- 16 hours ago
Female reporter Torchy Blane teams with her cop boyfriend Lt. Steve McBride to solve the killing of an investor who just bought a popular local nightclub.
Glenda Farrell - Torchy Blane
Barton MacLane - Steve McBride
Wini Shaw - Dolly Ireland (as Winifred Shaw)
Addison Richards - Fitz Mularkey
Robert Paige - Lewis Friel (as David Carlyle)
Craig Reynolds - Tom Carney
Charlotte Wynters - Marcia Friel (as Charlotte Winters)
Jane Wyman - Dixie - Hatcheck Girl
Joseph Crehan - 'Tiny' Torgenson
Tom Kennedy - Gahagan
John Sheehan - Leon Blyfuss
Max Wagner - Chuck Cannon
George Lloyd - Pickney Sax
Frank Bruno - Boze
Glen Cavender - Trooper Sergeant
Eddy Chandler - Det. Marsotto
Alexander Cross - Det. Klein
Joe Cunningham - City Editor
Frank Faylen - Ambulance Driver
Bess Flowers - Nurse
Harry Fox - Coroner's Man
Eddie Graham - Dancer
George Guhl - Desk Sergeant
Al Herman - Bartender
Al Hill - 2nd Taxi Driver
Robert Homans - Cop
Harry Jacobson - Hotel Clerk
Milton Kibbee - Harms
Harold Miller - Club Patron
Carlyle Moore Jr. - Harry
Dennis Moore - Luke
Lyle Moraine - Jones
Wayne Morris - Railroad Information Clerk
Henry Otho - Cop Guarding Room
Paul Panzer - Blind Beggar
Allen Pomeroy - 1st Cabbie
John J. Richardson - Bert Richards
Cliff Saum - Train Conductor
Ferdinand Schumann-Heink - Reporter Grant
Fred 'Snowflake' Toones - George (Redcap Getting Tip)
Martin Turner - 1st Redcap
Tom Wilson - Janitor with Hose
Jack Wise - Hymie
Director - Frank McDonald
Glenda Farrell - Torchy Blane
Barton MacLane - Steve McBride
Wini Shaw - Dolly Ireland (as Winifred Shaw)
Addison Richards - Fitz Mularkey
Robert Paige - Lewis Friel (as David Carlyle)
Craig Reynolds - Tom Carney
Charlotte Wynters - Marcia Friel (as Charlotte Winters)
Jane Wyman - Dixie - Hatcheck Girl
Joseph Crehan - 'Tiny' Torgenson
Tom Kennedy - Gahagan
John Sheehan - Leon Blyfuss
Max Wagner - Chuck Cannon
George Lloyd - Pickney Sax
Frank Bruno - Boze
Glen Cavender - Trooper Sergeant
Eddy Chandler - Det. Marsotto
Alexander Cross - Det. Klein
Joe Cunningham - City Editor
Frank Faylen - Ambulance Driver
Bess Flowers - Nurse
Harry Fox - Coroner's Man
Eddie Graham - Dancer
George Guhl - Desk Sergeant
Al Herman - Bartender
Al Hill - 2nd Taxi Driver
Robert Homans - Cop
Harry Jacobson - Hotel Clerk
Milton Kibbee - Harms
Harold Miller - Club Patron
Carlyle Moore Jr. - Harry
Dennis Moore - Luke
Lyle Moraine - Jones
Wayne Morris - Railroad Information Clerk
Henry Otho - Cop Guarding Room
Paul Panzer - Blind Beggar
Allen Pomeroy - 1st Cabbie
John J. Richardson - Bert Richards
Cliff Saum - Train Conductor
Ferdinand Schumann-Heink - Reporter Grant
Fred 'Snowflake' Toones - George (Redcap Getting Tip)
Martin Turner - 1st Redcap
Tom Wilson - Janitor with Hose
Jack Wise - Hymie
Director - Frank McDonald
Category
🎥
Short filmTranscript
00:00The End
00:30The End
01:00The End
01:30The End
01:59Are we on time, conductor?
02:23Right on the nose, miss.
02:25I wonder if you could tell me I...
02:26I'm looking for Mr. Torganson.
02:30Next car forward.
02:31Join room eight.
02:38Sit down, Miss Warren.
02:39Mr. Torganson,
02:41my paper wants to know why Fitz Malarkey sold out to you.
02:43Why, there's nothing to it.
02:44Fitz wanted to sell.
02:45We're old buddies.
02:46I know a good buy when I say it,
02:48so I'm taking over.
02:49Do you know that several men in this town over bid you?
02:52I didn't make a bid.
02:53Fitz came up to Boston,
02:55told me he was tired of the racket,
02:56and he was going to get hooked to a good gal
02:58who didn't like the game,
02:59didn't like him mixed up in it.
03:01He offered to let me dig in for a million flat.
03:03Half down,
03:04the balance in five years.
03:06Anything wrong with that?
03:07No, nothing wrong with that.
03:09Are you taking over everything?
03:10The whole works.
03:12The racetrack,
03:12the fight arena,
03:13and the million club.
03:14And I'm going to run him like Fitz random.
03:17On the level.
03:18Do you happen to know why
03:20he passed up that 200 grand
03:21it was offered over your price?
03:22He could have sold to a half a dozen guys
03:24for more than I'm giving him.
03:26He wanted to leave his babies in good hands.
03:28He wants to live like what he calls a human being.
03:31That's his business.
03:32Me?
03:33I like it like I am.
03:35A little rough,
03:36a little tough,
03:36a little nasty.
03:38But on the level.
03:39You know,
03:40I think you're pretty regular,
03:41Mr. Toganson.
03:41No,
03:42I'm just a plain guy
03:44trying to earn a living.
03:47Yes, sir,
03:48Mr. Toganson.
03:49Well,
03:49here we are.
03:54Come on,
03:55I'll drop you with your paper.
03:56Oh, that's well.
03:56I'm late for dinner today,
03:57as it is.
04:01But, Chuck,
04:02why don't you go home?
04:03Oh, leave me alone.
04:05Oh,
04:05won't you please
04:06let me put you in the cab?
04:07Don't bother me.
04:08There's a guy I've got to see.
04:12God bless you.
04:14Come on, Chuck.
04:15Stop pulling me,
04:16Dolly.
04:17I know what I'm doing.
04:18All right,
04:18all right.
04:19Come on,
04:20you've got to go home.
04:20I don't want to go home.
04:22I've got something to do.
04:23Yes,
04:23I know,
04:24I know.
04:24Mr. Toganson!
04:42Mr. Toganson!
04:43The shots came through the window.
04:45Look.
04:46See those holes?
04:47Yeah,
04:47better call officer.
04:48Hey, officer!
04:49Officer!
04:50All right,
04:52come on,
04:52stand aside there,
04:53stand aside.
04:54What's the matter here?
04:55What happened?
04:55Some shots.
04:56See?
04:57Right through that window.
05:03City desk.
05:05Maxie?
05:06Torchie Blaine.
05:07Now get this,
05:08George Toganson,
05:09millionaire promoter,
05:10was just murdered
05:10in front of the union station.
05:12Good work, Torchie.
05:13Hang on.
05:14I'll give you a rewrite.
05:15Hey, Richards,
05:16you're on number 12.
05:19Okay,
05:20shoot.
05:21Here's your lead, Murph.
05:22George Tiny Toganson,
05:24millionaire sports promoter,
05:25stepped into an assassin's bullet
05:26as he entered a taxi cab this evening
05:28in front of the union station
05:29on his way to take over
05:30the numerous enterprises
05:31of his lifelong friend,
05:33Fitz Malachie,
05:34popular nightclub owner
05:35and impresario
05:35of the sporting well.
05:46Hello, Dolly.
05:47Just get in?
05:47Yes.
05:48Got time for a drink?
05:49Mm-hmm, thanks.
05:49Good.
05:51Two specials.
05:53So this is the night,
05:54huh, Fitz?
05:55This is it.
05:56Gee, you look nice tonight, Dolly.
05:58Don't it make you kind of sad
05:59leaving all this?
06:00Not a bit.
06:01I'm fed up, lady.
06:03I want a home
06:04and a business
06:04that I can be proud of.
06:06I'm sorry, Dolly.
06:07I mean about us.
06:09If it weren't that I was
06:10pulling out, I...
06:11Oh, forgive it.
06:12Hey, how about Chuck?
06:16You know he's been
06:17your man Friday for years.
06:18Well, I'm fixing it
06:19so he'll have an income for life.
06:21I had to cut away
06:21from Chuck, Dolly.
06:23I couldn't break him
06:23into that habit
06:24of carrying a gun.
06:25The business I'm going in now,
06:26I wouldn't want that.
06:27He's pretty sore.
06:29Well, he's not sore at me.
06:30He's sore because he thinks
06:31I'm giving up a good thing.
06:32He doesn't understand.
06:34Ladies and gentlemen,
06:35introducing our popular
06:36siren of song,
06:38Miss Dolly Ireland.
06:39Well, it looks like Ireland's on.
06:40I won't say goodbye.
06:42That's right.
06:43It's your last night too, isn't it?
06:44Want me to sing
06:45my last song for you?
06:46Yeah.
06:47Will you?
06:52Why do I have to sing
06:56a torch song
06:59when there is a love song
07:02in my heart?
07:05Why must I sigh
07:07when love passed me by?
07:10Why do they look for
07:14a tear in my eye?
07:19How can I sing a song
07:22that tells you I'm blue?
07:26I've got the man I love
07:29and he loves me too.
07:32I'd rather play
07:35another part
07:37and open up
07:43my heart.
07:48Chuck's here.
07:49He's pretty drunk
07:50and looking for trouble.
07:51Eddie and Bowles
07:51have got him in your office,
07:52but he says he won't leave
07:52without seeing you.
07:54Okay, I'll see him.
07:55Take it easy, Fitz.
07:56Remember, he packs a rod.
07:58He's all right.
07:58He's everything to me
08:01He couldn't be more
08:03He's mine for doors
08:06Why don't you smart enough, Chuck?
08:11Get hefty yourself.
08:13What's the matter with you?
08:14You know what's the matter.
08:16Turn against your old buddies.
08:17That's what you're doing.
08:19Trying to go highbrow.
08:21Chuck, you better get out of here.
08:22Go home and sober up
08:23and I'll see you in the morning.
08:25This can't wait till morning.
08:27Get these guys out.
08:28I want to tell you something.
08:30I said tomorrow.
08:31All right.
08:32I'll tell you now.
08:33You're nuts, Fitz.
08:34If you think you can sell out
08:35and marry that frio dame...
08:37Get his gun.
08:42Poor lunkhead.
08:44Hate to have to do that to you.
08:46Put that in the desk, will you, Carney?
08:47Right.
08:51Eddie,
08:51you and Bow Citi gets home all right.
08:53Take him out the back way.
08:54I've simply got to let my happiness out
08:58To tell you about my love
09:03He's everything to me, couldn't be more
09:07He's mine to adore
09:11So why do I have to sing
09:17A tall song
09:21When the song of love is ringing
09:26In my heart
09:35Hello, Adolf.
09:46Good evening, Lieutenant.
09:49Hello, Dixie.
09:50Hello, Miss Blaine.
09:51May I take your hat, Mr. McBride?
09:52Thank you, Dixie.
09:53You don't need a check.
09:54Hello, Steve.
09:55You haven't been around lately.
09:56How are you, Fitz?
09:56How are you, Torchy?
09:57Fine, thanks.
09:58May I see you alone a minute?
09:59Sure.
09:59Come in the office.
10:00You wait here.
10:02I said you wait here.
10:06Big stiff.
10:07Ain't he masterful?
10:09Yeah.
10:09All he needs is a leopard skin.
10:11Oh, say, Miss Blaine, did you miss the excitement?
10:13Did you miss the excitement?
10:14What happened?
10:15You know Chuck Cannon?
10:16Yeah.
10:16Well, he was in here just a few minutes ago, stood to the eyeballs, and so mad I thought
10:19he was going to bust.
10:20Tell me more.
10:21Well, it's none of my business.
10:22I was standing here.
10:24I wasn't expecting a thing.
10:25And in he came.
10:27And was he?
10:28Well, you can imagine.
10:29How many guys tried to buy you out when you announced you were going out of business?
10:35Well, I don't know.
10:36Four or five.
10:37Kind of made some hard feelings, didn't it?
10:40I mean, you're going out of town for your buyer?
10:42No.
10:43No hard feelings.
10:46Who are the four or five?
10:48Well, let's see.
10:50It was Guy Shaster and Willie Pope.
10:52They came in together.
10:53And there was Brad Hooper and Pickney Sachs.
10:56That's all four.
10:57And no hard feelings, eh?
10:59No.
11:00What makes you ask that?
11:02Torganson.
11:03What about him?
11:05Torganson was killed tonight.
11:07About a quarter past eight.
11:16Where?
11:17Coming out of Union Station.
11:18And there were some hard feelings, huh?
11:28Fitz, I want you to listen to me.
11:30You've kept your hands clean ever since you've been in this town.
11:33How and the business you're in, I don't know.
11:35But you have.
11:36Now you're all set to bail out clean.
11:39You're going into what we call legitimate business, and I'm for you.
11:42Thanks, Steve.
11:43Thanks.
11:43I know that you and Torganson were old buddies.
11:46I was glad when I heard you were selling out to him.
11:48Now some mugs knocked him off.
11:50I know how you feel about that, Fitz.
11:52But the minute you go for anybody with a gun, even if they did kill Torganson, it's still murder.
11:59Poor little tiny.
12:01Didn't even carry a gun.
12:03He used to say it was guns and bodyguards that got guys killed.
12:06You heard what I said, didn't you, Fitz?
12:08Yeah, sure, Steve, sure.
12:10But there's only one thing going to stop me.
12:12I'm going to marry Marsha Friel.
12:14I think tiny would understand that.
12:16And I'm too crazy about Marsha to ball things up by killing anybody.
12:21Orchids to Miss Friel.
12:23Yeah.
12:25It's an idea.
12:30You know, you're all right, Dixie.
12:31You ought to make a good newspaper man.
12:33Well, I might not make a good newspaper man, but I might make a good newspaper woman.
12:36I just love to snoop.
12:39Do we eat now?
12:41No.
13:06Are you okay, these checks, boss?
13:10Yeah.
13:11If you see Tom, tell him I put Chuck's gun in the safe.
13:15Yes, sir.
13:22Hey, Mac.
13:23Hey, Skipper, any clues?
13:24I can't talk now, boy.
13:25You're not holding out on us, are you, McBride?
13:27What Fitzmaulock do you have to say?
13:29Does Fitzmaul who killed him?
13:30Well, how about a statement on crime suppression?
13:32Boy, Sherlock's in a trance.
13:34I'll tell you the whole story in a minute.
13:35Forgive us, have those birds hypnotized.
13:37Well, you're one up on me.
13:38You got them goopy.
13:39What'll I tell them?
13:40Tell them I think all reporters are a headache, and I don't know why I even talk to them.
13:43I don't know.
13:43They never tell us anything.
13:45Maybe you know who bumped off Targason.
13:47Not offhand, but with a little time and something to eat, I might be able to help you.
13:50Oh, why don't you go home?
13:52There's nothing in the icebox.
13:54Besides, I like your company.
13:58Nothing like a man of action.
14:00Let me tell you...
14:05Yes, sir.
14:05Send Blythus in here.
14:13Looking for me?
14:17Leon, what do you know about Picnic Sacks, Guy Shaster, Will Pope, and Brad Hooper?
14:22More than I know about my in-laws.
14:24Okay, Leon.
14:25I don't want Sack, Shaster, Pope, or Hooper.
14:27I want their inside men, all of them.
14:28Any charge?
14:29No, I'll book them for investigation.
14:31There's a fly right there on that...
14:34Anything else, Lieutenant?
14:37Did you get it?
14:38No.
14:38No!
14:39No!
14:42Four guys, Torchy.
14:44Four guys wanted to buy Fitz out.
14:47He turned him down.
14:48Gee, this is terrible.
14:50Fitz turns to his old pal, Tiny Targason.
14:52Targason's killed coming out of Union Station.
14:54One of those four guys got him before he could close the deal.
14:57Fitz is bound to get out.
14:58He wants to sell.
14:59He will sell.
15:00Tunics are going out.
15:02Huh?
15:03Tunics are going out.
15:04What the Sam Hill are you talking about?
15:06Tunics.
15:07They're going out of style, and I've got two of them.
15:09Oh.
15:13Who got away with my...
15:15Hello.
15:17Tell somebody to bring back my gaboon and a mop.
15:20No, not a cop, a mop.
15:23You know what I'm doing?
15:24Sure, starting a fire.
15:26I'm rounding up the pulse men of Sack, Shasta, Pope, and Hooper.
15:30I suppose you thought I'd round up the head men themselves, eh?
15:32Well, that's all right, Stevie.
15:34Rounding up all those guys is good display psychology.
15:37Keeps your cops busy, and there's something for the boys out there to put in the paper.
15:41But I don't think it's going to get you anything.
15:43Why not?
15:43Because you can't charge these guys with anything.
15:45You can only hold them overnight.
15:47You'll bring in about 20 altogether.
15:48You'll have to do some shellacking.
15:50So, if you work on each one three hours, that's 60 hours, and you can't hold them that long.
15:54That's just paper figuring.
15:56Yes.
15:56Well, here's some more paper figuring.
15:58You've got four bidders, two of them teamed, which makes three bidding.
16:01Each one with enough dough to buy Fitz out, see?
16:03So what?
16:04Why would one bidder knock off Torganson and take a chance of Fitz selling out to one of the others?
16:08Ah, these guys aren't hopheads.
16:09They're businessmen.
16:10A murderer has to get them something definite before they pull it.
16:13Go on, do some more paper figuring.
16:15Ah.
16:15You're just one of these destructive critics.
16:17You say everything a guy does is rotten, but you don't build up anything yourself.
16:21All right, sweetheart.
16:23Did you ever hear of Chuck Cannon?
16:25Fitz's bodyguard?
16:26Sure.
16:26What about him?
16:27Chuck's been slamming around all week, stewed to the ears.
16:29He doesn't want Fitz to quit business because that means the end of his job.
16:33Maybe he figured that with Torganson out of the way, Fitz wouldn't think of selling out to one of these crooked big shots in town.
16:39If he feels that way about it, why doesn't he go to work on Marsha Friel?
16:42She's the one Fitz is bailing out for.
16:43Maybe he's like Fitz.
16:45He thinks a woman's a wonderful thing.
16:47No, he couldn't be that dumb.
16:50Yeah.
16:51All right.
16:52You sure pick a swell time to wash it.
17:03Well, you told me to wash it.
17:05How did I know I was going to be busy?
17:06Well, how did I?
17:08Well, I'll use my old car.
17:09Works better with the switch on.
17:26Look out!
17:51Maybe we should have waited till Gahagen washed the other car.
17:54Yeah, this car's been steering kind of funny lately.
17:57It might be a good idea as long as you're going to drive all over the street to put your lights on.
18:08Hey, Al.
18:09Eddie and Bo's get back yet?
18:10I haven't seen you, Mr. Carney.
18:14Well, a round trip, eh, Lieutenant?
18:15Chuck around?
18:17No.
18:17Fitz?
18:18Where is he?
18:20I think he went home.
18:21Chuck's still bunking with him?
18:22No, I got to San Fernando and moved out.
18:25I don't know where to.
18:26Thanks, Tom.
18:27Have a drink?
18:28No, thanks.
18:38Move over.
18:39Ah, I'm going to find out what's wrong with the steering gear.
18:46314 Western Drive.
18:47Nobody home.
18:58Now's our chance to eat.
19:01Why, hello, Steve.
19:02Hello, Fitz.
19:03Hello, Torchy.
19:03Hello.
19:04Come in.
19:05Come in.
19:05Thanks.
19:10Miss Freel and her brother just stopped in.
19:12I'd like you to meet them.
19:14Marsha, this is Lieutenant Steve McBride.
19:16How do you do?
19:17Miss Freel.
19:18And this is Torchy Blaine, the best newspaper gal in town.
19:20Thanks.
19:21I'm so glad to know you.
19:22I've heard about you.
19:23We've heard about you, too.
19:24And Miss Freel's brother, Lewis.
19:26How are you?
19:27I'm very glad to know you.
19:28We're going in the real estate game together.
19:30Oh, you're Fitz's new partner, eh?
19:31That's right.
19:32Of course, after what's happened, naturally, things will be held up a while.
19:35I asked them to stop in, Steve.
19:36It sort of shook me, thinking about Tiny.
19:39You see, Fitz and Mr. Torganson were very old friends.
19:42I see you alone for a minute, Fitz.
19:44Well, sure.
19:45Excuse us, will you?
19:46Right here, Steve.
19:47Won't you sit down?
19:49Oh, yeah, thanks.
19:51Say, this is all right.
19:54Quite a library, Fitz.
19:56You like it?
19:57Yeah.
19:58I hired a college guy to pick these books out.
20:01Don't read much myself.
20:04Sonnets from the Portuguese.
20:06Well, I guess I couldn't read that if I wanted to.
20:09Say, is Chuck around?
20:12Chuck said this place was getting a little highbrow.
20:16He, uh, you know how it is.
20:18He shifted to other quarters.
20:22Quite a guy, Chuck.
20:23Yeah.
20:24Quite a guy, Steve.
20:27Where did you say you moved to, Fitz?
20:29What, you want to see him?
20:30Yeah, I'd like to.
20:31Well, I'll get him right over.
20:32Oh, no, don't do that.
20:33Just the address.
20:4365 Lyons Street.
20:44It's a room and house.
20:45Room 15.
20:47Thanks.
20:49What's on your mind?
20:51Oh, nothing.
20:52Just checking up.
20:55It's been so nice to talk to you.
20:57Do lunch with me soon.
20:58Thanks, I'd love to.
20:59And don't worry about Fitz.
21:01He's...
21:02Hey, take it easy, fella.
21:03Fitz, you're not...
21:04Oh, it's all right, Marsha.
21:05Steve and me always have our little secrets.
21:08It's been a pleasure to meet you, Miss Friel.
21:09I think you're going to be good for Fitz.
21:12Well, good night, all.
21:13Come along, Skipper.
21:14Good night.
21:15Good night.
21:16Good night, Lieutenant.
21:19Good night.
21:20Good night.
21:20Good night, Fitz.
21:23Do you see that look on Fitz's face?
21:25Yeah, I saw it.
21:26Torture, she's the only thing that stands between Fitz and murder.
21:29If Chuck ever gets cropped and decides to clout that gal with lead...
21:32That means the end of Fitz.
21:34Right.
21:45No.
21:46You wait here.
21:47Oh, but I'm going to go with you.
21:48This rat hole is no place for a woman.
21:50But I'm a newspaper man.
21:51Well, you just sit quiet and maybe nobody will notice it.
21:53I...
21:53I...
21:54I...
21:54Oh, yeah.
21:54I...
21:57You...
21:57You...
21:58That...
22:07Dad!
22:37I don't know.
23:07Don't do that. Don't ever do that.
23:27Can't I ever lose you?
23:28Uh-uh.
23:32Well, it looks like Chuck was just marking time, huh?
23:34Yeah, all set to blow out of town. I wonder if he...
23:36Well, he hasn't been gone very long.
23:38What makes you think that?
23:39Well, there drops of water all over the outside of that glass where it slopped over.
23:42Oh, the glass probably sweat.
23:43That foam's in beads. That's water.
23:47Maybe you're right.
23:50Yeah, strange as it seems, you are right.
23:53The end of this cigarette is still dead.
23:55Well, what's this?
23:59Here's the impression of something he wrote.
24:01He used a hard pencil and part of it came through, see?
24:03What does it say?
24:04Well, I can make this much out.
24:06Here.
24:07If you go through with it, then I can't make out the next.
24:11But here.
24:11Here, a little later on.
24:13Fits don't know what he's doing.
24:16Then it fades again.
24:17Look.
24:18Look, listen to this.
24:20Try and muscle in and I'll...
24:23Well, it fades again.
24:25And farther down...
24:27Farther down, I see this.
24:28Even if he called you his best friend.
24:31Take it along. It might help.
24:33It might help?
24:34Well, you can't hang a guy on that.
24:35No, but I can hang plenty on him with it.
24:37Well, maybe.
24:38What do you mean, maybe?
24:39You drive me batty.
24:40You get all steamed up about something,
24:41then you throw cold water on it.
24:42Come on.
24:43We're going to eat?
24:44No, we ain't going to eat.
24:45I've got to call headquarters and get a man staked out here
24:47to watch this place.
24:48Shh.
24:49Listen.
24:49I thought I'd come over and see what this stuff is about Chuck.
25:02Why, it's nothing, Fits.
25:03I'm just checking up.
25:04Skip it.
25:05You don't have to kid me.
25:06Well, I'm not trying to kid you, Fits.
25:08Why don't you go home and get some sleep?
25:09You're taking this thing too hard.
25:10I'll go home and sleep when I want to.
25:12You're not checking up.
25:13You've got something on Chuck.
25:14You're getting tough, Fits.
25:15I'm getting sore.
25:15Really?
25:16That's all he's doing?
25:16Just checking up?
25:17Mind your own business.
25:18That's the way to talk, Fits.
25:19I want to know what you've got on Chuck.
25:21I haven't got anything on him.
25:22I can tell when you've got your nose close to the ground.
25:24You've got something on Chuck,
25:25and if you say you haven't, you're a liar.
25:27I tell you, I haven't got anything on him.
25:38There's a man that's slowly turning to dynamite.
25:41Yeah, if anybody else would him talk to me like that,
25:43I'd kick their teeth out.
25:47Come on, kid.
25:48Let's call it a day.
25:49Oh, gee, Skipper, you're the tops.
25:57Good morning, Lieutenant.
25:59Good morning.
26:00Any news from the Lyon Street place?
26:01Nope.
26:02That is, uh, who's this, uh, what's his name?
26:06You know.
26:08Yes, him.
26:09He ain't showed up.
26:10Cone's staked out there now.
26:12What else?
26:13Well, Blyphus and his flying squad rounded up a lot of potatoes last night.
26:17Twenty-three guys in the holdover.
26:19Oh, yeah.
26:20Pickney Sacks came in about ten minutes ago.
26:22He gave me this magazine.
26:24Where is he?
26:25Somewhere.
26:25I don't know.
26:27Say, Lieutenant, what's a locust like in this story?
26:31That's police slang for nightstick.
26:32Hello, Sacks.
26:44You mind if I come in?
26:46No.
26:47Come on in.
26:48So you'll read, too, eh?
27:00Sure.
27:01Want one?
27:03I always carry three or four with me.
27:05When I get sick of reading them, I cut paper dolls.
27:09You didn't want to see me by any chance, did you?
27:13Yeah.
27:14Now, the five of my boys was picked up last night by a gang of your stooges, and the boys
27:19want to see a football game today.
27:21That's very interesting.
27:23What are you holding them for?
27:24A fellow was killed last night.
27:26Sure.
27:27A fellow was killed last night.
27:30A fellow from Boston.
27:33A little big fellow.
27:36Tiny Torganson.
27:40I did it.
27:41So what?
27:42You look awful worried.
27:43Sure, I'm worried.
27:44Look at me.
27:45Look at me puss hang down to me toes with worry.
27:47You and your crummy ideas.
27:49All right, beat it.
27:50They'll be out at noon.
27:51Now, get out now.
27:52Now.
27:53Why, you...
27:55Go on, beat it.
27:59Why did I kill Torganson?
28:00When any big shot in this bird could outbid me on Malarkey's deal.
28:03Malarkey knows who knocked off Torganson.
28:06So does Dolly Ireland.
28:07What about Dolly Ireland?
28:08What about Dolly Ireland?
28:09I know a guy, McBride, a blind guy.
28:11Only he ain't blind.
28:12He's seen Dolly Ireland and Chuck Cannon going past the Union Station a few minutes before Torganson was shot.
28:17Figure it out.
28:17You're smart.
28:18You figure it out for me.
28:19Sure.
28:20Chuck loses a soft berth if Fitz quits the old racket.
28:22Dolly Ireland is crazy about Fitz, but he's going high hat with a swell name.
28:26I ain't making no charges.
28:27I ain't saying a thing.
28:28But just figure that one out.
28:30Good morning, Skipper.
28:36Yeah.
28:38How about some breakfast?
28:39I had my breakfast.
28:40Lunch?
28:40Never eat lunch.
28:41I'll settle for dinner.
28:43Oh, all right.
28:44Where do we go from here?
28:45I'm going to see Fitzmalarkey's hat check, girl.
28:47Oh, Dixie.
28:52Come on, Gahagan.
28:53What a day.
28:54It's just the kind of a day I like.
28:56I like this time of year, too.
28:58I like girls...
28:58Come on, get going.
29:00Take my wife now.
29:01You got her, you keep her, and shut up.
29:03Where to?
29:04Down Raymond Avenue.
29:05There's a lot of traffic.
29:07Down Raymond Avenue.
29:08Okay.
29:18Yoo-hoo, Dixie.
29:20Come in.
29:24Oh, hello.
29:26Oh, gee, Mr. McBride.
29:28I don't know a thing about anything.
29:30What have I done?
29:31Oh, it's all right, Dixie.
29:32I just want to ask you a few questions.
29:34I never saw him before in my whole life.
29:36Saw who?
29:37Him.
29:38He certainly has a lot of dog.
29:40Where did you get him?
29:41That's it.
29:41I don't know.
29:42I woke up this morning, and there he was, as big as old get-out.
29:45Animals must like me.
29:47Is that a dog?
29:49Yes, indeedy.
29:51It all started at a birthday party.
29:52Yeah, but what I wanted to know is...
29:54Oh, I'll tell you right from the start.
29:56There were 13 people at the table, not counting him.
30:00Maybe...
30:01I don't want to rush you, Dixie, but what do you know about Dolly Island?
30:04Who?
30:05Do...
30:05Oh, Dolly.
30:07Well, Dolly's one of these girls.
30:08Well, you know, she walks right up to you and sticks out her hand and says,
30:12Hi, kid.
30:14I always thought she was pretty regular.
30:16Though I did see her getting mad in Crown-A-Guy once with a bottle.
30:19She was awful mad.
30:21Well, was she and Fitz ever that way about each other?
30:23You mean like you and her?
30:28Answer the question.
30:29Well, I did see them together a lot, but it always looked like a brother and sister act to me.
30:35Wish I knew where I got that dog.
30:37You know where Dolly lives?
30:38Over on Sycamore Avenue, 598 Sycamore Avenue.
30:42Okay, thanks.
30:43There's some pooch, Dixie.
30:45You know they carry brandy around in the Alps.
30:48In the Alps?
30:49You must have been higher than you thought last night.
30:51Yeah.
30:52Huh?
30:52Huh?
30:52Well, come on.
31:00Tag along.
31:00I suppose you're in on this too.
31:02Not this time, Skipper.
31:02I'll have to trust you with Dolly alone.
31:04I have a luncheon date.
31:05But pity the guy that pays a check.
31:06Who is he?
31:08Oh, he's tall, dark, and handsome.
31:09Well, who is he?
31:10See you at dinner, Skipper.
31:14What a day.
31:15What a day.
31:16I feel like a million bucks.
31:17I could write a poem I could.
31:19A poem I could write.
31:20A poem.
31:20Oh, shut up.
31:21598 Sycamore Avenue, Dolly Islands.
31:23Lieutenant, what is it that rhymes with Ireland?
31:26That's what I'm trying to find out.
31:28Come on.
31:29From hypnotized by the green in her eyes,
31:32my hypnotized...
31:34Good morning, Miss Ireland.
31:56Hello, Lieutenant.
31:57May I talk to you for a moment?
31:58Sure.
31:59Come in.
32:02I'm just having breakfast.
32:03I don't like to interrupt.
32:05Oh, that's all right.
32:06Have some coffee?
32:07Thanks, I will.
32:12Sit down.
32:19Murder's a pretty serious thing, isn't it, Miss Ireland?
32:21You ought to know, Lieutenant.
32:23You handle enough of it.
32:25How did you happen to be around Union Station last night with Chuck Cannon?
32:30Boy, you get around, don't you?
32:33I hear things.
32:36Sugar and cream?
32:39No.
32:40Black.
32:44Well?
32:44There's a dress shop in the station run by a friend of mine.
32:49I stopped in and bought a dress.
32:51Want to see it?
32:52No, no.
32:53Why did you do that?
32:55After I left the shop, I ran into Chuck.
32:58He was pretty drunk.
33:00I took him by the arm and walked him past the station.
33:02Shove him in a cab and took one myself and went on to the Million Club.
33:07You know, Miss Ireland, sometimes I have to ask personal questions.
33:11Were you ever in love with Fitz Malarkey?
33:15Well, maybe I did love him, but he never could see me.
33:19He was just as well.
33:21Now he's getting what he's always wanted.
33:23And I'm mighty glad.
33:25You don't look very sore about it.
33:27Why should I be sore when a grand guy like Fitz makes the grade?
33:32By the way, Miss Ireland,
33:34do you happen to know where Chuck is now?
33:38No.
33:38The last I saw of Chuck was when I put him in that cab.
33:42Why?
33:42There's a chance that Chuck killed Tiny Torganson.
33:46Don't let Fitz find that out.
33:48I know.
33:49That's why I want to find Chuck.
33:50I think Fitz suspects.
33:52If Fitz ever thought that Chuck...
33:53Exactly.
33:55I may have to talk to you about this again, Miss Ireland.
33:58Thanks for the coffee.
34:00Don't mention it.
34:05Goodbye.
34:06Goodbye.
34:06Goodbye.
34:08What are you doing now?
34:19Boy, oh boy, do I feel good.
34:21I feel I could smack somebody right in the jaw.
34:23Well, I hope you don't meet a bigger guy with the same idea.
34:25Oh, yeah?
34:26Yeah, come on.
34:27Back to the Bastille.
34:28Back to the Bastille.
34:28I was hoping that Louis could join us, but he's been detained at the office.
34:44I'm very proud of that brother of mine. I wish you could know him better.
34:47He's a very good-looking boy. You two make a striking couple.
34:50You know, no one would ever take you for brother and sister.
34:52I guess we don't look very much alike.
34:54Louis resembles father more closely, while I look more like mother.
34:57She must be a very beautiful woman.
34:59Is she coming to your wedding?
35:00I'm afraid not. My parents are both in California.
35:03Oh, by the way, before I forget it, I want to run a story of you and Fitz.
35:07Do you happen to have a photograph I might use?
35:08Only that one, and I've promised it to Fitz.
35:10Well, naturally, he comes first.
35:12He does.
35:14May I have another one?
35:14Why, certainly.
35:27May I go, mister?
35:50Yeah.
35:50Yeah, sure.
35:51Mr. McBride.
35:59Yes, Miss Friel.
36:00How are you?
36:00How do you do?
36:02Oh, sit down.
36:03Sit down, Mr. Friel.
36:05What can I do for you?
36:06It's about Fitz.
36:07I saw Fitz this morning.
36:09He wouldn't admit it, but I think he's been out all night.
36:11Can't you do something?
36:12Can't you go and talk to him?
36:14I have talked to him.
36:15But can't you advise him to sell his business now to anyone who wants to buy it?
36:19You know how particular Fitz is about a buyer.
36:21I'm afraid, after what he told me this morning.
36:23What did he tell you?
36:25Well, it was about Chuck.
36:26Marsha, I wouldn't go into that.
36:27I don't care.
36:28We have to protect Fitz.
36:30Chuck was in the Million Club last night, drunk.
36:32Yeah, I know.
36:33Fitz took a gun away from him.
36:36Two shots had been fired from it.
36:38They had, eh?
36:40Well, I don't think you have to worry anymore about Fitz doing anything foolish.
36:42I got a hunch that Chuck is a long way from here by now.
36:46You think he's left town?
36:47Yeah, sure.
36:48Oh, I'm glad.
36:51Oh, excuse me.
36:52Hello?
36:54Yeah, this is McBride.
36:56What?
36:58Shane Hotel?
36:59I'll be right over.
37:02They just found Chuck Cannon murdered.
37:04Oh!
37:11Hello?
37:12Just a minute, please.
37:13Where's the trouble?
37:14Room 410.
37:15Thanks.
37:16Hello?
37:16Everything's all right.
37:17Let me come downstairs.
37:18After I get down here, there wouldn't let me go.
37:20Okay, yeah, I know.
37:21I know.
37:23It's really important, officer.
37:24No, no, I said.
37:26Well, you don't seem to understand.
37:28I'm from the Herald.
37:28I'm tortured lame.
37:29Oh, I don't care if you're flaming youth.
37:31You can't go in there.
37:31You've still got...
37:32Hello, Lieutenant.
37:33Hello, Joe.
37:33Hi, Skipper.
37:34Oh, hello.
37:36Oh.
37:40Hi, Clint.
37:40Hi.
37:41Well, it's Chuck Cannon, all right.
37:43Yeah.
37:43He was registered here under the name of J.J. Martin.
37:46What time did it happen?
37:47Well, around about a quarter to three, a guy in the room below heard a racket up here.
37:51He phoned the desk and asked him to have it stop on account he had a headache.
37:54About five minutes later, they sent a guy up here and he found this.
37:57Looks like there was quite a scrap.
37:58Yeah, and there was blood in the bathroom where somebody washed.
38:01What was he slugged with?
38:02It's pretty definite that he was crowned with that pinch bottle over there.
38:05I found it in the bathtub.
38:07The guy washed it when he washed his hands.
38:09You won't find any fingerprints on it.
38:10You find anything else?
38:11Yeah.
38:12The clerk said about half past one, Chuck came down to the desk and asked for an envelope.
38:16A thick one.
38:16They were safe keeping for him.
38:18Here's the envelope, but there's nothing in it.
38:19And whatever was in it was snatched.
38:21There might be some prints on it.
38:23Come on.
38:24You just tell what you saw.
38:25I'm not put your name in the paper.
38:26What is your name?
38:26Harry, but I don't want to get mixed up in no murder.
38:28That's all right, Harry.
38:29You come with me.
38:30Excuse us, please, officer.
38:31You still can't go in.
38:32Oh, yes, I can.
38:33Skip it.
38:33Wait a minute.
38:34You can't do that.
38:34Skip it.
38:35Let me in.
38:37Ah, what the?
38:38Here's a hot glue for you, Sherlock.
38:40What is all this?
38:41Go ahead, kid.
38:41Spill it.
38:42Well, about the time this happened, I took a guy down the elevator from this floor.
38:46The guy's hat was dented in.
38:47He was drawing his hands on a handkerchief.
38:49What did he look like?
38:50Well, he was a tall fellow with kind of flat cheeks and dark hair.
38:54Well, that's all I know, mister.
38:55That sounds like Fitz.
38:56You stick around the hotel, will you, kid?
38:59Yes, sir.
39:00What else, Miss Addy?
39:01Oh, I found this gun over by the bureau.
39:03It's got Chuck's initials on the handle.
39:04No fingerprints there either.
39:06The way it looks, fingerprints have been rubbed off everything.
39:09Take this gun over to Ballistics and have Hames check on it.
39:11It's important.
39:11Right.
39:12Got another clue, Skipper?
39:13I'll tell you later.
39:14You don't need me here any longer.
39:19Oh, come on.
39:20Do you mind if I stick around and just snoop a little bit, Skipper?
39:23No, go right ahead.
39:23Pick up your phone where you find it.
39:25What's the matter, Luke?
39:27Oh, you burn me up.
39:27You drive like a fool.
39:29Excuse me, miss.
39:31Nice view, isn't it?
39:32Not for my money.
39:34Ain't this a friend of yours?
39:35No.
39:36So you can't take it, huh?
39:37No.
39:38Quit squawking.
39:39I'll be careful going back.
39:41Well, come on, sister.
39:50This room's rented.
39:51Yeah, I just want a part of my nose.
39:56Well, are you coming?
39:58Sure.
40:03Oh, hello, Mr. McBride.
40:04You're here early.
40:05Yeah.
40:06You find out where you got that dog yet?
40:07Yeah, I traded a sheepdog for him.
40:09Where'd you get the sheepdog?
40:11Gosh, I never thought of that.
40:13Is Carney in yet?
40:14Yeah, he's in.
40:15He got in early.
40:15He's in his office.
40:16Thanks.
40:22Come in.
40:25Well.
40:26Hello, Lieutenant.
40:26I hear Fitz took a gun away from Chuck Cannon last night.
40:29Now, don't try to pull any fast ones.
40:31Well, uh, sure.
40:33Yeah, yeah.
40:34We took a gun away from him.
40:35He didn't have it out.
40:36We just took it and then sent him on his way.
40:38What did you do with it?
40:40Fitz put it in the safe.
40:41Get it.
40:43Sure.
40:53It's not here.
40:55Who else knows the combination?
40:57Only Fitz.
40:59Thanks.
41:11I want you to come with me, Fitz.
41:12Okay.
41:17Why did you do it?
41:18He killed Carney.
41:19You promised me.
41:20I know, I know.
41:21And he threatened Marsha.
41:23Told me he'd kill her.
41:24Why didn't you phone me and let me take him?
41:26I don't know.
41:27I don't know.
41:29It's going to be tough, Fitz.
41:31You won't be able to plead self-defense.
41:34I know that Chuck's gun was taken away from him last night and put in your safe.
41:38You took it out.
41:39You carried it over to the hotel and left it in Chuck's room.
41:43Well, I didn't get away with it.
41:44You just can't blame me for trying.
41:46What did you take out of that envelope?
41:47What envelope?
41:48There was a big, thick envelope that Chuck got from the hotel clerk before you got there.
41:52The envelope was empty when we found it.
41:55I don't know anything about that.
42:00I know you're trying to give me a break, Steve.
42:03Thanks.
42:04When Chuck got tiny, I left that to you.
42:07When he threatened to kill Marsha, I...
42:10This means a chair, Fitz.
42:12Premeditated murder.
42:13It means weeks and months of trial, and after that, more weeks in the death house.
42:28Sorry to do that to you, Fitz.
42:30Here, let me help you.
42:31Speak up!
42:32Back around there.
42:34Oh, you're going to be funny, eh?
42:36Now stay there or I'll drop you.
42:37When I'm out this door, you can call your cops.
42:39They'll give me a quick answer, but I ain't going to no jail.
42:42Here's the blow-off on that Chuck Cannon murder.
43:08Look, Maxie, do me a favor, will you?
43:09I've got to go.
43:10Call up the Boston Star and have them locate a person by the name of Cawson living in an
43:14apartment ending in E-R-M-A-N.
43:17What's this, a crossword puzzle?
43:18Well, I don't know.
43:19I found that in Chuck Cannon's room.
43:20What's this got to do with the Cannon killing?
43:22Boy!
43:23Well, it may have a lot to do with that Torganson killing.
43:25You know, Torganson came from Boston.
43:26Listen, Chaucie, are you working for me or for Steve McBride?
43:29Now, I have another assignment for you.
43:30Oh, listen, Maxie, give me a break, will you?
43:33That big palooka can't even think without me around.
43:35I've got a couple of angles on this case.
43:37Why don't you marry that guy?
43:38That's one of the angles.
43:42When did Miss Island leave here?
43:44About a half an hour ago.
43:45I carried her bag out and called a cab for her.
43:48Bag, eh?
43:48Yeah.
43:49Went to Union Station.
43:50What did the bag look like?
43:52Black patent leather, I guess.
43:53Had the letters, uh, D-I on it.
43:56Thanks.
43:58Hey, hey, when did the Union Station?
43:59Siren and all?
44:00Yes, siren and all.
44:01Sorry, oh, sorry.
44:13What was the last train out of here and where was it bound for?
44:16Twilight fire for Boston, just left.
44:18When was the one before that?
44:19Local for New York, left at 350.
44:21May I have that?
44:22Sure.
44:23Thanks.
44:26Any of you boys remember carrying a black patent leather bag for a lady?
44:29Had the initials D-I on it.
44:30No, sir.
44:31Yeah, sir, I remember seeing a black bag.
44:34I put the lady on the twilight flyer.
44:36Thanks, George.
44:37Thank you, sir.
44:41Call up the state police headquarters at Bancroft.
44:43Tell them to flag down the twilight flyer.
44:44Pass it in there in a few minutes.
44:46Tell them to take off Dolly Island.
44:47She's traveling with a black patent leather suitcase with her initials on it.
44:50She's a medium-high good-looking brunette.
44:52Ask them to bring her back here in the car to headquarters.
44:54Quick!
44:54Go on, Sally.
44:59Get them a picture.
44:59No, I don't want to.
45:00Just take a picture of Ralloway.
45:02Oh, go on.
45:02No, no, just take a picture of the pup.
45:04Come on, stand back.
45:05You get your mind.
45:06There.
45:07Did you get it?
45:08Uh-huh.
45:09I should have had me medals.
45:10Thank you, ma'am.
45:11What medals?
45:12Nix, nix.
45:13Not bad, eh?
45:14Get in the car.
45:15The pup must be mootin'.
45:18Can I give you a lift, Skipper?
45:19Are you trying to haunt me?
45:21Where to?
45:22Headquarters, you're hanging.
45:23Siren and all?
45:24Oh, you had your fun.
45:34What were you doing at the station?
45:36Oh, I was just seeing a friend off on the train.
45:38The tall, dark, handsome man I was telling you about.
45:41Well, I hope he falls off and breaks his neck.
45:46Skipper, that's the nicest thing you've ever said to me.
45:49Boy, you're aces with me, kid.
45:52You know, Torchy, I like you.
45:53And I ought to be hung for slamming you around the way I have.
45:57Skipper.
45:58Yeah, from now on, the rough stuff is out as far as you're concerned.
46:02I'm gonna treat you right.
46:05Oh, Skipper.
46:10Torchy, Blaine, you're the worst pest this side of the penitentiary.
46:12I told you you were wasting your time rounding up all those heels.
46:15Don't kid yourself, baby.
46:16On account of that roundup, I got into an argument with Pickney Sachs and I learned things.
46:19All right, you learned things.
46:20What?
46:20I found out there was somebody else besides Chuck Cannon around the station when Torchison was killed.
46:24Somebody who didn't want Fitz to sell out.
46:27Now, don't bother me.
46:28Oh, I ought to let you have it.
46:29You let me alone.
46:30Okay, mastermind.
46:31That solves the Torchison killing.
46:32Now, what about the Cannon murder?
46:33You haven't brought Fitz in yet.
46:34No, I haven't.
46:35Well, aren't you gonna send out a general alarm?
46:37I'm not so sure I want him.
46:38I got a hunch Fitz is covering up somebody and I know who it is.
46:40Oh, well, swell.
46:41That settles everything then.
46:42Come on, let's go eat.
46:45Where's his life is in here?
46:46He isn't here.
46:46He ain't.
46:47Well, where is he?
46:48I don't know.
46:48Oh, I am.
46:49Oh, where you been?
46:49I've been looking all over for you.
46:50Where's that pad?
46:51I told you to eat at the chemist last night.
46:52Here it is.
46:53He, he, right here.
46:54He had a lot of trouble with it.
46:55Some of the impressions were very faint.
46:57All right, all right.
46:58Get out.
46:59All right.
46:59What does it say, Skipper?
47:01If you go through with it, it's curtains.
47:03Fitz don't know what he's doing.
47:04Clear out and keep quiet.
47:05Try and muscle in and I'll spill everything.
47:07I know Fitz and he'll kill you even if he called you his best friend.
47:11You'll find me at the Shane Hotel under the name of J.J. Martin.
47:14It's signed CC.
47:15That's just what I wanted.
47:17Now we're getting somewhere.
47:18Well, let me in on it.
47:19Well, this is a note that Chuck wrote to Torgerson asking for an appointment.
47:22But Chuck got stewed and knocked him off without waiting to talk to him.
47:24Then who killed Chuck?
47:25That's in a bag.
47:26Just stick around a couple of minutes and you'll see.
47:30Yep, right away.
47:31Now keep your little eyes open and watch what Daddy McBride has got to show you.
47:36Dolly, what the...
47:38I thought you'd be surprised.
47:40Thank you, Sergeant.
47:41You can leave that right there.
47:42Yes, sir.
47:44Well, sit down.
47:53And now, Miss Ireland, why did you beat it?
47:55I didn't beat it.
47:57Oh.
47:58You just went away, huh?
48:00That's it.
48:01Took a little trip.
48:02Or started to.
48:04And just when was it that you decided to take this little trip?
48:07On the spur of the moment.
48:10It was just after Chuck was killed, wasn't it?
48:12Why, I...
48:12Chuck was going around drunk and you were afraid that he was going to pop off about you and him getting together to rub out tiny Torgerson.
48:17Wasn't that it?
48:18No.
48:19Didn't you put Chuck up to killing Torgerson?
48:21No, no.
48:22You killed Chuck with a bottle, didn't you?
48:23You killed Chuck with a bottle and Fitz took the blame for it.
48:26No, I tell you, no.
48:28What is this?
48:29Fitz confessed to killing Chuck, but things don't hang together.
48:32I checked up on it.
48:33It was only five minutes after they heard the noise of the fight in Chuck's room that they found Chuck dead.
48:37Fitz had to finish the fight, wash his hands and wipe up a lot of fingerprints all in five minutes.
48:41Now, if he did that, then just for the sake of argument, let's suppose that he did.
48:45Why should he leave the hotel with his hat bashed in and wiping his hands on a handkerchief?
48:49Oh, no.
48:50Fitz didn't kill Chuck.
48:51He was just covering you up.
48:52You killed him.
48:53I didn't.
48:53I didn't.
48:54Now, you listen to me, young lady.
48:56Something was stolen from Lamont when Chuck was killed.
48:58Fitz didn't know about that.
48:59He was surprised when I told him.
49:01Open your bag.
49:02No.
49:03All right, I'll open it.
49:04You leave it alone.
49:05Come on, Dolly.
49:06Give me the key.
49:14Send Blybos in.
49:15He isn't here.
49:15Well, he must be.
49:16He just left here.
49:17He just left.
49:18Well, get a hold of Hames and shoot him in.
49:20Your office?
49:21Yeah, my office.
49:22Right away.
49:25Now, crying won't get you anything.
49:28Oh, what'd you find?
49:29Not a thing.
49:32Blybos!
49:33What time did you say Chuck was murdered?
49:36Not later than quarter to three.
49:37That's very funny.
49:39Dolly was with me from 1.30 to 3.
49:41At the English chop house eating, in case you want to check up.
49:44Well, I'll be...
49:48After all my...
49:49What do you want?
49:50I don't want anything you sent for me.
49:52Well, what'd you find out?
49:53The two slugs we found in Torgensen's body don't match these.
49:56Chuck never killed Torgensen with that gun.
49:58What about the two empty chambers?
49:59There's no sign of them having been loaded.
50:01Why, Chuck hasn't even fired this gun.
50:04All right, Hames, you may go.
50:07And take Miss Allen with you.
50:08Let her go.
50:09And you get out of here, too, Torchy Blaine.
50:15Now.
50:16Stick around.
50:17I want to talk to you.
50:19Okay, Daddy McBride.
50:20All right, I was wrong.
50:21Right.
50:22Ever since we started, you've been trying to kick the props out from under this case.
50:25Why don't you do something constructive for a change?
50:27All right.
50:28I didn't have a chance to show you this before.
50:30I picked it up in Chuck's room.
50:31It's a piece of an old envelope, but that tear is new.
50:34Now, whoever killed Chuck killed him to get the letters out of that envelope.
50:37He had something on somebody.
50:38Why didn't you show me this before?
50:40Oh, well, I was...
50:41I know.
50:41You don't remember.
50:43Well, anyway, this gives us a motive for Chuck's murder.
50:46Fear.
50:47Fear that he might expose someone.
50:49Maybe this Corson.
50:50Right.
50:51Corson's address is Boston.
50:52Torganson came from Boston.
50:53That ties up the two murders.
50:55I'll check with the Boston police.
50:56Oh, I've already done that through my newspaper.
50:57The address is the Sherman Apartments, but there's no record of any Corson ever having lived there.
51:01Thanks.
51:02Oh, dear.
51:03If we could only get the date on that letter.
51:05Yeah, that stopped us again.
51:07You've eliminated Dolly Ireland and a ballistic show that Chuck didn't kill Torganson.
51:11Well, that's two strikes on you, Skipper.
51:13One more and you're out.
51:14Never mind about that.
51:15Let's assume that the motive for both murders was the same.
51:17And that someone by the name of Corson is the guilty party.
51:21Now, the only person we know who was close to both the dead men is Fitz Malarkey.
51:25We don't believe he did it because we think he's covering for somebody else.
51:27Maybe Fitz is smarter than we think he is.
51:30He might be trying to throw us off.
51:31Maybe he's covering himself.
51:33I've got it.
51:34The answer to the whole thing.
51:35We've got to find Fitz.
51:36You're telling me Fitz is Corson and he killed Torganson himself?
51:38I'm not telling you anything.
51:40Come on, Skipper.
51:40Let's go.
51:40Go where?
51:41To Marsha Fields to find Fitz.
51:43What makes you think he's there?
51:43If you were Fitz, where would you be?
51:45You win.
51:45Come on.
51:46Come on.
51:48What a night.
51:59What a night.
52:01I love the nights.
52:03And the stars.
52:05They're like a symphony.
52:07What do I see?
52:08Probably spots before your eyes.
52:10You'd better see a doctor.
52:11Now?
52:12What?
52:13Wait here.
52:14Come on.
52:16Okay, Hagen.
52:18Telephone me at this number in ten minutes.
52:21Oh, sure.
52:22Call you in ten minutes.
52:23What do I say?
52:23Well, say anything at all.
52:24Recite a poem.
52:25Anything.
52:26Hey.
52:27Look what's on this side.
52:28Maybe that'll be an inspiration for you.
52:29I'll say.
52:30Oh, boy.
52:31Ain't that a honey?
52:33There is an instapation.
52:35Woo!
52:35Hello there.
52:49Come on in.
52:50Hi, Mr. Friel.
52:51I'm looking for Fitz.
52:53He hasn't been here.
52:54Oh, good evening, Marsha.
52:55Good evening.
52:56How are you doing, Miss Friel?
52:57Do you know where Fitz is?
52:58No, I don't.
52:59But I do know he didn't kill Chuck Cannon.
53:01He told me he did.
53:02But if he told you that...
53:03I mean, I thought you were looking for him.
53:05I am.
53:05He got away.
53:06We've got to find him, Marsha.
53:07It's for his own good.
53:08I told him.
53:08I begged Fitz to let the police handle everything.
53:11Why, he's crazy.
53:11He must be.
53:12Oh, Lewis.
53:13But I've spent weeks and months arranging this deal.
53:15Corporation papers and everything.
53:16Fees.
53:17Day and night work.
53:18I'm no millionaire.
53:18I can't afford to go...
53:19Oh, Lord.
53:19Please be quiet.
53:20Are you sure that Fitz isn't here?
53:22I haven't seen him since early this morning.
53:23Well, if you don't mind, I'll take a look.
53:25But I tell you, he's not here.
53:26Now, just a moment.
53:27But I want the truth.
53:27You're close to him, both of you.
53:28Why don't you tell me where he is?
53:29I don't know.
53:30Can't you understand?
53:31I want to take him myself personally.
53:32If I don't, if I have to send out a general alarm, he'll be killed.
53:35He's threatened to shoot it out.
53:36He'll be riddled.
53:37A fool.
53:38Now, Miss Friel.
53:40Why did Fitz kill him?
53:42Did it have something to do with you?
53:43Let her alone, McBride.
53:44He'll tell you what she knows.
53:45Well, let's have it.
53:47Come on, Marsha.
53:48Tell him.
53:48It can't hurt Fitz now, anyway.
53:49Oh, all right.
53:51I feel as though it's all my fault.
53:53I feel as though I were more guilty than Fitz.
53:56Yesterday, Chuck met him.
53:57He told me that I was the cause of everything that had happened.
54:01And that if I didn't go away and leave Fitz alone, he'd kill me.
54:05I was terrified.
54:06I told Fitz, but he promised not to do anything foolish.
54:09He agreed that I was to go back to my home and wait for him.
54:12And he'd join me there.
54:14Where is your home?
54:14Why, uh, why, it's New York.
54:16You see, Marsha and I, we, um...
54:17Marsha, I'm sorry.
54:19This is news.
54:19I must ask you a few questions.
54:21Oh, please, how can you at a time like this?
54:23Please, Mr. Friel, your family.
54:24I want to know something about them.
54:25Your parents.
54:26Who are they?
54:26Are they living in New York?
54:27Our parents are dead.
54:29Really must agree to that at this time.
54:31Thanks.
54:32That's all I wanted to know.
54:34Now I have something to say.
54:35Miss Friel, I arrest you with the murder of Chuck Cannon.
54:37Why, how can you possibly?
54:38Are you crazy, McBride?
54:39You know better than that.
54:40Come on.
54:41Let go of her.
54:41I ought to kill you for this.
54:48Fitz.
54:48I apologize, Miss Friel, but I knew that was the only way I could bring him out.
54:51I was wrong about you, McBride.
54:53You're just a cheap flat foot.
54:54Why don't you send your bulls after me?
54:56I gave you plenty of chance.
54:59Answer that.
55:01Hello.
55:03It's for you.
55:04Oh, that's my paper.
55:05Be careful what you say.
55:06Hello.
55:07Hello, Torchy.
55:08This is Gahagan.
55:11A fool there was, and he made his prayer, even as you and I.
55:17A rag of bone and a hank of hair, even as you and I.
55:23No.
55:25You don't say.
55:27Even as you and I.
55:29Even as you and I.
55:32Well, I'll be right in, Maxie.
55:35Mr. Friel, you just told me your parents were both dead.
55:38You didn't know that Marsha had already told me they were both living.
55:40What are you getting at?
55:41My paper just informed me that they've solved the Torganson and Cannon killings.
55:45The murder has just been identified through a Boston milliner and a photographer as a woman by the name of Corson.
55:53Oh.
55:56Come on, McBride.
55:57Take me in.
55:58You know I killed Chuck.
55:59You won't be so anxious to protect her when you know the truth, Fitz.
56:01Get the hands of all of you.
56:03So you've got it all figured out, eh?
56:04Sure, I've got it all figured out.
56:06You're not brother and sister.
56:07You're a couple of cheap crooks trying to take him over for all he's got.
56:10Come on, Marsha.
56:11Let's get out of here.
56:12So that's the gun that killed Torganson, eh, Friel?
56:14One move out of you and you'll be next.
56:16Marsha, how could you?
56:17Oh, shut up.
56:18Quiet, sucker.
56:19Open the door, Marsha.
56:23Lewis!
56:25Stay where you are!
56:27Torganson, look out to Fitz.
56:29Fitz, are you all right?
56:33Give me emergency.
56:35Well, Fitz, I hope this will be a lesson to you.
56:37Yeah, it's what I get for trying to step out of my own class.
56:40I know where I belong now.
56:42Then you're not going to sell out?
56:44No.
56:44I'm sticking.
56:45Oh, gee, that's swell, Fitz.
56:47I just saw Marsha, Fitz.
56:48She talked.
56:49You want to hear it?
56:50Yeah, sure.
56:52Well, Friel planned the whole thing.
56:53He wrote to Marsha Corson in Boston and told her to come here and pose as his sister.
56:57You fell for her just as they'd planned.
57:00Things were going swell until Torganson came along.
57:02He'd known them both in Boston as a pair of sharpshooters.
57:05So Friel had to kill Tiny to keep from being exposed.
57:08So that was a setup, eh?
57:10Well, what about Chuck?
57:11Chuck must have had a hunch that they were phonies.
57:13He got hold of some old letters that Friel had written to Marsha Corson.
57:17Letters telling about the whole scheme.
57:19Chuck was on the point of exposing Marsha unless she cleared out.
57:22So Friel went to the Shane Hotel and chalked up another murder.
57:25And I thought Marsha had killed Chuck in self-defense.
57:28She told you that to protect Friel.
57:29We knew all along you were covering up somebody.
57:37Dolly.
57:38Hello, Fitz.
57:39I think everything's going to be okay now.
57:44Not with me, it isn't.
57:45You haven't explained to me yet how you traced that scrap of letter to Marsha Corson.
57:48Oh.
57:49Oh, well, I was just pulling a fast one.
57:51But you nearly spoiled everything when you pulled Dolly off that train.
57:54Dolly?
57:54I wanted to help you, Fitz.
57:57Torchy and I had the same hunch about Marsha.
57:59So I got into her apartment and found a hat with a Boston label and a picture by a Boston photographer.
58:05I figured that they'd prove Marsha's real name was Corson.
58:08And that's why Dolly was on her way to Boston.
58:09What did you do with the hat and the photograph?
58:11Dolly was wearing the hat when you nabbed her.
58:13And I presented the picture to Gahagan.
58:15Well, you were lucky to get away with it.
58:17It's a lucky thing you've got Torchy.
58:19Yeah, right, right.
58:20But he doesn't appreciate anything I do.
58:22All right, all right.
58:23I'll pat you on the back.
58:24You're great.
58:25You're colossal.
58:27You ought to be a detective.
58:28So ought you.
58:30Don't make any difference what I was.
58:31I'd never be able to figure out what goes on in that dizzy brain of yours.
58:33It's going to take you the rest of your life to find out.
58:35All right, I'll take the job.
58:37Are you proposing to me?
58:38Well, yes.
58:39Say, you two.
58:40Shh.
58:41This is a hospital.
58:43Oh, we're sorry.
58:44Forgive us.
58:45Maybe she'll feel better if I take her out and feed her.
58:49Let's eat.
58:49Oh, darling.
58:51Oh, darling.
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