- 6 days ago
"When a mysterious murder leaves nothing but scattered clues, a relentless investigator must fit together the fragments of a deadly puzzle. Every clue reveals a darker secret, and every discovery pulls him deeper into a web of danger, lies, and betrayal."
Category
π₯
Short filmTranscript
00:00:00Textning Stina Hedin www.btistudios.com
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00:04:32CHARLIE
00:04:33NEVER GOES
00:04:35TO NIGHTCLUMS
00:04:36A VERY SERIOUS
00:04:38FELLOW CHARLIE
00:04:38RIGGS
00:04:39CHARLIE
00:04:40WHAT MAKES YOU
00:04:41THINK
00:04:42BORG WAS
00:04:44MURDERED?
00:04:45SOMETIMES A LOT
00:04:48OF PEOPLE HAVE TO
00:04:49GET KILLED TO
00:04:50PROTECT AN INDUSTRY
00:04:51OUR DISTRICT
00:04:52THING IS A BIG
00:04:53PRAT RACKET
00:04:53AND IT NEEDS
00:04:54A LOT OF PROTECTING
00:04:55IF YOUR OFFICE
00:04:56KNEW ITS BUSINESS
00:04:57That's good newspaper coffee, Charlie, but where would a racket like that pay off?
00:05:01Forming an organization.
00:05:03Membership dues, badges, buttons, magazine subscriptions, donations, even uniforms.
00:05:10Anti-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, and the profits can climb into millions.
00:05:22Whatever happened to the old Charlie Riggs with his eye to a keyhole?
00:05:26I've got both eyes open these days.
00:05:29Now, if you guys will excuse me.
00:05:31You aren't going out again tonight.
00:05:32I've got some business, sorry.
00:05:35He's been doing that for weeks now.
00:05:37I 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 to 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.
00:05:54I've got to interview Mrs. Borg tomorrow.
00:05:57Own me a favor.
00:05:59And thanks for the candy.
00:06:00Oh, no.
00:06:06No, Max was not killed.
00:06:25I, my 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 when he comes to the shop.
00:06:45Always questions, questions.
00:06:46What 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.
00:06:57I don't know.
00:07:00Mrs. Borg, you've seen this before, haven't you?
00:07:06Yes.
00:07:08Max printed this job he doing last week.
00:07:10There'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 Charlene.
00:07:21He's got quite a collection.
00:07:23Is he still waiting outside?
00:07:24No.
00:07:25Mrs. Borg, when was the last time Mr. Riggs came to see your husband?
00:07:30Last time?
00:07:31Yes, sir.
00:07:31Have Mr. Malloy's friend come in, please, Mrs. McConaughey.
00:07:35I guess I was.
00:07:38Yes, the night before Max died.
00:07:42What 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?
00:07:56No one there?
00:07:56Did nobody want to kill Max?
00:07:58He killed himself.
00:08:01Come 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.
00:08:34I 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, cut him up again.
00:08:42Sounds like Capone and Schultz and the mobs are back again.
00:08:46When the law closes in on one racket, the big boys always find another.
00:08:50With the mobsters, it was liquor and blood.
00:08:52With this outfit, it's hate and blood.
00:08:54But they're just harmless lunatics, these hate groups.
00:08:57Lunatics, yes.
00:08:59Especially the warped mines on top with a dream of power or gold or political success.
00:09:03But not harmless, but not harmless when the racket boys move in.
00:09:09It's Merry Christmas for a few smart operators when they find a soft touch like this.
00:09:14Charlie, what got you into this?
00:09:16I'm fed to the teeth seeing people pushed around.
00:09:20You know, I was born in this city, Howard.
00:09:23In 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.
00:09:31Well, that's the way it ought to be.
00:09:33In our block, nobody cared what country your parents came from or where they went to church.
00:09:39Nobody called your nasty names.
00:09:41Until you were taught there were nasty names, and some people were supposed to be called by them.
00:09:45Mix, Polack, Wops, Lammies, Thick, Huggies.
00:09:50That's part of our history.
00:09:52America always has to melt away the differences between people.
00:09:56Sure, and most always you don't understand why they're supposed to be different.
00:10:00It's just somebody else's faith, though.
00:10:01Somebody else's influence.
00:10:03Now we've got people around who want to make people hate each other.
00:10:06They're afraid of each other.
00:10:07Just so they can make money out of it.
00:10:09I don't like that.
00:10:11Look, Charlie, hold off these columns of yours for a week or so, will you?
00:10:15Give me time to run this down.
00:10:17Here's your rundown right here in my cave.
00:10:19And I've got a fistful of new stuff.
00:10:22You're getting into that?
00:10:24Sure, I'm interested.
00:10:26But we're not playing with kids.
00:10:28Take it easy and wait a while.
00:10:30And lose a great story and my readers think I'm scared?
00:10:33Give me time to find out who murdered Borg.
00:10:35Give me a week.
00:10:36Sorry, my friend.
00:10:37Told you last night, that's all I wanted.
00:10:39One week.
00:10:40I mean it, Charlie.
00:10:41Take it easy.
00:10:41Nothing doing.
00:10:42I'm a little guy, but I don't scare easy.
00:10:44Oh, pay the tab, huh?
00:10:46You're the new boy in this club.
00:10:47I never drink alone.
00:10:53That can be fixed.
00:10:54You're the new boy.
00:11:24After you.
00:11:43What floor?
00:11:5011.
00:11:50That's very simple.
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00:15:09We want, they want action, and they want it now.
00:15:16Yes?
00:15:17Mrs. Hartley's here for our appointment.
00:15:19Oh, is that it, Lee?
00:15:20All right, send her.
00:15:23Howard, there's no evidence that Riggs was murdered.
00:15:26There's no evidence that anything he told you was true.
00:15:29He's dead, isn't he?
00:15:32Oh, I'm sorry.
00:15:34You're busy.
00:15:34No, come in, Grace.
00:15:35Just finishing.
00:15:37This is my assistant, Howard.
00:15:38How's it going, 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, go ahead with this case.
00:15:50But if what Riggs said was true, watch out.
00:15:53He was right.
00:15:54Forget he was a pal of yours.
00:15:56Use your head instead of your heart.
00:15:57I don't want this office to look any worse than it does already.
00:16:00That's hardly possible.
00:16:02Frank making another speech for you?
00:16:04It's a big betterment dinner next week, I hope.
00:16:07Grace, you've lead an old horse to dinner,
00:16:09which you can't expect him to speak.
00:16:10Nice to have seen you again, Mrs. Hartley.
00:16:12Oh, thank you.
00:16:13Remember what I said, Howard.
00:16:14Nothing foolish.
00:16:15I'll try.
00:16:17Sit down, Grace.
00:16:22Now then.
00:16:23What's this about a speech?
00:16:25Frank, we need you at the speaker's table.
00:16:28With you there, it'll be almost as though Jonathan himself were 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
00:16:38if it hadn't been for Judge Hartley's sponsorship and guidance.
00:16:41We'll never forget him, will we, Frank?
00:16:44No honest politician could ever forget your husband.
00:16:47What kind of speech will you make?
00:16:49We must send some sort of announcement to the paper, you know.
00:16:52Perhaps I could say a few words about
00:16:54civil liberty in our great metropolis.
00:16:57Good.
00:16:58You know,
00:16:58a free city with freedom for all men.
00:17:03Uh,
00:17:04that sort of thing.
00:17:05Fine.
00:17:06You 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,
00:17:19are you asleep?
00:17:24Howard.
00:17:26Huh?
00:17:27Oh,
00:17:28almost.
00:17:32I guess I'd better be getting home.
00:17:35Very tired.
00:17:36All night.
00:17:37Why don't you stretch out here?
00:17:39Take him out.
00:17:40No,
00:17:40I'd better go home.
00:17:42Get a clean shirt.
00:17:44Then start out again.
00:17:46Thanks for lunch, baby.
00:17:49How do you feel?
00:17:51Scared.
00:17:53It's all so sudden.
00:17:56I just don't know why.
00:17:58All that work,
00:18:00courage,
00:18:01going after these thugs.
00:18:04He never realized,
00:18:05I guess,
00:18:06how they could turn their viciousness against him.
00:18:08It's awful.
00:18:10Feeling of helplessness.
00:18:12No,
00:18:12we're not so helpless.
00:18:14I'm going to follow every lead Charlie left.
00:18:18I wish he'd told me more.
00:18:22Now,
00:18:22what about tonight?
00:18:23You can't stay here.
00:18:25Why not?
00:18:26Why not?
00:18:26Well,
00:18:27I don't think he should.
00:18:29It'll be all right.
00:18:30Mrs. Willis across the hall
00:18:31insists on staying with him.
00:18:33You'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.
00:18:41I'll be waiting.
00:18:45Well,
00:18:45I'll be off.
00:18:46Oh,
00:18:47I wanted to show you this.
00:18:48I found it on a shelf
00:18:50in Charlie's closet.
00:18:51I wonder where it came from.
00:18:53I really don't know.
00:18:54It's signed with just initials.
00:18:56Yes,
00:18:56but there's something
00:18:57written on the back of it.
00:19:00Well,
00:19:00that's Charlie's handwriting.
00:19:03What's that before?
00:19:07Sigmund Kosterick,
00:19:09Rembrandt Studios.
00:19:10Who is that?
00:19:16A customer.
00:19:18Who?
00:19:19A client.
00:19:20No clients today.
00:19:21Uh,
00:19:22telegram.
00:19:23No telegrams today.
00:19:25Oh,
00:19:25please,
00:19:25Mr. Kosterick,
00:19:26I've got to talk to you.
00:19:27I'm an admirer of yours.
00:19:28Admirer?
00:19:30Admirer?
00:19:31You're charming.
00:19:32Won't you come in?
00:19:33Thanks.
00:19:36Now,
00:19:36what do you want here?
00:19:38We all want something.
00:19:39Go,
00:19:40why?
00:19:41Or the warmth
00:19:42of beautiful women.
00:19:43But what do you want here?
00:19:44Well,
00:19:45I'll tell you,
00:19:45Mr. Kosterick,
00:19:46some old fraternity brothers
00:19:47of mine
00:19:48are planning a reunion.
00:19:49We were wondering
00:19:50if you'd make up
00:19:50a poster for us.
00:19:52A poster?
00:19:53A poster.
00:19:54I do not draw a poster.
00:19:56I'm an artist,
00:19:57a painter.
00:19:58You would go now?
00:19:59Oh,
00:19:59come on now,
00:20:00Mr. Kosterick.
00:20:01You've made posters before.
00:20:03Have I?
00:20:04Don't you remember?
00:20:05Often it is not wise
00:20:06to remember.
00:20:08Go.
00:20:08Why?
00:20:10A beautiful woman.
00:20:12That's your story.
00:20:13It is the oldest story.
00:20:15Wow,
00:20:16there's a beautiful woman.
00:20:17Ah,
00:20:18the beauty of you.
00:20:19Who is she?
00:20:20A modern,
00:20:22an old friend.
00:20:23I'd like to have that.
00:20:25It's already sold.
00:20:27What's it doing here, then?
00:20:29I'm going to hang it
00:20:30at an exhibition of mine
00:20:31at the Contemporary Museum
00:20:32next week.
00:20:34It will be my first
00:20:34one-man show in America.
00:20:36Certainly is different
00:20:37from that big,
00:20:38blonde head
00:20:38on the Crusader poster.
00:20:41You are from the police,
00:20:42I think.
00:20:43Not exactly.
00:20:44What does that mean?
00:20:45District attorney's office.
00:20:47Oh.
00:20:49You'd better think back
00:20:50about that poster.
00:20:51Yes, I will.
00:20:52I will indeed.
00:20:53But you are going now
00:20:54to get the police.
00:20:56As a matter of fact,
00:20:57I'm not.
00:20:57I'm on my way home
00:20:58to change my shirt.
00:20:59I'm on my way home.
00:21:29I'll take those.
00:21:50Are you looking for something?
00:21:52I said,
00:21:53were you looking for something?
00:21:57What's your name?
00:21:58Miller.
00:21:59Take it easy.
00:22:05No identification, huh?
00:22:11I've seen this one before.
00:22:13Who is she?
00:22:14Just a dame.
00:22:15I don't know who.
00:22:16I tore it out of a paper.
00:22:18Reminded me of my grandmother.
00:22:19Make better jokes, kid.
00:22:21You're in trouble.
00:22:22What are these?
00:22:24Do you need help?
00:22:25See the angel.
00:22:26Who's this angel?
00:22:27How should I know?
00:22:28Where'd you get these cards?
00:22:30Someone wanted me to see the guy.
00:22:31With a fresh card for every visit, huh?
00:22:35What were you after in my apartment?
00:22:37Just on a little visit.
00:22:38Just on a little visit.
00:22:39Okay, kid, I'll send you a little visit.
00:22:44Give you time to think up some more answers.
00:22:47Breaking and entering?
00:22:48Assault and battery?
00:22:51See the angel, huh?
00:22:53I think I'll do a little visiting myself.
00:22:56I can help.
00:22:57Yeah.
00:22:57I could use some help.
00:23:16Where can I find the angel?
00:23:17You're new around here, huh?
00:23:19Thanks.
00:23:25What do you sell on this bush truck of yours?
00:23:27Apples, oranges, grapes, everything in season.
00:23:31Please, you fix the summons up.
00:23:33Please.
00:23:35You fix the summons up.
00:23:37Please.
00:23:39You fix the summons up.
00:23:41Please.
00:23:43You fix the summons up.
00:23:45Pardon me.
00:23:47Where can I find the angel?
00:23:53Find the angel.
00:23:55What can I do for you, my friend?
00:24:03Stay off the main streets with your bush guard.
00:24:05You won't get another summons.
00:24:07Here.
00:24:09Pay the fine.
00:24:11Thank you, Mr. Angel.
00:24:14Harry, take over.
00:24:15Sure, boss.
00:24:16Come into my office.
00:24:17We can talk.
00:24:18Right.
00:24:19Anything you say.
00:24:20Sure.
00:24:21And the old man is actually here.
00:24:23Sit down, mister.
00:24:24Malloy.
00:24:25Malloy.
00:24:26Yes, I know.
00:24:27That boy Knuckles in trouble again, huh?
00:24:30He told me his name was Miller.
00:24:32Yes, 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 them.
00:24:38What'd he do now?
00:24:39He hid himself in my apartment.
00:24:40Tried to give me the business.
00:24:41And what happened?
00:24:42Last I saw him, he was riding off in a little black wagon.
00:24:46Uh-huh.
00:24:47And what brings you here, Mr. Malloy?
00:24:50Well, I found this card in the kid's pocket.
00:24:52It says, see the angel.
00:24:53So you came to see me.
00:24:54Checked.
00:24:55Good.
00:24:56I give away thousands of cards like that.
00:24:57What can I do for you, my friend?
00:24:58Answer a few questions, such as?
00:24:59You can't be drinking.
00:25:00Never cared more.
00:25:01Why are you called the angel?
00:25:03Well, my name is Angelo Agostini.
00:25:05In all my life, I enjoy doing things for people.
00:25:08I enjoy doing things for people.
00:25:10Well, I'm not sure.
00:25:11I'm not sure.
00:25:12I'm not sure.
00:25:13I'm not sure.
00:25:14I'm not sure.
00:25:15I'm not sure.
00:25:16I'm not sure.
00:25:17I'm not sure.
00:25:18I'm not sure.
00:25:19I'm not sure.
00:25:20I'm not sure.
00:25:21You're 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.
00:25:34You've been making quite an impression on this town.
00:25:36I knew who you were when you first came in.
00:25:39You've been driving the newspapers crazy.
00:25:42They're demanding the governor appoint a special prosecutor on this case.
00:25:46No chance I'd get it.
00:25:48You've got every chance.
00:25:50Mr. Malloy.
00:25:51Mr. Malloy.
00:25:52I'm curious.
00:25:53Just how far do you expect to go in this case?
00:25:57At least as far as whoever murdered Charles Riggs.
00:26:02You're a tough guy, Mr. Malloy.
00:26:04I can see that.
00:26:05And I like tough guys.
00:26:07You are tough about the right things.
00:26:09Perhaps in my fashion, I could be of some help to you.
00:26:13Like I told you, I enjoy doing things for others.
00:26:16What can you do for me?
00:26:19This is the angel calling.
00:26:21Is the big fellow in?
00:26:22Thanks.
00:26:23He's me young and happy doing things for others.
00:26:25Hello.
00:26:26How's the golf these days?
00:26:28Fine.
00:26:29Fine.
00:26:30Fine.
00:26:31Say, what are you doing about appointing a special prosecutor on this Riggs case?
00:26:35I got Malloy here with me from the DA's office.
00:26:36Seems to me he'd make a fine special prosecutor.
00:26:37I thought if you'd talk to the boss, put pressure on the right people.
00:26:41Fine.
00:26:42I'd appreciate that.
00:26:43What?
00:26:44What?
00:26:45Oh, I'm sorry.
00:26:46I won't hear you.
00:26:47Goodbye.
00:26:49What's your angle, Agustini?
00:26:50Must I have an angle?
00:26:51Who was that you just called?
00:26:55Do we have to mention names?
00:26:57You make a phone call and just like that I'm special prosecutor?
00:27:00Of course you'll have to do something about yourself.
00:27:04Get some deep.
00:27:05Right, you're hurt.
00:27:06I'm
00:27:08right.
00:27:09I'm right now.
00:27:11I'm right now.
00:27:12I'm going to be a good friend.
00:27:13Let's keep in touch, Mr. Mallory.
00:27:15Uh, let's try to help each other.
00:27:17Yeah.
00:27:19I've heard quite a lot about the young lady.
00:27:21Name's Whitfield.
00:27:23Whitfield?
00:27:25Barbara Whitfield.
00:27:27Well, this is a pleasant change from office routine.
00:27:29What'd she do besides pose for pictures?
00:27:31Quite a few things.
00:27:33She's worked in nightclubs.
00:27:35They've worked at nightclubs.
00:27:37They've worked at nightclubs.
00:27:39They've worked at nightclubs.
00:27:41Very fancy ones.
00:27:43No dives.
00:27:45No dives, huh?
00:27:47For a while, she worked as a model in the Fifth Avenue dress shop.
00:27:49Two years ago, she sang in a Broadway musical.
00:27:53Quite a dish.
00:27:55Is she singing any plays now?
00:27:57Nice plays over on the east side.
00:27:59You know, low lights, soft music.
00:28:05My last love-numbered eyes
00:28:09And my best love
00:28:11Is you now mine.
00:28:21Uh, waiter?
00:28:25When does Miss Whitfield sing again?
00:28:29We just got here.
00:28:31When's the supper show?
00:28:33That was the supper show.
00:28:35Thanks.
00:28:37Is that why we came here?
00:28:39To hear that singer?
00:28:41Well, I wanted to get a look at her.
00:28:43But I also wanted to spend some time with you.
00:28:45I really shouldn't have come to the nightclub.
00:28:47Nonsense, do you good to get away from that apartment?
00:28:49Look, you're gonna move from there, aren't you?
00:28:51I don't think so.
00:28:53At least not for a while yet, anyway.
00:28:55I keep hoping I'll find some.
00:28:57Some clues.
00:28:58Oh, that reminds me.
00:28:59That reminds me.
00:29:00That was the supper show.
00:29:01That was the supper show.
00:29:02Thanks.
00:29:03We can't stay here very long.
00:29:05My assistant Quigley's waiting for us.
00:29:06I think we've gotta leave.
00:29:08Missed the place, Howard.
00:29:09At least not for a while yet, anyway.
00:29:13I keep hoping I'll find some.
00:29:16Some clue.
00:29:16Oh, that reminds me.
00:29:18We can't stay here very long.
00:29:19My assistant Quigley's waiting for us.
00:29:22I think we've got to leave.
00:29:26Missed the place, Howard.
00:29:28The president reported they arrived here about a half hour ago with a loan to leave.
00:29:32I'd like to get a look inside.
00:29:34Next up, the elevator.
00:29:39That's the what?
00:29:44Anybody else around here?
00:29:46Yeah?
00:29:48Who?
00:29:50Now, you've got the delivery entrance.
00:29:51He's downstairs.
00:29:53Who's downstairs?
00:29:54I don't know.
00:29:55Two or three of them.
00:29:56We've got a chance.
00:29:57Let's go in.
00:29:57Sure.
00:29:57I'll put you downstairs.
00:29:59Now, wait a minute.
00:30:09We're standing right in the middle of Main Street here.
00:30:39Hey, wait a minute.
00:30:40I wonder what's inside these things.
00:30:42Let's look.
00:30:45This looks like some more boards.
00:30:47Yeah.
00:30:51There's some kind of shirt.
00:30:53Uniform shirt.
00:30:54Fancy dress, costumes, and everything.
00:30:57Even buttons for the lapel.
00:30:58Souvenir.
00:30:59Thanks.
00:31:00Somebody must be making a lot of money out of these things.
00:31:03You 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.
00:31:13This is how wars are started in that dusty warehouse.
00:31:16Who do you really think is behind these crusaders?
00:31:20Let's find out what's going on down there.
00:31:22Let's go.
00:31:23I'm going to go.
00:31:24Let's go.
00:31:25Let's go.
00:31:26Let's go.
00:31:27Who said angels fear the threat?
00:31:53Not me.
00:31:54Let's get out of here.
00:31:57Another crusader leaflet.
00:32:00Where'd you get it?
00:32:00In a little print shop downtown.
00:32:02Haven't watched 24 hours a day.
00:32:04Tending to that, boss.
00:32:06Malloy.
00:32:07Yes, Mrs. Hartley.
00:32:09Well, uh...
00:32:13Well, yes, but it'll have to be after 7.
00:32:18Yeah, prime.
00:32:21Old Mother Hartley?
00:32:22Yeah.
00:32:24Got to speak for your supper?
00:32:25Oh, no.
00:32:40Yes, Callagher.
00:32:42Oh, yes.
00:32:44Send him in.
00:32:44Mr. Malloy.
00:32:54Thanks.
00:32:55Come in, Mr. Malloy.
00:33:01So glad you could drop by.
00:33:03Frankly, your call aroused my curiosity.
00:33:06Lucid.
00:33:07Thanks.
00:33:09Howard.
00:33:10May I call you Howard?
00:33:11Yes, of course.
00:33:13Do you want to be special prosecutor?
00:33:17Huh?
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.
00:33:25Well, Charlie Riggs started it.
00:33:27I'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.
00:33:33Frank, he won't object when he knows that I'm supporting you.
00:33:36Well, I'm very grateful, Mrs. Hartley.
00:33:38Now, one thing.
00:33:40I'm told that a small-time politician named Agostini had something to do with suggesting
00:33:46your name as special prosecutor.
00:33:48Well, I guess that's right.
00:33:50He did.
00:33:50For 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.
00:34:07Malloy, try to reach you all afternoon.
00:34:11Other people can call you a special prosecutor,
00:34:14but to me, you'll always be my favorite assistant.
00:34:17Is that you, Malloy?
00:34:20Agostini.
00:34:21I fall to congratulate you on your appointment.
00:34:26What?
00:34:27Well, if there's anything I can do, let me know.
00:34:31Yeah, call me Angel.
00:34:35Well, Howard, we did it.
00:34:37Your special prosecutor.
00:34:40I expect great things of you.
00:34:43By the way, could you drive over tomorrow night?
00:34:46I want you to meet some people.
00:34:48I've sent you a confidential file on some of them.
00:34:52Men who have tremendous influence.
00:34:55Take a look at my notes before you come over.
00:34:58Yeah.
00:34:59Yeah, I'll do that.
00:35:00About six tomorrow?
00:35:02Right.
00:35:02Bye.
00:35:04Mrs. Hartley sent you this envelope about an hour ago.
00:35:06By special message.
00:35:07Yeah, she just told me.
00:35:12Things are moving pretty fast, aren't they?
00:35:14Yeah, in a circle.
00:35:16I wish there was something I could do to help you, Howard.
00:35:19I usually like to help myself.
00:35:32That'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.
00:35:46Howard.
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?
00:35:51Yeah, a one-way ticket to Mexico City.
00:35:52I take a little trip.
00:35:53And expensive.
00:35:54Who arranged it?
00:35:55Nobody.
00:35:56Somebody ordered you to leave.
00:35:57Who was it?
00:35:58Please.
00:35:59I have had so much trouble.
00:36:01Without my husband, I don't know what to do.
00:36:04Mrs. Boer, why are you so frightened?
00:36:06What is it?
00:36:07Someone called her this afternoon.
00:36:09Told her to catch the next plane to Mexico City.
00:36:11You know about that?
00:36:11We've had your telephone tapped for several days.
00:36:14Please, Mrs. Boer, for your own sake, tell us.
00:36:16Who called you?
00:36:18I, uh, I don't know.
00:36:21It was a strange voice.
00:36:24Booker is a material witness, without begging.
00:36:25What does this mean?
00:36:26This means you'll be safe, Mrs. Boer.
00:36:28If we let you go home, those men might kill you
00:36:30the way they killed your husband.
00:36:31You won't let them kill me?
00:36:32Come along, Mrs. Boer.
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.
00:36:40We'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 the place for you, writing here.
00:36:49I wanted you to say that.
00:36:50I did.
00:36:52Anything else you wanted me to say?
00:36:54Anything else you want to say?
00:36:56That'll take a long time.
00:36:58Oh?
00:36:59Mm-hmm.
00:36:59Mm-hmm.
00:37:06I'll be right back.
00:37:26Right.
00:37:27Get this.
00:37:28What do you mean, sir?
00:37:32Mr. Malloy.
00:37:34Yes, dear.
00:37:35You did come, I'm so.
00:37:37So am I.
00:37:38Change the scene.
00:37:39Will you have a cocktail?
00:37:41Or would you rather have something to drink?
00:37:43No, thanks.
00:37:44I'll wait a while.
00:37:45We'll cut by.
00:37:46Well, just as you please.
00:37:48Now, if I told you,
00:37:52you're going to meet some people.
00:37:54Rain, will you come over and look at this?
00:37:56Presently, my dear.
00:37:57Some people who are there watching, as the saying is.
00:38:01I've met a few of those already.
00:38:03We'll add to your collection.
00:38:05All these people?
00:38:06Oh, no.
00:38:07Just the ones I sent you to know, darling.
00:38:09As a matter of fact,
00:38:10I don't know half the people here myself.
00:38:12And thank you, heaven.
00:38:13The only people I enjoy these days
00:38:15are the ones I haven't met before.
00:38:17The strangers do my friends bring along.
00:38:20Shall we go?
00:38:24You went over my note carefully.
00:38:26Yes, very.
00:38:29Now, keep them in mind.
00:38:30Oh, I beg your pardon.
00:38:32As we meet the subject...
00:38:34Grace, I left your cocktail.
00:38:36Yes, 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.
00:38:47Hello.
00:38:48We've already met, formally.
00:38:49Mr. Nichols' papers didn't think much of my appointment.
00:38:51Harry against you, really.
00:38:52Well, surely it's only because he's opposing his local competitor.
00:38:54The Express Journal.
00:38:55Oh, now, really, Grace.
00:38:56Who wants to look into a man's motives at a gay time like this?
00:38:58We're all here for a little relaxation from serious things.
00:39:00Nichols 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.
00:39:16Give 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.
00:39:32Or very little.
00:39:33Which brings us to Tom Waldron, Jr.
00:39:35Mr. Malloy, may I present the worst-dressed radio executive in the industry
00:39:39and 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.
00:39:48Waldron is a schemer and a fool.
00:39:52He wants to get into politics, but then who doesn't?
00:39:55Like a lot of people, he thinks society is tumbling
00:39:58and that the Waldron plan for social reorganization must be applied at once or we perish.
00:40:04And if Grace ever runs out of bright conversation, all she has to do is to remember the judge's epigrams.
00:40:11You are a rascal, Kostrick. A complete rascal.
00:40:14I acknowledge it.
00:40:15And here's Stuart Pemberton. Public relations.
00:40:18Hello, Mr. Malloy.
00:40:20Or should I say private relations.
00:40:22You shouldn't, Grace.
00:40:24May I introduce Sigmund Kostrick, Mrs. Hartley?
00:40:28Mr. Malloy.
00:40:29Mr. Kostrick and I have met.
00:40:32I, uh, I don't seem to recall our meeting.
00:40:36Oh?
00:40:37Well, I must be mistaken.
00:40:39If you'll excuse me.
00:40:41Look here, Malloy.
00:40:44This crusade of yours.
00:40:46Tongue in cheek, isn't it?
00:40:47Well, hardly.
00:40:49Don't tell me you're the quixotic defender of the rights of men.
00:40:53The Express Journal says you are.
00:40:55It's hard to tell what you mean.
00:40:57What I mean is you can't be falling for your own publicity.
00:41:00I can't help thinking Malloy.
00:41:03It's just...
00:41:04Pemberton's a big-time fixer.
00:41:06He's a fool, too, but very influential.
00:41:09I can't tell you anything about him that he won't tell you himself in conversation.
00:41:13Be careful of this man.
00:41:15The right to hate is just as inalienable as...
00:41:18as inalienable as the right to free speech.
00:41:21You've got to defend that, too, you know.
00:41:23Inalienable is a very important word, Mr. Pemberton.
00:41:26I'm sure it's hard to say on purpose.
00:41:28Never mind the remark, young man.
00:41:30I'm talking about the history of man.
00:41:33Out of hatred came the triumph of one group over another.
00:41:36The elimination of the misfit and the weak.
00:41:39The 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.
00:42:00A bad man.
00:42:01I agree.
00:42:02And a man with the habit of victory.
00:42:05Cartel?
00:42:06No, thanks.
00:42:07Andrew, bring Mr. Malloy a scotch and...
00:42:10Guadalupe.
00:42:12You're welcome.
00:42:13Grace, chΓ©rie.
00:42:14You must come over here for a moment, just to set the point for us.
00:42:17Apparently, I'm necessary to an argument.
00:42:19Will you excuse me?
00:42:20Of course.
00:42:21Of course.
00:42:43I'm Barbara.
00:42:44Good.
00:42:47Good what?
00:42:48Good name for you.
00:42:50You look as if you ought to be called Barbara.
00:42:52Really?
00:42:57Scotch and water, sir.
00:43:00That was mine.
00:43:01Yes, I know.
00:43:05I wonder if your name fits the way you look.
00:43:07Malloy is my name.
00:43:08Howard Malloy.
00:43:09Good.
00:43:11Good what?
00:43:12Good guessing.
00:43:13That's who I thought you were.
00:43:14How?
00:43:16Everybody here has been talking about you this afternoon.
00:43:19And you're the only stranger who looks as if he ought to be called Howard.
00:43:24You're a special something or other, aren't you?
00:43:28Prosecutor.
00:43:29What do you do?
00:43:30Sing.
00:43:31Yes, obviously.
00:43:33You ever relax?
00:43:34From what?
00:43:35Singing.
00:43:37As often as possible.
00:43:39What about the song a minute ago?
00:43:40That was just for myself.
00:43:43I like to do things for myself once in a while.
00:43:47Doesn't that happen often?
00:43:49Now stop this.
00:43:51I never answer questions on an empty stomach.
00:43:53I'm hungry too.
00:43:55You with somebody?
00:43:57That's a very large question.
00:44:00I'm not with Harry anyway.
00:44:01I, uh, I like the song, Barbara.
00:44:05The song, Harry?
00:44:09Howard, please forgive me.
00:44:10Did you finally get a drink?
00:44:11Yes, I did, Mrs. Hartley.
00:44:16You've had more strangers today than I have.
00:44:19I was just getting acquainted when Nichols arrived.
00:44:21Who's she with?
00:44:22Goodness knows.
00:44:24Well, our Mr. Pemberton's been looking most possessive.
00:44:28And, Mr. Costa Rica.
00:44:30I know.
00:44:32Your office called Mr. Malloy and Mr. Quigley is waiting for you.
00:44:35They said it was important.
00:44:36Yes, thanks.
00:44:38Does that mean you have to go?
00:44:39Yes, right away.
00:44:41Well, I'll have Andrew Fletcher hat.
00:44:43Thanks.
00:44:45Good night, Miss Whitfield.
00:44:48Good night, Mr. Malloy.
00:44:49Good night, Miss Whitfield.
00:44:53I liked him a little hike?
00:44:56Yeah.
00:44:58Oh wow.
00:44:59Ha, ha ha.
00:45:00Ha, ha.
00:45:07Ha, ha.
00:45:12Oh, what did you want?
00:45:30I just wanted to see you again, so.
00:45:32Didn't you want to see me again?
00:45:34You're still a man with a lot of questions, aren't you?
00:45:36Yeah.
00:45:37Didn't you want to see me again?
00:45:39Yes.
00:45:40All right, then.
00:45:42How did you get my number?
00:45:45That's easy, where I work.
00:45:47Is everything easy for you?
00:45:49No.
00:45:51It's just as well.
00:45:54Oh, please, no pictures.
00:45:56This is for the house collection, sir.
00:46:00That's going to look as if the drinks weren't very good.
00:46:04Maybe they can paint in a smile.
00:46:05You're through, Roger.
00:46:06Sure.
00:46:07Let's get out of here.
00:46:08I've got to change.
00:46:09Did you see the show tonight?
00:46:21Most of it.
00:46:22Like it?
00:46:24I like you.
00:46:26Didn't you think the boy with the harp was good?
00:46:28I, uh, didn't notice.
00:46:30I was waiting for you.
00:46:32Well, I won't be long.
00:46:34I'll pardon your back.
00:46:37What?
00:46:38About face, Mr. Prosecutor.
00:46:40Oh, sure.
00:46:45Is this visit, um, business or pleasure?
00:46:48Right 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?
00:46:59It depends.
00:47:01This wall is very uninteresting.
00:47:05Patience, patience.
00:47:07I'm changing my mind.
00:47:09About what?
00:47:10About you.
00:47:12All right.
00:47:13At ease.
00:47:14Changing from what to what?
00:47:20From maybe, perhaps.
00:47:24Are you always so uncertain about things?
00:47:27Things?
00:47:28People.
00:47:30Aren't you?
00:47:32Sometimes.
00:47:35Birds of a feather.
00:47:36Special prosecutor turns playboy.
00:47:47I should have broken that girl's camera last night.
00:47:50Forget about last night.
00:47:52Have you forgotten about it?
00:47:54Not yet.
00:47:55But I'm trying.
00:47:56Why?
00:47:58It doesn't figure.
00:48:00With what?
00:48:01With you.
00:48:06What are you after?
00:48:08You.
00:48:10Look out, Howard.
00:48:12Look out.
00:48:13For what?
00:48:13Don't play with me.
00:48:15Who's playing?
00:48:16If you meant everything last night, then look out.
00:48:19I told you before everything's easy for you.
00:48:22Too easy.
00:48:23Not always.
00:48:24No?
00:48:25When was it?
00:48:26I don't know.
00:48:27Maybe you're right.
00:48:28Am I?
00:48:28Matter of fact, things have been kind of easy for me.
00:48:31Take the way I got to be special prosecutor.
00:48:33What do you mean?
00:48:35It's as though somebody fixed it.
00:48:36Or had to fix it.
00:48:38Fixed it?
00:48:39Yeah.
00:48:40You must have smiled at someone.
00:48:42The way you smile at me.
00:48:44People 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?
00:48:56For 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?
00:49:15Am I a lot of trouble?
00:49:16Women always are.
00:49:18Mm-hmm.
00:49:19Beautiful women, Amy.
00:49:21Of course.
00:49:22That's what men always like.
00:49:24The beauty?
00:49:25The trouble.
00:49:27Perhaps you'd like this little lady better, Miss Whitfield.
00:49:30No, thank you.
00:49:31This is the one for me.
00:49:33Does he have a name?
00:49:34Yes.
00:49:34It's Benny.
00:49:36Ha.
00:49:37Benvenuto, really.
00:49:38Hmm.
00:49:39I used to have a cat they called Hadrian VII.
00:49:42We ended up calling him Harry.
00:49:44Why, yes.
00:49:45Wasn't that the cat Mr. Pemberton bought for you?
00:49:47Yes.
00:49:48It was.
00:49:50Oh, uh.
00:49:51Well, 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?
00:50:00Oh, yes.
00:50:00A 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
00:50:08they bred them and trained them.
00:50:09They trained them here, but not out of the last shred of their character.
00:50:15Oh.
00:50:16Anyway, I like to train them myself.
00:50:20What happened to Hadrian VII?
00:50:23I got tired of him.
00:50:27Why did you come over to me at that party, Howard?
00:50:29Because you were the only person who didn't look as if you belonged there.
00:50:35Really?
00:50:36I belong anywhere I wanted.
00:50:39Do you?
00:50:41Don't I?
00:50:43This is a nice one.
00:50:45It'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.
00:50:57Can 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...
00:51:04Would you like to?
00:51:06Oh, you're welcome.
00:51:08It's a pleasure.
00:51:10It's the thought, not the cat.
00:51:11I know he'll be well behaved.
00:51:13Do you?
00:51:15Here you are.
00:51:16Oh, thank you, sir.
00:51:18Barbara.
00:51:19Robert, darling.
00:51:30Hi, Lenny.
00:51:31How are you?
00:51:31Fine.
00:51:32Fine.
00:51:33You?
00:51:33Going along.
00:51:34You know Howard Malloy, Lenny?
00:51:35Leonard Lyon.
00:51:36How are you?
00:51:36How do you do?
00:51:38In a hurry, Lenny.
00:51:39Bye.
00:51:40Nice seeing you.
00:51:43Now, who was that?
00:51:44Leonard Lyon's, my sweet.
00:51:46He writes that column, The Lyon's Den.
00:52:03Howard, this is too much.
00:52:05Putting cats on your expense sheet.
00:52:07One cat?
00:52:09Thirty-five dollars.
00:52:10Buying a duty, Frank.
00:52:12Better stick to the obvious accessories.
00:52:14Oh, by the way, somebody sprung your little gunman friend this morning.
00:52:18What?
00:52:18I ordered him held without fail.
00:52:20Couldn't be done.
00:52:20Not on those charges.
00:52:21Then we should have made some up.
00:52:22You should have.
00:52:23But you've been so busy in nightclubs and bedshops.
00:52:26You're making a fool out of yourself and the whole department.
00:52:28Now, Howard, you've got to stop seeing this Whitfield girl.
00:52:32Playboy prosecutor.
00:52:33I'm seeing her this afternoon, Frank.
00:52:35In about an hour.
00:52:35Yes, a pink tights and a high wire in front of City Hall, I suppose.
00:52:39No.
00:52:40It's in her apartment.
00:52:44It 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.
00:53:02So is Lyon's.
00:53:03Our kind of life, anyway.
00:53:06I don't get it.
00:53:07First, 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?
00:53:25Upset again?
00:53:26Afraid things are being found out about you and me?
00:53:29Take it easy.
00:53:31I'm talking business now.
00:53:32I know you are.
00:53:34Say you talk business, my pet.
00:53:36You do it so rudely.
00:53:38Just do what you're told.
00:53:39What else do I ever do?
00:53:40Well, when Malloy comes, tell him anything you like.
00:53:47You're going away for a trip.
00:53:49Or you're tired of him.
00:53:50Or a husband has come back.
00:53:52Husband?
00:53:53Whee!
00:53:53Anything you like.
00:53:55But finish it.
00:53:57And if he doesn't take finish for an answer?
00:53:58Get tough.
00:53:59Aggravate him.
00:54:00Insult him.
00:54:01Set him on fire.
00:54:02Now cut it out.
00:54:04Maybe 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.
00:54:10Would you miss me?
00:54:10Like my next breath.
00:54:14Who would that be?
00:54:15Probably the man with the dynamite to put under Mr.
00:54:18Now please.
00:54:18Oh, relax.
00:54:20It's just the man from the liquor store.
00:54:21Malloy likes scotch.
00:54:23Come on in, Sam.
00:54:25Milkman.
00:54:26Hi.
00:54:26Here's your stuff, Miss Whitfield.
00:54:28Charge it.
00:54:28Don't I always say?
00:54:29Sure, Miss Whitfield.
00:54:30I just like to hear you talk.
00:54:31Next time, Sam.
00:54:33So, now that I'm making headway with our handsome prosecutor,
00:54:36now 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.
00:54:45Sometimes we all have to do things we don't understand.
00:54:49Until afterwards.
00:54:50Come on, Knuckles.
00:54:52Leave our little black friend to Mr. Malloy.
00:54:55He likes cats, too.
00:55:00What do you mean you're going away?
00:55:03Something wrong?
00:55:05I, uh, I need a change.
00:55:08Relaxation?
00:55:09Sunshine?
00:55:10I think I'll go to Florida someplace.
00:55:12I've been thinking about it for some time, about getting away.
00:55:16Away 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?
00:55:27Me, maybe.
00:55:28You?
00:55:30Maybe.
00:55:32That's what I said.
00:55:33All right, because 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?
00:55:44You're stuck.
00:55:45You're it.
00:55:47You're in the wrong conversation.
00:55:49Who is it you're afraid of?
00:55:50I'm not afraid of anyone.
00:55:52All right, if you won't tell me, I'll tell you.
00:55:54All right?
00:55:56Tell me, then.
00:55:57There's a hard-eyed little gunman.
00:55:59Calls himself Miller.
00:56:00Other people call him Knuckles.
00:56:02And 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.
00:56:09Calls himself the Angel.
00:56:11He'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.
00:56:16Don'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...
00:56:22Nobody's using me.
00:56:23They murdered Borg and Riggs.
00:56:26And heaven only knows what's happened to Costner, Rick.
00:56:28Ziggy?
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.
00:56:34Why didn't you stay out of it?
00:56:35I couldn't stay out of it.
00:56:36They wouldn't let me.
00:56:40Now, that's more like it.
00:56:42There's no point in lying.
00:56:43Oh, Howard, hold me.
00:56:46Help me.
00:56:51I can't help you, baby, unless you help me.
00:56:56We need your evidence.
00:56:57Why, you dingy double-crossing.
00:57:02You're using me just like all the rest.
00:57:04Now, look.
00:57:05Why, you.
00:57:06These people you're mixed up with don't fool things.
00:57:08They put a bullet in you and put you out a window.
00:57:11Let go of me.
00:57:14There's a lot of questions for you to answer before you let you go.
00:57:16No, no, no, no, no.
00:57:20No, no, no.
00:57:21No, no, no.
00:57:22Take it easy, baby.
00:57:23Take it easy.
00:57:25Who can?
00:57:26Who can?
00:57:33Baby, I don't want to hurt you.
00:57:34I'm trying to help you.
00:57:36I'll kill you.
00:57:37No, no, no, no.
00:57:48No, mm.
00:57:49I don't want to hurt me.
00:57:51I don't want to hurt you.
00:57:52I don't want to.
00:57:54Don't want to hurt you.
00:57:55No, Mr.ΠΎΡΡ.
00:58:02I don't want to hurt you.
00:58:03I don't want to hurt you.
00:58:04Hey!
00:59:04Mr. Malloy.
00:59:28Mr. Malloy.
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.
00:59:45That's all.
00:59:46Believe.
00:59:47She's dead.
00:59:48Dead?
00:59:49Barbara.
00:59:50Barbara was alive when I passed out.
00:59:53You must have come in here.
00:59:54No.
00:59:55Why would I have waited for you to awaken if I were?
00:59:57Fingerprints are on this gun.
00:59:58And so are yours.
00:59:59Yeah.
01:00:00But I know I didn't kill her.
01:00:02Please.
01:00:03What are you doing?
01:00:04Calling homage.
01:00:05Wait.
01:00:06I swear I had nothing to do with this.
01:00:08I swear.
01:00:09I swear.
01:00:10Then what are you doing here?
01:00:11When you got mixed up with the Crusaders, Costa Rica, you got mixed up with murder.
01:00:14I did not intend to get mixed up with murder.
01:00:15I did not intend to get mixed up with them.
01:00:17It was all because of that woman.
01:00:19Barbara?
01:00:20No.
01:00:21Not Barbara.
01:00:22Grace Hartley.
01:00:25Grace Hartley?
01:00:26Yes.
01:00:27She's the one who is behind all this.
01:00:30She's the one who is their leader.
01:00:32Can you prove that?
01:00:34I was painting her portrait.
01:00:35I was in her library and I discovered some papers that I thought interesting and important.
01:00:42What kind of papers?
01:00:43Oh.
01:00:44Names.
01:00:45Figures.
01:00:46These Crusaders make money, you know.
01:00:49These papers told me a lot about where they get the money and what they do with it.
01:00:54I took them away with me.
01:00:56For what they were worth.
01:00:58What?
01:00:59Please.
01:01:00Grace Hartley could help me in my career.
01:01:02She had influence.
01:01:03And she had provided me, among other comforts, with my first one man show.
01:01:07It opens tomorrow at the Contemporary Museum.
01:01:09You told me the first time I met you.
01:01:11Where are these papers?
01:01:12I want to see them.
01:01:13At the Museum.
01:01:14Yes.
01:01:15They are hidden behind one of my paintings.
01:01:17They are between the canvas and the backing of the frame.
01:01:22Please.
01:01:23Now you do not believe I killed Barbara?
01:01:26Hello, Carolyn.
01:01:27Quigley there.
01:01:28Grace.
01:01:29Oh.
01:01:30I thought you were gone.
01:01:31We saw your car outside.
01:01:32We decided to wait.
01:01:33What's going on upstairs?
01:01:34Never mind.
01:01:35Nothing.
01:01:36Everything.
01:01:37Give me your gun.
01:01:38That don't make sense.
01:01:39It does.
01:01:40Give me your gun.
01:01:41Give me your.
01:01:42Where's my lawyer?
01:01:43He's upstairs in the apartment.
01:01:44What's going on?
01:01:45I haven't time to talk now.
01:01:46Don't wait around here.
01:01:47I don't know.
01:01:48What's going on?
01:01:49You might get into trouble.
01:01:50Where are you going now?
01:01:51I've got an important call to me.
01:01:52I'll clean it up.
01:01:53It's a big one.
01:01:54Why don't you get it?
01:01:55What's going on?
01:01:56Let's see what she is up for?
01:02:03Look, Carl.
01:02:04Let's leave your blood.
01:02:05Come on.
01:02:06It's a big one.
01:02:07Hey, look, Carl.
01:02:09I'm coming back in the apartment.
01:02:10Don't tell me.
01:02:11Don't tell me you're going to give me your guns.
01:02:12That don't make sense.
01:02:13Give me your guns.
01:02:14Give me your guns.
01:02:15Give me your guns.
01:02:16Where's my lawyer?
01:02:17Look, call Homicide for me, will you?
01:02:19Barbara Whitfield's been murdered.
01:02:21Tell him to come to 689 East 57th Street.
01:02:25Yeah, I'm still there.
01:02:27But when the boys get here, I'll be on my way to the Contemporary Museum.
01:02:30With Sigmund Costnery.
01:02:32Got it?
01:02:38Just a minute. Just a minute.
01:02:40I'm coming as fast as I can.
01:02:47I'm sorry, ma'am. We're closed for the night.
01:02:49But I just want to go upstairs to one of the gals.
01:02:51I can't let you do that, ma'am. No visitors after hours.
01:02:54I was here earlier and I left my first.
01:02:56Well, you just have to come back in the morning, ma'am. I got my orders.
01:02:59But I...
01:03:00Come on.
01:03:17Come on.
01:03:18Come on.
01:03:19Come on.
01:03:20Come on.
01:03:21Come on.
01:03:22Come on.
01:03:23Come on.
01:03:27Come on.
01:03:42So watch me.
01:03:44Yeah.
01:03:45Grace has been busy.
01:03:47Better move the body away from the door, back against the wall.
01:03:50Sure.
01:03:51In case somebody comes by and looks in.
01:03:53Where do you suppose you went?
01:03:55Don't ask me.
01:03:56There's a light in the door stand.
01:03:58That's long.
01:03:59Yeah. Let's go.
01:04:15The place is wide open at any hour at night.
01:04:19There must be a guard around somewhere.
01:04:21You know where the exhibition is?
01:04:23Of course I hung it myself.
01:04:25Let's go then.
01:04:26It's this way.
01:04:45Let's go.
01:05:03Oh, don't μ μ¬κΈ°.
01:05:07It's this way to find a play.
01:05:09Have you ever met Go Texas?
01:05:11It's in here.
01:05:41There seems to be somebody in there.
01:05:48Must be a guard.
01:06:11Agostini.
01:06:18Grace Hartley.
01:06:23She must have heard what I told Malloy.
01:06:29She must have heard what I told Malloy.
01:06:48Why, Peggy.
01:07:03You heard in Barbara's apartment what I told Malloy.
01:07:08Every word you said.
01:07:11You killed Barbara.
01:07:14I knew in the end you would harm her.
01:07:17And anyone else who gets in my way.
01:07:20What'd you mean by Mary?
01:07:25Come on.
01:07:27Come on.
01:07:28Come on.
01:07:30Come on.
01:07:35What's the name of the people?
01:07:39Come on.
01:07:42THE END
01:08:12I'll take those, Mrs. Harvey.
01:08:42You're badly hurt?
01:08:48No, I, I, I caught her trying to find the papers.
01:08:54I had to get them.
01:08:56I was knocked too quick.
01:08:59I had no gun.
01:09:01Where did she get you?
01:09:02We were the same kind of target for her.
01:09:05Just under the shoulder.
01:09:06She killed Barbara.
01:09:12She was in the apartment.
01:09:14And she heard me telling you where the papers were.
01:09:17She killed Barbara.
01:09:19Alois, where are you?
01:09:20In here.
01:09:25This place looks like the last act of Hamlet.
01:09:27It's the last act for all kinds of things.
01:09:30Brace yourself, Frank.
01:09:33Grace Hartley.
01:09:35I'll tell you about it later.
01:09:37There's part of it.
01:09:38All right, Carolyn.
01:09:38Is Carolyn here?
01:09:39She brought it here.
01:09:40I made her way down the corridor.
01:09:41It's kind of noisy in here.
01:09:43Howard.
01:09:54Howard.
01:09:56Howard.
01:10:04Howard.
01:10:05Come and tell me about all this.
01:10:09Give me time.
01:10:10And we'll put it all together.
01:10:11THE END
01:10:41THE END
01:11:11THE END
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