by the newer properties of Moncorvo Close.

Sitting behind the wheel with the gun pointed at him, Rossi drives the Sunbeam-Talbot 90 from the car park. Looking towards Moncorvo House on Ennismore Place.

Joan directs Rossi to drive into a courtyard. The sign at extreme left reads square and this is South Square, Gray's Inn WC1. (RL)

It certainly does say "Square". Yes, there have been some changes. (RL)

Rossi parks the car in the courtyard where traces of the recent war's destruction are still present. South Square, Gray's Inn.

Joan leads Rossi into a building where he meets Colonel Wilkes from British Intelligence, who is also looking for Michael Grand.

It is the building to the left in the screen capture. An excellent account of the war damage sustained and subsequent rebuilding with a realignment of the frontage can be read at http://alondoninheritance.com/thebombedcity/the-lost-buildings-of-south-square-grays-inn/ A wider shot than is required to show the changes, the doorway that the couple are entering would have been about centre shot. (RL)

As Scotland Yard Officers continue their search for Rossi, the Cabbie recognises his picture in a newspaper.

When a Resident of Kingston House sees the same picture and phones Scotland Yard, Policemen are sent to the property.

The squad car comes to a halt outside the apartment block.

Joan and Rossi make their escape from the flat.

Officers get out of another patrol car which is positioned at the back entrance of Kingston House in an effort to prevent Rossi from escaping.

Joan outsmarts the Policemen as Rossi hides before the two drive to the Tate Gallery. Looking northward on Millbank in Pimlico SW1.

Very leafy and somewhat traffic-free. SJ

The camera pans with the car until Rossi parks before the two enter the gallery to meet Colonel Wilkes. The Tate Gallery on Millbank, which can also be seen in ‘Seven Days to Noon’, ‘A Game for Vultures’, 'The Horse's Mouth', 'How to Undress in Public Without Undue Embarrassment', 'Bean', 'The Fake', 'Fun at St. Fanny's', 'Food for a Blush' and 'Stop Press Girl'.

The turning from the north is now just south of Tate Britain, regulated by a break in a road island, nowadays so the manoeuvre, seen in the film, would be highly irregular. SJ

Learning that the Colonel has checked up on him, Rossi agrees to help British Intelligence by finding Michael Grand. Red Lion Square, number 10 to the left, number 9 facing and number 8 just to the right. (RL)

Now . . . obscured.

Rossi approaches the offices of the Elite Secretarial Bureau to speak with Irma Brookes, the woman who rented the apartment in Kingston House for Grand. Red Lion Square. facing number 7, as was.

Red Lion Square, as was, and excellent pictures of the terrace, as was, can be seen on http://collage.cityoflondon.gov.uk/collage/app All given up for a new Proctor Street! (RL)

Miss Brookes gives Rossi an address at 10 Bread Street before calling Grand to warn him. The ruined building stands on Bread Street in EC4.

Rather a general and wider shot looking north to Cheapside to show the location of "no. 10" roughly centre. SJ

Discovering that the address is a ruin, Rossi walks over to investigate the building. Facing south on Bread Street with Watling Street crossing the background and the tower of St. Mary Somerset in the right distance.

The view south on Bread Street. SJ

Taking a camera from the car's glovebox, Joan heads for the building where Rossi is speaking with Grand. Watling Street with traffic on Queen Victoria Street and the ruin of St. Nicholas' church to the left and the corner of Bread Street on the right. The junction can be seen in 'Kaleidoscope', 'Stage Fright' and 'His and Hers'.

The corner is fully redeveloped. A wider shot to include St. Paul's Cathedral on the right. SJ

After Joan disturbs the two men, she and Rossi leave the ruin as a car starts up and heads towards them. Bread Street with properties on Cheapside in the right background.

Similar to comparison 42 but on a more precise angle. SJ

Driven by Grand, the Jaguar Mk.VII continues onward after Rossi pulls Joan from its path. Facing the junction of Bread Street and Watling Street.

The street layout is retained. SJ

The two decide that Rossi should return to the Elite Secretarial Bureau to question Irma Brookes. Looking west across the junction of Bread Street and Watling Street in EC4 with St. Paul's Cathedral beyond the remaining tower of St. Augustine's church in the backgroud. The bombed building to the right was once a bank.

The pavement is wider with perhaps the right building set back a little. SJ

After Rossi turns up at her office unexpectedly, Irma Brookes (Patricia Laffan) calls Grand before making her way to a bus stop. Parton Street in WC1, looking along the western end of Red Lion Square with number 6 Red Lion Square in the background and the bomb damaged St. John the Evangelist church and remaining terrace to the right. (RL)

in Jan '13 TonyK explained that this building (Lion Court) stands where Parton Street once was. The street was demolished to make way for Procter Street, to the left. This replaces his GEV. However, on reflection, I should be further back as Parton Street ran off behind my right, filled by office space, outside which there is a bus stand impeding a more accurate view. This is the junction of Fisher Street and the south side of Red Lion Square so the terrace would have run straight across the road on the left. SJ

Catching a number 18b, Miss Brookes is transported through the City . . . Not truly the City, more the West End says Dave W, it's at the topmost end of Shaftesbury Avenue WC2 looking north-east across New Oxford Street towards Bloomsbury Way. (RL)

. . . followed by Joan and Rossi in her Sunbeam-Talbot. The AEC Regent III double-decker is travelling south-west along Pall Mall SW1 from where the National Gallery and Trafalgar Square can be seen in the left distance.

The dome of the National Gallery is hiding behind the tree. The Institute of Directors, 116 Pall Mall, fills the right hand side. SJ

Jumping off the bus at Waterloo Place, Miss Brookes climbs into a taxi.

The west face of the IoD. SJ

The cab drives away along Pall Mall towards St. James's. To the left stands the Athenaeum Club at the corner of Waterloo Place and Pall Mall in SW1..

And beyond The Athenaeum is The Travellers' Club and then The Reform Club. SJ

Rossi and Joan keep up their pursuit. Pall Mall with the columns at the entrance of the Oxford & Cambridge Club to the centre.

Now looking north-east along Pall Mall

The Sunbeam-Talbot reaches the junction of Pall Mall, Marlborough Road and Cleveland Row where St James's Palace stands on the left.

Not so much space left for road but otherwise unchanged. SJ

Continuity remains sound as the taxi turns onto Piccadilly to head westward. Facing north-east on Piccadilly SW1 with the trees hiding Green Park on the right.

Taken from the left of the middle of Piccadilly to show The Ritz peeping out beyond the park trees in the far distance. SJ

Negotiating Wellington Place, the taxi passes the Wellington Arch at Hyde Park Corner.

Traffic has not run past here since the early 60s after Hyde Park Corner and Park Lane were redeveloped. SJ

Reaching her destination, Irma Brookes gets out of the cab as Rossi and Joan park nearby. Facing north on Lowndes Street in SW7.

The curve in the road is still there. SJ

Miss Brookes walks a little further. Lowndes Street, which appears in a number of productions including 'Yield to the Night', 'The Servant', 'Time Without Pity', 'Vampira', 'The Assassination Bureau Limited' and 'Allez France!'.

The railings have been added to. SJ

Rossi and Joan follow in the car as Irma Brookes pauses to look around before entering Coiffeur de Dames. The corner of Lowndes Street and Motcomb Street.

Rather a pretty corner. SJ

Joan follows Miss Brookes into the hairdressers where she manages to overhear part of the conversation between her and Grand. Facing 14 and 12 Lowndes Street SW1.

A more wintry look. SJ

About to be exposed, Joan leaves the salon in a hurry to rejoin Rossi where she spots Grand's Jaguar pulling away. Looking south-east on Lowndes Street with the trees of Chesham Place in the distance.

A uniform white coat has been applied to the terrace. SJ

Sitting in the car, the pair prepare to follow. Lowndes Street in SW1. SJ

A different season. SJ

As Rossi and Joan are about to drive off, a Constable approaches. The corner of Lowndes Street and West Halkin Street.

New building has altered the corner's appearance markedly. SJ

Telling the two that there's no parking here, the Policeman recognises the wanted man and asks them to step out of the car. Lowndes Street with Motcomb Street to the left. SJ

The same corner. SJ

After Rossi and Joan are released from Hammersmith police station when Colonel Wilkes discloses to Inspector Reid that the American is an agent of the FBI, a taxi approaches a small hotel on a darkened street. Facing eastward on Crutched Friars in EC3 with Fenchurch Street station standing on the railway arches to the top.

The right hand side of the road now built up. PW

The cab draws up outside the Crown & Anchor which the Driver enters to meet with Grand. Outside Crutched Friars House at number 42 Crutched Friars in EC3

Hardly a change in 73 years. PW

Detectives Rees and Martin oversee a check on every Alien working or living within a three mile radius of the hairdressers where Grand's radio transmitter was found. Looking north on Hardinge Street E1 with Coburg Dwellings to the left. Jonathan Horswell points out that this and the following scenes were reused in 'Burnt Evidence'.

The coordinated operation by Scotland Yard and the Secret Service is extended to air terminals, ports and railway stations in a effort to prevent Grand from leaving the country. To the left, David Clarke identifies BEA's Kensington Air Station next to Stafford Court on Kensington High Street W8.

Looking east. SJ

Stopping outside the Air Station, Policemen enter to check on Passengers inside the terminal. Facing Stafford Court in Kensington.

There are several entrances but this one (43-62) is set in to the west of the slightly prominent centre as seen on the top right. SJ

A car is dispatched to London's main coach station. Victoria Coach Station at the corner of Buckingham Palace Road and Elizabeth Street SW1, other views of which appear in 'The Knack, and How To Get It', 'Track the Man Down', 'Rattle of a Simple Man', ‘Lost’, ‘The Deadly Affair’, ‘Rotten to the Core’, ‘The Small World of Sammy Lee’ and 'Three Hats for Lisa'.

More glass here to separate passengers from coaches. SJ

Stationed at one of the Capital's main railway stations, a Detective glances at a Passenger as he walks by. London's Victoria station in SE1 located by Jonathan Horswell.

Airline Passengers are scrutinised as they alight from a BOAC coach.

Another Detective monitors shipping at the docks as Colonel Wilkes makes contact with the Embassies within the search zone.

Dressed in a naval uniform, Rossi joins the search and is taken by radio equipped taxi to a seaman's hotel near the river. Seething Lane in EC3 with Pepys Street on the left.

Nothing from the screen capture remains. PW

Leaving Joan in the back of the vehicle, Rossi gets out as Rees (Anthony Pendrell) gives directions to the Crown & Anchor. Seething Lane with the gateway to St. Olave's Church forming the background.

The gateway now. PW

Pausing at a corner, Rossi looks over at the cheap hotel. Continuity is good - this is the west side of the Port of London Authority building from Seething Lane EC3 at the corner of Pepys Street which is also seen in 'Skyfall' as well as many other productions detailed in Simon James's London Movie Guide.

A revisit sometime in 2014 should see the gardens open to the public again . . . . so the board says! Richard Lovejoy.

Rossi turns from view as Grand leaves the premises. Crutched Friars EC3 found by Andy Harris who tells us that number 42 also appears in 'Ballad in Blue' released 13 years later. (RL)

"Wherever I go there is building work in hand." Richard Lovejoy.

While Rees notifies the Colonel that contact has been made, Rossi keeps Michael Grand (Clifford Evans) within sight as he sets off to follow. Crutched Friars beneath Fenchurch Street station, in a similar view to that appearing in 'Herostratus'.

At least the tell tale brickwork and panel of the Cheshire Cheese remains. Richard Lovejoy.

Feeling uneasy, at a corner Grand turns to look behind. The corner of Crutched Friars and Lloyd's Avenue.

The same corner . . . honest!. PW

Joan and Rees follow in the taxi. Crutched Friars with French Ordinary Court on the right.

The addition of bollards has prevented further damage to the archway. PW

Rossi marks the wall with chalk as he peers around the corner to see Grand walking away. Lloyd's Avenue looking towards Fenchurch Street in EC3 recognised by Andrew Tuffield.

Peter captured the same location.

Kept informed of Grand's movements at Scotland Yard, Inspector Reid remarks to Colonel Wilkes that he's very close to Fenchurch Street station.

Grand quickens his pace. Upper Thames Street EC4, just to the east of Trig Lane.

This is probably not the exact spot but it has the "feel" of it. East of the former Trig Lane on Upper Thames Street. SJ

Rossi steps back into a doorway as Grand looks about before turning into a narrow lane towards the river. Pifco were at 35 Upper Thames Street. (RL)

Finding another chalk mark, Joan tells Rees to report their position. Upper Thames Street with the corner of Lambeth Hill to the centre and the tower of St. Mary Somerset on the right.

The tower remains but Lambeth Hill has been re-routed to join Upper Thames Street further east behind me. And the street has atop of it a vast modern structure, recently rebuilt, known as no1 High Timber Street aka Millennium Bridge House. SJ

Grand makes his way along the alley towards the Thames. Facing south along Trig Lane from Upper Thames Street. The long lost thoroughfare also appears in 'The Lavender Hill Mob'.

This is the entrance under Millennium Bridge House. A true now would be a picture of the wall well inside the tunnel taken somewhere between the lane on the right (i.e. eastbound) or the cycle lane (out of shot). SJ

At the end of the lane Grand pauses. The top of Trig Lane Stairs at the southern end of Trig Lane in EC4.

The Trig Lane stairs do still survive at the south end of where Trig Lane, now re-routed, was. SJ

Keeping his distance, Rossi watches Grand as he looks along the river and down onto the shore. The River Thames at at the end of Trig Lane with Southwark Cathedral in the right distance beyond Southwark Bridge.

The tide was higher when I visited and this was as far down the stairs as I dared. The Shard now dwarfs Southwark Cathedral. SJ

After checking that no one is behind him, Grand descends to the river. Trig Lane Stairs in EC4.

I would've preferred a lower river level to step further back. SJ

Missing the next chalk mark because a Cyclist obscures it with his bike, Rees drives past the alley that Grand and Rossi have taken. The corner of Upper Thames Street and Trig Lane with buildings on Queen Victoria Street in the left distance.

Again a bit of a dilemma. An accurate shot would be from Booth Lane, which is accessible from the cycle lane known as Castle Baynard Street, but it would only show a wall. This is a little further north on Queen Victoria Street for more of a view. SJ

Concerned that they haven't found Rossi's mark, Joan tells Rees to stop and proceed slowly. Facing west on Upper Thames Street between Fye Foot Lane and Bread Street Hill with the tower of St. Mary Somerset in the left distance.

The cycle lane runs over the footprint of the original buildings, while a tiny bit of Fye Foot Lane is now Lambeth Hill and Bread Street Hill has been absorbed. SJ

Grand makes his way past beached vessels. The shore of the Thames below Red Bull Wharf.

Continually checking that he's not being tailed, Grand looks for a way up from the shore after hearing footsteps in the shale. Looking eastward through London Bridge with Tower Bridge down river.

Taken from Fishmongers' Hall Wharf, which featured prominently in The Millionairess. SJ

Coming out from behind a barge, Rossi keeps out of Grand's sight. The shore of the Thames with Southwark Bridge crossing the top of the scene.

Turning again, Grand climbs up to the street. The steps leading up to King William Street from the shore below Fishmonger's Hall Wharf.

The stairs were where the wall on the right belonging to the current London Bridge which opened in 1973. There may be a better shot available from the river at a very low tide. SJ

Joan tells Rees to report to Colonel Wilks that they've lost Rossi. The corner of Upper Thames Street and Bread Street Hill.

This is a much wider shot to compare with capture 91 to show the old Fye Foot Lane, now Lambeth Hill, in the middle with the corner of the vanished Bread Street Hill on the far right. SJ

Grand closes the gate behind him as he reaches the top of the steps. King William Street at the top of the steps from the shore below Fishmonger's Hall Wharf with Fishmongers' Hall as the backdrop.

The new, well, that's to say over 50 years, London Bridge now fills most of the gap. SJ

As he begins to cross London Bridge, Grand looks over the parapet to see Rossi. Looking south over London Bridge crossing the Thames from EC4 to SE1 where, in the distance, the tower of Southwark Cathedral can be recognised.

At this angle, Southwark Cathedral still rises above the skyline. SJ

Rossi approaches the steps. Looking onto the shore below Fishmongers' Hall Wharf. The wharf itself appears in 'King of Thieves' and 'The Millionairess'.

The shape of the wharf is still true but this is taken at the wrong tide level. SJ

When Grand realises that he is being followed, he looks for a way to shake off Rossi. Cannon Street Railway Bridge crosses the Thames in the background while Old Swan Pier stands on the right.

A shinier London Bridge with no pier left. SJ

The crook makes his way down the steps that lead to Old Swan Pier Water Bus Stop. The steps descend to Upper Thames Street from the east side of King William Street EC4 on the approach to London Bridge from where the pointed gable of a building on Upper Thames Street can be seen in the left distance.

Swan Lane, it must be near but the character has gone, in all senses of the word. Richard Lovejoy.

As the taxi passes slowly along the streets, Joan looks for any signs that Rossi has left. Upper Thames Street EC4 with St. Michael's Royal church to the right of a building at the corner of Skinner's Lane and College Hill.

Having followed Grand, Rossi runs into an ambush.

As Rossi grapples to take Grand's pistol from him, Joan hears gunshots. A last view of Sally Gray who, Manuel explains, gave up her film career after marrying the 4th Baron Oranmore and Browne. The corner of Lower Thames Street and St. Mary at Hill.

Alerted by Rees, the Information Room messages Colonel Wilkes and Inspector Reid who leave Scotland Yard at once. Looking towards Derby Gate through the entrance to New Scotland Yard on Victoria Embankment SW1.

The camera moves with the car as it speeds away in the direction of London Bridge. Facing north on Victoria Embankment.

As Grand breaks free from Rossi, the Humber Super Snipe carries the Colonel and the Inspector to his aid. Beneath Cleopatra's Needle on Victoria Embankment WC2.

Taken from down the steps, which are awash at high tide, I couldn't quite manage the height. SJ

With bells ringing, the patrol car brakes to corner. Looking north along Scandrett Street in Wapping with St. John's church to the centre. The street can be seen in 'The Long Good Friday' and 1951's 'Scrooge' with the church tower appearing in 'Murder in Reverse?'.

The important properties have all been conserved amongst the redevelopment. (RL)

The out of context journey crosses the swing bridge at Wapping Pier Head that takes Wapping High Street across the entrance to Wapping Basin in E1.

The buildings have all been redeveloped, the swing bridge is now a permanent road and water no longer flows beneath but those trees look original. (RL)

Grand appears on the walkway of a riverside warehouse. New Fresh Wharf on Lower Thames Street with Adelaide House in the background.

I was disappointed to find Adelaide House shrouded. SJ

Sure he has shaken off Rossi, Grand turns before carrying on towards the freighter where Dr. Halas is being held. The Monument to the Great Fire of London rises to the right while in the left distance the dome of a building at the junction of Cannon Street, King William Street and Eastcheap is visible.

Best I could do to include Monument. SJ

Rossi reaches the warehouse as Grand continues to flee. New Fresh Wharf with the tower of St. Magnus the Martyr's church to the right.

Grand makes his way through the warehouse after glancing back. The roof of New Fresh Wharf with Tower Bridge and the Thames as the backdrop.

Setting a grain elevator in motion, Grand descends towards the Freighter moored alongside the warehouse. The elevator on the river side of New Fresh Wharf with the jetty leading from Custom House Wharf as well as Tower Pier to the top right.

Rossi jumps onto the elevator and hits Grand. Across the river stand the warehouses of Cottons Wharf and Chamberlain's Wharf.

Finding their way back from the East End, Inspector Wilkes and the Colonel arrive on London Bridge from south of the river. London Bridge with Southwark Cathedral in the left distance.

The cathedral again with New Hibernia Wharf also shrouded. SJ

Inspector Reid (Frederick Piper) looks up at fight in progress on the grain elevator. Looking south on London Bridge towards Fenning's Wharf on Tooley Street in SE1.

Fenning's Wharf was demolished in 1984. SJ

Rossi and Grand continue their struggle as the Colonel and the Inspector are driven to the warehouse entrance. New Fresh Wharf with one of the travelling cranes to the right.

More disappointment with both Adelaide House and New fresh Wharf shrouded. SJ

Followed by two Policemen, Colonel Wilkes (Reginald Tate) and Inspector Reid run into view as the elevator reaches the ground. The entrance of a passage between Adelaide House to the left and New Fresh Wharf on the right, on Lower Thames Street in EC3.

This is the gap between the two buildings now. SJ