Jigsaw 1949 ★★★ Crime/Film-noir (CC)

Reel Videos

Jigsaw is a 1949 American film noir crime drama directed by Fletcher Markle starring Franchot Tone, Jean Wallace and Marc Lawrence. The feature was produced by the Danziger Brothers, Edward J. Danziger and Harry Lee Danziger from a screenplay by Vincent McConnor and Fletcher Markle, which was based on a story by John Roeburt.   The film features cameo appearances by Marlene Dietrich, Henry Fonda, John Garfield, Burgess Meredith, Marsha Hunt, Doe Avedon, Everett Sloane, newspaper columnist Leonard Lyons and the film's director, Fletcher Markle.   Plot:  When the owner of a printing shop is found dead, the District Attorney assumes that it was a suicide. But the Assistant D.A., Howard Malloy, suspects that there is a connection with an extremist political group called the 'Crusaders'. When a journalist whose articles had attacked the Crusaders is also killed, Malloy is convinced. With help from the widow of a prominent judge, he conducts an investigation. As he does so, he meets a peculiar political boss and also an attractive night club singer, each of whom could become either a source of help or a source of danger.   Credits  Franchot Tone as Howard Malloy  Jean Wallace as Barbara Whitfield  Myron McCormick as Charles Riggs  Marc Lawrence as Angelo Agostini  Winifred Lenihan as Mrs. Hartley  Doe Avedon as Caroline Riggs  Hedley Rainnie as Sigmund Kosterich  Walter Vaughan as District Attorney Walker  George Breen as Knuckles  Robert Gist as Tommy Quigley  Hester Sondergaard as Mrs. Borg  Luella Gear as Pet Shop Owner  Henry Fonda as Nightclub Waiter  Alexander Campbell as Pemberton  Robert Noe as Waldron  Alexander Lockwood as Nichols  Ken Smith as Wylie  Alan MacAteer as Museum Guard  Manuel Aparicio as Warehouse Guard  Brainerd Duffield as Butler  Marlene Dietrich as Nightclub Patron

Transcript

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00:03:57A man named Max Borg prints leaflets for a hate group.

00:04:00A man named Max Borg kills himself.

00:04:03I want to look into it.

00:04:04When was this in Riggs' column?

00:04:05Today.

00:04:06When did Borg die?

00:04:08Today.

00:04:09Get Riggs down here.

00:04:10No, I can always do better with Charlie Riggs

00:04:12if I meet him off my beat.

00:04:13Oh, you know him?

00:04:14Sure.

00:04:15He's going to be my brother-in-law any week now.

00:04:18All right.

00:04:19Go find him in some nightclub.

00:04:21You're the assistant district attorney

00:04:22in charge of nightclubs.

00:04:24Don't let Carolyn Riggs hear you say that.

00:04:28I'm a reformed man.

00:04:29Anyway, Charlie never goes to nightclubs.

00:04:32A very serious fellow, Charlie Riggs.

00:04:40Charlie, what makes you think Borg was murdered?

00:04:43Sometimes a lot of people have to get killed

00:04:45to protect an industry.

00:04:47Our this hate thing has a big, fat racket,

00:04:50and it needs a lot of protecting.

00:04:52If your office knew its business,

00:04:54they'd have gone after these racketeers a long time ago.

00:04:57That's good newspaper coffee, Charlie.

00:04:59But where would a racket like that pay off?

00:05:01Forming an organization.

00:05:03Membership dues, badges, buttons, magazine

00:05:06subscriptions, donations, even uniform.

00:05:10Ante up to exploit the anti this or that.

00:05:13Any race or religion they can use as a scapegoat.

00:05:17Ignorance pays off, Howard.

00:05:19And the profits can climb into millions.

00:05:22Whatever happened to the old Charlie Riggs with his eye

00:05:25to a keyhole?

00:05:26I've got both eyes open these days.

00:05:29Now, if you guys will excuse me.

00:05:31You weren't going out again tonight.

00:05:32I've got some business, sorry.

00:05:35He's been doing that for weeks now.

00:05:38I never know where he goes.

00:05:39Well, Charlie's a big boy now.

00:05:41Sometimes he doesn't come home until morning.

00:05:44Now, you two can have the rest of the evening

00:05:45to yourselves with my blessing.

00:05:47How's that for a pal, huh?

00:05:49Ought to put me in right with the DA's office.

00:05:51Put me in right with the office.

00:05:52Come on down tomorrow and have a talk about it.

00:05:54Anytime.

00:05:55I've got to interview Mrs. Borg tomorrow.

00:05:57Own me a favor.

00:05:58And thanks for the candy.

00:06:14Oh, no, no, Max was not killed.

00:06:25My husband, he take his own life.

00:06:30For what reason, Mrs. Borg?

00:06:34Max, worry.

00:06:37That man, he is always calling on telephone.

00:06:41Always then, he come to the shop.

00:06:45Always questions, questions.

00:06:47What man was this, Mrs. Borg?

00:06:48His name, Riggs.

00:06:52He 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.

00:07:00Mrs. Borg, you've seen this before, haven't you?

00:07:06Yes.

00:07:08Max printed his job he do it last week.

00:07:11It's one of those invitations Riggs mentioned in his column.

00:07:14Join the Crusaders.

00:07:16Fight for Americanism.

00:07:19Where'd you get this?

00:07:20From Charlie.

00:07:21He's got quite a collection.

00:07:23He's still waiting outside?

00:07:24Yeah.

00:07:25Mrs. Borg, when was the last time Mr. Riggs came to see your husband?

00:07:30Last time?

00:07:31Yes, sir.

00:07:32Have Mr. Malloy's friend come in, please, Miss McConaughey.

00:07:35Yes, sir.

00:07:35And it was, yes, the night before Max died.

00:07:41What about yesterday morning?

00:07:43Didn't you see anyone in the shop when you came down and found your husband's body?

00:07:47I went downstairs.

00:07:51Only Max.

00:07:54Are you sure of that, Mrs. Borg?

00:07:55No one there?

00:07:57Nobody wants to kill Max.

00:07:58He'd kill himself.

00:08:02Come in.

00:08:03Good afternoon, sir.

00:08:05Hello, Howard.

00:08:06Charlie.

00:08:07That's the man.

00:08:08Yes, you.

00:08:09You make Max go crazy.

00:08:12You make him take his own life.

00:08:14The murder, Max.

00:08:18What do you say, Charlie?

00:08:23I've never seen anyone so afraid.

00:08:28Fear, Howard.

00:08:29Fear.

00:08:30It's a terrible weapon.

00:08:31You saw what it did to Mrs. Borg this afternoon.

00:08:33I could see she was lying.

00:08:35She's afraid if she doesn't hang on to that suicide story, they'll get rid of her, too.

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 minds on top with a dream of power or gold or political success.

00:09:03But 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.

00:09:18You 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,

00:09:27and a couple you didn't.

00:09:28But we got along pretty well.

00:09:30Well, that's the way it ought to be.

00:09:32In our block, nobody cared what country your parents came from or where they went to church.

00:09:38Nobody called your nasty names.

00:09:40Until you were taught there were nasty names, and some people were supposed to be called by them.

00:09:45Mix, Polacks, Wops, Lammies, Fix, Hunkies.

00:09:50That's part of our history.

00:09:52America always has to melt away the differences between people.

00:09:55Sure, and most always you don't understand why they're supposed to be different.

00:09:59It's just somebody else's say-so, somebody else's influence.

00:10:02Now we've got people around who want to make people hate each other.

00:10:05They're afraid of each other, just so they can make money out of it.

00:10:08I don't like that.

00:10:10Look, Charlie, hold off these columns of yours for a week or so, will you?

00:10:14Give me time to run this down.

00:10:16Here's your rundown right here in my case.

00:10:18And I've got a fistful of new stuff.

00:10:20You're getting interested, huh?

00:10:22Sure, I'm interested.

00:10:23But we're not playing with kids.

00:10:24Take it easy and wait a while.

00:10:25And lose a great story and my readers think I'm scared?

00:10:28Give me time to find out who murdered Borg.

00:10:30Give me a week.

00:10:31Sorry, my friend.

00:10:32I told you last night that's all I wanted.

00:10:33One week.

00:10:34I mean it, Charlie.

00:10:35Take it easy.

00:10:36Nothing doing.

00:10:37I'm a little guy, but I don't scare easy.

00:10:38Oh, pay the tab, huh?

00:10:39You're the new boy in this club.

00:10:41I mean it, Charlie.

00:10:42Take it easy.

00:10:43Nothing doing.

00:10:44I'm a little guy, but I don't scare easy.

00:10:45Oh, pay the tab, huh?

00:10:46You're the new boy in this club.

00:10:50I never drink alone.

00:10:53That can be fixed.

00:11:20I never drink.

00:11:21No, no.

00:11:26I never drink.

00:11:42After you.

00:11:43Good to you.

00:11:49What floor?

00:11:5011th.

00:12:1312th.

00:12:43Let's go.

00:13:13Let's go.

00:13:43Let's go.

00:13:47Easy.

00:13:49Take it easy.

00:13:51The janitor, Mr. Wochinski, found the body.

00:13:55The only way they could identify him was by his pocketbook.

00:13:59His face.

00:14:01Then Mrs. Wochinski came and got him.

00:14:05Oh, he couldn't have done it deliberately, Howard.

00:14:07Charlie would never.

00:14:09Of course not, baby.

00:14:11Anybody who ever knew Charlie at all.

00:14:15How's it coming, Wiley?

00:14:17Find anything?

00:14:18Not much, Mr. Malloy.

00:14:19All the fingerprints seem to belong to Miss Riggs and the deceased.

00:14:21Carol, is there anything missing?

00:14:23I, uh, talked to Miss Riggs earlier.

00:14:25His briefcase, apparently.

00:14:26He always brought it home with him.

00:14:28He did most of his writing here.

00:14:30You check his office?

00:14:31Find anything?

00:14:32Not that they could see.

00:14:33We'll find out about a lot of things.

00:14:36Assistant District Attorney Malloy charges murder, and hence hate conspiracy and death of countless pals.

00:14:55Oh, you did, eh?

00:14:56The reporter asked me what I thought.

00:14:58Oh, you told him?

00:14:59Yep.

00:15:00The time is now to appoint a special prosecutor capable of handling the crime.

00:15:05This vicious outbreak of violence in our fair city.

00:15:08We want...

00:15:10They want action, and they want it now.

00:15:13Yes?

00:15:14Mrs. Hartley's here for her appointment.

00:15:16Oh, is that it, Lee?

00:15:17All right, then go ahead.

00:15:18Howard, there's no evidence that Riggs was murdered.

00:15:20There's no evidence that anything he told you was true.

00:15:22He's dead, isn't he?

00:15:23Oh, I'm sorry.

00:15:24You're busy.

00:15:25Oh, come in, Grace.

00:15:26Oh, I'm sorry.

00:15:27You're busy.

00:15:28Oh, come in, Grace.

00:15:29Oh, I'm sorry.

00:15:30I'm sorry.

00:15:31You're busy.

00:15:32Oh, come in, Grace.

00:15:33Just finishing.

00:15:34This is my assistant, Howard.

00:15:35Of course.

00:15:36We met before.

00:15:37One of Frank's brightest young men.

00:15:38You mustn't let him overwork you, Mr. Malloy.

00:15:39Well, we're always busy, Mrs. Hartley.

00:15:40All right, Howard.

00:15:41Go ahead with this case.

00:15:42But if what Riggs said was true, watch out.

00:15:43He was right.

00:15:44Forget he was a pal of yours.

00:15:45Use your head instead of your heart.

00:15:46I don't want this office to look any worse than it does already.

00:15:48That's, uh, hardly possible.

00:15:50Frank making another speech for you?

00:15:51It's a big betterment dinner next week.

00:15:52I hope.

00:15:53Grace, you can lead an old horse to dinner, but you can't expect him to speak.

00:15:54Nice to have seen you again, Mrs. Hartley.

00:15:55Oh, thank you.

00:15:56Remember what I said, Howard.

00:15:57Nothing foolish.

00:15:58I'll try.

00:15:59Sit down, Grace.

00:16:00I'll try.

00:16:01I'll try.

00:16:02Sit down, Grace.

00:16:03What's this about a speech?

00:16:04Frank, we need you at the speeches table.

00:16:06With you there, it'll be almost as though Jonathan himself were present.

00:16:21Everybody remembers that you were his last mother.

00:16:24You're not here?

00:16:25Yes, I'll try.

00:16:26Well, I'll try.

00:16:27I'll try.

00:16:28You're not here, always.

00:16:29I'll try.

00:16:30You're not here.

00:16:31Everybody remembers that you were his last protégé,

00:16:34that you worked with him until the very end.

00:16:36I'd never be district attorney today

00:16:38if it hadn't been for Judge Hartley's sponsorship and guidance.

00:16:41We'll never forget him, will 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, you know.

00:16:52Perhaps I could say a few words about

00:16:54civil liberty in our great metropolis.

00:16:56Good.

00:16:57You know,

00:16:58a free city with freedom for all men.

00:17:03That sort of thing.

00:17:05Fine.

00:17:10You had nothing to prove that Borg was murdered.

00:17:14And now you've got nothing to prove that Wiggs was murdered.

00:17:17Nothing.

00:17:18Howard, are you asleep?

00:17:24Howard.

00:17:25Huh?

00:17:25Oh, almost.

00:17:32I guess I'd better be getting home.

00:17:34Very tired.

00:17:35Oh, well, I...

00:17:37Why don't you stretch out here?

00:17:39Take a nap.

00:17:40No, I'd better go home.

00:17:42Get a clean shirt.

00:17:44Then start out again.

00:17:46Thanks for lunch, baby.

00:17:47How do you feel?

00:17:51Scared.

00:17:51It's all so sudden.

00:17:56I just don't know why.

00:17:58All that work, courage,

00:18:01going after these thugs.

00:18:04He never realized, I guess,

00:18:05how 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.

00:18:30Mrs. Willis across the hall insists on staying with him.

00:18:32You're sure you'll let her.

00:18:34I don't think I can stop her.

00:18:36All right.

00:18:37I'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.

00:18:49I 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.

00:18:56Yes, but there's something written on the back of it.

00:19:00Well, that's Charlie's handwriting.

00:19:01Let's have the phone.

00:19:07Sigmund Kosterick, Renbrandt Studios.

00:19:14Who is that?

00:19:16A customer.

00:19:17Who?

00:19:18A client.

00:19:19No client today.

00:19:21Uh, telegram.

00:19:23No telegram today.

00:19:24Oh, please, Mr. Kosterick.

00:19:26I've got to talk to you.

00:19:27I'm an admirer of yours.

00:19:28Admirer?

00:19:30Admirer?

00:19:30You're charming.

00:19:32Won't you come in?

00:19:33Thanks.

00:19:36Now, what do you want here?

00:19:37We all want something.

00:19:39Gold, wine, or the warmth of beautiful women.

00:19:43But what do you want here?

00:19:44Well, I'll tell you, Mr. Kosterick.

00:19:46Some old fraternity brothers of mine are planning a reunion.

00:19:48We were wondering if you'd make up a poster for us.

00:19:51A poster?

00:19:52A poster.

00:19:53I do not draw posters.

00:19:55I'm an artist.

00:19:56A painter.

00:19:58You will go now?

00:19:59Oh, come on now, Mr. Kosterick.

00:20:00You've made posters before.

00:20:03Have I?

00:20:03Don't you remember?

00:20:05Often it is not wise to remember.

00:20:08Gold, wine.

00:20:10A beautiful woman.

00:20:11That's your story.

00:20:13It is the oldest story.

00:20:15Wow.

00:20:15There's a beautiful woman.

00:20:17Ah, the beauty of you.

00:20:19Who is she?

00:20:20A model.

00:20:21An old friend.

00:20:23I'd like to have that.

00:20:24It's already sold.

00:20:27What's it doing here, then?

00:20:28I'm going to hang it at an exhibition of mine at the Contemporary Museum next week.

00:20:33It will be my first one-man show in America.

00:20:35It certainly is different from a big blonde head on a crusader poster.

00:20:40You are from the police, I think.

00:20:42Not exactly.

00:20:44What does that mean?

00:20:45District attorney's office.

00:20:48Oh.

00:20:49You'd better think back about that poster.

00:20:50Yes, I will.

00:20:51I will indeed.

00:20:53You are going now to get the police?

00:20:56Matter of fact, I'm not.

00:20:57I'm on my way home to change my shirt.

00:21:05I'm on my way home to change my shirt.

00:21:35I'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.

00:22:04No identification?

00:22:05I've seen this one before.

00:22:07Who is she?

00:22:09Just a dame, I don't know who.

00:22:11I tore it out of the paper.

00:22:13Reminded me of my grandmother.

00:22:15Make better jokes, kid.

00:22:17You're in trouble.

00:22:19What are these?

00:22:21If you need help, see the angel.

00:22:23Who's this angel?

00:22:25How should I know?

00:22:27Where'd you get these cards?

00:22:29Someone wanted me to see the guy.

00:22:31There's a fresh card for every visit, huh?

00:22:33What were you after in my apartment?

00:22:35Just on a little visit.

00:22:37Just on a little visit.

00:22:39Okay, kid, I'll send you a little visit.

00:22:43Give you time to think up some more answers.

00:22:45Breaking and entering?

00:22:47Assault and battery?

00:22:49See the angel, huh?

00:22:51I think I'll do a little visiting myself.

00:22:53Yeah, I could use some help.

00:23:03I could use some help.

00:23:05I could use some help.

00:23:15Where can I find the angel?

00:23:19You're new around here, huh?

00:23:21Thanks.

00:23:33Look, my friend.

00:23:38What are you selling?

00:23:41Apples, oranges, grapes, everything in season.

00:23:43Please, you fix it, the Summers, please.

00:23:45Pardon me.

00:23:48Where can I find the angel?

00:23:55I'm the angel.

00:23:56What can I do for you, my friend?

00:24:04Stay off the main streets with your bush guard.

00:24:06You won't get another summons.

00:24:08Here.

00:24:10Pay the fine.

00:24:12Thank you, Mr. Angel. Thank you.

00:24:14Harry, take over.

00:24:15Sure, boss.

00:24:16Come into my office.

00:24:17We can talk about it.

00:24:18Right. Anything you say.

00:24:20Sure, and the old man is actually here.

00:24:23Sit down, mister.

00:24:24Malloy.

00:24:25Malloy. Yes, I know.

00:24:28That 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.

00:24:34But we don't let him around here anymore.

00:24:36Those punk kids.

00:24:37You know, sometimes you can't help him.

00:24:39What did he do now?

00:24:40He hid himself in my apartment.

00:24:42Tried to give me the business.

00:24:43And what happened?

00:24:44Last I saw him, he was riding off in a little black wagon.

00:24:47Uh-huh.

00:24:51And what brings you here, mister Malloy?

00:24:53Well, I found this card in the kid's pocket.

00:24:56It says, see the angel.

00:24:58So you came to see me.

00:25:00Check.

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.

00:25:08Such as?

00:25:09Do you care for drinks?

00:25:10Never cared more.

00:25:11Why are you called the angel?

00:25:14Well, my name is Angelo Agostini.

00:25:18In all my life, I enjoy doing things for people.

00:25:22Well, here's to the first angel I ever met.

00:25:26And here's to our next special prosecutor.

00:25:29Who would that be?

00:25:31You, I think, mister Malloy.

00:25:34You've been making quite an impression on this town.

00:25:36I knew who you were when you first came in.

00:25:38You've been driving the newspapers crazy.

00:25:40They're demanding the governor appoint a special prosecutor on this case.

00:25:43No chance I'd get it.

00:25:44You've got every chance.

00:25:45Mr. Malloy.

00:25:46I'm curious.

00:25:47Just how far do you expect to go in this case?

00:25:50At least as far as whoever murdered Charles Riggs.

00:25:53You're a tough guy, Mr. Malloy.

00:25:54I can see that.

00:25:55And I like tough guys.

00:25:56Who are tough about the right things.

00:25:58Perhaps in my fashion, I could be of some help to you.

00:26:01Like I told you, I enjoy doing things for others.

00:26:04I don't want to be a good guy.

00:26:05You're a good guy, Mr. Malloy.

00:26:06I'm curious.

00:26:07Just how far do you expect to go in this case?

00:26:09At least as far as whoever murdered Charles Riggs.

00:26:11You're a tough guy, Mr. Malloy.

00:26:12I can see that.

00:26:13I like tough guys.

00:26:14You're tough about the right things.

00:26:15Perhaps in my fashion, I could be of some help to you.

00:26:17I enjoy doing things for others.

00:26:20What can you do for me?

00:26:24This is the angel calling.

00:26:25Is the big fellow in?

00:26:26Thanks.

00:26:29He's me young and happy doing things for others.

00:26:32Hello.

00:26:34How's the golf these days?

00:26:37Fine.

00:26:38Fine.

00:26:39Say, what are you doing about appointing a special prosecutor

00:26:41on this Riggs case?

00:26:43I got Malloy here with me from the DA's office.

00:26:45Seems to me you'd make a fine special prosecutor.

00:26:48I thought if you'd talk to the boss,

00:26:49put pressure on the right people.

00:26:52Fine.

00:26:53I'd appreciate that.

00:26:54What?

00:26:55Oh, I'm sorry.

00:26:56I won't keep you.

00:26:57Goodbye.

00:26:59What'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,

00:27:09I'm special prosecutor?

00:27:10Of course.

00:27:11You'll have to do something about it yourself.

00:27:12Get some of those civic groups tonight.

00:27:15Well, you know.

00:27:16Well, he needs a little help.

00:27:18Let's keep in touch, Mr. Malloy.

00:27:21Uh, let's try to help each other.

00:27:23Yeah.

00:27:24Well, I've heard 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.

00:27:45No dives.

00:27:46No dives, huh?

00:27:47For a while, she worked as a model in the Fifth Avenue dress shop.

00:27:50Two years ago, she sang in a Broadway musical.

00:27:54Quite a dish.

00:27:56Is she singing any place now?

00:27:58Nice 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.

00:28:22You know, my last love is yours and my last love is yours and my last love is yours and my last love is yours and my last love is yours.

00:28:37Uh, waiter.

00:28:41When does Miss Whitfield sing again?

00:28:44We just got here.

00:28:45When's the supper show?

00:28:47That was the supper show.

00:28:49Thanks.

00:28:52Is that why we came here?

00:28:55To hear that singer?

00:28:56Well, I wanted to get a look at her, but I also wanted to spend some time with you.

00:29:00I really shouldn't have come to a nightclub.

00:29:03Nonsense, do you?

00:29:04Good to get away from that apartment.

00:29:06Look, you're gonna 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.

00:29:20I think we've got a lead.

00:29:25Missed the place, Howard.

00:29:27I was now reported they arrived here about a half hour ago with a load of lead.

00:29:31I'd like to get a look inside.

00:29:33Next is the elevator.

00:29:34That's the watchman.

00:29:35Anybody else around?

00:29:36Yeah.

00:29:37Yeah?

00:29:38Who?

00:29:39Nah, you got the delivery entrance.

00:29:40He's downstairs.

00:29:41Who's downstairs?

00:29:42I don't know.

00:29:43Two or three of them.

00:29:44We got a chance.

00:29:45Let's go in.

00:29:46Sure.

00:29:47I'll put you downstairs.

00:29:48Yeah, wait a minute.

00:29:49I'll put you downstairs.

00:29:50Yeah, wait a minute.

00:29:51I'll put you downstairs.

00:29:52Yeah, wait a minute.

00:29:53Who's downstairs?

00:29:54I don't know.

00:29:55Two or three of them.

00:29:56We got a chance.

00:29:57Let's go in.

00:29:58Sure.

00:29:59I'll put you downstairs.

00:30:00Yeah, wait a minute.

00:30:01then.

00:30:02This is second.

00:30:23This stuff can't all be leaflets.

00:30:24Hard to tell what any of it is.

00:30:26Might even be legitimate.

00:30:27I spoke around some more.

00:30:31We're standing right in the middle of Main Street here.

00:30:39Hey, wait a minute.

00:30:39I wonder what's inside these things.

00:30:41Let's look.

00:30:44This looks like some more board for you.

00:30:47Yeah.

00:30:51Here's some kind of shirt.

00:30:53Uniform shirt.

00:30:54Fancy dress costumes and everything.

00:30:56Even buttons for the lapel.

00:30:58Souvenir?

00:30:58Thanks.

00:30:59Somebody must be making a lot of money out of these things.

00:31:02You mean they sell these uniforms?

00:31:04Well, don't give them away.

00:31:05If you want to play crusader, you've got to buy a uniform, badges, belts, caps, all that organization stuff.

00:31:12This is how wars are started in that dusty warehouse.

00:31:16Who do you really think is behind these crusaders?

00:31:19Let's find out what's going on down there.

00:31:29Who said angels fear the threat?

00:31:53Not me.

00:31:53Let's get out of here.

00:31:54Another crusader leaflet.

00:31:59Where'd you get it?

00:32:00In a little print shop downtown.

00:32:02I haven't watched 24 hours a day.

00:32:04Attendant to that, boss.

00:32:05Malloy.

00:32:06Yes, Mrs. Hartley.

00:32:09Well, uh...

00:32:10Well, yes, but it'll have to be after seven.

00:32:17Yeah, prime.

00:32:20Old Mother Hartley?

00:32:22Yeah.

00:32:23Got to speak for your supper?

00:32:26Oh, no.

00:32:39Yes, Callagher.

00:32:42Oh, yes, send him in.

00:32:44Mr. Malloy.

00:32:53Thanks.

00:32:55Come in, Mr. Malloy.

00:33:01So glad you could drop by.

00:33:03Frankly, your call aroused my curiosity.

00:33:05Lucid.

00:33:06Thanks.

00:33:09Howard.

00:33:10May I call you Howard?

00:33:11Yes, of course.

00:33:12Do you want to be special prosecutor?

00:33:16Huh?

00:33:18Because you can be if you want to be.

00:33:20Some rather influential people think you're the man for the job.

00:33:24Well, Charlie Riggs started it.

00:33:26I'd like a chance to finish it.

00:33:28They've already been in touch with the governor.

00:33:30Really?

00:33:31Then I guess it's okay with the D.A.

00:33:32Frank, he won't object when he knows that I'm supporting you.

00:33:36I'm very grateful, Mrs. Hartley.

00:33:38Now, one thing.

00:33:39I'm told that a small-time politician named Agostini had something to do with suggesting your name a special prosecutor.

00:33:48Well, I guess that's right.

00:33:49He did.

00:33:50Well, this man's reputation is unsavory, to say the least.

00:33:55I suggest that you disavow Mr. Agostini immediately.

00:33:59Consider him disavowed.

00:34:00In that case, I think you might consider yourself appointed.

00:34:06Malloy, I've tried to reach you all afternoon.

00:34:11Other people can call you a special prosecutor, but to me, you'll always be my favorite assistant.

00:34:17Is that you, Malloy?

00:34:19Agostini.

00:34:20I phoned to congratulate you on your appointment.

00:34:23What?

00:34:24Well, if there's anything I can do, let me know.

00:34:31Yeah, call the angel.

00:34:35Well, Howard, we did it.

00:34:36Your special prosecutor.

00:34:39I expect great things of you.

00:34:42By the way, could you drive over tomorrow night?

00:34:46I want you to meet some people.

00:34:47I've sent you a confidential file on some of them.

00:34:51Men who have tremendous influence.

00:34:55Take a look at my notes before you come over.

00:34:57Yeah.

00:34:58Yeah, I'll do that.

00:35:00About six tomorrow?

00:35:01Right.

00:35:02Bye.

00:35:03Mrs. Hartley sent you this envelope about an hour ago.

00:35:06By special messenger.

00:35:07Yeah, she just told me.

00:35:11Things are moving pretty fast, aren't they?

00:35:14Yeah, in a circle.

00:35:15I wish there was something I could do to help you, Howard.

00:35:22I usually like to help myself.

00:35:31That's fine, too.

00:35:34But what about these wires?

00:35:37All these papers you have to sign?

00:35:40I could run errands.

00:35:43I hate to keep you out of this, baby.

00:35:45Howard.

00:35:47We picked her up at the airport.

00:35:48That man, he has no right to stop me.

00:35:50Where were you going?

00:35:50A one-way ticket to Mexico City.

00:35:52I took a little trip.

00:35:53An expensive trip.

00:35:54Who arranged it?

00:35:54Nobody.

00:35:55Somebody ordered you to leave.

00:35:56Who was it?

00:35:57Please.

00:35:58I have had so much trouble.

00:36:01Without my husband, I don't know what to do.

00:36:04Mrs. Borg, why are you so frightened?

00:36:06What is it?

00:36:07Someone called up this afternoon.

00:36:08Told her to catch the next plane to Mexico City.

00:36:10You know about that?

00:36:11We've had your telephone tapped for several days.

00:36:13Please, Mrs. Borg, for your own sake, tell us.

00:36:15Who called you?

00:36:17I, uh, I don't know.

00:36:20It was a strange voice.

00:36:23Booker is a material witness.

00:36:25Without baby.

00:36:25What does this mean?

00:36:26This means you'll be safe, Mrs. Borg.

00:36:28If we let you go home, those men might kill you the way they killed your husband.

00:36:30You won't let them kill me?

00:36:31Come along, Mrs. Borg.

00:36:32Don't you worry.

00:36:34Mr. Malloy will take good care of you.

00:36:37Won't you, Howard?

00:36:38Sure.

00:36:39I'll take good care of both of you.

00:36:42You want to help, huh?

00:36:44Okay, you got the job.

00:36:46This is a place for you right here.

00:36:48I wanted you to say that.

00:36:50I did.

00:36:51Anything else you wanted me to say?

00:36:53Anything else you want to say?

00:36:55That'll take a long time.

00:36:57Oh?

00:36:58Mm-hmm.

00:36:59Mm-hmm.

00:37:25Mr. Malloy.

00:37:26Yes, dear.

00:37:27You did come.

00:37:28I'm so free.

00:37:29So am I.

00:37:30Change the scene.

00:37:31Will you have a cocktail?

00:37:32Or would you rather have something to drink?

00:37:34Thanks.

00:37:35I'll wait a while.

00:37:36We're cutting time.

00:37:37Well, just as you please.

00:37:38Now, as I told you.

00:37:39You're going to meet some people.

00:37:40Right.

00:37:41Will you come over and look at this?

00:37:42Presently, my dear.

00:37:43Some people who were there watching, as the saying is.

00:37:45I've met a few of those already.

00:37:46We'll add to your collection.

00:37:47All these people?

00:37:48Oh, no.

00:37:49Just the ones I think of.

00:37:50Oh, no.

00:37:51Just the ones I think of.

00:37:52As a matter of fact, I don't know half the people here myself.

00:37:53And thank heaven.

00:37:54The only people I enjoy these days are the ones I haven't met before.

00:37:59The strangers that my friends bring along.

00:38:01Shall we go?

00:38:02Well, I'll go.

00:38:03I'll go.

00:38:04I'll go.

00:38:05I'll go.

00:38:06I'll go.

00:38:07I'll go.

00:38:08I'll go.

00:38:09I'll go.

00:38:10I'll go.

00:38:11I'll go.

00:38:12I'll go.

00:38:13I'll go.

00:38:14I'll go.

00:38:15I'll go.

00:38:16I'll go.

00:38:17I'll go.

00:38:18I'll go.

00:38:19I'll go.

00:38:20I'll go.

00:38:21Shall we go?

00:38:24You went over my notes.

00:38:25Careful.

00:38:26Yes, very.

00:38:27Great.

00:38:28Now, keep them in mind.

00:38:30Oh, I beg your pardon.

00:38:32As we meet the subject, please.

00:38:34Grace, I left your cocktail.

00:38:35Yes, just a moment.

00:38:39Now, I'll go from left to right.

00:38:41Mr. Nichols, may I present Mr. Malloy?

00:38:44Harry, this is our new special prosecutor.

00:38:46Malloy.

00:38:47We've already met.

00:38:48Mr. Nichols' papers didn't think much of my appointment.

00:38:51Harry against you, Billy.

00:38:53Well, surely it's only because he's opposing his local competitor, the Express Journal.

00:38:58Oh, now, really, Grace, who 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.

00:39:07Nichols is 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?

00:39:26Why, Harry, I thought you did all your business at cocktail parties.

00:39:29Sometimes, Grace, your polite little jokes aren't very polite.

00:39:31Or very little.

00:39:32Which brings us to Tom Waldron, Jr.

00:39:35Mr. Malloy, may I present the worst-dressed radio executive in the industry and the only really frivolous mind you'll meet this afternoon.

00:39:43If 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.

00:39:51He wants to get into politics, but then who doesn't?

00:39:54Like a lot of people, he thinks society is tumbling and that the Waldron plan for social reorganization must be applied at once or we perish.

00:40:03And 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, Kostrick. A complete rascal.

00:40:13I acknowledge it.

00:40:15And here's Stuart Pemberton. Public relations.

00:40:17Hello, Mr. Malloy.

00:40:19Or should I say private relations.

00:40:21You shouldn't, Grace.

00:40:23May I introduce Sigmund Kostrick, Mrs. Hartley, Mr. Malloy.

00:40:28Mr. Kostrick and I have met.

00:40:31I, uh, I don't seem to recall our meeting.

00:40:35Oh?

00:40:36Well, I must be mistaken.

00:40:38If you'll excuse me.

00:40:42Look here, Malloy.

00:40:43This crusade of yours.

00:40:45Tongue in cheek, isn't it?

00:40:46Well, 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.

00:41:00I can't help thinking, Malloy, that you're stirring the truth.

00:41:02Pemberton's a big-time fixer.

00:41:05He's a fool, too, but very influential.

00:41:08I can't tell you anything about him that he won't tell you himself in conversation.

00:41:12Be careful of this man.

00:41:14The right to hate is just as inalienable as, as an alienable as the right to free speech.

00:41:20You've got to defend that, too, you know.

00:41:22Inalienable is a very important word, Mr. Pemberton.

00:41:25I'm sure it's hard to say on purpose.

00:41:27Never mind the remarks, young man.

00:41:30I'm talking about the history of men.

00:41:33Out of hatred came the triumph of one group over another.

00:41:36The elimination of the misfit and the weak.

00:41:38The creative evolution of a superior class.

00:41:41Don't you see, Malloy?

00:41:43Out of it came our great industrial civilization.

00:41:46And out of it came a war, with 20 million dead.

00:41:50Oh.

00:41:51I feel obliged to interrupt this conversation.

00:41:53Will you excuse us, Stuart, please?

00:41:58Bad politics, Howard.

00:41:59A bad man.

00:42:00I agree.

00:42:01And a man with the habit of victory.

00:42:05Cocktail?

00:42:06No, thanks.

00:42:07Andrew, bring Mr. Malloy a scotch and, uh...

00:42:10Go on, please.

00:42:11No, thank you.

00:42:12You're welcome.

00:42:13Great, chérie.

00:42:14You must come over here for a moment, just to set the point for us.

00:42:17Apparently unnecessary to an argument.

00:42:19Will you excuse me?

00:42:20Of course.

00:42:43I'm Barbara.

00:42:44Good.

00:42:45Good what?

00:42:46Good name for you.

00:42:47You look as if you ought to be called Barbara.

00:42:48Really?

00:42:49Scotch and water, sir.

00:42:50That was mine.

00:42:51Yes, I know.

00:42:53I wonder if your name fits the way you look.

00:42:54Malloy's my name.

00:42:55Howard Malloy.

00:42:56Good.

00:42:57Good what?

00:42:58Good guessing.

00:42:59That's who I thought you were.

00:43:00How?

00:43:01Everybody here's been talking about you this afternoon.

00:43:02And you're the only stranger who looks as if he ought to be called Howard.

00:43:06You're a special something or other, aren't you?

00:43:07Prosecutor.

00:43:08Oh, no.

00:43:09No.

00:43:10No.

00:43:11No.

00:43:12No.

00:43:13No.

00:43:14No.

00:43:15No.

00:43:16No.

00:43:17No.

00:43:18No.

00:43:19No.

00:43:20No.

00:43:21No.

00:43:22No.

00:43:23No.

00:43:24No.

00:43:25No.

00:43:26No.

00:43:27No.

00:43:28So I'm a prosecutor.

00:43:29What are you doing?

00:43:30Sing?

00:43:31Yes, obviously.

00:43:32You're to relax?

00:43:33From what?

00:43:34Singing.

00:43:35As often as possible.

00:43:38What about the song a minute ago?

00:43:40That was just for myself.

00:43:42I like to do things for myself once in a while.

00:43:46Doesn't that happen often?

00:43:48Now stop this.

00:43:50I never answer questions on an empty stomach.

00:43:53I'm hungry too.

00:43:54You with somebody?

00:43:56somebody? That's a very large question. I'm not with Harry anyway. I, uh, I like the song, Barbara. The song, Harry? Thank you. Howard, please forgive me. Did you finally get a drink? Yes, I did, Mrs. Hartley. Thank you. You've met more strangers today than I have. I was just getting acquainted when Nichols arrived. Who's she with? Goodness knows. Well, our Mr. Pemberton's been looking

00:44:25most possessive. And Mr. Costa Rica. I know. Your office called Mr. Malloy and Mr. Quigley is waiting for you. They said it was important. Yes, thanks. Does that mean you have to go? Yes, right away. Oh. Well, I'll have Andrew fetch a hand. Thanks. Good night, Miss Whitfield. Good night, Mr. Malloy.

00:45:25Oh.

00:45:27What did you want?

00:45:29I just wanted to see you again, so.

00:45:31Didn'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.

00:45:52Oh, please, no pictures.

00:45:54This is for the house collection, sir.

00:45:59That's going to look as if the drinks weren't very good.

00:46:02Maybe they can paint in a smile.

00:46:04You're through, won't you?

00:46:05Sure.

00:46:06Let's get out of here.

00:46:07He's got to change.

00:46:19Did you see the show tonight?

00:46:20Most of it.

00:46:21Like it?

00:46:23I like you.

00:46:25Didn't you think the boy with the harp was good?

00:46:27I, uh, didn't notice.

00:46:29I was waiting for you.

00:46:31Well, 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.

00:46:41Is this visit, uh, business or pleasure?

00:46:47Right now, it's your business and my pleasure.

00:46:50We can go somewhere else.

00:46:52People always want to go somewhere else.

00:46:55Do you blame them?

00:46:58It depends.

00:46:59This wall is very uninteresting.

00:47:02Patience, patience.

00:47:05I'm changing my mind.

00:47:06About what?

00:47:07About you.

00:47:08All right.

00:47:09At ease.

00:47:10Changing from what to what?

00:47:11From...

00:47:12Maybe.

00:47:13Perhaps.

00:47:14Are you always so uncertain about things?

00:47:15Things?

00:47:16People.

00:47:17Aren't you?

00:47:18Sometimes.

00:47:19Birds of a feather.

00:47:24Special prosecutor turns playboy.

00:47:25I should have broken that girl's camera last night.

00:47:27Forget about last night.

00:47:28Have you forgotten about it?

00:47:29Not yet.

00:47:30No.

00:47:31No.

00:47:32No.

00:47:33No.

00:47:34No.

00:47:35No.

00:47:36No.

00:47:37No.

00:47:38No.

00:47:39No.

00:47:40No.

00:47:41No.

00:47:42No.

00:47:43No.

00:47:44No.

00:47:45No.

00:47:46No.

00:47:47No.

00:47:48No.

00:47:49No.

00:47:50No.

00:47:51No.

00:47:52I'm sorry.

00:47:53I'm sorry.

00:47:54I'm sorry.

00:47:55You understand about it?

00:47:56Not yet.

00:47:57But I'm trying.

00:47:58Why?

00:47:59It doesn't figure.

00:48:00With what?

00:48:01With you.

00:48:06What 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?

00:48:16If you meant everything last night then look out.

00:48:19I told you before, everything's easy for you.

00:48:21Too easy.

00:48:22Well why?

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?

00:48:28Matter of fact, things have been kind of easy for me.

00:48:30I take 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.

00:48:40You must have smiled at someone the 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?

00:48:59Take a look at this, Malloy, and keep looking at it so it doesn't happen again.

00:49:04That's no way to run a special investigation.

00:49:07Now stay out of trouble.

00:49:12Trouble?

00:49:13Really?

00:49:14Am I a lot of trouble?

00:49:16Women always are.

00:49:18Mm-hmm.

00:49:19Beautiful women, Amy.

00:49:20Of course.

00:49:22That's what men always like.

00:49:24The beauty?

00:49:25The trouble.

00:49:26Perhaps 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?

00:49:34Yes.

00:49:34It's Benny.

00:49:35Ha.

00:49:36Benvenuto, really.

00:49:37I 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?

00:49:47Yes.

00:49:48It was.

00:49:49Oh, well, 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.

00:50:01I'll get one for you.

00:50:02Well, I always thought you bought cats at a special place, a cat farm or something, where they bred them 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?

00:50:23I got tired of him.

00:50:27Why 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?

00:50:50What is this great interest in cats, anyway?

00:50:53I have a friend who doesn't like cats.

00:50:56Can you lend me $35?

00:50:59Why, sure.

00:51:00I think so.

00:51:01It's for Benny.

00:51:02Well, can't I?

00:51:03Would you like to?

00:51:06Oh, 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.

00:51:16Oh, thank you, sir.

00:51:28Barbara.

00:51:28Barbara, darling.

00:51:30Hi, Lenny.

00:51:30How are you?

00:51:31Fine.

00:51:32Fine.

00:51:32You?

00:51:33Going 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.

00:51:39Hi, seeing you.

00:51:42Now, who was that?

00:51:44Hi.

00:51:44Leonard Lyons, my sweet.

00:51:46He writes that column, The Lyons' Den.

00:52:03Howard, this is too much.

00:52:04You're putting cats on your expense sheet.

00:52:07One cat?

00:52:08$35.

00:52:10Fine 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 them held without fail.

00:52:19Couldn't be done.

00:52:20I don't notice you.

00:52:21Then we should have made some up.

00:52:22You should have.

00:52:22But you've been so busy in nightclubs and bedshops.

00:52:25You're making a fool out of yourself and the whole department.

00:52:28Now, Howard, you've got to stop seeing this Whitfield girl.

00:52:31Playboy prosecutor.

00:52:32I'm seeing her this afternoon, Frank.

00:52:34In about an hour.

00:52:35Yes.

00:52:35A pink tights and a high wire in front of City Hall, I suppose.

00:52:38No, in her apartment.

00:52:43It has to stop.

00:52:45There's got to be an end to it and 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.

00:52:57And 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.

00:53:14How?

00:53:14I don't care how you do it.

00:53:15He's coming here, isn't he?

00:53:16You know that.

00:53:17You 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?

00:53:26Afraid 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.

00:53:39What else do I ever do?

00:53:44When Malloy comes, tell him anything you like.

00:53:47You're going away for a trip, or you're tired of him, or a husband has come back.

00:53:52Husband?

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.

00:54:00Insult him.

00:54:00Set him on fire.

00:54:01Now cut it out.

00:54:02Maybe you'd better get out of town.

00:54:05Maybe you'd better really go away for a while.

00:54:07Hmm?

00:54:08Take a little trip.

00:54:09Would you miss me?

00:54:10Like my next breath.

00:54:13What 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.

00:54:23Come on in, Sam.

00:54:24Milkman!

00:54:25Here's your stuff, Miss Whitfield.

00:54:27Charge it?

00:54:28Don't I always, Sam?

00:54:29Sure, Miss Whitfield.

00:54:30I'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, now I stop, huh?

00:54:37I'm glad you finally understand what to do.

00:54:40I 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.

00:54:49Until afterwards.

00:54:51Come on, Knuckles.

00:54:52Leave our little bright friend to Mr. Malloy.

00:54:54He likes cats, too.

00:55:00What do you mean you're going away?

00:55:02Something wrong?

00:55:05I, uh, I need a change.

00:55:08Relaxation, sunshine.

00:55:10I 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?

00:55:19There comes a time when the wisest thing to do is get away.

00:55:22I don't know what you're talking about.

00:55:24Who would I want to get away from?

00:55:26Me, maybe.

00:55:28You?

00:55:30Maybe.

00:55:31That's what I said.

00:55:33All right.

00:55:33So I'm tired of you and me.

00:55:35I don't want any more, and that's that.

00:55:37There.

00:55:38You can't escape from me, darling.

00:55:40Really?

00:55:41Can't I?

00:55:41You're stuck.

00:55:42You're it.

00:55:43You're in the wrong conversation.

00:55:48Who is it you're afraid of?

00:55:50I'm not afraid of anyone.

00:55:51All right.

00:55:52If you won't tell me, I'll tell you.

00:55:53All right.

00:55:55Tell me, then.

00:55:57There'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 Costner.

00:56:06There'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.

00:56:14I don't know any of these people.

00:56:15Never heard of them.

00:56:15Don't lie to me, Barbara.

00:56:17Oh, 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 Costner 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.

00:56:40Now, that's more like it.

00:56:41There's no point in lying.

00:56:43Oh, Howard, hold me.

00:56:45Help me.

00:56:50I can't help you, baby, unless you help me.

00:56:55We need your evidence.

00:56:59Why, you dingy double-crossing.

00:57:01You're using me just like all the rest.

00:57:04Now, look, Bob.

00:57:04Why, you...

00:57:05These people you're mixed up with don't go, saying,

00:57:08they put up for it, and you will 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, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.

00:57:21Take it easy, baby.

00:57:23Take it easy.

00:57:24Who cares?

00:57:25Who cares?

00:57:26Who cares?

00:57:26Come on, baby.

00:57:32I don't want to hurt you.

00:57:34I'm trying to help you.

00:57:35I'll kill you.

00:57:49Mom.

00:57:50Mom.

00:57:51Mom.

00:57:52Mom.

00:57:53Mom.

00:57:54Mom.

00:57:54Oh, my God.

00:58:24Oh, my God.

00:58:54Oh, my God.

00:59:24Oh, my God.

00:59:26Oh, my God.

00:59:30Mr. Malloy.

00:59:32Mr. Malloy.

00:59:34What are you doing here?

00:59:36The door was open and I came in.

00:59:40I couldn't see what was happening.

00:59:42Nothing was happening.

00:59:44She pushed me, that's all.

00:59:46Believe, she's dead.

00:59:48Dead?

00:59:50Barbara.

00:59:52She was fighting with me.

00:59:58She's dead, all right.

01:00:00Bullet wound.

01:00:02Oh, you.

01:00:04You killed me.

01:00:06You killed me.

01:00:08Please.

01:00:09I've never killed anyone.

01:00:10No, I, 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.

01:00:17No.

01:00:18Why would I have waited for you to awaken if I...

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.

01:00:24Please.

01:00:26What are you doing?

01:00:27Calling on...

01:00:28Wait.

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 Rick,

01:00:36you got mixed up with murder.

01:00:38I 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.

01:00:48Grace 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.

01:00:55Can you prove that?

01:00:57I was painting her portrait.

01:00:59I was in her library,

01:01:01and I discovered some papers that I thought

01:01:03were interesting and important.

01:01:05What kind of papers?

01:01:06Oh, names, figures.

01:01:09These Crusaders make money, you know.

01:01:12These 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, among other comforts,

01:01:28with my first one-man show.

01:01:30It opens tomorrow at the Contemporary Museum.

01:01:32You told me the first time I met you.

01:01:34Where 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.

01:01:40They are between the canvas

01:01:42and the backing of the frame.

01:01:45Please.

01:01:46Now you do not believe I killed Barbara?

01:01:50Hello, Carolyn.

01:01:51Quigley there.

01:01:55Grace.

01:01:56Oh.

01:01:57I thought you were gone.

01:01:58We saw your car outside.

01:01:59We decided to wait.

01:02:00What's going on upstairs?

01:02:01Never mind.

01:02:02Nothing.

01:02:03Everything.

01:02:04Give me your guns.

01:02:05That don't make sense.

01:02:06It does.

01:02:07Give me your guns.

01:02:08Give me your.

01:02:09Where's my lawyer?

01:02:10He's upstairs in the apartment.

01:02:11What's going on?

01:02:12I haven't time to talk now.

01:02:13Don't wait around, dear.

01:02:14You might get into trouble.

01:02:15Where are you going now?

01:02:16I have an important call to me.

01:02:17I'll go with you.

01:02:18Bring the car around for her.

01:02:19Let's see what she's up to.

01:02:20Look, call Homicide for me, will ya?

01:02:38Barbara Whitfield's been murdered.

01:02:39Tell them to come to 689 East 57th Street.

01:02:43Barbara Whitfield's been murdered.

01:02:45Tell him to come to 689 East 57th Street.

01:02:48Yeah, I'm still there.

01:02:50But when the boys get here, I'll be on my way

01:02:52to the Contemporary Museum with Sigmund Kostery.

01:02:55Got it?

01:03:01Just a minute. Just a minute.

01:03:03I'm coming as fast as I can.

01:03:10I'm sorry, ma'am. We're closed for the night.

01:03:12But I just want to go upstairs to one of the galleries.

01:03:14I can't let you do that, ma'am. No visitors after hours.

01:03:17I was here earlier and I left my food.

01:03:19Well, you just have to come back in the morning, ma'am.

01:03:21I got my orders.

01:03:22But I...

01:03:23Come on.

01:03:42Just a few times.

01:03:44I got my orders.

01:03:55Want a blanket?

01:03:56It's a watchman.

01:04:08Yeah.

01:04:09Grace has been busy.

01:04:11Better move the body away from the door, like against the wall.

01:04:14Sure.

01:04:15In case somebody comes by and looks in.

01:04:17Where do you suppose she went?

01:04:19Don't ask me.

01:04:20There's a light up the doorstep.

01:04:22Let's move.

01:04:23Yeah.

01:04:23Let's go.

01:04:26This place is wide open at any hour of the night.

01:04:46There must be a guard around somewhere.

01:04:48Do you know where the exhibition is?

01:04:50Of course I hung it myself.

01:04:51Let's go then.

01:04:52It's this way.

01:04:56Let's go.

01:05:26Let's go.

01:05:56It's in here.

01:06:10There seems to be somebody in there.

01:06:12Must be a guard.

01:06:13There seems to be a guard where he's headed.

01:06:15There seems to be a guard where the weed is.

01:06:16It's a guard where the weed is.

01:06:17Agostini.

01:06:47Grace Hartley. She must have heard when I told Molloy.

01:07:17Oh, why, Figgy.

01:07:25You heard in Barbara's apartment what I told Molloy.

01:07:31Every word you said.

01:07:34You killed Barbara. I knew in the end you would harm her.

01:07:39And anyone else who gets in my way.

01:07:47I'm sorry.

01:07:52I'm sorry.

01:07:56I'm sorry.

01:08:00I'm sorry.

01:08:03I'm sorry.

01:08:07Just a second.

01:08:09I was like, Figgy.

01:08:13I'll take both, Mrs. Hartley.

01:08:43You're badly hurt.

01:09:10No, I...

01:09:12I...

01:09:13I caught her trying to find the papers.

01:09:15I had to get them.

01:09:18I 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.

01:09:27Just under the shoulder.

01:09:31She killed Barbara.

01:09:34She was in the apartment, and she heard me telling you where the papers were.

01:09:40She killed Barbara.

01:09:41Where are you?

01:09:42In here.

01:09:43This looks like the last act of Hamlet.

01:09:46It's the last act for all kinds of things.

01:09:48Brace yourself, Frank.

01:09:49Grace Hartley.

01:09:50I'll tell you about it later.

01:09:51Here's part of it.

01:09:52All right, Carolyn.

01:09:53Is Carolyn here?

01:09:54She brought it here.

01:09:55I made her way out in the corridor.

01:09:56It's kind of noisy in here.

01:09:57Howard.

01:09:59Howard.

01:10:00Howard!

01:10:01How dare you?

01:10:02How dare you?

01:10:03How dare you.

01:10:04How dare you help me?

01:10:06How dare you help me.

01:10:07How dare you help me?

01:10:08How dare you help me.

01:10:10It's alright.

01:10:11All right.

01:10:12I'll tell you about it later.

01:10:14Here's part of it.

01:10:15All right, Carolyn.

01:10:16Is Carolyn here?

01:10:17She brought it here.

01:10:18I made her way out in the corridor.

01:10:19It's kind of noisy in here.

01:10:20Howard, come and tell me about all this.

01:10:26Give me time.

01:10:27We'll put it all together.

01:10:50THE END

01:11:20THE END

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