After two British agents are assassinated in Berlin by a group of neo-Nazis, the British Secret Service assign Quiller (George Segal) to locate and identify the culprits. He accepts the assignment and almost immediately finds that he is being followed. He begins openly asking question about neo-Nazis and is soon kidnapped by a man known only as Oktober. The neo-Nazis want to know the location of British operations and similarly, the British want to know the location of the Nazis' headquarters. Quiller befriends a teacher, Inge Lindt (Senta Berger), whose predecessor at the school had been arrested for being a neo-Nazi. For Quiller, it's a question of staying alive when he's not in possession of all of the facts.

The sixties was a particularly frenetic period in the life of John Barry and the year of 1966 was no exception. Theme songs were very much in vogue in the film world during this period and with Barry leading the way and basking in the spotlight following his extremely fruitful collaboration with Matt Monro's on Born Free, it came as no surprise when Monro was once again asked to perform similar duties for Quiller. The result of this first collaboration was ‘Wednesday's Child’. Barry said that the musical direction of the film was shaped by a conversation he had shared with screenplay writer Harold Pinter during production: “I’d spoken to Harold, and he threw me into doing this innocent childlike thing which goes totally against the picture. For him it was all about the indoctrination of youth, how you created young Nazis. And I wrote that melody that was based on an eighteenth-century European lullaby.

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