✨ A tense and shadowy film noir, Jigsaw pulls you into a world of murder, propaganda, and hidden agendas—where every clue uncovers a darker truth.
📽️ Plot Summary:
After a man is murdered in New York, District Attorney Howard Malloy (Franchot Tone) begins investigating. What seems like an isolated crime soon unravels into a dangerous web of subversive organizations and corruption. With the help of friends and colleagues, Malloy must solve the puzzle before the conspiracy consumes him.
🕰️ Year Released: 1949
🎭 Genre: Film Noir, Crime, Mystery
🎬 Directed by: Fletcher Markle
🎞️ Starring: Franchot Tone, Jean Wallace, Myron McCormick, Marc Lawrence
🎯 Why Watch It?
✔️ Classic post-war film noir with a gripping mystery
✔️ Franchot Tone’s sharp, determined performance
✔️ Cameos by Marlene Dietrich and Henry Fonda add star power
✔️ A suspenseful tale of politics, crime, and hidden enemies
🔔 Don’t forget to LIKE 👍 | COMMENT 💬 | SUBSCRIBE 🔔 for more noir thrillers & public domain classics!
👇 Explore More Vintage Film Noir & Crime Movies Here:
📺 https://www.youtube.com/playlist?list=PLYSxyPafGbnT7hNTlq29mZQJKn7wrNglY
━━━━━━━━━━━━━━━━━━
🎞️ #Jigsaw1949 #FilmNoir #ClassicMystery #FranchotTone #MarleneDietrich #PublicDomainMovies
━━━━━━━━━━━━━━━━━━
🕵️♂️🧩 Murder was just the first piece… uncover the full puzzle in Jigsaw (1949)!
________________________________________
📽️ Plot Summary:
After a man is murdered in New York, District Attorney Howard Malloy (Franchot Tone) begins investigating. What seems like an isolated crime soon unravels into a dangerous web of subversive organizations and corruption. With the help of friends and colleagues, Malloy must solve the puzzle before the conspiracy consumes him.
🕰️ Year Released: 1949
🎭 Genre: Film Noir, Crime, Mystery
🎬 Directed by: Fletcher Markle
🎞️ Starring: Franchot Tone, Jean Wallace, Myron McCormick, Marc Lawrence
🎯 Why Watch It?
✔️ Classic post-war film noir with a gripping mystery
✔️ Franchot Tone’s sharp, determined performance
✔️ Cameos by Marlene Dietrich and Henry Fonda add star power
✔️ A suspenseful tale of politics, crime, and hidden enemies
🔔 Don’t forget to LIKE 👍 | COMMENT 💬 | SUBSCRIBE 🔔 for more noir thrillers & public domain classics!
👇 Explore More Vintage Film Noir & Crime Movies Here:
📺 https://www.youtube.com/playlist?list=PLYSxyPafGbnT7hNTlq29mZQJKn7wrNglY
━━━━━━━━━━━━━━━━━━
🎞️ #Jigsaw1949 #FilmNoir #ClassicMystery #FranchotTone #MarleneDietrich #PublicDomainMovies
━━━━━━━━━━━━━━━━━━
🕵️♂️🧩 Murder was just the first piece… uncover the full puzzle in Jigsaw (1949)!
________________________________________
Category
🎥
Short filmTranscript
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00:02:48As District Attorney, I don't see fit to follow such a course.
00:02:52Yes, you can quote me.
00:02:56Bye.
00:03:00This thing's a coroner's report.
00:03:04Max von Borg, bullet wound in the head.
00:03:08Why are you showing it to me?
00:03:10Just listen to this.
00:03:12Has anybody seen this?
00:03:14Has anybody invited you to join the Crusaders?
00:03:18These invidious invitations are handed out by a new group of local hate-
00:03:22Yes?
00:03:24Mr. Randolph here for his appointment.
00:03:26More eyes can scream race prejudice.
00:03:28Oh, and Mr. Walker, Mr. Thompson wants you to call her when you're free.
00:03:30No, that'll be another speech.
00:03:32I'll pull in a letter.
00:03:34Race prejudice and discrimination and make money out of it.
00:03:36What were you saying, Howard?
00:03:38You look at it.
00:03:40Read down there where it's marked.
00:03:42I traced some of their leaflets to a small print shop here in the city.
00:03:46A fellow named Max von Borg prints them, but he isn't telling who pays for them.
00:03:50I'm out to uncover the patron of these lunatics who start hate campaigns.
00:03:54I'm out to find them and expose them.
00:03:56Well?
00:03:57A man named Max Borg prints leaflets for a hate group.
00:04:00A man named Max Borg kills himself.
00:04:02I want to look into it.
00:04:03When was this in Riggs' column?
00:04:05Today.
00:04:06When did Borg die?
00:04:07Today.
00:04:08Get Riggs down here.
00:04:09No, I can always do better with Charlie Riggs if I meet him off my beat.
00:04:12Oh.
00:04:13You know him?
00:04:14Sure.
00:04:15He's going to be my brother-in-law any week now.
00:04:17All right.
00:04:18Go find him at some nightclub.
00:04:20You're the assistant district attorney in charge of nightclubs.
00:04:23Don't let Carolyn Riggs hear you say that.
00:04:26I'm a reformed man.
00:04:28Anyway, Charlie never goes to nightclubs.
00:04:30A very serious fellow, Charlie Riggs.
00:04:40Charlie, what makes you think Borg was murdered?
00:04:42Sometimes a lot of people have to get killed to protect an industry.
00:04:46Our this hate thing is a big fat racket.
00:04:49And it needs a lot of protecting.
00:04:51If your office knew it's business, they'd have gone after these racketeers a long time ago.
00:04:56That's good newspaper coffee, Charlie.
00:04:58But where would a racket like that pay off?
00:05:00Forming an organization.
00:05:02Membership dues, badges, buttons, magazines, subscriptions, donations, even uniforms.
00:05:09Hurry up to exploit the anti-this or that.
00:05:12Any race or religion they can use as a scapegoat.
00:05:16Ignorance pays off, Howard.
00:05:18And the profits can climb into millions.
00:05:21What ever happened to the old Charlie Riggs with his eye to a keyhole?
00:05:25I've got both eyes open these days.
00:05:28Now if you guys will excuse me.
00:05:30You weren't going out again tonight.
00:05:31I've got some business, sorry.
00:05:34He's been doing that for weeks now.
00:05:36I never know where he goes.
00:05:38Well, Charlie's a big boy now.
00:05:40But sometimes he doesn't come home until morning.
00:05:42Now you two can have the rest of the evening to yourselves with my blessing.
00:05:46How's that for a pal, huh?
00:05:48Ought to put me in right with the DA's office.
00:05:50Put me in right with the office.
00:05:51Come on down tomorrow and have a talk about it.
00:05:53Anytime.
00:05:54I've got to interview Mrs. Borg tomorrow.
00:05:56Hold me a favor.
00:05:57And thanks for the candy.
00:06:18Oh, no.
00:06:19No, Max was not killed.
00:06:21My husband, he, he take his own life.
00:06:26For what reason, Mrs. Borg?
00:06:31Max, worry.
00:06:33That man, he is always calling on telephone.
00:06:35Always then he comes to the shop.
00:06:38Always questions, questions.
00:06:40Always, then he come to the shop.
00:06:44Always questions, questions.
00:06:46What man was this, Mrs. Borg?
00:06:48His name, Riggs.
00:06:51He writes things in the newspapers about Max.
00:06:54But Mr. Riggs wasn't trying to hurt your husband.
00:06:56I don't know.
00:06:59Mrs. Borg, you've seen this before, haven't you?
00:07:05Yes.
00:07:05Max print this job he doing last week.
00:07:10There's one of those invitations Riggs mentioned in his column.
00:07:14Join the Crusaders, fight for Americanism.
00:07:18Where'd you get this?
00:07:19From Charlie.
00:07:20He's got quite a collection.
00:07:22He's still waiting outside?
00:07:23No.
00:07:25Mrs. Borg, when was the last time Mr. Riggs came to see your husband?
00:07:29Last time?
00:07:30Yes, sir.
00:07:31Have Mr. Malloy's friend come in, please, Miss McConaughey.
00:07:34Yes, sir.
00:07:35I was, yes, the night before Max died.
00:07:41What about yesterday morning?
00:07:42Didn't you see anyone in the shop when you came down and found your husband's body?
00:07:46I, I ran downstairs.
00:07:50Only Max.
00:07:53Are you sure of that, Mrs. Borg?
00:07:55No one there?
00:07:56Did nobody want to kill Max?
00:07:58He killed himself.
00:08:01Come in.
00:08:02Good afternoon, sir.
00:08:03Hello, Howard.
00:08:05Charlie.
00:08:06That's the man.
00:08:08Yes, you.
00:08:09You make Max go crazy.
00:08:11You make him take his own life.
00:08:14The murder, Max.
00:08:18What do you say, Charlie?
00:08:19I've never seen anyone so afraid.
00:08:28Fear, Howard.
00:08:29Fear.
00:08:29It's a terrible weapon.
00:08:31You saw what it did to Mrs. Borg this afternoon.
00:08:33I could see she was lying.
00:08:34She's afraid if she doesn't hang on to that suicide story, they'll get rid of her, too.
00:08:38Jack, set him up again.
00:08:39Jack, set him up again.
00:08:40Jack, set him up again.
00:08:42Sounds like Capone and Schultz and the mobs are back again.
00:08:45When the law closes in on one racket, the big boys always find another.
00:08:48With the mobsters, it was liquor and blood.
00:08:51With this outfit, it's hate and blood.
00:08:53But they're just harmless lunatics, these hate groups.
00:08:56Lunatics?
00:08:57Yes.
00:08:58Especially the warped mines on top with a dream of power or gold or political success.
00:09:04But not harmless when the racket boys move in.
00:09:08It's Merry Christmas for a few smart operators when they find a soft touch like this.
00:09:13Charlie, what got you into this?
00:09:15I'm fed to the teeth seeing people pushed around.
00:09:19You know, I was born in this city, Howard.
00:09:22In our block, we had guys from practically every race and religion you ever heard of and a couple you didn't.
00:09:27But we got along pretty well.
00:09:29Well, that's the way it ought to be.
00:09:31In our block, nobody cared what country your parents came from or where they went to church.
00:09:37Nobody called your nasty names.
00:09:39Until you were taught there were nasty names and some people were supposed to be called by them.
00:09:44Mix, Polacks, Wops, Lammies, Spicks, Huckies.
00:09:49That's part of our history.
00:09:51America always has to melt away the differences between people.
00:09:54Sure, and most always you don't understand why they're supposed to be different.
00:09:58It's just somebody else's say-so, somebody else's influence.
00:10:01Now we've got people around who want to make people hate each other.
00:10:04They're afraid of each other.
00:10:06Just so they can make money out of it.
00:10:08I don't like that.
00:10:09Look, Charlie, hold off these columns of yours for a week or so, will you?
00:10:13Give me time to run this down.
00:10:15Here's your rundown right here in my case.
00:10:17And I've got a fistful of new stuff.
00:10:20You're getting interested, huh?
00:10:23Sure, I'm interested.
00:10:25But we're not playing with kids.
00:10:27Take it easy and wait a while.
00:10:28And lose a great story and my readers think I'm scared?
00:10:31Give me time to find out who murdered Borg.
00:10:34Give me a week.
00:10:35Sorry, my friend.
00:10:36I told you last night that's all I wanted.
00:10:38One week.
00:10:39I mean it, Charlie.
00:10:40Take it easy.
00:10:41I'm a little guy, but I don't scare easy.
00:10:43Oh, pay the tab, huh?
00:10:45You're the new boy in this club.
00:10:51I never drink alone.
00:10:53That can be fixed.
00:11:11I don't care.
00:11:12I don't care.
00:11:13I don't care.
00:11:14I don't care.
00:11:15I don't care.
00:11:16I don't care.
00:11:17I don't care.
00:11:18I don't care.
00:11:19I don't care.
00:11:20I don't care.
00:11:21I don't care.
00:11:22I don't care.
00:11:23I don't care.
00:11:24I don't care.
00:11:25I don't care.
00:11:26I don't care.
00:11:27I don't care.
00:11:28I don't care.
00:11:29I don't care.
00:11:30I don't care.
00:11:31I don't care.
00:11:32I don't care.
00:11:33I don't care.
00:11:34I don't care.
00:11:35I don't care.
00:11:36I don't care.
00:11:37I don't care.
00:11:38I don't care.
00:11:39After you.
00:11:47What floor?
00:11:4911th.
00:12:0912th.
00:12:3912th.
00:13:0314th.
00:13:09Oh, my God.
00:13:39Please, take it easy.
00:13:51The janitor, Mr. Wojcinski, found the body.
00:13:55The only way they could identify him was by his pocketbook.
00:13:59His face.
00:14:03Then Mrs. Wojcinski came and got him.
00:14:07Oh, he couldn't have done it deliberately, Howard.
00:14:09Charlie would never.
00:14:11Of course not, baby.
00:14:13Anybody who ever knew Charlie at all.
00:14:17How's it coming, Wiley?
00:14:19Find anything?
00:14:20Not much, Mr. Malloy.
00:14:21All the fingerprints seem to belong to Miss Riggs and the deceased.
00:14:24Carolyn, is there anything missing?
00:14:27I talked to Miss Riggs earlier.
00:14:30His briefcase, apparently.
00:14:31He always brought it home with him.
00:14:33He did most of his writing here.
00:14:35Did you check his office?
00:14:37Find anything?
00:14:38Not that they could see.
00:14:44Find out about a lot of things.
00:14:48Assistant District Attorney Malloy charges murder,
00:14:52and hence hate conspiracy and death of countless pals.
00:14:55Oh, you did, eh?
00:14:57The reporter asked me what I thought.
00:14:59Oh, you told him?
00:15:00Yep.
00:15:02The time is now to appoint a special prosecutor capable of handling
00:15:06this vicious outbreak of violence in our fair city.
00:15:09We want...
00:15:12They want action, and they want it now.
00:15:16Yes?
00:15:17Mrs. Hartley's here for her appointment.
00:15:18Oh, is that at least?
00:15:20All right, Senator.
00:15:22Howard, there's no evidence that Riggs was murdered.
00:15:25There's no evidence that anything he told you was true.
00:15:28He's dead, isn't he?
00:15:32Oh, I'm sorry.
00:15:33You're busy.
00:15:33No.
00:15:34Come in, Grace.
00:15:35Just finishing.
00:15:36This is my assistant, Howard.
00:15:37Of course.
00:15:38How soon, Mrs. Hartley.
00:15:40One of Frank's brightest young men.
00:15:43You mustn't let him overwork you, Mr. Malloy.
00:15:45Well, we're always busy, Mrs. Hartley.
00:15:47All right, Howard.
00:15:48Go ahead with this case.
00:15:50But if what Riggs said was true, watch out.
00:15:52He was right.
00:15:53Forget he was a pal of yours.
00:15:55Use your head instead of your heart.
00:15:57I don't want this office to look any worse than it does already.
00:15:59That's, uh, hardly possible.
00:16:02Frank making another speech for you?
00:16:03Civic Betterment's dinner next week, I hope.
00:16:07Grace, you can lead an old horse to dinner,
00:16:09but you can't expect him to speak.
00:16:10Nice to have seen you again, Mrs. Hartley.
00:16:11Oh, thank you.
00:16:12Remember what I said, Howard.
00:16:14Nothing foolish.
00:16:15I'll try.
00:16:17Sit down, Grace.
00:16:21Now then, what's this about a speech?
00:16:24Frank, we need you at the speaker's table.
00:16:27With you there, it'll be almost as though Jonathan himself
00:16:30were present.
00:16:31Everybody remembers that you were his last protege,
00:16:34that you worked with him until the very end.
00:16:36I'd never be district attorney today if it hadn't been for Judge
00:16:39Hartley's sponsorship and guidance.
00:16:40We'll never forget him.
00:16:42Will we, Frank?
00:16:43No honest politician could ever forget your husband.
00:16:46What kind of speech will you make?
00:16:48We must send some sort of announcement to the papers,
00:16:50you know.
00:16:52Perhaps I could say a few words about civil liberty
00:16:55in our great metropolis.
00:16:56Good.
00:16:57You know, a free city with freedom for all men.
00:17:03Uh, that sort of thing.
00:17:04Fine.
00:17:05You had nothing to prove that Borg was murdered.
00:17:14And now you've got nothing to prove that Riggs was murdered.
00:17:17Nothing.
00:17:18Howard, are you asleep?
00:17:24Howard?
00:17:25Huh?
00:17:27Oh, almost.
00:17:32I guess I'd better be getting home.
00:17:34I'm very tired.
00:17:35No, not all night.
00:17:37Why don't you stretch out here?
00:17:38Take a nap.
00:17:39No, I'd better go home.
00:17:41Get a clean shirt.
00:17:44Then start out again.
00:17:46Thanks for lunch, baby.
00:17:49How do you feel?
00:17:50Scared.
00:17:53It's all so sudden.
00:17:56I just don't know why.
00:17:58All that work, courage, going after these thugs.
00:18:04He never realized, I guess, how they could turn their viciousness against him.
00:18:08It's awful.
00:18:10Feeling of helplessness.
00:18:11No, we're not so helpless.
00:18:14I'm going to follow every lead Charlie left.
00:18:17I wish he'd told me more.
00:18:21Now, what about tonight?
00:18:23You can't stay here.
00:18:25Why not?
00:18:26Well, I don't think you should.
00:18:29It'll be all right.
00:18:29Mrs. Willis across the hall insists on staying with me.
00:18:32You're sure you'll let her?
00:18:34I don't think I can stop her.
00:18:36All right.
00:18:36I'll phone you later.
00:18:40I'll be waiting.
00:18:44Well, I'll be off.
00:18:46Oh, I wanted to show you this.
00:18:48I found it on a shelf in Charlie's closet.
00:18:51I wonder where it came from.
00:18:52I really don't know.
00:18:54It's signed with just initials.
00:18:55Yes, but there's something written on the back of it.
00:19:00Well, that's Charlie's handwriting.
00:19:03Let's have the phone.
00:19:06Sigmund Kosterick, Rembrandt Studios.
00:19:14Who is that?
00:19:15A customer.
00:19:16Who?
00:19:17A client.
00:19:18Two clients today.
00:19:19Uh, a telegram.
00:19:21Two telegrams today.
00:19:23Oh, please, Mr. Kosterick.
00:19:25I've got to talk to you.
00:19:26I'm an admirer of yours.
00:19:27Admirer?
00:19:28Admirer?
00:19:29You're charming.
00:19:31Won't you come in?
00:19:32Thanks.
00:19:33Now, what do you want here?
00:19:35We all want something.
00:19:37Gold.
00:19:38Wine.
00:19:39Or the warmth of beautiful women.
00:19:41But what do you want here?
00:19:42Well, I'll tell you, Mr. Kosterick.
00:19:44Some old fraternity brothers of mine are planning a reunion.
00:19:47We were wondering if you'd make up a poster for us.
00:19:50A poster?
00:19:51A poster.
00:19:52I do not draw posters.
00:19:54I'm an artist.
00:19:55A painter.
00:19:56You would go now?
00:19:57Oh, come on now, Mr. Kosterick.
00:19:59You've made posters before.
00:20:01Have I?
00:20:02Don't you remember?
00:20:03Often it is not wise to remember.
00:20:05Gold.
00:20:06Why?
00:20:07A beautiful woman.
00:20:08That's your story.
00:20:09It is the oldest story.
00:20:10Wow.
00:20:11There's a beautiful woman.
00:20:12Ah, the beauty of you.
00:20:13Who is she?
00:20:14A modern.
00:20:15An old friend.
00:20:16I'd like to have that.
00:20:17It's already sold.
00:20:18What's it doing here, then?
00:20:19I'm going to hang it at an exhibition of mine at the Contemporary Museum next week.
00:20:24It will be my first one-man show in America.
00:20:25It certainly is different from the big blond head on the Crusader poster.
00:20:29You are from the police, I think.
00:20:30Not exactly.
00:20:31What does that mean?
00:20:32District Attorney's office.
00:20:33Oh.
00:20:34You'd better think back about that piece of paper.
00:20:35You're from the police, I think.
00:20:36Not exactly.
00:20:37What does that mean?
00:20:38District Attorney's office.
00:20:39Oh.
00:20:40You'd better think back about that poster.
00:20:41Yes, I will.
00:20:42I will indeed.
00:20:43You are going now to get the police?
00:20:44As a matter of fact, I'm not.
00:20:45I'm on my way home to change my shirt.
00:21:08You are going now.
00:21:11Oh, yeah.
00:21:24I'm sorry.
00:21:25I'll take your hair upon the position of yours.
00:21:27I'll take you now.
00:21:29Hello.
00:21:31You're doing good money.
00:21:33I'll take those.
00:21:49Are you looking for something?
00:21:52I said, were you looking for something?
00:21:56What's your name?
00:21:58Miller.
00:22:00Take it easy.
00:22:03No identification, huh?
00:22:10I've seen this one before.
00:22:12Who is she?
00:22:14Just a dame.
00:22:14I don't know who.
00:22:15I tore it out of a paper.
00:22:17Reminded me of my grandmother.
00:22:18Make better jokes, kid.
00:22:20You're in trouble.
00:22:22What are these?
00:22:23If you need help, see the angel.
00:22:25Who's this angel?
00:22:26How should I know?
00:22:28Where'd you get these cards?
00:22:29Someone wanted me to see the guy.
00:22:30There's a fresh card for every visit, huh?
00:22:33What were you after in my apartment?
00:22:36Just on a little visit.
00:22:37Just on a little visit.
00:22:40Okay, kid.
00:22:40I'll send you a little visit.
00:22:43Give you time to think up some more answers.
00:22:46Breaking and entering.
00:22:47Assault and battery.
00:22:50See the angel, huh?
00:22:53I think I'll do a little visiting myself.
00:22:56Yeah.
00:22:56I could use some help.
00:23:03Where can I find the angel?
00:23:19You're new around here, huh?
00:23:22Thanks.
00:23:33What do you sell on this bush truck?
00:23:40Apples, oranges, grapes, everything in season.
00:23:44Please, you fix it as something's up.
00:23:46Please.
00:23:47Pardon me.
00:23:48Where can I find the angel?
00:23:55Find the angel.
00:23:56What can I do for you, my friend?
00:24:03Stay off the main streets with your bush card.
00:24:06You won't get another summons.
00:24:08Here.
00:24:10Pay the fine.
00:24:12Thank you, Mr. Angel.
00:24:14Harry, take over.
00:24:15Sure, boss.
00:24:16Come into my office.
00:24:17We can talk there.
00:24:19Right.
00:24:19Anything you say.
00:24:20Sure.
00:24:20And the old man is actually here.
00:24:23Sit down, mister.
00:24:24Malloy.
00:24:25Malloy.
00:24:25Yes, I know.
00:24:27That boy Knuckles is in trouble again, huh?
00:24:30He told me his name was Miller.
00:24:32I guess he has a lot of names.
00:24:33Around here we call him Knuckles.
00:24:35Look, we don't let him around here anymore,
00:24:37those punk kids.
00:24:38You know, sometimes you can't help him.
00:24:40What'd he do now?
00:24:41He hid himself in my apartment.
00:24:42Tried to give me the business.
00:24:43And what happened?
00:24:45Last I saw him, he was riding off in a little black wagon.
00:24:49Uh-huh.
00:24:51And what brings you here, Mr. Malloy?
00:24:54Well, I found this card in the kid's pocket.
00:24:57It says, see the angel.
00:24:58So, you came to see me.
00:25:01Check.
00:25:01Good.
00:25:02I give away thousands of cards like that.
00:25:05What can I do for you, my friend?
00:25:07Answer a few questions.
00:25:09Such as?
00:25:09You kept a drink.
00:25:10Never cared more.
00:25:12Why are you called the angel?
00:25:15Well, my name is Angelo Agostini.
00:25:18In all my life, I enjoy doing things for people.
00:25:23Well, here's to the first angel I ever met.
00:25:26And here's to our next special prosecutor.
00:25:30Who would that be?
00:25:32You, I think, Mr. Malloy.
00:25:35You've been making quite an impression on this town.
00:25:37I knew who you were when you first came in.
00:25:40You've been driving the newspapers crazy.
00:25:43They're demanding the governor appoint a special prosecutor on this case.
00:25:47No chance I'd get it.
00:25:48You've got every chance.
00:25:50Mr. Malloy, I'm curious.
00:25:54Just how far do you expect to go in this case?
00:25:57At least as far as whoever murdered Charles Riggs.
00:26:00You're a tough guy, Mr. Malloy.
00:26:04I can see that.
00:26:05And I like tough guys.
00:26:07Who are tough about the right things?
00:26:11Perhaps in my fashion, I could be of some help to you.
00:26:16Like I told you, I enjoy doing things for others.
00:26:19What can you do for me?
00:26:21This is the angel calling.
00:26:25Is the big fellow in?
00:26:26Thanks.
00:26:28He's me young and happy doing things for others.
00:26:32Hello.
00:26:34How's the golf these days?
00:26:37Fine, fine.
00:26:39Say, what are you doing about appointing a special prosecutor on this Riggs case?
00:26:43I got Malloy here with me from the DA's office.
00:26:46Seems to me he'd make a fine special prosecutor.
00:26:48I thought if you'd talk to the boss, put pressure on the right people.
00:26:52Fine, I'd appreciate that.
00:26:54What?
00:26:55Oh, I'm sorry.
00:26:55I won't keep you.
00:26:56Goodbye.
00:26:58What's your angle, Agostini?
00:27:01Must I have an angle?
00:27:02Who was that you just called?
00:27:05Do we have to mention names?
00:27:07You make a phone call and just like that, I'm special prosecutor?
00:27:10Of course, you'll have to do something about it yourself.
00:27:13Get some of those civic groups about you.
00:27:15You know, you need some little help.
00:27:18Let's keep in touch, Mr. Malloy.
00:27:21Let's try to help each other.
00:27:23Yeah.
00:27:27I've heard out quite a lot about the young lady.
00:27:29Name's Whitfield.
00:27:31Whitfield?
00:27:32Barbara Whitfield.
00:27:34Well, this is a pleasant change from office routine.
00:27:38What'd she do besides pose for pictures?
00:27:40Quite a few things.
00:27:41She's worked in nightclubs.
00:27:43Very fancy ones.
00:27:44No dives.
00:27:45No dives, huh?
00:27:47For a while, she worked as a model in the 5th Avenue dress shop.
00:27:50Two years ago, she sang in a Broadway musical.
00:27:54Quite a dish.
00:27:57Is she singing anyplace now?
00:27:59Nice place over on the east side.
00:28:01You know, low lights and soft music.
00:28:03My last love, no benign, my best love is yours and mine.
00:28:19When does Miss Whitfield sing again?
00:28:20Not at all.
00:28:21That was the summer show.
00:28:23The summer show.
00:28:24That was the summer show.
00:28:28When did you sing again?
00:28:28Oh, wait.
00:28:34When does Miss Whitfield sing again?
00:28:37We just got here.
00:28:39When's the supper show?
00:28:40That was the supper show.
00:28:42Thanks.
00:28:46Is that why we came here?
00:28:47To hear that singer?
00:28:48Well, I wanted to get a look at her.
00:28:51But I also wanted to take a look at her.
00:28:53Sorry.
00:28:54I got a sense.
00:28:56Well, I wanted to get a look at her, but I also wanted to spend some time with you.
00:29:01I really shouldn't have come to a nightclub.
00:29:03Nonsense, do you, could you get away from that apartment?
00:29:06Look, you're going to move from there, aren't you?
00:29:08I don't think so.
00:29:10At least not for a while yet, anyway.
00:29:13I keep hoping I'll find something.
00:29:15Some clue.
00:29:16Oh, that reminds me.
00:29:17We can't stay here very long.
00:29:19My assistant Quigley's waiting for you.
00:29:21I think we've got to leave.
00:29:22Missed the place, Howard.
00:29:28Fred's now reported they arrived here about a half hour ago with a loan to leave.
00:29:31I'd like to get a look inside.
00:29:33Next up, the elevator.
00:29:42That's the watch.
00:29:43Anybody else around here?
00:29:46Yeah?
00:29:47Who?
00:29:49Ah, you got the delivery entrance.
00:29:51He's downstairs.
00:29:52Who's downstairs?
00:29:54I don't know.
00:29:54Two or three of them.
00:29:55We got a chance.
00:29:56Let's go in.
00:29:56Sure.
00:29:57I'll put you downstairs.
00:29:58Yeah, wait a minute.
00:29:59This stuff can't all be leaflets.
00:30:05Hard to tell what any of it is.
00:30:05Might even be legitimate.
00:30:06Let's poke around so long.
00:30:12We're standing right in the middle of Main Street here.
00:30:16Hey, wait a minute.
00:30:17I wonder what's inside these things.
00:30:19Let's look.
00:30:20This looks like some more of a board for you.
00:30:24Yeah.
00:30:25Here's some kind of shirt.
00:30:27Uniform shirt.
00:30:27Fancy dress costumes and everything.
00:30:29Even buttons for the lapel.
00:30:43Souvenir.
00:30:44Thanks.
00:30:45Somebody must be making a lot of money out of these things.
00:30:46You mean they sell these uniforms?
00:30:47Well, don't give them away.
00:30:48If you want to play crusader, you've got to buy a uniform, badges, belts, caps, all that
00:30:53organization stuff.
00:30:54This is how wars are started in that dusty warehouse.
00:30:55Who do you really think is behind these crusaders?
00:30:56Let's find out what's going on down there.
00:30:57Let's find out what's going on down there.
00:31:02What's going on down there?
00:31:10Let's find out what's going on down there.
00:31:16Let's find out what's going on down there.
00:31:21Who said he was?
00:31:23Who said angels fear the threat?
00:31:25Not me.
00:31:26But I don't know.
00:31:27I don't know.
00:31:28I don't know.
00:31:29I don't know.
00:31:50Who said angels fear the threat?
00:31:51Not me.
00:31:52Let's get out of here.
00:31:57Another crusader leaf?
00:31:58Where'd you get?
00:31:59In a little print shop downtown.
00:32:00Have him watch 24 hours a day.
00:32:02Tending to that, boss.
00:32:03Malloy.
00:32:04Yes, Mrs. Hartley.
00:32:06Well, uh...
00:32:13Well, yes, but it'll have to be after 7.
00:32:16Yeah, prime.
00:32:18Old Mother Hartley?
00:32:20Yeah.
00:32:21Got to speak for your supper?
00:32:23Oh, no.
00:32:26Oh, no.
00:32:39Yes, Callagher.
00:32:41Oh, yes.
00:32:42Send him in.
00:32:43Come in.
00:32:51Mr. Malloy.
00:32:52Thanks.
00:32:53Come in, Mr. Malloy.
00:33:00So glad you could drop by.
00:33:01Frankly, your call aroused my curiosity.
00:33:04Lucid.
00:33:05Thanks.
00:33:07Howard.
00:33:08May I call you Howard?
00:33:10Yes, of course.
00:33:11Do you want to be special prosecutor?
00:33:14Huh?
00:33:16Because you can be if you want to be.
00:33:18Some rather influential people think you're the man for the job.
00:33:21Well, Charlie Riggs started this.
00:33:22I'd like a chance to finish it.
00:33:23They've already been in touch with the governor.
00:33:24Really?
00:33:25Then I guess it's okay with the DA.
00:33:26Frank, he won't object when he knows that I'm supporting you.
00:33:29I'm very grateful, Mrs. Hartley.
00:33:30Now, one thing.
00:33:31I'm told that a small-time politician named Agostini had something to do with suggesting your name a special prosecutor.
00:33:35Well, I guess that's right. He did.
00:33:36Well, this man's reputation is unsavory, to say the least. I suggest that you disavow Mr. Agostini immediately.
00:33:53Consider him disavowed.
00:33:54In that case, I think you might consider yourself appointed.
00:33:59Molloy, try to reach you all afternoon.
00:34:09Other people can call you a special prosecutor, but to me, you'll always be my favorite assistant.
00:34:15That you, Molloy?
00:34:18Agostini.
00:34:19I phoned to congratulate you on your appointment.
00:34:22What?
00:34:24Well, if there's anything I can do, let me know.
00:34:28Yeah, call the angel.
00:34:31Well, Howard, we did it. Your special prosecutor.
00:34:37I expect great things of you.
00:34:41By the way, could you drive over tomorrow night?
00:34:44I want you to meet some people.
00:34:46I've sent you a confidential file on some of them.
00:34:50Men who have tremendous influence.
00:34:53Take a look at my notes before you come over.
00:34:56Yeah.
00:34:57Yeah, I'll do that.
00:34:58About six tomorrow?
00:34:59Right.
00:35:00Bye.
00:35:01Mrs. Hartley sent you this envelope about an hour ago, by special messenger.
00:35:05Yeah.
00:35:06She just told me.
00:35:10Things are moving pretty fast, aren't they?
00:35:12Yeah.
00:35:13In a circle.
00:35:14I wish there was something I could do to help you, Howard.
00:35:17I usually like to help my son.
00:35:22That's fine, too.
00:35:27But what about these wires?
00:35:30All these papers you have to sign?
00:35:32I could run errands.
00:35:34I hate to keep you out of this, baby.
00:35:35Howard.
00:35:36We've picked her up at the airport.
00:35:37That man, he has no right to stop me.
00:35:38Where were you going?
00:35:39Get a one-way ticket to Mexico City.
00:35:40I'd take a little trip.
00:35:41An expensive trip.
00:35:42Who arranged it?
00:35:43Nobody.
00:35:44Somebody ordered you to leave.
00:35:45Who was it?
00:35:46Please.
00:35:47I have had so much trouble.
00:35:48Without my husband, I don't know what to do.
00:35:49Mrs. Borg, why are you so frightened?
00:35:50What is it?
00:35:51Someone called this afternoon.
00:35:52Told her to catch the next plane to Mexico City.
00:35:53You know about that?
00:35:54We've had your telephone tapped for several days.
00:35:55Please, Mrs. Borg, for your own sake, tell us.
00:35:56Who called you?
00:35:57I...
00:35:58I...
00:35:59I...
00:36:00I...
00:36:01I...
00:36:02I...
00:36:03I...
00:36:04I...
00:36:05I...
00:36:06I...
00:36:07I...
00:36:08I...
00:36:09I...
00:36:10I...
00:36:11I...
00:36:12I...
00:36:13I...
00:36:14I...
00:36:15I...
00:36:16I...
00:36:17I...
00:36:18I...
00:36:19Don't know.
00:36:20It was a...
00:36:21Strange voice.
00:36:22Booker is a material witness.
00:36:23Without me.
00:36:24What does this mean?
00:36:25This means you'll be safe, Mrs. Borg.
00:36:27If we let you go home, those men might kill you the way they killed your husband.
00:36:29You won't let them kill me?
00:36:30Come along, Mrs. Borg.
00:36:31Don't you worry.
00:36:32Mr. Malloy will take good care of you.
00:36:35Won't you, Howard?
00:36:36Sure.
00:36:37He'll take good care of both of you.
00:36:40You want to help, huh?
00:36:42Okay, you got the job.
00:36:44This is the place for you, right here.
00:36:47I wanted you to say that.
00:36:49I did.
00:36:50Anything else you wanted me to say?
00:36:52Anything else you want to say?
00:36:54That'll take a long time.
00:36:56Oh?
00:36:57Mm-hmm.
00:36:58Mm-hmm.
00:37:14Yes, yes, yes.
00:37:15Can you hear me?
00:37:16Right, Josephly!
00:37:21What do you mean, sir?
00:37:22Mr. Malloy?
00:37:23Do you want the message?
00:37:24Yes, dear.
00:37:25You did come unsoply.
00:37:26So am I.
00:37:27Change the scene.
00:37:28Will you have a cocktail?
00:37:29Or would you rather have something to drink?
00:37:31Mr. Malloy, yes dear, you did come, I'm so pretty.
00:37:36So am I, change the scene.
00:37:38Will you have a cocktail, or would you rather have something to drink?
00:37:42Thanks, I'll wait a while, we're cut by.
00:37:44Would just as you please.
00:37:46Now, as I told you, you're going to meet some people.
00:37:52Rain, will you come over and look at this?
00:37:54Presently, my dear.
00:37:56Some people who were there watching, as the saying is.
00:38:00I've met a few of those already.
00:38:02We'll add to your collection.
00:38:04All these people?
00:38:05Oh no, just the ones I sent you the notes of.
00:38:08As a matter of fact, I don't know half the people here myself.
00:38:11And thank heaven, the only people I enjoy these days are the ones I haven't met before.
00:38:16The strangers that I bring along.
00:38:19Shall we go?
00:38:23You went over my notes, carefully.
00:38:25Yes, very.
00:38:27Now keep them in mind.
00:38:29Oh, I beg your pardon.
00:38:31As we meet the subject...
00:38:32Grace, I left your cocktail.
00:38:34Yes, just a moment.
00:38:36Now we'll go from there to right.
00:38:40Mr. Nichols, may I present Mr. Malloy?
00:38:43Harry, this is our new special prosecutor.
00:38:45Hello.
00:38:46We've already met, informally.
00:38:48Mr. Nichols' papers didn't think much of my appointment.
00:38:50Harry against you?
00:38:52Really?
00:38:53Well, surely it's only because he's opposing his local competitor.
00:38:57The Express Journal.
00:38:58Oh, now really, Grace.
00:39:00Who wants to look into a man's motives at a gay time like this?
00:39:04We're all here for a little relaxation from serious things.
00:39:08Nichols, as a lord of the press, began as a copy boy and worked his way to the top by inheriting a chain of newspapers from his father.
00:39:15Give Nichols any trouble and you'll be the subject of a furious editorial the next day simultaneously in 34 newspapers.
00:39:22Well, you think this is the time to discuss Mr. Malloy's business or mine?
00:39:25Why, Harry, I thought you did all your business at cocktail parties.
00:39:28Sometimes, Grace, your polite little jokes aren't very polite.
00:39:30Or very little.
00:39:32Which brings us to Tom Waldron, Jr.
00:39:34Mr. Malloy, may I present the worst dressed radio executive in the industry.
00:39:38And the only really frivolous mind you'll meet this afternoon.
00:39:42If Grace hadn't been Judge Hartley's wife, she'd not get away with such casual slander.
00:39:47Waldron is a schemer and a fool.
00:39:50He wants to get into politics.
00:39:52But then who doesn't?
00:39:54Like a lot of people, he thinks society is tumbling.
00:39:57And that the Waldron plan for social reorganization must be applied at once or we perish.
00:40:02And if Grace ever runs out of bright conversation, all she has to do is to remember the judge's epigrams.
00:40:08You are a rascal, Kastrick.
00:40:11A complete rascal.
00:40:13I acknowledge it.
00:40:14And here's Stuart Pemberton, public relations.
00:40:16Hello, Mr. Malloy.
00:40:18Or should I say private relations?
00:40:20You shouldn't, Grace.
00:40:22May I introduce Sigmund Kastrick, Mrs. Hartley, Mr. Malloy.
00:40:27Mr. Kastrick and I have met.
00:40:30I, uh, I don't seem to recall our meeting.
00:40:34Oh?
00:40:35Well, I must be mistaken.
00:40:37If you'll excuse me.
00:40:41Look here, Malloy.
00:40:42This crusade of yours, tongue-in-cheek, isn't it?
00:40:45Well, hardly.
00:40:47Don't tell me you're the quixotic defender of the rights of men.
00:40:52The Express Journal says you are.
00:40:54It's hard to tell what you mean.
00:40:56What I mean is you can't be falling for your own publicity.
00:40:59I can't help thinking the law.
00:41:01It's just...
00:41:02Pemberton's a big-time fixer.
00:41:04He's a fool, too, but very influential.
00:41:07I can't tell you anything about him that he won't tell you himself in conversation.
00:41:11Be careful of this man.
00:41:13The right to hate is just as inalienable as...
00:41:16as an alienable as the right to free speech.
00:41:19You've got to defend that, too, you know.
00:41:21Inalienable's a very important word, Mr. Pemberton.
00:41:24I'm sure it's hard to say on purpose.
00:41:26Never mind the remark, young man.
00:41:29I'm talking about the history of men.
00:41:32Out of hatred came the triumph of one group over another.
00:41:35The elimination of the misfit and the weak.
00:41:37The creative evolution of a superior class.
00:41:40Don't you see, Malloy?
00:41:42Out of it came our great industrial civilization.
00:41:45And out of it came a war with 20 million dead.
00:41:49Oh.
00:41:50I feel obliged to interrupt this conversation.
00:41:52Will you excuse us, Stuart, please?
00:41:57Bad politics, Howard.
00:41:58A bad man.
00:41:59I agree.
00:42:00And a man with the habit of victory.
00:42:04Castel?
00:42:05No, thanks.
00:42:06Andrew, bring Mr. Malloy or Scotch and, uh...
00:42:09Water.
00:42:10We won't thank you.
00:42:11You're welcome.
00:42:12Grace, chérie, you must come over here for a moment
00:42:14just to set the point for us.
00:42:16Apparently unnecessary to an argument.
00:42:18Will you excuse me, sir?
00:42:19Of course.
00:42:36I'm Barbara.
00:42:37Good.
00:42:38Good what?
00:42:39Good name for you.
00:42:40You look as if you ought to be called Barbara.
00:42:41Really?
00:42:42Scotch and water, sir.
00:42:43That was mine.
00:42:44Yes, I know.
00:42:46I wonder if your name fits the way you look.
00:42:47I wonder if your name fits the way you look.
00:42:50Malloy is my name.
00:42:51Howard Malloy.
00:42:52Good.
00:42:53Good what?
00:42:54Good guessing.
00:42:55That's who I thought you were.
00:42:56How?
00:42:57Everybody here has been talking about you this afternoon.
00:42:59And you're the only stranger who looks as if he ought to be called.
00:43:01How?
00:43:02I'm sorry, sir.
00:43:03I'm sorry, sir.
00:43:04I'm sorry, sir.
00:43:05I'm sorry.
00:43:06I'm sorry.
00:43:07I'm sorry.
00:43:08I'm sorry, sir.
00:43:09You're sorry.
00:43:10I'm sorry.
00:43:11I'm sorry.
00:43:12I'm sorry.
00:43:13I'm sorry.
00:43:14I'm sorry.
00:43:15You're sorry.
00:43:16I'm sorry.
00:43:17I'm sorry.
00:43:18He's the only stranger who looks as if he ought to be called home.
00:43:23You're a special something or other, aren't you?
00:43:27Prosecutor, what do you do?
00:43:29Sing.
00:43:30Yes, obviously.
00:43:31Do you ever relax?
00:43:33From what?
00:43:34Singing.
00:43:35As often as possible.
00:43:37What about the song a minute ago?
00:43:39That was just for myself.
00:43:42I like to do things for myself once in a while.
00:43:45Doesn't that happen often?
00:43:48Now, stop this.
00:43:50I never answer questions on an empty stomach.
00:43:52I'm hungry, too.
00:43:54You with somebody?
00:43:56That's a very large question.
00:43:58I'm not with Harry, anyway.
00:44:00I, uh...
00:44:01I like the song, Barbara.
00:44:03The song, Harry?
00:44:07Howard, please forgive me.
00:44:08Did you finally get a drink?
00:44:10Yes, I did, Mrs. Hartley. Thank you.
00:44:14You've met more strangers today than I have.
00:44:17I was just getting acquainted when Nichols arrived.
00:44:19Who's she with?
00:44:21Goodness knows.
00:44:22Well, our Mr. Pemberton's been looking most possessive.
00:44:26And Mr. Costa Rica.
00:44:28I know.
00:44:29Your office called, Mr. Malloy, and Mr. Quigley is waiting for you.
00:44:33They said it was important.
00:44:34Yes, thanks.
00:44:35Does that mean you have to go?
00:44:37Yes, right away.
00:44:38Oh.
00:44:39Well, I'll have Andrew fetch a hat.
00:44:41Thanks.
00:44:42Good night, Miss Whitfield.
00:44:44Good night, Mr. Malloy.
00:44:47Good night, Mr. Malloy.
00:44:59Oh, what did you want?
00:45:29I just wanted to see you again, that's all.
00:45:32Didn't you want to see me again?
00:45:33You're still a man with a lot of questions, aren't you?
00:45:35Yeah.
00:45:36Didn't you want to see me again?
00:45:38Yes.
00:45:39All right, then.
00:45:43How did you get my number?
00:45:44That's easy, where I work.
00:45:46Is everything easy for you?
00:45:48No.
00:45:50It's just as well.
00:45:53Oh, please, no pictures.
00:45:55This is for the house collection, sir.
00:45:59That's going to look as if the drinks weren't very good.
00:46:03Maybe they can paint in a smile.
00:46:05You're through, Roger.
00:46:06Sure.
00:46:06Let's get out of here.
00:46:07He's got to change.
00:46:19Did you see the show tonight?
00:46:21Most of it.
00:46:22Like it?
00:46:22I like you.
00:46:25Didn't you think the boy with the harp was good?
00:46:27I didn't notice.
00:46:29I was waiting for you.
00:46:32Well, I won't be long.
00:46:34I'll pardon your back.
00:46:36What?
00:46:37About face, Mr. Prosecutor.
00:46:39Oh, sure.
00:46:44Is this visit business or pleasure?
00:46:47Right now, it's your business and my pleasure.
00:46:51We can go somewhere else.
00:46:53People always want to go somewhere else.
00:46:57Do you blame them?
00:46:58It depends.
00:47:00This wall is very uninteresting.
00:47:04Patience, patience.
00:47:06I'm changing my mind.
00:47:08About what?
00:47:10About you.
00:47:11All right.
00:47:13At ease.
00:47:17Changing from what to what?
00:47:19From maybe.
00:47:22Perhaps.
00:47:23Are you always so uncertain about things?
00:47:26Things?
00:47:28People.
00:47:30Aren't you?
00:47:31Sometimes.
00:47:34Birds of a feather.
00:47:38Special prosecutor turns playboy.
00:47:46I should have broken that girl's camera last night.
00:47:49Forget about last night.
00:47:51Have you forgotten about it?
00:47:53Not yet.
00:47:54But I'm trying.
00:47:56Why?
00:47:57It doesn't figure.
00:47:59With what?
00:48:00With you.
00:48:00With you.
00:48:01What are you after?
00:48:07You.
00:48:09Look out, Howard.
00:48:11Look out.
00:48:12For what?
00:48:13Don't play with me.
00:48:14Who's playing?
00:48:15If you meant everything last night, then look out.
00:48:19I told you before everything's easy for you.
00:48:21Too easy.
00:48:22Not always.
00:48:23No?
00:48:24When was it?
00:48:25I don't know.
00:48:26Maybe you're right.
00:48:27Am I?
00:48:27Matter of fact, things have been kind of easy for me.
00:48:30Take the way I got to be special prosecuted.
00:48:33What do you mean?
00:48:34It's as though somebody fixed it.
00:48:36Or had to fix it.
00:48:37Fixed it?
00:48:38Yeah.
00:48:39You must have smiled at someone.
00:48:41The way you smile at me.
00:48:43People should be careful of that smile.
00:48:46People should be careful of a lot of things about you.
00:48:49You know, even angels can get their wings clipped.
00:48:53You got the scissors?
00:48:55For my wings?
00:48:57Take a look at this, Malloy, and keep looking at it so it doesn't happen again.
00:49:03That's no way to run a special investigation.
00:49:06Now stay out of trouble.
00:49:12Trouble?
00:49:13Really?
00:49:14Am I a lot of trouble?
00:49:16Women always are.
00:49:17Mm-hmm.
00:49:19Beautiful women, ain't they?
00:49:20Of course.
00:49:22That's what men always like.
00:49:24The beauty?
00:49:24The trouble.
00:49:25Perhaps you'd like this little lady better, Miss Whitfield.
00:49:29No, thank you.
00:49:30This is the one for me.
00:49:32Does he have a name?
00:49:33Yes.
00:49:34It's Benny.
00:49:35Ha.
00:49:36Benvenuto, really.
00:49:37Hmm.
00:49:38I used to have a cat they called Hadrian the Seventh.
00:49:41We ended up calling him Harry.
00:49:43Why, yes.
00:49:44Wasn't that the cat Mr. Pemberton bought for you?
00:49:46Yes.
00:49:48It was.
00:49:49Oh, uh.
00:49:50Well, uh, will you take Benny with you, or shall we send him?
00:49:54I'll take him with me.
00:49:56Do you have one of those, those carrying boxes?
00:49:59Oh, yes, the traveling case.
00:50:00I'll get one for you.
00:50:02I always thought you bought cats at a special place, a cat farm or something, where they bred
00:50:08them and trained them.
00:50:09They trained them here, but not out of the last shred of their character.
00:50:14Oh.
00:50:14Anyway, I like to train them myself.
00:50:19What happened to Hadrian the Seventh?
00:50:22I got tired of him.
00:50:26Why did you come over to me at that party, Howard?
00:50:30Because you were the only person who didn't look as if you belonged there.
00:50:35Really?
00:50:36I belong anywhere I'm wanted.
00:50:39Do you?
00:50:40Don't I?
00:50:41This is a nice one.
00:50:44It's finished in leatherette.
00:50:46May I take him?
00:50:49What is this great interest in cats, anyway?
00:50:52I have a friend who doesn't like cats.
00:50:56Can you lend me $35?
00:50:58Why, sure.
00:51:00I think so.
00:51:00It's for Benny.
00:51:02Well, can't I?
00:51:03Would you like to?
00:51:05Oh, you're welcome.
00:51:07It's a pleasure.
00:51:09It's the thought, not the cat.
00:51:11I know he'll be well-behaved.
00:51:13Do you?
00:51:14Here you are.
00:51:15Oh, thank you, sir.
00:51:27Barbara.
00:51:28Barbara, darling.
00:51:29Hi, Lenny.
00:51:30How are you?
00:51:31Fine.
00:51:31Fine.
00:51:32You?
00:51:32Going along.
00:51:33You know Howard Malloy, Lenny?
00:51:35Leonard Lyons, Howard.
00:51:36How do you do?
00:51:37In a hurry, Lenny.
00:51:39Bye.
00:51:39Bye-bye seeing you.
00:51:42Now, who was that?
00:51:44Why?
00:51:44Leonard Lyons, my sweet.
00:51:46He writes that column, The Lyons' Den.
00:52:02Howard, this is too much.
00:52:04I'm putting cats on your expense sheet.
00:52:07One cat?
00:52:08$35.
00:52:09Buying a duty, Frank.
00:52:11Better stick to the obvious accessories.
00:52:13Oh, by the way, somebody sprung your little gunman friend this morning.
00:52:17What?
00:52:18I ordered him held without fail.
00:52:19Couldn't be done.
00:52:20I don't notice, Charlie.
00:52:20Then we should have made some up.
00:52:21You should have, but you've been so busy in nightclubs and bedshops.
00:52:25You're making a fool out of yourself and the whole department.
00:52:27Now, Howard, you've got to stop seeing this Whitfield girl.
00:52:31Playboy prosecutor.
00:52:32I'm seeing her this afternoon, Frank, in about an hour.
00:52:35Yes.
00:52:35Drink tights in a high wire in front of City Hall, I suppose.
00:52:38No.
00:52:39In her apartment.
00:52:43It has to stop.
00:52:45There's got to be an end to it right away.
00:52:47You understand there must be a finish to the whole thing this afternoon.
00:52:51We can't let it go any further.
00:52:53What do you mean, we?
00:52:54I mean, those are my instructions.
00:52:56And I agree with you.
00:52:58You're full of little shocks and surprises these days, aren't you?
00:53:01Yeah.
00:53:01So is life.
00:53:03Our kind of life, anyway.
00:53:05I don't get it.
00:53:06First, I'm told to make sparks with Malloy and I get along fine.
00:53:10Then, told to stop.
00:53:11Put an end to it.
00:53:12This afternoon.
00:53:13How?
00:53:14I don't care how you do it.
00:53:15He's coming here, isn't he?
00:53:16You know that.
00:53:16You told me to invite him.
00:53:18I didn't know whether you reached him or not, is all.
00:53:20Oh, you're so touchy these days.
00:53:23What's the matter, my angel?
00:53:24Upset again?
00:53:25Afraid things are being found out about you and me?
00:53:29Take it easy.
00:53:30I'm talking business now.
00:53:32I know you are.
00:53:33So you talk business, my pet.
00:53:35You do it so rudely.
00:53:37Just do what you're told.
00:53:38What else do I ever do?
00:53:44When Malloy comes, tell him anything you like.
00:53:46You're going away for a trip, or you're tired of him, or a husband has come back.
00:53:51Husband?
00:53:52Whee!
00:53:53Anything you like.
00:53:55But finish it.
00:53:56And if he doesn't take finish for an answer?
00:53:58Get tough.
00:53:59Aggravate him.
00:53:59Insult him.
00:54:00Set him on fire.
00:54:01Cut it out.
00:54:03Maybe you'd better get out of town.
00:54:04Maybe you'd better really go away for a while.
00:54:06Hmm?
00:54:08Take a little trip.
00:54:09Would you miss me?
00:54:10Like my next breath.
00:54:13Who would that be?
00:54:15Probably the man with the dynamite to put under Mr. Malloy.
00:54:17Now, please.
00:54:18Oh, relax.
00:54:19It's just the man from the liquor store.
00:54:21Malloy likes scotch.
00:54:22Come on in, Sam.
00:54:24Milkman.
00:54:25Hi.
00:54:26Here's your stuff, Miss Whitfield.
00:54:27Charge it?
00:54:28Don't I always, Sam?
00:54:29Sure, Miss Whitfield.
00:54:29I'd just like to hear you talk.
00:54:31Next time, Sam.
00:54:32So, now that I'm making headway with our handsome prosecutor,
00:54:35now I stop, huh?
00:54:37I'm glad you finally understand what to do.
00:54:39I know what to do, but I certainly don't understand it.
00:54:43Oh, don't worry, honey.
00:54:44Sometimes we all have to do things we don't understand.
00:54:48Until afterwards.
00:54:51Come on, Knuckles.
00:54:51Leave our little black friend to Mr. Malloy.
00:54:55He likes cats, too.
00:54:56What do you mean you're going away?
00:55:02Something wrong?
00:55:04I, uh, I need a change.
00:55:08Relaxation?
00:55:09Sunshine?
00:55:09I think I'll go to Florida someplace.
00:55:12I've been thinking about it for some time, about getting away.
00:55:15Away from anything special?
00:55:17What do you mean?
00:55:18There comes a time when the wisest thing to do is get away.
00:55:21I don't know what you're talking about.
00:55:24Who would I want to get away from?
00:55:26Me, maybe.
00:55:27You?
00:55:30Maybe.
00:55:31That's what I said.
00:55:32All right, so I'm tired of you and me.
00:55:34I don't want any more, and that's that.
00:55:36There.
00:55:37You can't escape from me, darling.
00:55:40Really?
00:55:40Can't I?
00:55:41Ha, ha, ha.
00:55:42Oh.
00:55:43You're stuck.
00:55:45You're it.
00:55:46You're in the wrong conversation.
00:55:48Who is it you're afraid of?
00:55:49I'm not afraid of anyone.
00:55:51All right, if you won't tell me, I'll tell you.
00:55:53All right?
00:55:55Tell me then.
00:55:56There's a hard-eyed little gunman.
00:55:58Calls himself Miller.
00:55:59Other people call him Knuckles.
00:56:01And there's an artist with a scrubby beard.
00:56:03He painted your portrait.
00:56:04His name's Costume.
00:56:05There's another guy, a very important guy.
00:56:08Calls himself the Angel.
00:56:10He's somebody you might want to say goodbye to.
00:56:12Stop acting like a prosecutor.
00:56:13I don't know any of these people.
00:56:14Never heard of them.
00:56:15Don't lie, Ellie Barbara.
00:56:16Oh, stop it.
00:56:18I'm trying to help you, to warn you.
00:56:20When these people finish using you...
00:56:21Nobody's using me.
00:56:22They murdered Borg and Riggs.
00:56:25And heaven only knows what's happened to Costal Rick.
00:56:27Ziggy?
00:56:28Yes, he's been missing for three days.
00:56:30And when they're through with you,
00:56:32you knew what they were up to.
00:56:33Why didn't you stay out of it?
00:56:34I couldn't stay out of it.
00:56:35They wouldn't let me.
00:56:39Now, that's more like it.
00:56:41There's no point in lying.
00:56:43Oh, Howard, hold me.
00:56:45Help me.
00:56:46I can't help you, baby, unless you help me.
00:56:55We need your evidence.
00:56:58Why, you dingy double-crossing.
00:57:01You're using me just like all the rest.
00:57:03Now, look for it.
00:57:04Why, you...
00:57:05These people you're mixed up with, don't roll things.
00:57:08They put a bullet in you and put you out a window.
00:57:11Let go of me.
00:57:13There's a lot of questions for you to answer before he lets you go.
00:57:16No, no, no, no, no.
00:57:20No, no, no.
00:57:21Take it easy, baby.
00:57:23Take it easy.
00:57:24Who can?
00:57:25Who can?
00:57:32Baby, I don't want to hurt you.
00:57:34I'm trying to help you.
00:57:35I'll kill you.
00:57:36Oh, my God.
00:57:59Oh, my God.
00:58:03Oh, my God.
00:58:33Oh, my God.
00:59:03Oh, my God.
00:59:33What are you doing here?
00:59:36The door was open, and I came in.
00:59:39I couldn't see what was happening.
00:59:42Nothing was happening.
00:59:44She pushed me, that's all.
00:59:46Believe.
00:59:47She's dead.
00:59:48Dead?
00:59:49Barbara.
00:59:50She was fighting with me.
00:59:58She's dead, all right.
01:00:00Bullet wound.
01:00:03Oh, you.
01:00:07You, please.
01:00:08I've never killed anyone.
01:00:10No, I found the gun in your hand.
01:00:12Here, take it back.
01:00:14Barbara was alive when I passed out.
01:00:16You must have come in here.
01:00:18Why would I have waited for you to awaken him?
01:00:20Your fingerprints are on this gun.
01:00:21And so are yours.
01:00:22Yeah, but I know I didn't kill her.
01:00:25Please.
01:00:26What are you doing?
01:00:28Calling on...
01:00:29Wait.
01:00:29I swear I had nothing to do with this.
01:00:31I swear, I swear.
01:00:32Then what are you doing here?
01:00:34When you got mixed up with the Crusaders, Costa Rica,
01:00:36you got mixed up with murder.
01:00:37I did not intend to get mixed up with them.
01:00:40It was all because of that woman.
01:00:42Barbara?
01:00:43No, not Barbara.
01:00:46Grace Hartley.
01:00:49Grace Hartley?
01:00:50Yes.
01:00:51She's the one who is behind all this.
01:00:53She's the one who is their leader.
01:00:56Can you prove that?
01:00:57I was painting her portrait.
01:00:59I was in her library,
01:01:00and I discovered some papers
01:01:02that I thought interesting and important.
01:01:05What kind of papers?
01:01:06Oh, names, figures.
01:01:10These Crusaders make money, you know.
01:01:13These papers told me a lot about
01:01:14where they get the money
01:01:15and what they do with it.
01:01:17I took them away with me
01:01:19for what they were worth.
01:01:21Blackmail.
01:01:22Please.
01:01:23Grace Hartley could help me in my career.
01:01:25She had influence.
01:01:26And she had provided me,
01:01:27among other comforts,
01:01:29with my first one-man show.
01:01:30It opens tomorrow at the Contemporary Museum.
01:01:33You told me for a time I met you.
01:01:35Where are these papers?
01:01:35I want to see them.
01:01:36At the museum?
01:01:37Yeah.
01:01:38They're hidden behind one of my paintings.
01:01:41They are between the canvas
01:01:42and the fracking of the frame.
01:01:46Please.
01:01:46Now you do not believe I killed Barbara?
01:01:51Oh, Kevin.
01:01:52Quigley there.
01:01:55Grace.
01:01:56Oh, I thought you were gone.
01:02:01We saw your car outside.
01:02:03We decided to wait.
01:02:04What's going on upstairs?
01:02:06Never mind.
01:02:07Nothing.
01:02:11Everything.
01:02:12Give me your gun.
01:02:13That don't make sense.
01:02:14It does.
01:02:15Give me your gun.
01:02:16Give me your...
01:02:16Where's my lawyer?
01:02:18She's upstairs in your apartment.
01:02:19What's going on?
01:02:20I haven't time to talk now.
01:02:23Don't wait around here.
01:02:24You might get into trouble.
01:02:25Where are you going now?
01:02:26I have an important call to me.
01:02:28I'll book me later.
01:02:33Bring the car around for me.
01:02:36Let's see what she's up to.
01:02:41Look, call Homicide for me, will you?
01:02:43Barbara Whitfield's been murdered.
01:02:45Tell them to come to 689 East 57th Street.
01:02:49Yeah, I'm still there.
01:02:50But when the boys get here,
01:02:51I'll be on my way to the Contemporary Museum
01:02:53with Sigmund Kostering.
01:02:56Got it?
01:03:02Just a minute.
01:03:03Just a minute.
01:03:04I'm coming as fast as I can.
01:03:11I'm sorry, ma'am.
01:03:12We're close for the night.
01:03:13But I just want to go upstairs
01:03:14to one of the gals.
01:03:15I can't let you do that, ma'am.
01:03:16No visitors after hours.
01:03:17I was here earlier,
01:03:18and I left my first.
01:03:20Well, you just have to come back
01:03:21in the morning, ma'am.
01:03:22I've got my orders.
01:03:22But I...
01:03:23Come on.
01:03:44I'll be back.
01:03:45I'll be back.
01:03:59I'll be back.
01:04:02I'll be back.
01:04:03It's a watchman.
01:04:04Yeah.
01:04:05The racer's been busy.
01:04:06Better move the body away from the door, back against the wall.
01:04:07Sure.
01:04:08In case somebody comes by and looks in.
01:04:09Where do you suppose she went?
01:04:10Don't ask me.
01:04:11There's a light in the ghost there.
01:04:12Let's move.
01:04:13Yeah.
01:04:14Let's go.
01:04:15Let's go.
01:04:16The place is wise and well.
01:04:17There's a light in the ghost there.
01:04:18There's a light in the ghost there.
01:04:19That's Mark.
01:04:20Yeah.
01:04:21Let's go.
01:04:38The place is wise and the place is much better.
01:04:40The place is wide open at any hour at the night.
01:04:46There must be a guard around somewhere.
01:04:48You know where the exhibition is?
01:04:49Of course, I hung it myself.
01:04:51Let's go, then.
01:04:52It's this way.
01:05:10It's this way.
01:05:40It's in here.
01:06:10There seems to be somebody in there.
01:06:11Must be a guard.
01:06:12There seems to be somebody in there.
01:06:14There seems to be somebody in there.
01:06:16Agostini.
01:06:40Grace Hartley, she must have heard when I told Molloy.
01:07:10Oh, why, Ziggy.
01:07:27You heard in Barbara's apartment what I told Molloy.
01:07:32Every word you said.
01:07:35You killed Barbara.
01:07:37I knew in the end you would harm her.
01:07:40And anyone else who gets in my way.
01:08:07I knew in the end you would harm her.
01:08:10I knew in the end you would harm her.
01:08:14There is a place where she is.
01:08:16I saw her.
01:08:18The house was in the end.
01:08:20I knew in the end you would harm her.
01:08:22I'll take those, Mrs. Hartley.
01:08:32I'll take those, Mrs. Hartley.
01:08:44I'll take those, Mrs. Hartley.
01:08:52You badly hurt?
01:08:58No, I, I, I caught a time to find the papers.
01:09:03I had to get them.
01:09:06I was not too quick.
01:09:09I was not too quick.
01:09:11I was not too quick.
01:09:14I was not too quick.
01:09:17I was not too quick.
01:09:19I was not too quick.
01:09:21I had no gun.
01:09:23Where did she get you?
01:09:25We were the same kind of target for her.
01:09:28Just under the shoulder.
01:09:32She killed Barbara.
01:09:34She was in the apartment.
01:09:36And she heard me telling you where the papers were.
01:09:39She killed Barbara.
01:09:41Alloy, where are you?
01:09:43In here.
01:09:45The place looks like the last act of Hamlet.
01:09:50It's the last act for all kinds of things.
01:09:52Brace yourself, Frank.
01:09:55Grace Hartley.
01:09:57I'll tell you about it later.
01:09:59Here's part of it.
01:10:01All right, Carolyn.
01:10:02Is Carolyn here?
01:10:03She brought her here.
01:10:04I made her way down the corridor.
01:10:05It's kind of noisy in here.
01:10:14Howard.
01:10:16Howard.
01:10:18Howard.
01:10:20Howard.
01:10:26Howard.
01:10:28Come and tell me about all this.
01:10:32Give me time.
01:10:33We'll put it all together.
01:10:44Fire.
01:10:45One.
01:10:47One.
01:10:49Two.
01:10:51Two.
01:10:53Two.
01:10:55Two.
01:10:56Two.
01:10:58Two.
01:10:59Two.
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