D.O.A. (1949) is a gripping film noir directed by Rudolph Maté, starring Edmond O’Brien and Pamela Britton. Known for its innovative storytelling and suspenseful pacing, the film remains one of the most iconic noirs of the post‑war era.
The story begins with Frank Bigelow, a small‑town accountant, walking into a police station to report his own murder. He explains that he has been fatally poisoned and has only hours to live. As he recounts his desperate search to uncover who killed him and why, the film unfolds as a tense race against time. With its shadow‑laden cinematography, shocking premise, and relentless momentum, D.O.A. stands as a quintessential noir masterpiece.
Film Details
Title: D.O.A.
Year: 1949
Genre: Film Noir / Crime Thriller
Director: Rudolph Maté
Starring:
Edmond O’Brien
Pamela Britton
Luther Adler
Beverly Garland
Runtime: Approx. 83 minutes
Studio: Cardinal Pictures
Distributor: United Artists
Country: United States
Format: Black‑and‑white
#DOA1949 #EdmondOBrien #FilmNoir #DeadManWalking #PoisonedProtagonist #NoirClassic #1940sCinema #LuminousToxin #BlackAndWhiteFilm
The story begins with Frank Bigelow, a small‑town accountant, walking into a police station to report his own murder. He explains that he has been fatally poisoned and has only hours to live. As he recounts his desperate search to uncover who killed him and why, the film unfolds as a tense race against time. With its shadow‑laden cinematography, shocking premise, and relentless momentum, D.O.A. stands as a quintessential noir masterpiece.
Film Details
Title: D.O.A.
Year: 1949
Genre: Film Noir / Crime Thriller
Director: Rudolph Maté
Starring:
Edmond O’Brien
Pamela Britton
Luther Adler
Beverly Garland
Runtime: Approx. 83 minutes
Studio: Cardinal Pictures
Distributor: United Artists
Country: United States
Format: Black‑and‑white
#DOA1949 #EdmondOBrien #FilmNoir #DeadManWalking #PoisonedProtagonist #NoirClassic #1940sCinema #LuminousToxin #BlackAndWhiteFilm
Category
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Short filmTranscript
00:00:07The End
00:00:38The End
00:01:03The End
00:01:39The End
00:02:02Can I help you?
00:02:03I'd like to see the man in charge.
00:02:05He's in here.
00:02:15I want to report a murder.
00:02:17Sit down.
00:02:22Why was this murder committed?
00:02:24San Francisco, last night.
00:02:27Who was murdered?
00:02:32I was.
00:02:41Well, do you want to hear me out or don't you, Captain?
00:02:43I don't have very much time.
00:02:48Your name Bigelow?
00:02:49Frank Bigelow?
00:02:52That's right.
00:02:55Answer the San Francisco APB.
00:02:56Send it direct to Inspector Bannon at Homicide.
00:02:58Tell him we found Frank Bigelow.
00:03:03Go ahead, Mr. Bigelow.
00:03:07Well, this involves some other people, Captain.
00:03:10A number of other people.
00:03:11You tell it any way you like.
00:03:16I live in a little town called Banning out on the desert.
00:03:19It's on the way to Palm Springs.
00:03:23I have a small business there.
00:03:28Paula?
00:03:32Yes, Mr. Bigelow?
00:03:33Give me a copy of Miss Hollis' 48 tax return, will you?
00:03:36Oh, uh, you better get the 47, too.
00:03:38Yes, Mr. Bigelow.
00:03:40I don't think we took any depreciation on that new equipment last year.
00:03:43No, we didn't.
00:03:44I remember you said we could include it all this year.
00:03:47Sure we can.
00:03:48Hey, Frank.
00:03:49Yeah, Will?
00:03:49Peterson says he wants a financial statement before he can give me my loan.
00:03:53Hello, Kitty.
00:03:54Hi, Will.
00:03:54Well, I'm leaving for San Francisco today, but I'll be back in about a week.
00:03:57I'll take care of it for you then.
00:03:58Sure is a scorcher, isn't it?
00:04:00Well, I've seen him worse.
00:04:01Well, have a nice time, Frank.
00:04:02Yeah, thanks, Will.
00:04:03Paula, why don't you come down to the place and let me give you another permanent?
00:04:07Makes your hair so much easier to manage in all this heat.
00:04:10I can't afford it right now.
00:04:11Maybe next month.
00:04:12Yeah, here it is.
00:04:13No, we didn't take it.
00:04:13Well, we can do it this year.
00:04:15You work it out any way you think best.
00:04:18Have a nice trip, Frank.
00:04:20Sure, Kitty.
00:04:20See you when I get back.
00:04:21Bon voyage.
00:04:25Why don't you come down anyway, Paula?
00:04:27We'll work out a deal on that permanent.
00:04:29Thanks.
00:04:30Maybe I will.
00:04:34Hello?
00:04:35Oh, hello, Mr. Hawkins.
00:04:37Just a moment.
00:04:38Do you want him to send your ticket over?
00:04:40No, I'll pick it up myself.
00:04:42No, never mind.
00:04:43Mr. Bigelow will pick it up at the station.
00:04:44Bye.
00:04:50I want to go with you, Frank.
00:04:52Now, Paula, I'm just going on a little vacation, you know that.
00:04:55You want to go without me, don't you?
00:04:56Be gone just a week.
00:04:58And I suppose you've just made up your mind to take this little vacation at nine o'clock this morning?
00:05:02No, Paula.
00:05:03I meant to tell you about it a few days ago.
00:05:05I guess I forgot.
00:05:05Oh, you forgot.
00:05:07Paula, don't be like that.
00:05:09Don't be like what?
00:05:10You just drop a little announcement that you're going away.
00:05:12Not tomorrow or next week or next month, but today.
00:05:15No explanations, nothing.
00:05:16And I'm supposed to swallow the excuse that you need a little vacation.
00:05:20I just want to get away from town for a few days, that's all.
00:05:23Get away from this town or get away from me.
00:05:25Oh, Paula, please try to understand.
00:05:27How can you ask me to understand anything like this?
00:05:30No, I'm sorry, but I don't understand.
00:05:34Go to San Francisco, but don't expect me to be waiting for you when you get back.
00:05:57Paula, please, Paula.
00:05:59Come on, turn around, look.
00:06:07Come here.
00:06:09Why do you do this to me, Frank?
00:06:11Why can't you be honest with me?
00:06:13As honest as I am with you, do you have to go?
00:06:17I have to go, Paula.
00:06:18I know what I'm doing.
00:06:18All right, go.
00:06:20Go anywhere you like.
00:06:20You can go to Blazers for all I care.
00:06:22Paula?
00:06:24Paula.
00:06:27Yes, I know.
00:06:28I'm being foolish.
00:06:32Come on.
00:06:42Come on, fix your face.
00:06:44We'll go down to Eddie's and have a drink.
00:06:46All right, why not?
00:06:53Hiya, Paula.
00:06:54Hi, Eddie.
00:06:55Give us a couple of cold beers, will it?
00:06:57Coming up.
00:06:58All right.
00:06:59Come on.
00:07:04Oh, what a relief.
00:07:05This air conditioning feels good.
00:07:07I sure wish we had it in the office.
00:07:08It'd make working a pleasure.
00:07:10Well, if it stays this hot, don't bother going in the rest of the week.
00:07:13I win two races today.
00:07:14How many did you lose?
00:07:15You would have to ask that.
00:07:18Kind of early for you two, ain't it?
00:07:19Too hot to work.
00:07:20That's what I'd like to hear.
00:07:42Frank, you'll take me with you, won't you?
00:07:46You will, won't you?
00:07:50Or am I crowding you?
00:07:52What do you mean, crowding me?
00:07:56Maybe you do need this week away alone.
00:07:59Maybe we both do.
00:08:01I know what's going on inside of you, Frank.
00:08:04You're just like any other man, only a little more so.
00:08:06You have a feeling of being trapped, hemmed in,
00:08:09and you don't know whether or not you like it.
00:08:10Look, Paula.
00:08:12I'm going to be honest with you.
00:08:14I care too much for you not to be honest with you.
00:08:16I'm as much concerned for your happiness as I am for my own.
00:08:19I know you've had one bad experience, Frank.
00:08:20I know all about it.
00:08:21But you don't know what it can do to two people, Paula.
00:08:24And the woman always gets hurt more than the man.
00:08:27I don't want you to get hurt, darling.
00:08:30More than anything in the world, I don't want you to get hurt.
00:08:38Want to hear some music?
00:08:39All right, Frank.
00:08:44Got a couple of nickels, Eddie?
00:08:45Yeah.
00:08:47This won't bother you, will it?
00:08:49No, next result doesn't come in for half an hour.
00:09:02I thought that by now we'd be married.
00:09:06No, I'm not going to crowd you anymore, Frank.
00:09:09Go to San Francisco.
00:09:10I don't like it, but I'm convinced that you must go.
00:09:15I want you to be very sure, Frank.
00:09:17If it's right, and I believe it is,
00:09:19we'll have something really wonderful together.
00:09:23If it isn't, we should both know it as soon as possible.
00:09:29So, you see, even if I could stop you, I wouldn't do it now.
00:09:59Yes, sir.
00:10:00My name is Bigelow.
00:10:01I have a reservation.
00:10:02Yes, sir.
00:10:07Here we are, sir.
00:10:09My name is Bigelow.
00:10:10I have a reservation.
00:10:11I have it, sir.
00:10:12It's a very nice room on the sixth floor, facing the bay.
00:10:15Boy, this might help you enjoy your stay, Mr. Bigelow.
00:10:17There's a little booklet on how to have fun in San Francisco.
00:10:21Oh, thank you.
00:10:21Very welcome, sir.
00:10:26Say, is it always like this around here?
00:10:28No, this is market week, and it's the last day, too.
00:10:31Boy.
00:10:32Always around until you need them.
00:10:39Here's a message for you, Mr. Bigelow.
00:10:41A long-distance call came in about an hour ago from Banning,
00:10:44from a Paula Gibson.
00:10:45Oh, thank you.
00:10:46Very welcome.
00:10:46Show Mr. Bigelow to 618.
00:10:48Right this way, sir.
00:11:06Right this way, Mr. Bigelow.
00:11:10Come on.
00:11:24Is there anything else, Mr. Bigelow?
00:11:25Oh, yes.
00:11:26You can get me a dry Manhattan and a package of razor blades.
00:11:29Yes, sir.
00:11:31Oh, and you can leave that door open.
00:11:35Hello, operator.
00:11:37I want to speak to Miss Paula Gibson in Banning, California.
00:11:40That's right.
00:11:42No, I'll wait.
00:11:47Hello.
00:11:48Hello, Paula.
00:11:49Oh, hello, Frank.
00:11:50How was the trip?
00:11:51Fine, just fine.
00:11:52Having a miserable time, I hope.
00:11:54Well, I don't know.
00:11:55I, uh, I just got in.
00:11:58Hi!
00:12:00What was that?
00:12:01Uh, Market Week.
00:12:02The place is crawling with traveling salesmen.
00:12:04You know, Charlie Anderson found out that you went away,
00:12:06and he asked me to go out with him.
00:12:08Oh, really?
00:12:08How did he make out?
00:12:10I'm considering it.
00:12:11Is that what you called to tell me?
00:12:13I'll have you know that this call is strictly business, Mr. Bigelow.
00:12:17Did a Mr. Phillips phone you?
00:12:18A Eugene Phillips of Los Angeles?
00:12:20No.
00:12:20He will.
00:12:21He phoned the office three times today.
00:12:23Said that he wanted to get in touch with you immediately.
00:12:25He said it's most urgent and imperative that he reach you at once.
00:12:28One be one.
00:12:29I don't know.
00:12:30But he sounded deep, dark, and mysterious,
00:12:32and quite agitated about something.
00:12:34Phillips, Phillips, have we, uh,
00:12:36have we ever done any business with him?
00:12:37Not unless you've been keeping it a secret for me.
00:12:39I looked through all the accounts.
00:12:44Uh, why did you tell him you could reach me here?
00:12:47You know I'm supposed to be on vacation.
00:12:48So you told me.
00:12:49And so I told him, dear heart.
00:12:51But the gentleman didn't seem to respect your temperamental moods the way I do.
00:12:55He was very insistent that he speak to you before it's too late, as he put it.
00:12:59Well, tell him you tried to get in touch with me,
00:13:00and I've changed my plans, and you can't reach me.
00:13:03He won't talk to me.
00:13:04I told him that I was your confidential secretary,
00:13:06but I guess I didn't sound confidential enough.
00:13:09So I told him that he could reach you there this evening.
00:13:11Well, call him back.
00:13:12If it's as important as he says it is, he'll talk to you.
00:13:15Otherwise, you'll just have to wait until I get home.
00:13:17Ma, aren't we adamant this evening?
00:13:20All right.
00:13:21Shall do.
00:13:24And Frank.
00:13:25Yeah?
00:13:27I, uh...
00:13:28I don't quite know how to say this.
00:13:31Say what?
00:13:33Well, what I want to say is that there's nothing you can do
00:13:36that you ever have to feel guilty about.
00:13:40Oh.
00:13:43Sure.
00:13:45Thanks, Paula.
00:13:46I'll, uh...
00:13:48I'll call you tomorrow.
00:13:50Frank?
00:14:18Oh, just put it there for you.
00:14:23You can keep the change.
00:14:24Thanks very much.
00:14:25Say, um, how long has this been going on?
00:14:27Well, it's been a madhouse all week,
00:14:28but they check out tomorrow.
00:14:30Oh?
00:14:30I thought you were with them.
00:14:32No, no, I'm just here on a vacation.
00:14:34Why does everybody come to San Francisco and tear loose?
00:14:39Excuse me.
00:14:41Say, uh, I'm awfully sorry to bother you,
00:14:43but, uh, would you mind if I use your telephone?
00:14:44No, no, go right ahead.
00:14:46I'm just across the hall here.
00:14:47One of the boys is using my phone,
00:14:48and, uh, he's been on it for a half hour.
00:14:51I just want to call downstairs.
00:14:55Room service, please.
00:14:57Yeah.
00:14:58Things really picked up the last few days, didn't they?
00:14:59You read it much business?
00:15:01Well, I'm not here on business.
00:15:02Oh.
00:15:02Oh, hello, room service.
00:15:03It's Mr. Haskell in 617.
00:15:05Yeah, that's right.
00:15:06Would you send up, uh, three more bottles of bourbon
00:15:08and two scotch?
00:15:09Yeah, that's right.
00:15:11Oh, and, uh, some more ice, too.
00:15:13Yeah?
00:15:13All right, thank you.
00:15:15You here all alone?
00:15:16Yes, I just got in town.
00:15:17Well, why don't you join us for a drink?
00:15:19Well, I don't want to budge in on your party.
00:15:21Oh, nonsense.
00:15:22It's not a party.
00:15:23Just a few of the boys entertaining some buyers.
00:15:25You know, the usual thing.
00:15:26A few drinks and some laughs.
00:15:28It's no party.
00:15:29Come on.
00:15:30Come on, come on, come on.
00:15:32I don't always like to be all alone in a strange city.
00:15:35I'm, uh, Sam Haskell.
00:15:36I'm Frank.
00:15:38Frank Bigelow.
00:15:39You think some of these guys
00:15:40have never been away from home before?
00:15:42Yeah.
00:15:45Hey, hey.
00:15:46Hey, quiet down a second.
00:15:48I want you to meet Frank Bigelow.
00:15:50Hello.
00:15:51This is Jane Carlisle.
00:15:52Hello.
00:15:52Bill Welch.
00:15:53How are you, Mr. Welch?
00:15:54Glad to know you, Bigelow.
00:15:55Jane's the prettiest buyer in San Francisco.
00:15:57Oh, hey, I resent that.
00:15:59You don't think I believe him, Elaine?
00:16:00Well, he spread that from coast to coast.
00:16:02Oh, gee.
00:16:02But it's good for my morale, anyway.
00:16:04I'm George Cantwell.
00:16:05Glad to know you, Mr. Bigelow.
00:16:07Bigelow, yes.
00:16:08Right on much business?
00:16:09He's not here on business.
00:16:10Oh?
00:16:11Well.
00:16:12Well, why don't you get the man a drink
00:16:13before he dies of thirst?
00:16:15How about a little bourbon?
00:16:15Well, that's fine.
00:16:16Bourbon it is.
00:16:19Of course, Mr. Wallace.
00:16:20Is that correct?
00:16:21Yes, Mr. Wallace.
00:16:23But, Mr. Wallace, I'll need at least a week in Cleveland
00:16:25to visit all my accounts.
00:16:27I can't figure out being in Philadelphia until the 17th.
00:16:29Eddie, will you get off the phone?
00:16:30I want you to meet Frank Bigelow.
00:16:32How are you?
00:16:32That's his boss.
00:16:33He's been trying for an hour
00:16:34to get his expensive gun boosted.
00:16:36Yeah, the way this guy holds on to a dollar,
00:16:37you'd think they weren't printing them anymore.
00:16:39Yes, Mr. Wallace.
00:16:40I'm leaving here the first thing in the morning.
00:16:42Yes, sir.
00:16:44Oh, keep your hips loose, Harry.
00:16:46Like this.
00:16:48Oh, yeah.
00:16:50How's he doing?
00:16:51Oh, there's nothing wrong with Harry's rumba.
00:16:53The two years ago, the Murrays wouldn't kill him.
00:16:54I know.
00:16:55Look at that.
00:16:55I was doing all right there.
00:16:57This is Sue and Harry Brandis.
00:16:58Hello.
00:16:59Good to meet you.
00:17:00How are you?
00:17:00Where'd you find her, Sam?
00:17:01On a dance marathon?
00:17:02She's bourbon.
00:17:03Oh, really?
00:17:04Oh, thanks.
00:17:04Now, I bet you could do the rumba.
00:17:06Well, a little, but I'm kind of rusty.
00:17:09Anything would be an improvement after Harry's.
00:17:11Oh, how do you like that?
00:17:12Well, here goes.
00:17:17Hey.
00:17:18You're good.
00:17:21Oh, my wife, she's a good dancer, isn't she, Big Low?
00:17:23Oh.
00:17:24Yeah.
00:17:27Hey, fellas, I thought you were going to show us a good time tonight.
00:17:30Is this doing the town?
00:17:31That's right.
00:17:32We practically bankrupt our stores to buy everything you've got.
00:17:35Then you keep us in this hotel room.
00:17:37I agree.
00:17:37This is my last night to howl before I go back to being a beautiful housewife.
00:17:43Well, it looks like we're stuck, boys.
00:17:45This is where we blow all our commissions in one night.
00:17:48And you're coming with us, Big Low.
00:17:50Oh, no, thanks.
00:17:50You run along.
00:17:51I've got to get unpacked and have dinner.
00:17:52Oh, no.
00:17:53You're not going to get away from me.
00:17:55Now that I find a man who can dance, I'm going to hang on to it.
00:17:58Oh, my.
00:17:58Oh, my.
00:18:00Oh, my.
00:18:05Oh, my.
00:18:28The End
00:18:50Oh, cool, really cool
00:18:58Man, am I him
00:19:00You're not nowhere, nowhere
00:19:01Blow it, blow up a storm, fisherman
00:19:36Stay with the fisherman
00:19:37Go on, go on, go on
00:19:38Get it, get it, fisherman
00:19:38Go on, go on, go on
00:19:52Get that truck
00:20:10Here, have a little bit of my drink, Frank
00:20:16No, thank you
00:20:18Excuse me a moment
00:20:19Where are you going, Frank?
00:20:21Excuse me
00:20:22I think you've had enough
00:20:35What'll it be?
00:20:36Bourbon and water, no ice
00:20:37Nice, quiet place you got here
00:20:39Well, they hit the pitch in about an hour
00:20:41That's when they really go out of their minds
00:20:43Who's the blonde?
00:20:46Oh, she's one of the chicks that hangs around here
00:20:48She's jive crazy
00:20:50Come again?
00:20:51Oh, you ain't hip, pal
00:20:52Jive crazy means that she goes for this stuff
00:20:54Just between you and me
00:20:55I don't get it either
00:20:56But I gotta listen to it
00:20:57They're all connoisseurs, music lovers
00:20:59Me?
00:20:59I like Guy Lombardo
00:21:02What's the matter with him?
00:21:03Oh, he's flipped
00:21:04The music's driving him crazy
00:21:06Come down, Jack
00:21:07Oh, don't buy me, man
00:21:09I'm being in life
00:21:10Is the blonde alone?
00:21:12Oh, sure, society
00:21:13She always comes in alone
00:21:15Drives a big convertible
00:21:16Wears a mink coat
00:21:17But knows everybody
00:21:18But she always comes in alone
00:21:22Thank you
00:21:23I wanted to kiss you
00:21:25I tried to
00:21:27Give me another blast, Leo
00:21:29What's your story, Jeannie?
00:21:31Easy
00:21:36Hello
00:21:37Easy
00:21:38Dig the fisherman
00:21:39Well, that's really silk, isn't it?
00:21:41Can I buy you a drink?
00:21:42Sure, thanks
00:21:43Give me a blast, Leo
00:21:45Leo, I left my blast at the other end of the bar
00:21:58My name's Jeannie
00:21:59What's your story?
00:22:01Frank
00:22:02I've never seen you here before, Frank
00:22:04Well, I've never been here
00:22:05But you
00:22:11This isn't mine
00:22:12Mine was bourbon
00:22:13Well, sure it is
00:22:14You saw me pour it
00:22:17Give me a fresh drink
00:22:18Anything you say
00:22:20Oh, listen to that piano
00:22:22Feel those vibrations
00:22:26You don't get your kicks out of this, do you?
00:22:28I can live without it
00:22:30Why do you stay here?
00:22:32I don't know
00:22:33I bet I know
00:22:34You're lonely in a big city
00:22:36Why, you don't have to go into a routine with me
00:22:39I like good company, too
00:22:47Say, there's some people there I want to avoid
00:22:52Couldn't we get out of here?
00:22:55Let me think about it
00:22:56Oh, come on
00:22:57How about going somewhere else?
00:22:59Why don't you meet me later?
00:23:05Okay, well
00:23:15Call me at that number later
00:23:17It's my next stop
00:23:19They've got a band there that'll really send you
00:23:21See you, Jeannie
00:23:22Easy
00:23:23Easy
00:23:50Never mind
00:23:51Fine, I'll break you
00:23:57Right
00:24:29I'm a little old man, I'm so hungry,
00:24:33but I can't be open to you,
00:24:36but I'm a little old man to fly all day.
00:24:41I'm a little bit of talking,
00:24:44but I can't be safe,
00:24:45but I can't be safe.
00:25:15Room, sirs, please.
00:25:27Be right with you, waiter.
00:25:28Yes, sir.
00:25:32Rest well, sir?
00:25:33Yeah, sure.
00:25:34May I?
00:25:34Go ahead.
00:25:39It's on there for you.
00:25:40Thank you, sir.
00:25:41Would you like anything else?
00:25:42No, thank you.
00:25:42That's all.
00:25:48Waiter.
00:25:48Yes, sir.
00:25:52Take this away.
00:25:55Is there anything wrong, sir?
00:25:57No, no, no.
00:25:58Just take it away.
00:25:59I don't even want to look at it.
00:26:03Are you all right, sir?
00:26:05Yeah, sure.
00:26:07I'm all right.
00:26:08I just had too big a night, I guess.
00:26:09That's all.
00:26:11I need some fresh air.
00:26:12Of course.
00:26:13Thank you, sir.
00:26:15I'm all right.
00:26:16From here.
00:26:41Let's go.
00:26:42Let's go.
00:26:44Let's go.
00:27:17Lung's in good condition, blood pressure normal, heart fine.
00:27:20Well, it's a good thing everybody isn't like you, Mr. Bigelow.
00:27:23Put us doctors out of business.
00:27:25I'm glad to hear it, doctor. I was a little worried.
00:27:27Don't let a little bellyache worry you. Could be just a change of climate.
00:27:30Well, it isn't exactly an ache, doctor. It's kind of hard to describe the feeling.
00:27:34Maybe it was the drinks I had last night. I might have mixed them too much, huh?
00:27:37Let's have another look at that throat.
00:27:43You may finish dressing now, Mr. Bigelow. I want to get the results of those tests we took.
00:27:47Thank you, doctor.
00:28:10Mr. Bigelow, this is Dr. Schaefer.
00:28:12Hello, doctor. How are you?
00:28:13Sit down, Mr. Bigelow.
00:28:16According to the information you gave Miss Wilson, you're not married, Mr. Bigelow.
00:28:20That's right.
00:28:20Do you have any relatives, family, anyone in San Francisco?
00:28:24No, no one. I don't know a soul in San Francisco.
00:28:26Where is your home?
00:28:28What is this, doctor? Why all the questions?
00:28:30You're a very sick man, Mr. Bigelow.
00:28:31Sick? But you told me I was in good shape.
00:28:34Yes, I know. But my preliminary examination didn't reveal your true condition.
00:28:38You sound as if it's pretty serious, doctor.
00:28:40It's extremely serious.
00:28:41I want you to understand that we wouldn't tell you something like this unless we were absolutely certain.
00:28:46Well, of course, of course.
00:28:47You must steel yourself for a shock, Mr. Bigelow.
00:28:49Well, go on, doctor. What is it you're trying to tell me?
00:28:51A test reveal the presence in your body of a luminous toxic matter.
00:28:55What is that exactly?
00:28:56A poison that attacks the vital organs.
00:28:59Poison?
00:28:59We have no alternative but to tell you this.
00:29:01Your system has already absorbed sufficient toxin to prove fatal.
00:29:04I wish there was something that we could do.
00:29:07What do you mean, wish? You mean there's nothing?
00:29:09There is nothing anyone can do.
00:29:11This is one of the few poisons of its type for which there is no antidote.
00:29:16This is fantastic. This is the most ridiculous thing.
00:29:19You don't have very long.
00:29:22What do you mean?
00:29:24A day, possibly a week, two weeks at the outside.
00:29:27It's hard to say exactly.
00:29:28Well, this is impossible. I don't believe it.
00:29:31You've made a mistake. That's it.
00:29:32It could be a mistake, couldn't it?
00:29:33You have made a mistake. Have you to answer me?
00:29:36Dr. Schaefer is an authority on toxicology.
00:29:38There's no mistake, Mr. Bigelow.
00:29:41Do you realize what you're saying?
00:29:43Why, you're telling me that I'm dead.
00:29:45Do you think you can explain my life away in just a few words?
00:29:48Why, I don't even know who you are.
00:29:50Why should I believe you?
00:29:50You must calm yourself, Mr. Bigelow.
00:29:52We want to offer you every assistance that we...
00:29:54Assistance? Who wants your assistance?
00:29:56Who wants anything from you?
00:29:57You're nothing but a couple of phonies.
00:29:58Why, I think you're crazy.
00:29:59That's it. You're crazy.
00:30:01The both of you, you're crazy.
00:30:17Where's the doctor?
00:30:19Come on, tell me, where?
00:30:20Get out of here, doctor.
00:30:23What's the trouble here? What's the matter with you?
00:30:25Doctor, I want you to examine me for luminous poison.
00:30:31I'm right in here.
00:30:40Yeah, you've got it all right.
00:30:43Your system has already absorbed it.
00:30:46Are you sure, doctor?
00:30:48Are you absolutely certain?
00:30:49Couldn't there be some mistake?
00:30:56There it is.
00:30:57The toxin is actually luminous in the dark.
00:31:00Now there's no doubt about it, Bigelow.
00:31:03I don't feel sick.
00:31:04My stomach is just a little bit upset.
00:31:07Maybe it's not as bad as you think, doctor.
00:31:09That's characteristic.
00:31:10With a heavy jolt, you go suddenly in a matter of hours.
00:31:13But if the stuff is taken in a lesser degree,
00:31:15you last a while, and then, and then.
00:31:23Give it to me straight, doctor.
00:31:25Well, a number of things are involved.
00:31:27The systemic condition of the individual,
00:31:29the amount consumed, exertion.
00:31:31Yes.
00:31:32You won't feel too badly for a while.
00:31:34Then it will happen suddenly.
00:31:36A day, two days, a week at the most.
00:31:43A day.
00:31:46Two days.
00:31:47There's nothing that can be done now.
00:31:49If it had been caught in time,
00:31:50your stomach could have been washed out.
00:31:51But you've had it in you for some time now.
00:31:53For at least 12 hours, haven't you, Bigelow?
00:31:55I don't know.
00:31:57You don't know?
00:31:58No.
00:31:59Don't you know how you got it?
00:32:00No.
00:32:01This is no accident.
00:32:02Somebody knew how to handle that stuff.
00:32:04That wax is tasteless, notareless.
00:32:06The amount of alcohol in your body,
00:32:07you must have got it in liquor.
00:32:08I was drinking last night.
00:32:10Arrange for your admission to the hospital immediately.
00:32:13Of course, I'll have to notify the police.
00:32:16This is a case for homicide.
00:32:18Homicide?
00:32:19I don't think you fully understand, Bigelow.
00:32:22You've been murdered.
00:32:30Get me police headquarters, please.
00:32:32Homicide Bureau.
00:32:40Homicide Bureau.
00:32:50The End
00:33:20The End
00:33:56A day, two days, a week, the most.
00:34:36A day, two days, a week, the most.
00:34:40You've been murdered.
00:34:41You've been murdered.
00:34:43You've been murdered.
00:34:44You've been murdered.
00:34:46You've been murdered.
00:34:52THE END
00:35:26THE END
00:35:47Open up
00:35:50Open this door, I tell you
00:35:51Open it up or I'll break it down
00:35:54Where are those men?
00:35:55Where are those men who were here last night?
00:35:57I don't know there are no men here
00:35:58Please go away
00:35:59Don't lie to me, where are they?
00:36:00Mister, this lady just checked in
00:36:03Those men aren't here no longer
00:36:04They checked out the hotel early this morning
00:36:06Checked out?
00:36:07Please go away
00:36:09I'm sorry
00:36:11I'm terribly sorry
00:36:18Hello?
00:36:19Please, Mr. Bigelow, my eardrums
00:36:22Oh, hello, Paula
00:36:24Your enthusiasm overwhelms me
00:36:26Why haven't you phoned me?
00:36:27Or is there a quota on telephone calls up there?
00:36:31I'm sorry
00:36:32I've been busy
00:36:34I'll bet you have
00:36:36Visiting the museums, no doubt
00:36:38What's happening up there that's exciting or different?
00:36:41Nothing, not a thing
00:36:42I'll bet you miss me
00:36:43But you're too stubborn to admit it
00:36:45Sure, sure
00:36:46You know, if you'd like me to come up
00:36:47I can pack a toothbrush and leave right away
00:36:49No!
00:36:51Well, you don't have to snap my head off
00:36:53You could at least make a pretence of missing me
00:36:56I'm sorry, Paula
00:36:58Of course I miss you
00:37:01Listen, Paula
00:37:03Paula, it's just that I don't feel like talking now
00:37:08I'll call you later
00:37:09Don't strain yourself
00:37:11You phone me sometime when you feel more like talking
00:37:16Oh, by the way, I called that Mr. Phillips back
00:37:19Phillips?
00:37:20Yes, you know
00:37:21The man that tried to reach you
00:37:22Well, I'm afraid you'll never know why it was so important
00:37:24That he speak to you
00:37:25His office said he died yesterday
00:37:29Frank, are you there?
00:37:31Did you hear me?
00:37:35Died?
00:37:38When?
00:37:39Yesterday
00:37:40So you won't have to bother your little head about him anymore
00:37:42You can just go ahead and have fun
00:37:45Paula
00:37:46What did he die from?
00:37:48Do you know?
00:37:48I suppose he died from whatever people usually die from
00:37:51Well, didn't they tell you?
00:37:52Don't you know?
00:37:53What are you getting so excited about?
00:37:55You said you didn't even know the man
00:37:57Listen, where's his office located?
00:37:58What difference does it make?
00:37:59You can't talk to him now
00:38:00I told you, the man's dead
00:38:02Paula, will you stop talking so much
00:38:03And tell me where his office is?
00:38:06All right
00:38:09It's the Phillips Importing and Exporting Company
00:38:13Bradbury Building, Los Angeles
00:38:15Bradbury Building, Los Angeles
00:38:17That's right
00:38:17Say, this is really a switch
00:38:20Listen, if you want to reach me, I'll be in Los Angeles
00:38:22Are you out of your mind?
00:38:23I'm sorry, Paula
00:38:24I've got to hurry
00:38:24Wait a minute
00:38:25Where in Los Angeles?
00:38:27The Allison
00:38:27The Allison Hotel
00:38:28Goodbye, Paula
00:38:41The Allison
00:38:42The Allison
00:39:05I'd like to see someone in charge here.
00:39:06What is it in regard to?
00:39:07Well, it's a personal matter. It's quite urgent.
00:39:09Perhaps Mr. Halliday can help you.
00:39:10Who's he?
00:39:11He's our controller.
00:39:12Your name, please.
00:39:13Bigelow.
00:39:15Mr. Bigelow to see you.
00:39:17Send him in.
00:39:18Go right in, please. That door.
00:39:26Mr. Bigelow?
00:39:27How are you, Mr. Halliday?
00:39:31What can I do for you?
00:39:32Well, Mr. Phillips phoned my office several times yesterday.
00:39:35I'd like to find out what it's all about.
00:39:37You know Mr. Phillips died yesterday?
00:39:38Yes, I know.
00:39:39Well, I don't understand.
00:39:41If he phoned you, didn't he tell you what it was about?
00:39:44Well, he didn't speak to me.
00:39:45I wasn't in my office at the time.
00:39:47And he wouldn't tell my secretary.
00:39:49I'm afraid I can't be of much help, Mr. Bigelow.
00:39:51I have no idea why Mr. Phillips tried to reach you.
00:39:55I'm sorry you had to make the trip for nothing.
00:39:57How do you know I made a trip?
00:39:59I didn't say anything about making a trip.
00:40:00I merely said he phoned my office.
00:40:02My office could be here in Los Angeles.
00:40:05Miss Foster.
00:40:08Miss Foster.
00:40:09Yes?
00:40:09Didn't you mention something yesterday about Mr. Phillips speaking with Mr. Bigelow in San Francisco?
00:40:13I said that he had phoned Mr. Bigelow's office in Banning, but that Mr. Bigelow was staying at the St.
00:40:17Francis Hotel in San Francisco.
00:40:19I'm sorry you misunderstood me.
00:40:20Do you know why Mr. Phillips called?
00:40:21No, I don't.
00:40:22All right.
00:40:22Thank you, Miss Foster.
00:40:24You can understand that we've been somewhat upset around here.
00:40:27Now, if you don't mind.
00:40:35Do Mr. Phillips have a wife, family, anyone that could help me?
00:40:38You can't intrude on people at a time like this just to satisfy some curiosity.
00:40:42It isn't just curiosity.
00:40:43Then I suggest you wait a week or so.
00:40:45I can't wait.
00:40:45Well, I'm sorry you'll have to.
00:40:46Well, there's always a phone book.
00:40:48You're a pretty aggressive fellow, Bigelow.
00:40:50Are you quite sure that this is as important as you make it appear to be?
00:40:53It's important.
00:40:55Mrs. Phillips lives at the Sunset Arms Apartments.
00:40:59I needn't tell you she's under a strain.
00:41:05I suppose you're capable of using a little more tact with her than you demonstrated with me.
00:41:09I think I can handle it.
00:41:10By the way, what was the cause of Mr. Phillips' death?
00:41:14Suicide.
00:41:14He lived on the balcony of his apartment.
00:41:30Come in, Mr. Bigelow.
00:41:37I'm Stanley Phillips, Eugene's brother.
00:41:40Halliday phoned that you were coming.
00:41:47This is my sister-in-law, Mrs. Phillips.
00:41:49I'll try to make this as brief as possible, Mrs. Phillips.
00:41:52I'm afraid I can't be of any help to you, Mr. Bigelow.
00:41:56I haven't the slightest idea why my husband wanted to speak to you.
00:42:02Well, I guess Halliday covered just about everything.
00:42:05Did your husband ever mention anything about me, Mrs. Phillips?
00:42:08Anything at all?
00:42:09No.
00:42:10I can't recall Eugene ever having mentioned your name.
00:42:23I hate to ask you this, Mrs. Phillips, but it's of vital importance to me.
00:42:28Do you know why your husband committed suicide?
00:42:36You're certainly not the most diplomatic person in the world, are you, Bigelow?
00:42:41Were you a friend of my brother's?
00:42:42I never met him.
00:42:50My brother was in a jam, a pretty bad jam.
00:42:53He was arrested two days ago.
00:42:55He sold some iridium to a dealer by the name of Majak.
00:42:58It's very rare metal, very costly.
00:43:01Anyway, the iridium turned out to be stolen.
00:43:03He was released on bail yesterday, but he faced a pretty stiff prison term.
00:43:07Men have committed suicide for less.
00:43:08Yes, I know.
00:43:09That's how the police feel about it.
00:43:10What puzzles me, though, is this crooked deal.
00:43:13Knowing Eugene, you wouldn't say he's the type of man to be mixed up in anything like that, now would
00:43:16you?
00:43:17I told you I never met him.
00:43:18That's right, so you did.
00:43:20Now, what's this all got to do with you, Bigelow?
00:43:21I don't know.
00:43:22Let's complain with each other, Bigelow.
00:43:24Surely you must have some idea why my brother was so desperate to contact you.
00:43:27I have no idea.
00:43:28That's odd.
00:43:29Then how could it be of such vital importance to you?
00:43:31Well, you seem to know the answer to everything else.
00:43:33Maybe you know the answer to that one, too.
00:43:46There's a message here for you to call Operator 82 at Banning.
00:43:49Oh, thank you.
00:43:51Show Mr. Bigelow to room 8-21.
00:43:52Say, would you have the operator put this call through to my room right away?
00:43:55I'll take it up there.
00:43:58Hello, Operator.
00:44:02Here, I'll call you if I need anything.
00:44:04Thank you, sir.
00:44:05Hello?
00:44:05Paula?
00:44:07Well, Sinbad, I'd just about given you up for lust.
00:44:10Now, do you mind telling me just why you rushed down to Los Angeles?
00:44:15I can't explain it to you just now, Paula.
00:44:17I just can't explain it.
00:44:19What's going on, Frank?
00:44:21You don't even sound like yourself.
00:44:22Well, I'm just a little tired, Paula, that's all.
00:44:30But I miss you.
00:44:32Oh, Frank.
00:44:34I can't tell you how good it is to hear you say that.
00:44:37And here I was worrying that I'd lost my charm.
00:44:40When are you coming home, Frank?
00:44:43Soon, Paula.
00:44:45I'll be home soon.
00:44:47I'll go right out and get myself a permanent so I'll be pretty when you see me.
00:44:51Hey, guess what?
00:44:52I found that Phillips name in your notarial ledger.
00:44:57Notarial ledger?
00:44:58Yes, of all places.
00:45:00I remember now I made the entry myself.
00:45:02You had notarized a paper one morning before I came to work.
00:45:05What kind of paper was it?
00:45:06A bill of sale for a George Reynolds made out to Eugene Phillips of Los Angeles.
00:45:12See, you see, I was right.
00:45:13We hadn't done any business with Phillips, only indirectly.
00:45:15What was the bill of sale for?
00:45:17A shipment of iridium, whatever that is.
00:45:19Iridium?
00:45:20You mentioned at the time that this fellow Reynolds had made some kind of a deal in Palm Springs
00:45:24and he stopped in your office early in the morning on his way north to have it notarized.
00:45:28Wait a minute.
00:45:29Wait a minute, George Reynolds, that was about six months ago, wasn't it?
00:45:33But that's right, six months ago.
00:45:35Thanks, Paula.
00:45:36Oh, goodbye.
00:45:38Goodbye.
00:45:41Hello, operator.
00:45:42Get that number back for me.
00:46:06I've got to talk to you, Mrs. Phillips.
00:46:08Please, go away.
00:46:10I want to be left alone.
00:46:11But I found out why your husband wanted to see me.
00:46:13It was in connection with a bill of sale.
00:46:15Come in.
00:46:19What do you know about a man named George Reynolds?
00:46:21George Reynolds?
00:46:22Yes.
00:46:23Why, that's the man my husband claimed sold in the iridium.
00:46:26And what did Reynolds claim?
00:46:27Reynolds disappeared.
00:46:28Yes?
00:46:29About two months ago, my husband grew suspicious that something was wrong.
00:46:33Since then, he tried in every way to locate Reynolds but could find no trace of him.
00:46:37I don't get it.
00:46:38Your husband could have proved he made a legitimate deal by showing the bill of sale he got from Reynolds.
00:46:42Then there was a bill of sale?
00:46:43Yes, yes, of course there was.
00:46:44My husband swore there was, but at the time of his arrest, he couldn't find it.
00:46:48It was mysteriously missing.
00:46:50Well, then, if your husband could have shown proof, it would have been George Reynolds who would have faced the
00:46:54prison term.
00:46:55Eugene was convinced that Reynolds had stolen the bill of sale.
00:46:57He was the only one who had reason to eliminate evidence of the transaction.
00:47:03Thank you, Mrs. Phillips.
00:47:04Thank you very much.
00:47:05You've been very helpful.
00:47:07Oh, if you'd only come sooner, Mr. Bigelow.
00:47:10My husband might be alive today.
00:47:12I know.
00:47:21The only thing that puzzles me, Mrs. Phillips, is that you haven't asked how I knew there was a bill
00:47:25of sale.
00:47:39Mr. Holliday isn't in.
00:47:40He should be back shortly.
00:47:42I think you're the one who can help me, Miss Foster.
00:47:44Mr. Phillips tried to reach someone else before he called me yesterday, didn't he?
00:47:47Why don't you ask Mr. Holliday?
00:47:49Obviously, Mr. Holliday wasn't here yesterday, or he wouldn't have had to learn from you that Phillips called me.
00:47:53And you're the logical person to know who else Phillips called.
00:47:56I don't believe that's any of your business, Mr. Bigelow.
00:47:58Don't think you're revealing anything confidential, Miss Foster.
00:48:00I know that he tried to reach somebody else Mrs. Phillips told me.
00:48:03You're bluffing, Mr. Bigelow.
00:48:04I don't know what you're after, but you're trying to trick me.
00:48:06Mrs. Phillips didn't tell you a thing.
00:48:08How do you know that?
00:48:10Mrs. Phillips knows nothing about it.
00:48:11She doesn't?
00:48:12Well, why wouldn't she?
00:48:13Wait a minute.
00:48:15I was talking about George Reynolds.
00:48:16Who did you think I meant?
00:48:17Just who is it that Mrs. Phillips doesn't know about?
00:48:19I told you before, that's none of your business.
00:48:20All right, John, lady, I'm going to give it to you straight, Phillips was murdered.
00:48:22Murdered?
00:48:23I don't believe you.
00:48:24He told me because he needed me to clear him.
00:48:25Phillips was innocent.
00:48:26Innocent men don't have to jump out of windows.
00:48:28Murdered?
00:48:28Just who are you trying to protect, Miss Foster?
00:48:30Why are you so afraid to tell the truth?
00:48:31I'm not protecting anybody.
00:48:33I haven't any more to say.
00:48:34All right, John, listen to me.
00:48:35This thing is going to explode wide open.
00:48:37If you've got nothing to hide, you better start talking.
00:48:39Or maybe you are, Mr. Phillips.
00:48:40No!
00:48:41Well, then come on.
00:48:42Mr. Phillips is called Marla Recubian.
00:48:44I went to see her yesterday morning.
00:48:46Who's Marla Recubian?
00:48:47She's a model.
00:48:48She and Mr. Phillips used to be quite friendly, but he hadn't been seeing her for quite some time.
00:48:51Come on.
00:48:52The last couple of months, he'd been trying to locate her and finally learn where she lived yesterday morning.
00:48:56When he returned from singery, he was terribly upset and excited.
00:48:59That's when he had me put in the calls for you.
00:49:01When he couldn't reach you, he went home.
00:49:03The last time I saw him alive.
00:49:06Give me Marla Recubian's address.
00:49:09I don't think Mr. Phillips realized I was aware of his friendship with Marla Recubian.
00:49:14Out of respect for him, I never intended to tell anybody.
00:49:17I had no idea that she had anything to do with the trouble he was in.
00:49:20I admire your discretion, Miss Foster.
00:49:25You know, you must be pretty friendly with Stanley, Miss Foster.
00:49:27He knew how desperately his brother tried to reach me yesterday, and he wasn't even here at the time.
00:49:31And now you seem to know all about what happened in Mrs. Phillips' apartment.
00:49:43Mr. Recubian?
00:49:44Yes?
00:49:45What do you want?
00:49:47Get out of here.
00:49:48I'll call the police.
00:49:48Go ahead.
00:49:48Call him.
00:49:50Oh, go ahead.
00:49:51Call him.
00:49:51Going on a trip, huh?
00:49:53Yes.
00:49:53Going away for the weekend.
00:49:55Sailing for Buenos Aires tomorrow, some weekend.
00:49:57I'll send you a postcard.
00:49:58Now get out of here.
00:49:59Who are you going with?
00:50:00George Reynolds?
00:50:01I've never heard of him.
00:50:02I suppose you've never heard of Eugene Phillips, either.
00:50:04Just who are you?
00:50:05What do you want?
00:50:06Never mind who I am.
00:50:07Where's Reynolds?
00:50:08I told you I don't know him.
00:50:09Now will you get out of here and leave me alone?
00:50:17I don't know.
00:50:17So you never heard of George Reynolds, huh?
00:50:18And don't try to tell me that this isn't him because I've seen him.
00:50:21If you think you can scare me, you're crazy.
00:50:22Look, I know that Phillips came here yesterday.
00:50:24And right after he left, he was pushed out of a six-story window.
00:50:27Pushed?
00:50:28Phillips committed suicide.
00:50:29Your playmate Reynolds murdered Phillips.
00:50:31Then he went up to San Francisco to get me.
00:50:32Because I knew about a certain bill of sale.
00:50:35I don't know what you're talking about.
00:50:37You're in this right up to your pretty little neck.
00:50:39I'm not mixed up in anything.
00:50:40Get your hands up.
00:50:42Drop that picture on the couch.
00:50:43Turn around.
00:50:46Don't get any ideas because I'm not afraid to use this.
00:50:50Give me your wallet.
00:50:56Frank Bigelow.
00:50:57Hotel Alex.
00:51:02All right, now where's Reynolds?
00:51:03I don't know.
00:51:04I don't know where he is.
00:51:05Is that what you told Phillips yesterday?
00:51:06I told him exactly what I'm telling you.
00:51:08I haven't heard from him in months.
00:51:09Yeah?
00:51:10You're mighty careful of the picture of a man you haven't heard from in months.
00:51:12What does the race stand for?
00:51:14It was a pet name.
00:51:15Do you mind?
00:51:16Oh, it sounds very cozy, Miss Recubian.
00:51:18You and Reynolds call each other pet names while you make a sucker out of Phillips.
00:51:21Phillips made the deal because he wanted it.
00:51:23Yeah?
00:51:24I'll bet you you weren't above using what it takes to help make him want it.
00:51:27Who's paying for this trip?
00:51:30I am.
00:51:31Really?
00:51:32A first-class trip to Buenos Aires on a model salary don't make me laugh.
00:51:36Since you and Reynolds aren't seeing each other anymore, you don't mind if I keep this to you?
00:51:40If I were a man, I'd punch your dirty face in.
00:51:45You know, I really believe you would.
00:51:50Oh, I almost forgot.
00:51:52Here are tickets.
00:51:54Don't be surprised if I'm there to see you off.
00:52:17Angelo.
00:52:19Angelo.
00:52:23Angelo!
00:52:25Do you remember taking this picture of a George Reynolds?
00:52:28I take so many pictures, I can't remember them all.
00:52:30This gentleman is a friend of his and would like his address.
00:52:32We have no card on him.
00:52:33I don't think we ought to do that.
00:52:35He's willing to pay $20 for it.
00:52:37That's a paper we used last year.
00:52:39Of course, you understand we usually don't give out the information about our clients.
00:52:42I know, you're a couple of high-class fellas.
00:52:45Revealing anything confidential is against the ethics of our establishment.
00:52:48That's right.
00:52:48Honesty is the best policy.
00:52:49Of course.
00:52:51But in your case, then it must be your personal friend or Mr. Reynolds.
00:52:54Thanks.
00:52:54I knew you'd come through.
00:52:55Got it.
00:52:57Here it is.
00:52:58We don't have his address.
00:52:59He must have called for the picture.
00:53:00But he couldn't have been a very good friend of yours, mister.
00:53:02Because his name is not George Reynolds.
00:53:05It isn't.
00:53:06Well, what is it?
00:53:07It's a...
00:53:08Huh?
00:53:10Oh.
00:53:12Yes.
00:53:12It's Raymond Rokubian.
00:53:15Rokubian?
00:53:17What's the news about that?
00:53:18The picture's signed Ray, isn't it?
00:53:21Yeah.
00:53:24Yeah.
00:53:27Thanks.
00:54:03All right.
00:54:06Bye.
00:54:07Bye.
00:54:07Bye.
00:54:08Bye.
00:54:10Bye.
00:54:11Come on.
00:55:07Come on.
00:55:11Come on.
00:55:41Come on.
00:56:18Come on.
00:56:20Are you all right?
00:56:23Can I get you anything?
00:56:24No, no thanks.
00:56:25Do you know this man?
00:56:27No.
00:56:28No, I don't think so.
00:56:29Are you sure you've never seen him?
00:56:31I'm quite sure.
00:56:32Does the name Raymond Rakubian mean anything to you?
00:56:36No, I never heard of him.
00:56:37Why?
00:56:37He also uses the name George Reynolds.
00:56:39This is Reynolds?
00:56:40That's right.
00:56:41Well, where can we find him?
00:56:42That's what I want to know.
00:56:43Tell me something, Halliday.
00:56:45You're the controller here.
00:56:46How come you didn't know about that bill of sale?
00:56:49Phillips made that deal before I came to work here.
00:56:50Yeah, but you still keep records, don't you?
00:56:52For some reason, which is none of my business.
00:56:55Phillips preferred to keep that among his personal papers.
00:56:58Now, does that answer your question?
00:57:00You came in here today asking for some information that you needed.
00:57:03And I tried to be as cooperative as I could.
00:57:05But now you're beginning to annoy me.
00:57:07So get out before I throw you out.
00:57:14You know, you really frighten me.
00:57:47Well, it's about time you showed up, Bigelow.
00:57:50Go ahead, Dave.
00:57:57Real cute, ain't you, Bigelow?
00:57:59Just real cute.
00:58:00Paula didn't lose much time getting a hold of you guys, did she?
00:58:02Shut up.
00:58:03Let's go, Bigelow.
00:58:05Look at him.
00:58:06He can't take it.
00:58:07Soft in the belt.
00:58:11You do that again and I'll kick your face out.
00:58:14Lay off, Chester.
00:58:15Cut it out.
00:58:15Shut up.
00:58:16Who asked you?
00:58:20Better let him answer it.
00:58:21The clerk might know he's in.
00:58:23Go ahead, Bigelow.
00:58:30Hello?
00:58:31Frank.
00:58:32Frank, why did you hang up on me?
00:58:33I've been trying to get you for hours.
00:58:35I'm sorry, Paula.
00:58:36Paula, I was in a hurry.
00:58:38Well, don't be in such a hurry this time.
00:58:40You didn't give me a chance to finish what I had to say.
00:58:42It's a pain.
00:58:43I wanted to tell you that McGowan was in hollering his head off because you didn't go over the
00:58:46books.
00:58:48Tell McGowan to get another audit.
00:58:50Sure.
00:58:51Sure, I'll just do that little thing and lose the best paying account we've got.
00:58:54Do as I tell you, Paula.
00:58:57Frank, are you...
00:58:58Are you drunk?
00:58:59Paula, how much have we got in the bank?
00:59:02About $2,200.
00:59:05We'll draw it out tomorrow.
00:59:07Sure.
00:59:09Then what do we do?
00:59:10Skip town without paying our bills?
00:59:12Forget the bills.
00:59:13You know that coat you always wanted?
00:59:15Buy it.
00:59:17You are drunk.
00:59:19You know, if I didn't have such a good character, I'd be tempted to take advantage of your intoxicated
00:59:23state, Mr. Bigelow.
00:59:24I'm not drunk, Paula.
00:59:26Well, then don't tell me that one day away from me can affect you this way.
00:59:30Cut it short.
00:59:32Paula.
00:59:34Yes?
00:59:36I'm...
00:59:37I'm sorry I...
00:59:39I left you.
00:59:40I never realized how much I love you.
00:59:43But I know it now.
00:59:46Oh, Frank, Frank, darling, I love you too so very much.
00:59:52Please come home.
00:59:54I miss you terribly.
00:59:58I said cut it short.
01:00:01I'd just love to let you have it, Bigelow.
01:00:03Let's go, Chester.
01:00:04This guy's kept us waiting long enough.
01:00:06Now, walk in front of me, Bigelow.
01:00:09And keep your mouth shut.
01:00:11If you so much as look cross-eyed at anybody, I'll blow the back of your skull out.
01:00:32Miss Bigelow's real cute.
01:00:34He wanted to get tough with Chester.
01:00:36He don't know Chester.
01:00:37Did you get the picture?
01:00:39Don't I always get what Mr. Majak sends me after?
01:00:41Majak.
01:00:44That's right.
01:00:46I'm the dealer who bought the iridium from Phillips.
01:00:50I get it.
01:00:51You have Recubian unload stolen stuff on Phillips with the help of Marla here.
01:00:55And then you buy it back from him.
01:00:56Oh, you certainly made a sucker out of Phillips.
01:01:01What is it, Mr. Bigelow?
01:01:03Exactly what is on your mind?
01:01:06I'm looking for Raymond Recubian.
01:01:08Why?
01:01:09Well, now, Marla here has told you everything else.
01:01:11I'm sure she must have told you that, too.
01:01:14You don't expect me to believe this conversation.
01:01:18So, what is on your mind?
01:01:20I mean, underneath.
01:01:22You forced your way into my affairs, and now I want to know why.
01:01:26I just told you.
01:01:27I'm looking for Raymond Recubian.
01:01:30Don't get cute.
01:01:30I'm just itching to work you over.
01:01:33Soft in the belly.
01:01:35Can't take it.
01:01:37See what I tell you.
01:01:49I can't do that to Chester.
01:01:51I'm going to blow your guts out.
01:01:53Easy.
01:01:54Way up, Chester.
01:01:55Not now.
01:01:59Look at him.
01:02:00He's so scared of Chester.
01:02:01He talk now.
01:02:02He's not afraid, Chester.
01:02:06You can tell from a man's eyes when he is afraid.
01:02:10Look at his eyes.
01:02:25I'm telling you, Majak, you better keep him away from me, or he's really going to have
01:02:29to use that gun.
01:02:32Go away, Chester.
01:02:33Please.
01:02:37Do what I tell you, my boy.
01:02:39Please.
01:02:40And help David.
01:02:45Good job.
01:02:47Ah, you're in pain.
01:02:52He's an unfortunate boy.
01:02:55He's psychopathic.
01:02:58He's unhappy unless he gives pain.
01:03:00He likes to see blood.
01:03:04Come with me, Mr. Bigelow.
01:03:14Raymond Rokobian was my nephew.
01:03:16He could not possibly have tried to kill you.
01:03:18He's been dead five months.
01:03:27I'm afraid you have been sidetracked.
01:03:31Provided it is true that somebody made an attempt on your life.
01:03:34Somebody made an attempt again today.
01:03:36I had no reason to kill you.
01:03:38Believe me.
01:03:39What do you mean?
01:03:40You had no reason.
01:03:40I notarized a certain bill of sale.
01:03:42You notarized a bill of sale for Reynolds.
01:03:45Not Rokobian.
01:03:47Not what I told you was true.
01:03:49I had no reason to kill you.
01:03:51That's a closet, Mr. Bigel.
01:03:53And under other circumstances, you could go home now.
01:04:00But, now you present a problem.
01:04:03You know too much and I am in danger.
01:04:06Chester!
01:04:07Suppose I were able to prove to you that I only want to find the person who tried to kill
01:04:10me.
01:04:10And I won't cause you any trouble.
01:04:13You know I can go to jail for ten years for this little business?
01:04:16Ten years!
01:04:18At my age, that's my life.
01:04:20That means my entire life.
01:04:22With my life, I do not take chances.
01:04:24I am sorry.
01:04:25Believe me.
01:04:26You want Joe to go with you?
01:04:28No.
01:04:29Just Bigelow and me.
01:04:31And baby Maester.
01:04:32But Major...
01:04:35Goodbye, Mr. Bigelow, and forgive me.
01:04:38Let's go, Bigelow.
01:04:42I guess you won't be there to see me off.
01:05:01You tried to make a boop out of me in front of Major.
01:05:04You shouldn't have done that, Bigelow.
01:05:06I don't like that.
01:05:10I'm going to enjoy this, Bigelow.
01:05:14I've done jobs like this before.
01:05:16I knocked off guys I could like.
01:05:20But I don't like you, Bigelow.
01:05:22I never liked that puss of yours from the minute I seen it.
01:05:29I'm going to enjoy this.
01:05:46You ain't scared yet, are you, Bigelow?
01:05:48But you'll be scared.
01:05:50Goodly scared.
01:05:51I think I'll give it to you, the belly.
01:05:53You don't like it, the belly.
01:06:02You don't like it.
01:06:03Try it.
01:06:05I'd just love you to try it, Bigelow.
01:06:07Why don't you try it?
01:06:09Go ahead.
01:06:14Didn't have a nerve, did you, Bigelow?
01:06:17Yeah.
01:06:18I think I'll give it to you right in the belly.
01:06:33It takes longer when you get it in the belly.
01:06:36It's nice and slow.
01:06:38That's the way I want to see you go, Bigelow.
01:06:41Nice and slow.
01:07:00I don't know.
01:07:13The feather, you make a mozzarella at my pública.
01:07:14Go ahead.
01:07:16The feather, you see you in the belly.
01:07:16Oh, I don't know.
01:07:17The feather is broken.
01:07:19Go ahead.
01:07:22Oh, come ahead.
01:07:23Come forward.
01:07:23Come on,ousse.
01:07:42Let's go.
01:07:53Let's go.
01:08:31Let's go.
01:08:54Frank, are you all right?
01:08:56Yes, I'm all right, Paula, but what are you doing here?
01:08:58How did you get here?
01:08:58Freddie Ross threw me down.
01:08:59I had to come.
01:09:00I had to see you.
01:09:02You shouldn't have come, Paula.
01:09:03You shouldn't have.
01:09:04What is it, Frank?
01:09:05You're in some kind of trouble.
01:09:06I know it.
01:09:07Look at you.
01:09:07You have a sight.
01:09:08Your clothes look as if you've slept in them.
01:09:10Are you ill?
01:09:12You are.
01:09:13You're feverish.
01:09:13I'm all right, Paula, and I'm not in any trouble, believe me.
01:09:16You're lying, Frank.
01:09:17Right after I spoke to you, I got a phone call from the San Francisco police.
01:09:20They asked if I knew where you were.
01:09:21You didn't tell them anything, did you?
01:09:22Of course not.
01:09:23It was the homicide detective that called.
01:09:27What is it, Frank?
01:09:28If you're in any kind of trouble, you certainly can trust me.
01:09:31Look, I'm not in any trouble with the police, Paula.
01:09:33Believe me.
01:09:34But you can stay here.
01:09:35You've got to go back to Banning right away.
01:09:37No, I won't go, Frank.
01:09:38I won't.
01:09:38I'm staying here with you.
01:09:39Paula, it's better that you go back.
01:09:41Believe me.
01:09:42Why?
01:09:42What's this all about?
01:09:44What have you got to do with this Phillips and Reynolds?
01:09:49Phillips was murdered.
01:09:50Murder?
01:09:52What could that possibly have to do with you?
01:09:54All you did was notarize a paper.
01:09:56You've notarized hundreds of papers.
01:09:57I know, I know.
01:09:58All I did was notarize one little paper.
01:10:00One little paper out of hundreds.
01:10:03Frank, you frighten me.
01:10:04You don't even act like yourself.
01:10:06I know that you're in trouble.
01:10:07That something is wrong.
01:10:08That you're in serious trouble.
01:10:10You frighten me, Frank.
01:10:12Oh, don't be frightened, Paula.
01:10:14Don't ever be frightened of anything again.
01:10:16Will you promise me that?
01:10:17I love you so much, darling.
01:10:19More than you seem able to understand.
01:10:21I never really knew happiness until I loved you.
01:10:24Sometimes when I used to be afraid that you weren't sure how you felt,
01:10:27I tried to hold back, but I couldn't.
01:10:30Losing you would have been losing everything.
01:10:32There would have been nothing left.
01:10:33Don't, Paula.
01:10:34Don't.
01:10:35Now I'm afraid again.
01:10:36Somehow I feel that I'm going to lose you,
01:10:37but there's nothing I can do about it.
01:10:39I feel so helpless.
01:10:40You're leaving me out of something.
01:10:42Tell me, Frank, what is it?
01:10:43Give me a chance to fight back.
01:10:44Just give me a chance, please.
01:10:46You do love me, darling.
01:10:47Oh, yes, Paula, I love you.
01:10:49I never was more certain of anything in my life.
01:10:51I wasn't sure before.
01:10:52I was a little blind, I guess, but believe me, I'm sure now.
01:10:55Can you understand that, Paula?
01:10:57I understand.
01:10:58A man can be like that, Paula.
01:11:00Something has to happen.
01:11:01It can be a big thing or a little thing,
01:11:03but it can make him realize how much someone means to him,
01:11:05how much he really loves him.
01:11:07Oh, and I love you, Paula.
01:11:09More than I ever thought it possible
01:11:11to love anyone in the world, I love you.
01:11:13Then why won't you tell me about this trouble you're in?
01:11:15Why won't you try to let me help you?
01:11:19You can't help me, Paula.
01:11:21You don't want my help.
01:11:22Oh, Paula, there's nothing you can do.
01:11:24Will you believe me?
01:11:25So will you please go home, please?
01:11:27No, Frank, I won't go.
01:11:29I know you're in trouble.
01:11:30I can't leave you like this.
01:11:34All right, Paula, look, wait for me in the lobby of the hotel,
01:11:37and I'll be back for you soon, I promise.
01:11:38You promise, you're sure?
01:11:39Yes, Paula, I promise.
01:11:42Is that a new outfit?
01:11:45Yes.
01:11:45Oh, it's beautiful.
01:11:55You'll come back to me, won't you, Frank?
01:11:57Yes, Paula, I'll come back, I promise.
01:11:59Please hurry, darling.
01:12:00Oh, I love you.
01:12:02I love you, Paula.
01:12:08Goodbye, Paula.
01:12:11Come on.
01:12:44Is Stanley here?
01:12:46You sure?
01:12:48All right, get in.
01:12:51Now get Stanley on the phone.
01:12:52Tell him to come over here right away.
01:12:53Use any excuse you want.
01:12:55What are you going to do?
01:12:56What was Stanley going to do when he used me for a clay pigeon today?
01:12:59I don't know what you're talking about.
01:13:00Don't act innocent with me.
01:13:01I fell for that once.
01:13:02I don't know what you mean.
01:13:03I told you everything you wanted to know this morning.
01:13:05Yeah, you told me just enough so I'd get sidetracked
01:13:07and wouldn't know that Stanley was the one I was after.
01:13:09Look, it's Stanley.
01:13:12Oh, no.
01:13:13You and Stanley have been together on this from the start.
01:13:15Now, come on, get on that phone and call him.
01:13:17Don't let him know I'm here.
01:13:19Big along.
01:13:31You've been sidetracked, all right.
01:13:33But it was the poor, bereaved little widow who did it.
01:13:36Miss Foster found this letter this afternoon.
01:13:39It's at my brother's desk at the office.
01:13:40It's postmarked two years ago.
01:13:43It isn't exactly the kind of a letter that a married woman gets from a casual friend.
01:13:48I'm sure my brother wasn't aware that they were so well acquainted when he hired Halliday.
01:13:54What's the matter with him?
01:13:55He hasn't felt right since dinner.
01:13:57Where did he have dinner?
01:13:58At Mrs. Phillips' apartment.
01:13:59Halliday was there, too, and Stanley confronted them with that letter.
01:14:03Do you have anything to drink?
01:14:05Yes, what?
01:14:05How long ago?
01:14:06Half an hour ago, just before I came here.
01:14:08Miss Foster, get on the phone, call the emergency hospital,
01:14:11have him get an ambulance over here right away.
01:14:13What?
01:14:13Tell him to prepare a stomach wash for luminous poisoning.
01:14:16Voluminous poisoning?
01:14:16Go on, do what I tell you.
01:14:17You may still have a chance to save his life.
01:14:19Go on!
01:14:36I found George Reynolds, Mrs. Phillips.
01:14:38He's been dead for five months.
01:14:40Then he didn't steal the bill of sale.
01:14:42No, he didn't, but you could have stolen it.
01:14:45How dare you?
01:14:46You knew who I was when I came here today.
01:14:49But you were surprised to see me alive, weren't you?
01:14:51But I'm not alive, Mrs. Phillips.
01:14:54Sure, I can stand here and talk to you.
01:14:55I can breathe and I can move.
01:14:57But I'm not alive.
01:14:59Because I did take that poison.
01:15:01And nothing can save me.
01:15:05What are you going to do?
01:15:06I kill you now.
01:15:07I have nothing to lose.
01:15:08No.
01:15:08No, you've got to listen to me.
01:15:09You've got to give me a chance.
01:15:10But I didn't have a chance.
01:15:12It was Halliday.
01:15:13Believe me, it was Halliday.
01:15:14He made me steal the bill of sale.
01:15:15He planned everything.
01:15:17What about this letter?
01:15:17Your husband knew about you and Halliday.
01:15:19He found it only yesterday.
01:15:21He accused Halliday.
01:15:22They fought.
01:15:22And Halliday pushed him over this balcony.
01:15:25And why me?
01:15:25Why did he want to kill me?
01:15:27Because you could have proved there was a bill of sale.
01:15:28That my husband had no reason to commit suicide.
01:15:31Halliday was desperate.
01:15:32After he killed my husband,
01:15:34he found out about the phone calls to you.
01:15:35He thought you spoke to him.
01:15:37That you knew enough to involve him.
01:15:52Where's Halliday?
01:15:54Where is he?
01:15:55He's at the office.
01:15:59This time, you don't want him.
01:16:29This time, come over.
01:16:37THE END
01:17:02THE END
01:17:41THE END
01:18:08THE END
01:18:22THE END
01:18:23THE END
01:18:29THE END
01:18:29THE END
01:18:36THE END
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01:18:43THE END
01:18:44THE END
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01:18:44THE END
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01:18:52THE END
01:18:52THE END
01:18:54THE END
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01:18:55THE END
01:18:58THE END
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01:18:59THE END
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01:19:00THE END
01:19:00THE END
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01:19:00THE END
01:19:00THE END
01:19:00THE END
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01:19:11THE END
01:19:12THE END
01:19:12THE END
01:19:12THE END
01:19:20THE END
01:19:24IT'S A
01:19:24THE END
01:19:25THAT'S
01:19:25WHAT'S
01:19:25THERE
01:19:25THE END
01:19:25THE END
01:19:26THE END
01:19:26Come on.
01:19:59Come on.
01:20:29Come on.
01:21:17Come on.
01:21:24All I did was notarize a bill of sale.
01:21:28But that piece of paper could have proven that Phillips didn't commit suicide.
01:21:34He was murdered.
01:21:36And that's why Halliday poisoned me.
01:21:46Would you?
01:21:56Oh, Paula.
01:22:11Call the morgue.
01:22:17Call the morgue.
01:22:18Johnson, you go to the Allison's Hotel. Find Paula Gibson. Don't tell her anything. I'll break it to her.
01:22:26How shall I make out the report on him, Captain?
01:22:30Better make it dead on arrival.
01:22:32Come on.
01:22:37Come on.
01:22:41THE END
01:23:15THE END
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