- 6 weeks ago
The House Across the Street (1949) is a classic film that blends mystery, drama, and journalism intrigue. The story follows a determined newspaper editor who becomes involved in uncovering hidden truths while facing challenges that test both his career and his principles. With strong performances and a compelling storyline, this vintage drama captures the style and energy of late 1940s Hollywood storytelling.
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The House Across the Street 1949, The House Across the Street full movie, vintage Hollywood drama, classic 1940s film, newspaper drama movie, mystery and drama, old Hollywood cinema, journalism story film, hidden truths movie, golden age cinema, vintage drama classic, 1940s mystery drama, timeless classic movie, retro Hollywood film, heartfelt drama story, emotional vintage film, postwar American cinema, classic mystery drama, old school storytelling, Hollywood black and white film, classic movie treasure, vintage drama masterpiece
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PeopleTranscript
00:00:00The End
00:00:30THE END
00:01:00Hopkins Street on the morning of April 20th was outwardly no different from other streets like it. It awakened to its well-ordered, placid existence much the same as any other morning, and the daily routine began according to pattern.
00:01:16The commonplace was the rule, and Hopkins Street in this city conformed, as did the Maple Streets or Vine Streets or Elm Streets of a thousand other cities.
00:01:25But sometimes the most innocent of exteriors can hide the birth of violence. In this one respect, Hopkins Street differed.
00:01:33Violence was waiting there, despite the care that had been taken to prevent it. It waited in a house. It sat, cat-like, ready to spring from the early morning shadow.
00:01:44The letter.
00:01:45The letter.
00:01:46The letter.
00:01:47The letter.
00:01:48The letter.
00:01:49The letter.
00:01:55Where is the letter?
00:02:14Come on in.
00:02:25Come on in.
00:02:55How many of you guys are on this route, anyway?
00:02:59Well, just me. Why?
00:03:01Just you?
00:03:02Sure.
00:03:03What's the...
00:03:25Hello, Lieutenant. This is Sergeant Preston. Somebody just got filming.
00:03:42Come on.
00:03:47Come on.
00:03:49Yes, sir.
00:03:50Tell Jocelyn I'm gonna see him, will you please?
00:04:11Yes, sir.
00:04:12Tell Jocelyn I'm gonna see him, will you please?
00:04:15Tell Jocelyn I'm going to see him, will you, please?
00:04:25Yeah?
00:04:26Mr. Grinnell wants you, Mr. Jocelyn.
00:04:28Tell him to take another bicarbonate. I'll be right in.
00:04:39Oh, Dave, here's that rewrite you asked for.
00:04:41Yeah, stick it on my desk.
00:04:42Right.
00:04:45Good morning.
00:04:55Good morning.
00:05:00Good morning, J.B.
00:05:04Hitting a little hard, aren't you, Dave?
00:05:06Not yet. That's just a warm-up.
00:05:08This is on the street, huh?
00:05:10Yeah.
00:05:11Police are going to be hot about this story.
00:05:13They made a mistake.
00:05:14Everybody makes mistakes, Dave.
00:05:16How big can a mistake get?
00:05:17Villeman was the only witness against Kiever.
00:05:19Villeman's dead, murdered.
00:05:20I know, I know. I read the paper.
00:05:22And own it.
00:05:23But I run it for you.
00:05:24Yes, but it's a question of how you run it.
00:05:26You're not satisfied?
00:05:32Well, when I'm not, I've got plenty of these dismissal slips.
00:05:36You'll get yours.
00:05:37I'll wait. I'll wait.
00:05:43Well, this is pretty rough stuff, Dave.
00:05:45That's the way I wanted it.
00:05:46This morning a man was murdered.
00:05:48A man whose testimony would have put Kiever in chains.
00:05:51And now we have to stand back and watch that racketeer and ex-gunman beat a fraud rap.
00:05:55And why?
00:05:56Because the police send a rookie detective to watch the front of Villeman's house.
00:05:58Well, could anyone else have done any better?
00:06:00Sure.
00:06:01The minute that phony mail carrier started up the walk, he would have been stopped.
00:06:04He wasn't, and Villeman's dead.
00:06:06Villeman.
00:06:07That's the point.
00:06:08How or why isn't the issue.
00:06:09But you're crucifying the police.
00:06:11I'm not.
00:06:12They made a mistake.
00:06:13I just pointed it out to them.
00:06:14Maybe they'll be more careful after this.
00:06:19You're a good newspaper man.
00:06:20But being one doesn't mean forgetting other things.
00:06:22Like what?
00:06:23People.
00:06:24I love them.
00:06:25If they're news.
00:06:26That's a good reason.
00:06:28I'll buy that.
00:06:29Lord help you, Dave, if you ever make a mistake.
00:06:32If I do, you can use this.
00:06:36Then you'll really need those.
00:06:54Come in.
00:06:55Don't tell me.
00:06:56It's the boy editor.
00:06:57You psychic this morning, Kit?
00:06:58No.
00:06:59Just a highly developed sense of smell.
00:07:00Oh, Dolly.
00:07:01Trent shouldn't talk like that.
00:07:02What do her readers think?
00:07:03My readers don't think.
00:07:04Uh, pardon me, but you're sitting on somebody's heart.
00:07:05Oh.
00:07:06May I have it, please?
00:07:07Well, this girl's got a problem.
00:07:08May I have it?
00:07:09You know, if she'd marry this guy, you could solve it.
00:07:10Oh, Dave, I just can't do this anymore.
00:07:11You're not in love with your work.
00:07:12Please get me out of this.
00:07:13Okay.
00:07:14You said that too quickly.
00:07:15You're suspicious.
00:07:16Dave.
00:07:17One more month of this, and I'm going to end up a gibbering idiot.
00:07:19Marry me.
00:07:20Well, either way, I end up the same.
00:07:21That's very funny.
00:07:22Oh, Dave, please put me in your mouth and I please get you.
00:07:24You can also go in.
00:07:25You'll never forget to have a little bit of a joke.
00:07:26Why don't you get it?
00:07:27But this is the girl's got a problem.
00:07:28May I have it?
00:07:30You know, if she'd marry this guy, you could solve everything.
00:07:31Oh, Dave, I just can't do this anymore.
00:07:32You're not in love with your work.
00:07:33Please get me out of this.
00:07:34Okay.
00:07:35You said that too quickly.
00:07:36You're suspicious.
00:07:38Dave.
00:07:39One more month of this and I'm going to end up a gibbering idiot.
00:07:41Marry me.
00:07:42Well, either way, I end up the same.
00:07:43Very funny.
00:07:44Oh, Dave, please put me in your face.
00:07:45I'll drink it.
00:07:46Well, either way, I end up the same.
00:07:47Very funny.
00:07:49Oh, Dave, please put me back in the city.
00:07:51You had your chance there.
00:07:52One.
00:07:53Sure, but a big one.
00:07:54Any cub reporter could have done the job you muffed.
00:07:57Well, it wasn't my fault.
00:07:58No, you just covered the wrong lead,
00:08:00and every other paper in town covered the right one.
00:08:02All right.
00:08:03Did you have to stick me in here?
00:08:05That's good clean work.
00:08:07Oh, Dave, put me anywhere, but get me away from these.
00:08:10Kit, I'm surprised at your attitude.
00:08:13Doesn't it give you a sense of power to know
00:08:15that you're sending these poor, bewildered hearts
00:08:17along the road to happiness?
00:08:19Why, you might even become known as the mother of your country.
00:08:21I have no ambition in that direction.
00:08:23Not even on a smaller scale.
00:08:26All right.
00:08:28Whenever you get tired enough of this
00:08:30to straighten out your own bewildered heart,
00:08:32look me up.
00:08:33I'm not that bewildered.
00:08:35Okay, Dolly.
00:08:41If your readers could only see you now.
00:08:45Is this the rest of Billman's story?
00:08:46Yeah, and it's dynamite.
00:08:47Too bad we can't use it.
00:08:48Who says we can't?
00:08:49But Mr. Grinnell said the late...
00:08:50Wait till Mr. Grinnell sees tonight's final.
00:08:51Ha-ha.
00:08:52Ha-ha!
00:09:02Ha-ha.
00:09:09Extra! Extra!
00:09:23Extra! Extra!
00:09:29Maybe you better send for him again.
00:09:32Oh, he'll be here in a moment.
00:09:33Mr. Jocelyn doesn't care what he does with my time or my reputation.
00:09:39Yes, sir.
00:09:40Please see what's holding up, Jocelyn.
00:09:41Or, never mind.
00:09:44Hi, J.B.
00:09:48Hello, Mr. Keever.
00:09:49How are you, Mr. Jocelyn?
00:09:50How are you?
00:09:53Mr. Keever's attorney wants to talk to you.
00:09:55I should think he would.
00:09:56Jocelyn, you've said a few things in your editorials and stories
00:10:00that are highly uncomplimentary to my client, Mr. Keever.
00:10:03Somehow I can never bring myself to regard your client as the ideal American boy.
00:10:08We've told Mr. Grinnell that if this sort of thing keeps up, we shall have to...
00:10:14Have to what?
00:10:15I want you to cut out these stories, Mr. Jocelyn.
00:10:18No.
00:10:19It leaves only one alternative.
00:10:21Why don't you talk to Mr. Grinnell? He owns the newspaper.
00:10:24We have talked to him.
00:10:26I think Mr. Grinnell agrees with us.
00:10:29Well, if it's just the same to you, I'd rather discuss this with Dave alone.
00:10:34Of course.
00:10:36Goodbye, Mr. Grinnell.
00:10:37Goodbye, Mr. Jocelyn.
00:10:38I said goodbye, Mr. Jocelyn.
00:10:41I said goodbye, Mr. Jocelyn.
00:10:42I hope so.
00:10:59Well, you did it.
00:11:01No more stories on Keever.
00:11:02Why not?
00:11:03Well, you know as well as I do that there's no way to tie Keever in with the murder of Villeman.
00:11:07Nothing except the fact that Villeman was a star witness against him.
00:11:10Nothing except the fact that five days before the trial, Villeman winds up in the red.
00:11:14Nothing except the fact that...
00:11:15Dave, I mean it.
00:11:16No more stories about Keever.
00:11:18Kill him.
00:11:19Are you taking orders from Keever?
00:11:21No, I'm giving orders to you.
00:11:24When you put me in a spot to be sued for libel, it's high time I did something about it.
00:11:27Libel?
00:11:28You know everything I said about Keever was true.
00:11:30The only way to get him is to ride him until he pulls something, and then we got him right where we want him.
00:11:34Yes, and in the meantime, he makes me and my paper look stupid.
00:11:36I say cut it out.
00:11:37No.
00:11:41Well, you asked for one of these.
00:11:45What are you gonna do about the contract I've got with you?
00:11:47Break it.
00:11:48It's not that easy.
00:11:50Dave, now this is final.
00:11:52One of two things you can do.
00:11:54Forget about Keever until you get something that holds up in court, or forget that you're my managing editor.
00:11:58I've got a good memory, boss.
00:12:00It's not easy for me to forget.
00:12:02As long as you and I have a contract, I'm your managing editor.
00:12:06I'll see you later, J.B.
00:12:15Yes, sir.
00:12:16Get me the legal department, and send me in some more bicarbonate.
00:12:20Yes, Mr. Grinnell.
00:12:23There's only one loophole in the contract.
00:12:25You can shift him to another job as long as it's in an editorial capacity.
00:12:30Editorial capacity, eh?
00:12:33Good enough.
00:12:34I didn't want to lose him anyway.
00:12:36You better put Mr. Justin's contract back in the file.
00:12:39I'll be in the city room.
00:12:40Yes, sir.
00:12:50Good morning, Mr. Grinnell.
00:12:51Good morning.
00:12:52Good morning, Mr. Grinnell.
00:12:53Good morning.
00:12:58Good morning, Mr. Grinnell.
00:12:59Good morning.
00:13:09Good morning, Mr. Grinnell.
00:13:32So what would you advise me to do, as one girl to another?
00:13:36Anxious.
00:13:42You're anxious.
00:13:46I would advise you to go...
00:13:49Hi, Dolly.
00:13:50How you doing?
00:13:52Oh, boy, oh, boy.
00:13:54Male's really getting ahead of you.
00:13:56Hey, one of the other girls we had on this job ever got that far behind?
00:14:01Say, say, you're a very funny fellow.
00:14:04Eh?
00:14:05Yeah, how old are you?
00:14:06Twenty-seven.
00:14:07Yeah?
00:14:08Twenty-seven, huh?
00:14:09Well, how would you like to live to be twenty-eight?
00:14:11I don't know.
00:14:12I don't know.
00:14:35What's the idea?
00:14:36I just ordered one martini.
00:14:38Look, I know Mr. Jocelyn.
00:14:40He needs a backlog.
00:15:04How old are you?
00:15:06From now on.
00:15:08You're?
00:15:09How old are you?
00:15:10When I had to talk about this, you're ready to go out.
00:15:12I'm ready to go out.
00:15:13You're ready to go out.
00:15:15Hey, I'm ready to go out with me.
00:15:17Yeah, I'm ready to go out.
00:15:20I'm ready to go out there, you're ready to go out.
00:15:22And then you're ready to go.
00:15:24Hmm. I thought so.
00:15:51What's this?
00:15:52It's a bewildered heart's letter I carried off by mistake.
00:15:55You better answer it.
00:15:56Thanks.
00:15:57You building something?
00:15:59It's already built.
00:16:02What time is it?
00:16:03Eight o'clock.
00:16:05Day?
00:16:06Night.
00:16:07Went fast.
00:16:08You need some coffee.
00:16:10No.
00:16:11No, I like olives better.
00:16:13Oh, Dave, what's the big idea?
00:16:15I told you, I like olives better.
00:16:17You walked out on a job.
00:16:19Me?
00:16:20It's you.
00:16:21I was fired.
00:16:22You quit.
00:16:23I was fired.
00:16:24You know better than that.
00:16:26Oh, put your hand down.
00:16:29Cat, did I ever tell you that I loved you?
00:16:34Dave, they're all laughing at you.
00:16:37So?
00:16:38So they say you quit at the first punch.
00:16:41Dolly Trent?
00:16:43That's it.
00:16:44You didn't expect me to stick to that.
00:16:47Well, I did.
00:16:48You're a woman.
00:16:49That explains everything, doesn't it?
00:16:51Oh, go away.
00:16:52Well, if I do, it's going to be permanent.
00:16:54Kit, what do you want from me?
00:16:57Just a little evidence that you can take what you used to dish out.
00:17:00Not Dolly Trent.
00:17:01Look, Dave, you're giving a lot of people a chance they've been waiting for.
00:17:05Including you?
00:17:06Look, would I have come here if that were true?
00:17:09Not Dolly Trent.
00:17:10Obits, sports, classified ads, but not Dolly Trent.
00:17:15Then it's not Kit Williams.
00:17:17Okay, then.
00:17:30That's 30 for tonight.
00:17:33I said okay, then.
00:17:34Okay, what?
00:17:39Have an Ollie with Dolly Trent.
00:17:47My dear Miss Trent, my husband went out to get some cigarettes July the 4th, and he's been missing ever since.
00:18:08Dear Dolly, do you think I should get married now?
00:18:11Oh, wait until I can see you.
00:18:12Dear Dolly Trent, have I got a problem?
00:18:15Dear Miss Dolly Trent.
00:18:16My dear Miss Trent.
00:18:21Hey, Dolly.
00:18:22Kid B wants to see you.
00:18:23Better hurry.
00:18:24Maybe it's another promotion.
00:18:25That's something you won't ever have to worry about.
00:18:35You can go right to Mr. Doblin.
00:18:37Dare I?
00:18:43Good morning, Dave.
00:18:44Good morning, boss.
00:18:49How is the column?
00:18:51Just fine.
00:19:01I guess we've both had enough, Dave.
00:19:03Oh, I'd love it.
00:19:04Now, you've had four weeks of that bewildered heart stripe, and I've had four weeks of doing without you as managing editor.
00:19:09Now, let's forget it and get back to normal.
00:19:12Under what conditions?
00:19:13Did I mention any?
00:19:14No, but I will.
00:19:15Listen, you and I both know that Billman was killed because he was the state witness against Kiever in that fraud case.
00:19:20Yes, but you can't prove that Kiever had anything to do with it. We're running a newspaper.
00:19:24We're gonna do it with facts.
00:19:26Suppose I get some.
00:19:28Couldn't we work from a new angle?
00:19:29No. No.
00:19:31Okay.
00:19:32All right, then put somebody on Bewildered Hearts.
00:19:34We already got somebody on Bewildered Hearts.
00:19:36Me.
00:19:37What?
00:19:38It's either Kiever or Dolly Trent.
00:19:39I'll get rid of you altogether.
00:19:40Uh-uh.
00:19:43As long as I'm working in an editorial capacity, you can't do a thing.
00:19:46Now, if you want me to sit at home and collect my salary, it's all right with me.
00:19:49Now, listen.
00:19:50As long as I'm willing to work, I'm fulfilling my side of the contract.
00:19:54But you can't dictate to me.
00:19:56I'll see you later, J.B.
00:20:03If you want me, I'll be guiding the love life of our city.
00:20:10I don't know how I got away with it.
00:20:20How you doing, Dolly?
00:20:22Listen, I'll still match paychecks with you guys.
00:20:27What'd he say, Dave?
00:20:29What'd he say?
00:20:30Mr. Gunnell.
00:20:31What makes you think he said anything?
00:20:32Oh, please, what'd he say?
00:20:34Did you go to bat for me?
00:20:36Of course I did.
00:20:41Thanks, heaps.
00:20:50Dave, you're not upset because I went to Grinnell.
00:20:54No.
00:20:56Just didn't do any good, that's all.
00:20:57What do you mean?
00:20:58Well, Mr. Gunnell and I are of different minds, fortunately for me.
00:21:02You're an idiot.
00:21:04Dear frustrated, your problem interests me very much.
00:21:09Why don't you get off your high horse and go in and tell Grinnell that you'll take your old...
00:21:12Nothing doing, Kit.
00:21:15You have a one-track mind.
00:21:16Well, that seems to run in the right direction.
00:21:18Besides, I'm getting very attached to my job.
00:21:21Dear frustrated.
00:21:23Look, so you stuck it out for a month, so you proved you could take it.
00:21:25Now, for the love of my...
00:21:26Your problem definitely interests me very much.
00:21:29Dolly, a bewildered heart to see you.
00:21:31Yes?
00:21:32She says she has a problem.
00:21:35Well, I'm sure that Dolly will solve it for you.
00:21:42I must be in the wrong office.
00:21:43Don't use snap judgment.
00:21:44I was looking for Dolly Trent.
00:21:47I'm Dolly Trent.
00:21:49But I thought you were a man.
00:21:51I mean, I thought she was a woman.
00:21:53Take your choice.
00:21:55Are you sure you're Dolly Trent?
00:21:57I'm Dolly Trent.
00:21:58Sit down.
00:22:00I sent you a letter.
00:22:02Three letters.
00:22:03You did?
00:22:04Uh-huh.
00:22:05My name's Billy.
00:22:06Billy Martin.
00:22:07The letters were about me and my boyfriend.
00:22:08Oh!
00:22:09Mm-hmm.
00:22:10Trouble.
00:22:11Yes.
00:22:12We were going to be married.
00:22:13Oh, that's nice.
00:22:14Oh, yes, it was.
00:22:15We were all ready to be married when...
00:22:17Look, Miss Martin, why don't you let me answer your problem in my column?
00:22:20But I've already written you three letters and didn't get any answer.
00:22:23The last one was over a month ago.
00:22:25Oh, well, swell.
00:22:26Well, I'll get right on it, and we'll probably have it out in about three months.
00:22:28But I can't wait another month.
00:22:30I want to get married.
00:22:32Why?
00:22:34I gotta have a reason.
00:22:35Oh, no, no.
00:22:36Oh, forget it.
00:22:37Look, Miss Trent.
00:22:38Me and Carl, my boyfriend, had a fight in a nightclub.
00:22:41I wanted to dance, and all he wanted to do was sit at the bar and get blotto.
00:22:45Well, I can't understand that.
00:22:47He even spilled a drink on my dress.
00:22:49So you know what I did?
00:22:50What did you do?
00:22:51I walked out on him.
00:22:52Well, it serves him right.
00:22:53No, it didn't.
00:22:54I felt sorry for Carl sitting all alone in Horseshoe Harry's that way.
00:22:58Horseshoe Harry's?
00:22:59You mean Kiever's place?
00:23:00Who's Kiever?
00:23:01Well, never mind.
00:23:02Go on.
00:23:03Well, anyway, when I went back to Horseshoe Harry's, there was no Carl.
00:23:08Amazing.
00:23:09And when I called his house, there was still no Carl.
00:23:12Fantastic.
00:23:13And you know what else?
00:23:15No, what else?
00:23:16He didn't even show up the next morning to take me to the picnic.
00:23:19What picnic?
00:23:20Why, the painters and paper hangers picnic.
00:23:22All right.
00:23:23What's your problem?
00:23:24Well, where do you think he was all night, and what was he doing?
00:23:29Why don't you ask him?
00:23:30That's just it.
00:23:31He keeps saying he doesn't remember.
00:23:32Trying to make me think he blacked out of something.
00:23:34Wait a minute.
00:23:35Your boyfriend disappears from Horseshoe Harry's.
00:23:36He's gone all night and the next morning.
00:23:37What time did he show up?
00:23:38Three o'clock in the afternoon.
00:23:39What time did he show up?
00:23:40Three o'clock in the afternoon.
00:23:41Do you remember the date?
00:23:42Of course.
00:23:43It was the day of the picnic.
00:23:44April the 20th.
00:23:45That's the day of Villeman's murder.
00:23:46What did you say?
00:23:47Oh, I don't even know myself.
00:23:48Now, look.
00:23:49Did, uh, Carl talk to anybody at Horseshoe Harry's?
00:23:50Did he see anyone?
00:23:51No.
00:23:52Not while I was with him.
00:23:53Uh-huh.
00:23:54Where are you going?
00:23:55Aren't you going to give me some advice?
00:23:56No, no.
00:23:57No, no.
00:23:58No, no.
00:23:59No, no.
00:24:00No, no.
00:24:01No, no.
00:24:02No, no.
00:24:03No, no.
00:24:04No, no.
00:24:05No, no.
00:24:06No, no.
00:24:07No, no, no.
00:24:08Aren't you going to give me some advice?
00:24:09Not now.
00:24:10I just want to see Carl.
00:24:11Where can I find him?
00:24:12Well, I'll show you.
00:24:13No.
00:24:14I think that you better go home and wait for the good word.
00:24:15Just tell me where I can find Carl.
00:24:17Well, he's working at 954 West 185th Street.
00:24:21He's an artist.
00:24:23But your girlfriend, Billy, told me the whole story.
00:24:27I don't know what she had to see you for.
00:24:29Billy's very concerned with her future.
00:24:31And you love her, don't you?
00:24:32Sure.
00:24:33But she didn't have no right bringing a stranger in.
00:24:36I'm not a stranger.
00:24:37I'm Dolly Trent.
00:24:38I fixed bewildered hearts.
00:24:39Well, what won't they think of next?
00:24:41Carl, you should be honest with the woman you love.
00:24:44Tell her where you were.
00:24:45Well, I...
00:24:47Look, Miss Trent.
00:24:48You can call me by my maiden name, Jocelyn.
00:24:50Okay, but I don't want no more beefs with Billy.
00:24:52Then why don't you tell her where you went after you left Horseshoe Harry's?
00:24:55I don't know.
00:24:56So help me, I couldn't tell her.
00:24:58Why not?
00:24:59Well, I must have had a couple too many.
00:25:02And when I came to, I was holed up in a rooming house clear on the other side of town.
00:25:06I don't know what happened to Billy.
00:25:08That's all?
00:25:09That's it.
00:25:10Was there anyone with you in the rooming house?
00:25:15Carl, was anyone with you in the rooming house?
00:25:18Well, maybe I remember something about a dame at the bar after Billy left.
00:25:23But I'm not sure.
00:25:24Everything's kind of mixed up.
00:25:26Anyway, I didn't want to tell Billy because, well, dames is funny that way.
00:25:30Yeah, yeah, very unreasonable.
00:25:32Who was this girl?
00:25:33I don't know.
00:25:34You never saw her before?
00:25:35No.
00:25:36Now look, Mr. Jocelyn, I'm telling the truth.
00:25:39I had a couple of drinks and then, bam, there was something like a flash of light.
00:25:44Flash of light, huh?
00:25:46Huh?
00:25:47Flash of light.
00:25:49That sounds like your last drink was a Mickey.
00:25:51But I wasn't rolled from a dough and I had a week's pay on me.
00:25:55You didn't lose a cent?
00:25:56Nothing was missing.
00:25:57You don't remember anything until you woke up in the rooming house?
00:26:00That's right.
00:26:01Honest.
00:26:02You remember the address?
00:26:03Yeah.
00:26:041828 River Street.
00:26:06I'll talk to you later, Carl.
00:26:08What are you gonna do?
00:26:09Who knows?
00:26:10You're not gonna tell Billy about that dame.
00:26:12Are you kidding?
00:26:14Us fellas gotta stick together.
00:26:16You're supposed to ring the bell.
00:26:17Oh.
00:26:19You're supposed to ring the bell.
00:26:21Oh.
00:26:23We're full up.
00:26:24No rooms.
00:26:25Why should you be any different?
00:26:26You selling something?
00:26:27Not today.
00:26:28I just wanna talk.
00:26:29Oh.
00:26:30You're supposed to ring the bell.
00:26:31You're supposed to ring the bell.
00:26:32Oh.
00:26:34We're full up.
00:26:35No rooms.
00:26:36Why should you be any different?
00:26:37You selling something?
00:26:38Not today.
00:26:39I just wanna talk.
00:26:40I got nothing to talk about.
00:26:41I'd like to get some information about a guy named Carl Schrader.
00:26:45I never heard of him.
00:26:46He don't live here.
00:26:47He did about a month ago.
00:26:48I don't keep track of the guys who come here.
00:26:49I'm not sure what's going on.
00:26:50You're supposed to ring the bell.
00:26:51Oh, thank you.
00:26:52I'm sorry.
00:26:53You're supposed to ring the bell.
00:26:54Oh.
00:26:56We're full up.
00:26:57No rooms.
00:26:58Why should you be any different?
00:26:59You selling something?
00:27:00Not today.
00:27:01Just wanna talk.
00:27:02Got nothing to talk about.
00:27:03I'd like to get some information about a guy named Carl Schrader.
00:27:06I don't keep track of the guys who come and go.
00:27:09Now look, let's wind this up.
00:27:10I got work.
00:27:11He came here the night of the 19th.
00:27:13Didn't leave until he woke up the next day.
00:27:15I told you.
00:27:16I don't remember nobody.
00:27:17Guys come and they go.
00:27:18That's all.
00:27:19I don't ask questions.
00:27:20Came here with a woman, didn't he?
00:27:21Once a pretty lady came here.
00:27:22With pretty red hair and a pretty fur coat.
00:27:23Shut up, Madge.
00:27:24Well, she did.
00:27:25Shut up and go to the kitchen.
00:27:28You're a little girl?
00:27:29Why don't you take off?
00:27:30I told you I got no time.
00:27:32Oh.
00:27:33Your time is valuable, huh?
00:27:35Well.
00:27:36Yeah.
00:27:37Too valuable.
00:27:42Hey!
00:27:44Hey!
00:28:05Hello.
00:28:06Marty, there was a guy you're asking about Schrader.
00:28:12Who was he?
00:28:13I didn't ask him.
00:28:14He was kind of nosy.
00:28:15What did you tell him?
00:28:16Think I'm a dope?
00:28:17I told him nothing.
00:28:18Okay.
00:28:19Just keep your mouth shut and hold tight.
00:28:25Hey, Beth.
00:28:26What are you, a bookworm?
00:28:27Follow reading wouldn't hurt you.
00:28:28Why don't you go home?
00:28:29Listen.
00:28:30Maybe we're in a jam.
00:28:31Are you sure nobody saw you with that guy?
00:28:32What guy?
00:28:33The guy we took over to Eddie's rooming house.
00:28:34Oh, nobody saw me.
00:28:35Why?
00:28:36There's somebody nosing around Eddie's place.
00:28:37I wonder if you're in a jam.
00:28:38Are you sure nobody saw you with that guy?
00:28:39What guy?
00:28:40No.
00:28:41The guy we took over to Eddie's rooming house.
00:28:42Oh, nobody saw me.
00:28:43Why?
00:28:44Somebody nosing around Eddie's place.
00:28:45I wanted to find out about things.
00:28:46So, what could he find out?
00:28:47I don't know.
00:28:48I don't know.
00:28:49But I can't ask him.
00:28:50I'll have to ask them to ask him.
00:28:51Oh, you can do it.
00:28:52Hey, Beth.
00:28:53What are you, a bookworm?
00:28:54What are you, a bookworm?
00:28:55I'll have to ask him to ask him.
00:28:56Why don't you go home?
00:28:57Listen.
00:28:58Maybe we're in a jam.
00:28:59Are you sure nobody saw you with that guy?
00:29:00What guy?
00:29:01The guy we took over to Eddie's rooming house.
00:29:02Oh, nobody saw me.
00:29:03Why?
00:29:04Somebody nosing around Eddie's place.
00:29:05I wanted to find out about things.
00:29:07So, what could he find out?
00:29:09I don't know.
00:29:11Unless that dope Schrader remembers.
00:29:13Oh, he won't remember.
00:29:15I'm gonna make sure he doesn't.
00:29:21Marty.
00:29:23What are you gonna do?
00:29:25Protect myself, baby.
00:29:27And you.
00:29:28What do you mean?
00:29:29Kiva don't like mistakes.
00:29:31I made one, he better never find out about it.
00:29:35Maybe someday you'll learn to mind your own business.
00:29:40You know, Kit, with a little patience,
00:29:42this bewildered heart job might lead to something.
00:29:44Well, if it doesn't, you've just wasted a lot of time and a little skim.
00:29:47Ouch!
00:29:48Sorry.
00:29:49Kit, I think I'm on to something.
00:29:51The landlord there was afraid to talk, but there was a little girl.
00:29:54Little girl where?
00:29:55At this rooming house, a little girl named Madge.
00:29:57And she said,
00:29:59I don't know.
00:30:00I don't know.
00:30:01I don't know.
00:30:02I don't know.
00:30:03It's a little girl named Madge.
00:30:04And she said that she remembered a beautiful lady with red hair and a fur coat.
00:30:08And he shut her up but fast.
00:30:09Dave, I think you're just taking pot shots in the dark.
00:30:11No.
00:30:12Because I'll lay you two to one that that's the same thing that Carl Schrader said he remembered
00:30:15down at Horseshoe Harry's.
00:30:16I want to find out who she is.
00:30:18Now where are you going?
00:30:19Police department.
00:30:20Find out if Schrader's got any kind of a record.
00:30:22What will I tell the boss if he asks where Dolly Trent is?
00:30:25Well, just tell him that Dolly has gone down to get herself a finger wave.
00:30:29Look, Marty, will you stop worrying?
00:30:30I'll tell you the guy that came here didn't get a thing.
00:30:31Not a thing.
00:30:32Ready?
00:30:33No.
00:30:34No.
00:30:35No.
00:30:36No.
00:30:37No.
00:30:38No.
00:30:39No.
00:30:40No.
00:30:41No.
00:30:42No.
00:30:43No.
00:30:44No.
00:30:45No.
00:30:46No.
00:30:47No.
00:30:48No.
00:30:49No.
00:30:50No.
00:30:51No.
00:30:52No.
00:30:53No.
00:30:54No.
00:30:55No.
00:30:56No.
00:30:57No.
00:30:58No.
00:30:59No.
00:31:00No.
00:31:01No.
00:31:02Uh!
00:31:03But your character killed me didn't get a thing.
00:31:04Not a thing!
00:31:05Maybe!
00:31:06I gotta make sure.
00:31:07Remember one thing.
00:31:08You were in this with me up to your neck!
00:31:10Come here.
00:31:13Who is that?
00:31:14I don't know.
00:31:15Do you belong around here?
00:31:18Never saw her before.
00:31:20I'd better call my kid inside.
00:31:21No!
00:31:22Leave her where she is.
00:31:24He's asleep.
00:31:25Hello.
00:31:38Hi.
00:31:40Um, you're a pretty good ball player.
00:31:42Why not? I'm a boy.
00:31:45Do you know a little girl named Madge?
00:31:47Who?
00:31:48Madge.
00:31:49I don't play with girls.
00:31:51Well, of course you don't, but, uh, do you know her?
00:31:54Uh-huh.
00:31:55Well, where is she? Is she out here?
00:32:00That's her sitting over there.
00:32:02Oh, thanks a lot.
00:32:15Hello, Madge.
00:32:16Hello.
00:32:21My, that's a pretty picture.
00:32:22I like it.
00:32:23Did you draw that from memory?
00:32:26Sure.
00:32:27My, you must have a wonderful memory.
00:32:29I have.
00:32:30My teacher thinks I'm a genius, but I'm really quite normal.
00:32:33Oh.
00:32:35Madge, do you remember a lady with pretty red hair and a pretty fur coat?
00:32:39Why is everybody so interested in her?
00:32:42Well, because, well, I'm her cousin from out of town and I'm trying to find her.
00:32:48I don't see much of a family resemblance.
00:32:51Oh, there is, when you know us.
00:32:54Do you remember her leaving about a month ago?
00:32:57Sure.
00:32:58She went away in a taxi cab.
00:33:00Well, Madge, do you remember her saying anything to the taxi cab driver?
00:33:03Uh-huh.
00:33:04What was it?
00:33:06She told them where to go.
00:33:07Well, where?
00:33:08Where she told them.
00:33:10I know, darling, but what was the address?
00:33:12248.
00:33:13248 what?
00:33:15248.
00:33:16But, dear, what was the avenue?
00:33:19248.
00:33:21Darling, the street must have had a name.
00:33:23No.
00:33:25But it had to have one.
00:33:26I've got to go now.
00:33:52Okay.
00:33:53Step on.
00:33:56Hey, taxi!
00:34:04Hey, look out!
00:34:19Hey, you all right?
00:34:21I think so.
00:34:23Ooh!
00:34:26Oh, get me to the Star Chronicle building, will you, please?
00:34:30Sure.
00:34:31That driver must have been crazy.
00:34:38Yes, ma'am, but...
00:34:39But I am Dolly Tramp.
00:34:42Yes, ma'am, I always talk like this in the morning.
00:34:45Yes, ma'am.
00:34:48Did you win?
00:34:49Look, Mrs. Applegate, I'll call you back.
00:34:51What do I have to do to get a human reaction out of you?
00:34:55Walking without my head?
00:34:56Well, come in here.
00:34:58And tell Aunt Dolly your problems, that's it.
00:35:00Ooh, my knee.
00:35:01What's the matter?
00:35:03Let's take a look.
00:35:04Oh, wait a minute.
00:35:05Oh, it's just a scratch.
00:35:06I got some Band-Aid in here.
00:35:08Pull it up.
00:35:09Be careful.
00:35:10Yeah.
00:35:11Well, tell Aunt Dolly your story.
00:35:13Well, I went to 1828 River Street.
00:35:15Yeah.
00:35:16Hey, that's my story.
00:35:18Well, you couldn't very well have gone back there
00:35:19and talked to the child after you'd been there once.
00:35:22Might have been spotted.
00:35:23Oh, smart girl.
00:35:26Who did this?
00:35:27I don't know.
00:35:28Some maniac in a black sedan tried to run me down.
00:35:31Think it was deliberate?
00:35:32Well, it sure looked like it.
00:35:33Oh, my stockings are ruined.
00:35:36Listen, what'd you find out from the kid?
00:35:37Not a thing, except 248.
00:35:40248.
00:35:41248 what?
00:35:42I don't know.
00:35:43Mads said the redhead jumped into a cab
00:35:44and told the driver to take her to 248.
00:35:48I don't get it.
00:35:50From the looks of you,
00:35:51it seems as if somebody saw you talking to Mads
00:35:53and was afraid you had found out something.
00:35:54Maybe.
00:35:55Well, I guess I don't need these anymore.
00:35:58Hey, by the way, what did you find out about Carl?
00:35:59Nothing.
00:36:00He's clean.
00:36:01No record at all.
00:36:02I was just on my way to see him.
00:36:03Oh, wait a minute.
00:36:04I'll get cleaned up and go with you.
00:36:06Not you, baby.
00:36:07Why not?
00:36:08You've already made like a clay pigeon once today.
00:36:10That's enough.
00:36:11There might be a story in this.
00:36:12I know, but I'm not going to sign it to you.
00:36:15Oh, but you're not the managing editor anymore, remember?
00:36:17Oh, yeah.
00:36:18You ready, Miss Trant?
00:36:20I'll meet you downstairs.
00:36:21I'm looking for Carl Schrader.
00:36:29I'm looking for Carl Schrader.
00:36:36Yeah, he's not here.
00:36:37Say, what gives with that guy anyway?
00:36:38First you, then another character, and now you again.
00:36:52Yeah?
00:36:53Who was the other character?
00:36:54I don't know.
00:36:55Schrader left with him.
00:36:56He asked for the rest of the day off.
00:36:57Any idea of where he went?
00:36:59Home, I guess.
00:37:00You got his home address?
00:37:01Yeah, I'll get it for you.
00:37:05Dave.
00:37:07Wouldn't it make much more sense to go and find Carl's girlfriend,
00:37:09the one that took him to the rooming house?
00:37:11No.
00:37:11No, she lives at 248.
00:37:13We can't check every 248 in the city.
00:37:15I'm sticking with Carl.
00:37:16Well, that isn't the way I'd do it.
00:37:20Here it is.
00:37:21She lives on Fairview Street.
00:37:23It ain't far from here.
00:37:24Okay.
00:37:25Thanks a lot.
00:37:26Bet.
00:37:29Let me alone.
00:37:30Let me alone, please.
00:37:31What do you want from me?
00:37:32What did you tell that newspaper guy?
00:37:33Nothing.
00:37:34You're lying.
00:37:34I ain't, I ain't.
00:37:35I didn't tell him nothing.
00:37:36I don't remember nothing.
00:37:38All right.
00:37:39Maybe you don't.
00:37:41We're going to keep it that way.
00:37:43What do you mean?
00:37:45As long as you don't remember.
00:37:46As long as you don't talk.
00:37:48You're all right.
00:37:50Understand?
00:37:50Yeah, yeah, sure.
00:37:51Wipe your nose.
00:37:53You got a suitcase?
00:37:58A suitcase?
00:37:59Yeah.
00:37:59Get it.
00:38:00What for?
00:38:01Get it.
00:38:10I don't know what I need a suitcase for.
00:38:12Pack it.
00:38:12What?
00:38:13Pack it.
00:38:14I'm going to go to the cops.
00:38:15Listen.
00:38:17You don't know how big a break you're getting.
00:38:19Because you're so stupid, I'm going to give you a vacation.
00:38:21Oh, but I had a vacation.
00:38:23This one's on me.
00:38:25Now, pack that grip.
00:38:26Where do you want me to go?
00:38:48Oh, doesn't really matter, does it?
00:38:54Carl Schrader, flat six.
00:38:56Let's be upstairs.
00:38:58Come on.
00:38:59What's the matter?
00:39:00Shut up.
00:39:01Get over.
00:39:02What's this all about?
00:39:04They're coming in and you're going to let them.
00:39:05Why?
00:39:05I got a reason.
00:39:06I want to hear how much this guy knows.
00:39:09What was that number again?
00:39:11It was flat six.
00:39:13What's in there?
00:39:14The kitchen.
00:39:15Let them in and remember, you don't know nothing.
00:39:25I don't think he's in.
00:39:31Yeah?
00:39:32Remember me?
00:39:34Oh, yeah.
00:39:35Sure.
00:39:37Come on in.
00:39:42Carl, I want to talk to you for a minute.
00:39:43You, uh, left work early today, didn't you?
00:39:49Yeah, I wasn't feeling good.
00:39:51Who'd you leave with?
00:39:52I...
00:39:52Nobody.
00:39:55Your boss says you're left with somebody.
00:39:57Oh, well, he don't know what he's talking about.
00:39:59Do you?
00:40:00Sure I do.
00:40:01Now, what do you want?
00:40:02I don't know.
00:40:03That all depends on you and what happened that night at Horseshoe Harry's.
00:40:06I told you once, I don't know.
00:40:08Don't you think if you tried real hard, you might remember?
00:40:10Hey, why don't you leave me alone?
00:40:12I told you before, I don't know nothing.
00:40:15What's the matter with you?
00:40:16Are you scared of somebody?
00:40:17Dave, look.
00:40:29You, uh, going someplace?
00:40:32Yeah, a vacation.
00:40:34Huh?
00:40:34Kind of sudden, isn't it?
00:40:36You get out of here right now.
00:40:37Look, I'm not going to hurt you.
00:40:39I just want you to try to remember what happened that night.
00:40:41If you don't get out of here right now and leave me alone, I'm going to call the police.
00:40:44Okay, you want the cops?
00:40:45Get...
00:40:45Call the cops.
00:40:46No, please.
00:40:47Just go away.
00:40:48Please go away.
00:40:48Can't you get an end of your head that we're your friends?
00:40:50We're worried about you, Carl.
00:40:52We want to help you patch things up with Billy.
00:40:54We're not going to get you in any trouble.
00:40:55I know that, but I can't help you.
00:40:57Sure you can.
00:40:58You've already told us that you were at Horseshoe Harry's.
00:41:00Yeah.
00:41:00Well, go on.
00:41:02Have you got a brother?
00:41:03Look, I'm your brother.
00:41:04I'm your big old brother.
00:41:06Now, why don't you go ahead and tell me everything you think I ought to know.
00:41:09I don't know what to say.
00:41:10I never had a brother.
00:41:12Dave, let's go.
00:41:14Huh?
00:41:14Come on, let's go.
00:41:15What's the matter with you?
00:41:16Look, we're wasting our time.
00:41:17I've got another idea.
00:41:18Wait a minute.
00:41:19I want to tell them that.
00:41:19Come on, we haven't got time to wait.
00:41:20It's important.
00:41:21And I was real nice, Carl.
00:41:29Real nice.
00:41:34Always pays to be a good boy.
00:41:51Get going.
00:41:59Just starting that vacation.
00:42:09All right, now spill it.
00:42:11Dave, we had to get out of there.
00:42:12Why?
00:42:13Because someone was hiding behind the curtain in Carl's room.
00:42:16Well, why didn't you tip me off?
00:42:18Well, how could I?
00:42:19Whoever it was must have been watching us.
00:42:21Well, you could have told me after we got outside the room.
00:42:23And have us killed, maybe.
00:42:24Now, what good would that have done?
00:42:25So you let Carl Schrader get away.
00:42:27What chance have I got now?
00:42:29Oh, you've got enough.
00:42:30What do you mean?
00:42:32Have Carl picked up by the police.
00:42:34Oh, sure.
00:42:35On what charge?
00:42:36Stupidity?
00:42:37My purse is in his suitcase.
00:42:41Your part is where?
00:42:42You think you're the only one born with a head?
00:42:45I planted my purse in his suitcase.
00:42:47I'll have him picked up, and I'll sign a complaint against him.
00:42:51Well, you're improving.
00:42:53Mm-hmm.
00:42:53I have something else for you, too.
00:42:55What?
00:42:56I know where the missing redhead lives.
00:42:59Well, let me have it.
00:43:01You remember Match said she heard 248?
00:43:03Yeah, 248 what?
00:43:05Well, that's it.
00:43:06248th Street.
00:43:08What a brain.
00:43:10A little warp, maybe, but boy, what a brain.
00:43:12Sure, the dame gets in the cab and says to the driver,
00:43:15248th.
00:43:17But as Madge would pronounce it, 248th.
00:43:20Stop here.
00:43:26Go to the police about your handbag.
00:43:28Tell them to pick up Carl Schrader on suspicion of theft.
00:43:30Well, what about you?
00:43:31I'm going to 248th.
00:43:32I'm looking for someone I think lives in this building.
00:43:49By what name?
00:43:51I don't know.
00:43:51You don't know?
00:43:52That ought to help you.
00:43:53I can describe her.
00:43:55Her?
00:43:55Yeah.
00:43:56Red hair, wears a fur coat, pretty.
00:43:58It's very important I get in touch with her.
00:44:00I wish I could help you out.
00:44:01Maybe I can help you out.
00:44:05Red hair, wears a fur coat, pretty.
00:44:09Try 4A, upstairs.
00:44:12Thanks.
00:44:27Yeah?
00:44:28Miss Roberts?
00:44:29Uh-huh.
00:44:29I'm the man that takes the survey.
00:44:31Survey?
00:44:32Yes.
00:44:32Are you listening to your radio?
00:44:34Radio?
00:44:35Hey, what's the big idea?
00:44:37I'd like to talk to you, Miss Roberts.
00:44:38Not to me.
00:44:40You know, uh, it's a very nice place you got here.
00:44:43Who are you?
00:44:43What do you want?
00:44:44Oh, it's nothing to worry about.
00:44:45I just want to inquire about a man that you might know.
00:44:47Get out of here.
00:44:48A man named Carl Schrader.
00:44:50I don't know him.
00:44:52You know him.
00:44:53I never heard of him.
00:44:54Not before April the 19th, you didn't.
00:44:56You're crazy.
00:44:57That doesn't alter the fact that you know Carl Schrader.
00:45:00You better get out of here.
00:45:01Look, honey, why don't you play it smart?
00:45:02Why don't you get out for money while the getting's good?
00:45:04Pretty girl like you getting mixed up in a fast deal like this.
00:45:07What do you know about this?
00:45:08What do you think that I know?
00:45:09Look, if you're hooked into this act, it'd be better if you talked.
00:45:13I'll take it from there.
00:45:18Well, well, well, Mr. Brimmer.
00:45:19How's Mr. Kiever?
00:45:21You still running errands for him?
00:45:22I'm in business for myself, Jetson.
00:45:24No kidding.
00:45:25I didn't even know you could think for yourself.
00:45:28What'd you let him in here for?
00:45:29I didn't.
00:45:30He pushed his way in.
00:45:31He put his foot in the door.
00:45:32Oh?
00:45:33So you forced your way in here, huh?
00:45:35Yeah.
00:45:36Yeah, I apologize.
00:45:37I didn't know you were so sensitive.
00:45:38I could use this legally.
00:45:39What a nice change for you.
00:45:41Maybe you need a change.
00:45:45What'd you come here for?
00:45:46If I'd have known you were coming, I would have hidden behind a curtain.
00:45:51Beth, get out of the way.
00:45:53Get up.
00:45:53Get up.
00:45:56Hey, Brimmer.
00:46:00Hey, wait a minute.
00:46:01You got more sense than that, haven't you?
00:46:04If you shot me, why?
00:46:06They'd have a picture of my corpse spread all over the place.
00:46:08I'm going to go to the front page of the Star Chronicle in the morning.
00:46:12I don't think Kiever would like that, do you?
00:46:15Get out.
00:46:27He's on borrowed time.
00:46:29Kiever will say when and where.
00:46:32Lieutenant, you just picked up Carl Schrader at the bus station.
00:46:40Do you want him sent in?
00:46:41No, hold him out there.
00:46:43Well, we've got Schrader.
00:46:44Now what?
00:46:45I don't know.
00:46:46Dave just wanted me to have him picked up.
00:46:48When is that Jocelyn going to learn to keep to the newspaper business
00:46:51and let me run the police department?
00:46:52Well, did you win?
00:47:01It was a great fight, but I lost.
00:47:04This is going to be a habit.
00:47:10Hello, foreman.
00:47:11Hello, Jocelyn.
00:47:13What happened to you?
00:47:14I want you to pick up Marty Brimmer.
00:47:15Say, what's the matter with you?
00:47:17We can't go around picking up everybody.
00:47:19You have to have a charge.
00:47:20Isn't assault and battery a charge anymore?
00:47:23Maybe you deserved it.
00:47:25Look, I'll draw you a picture.
00:47:27You find the connection between Brimmer and Carl Schrader,
00:47:30and you'll reopen the Kiever case.
00:47:32And, uh, just how do we go about doing that?
00:47:37That's your job.
00:47:39Well, it's nice of you to admit that, Jocelyn.
00:47:41A month ago, you were roasting the department in your paper.
00:47:43We were blockheads, inefficient.
00:47:45We didn't know anything.
00:47:46We let Kiever get away with murder.
00:47:48All right, don't let him get away with it again.
00:47:50Just pick up Brimmer.
00:47:51Drop it, Jocelyn.
00:47:52I'm not sending out any more men.
00:47:54Now, forget it.
00:47:57Yeah?
00:47:58Lieutenant, this Schrader must call his lawyer, okay?
00:48:01Okay.
00:48:02Well, we can't hold this guy forever, you know.
00:48:05But he stole my purse.
00:48:06I signed a complaint, didn't I?
00:48:07Well, what about it?
00:48:09I haven't the slightest idea.
00:48:11Well, I have.
00:48:12Let's go have a talk with Schrader.
00:48:14That is, if the lieutenant doesn't mind.
00:48:16Do you, uh, mind if I mind?
00:48:18No, I don't mind.
00:48:19Go ahead.
00:48:26Now, I'm telling you, Mr. Trent.
00:48:27Miss Trent.
00:48:28Well, I didn't take that purse.
00:48:29Well, we'll clear that all up later.
00:48:31Now, right now, I want you to talk.
00:48:33Well, there's nothing much to talk about.
00:48:35Maybe I can bring some things back to you.
00:48:36You mentioned a girl in Horseshoe Harry's.
00:48:38Well, I think there was one.
00:48:40A pretty girl with red hair.
00:48:41Look, will you let me do this?
00:48:43All right.
00:48:43Was she a pretty girl with red hair?
00:48:47Maybe.
00:48:47Okay, maybe.
00:48:49Now, how about that guy that was hiding in your flat today?
00:48:51He told you to get out of town, didn't he?
00:48:52No.
00:48:54You don't have to be afraid now.
00:48:55You're safe in here.
00:48:56That's why we had you arrested.
00:48:58Now, talk.
00:49:00But I, I don't remember.
00:49:02All right.
00:49:04You're going to have to stay here.
00:49:06How long?
00:49:07Till I can find out a few things.
00:49:08Starting at Horseshoe Harry's.
00:49:10Come on, we're going night clubbing.
00:49:12Night clubbing?
00:49:12At Horseshoe Harry's?
00:49:13Don't go away.
00:49:43Won't someone kindly tell me?
00:49:49Won't someone answer why?
00:49:51To me it is a riddle.
00:49:54And it will be till I die.
00:49:59A million peaches around me.
00:50:02Yet we would like to know.
00:50:05Why I picked a lemon in the garden of love.
00:50:11Where they say only peaches grow.
00:50:14Why we picked a lemon in the garden of love.
00:50:20Love, love, where they say only peaches grow.
00:50:35You want a piece?
00:50:36Two stakes medium.
00:50:38You pick them out.
00:50:38Yes, sir.
00:50:41Well, this was Carl's last stop before amnesia set in.
00:50:46Carl was here a month ago and on the night before Villeman was murdered.
00:50:50What can you possibly hope to find out now?
00:50:52I can dream, can't I?
00:50:56Cute shoes.
00:50:59Sure, dream boy.
00:51:01But this is the awakening.
00:51:02Look who's here.
00:51:04Watch me take the wind out of his sails.
00:51:07What, Kieber?
00:51:08Being the host here, I should be happy to see you.
00:51:10I'm not.
00:51:11Being a guest here, I should ask you to pull up a chair.
00:51:14I won't.
00:51:16Is Trent working on a case?
00:51:17Why, Mr. Kieber, don't you know all her bewildered hearts eventually come here?
00:51:23Somehow I don't believe you came here because you like it.
00:51:25The food is bad and the drinks are worse.
00:51:27Miss Trent, your nose is too long.
00:51:28It gets into places it shouldn't.
00:51:30I go with my nose, smell anything.
00:51:33Want me to answer that?
00:51:35Who cares?
00:51:36Being the host here, I presume that you'll take care of the check.
00:51:39I usually do.
00:51:41But adding 10% to your check would be a pleasure.
00:51:43Everything's on you, Dolly dear.
00:51:46Stay as long as you want.
00:51:48Die here if you like.
00:51:51Boy, you sure scared him.
00:51:53Yeah, someday I'm going to throw a loop around that guy and I...
00:51:56What are you staring at?
00:51:59Over there.
00:52:03Grandma, what big eyes you have.
00:52:06She's very cute, isn't she?
00:52:08Kip, the flash of light.
00:52:10Does love always come to you like this, David?
00:52:13Kip, the flash of light that Carl says he remembered.
00:52:15Wait a minute.
00:52:17They're gorgeous.
00:52:18Good evening.
00:52:19Can I take your picture?
00:52:20Yeah, sure.
00:52:20Go ahead.
00:52:21Make us look good.
00:52:24How's business?
00:52:26Fair.
00:52:27Your picture will be ready in half an hour, sir.
00:52:29Say, gorgeous.
00:52:31Would you remember taking a picture, say, about a month ago?
00:52:35I take an awful lot of pictures.
00:52:37Yeah, I suppose so.
00:52:38Do you own this concession?
00:52:39I wish I did.
00:52:41What about the negatives?
00:52:42Where are those developed?
00:52:43Just around the corner on Stewart Street.
00:52:45Why?
00:52:46Just curious.
00:52:47Place got a name?
00:52:49Sure, Shannon's Photo Service.
00:52:51Anything else?
00:52:52Yeah.
00:52:53If there is, we'll talk about it later.
00:52:54I'll be back in a half an hour.
00:52:57Bye.
00:52:57Bye.
00:53:01You know, you didn't have to overdo it.
00:53:03I got what I wanted, didn't I?
00:53:04Now what?
00:53:05I think I'll take a run over at that developing lab.
00:53:07You wait here for me, huh?
00:53:09What about these?
00:53:10Take two.
00:53:11They're small.
00:53:13Dave!
00:53:13Yes, sir.
00:53:14My name's Jocelyn.
00:53:14You're the Star Chronicle.
00:53:15Not going to do for you.
00:53:16Could you show me the negatives that were shot in Horseshoe Harry's on April the 19th?
00:53:21We don't show them even if we kept them that long.
00:53:24What do you mean?
00:53:24We keep them only two weeks.
00:53:25Lots of times we get pictures people rather not have seen.
00:53:28Say a big out-of-towner comes here with a doll that's not as well.
00:53:30I don't know.
00:53:31I don't know.
00:53:31I don't know.
00:53:32I don't know.
00:53:32I don't know.
00:53:33I don't know.
00:53:34I don't know.
00:53:34I don't know.
00:53:35I don't know.
00:53:36I don't know.
00:53:36I don't know.
00:53:36What can I do for you?
00:53:37Could you show me the negatives that were shot in Horseshoe Harry's on April the 19th?
00:53:41We don't show them even if we kept them that long.
00:53:43What do you mean?
00:53:44We keep them only two weeks.
00:53:45Lots of times we get pictures people rather not have seen.
00:53:48Say a big out-of-towner comes here with a doll that's not his wife.
00:53:51He gets a little tight and he has a picture taken.
00:53:53I'd be out of business in two weeks.
00:53:55Well, there's a chance that you still might have the one I want.
00:53:58Well, maybe if you told me what this picture was.
00:54:01I can't.
00:54:02I've never seen it.
00:54:03Mister, I run a dark room.
00:54:05There's a gal down the street that has a crystal ball.
00:54:08Maybe I can describe this guy.
00:54:10He's, uh...
00:54:11What date you say this was?
00:54:12April the 19th.
00:54:13Where?
00:54:14Horseshoe Harry's.
00:54:15Horseshoe Harry's.
00:54:16Wait a minute.
00:54:24Yeah.
00:54:25Come in here.
00:54:31Yeah, I think I remember all right.
00:54:33It was that same night a guy came in and asked for the negative.
00:54:37It wasn't the guy who ordered the picture.
00:54:39It was the fellow in the background.
00:54:41I think this is the one.
00:54:42How'd you happen to keep this one?
00:54:44Well, the girl made two shots.
00:54:46Your boy fell off the stool or something in the first one.
00:54:48Anyway, she missed him.
00:54:49So then she made this one.
00:54:50What happened to the first one?
00:54:51Well, the guy that wanted the negative paid me $50 to destroy it.
00:54:54Did you?
00:54:55Sure, I burned it right in front of him.
00:54:57I figured that if he paid $50 for the other one, why, maybe I ought to keep this one for him.
00:55:02Can you make me a print of that?
00:55:03Well, I don't...
00:55:04Look, I'll take full responsibility.
00:55:06You can call my newspaper.
00:55:07You can do anything.
00:55:08But make me a print of that.
00:55:09It might solve a murder.
00:55:10Murder?
00:55:11Yeah.
00:55:12How long will it take?
00:55:13Ten minutes.
00:55:14Can I use your phone?
00:55:15Sure.
00:55:16The office.
00:55:17Well, it's a good picture if you like Carl Schrader.
00:55:22Yeah, it's Carl, all right.
00:55:24And here's Bremmer.
00:55:26So what?
00:55:27So I don't get it.
00:55:28Why does he go through a big routine just to get this picture?
00:55:31Who knows?
00:55:32Bremmer knows.
00:55:34Let's analyze this thing scientifically.
00:55:37Now, here we have a suggestion of a bartender.
00:55:39What do you suppose he's doing?
00:55:41I suppose he's tending bar.
00:55:43Yeah.
00:55:44What do you suppose this white speck is?
00:55:49Oh, I don't know, Dave.
00:55:50I just know I'm very, very tired and I want to go home.
00:55:53Well, there's something here.
00:55:55And I'm gonna find it.
00:56:05Oh.
00:56:06What day is it?
00:56:08Hmm?
00:56:09Oh.
00:56:11Oh, there's nothing in that picture.
00:56:13You said that four hours ago.
00:56:17Why should Bremmer be so anxious to get it?
00:56:19It must mean something.
00:56:20You said that before, too.
00:56:24I'm going back to Shannon's.
00:56:26What?
00:56:28Oh, Dave, no.
00:56:29It's three o'clock in the morning.
00:56:30He'll be open.
00:56:31The nightclubs are.
00:56:32And as long as there's one customer for a picture, Shannon works.
00:56:36You wanna come along?
00:56:37Sure.
00:56:38Just cut a hole in the bottom of the door and I'll crawl through.
00:56:44Look, Mr. Jocelyn, that's the picture you wanted.
00:56:46But there's nothing on it.
00:56:48What did you want, a Rembrandt?
00:56:50Well, there must be something else.
00:56:51What?
00:56:52I don't know.
00:56:54Has this guy got a home?
00:56:55It's just a rumor.
00:56:57Well, take him there.
00:56:58I've been here since eight o'clock and I'm tired.
00:57:00Mr. Chairman, all I want you to do is tell me how you made this print.
00:57:04Well, I spent 20 years in the business, but I'll give it to you in 30 seconds.
00:57:08You see these tanks?
00:57:09The negatives are put in the soup.
00:57:11Developer.
00:57:12I use a fast developer.
00:57:13The negatives are then put on the drying racks.
00:57:16For infrared lamps, dry them fast.
00:57:19And then take a negative, and I make a print in this and larger.
00:57:22Good night, Mr. Jocelyn.
00:57:23Uh, do you still have that negative that I wanted?
00:57:26Yep.
00:57:27Would you show me what you did with it?
00:57:29He ain't got a home.
00:57:30You know, we call him Bulldog Jocelyn.
00:57:32Never lets go of an idea.
00:57:33Well, tell him to let go of me.
00:57:35Hey, uh, here.
00:57:37Make yourself a rich man.
00:57:39Huh?
00:57:40I wanted to go home.
00:57:41Happiness isn't everything.
00:57:43You can't buy money.
00:57:45Let me see, that was April 19th.
00:57:50Yeah, there it is.
00:57:53Here's what I did.
00:57:57I put the negative in the negative carrier.
00:58:03Put it back into the enlarger.
00:58:06When I want the picture bigger, I move the enlarger up.
00:58:10I want it smaller, I push the enlarger down.
00:58:13Get it set just right, and you focus with this.
00:58:18It's nice and sharp.
00:58:20There.
00:58:21What are you doing now?
00:58:25Masking off the sides.
00:58:27I just print the important part.
00:58:30You mean you don't print the whole negative?
00:58:32Of course not.
00:58:33When people have their picture taken,
00:58:34they don't want everybody else in the background,
00:58:35so I just print the important part.
00:58:37Well, pull the slides and print the whole thing this time.
00:58:42Okay, if you say so.
00:58:44That's terrible composition.
00:58:45There, it's coming up.
00:58:50Now we can find out what Brimmer's doing.
00:58:52Looks like he has a roll of bills in his hand.
00:58:55Yeah, you're right.
00:58:56He's passing money to somebody.
00:58:58Hey, Cat.
00:59:00That's Macklin.
00:59:01Eddie Macklin.
00:59:02There's a guy that would kill his own grandmother for a quarter.
00:59:05So you recognize Macklin.
00:59:06What newspaper man wouldn't?
00:59:07What about it?
00:59:08Pay off.
00:59:09Let me see that.
00:59:10Look.
00:59:12Brimmer's paying off Macklin.
00:59:13Maybe for killing Villeman.
00:59:15Kiefer hired Macklin to do the job.
00:59:17That mailman gimmick, that's just the kind of a thing that Macklin would think up.
00:59:20Look, that picture doesn't prove anything, Dave.
00:59:23Why, Brimmer could be paying off a debt,
00:59:25could say that he owed Macklin money, or anything.
00:59:28Well, let's go find out what Carl's got to say about it.
00:59:30Now?
00:59:31Right now.
00:59:32Come on.
00:59:34Nobody's got a home.
00:59:37Do you remember that photograph?
00:59:39Yeah, I remember it now.
00:59:40Good.
00:59:41Now think real hard, Carl.
00:59:43What happened at the bar in Harry's?
00:59:47Think.
00:59:49Well, I remember taking Billy in and sitting at the bar.
00:59:53We had a couple of drinks and got to talking.
00:59:57I guess we must have sat there, well, maybe an hour, maybe longer.
01:00:01And then...
01:00:03Oh, yeah.
01:00:04I kind of remember it now.
01:00:06A camera girl came up and wanted to take her picture.
01:00:09I told her to beat it.
01:00:10All I wanted was another drink.
01:00:12Billy always wanted to have her picture taken, so she told her to take it.
01:00:18Then she grabbed the glass out of my hand and spilled all over it.
01:00:22Then she really got sore.
01:00:24Left in a huff.
01:00:26Well, I felt like a sap, so I told the girl to go ahead and take a picture.
01:00:29She took one, but I slipped and spoiled it, so she had to take another one.
01:00:35She said it'd be about a half hour before she'd be back with a picture.
01:00:40So I had another drink, and then pretty soon she came back with it.
01:00:44It was pretty good, but I noticed there was someone else in it sitting right next to me.
01:00:57So I showed it to this guy.
01:01:01But he sort of didn't seem to like it, and he grabbed it out of my hand.
01:01:03But I wouldn't let him have it, and this made him sore.
01:01:07It's a good thing there was a lot of people around, and he'd have gotten tough.
01:01:13Then I remember a girl came in, sat down beside me.
01:01:19She was a real pretty girl, and somehow we got to talking.
01:01:22I asked her if she wanted to have a drink, and she said okay.
01:01:31Then I don't remember anything more till I woke up in the rooming house, and the rest you know.
01:01:35Sure. You were mickeyed, and the picture was stolen from you.
01:01:38But Dave, it still doesn't prove anything.
01:01:41It will, when I send this photograph over to Kiever.
01:01:45To Kiever? But why?
01:01:46Because I think you'll be interested enough in it to show up at Grinnell's office tomorrow.
01:01:51You mean now we can go home?
01:01:53Yeah.
01:01:55Get you out first thing in the morning, kid.
01:02:03Mr. Kiever and his attorney are here, sir.
01:02:05Well, ask him to wait a moment, will you please?
01:02:07Kid, I tell you I don't like it.
01:02:09Kiever here with his attorney, a dame with some wild idea, I tell you I just don't like it.
01:02:13Well, I don't like it either, but you know Dave.
01:02:16Yes, I know Dave. Where is he anyway?
01:02:19He's in her office.
01:02:22Nice of you to drop in, Brummer.
01:02:24Skip it, Joslyn. I'm here because you said it was important.
01:02:27It is important.
01:02:30Yeah?
01:02:32Come into my office, Dave. Everybody's here.
01:02:33Yeah, be right there.
01:02:35I think you better wait here till I get back.
01:02:38Press down that first key, you'll find out why I sent for you.
01:02:41What's the idea?
01:02:43Listen in.
01:02:45You'll find out.
01:03:04Did you call me Mr. Grinnell?
01:03:05Yes, Dave. Your company's here.
01:03:07Uh-huh.
01:03:08Hello, Kiever.
01:03:10Mr. Joslyn.
01:03:11What does this photograph mean?
01:03:15It means we now have proof that your client, Mr. Kiever, had something to do with the Villeman murder.
01:03:20This is no proof.
01:03:22Maybe the jury will think differently.
01:03:24Jury? Don't be ridiculous, Joslyn.
01:03:27Neither the district attorney nor the grand jury would accept such evidence.
01:03:30Brummer was just paying off a bet. He'd lost to Macklin.
01:03:34Maybe Macklin will say something different.
01:03:35Maybe Mr. Macklin will have an alibi for that morning, Joslyn.
01:03:40Could be.
01:03:42Brummer was pretty careless when he paid off for you, wasn't he?
01:03:46He went to a lot of trouble trying to get that photograph.
01:03:49Or maybe you didn't know about that, Kiever.
01:03:52Maybe.
01:03:53If you had, Schrader would have been killed to get him out of the way.
01:03:57Brummer didn't do a very good job for you on this, did he?
01:04:01This photograph doesn't prove anything.
01:04:05The negative's in a very safe place.
01:04:09Let's go, Mr. Markley. They've nothing on me.
01:04:12Of course, Mr. Kiever.
01:04:14Poor Brummer.
01:04:15I wonder if he knows what you do with your boys when they get careless and make a mistake.
01:04:18Let's go, Markley. We're wasting our time.
01:04:20Let me show you out, gentlemen.
01:04:33Say, Kiever.
01:04:35Yeah?
01:04:36I'm sorry we disturbed you.
01:04:37Didn't, not in the least.
01:04:39How would you like to see the heart of a great newspaper in action?
01:04:42Here it is, the city room, the funnel, the nerve center.
01:04:45Politics, sports, foreign events, and obituaries.
01:04:51Now you take this little office.
01:04:52Vice to the Love Lord.
01:04:55Perhaps you'd like to see a real bewildered heart.
01:04:57I'm sorry I didn't know my company was still here.
01:05:12Well, you can walk out that door to Kiever, or you can stay here and talk.
01:05:18If you stay here, you'll live.
01:05:19If you walk out, Kiever will make sure that you don't get careless again.
01:05:22Well, you can walk out that door to Kiever, or you can stay here and talk.
01:05:32If you stay here, you'll live.
01:05:35If you walk out, Kiever will make sure that you don't get careless again.
01:05:38If you walk out, Kiever will make sure that you don't get careless again.
01:06:09Kiever is up there on the second floor.
01:06:12I want you to give him a personal escort.
01:06:38I want you to give him a personal escort.
01:06:48I don't give him a personal escort.
01:06:50I want you to give him a personal escort.
01:06:52I'm продолжing to have a personal escort.
01:06:58I want you to take your home.
01:07:08Hi, editor.
01:07:09Hi.
01:07:10What you got?
01:07:11Can you take a look at this?
01:07:12It's the human interest angle on how Billy first came to see Dolly Trent and how she started
01:07:28the whole thing.
01:07:29Yep.
01:07:30Billy started it and we finished it.
01:07:32And as the sun sinks slowly in the west, we reluctantly bid a foreign farewell to Mr.
01:07:37Matthew J. Keever.
01:07:39Dave, be serious.
01:07:40Read it.
01:07:41Later.
01:07:42Right now I got something very important to talk to you about.
01:07:44Yes?
01:07:45We'll discuss it over some olives.
01:07:47All right.
01:07:58Another olive?
01:07:59No, thank you.
01:08:00That one thing that I wanted to talk to you about, you realize, of course, that the
01:08:07papers without a Dolly Trent again.
01:08:08I know.
01:08:09Oh, Dave, you wouldn't.
01:08:12I might.
01:08:13That office needs someone with experience along that line and you and I are the only ones
01:08:17who've had it.
01:08:18Obviously, my position as managing editor is going to take a great deal of my time, so...
01:08:22Oh, poison.
01:08:23You so help me.
01:08:24So, why don't you make it easy on both of us?
01:08:28Marry me.
01:08:29Or...
01:08:30Dear Miss Trent, I am a lonely girl with two heads.
01:08:35Oh, nothing doing.
01:08:36Society fashions want ads, but not Dolly Trent.
01:08:40All right.
01:08:41Then it's not Dave Joslin.
01:08:44Okay, then.
01:08:46Okay, then.
01:08:54I said okay, then.
01:08:55Okay what?
01:09:00I have an olive with Mrs. Joslin.
01:09:01I'll live with Mrs. Jocelyn.
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