The Enforcer (1951) - full transcript
After years of pursuit, Assistant D.A. Martin Ferguson has a good case against Murder, Inc. boss Albert Mendoza. Mendoza is in jail and his lieutenant Joseph Rico is going to testify. But Rico falls to his death and Ferguson must work through the night going over everything to build the case anew.
(dramatic theme playing)
(tapping)
All clear, Captain.
Okay, Rico.
Come on out.
Let's go.
Check it.
There's nobody out there.
How do you know?
Flank him on the left.
If you get it, I'll get it.
Come on.
FERGUSON (over intercom): Yeah?
They're here, Mr. Ferguson.
Okay. Be with them in a minute.
How's our witness?
He's falling apart.
(groaning)
I hope he holds together
till morning.
I'll put him on the stand
the first thing.
Send him in.
All right, Rico.
Listen, Ferguson,
I made up my mind.
I--
I ain't going to testify.
You've got to get
yourself a new boy.
Sit down.
Stop telling me to sit down!
"Take it easy, Rico.
Relax, Rico."
Well, it's my neck.
He tried once in the farm,
once in the jail
and once in the hotel.
He's gonna get me.
Nobody's going to get you.
That's why we brought you here.
Sleep tonight over there
on that cot.
Tomorrow morning, we'll take you
down in the elevator
to the courtroom.
You don't even
leave the building.
You get on the stand
and you tell us what you saw.
That's all you have to do.
Mendoza'll be there, won't he?
-Uh-huh.
-Well, he won't let me talk.
He'll find a way to kill me even if
it's on the witness stand.
It's a courtroom, Rico,
filled with police.
All I want you to do
is identify him.
I won't do it.
You go on the witness stand
tomorrow morning, 10:00.
-I won't talk!
-All right.
If you won't talk,
I'll send you to the chair.
What? You don't want me
in the chair.
You want Mendoza.
Please, Mr. Ferguson,
don't make me take the stand.
For what I've got on you, Rico,
I could burn you a dozen times.
But, I'm-- I'm letting you
squirm out because you're right.
I want Mendoza
more than I want you.
And you're gonna
help me get him.
Do you think Mendoza
would let me frame him?
You don't know him.
He'll kill me tonight
with all you uniforms around.
He's locked up in a cell
nine stories below.
-He's got organization.
-That's busted.
How do you know?
-Maybe he stuck your guy in a cop's uniform now.
-Nah.
Well...
There's something
on it's way to kill me.
I can feel it coming.
Maybe from there.
Or there.
There or there.
I've got a feeling
it's on its way.
(siren wailing)
He got away. He got away!
See, there's another.
I can hear. I can hear.
He's busted out.
(telephone rings)
See, they called to tell you.
(telephone ringing)
Yes?
Anytime tonight will do.
Oh, say, Quillen.
What's that siren?
Mm-hmm.
It's the mayor.
He's late for an appointment.
You're lying. It's Mendoza.
-He's busting loose.
-He's locked up.
He got out. He's coming
to kill me. He got out!
You want to see him?
All right, I'll show him to you.
Bring him along.
Here, see for yourself.
He's in there, huh?
You wanted to look. Look.
I don't want to see him.
Here, take a look.
He's smiling at me.
Mendoza, call them off.
I'm not going into court.
I swear I won't.
Tell them I'm not squealing.
Please tell them-- Rico!
You're gonna talk.
Do you hear me?
You're gonna talk.
You're not blowing up this case.
It took four years
to put him in that cell,
and when he walks out,
he's going to the chair.
So you're gonna talk.
It's the only chance
you've got to live.
I'm afraid.
-He'll never die.
-He'll die.
He's got to die
and you're gonna kill him.
I can't. Nobody can.
He ain't human.
Tomorrow morning at 10:00,
you go on the stand.
Take him back upstairs.
Now what's eating you?
I don't know.
Let's take a look
around outside.
(dramatic theme playing)
Like a cemetery.
Sorry, Captain.
There's the window.
The one that's lit up.
Give me a cigarette.
And a light.
-Now.
-(gunfire)
Rico.
(dramatic theme playing)
(gunfire continues)
I ain't gonna be shot
to pieces like no pigeon.
I'm getting out of here.
-How bad is it?
-It's only a flesh wound.
Whitlow. Yes, sir?
Where did those shots come from?
I think they came
from the roof of the hotel
across the street.
Uh, take him to the hospital.
Get me Central Control.
Hey, Doc. Yes?
Put this guy to sleep, will ya?
-Yes, sir.
-Put him on a cot in my office.
Nelson speaking.
Block the exits to that hotel
across the street.
Search every room.
Send a squad up
to check the rooftops.
There's 300 rooms in that hotel.
We haven't got a chance.
-Oh, Whitlow?
-WHITLOW: Yo.
Stay with him.
Don't leave him for anything.
(ticking)
How is he?
Everything okay?
Yeah.
Got some more coffee?
You got a big day ahead of you.
You better go home
and get some sleep.
Sleep?
Whoever was on that roof
is still loose.
They won't try anything else.
They shot their bolt.
We got Mendoza locked in a cell,
an air-tight indictment
for murder,
an eyewitness to the crime.
It's what the law books call
an open-and-shut case.
Nothing can happen.
-Yet--
-Here, drink your coffee.
We want you in that courtroom
tomorrow too.
(snoring lightly)
Where are you going?
I don't feel good.
Okay. In here.
I'm right with you.
(breathing deeply)
OFFICER:
Okay, Rico, that's enough air.
(dramatic theme playing)
What, again?
FERGUSON: Nelson!
He's out on the ledge below us
trying to make the fire escape.
You can't make it, Rico.
You can't make it. It's too far.
You're right.
I can't do it.
I'm getting dizzy.
I'm coming back.
Take it easy now, Rico.
FERGUSON: Don't look down.
Keep your face to the wall.
Here.
Reach my hand.
Little more.
Take it easy now.
Yeah.
Yeah, that's it.
A little more now.
Wait a minute.
Get a good grip there.
(Rico screaming)
Can we take him?
Yeah.
It's crazy.
We had it all sewed up.
It's crazy.
We could protect him against
everything but himself.
Send the boys
back to their precincts.
(siren wailing)
Nelson.
Well, can you
go to trial tomorrow?
Well, sir,
my case is right there.
You shouldn't have gone
to trial with just one witness.
-You should have waited.
-Waited for what?
Every day Mendoza's free,
people are getting murdered.
The city spent hundreds
of thousands of dollars.
Tied up the whole
police force. Months.
I pledged my word to the people
that Mendoza was
as good as convicted.
Now what do I say?
Mr. Mayor, if you want
my resignation, you can have it.
That'll give you
something to say.
-WHITLOW: It wasn't his fault.
-Shut up.
If you want a goat, I'm it.
I don't want a goat,
I want a conviction.
What do we do about Mendoza?
Are there any other witnesses?
If there were,
don't you think I'd have them?
It doesn't make any sense.
A man commits murders
and there's nobody around
to testify against him.
I had somebody.
All right,
what's our legal position?
Mendoza's lawyers will go
to court tomorrow morning,
ask for a dismissal
and get it like that.
There's nothing
we can hold him on?
I couldn't even
give him 30 days.
(car starts)
(bell tolling)
In seven more hours,
Mendoza walks out of that
courtroom a free man.
How can that be?
What's wrong with the law
that we can't touch him?
Oh, I know.
Our kind of laws are designed
to protect the innocent.
It's not enough
that we know a man is guilty,
we have to prove it.
Ever have a tune run
through your head
and you can't
remember the words?
What are you getting at?
How many people
you speak to on this case?
Oh, I hate to remember.
How many pages of testimony
do you suppose we took?
Enough to fill
a nice sized room.
(chuckles)
Somewhere in that testimony,
somebody said something
that's stuck in my brain.
Got lost in the shuffle
because we didn't need it.
We had Rico, but now...
If I could only remember.
What was it?
Well, we got nothing
else to do tonight.
Let's try and dig it out.
Well, we can start from
right to left or left to right.
Oh, let's take it
just the way it came to us
right from that first crazy day.
(dramatic theme playing)
Yes?
They made me kill my girl.
What's that, fella?
They made me kill my girl.
What girl?
What's your name?
Are you drunk?
I killed my girl.
What's her name?
Nina.
Nina what?
Nina Lombardo.
They made me do it. They made
me.
All right, they made you.
Now, where's the body?
They buried her.
I saw them.
Homicide.
Down here.
Back over behind those trees.
(indistinct chatter)
Why did you pick
this place to stop?
I don't know.
-Was it here?
-I don't know.
Now think.
Are you sure it was around here?
They took her out of the car
after I killed her.
They had a shovel.
They dug a grave
and they put her in it.
-Where's the grave?
-I don't know.
That's when I ran away.
I knew I was next.
-Where's the car?
-They must have junked it.
The way I figure is,
something's missing.
Maybe you're right, maybe not.
What were you doing
way out here?
They brought us in a car.
What kind of a car?
Station wagon.
We parked.
That's when she knew
I was gonna kill her.
I told her it wouldn't hurt.
It didn't.
She didn't even know
when it happened.
I was kissing her.
You say you loved her,
in the same breath
you say you killed her.
I don't get it.
I had to.
She was a hit.
"A hit." What's a hit?
I had the contract.
Oh, this guy is
a straightjacket case.
What do you mean?
What kind of a contract?
A contract.
I wanted to break it
but they made me do it.
Who made you? Who are "they"?
Big Babe, Philadelphia
and Smiley.
Smiley ordered me.
He runs a troop.
What kind of a troop?
What are you, a boy scout?
Philadelphia and Babe
were there.
But it was Smiley
who made me do it.
I killed her.
I killed my own girl.
MAN: Hey, sergeant!
I think I found something!
(dramatic theme playing)
They stole her!
They got her.
They took her away.
(sobbing)
Book him.
On what? Murder.
We can't book him
without a body.
I'll give you odds we find it.
-Sergeant.
-MAN: Yes, sir?
Start checking
the Monaco file on some guys
named Philadelphia,
Big Babe and Smiley.
Take him down to the station.
I'll meet you there at 8:00.
Sergeant, let's go.
-Come on.
-I loved her.
-Come on, let's go.
-I loved her and I killed her.
I want to die.
I want to die.
Evening, Captain.
Hello.
Where's Duke Malloy?
Three.
Open up. Quick.
When we got there
and cut him down, he was dead.
Tell me again. What was it
he said about contracts?
Was that the word he used?
Yeah, he said it was a contract
and that she was a hit.
You got any idea what he meant?
I never heard it in connection
with a killing before.
You?
-No, sir.
-(chuckles)
You got anything on this guy?
Who was he?
There's his sheet.
Hmm, that's nice.
James Duke Malloy, 14 arrests.
Everything from robbery
to assault and battery.
Have you got anything
on those names he mentioned?
Big Babe, Philadelphia
and Smiley?
Well, I'm waiting for a report
from the alias file now.
Small-time hoodlum walks
into a police station
and gives himself up
for murdering his girl,
then hangs himself.
Did you believe his story?
Yes. No, sir, I didn't.
(chuckles)
Well, I can't blame you.
He talks about contracts
and hits
and being forced to kill her...
and there's no body.
Oh, Joe.
(over intercom): Yes, sir?
Missing Persons come up with
anything on Nina Lombardo?
No, sir. No one by that name
is listed as missing.
She got a criminal record?
Nope, nothing on that.
Hmm. Okay.
Well, Nelson,
what do you think it is?
Insanity? Jealousy? Revenge?
I don't know, but I'd say
it's none of those.
I believe Malloy.
Somebody made him do it.
Why, I don't know
and who, I don't know.
There's one thing I do know,
he didn't have
an ordinary motive.
Cause if he had one,
we would have found a body.
What about that station wagon
he killed her in?
It's my job to start looking for it
soon as I get out of here.
Well, what are you waiting for?
Excuse me, sir.
Captain, the railroads guard
picked up a fella by the name
of Tom Zaca this morning.
-Well?
-He was busting all the windows
of the train as it was
pulling out of the station.
So? We checked him
against the alias file.
He's knows
as Philadelphia Tom Zaca.
What jail you got him in?
No jail, sir.
They shipped him back
to the insane asylum.
He's only been released
from there two weeks.
Zaca?
There's someone here to see you.
Hello, Zaca.
I'd like you to try
to answer one question.
Why did Duke Malloy
kill his girl?
(groaning)
Ah, this is hopeless.
The other times he was here,
did he have any visitors?
None listed.
No contact at all
with the outside?
Here's a notation
from the mailing department.
He used to receive a weekly
carton of cigarettes
from Olga Kirshen's lunch stand.
Have you got an address on that?
Olga Kirshen?
Who are you?
We'd like to ask you
a few questions.
Do you know
a Philadelphia Tom Zaca?
Is he out?
Was out. He's back in again.
You had me scared.
If he scares you, why do you
send him cigarettes?
I only send him cigarettes
so if he gets out,
he won't come here
and make trouble.
How long have you know him?
From when he was a kid.
Um, would you like
a glass of water?
Mm-hmm. No.
From when he first moved
here from Philadelphia.
He used to come in and take
cigarettes without paying.
Once I tried to stop him,
he broke my arm.
He's strong like a bull.
You know anybody named
Duke Malloy?
Duke? I don't remember no Duke.
How about a Big Babe
or a Smiley?
Big Babe.
On this block,
there's lots of Babes.
But I know a Smiley.
-Smiley Schultz.
-Where does he live?
Let me think.
I once delivered him some sandwiches
when he had the flu.
Oh, it's around the corner.
The third or fourth house.
-The one with the tailor shop on the first floor.
-Thanks.
Um, about Philadelphia,
if you find out when
they're gonna let him out,
I'd appreciate if you let me know.
Sure.
(sirens wailing)
Hello, Nelson.
What are you doing here?
We have to see
someone in the house.
-What's burning?
-Nothing important.
Someone conked the furnace,
and it's smoking up the place.
We'll be out of here
in a few minutes.
Hey, chief, we found
a body burned in the furnace.
I'll give you six-two and even
the body's name
is Smiley Schultz.
Hey, tailor, you know a friend
of Smiley Schultz's,
a fellow they call Big Babe?
Don't bother me.
Who knows Big Babe?
I know him, mister.
He lives around the corner.
-I just saw him.
-Where?
He jumped into his car
and yelled at his wife he was
on his way to St. Anne's church.
Thanks.
This is Martin Ferguson.
Dispatch a car
to St. Anne's church,
pick up Babe Lazick,
wanted for murder.
Hold.
What would he be doing
in church?
Robbin' the poor box
or coppin' a plea.
Always worries me when
these hoodlums get religion.
BABE (shouting): Put me down!
Quit taking me out here!
Let me stay inside!
They won't do nothin'
to me in the church!
Let me alone! Put me down!
They'll burn me too!
All right, let him
through there.
All right, go on home.
-Ahem.
-Yeah, what do you want?
Is that fat hooligan
called Big Babe?
Yes, sir, Big Babe Laznick.
He lives in the neighborhood.
Take him to headquarters,
Ferguson's office.
-Yes, sir.
-That's all.
What do you make of this?
Little is the only one
that makes sense.
He said something went wrong.
It certainly did.
What are you, an iceman?
Answer him.
What do you carry this
around for?
I just carry it.
You just carry it.
Who burned your friend Smiley?
-I don't know any Smiley.
-You're lying.
You know him,
and you know he's dead.
I don't, I don't.
Then why did you say
you didn't want to burn too?
-You know they burned him.
-I don't know.
Get the box.
(footsteps)
You see this?
This was Smiley's.
He carried an icepick too.
Do all your friends
carry icepicks?
Take it away.
I don't want to see it.
Who was Duke Malloy?
I don't know him.
He said he knew you.
Said you made him kill his girl.
I don't know what
you're talking about.
NELSON:
You know what a contract is?
-Do you know what a hit means?
-No, no.
You oughta know. Duke said you
belonged to the same troop.
What is a troop?
What kind of a troop?
(breathing heavily)
I can't talk. I can't tell you.
-I'm afraid.
-Who are you afraid of?
I can't talk. I can't.
(buzzer sounding)
Yes?
They're here, Mr. Ferguson.
I'm sorry to have to bring you
here at this hour, Mrs. Lazick.
What do you want with me?
This isn't good for the baby,
waking him up so late.
What's your name, son?
Louie.
Oh, Frank, give Louie
a drink of water.
Your husband's in trouble,
Mrs. Lazick.
(whimpering)
How much trouble
has Babe got into?
How long have you been married?
Five years.
You got any money?
Whatever he brings home,
we live on.
Tell me, what did Babe do?
What's the matter?
Mrs. Lazick, your husband is facing
one to 20 years in jail.
How long he goes in for
depends on you.
Me? What can I do?
I'm going to bring him in here.
I want you to talk to him.
If he tells me what I want to know,
if he tells me the truth,
I give you my word
I'll go easy on him.
Babe.
Babe, what did you do
to get in this mess?
I didn't do nothin'.
What'd you bring her here for?
Why you getting her
mixed up in this?
Babe, what did you do?
Tell him, he'll help us.
BABE: I can't talk.
What do you want me to do?
MRS. LAZICK: Tell him what
he wants to know.
What do we do
if they put you away?
Ain't I better to you
in jail than dead?
I can't tell him.
(crying)
What are you bawling for?
You're always crying.
Let them go, they had nothing
to do with this.
And you ain't got
anything on me. Louie--
Babe, that car you smashed up
was a stolen car.
All right, I stole a car.
You got nothing more to say?
No, nothin'.
Lock her up.
Five thousand dollars bail.
Her? What are you
locking her up for?
-She didn't do nothin'.
-She's a material witness.
Witness to what?
She heard you confess
to stealing a car.
Don't take me away.
What about the baby?
We'll take care of him.
This man will take your boy
to an institution
where he'll be well
taken care of.
Oh, no.
(crying): No, no, Louie!
Okay, okay, I'll tell you.
Let 'em go. I'll talk.
Okay, let her go home.
You, over there. Take this down.
(crying)
What do you wanna know?
About Duke Malloy. Who was he?
He was a slammer.
You know, a strongarm.
Who'd he work for?
For the troop. For them.
Who's "them"? Talk sense.
Where do you hang out?
Olga's lunch stand.
Anybody else there?
-We all hang out there.
-Duke too?
Sure, that's how I got in.
Duke was the one
that took me there.
It was a big day for me.
They had seen me
in the neighborhood,
and now they
were sending for me.
But I wondered why Duke was
taking me to Olga's.
I was sure excited because now
I was finally gettin' in
with the real boys.
It's me. Duke.
(door unlocking)
Back room was just
like what you'd expect
at the back of a store.
Shorty, that dope.
And Philadelphia,
he wasn't all there.
But nobody ever said that
when he was around.
Vince, a bundle of nerves
with no brain.
Then there, behind the desk,
all nerve and all brain,
Mr. Rico.
Is this the guy you wanted?
Sit down.
Over there.
What are you looking at?
(laughs)
(knocking on door)
DIGGER: Open up, it's Digger.
-Digger! When'd you get back?
-Hi. Just now.
How'd it go?
Took a few days to get
the sucker in position.
You know, I think he had
a feeling he was gonna go.
Always stayed in crowds.
But I nailed him one afternoon.
Bijou Theater. Back row.
Quick.
That checks.
The Miami cops found him
in the Bijou Theater.
Here's your bonus.
Say, who was this guy?
Did it make the papers?
Any time you want to know,
I'll have the cops read it to you.
(phone ringing)
RICO: Sit down.
Hello.
Where's it got to be done?
RICO: Can't they handle it?
When?
Yeah.
Right.
Right.
(hangs up receiver)
Who calls him on the phone?
If you're a good swimmer,
you can ask a guy who found out.
He's at the bottom of the river.
(chuckles)
Digger.
You ever been in St. Louis?
No.
-I've been to St. Louis.
-I didn't ask you.
I ain't had a contract
in two months.
You're getting paid.
But an out-of-town contract
is extra dough.
I-- I got expenses.
You need a rest.
You're coming apart.
You capisce?
So-so.
Finger don't speak much English.
He can point, can't he?
Here's a yard.
You grab a plane at midnight.
When you finish, don't hang
around to see any ballgames.
You all set?
Let me see that.
Who told you
you could carry a gun?
It's mine.
That's fine.
Makes it easy for the cops to
identify you if they grab you.
RICO:
You know what to use. Use it.
Now get going.
(whispering) When is he
going to talk to me?
Pick up the cards.
RICO: Leave them there.
You pick up the cards.
What's your name?
Big Babe Lazick.
You sent for me, remember?
I'm forgetful.
Sometimes I meet a guy
and then I never see him again.
I got a big turnover in friends.
A blimp like you ain't got
a girlfriend, have you?
I got a wife.
Well, if anything happens
to you, we take care of her.
You get in a jam,
we'll get you a lawyer.
If you get in jail,
you're on the payroll
all the time you're in.
There's your first week's pay.
Thanks, Mr. Rico.
Now I'm ready for the big stuff.
Maybe even a killing.
Don't ever say that.
A murder is a contract.
A hit is the sucker
that gets killed.
Remember those words
and use them.
Then, even if
the cops tap our phone,
they don't know
what you're talking about.
Get that?
Yes, sir.
-Uh, anything else?
-Yes.
Burn that tent you're wearing
and get yourself a suit.
(dramatic theme playing)
(door closes)
Get this through your head.
You're new here. You're nothin'.
Takin' orders from everybody,
from him and him and me.
Now pick up the cards.
Well, that's what I was.
A nothin'.
I've never been anything
but a nothin'.
Nelson speaking.
Send out an APB on Joseph Rico.
Stamp it number one.
Pick up Olga Kirschen and move
in on that lunch stand, quick.
Check the telephones.
Get all the long-distance
toll sheets.
Find out who the landlord is
and check who pays the rent.
(hangs up)
So you're just a nothing.
Then how did you make Duke
kill Nina Lombardo?
Me? I didn't!
I didn't make him kill her.
You better tell me or I'll hand you
an accessory to murder rap.
Me, I didn't do nothin'.
I didn't kill anyone.
I just drove away with the body.
Where'd you take it?
Where'd you take the body?
Where they told me.
I'll show you.
-Woman.
-Woman.
-Caucasian.
-Caucasian.
-Age, early 20s.
-Age, early 20s.
-Weight, about 110 pounds.
-110 pounds.
-Height, five feet, three inches.
-Five feet, three inches.
Hair, black. Eyes...
-Brown.
-Brown.
FERGUSON: Is that Nina Lombardo?
Don't make me look.
(forcefully):
Is that Nina Lombardo?
That's her.
Hey, captain, here's something
I found on the steering wheel.
Car's registered
to Thomas O'Hara,
1510 Elm Street, Fort Morris.
That's over the state line.
Yeah, about 60 miles.
I'll get in touch
with their police.
You have 'em pick up O'Hara
and hold him for us.
(car horn honks)
-Mr. Ferguson.
-Did you pick up O'Hara?
Right off the sidewalk.
He was shot.
Is he alive?
Just about.
(labored): Something...
went wrong.
I had a feeling...
something was wrong.
Duke...
It was all Duke's fault.
-Duke--
-O'Hara.
-Duke.
-O'Hara.
-He got me in all this trouble.
-What was Duke's fault?
Tell me about Duke.
He should've filled
the contract.
I found her.
I did my job.
He should've done his.
I showed him the hit.
I took him to see her.
Just Muscatel.
There's the hit.
A dame?
Does it make any difference?
No difference.
Did you get a good look at her?
-Hi.
-Hi.
Listen, I'm going down
after the cleaning.
And I washed your socks,
they're hanging in the bathroom.
Oh, thanks.
That's her girlfriend.
They live together
on the second floor,
and they work over
at Edison's Leather Goods.
When this dame goes,
it's very important
nobody should know about it.
She just disappears, see?
You got a quiet spot
for that around here?
A couple of nice, romantic
lakes just outside of town.
You shouldn't have any trouble,
a good-looking guy like you.
Not more than a couple of days.
Don't crowd me.
A job like this is going
to take a little time.
(jazz music playing
over speakers)
Where you been?
I haven't seen you in weeks.
I gotta talk to you.
Slip in here.
Long distance want action.
Yeah, I want action too.
You been here three weeks,
get goin'.
Who do you think you're
talking to? Local talent?
You know how many
contracts I've filled?
I keep the number
right in my head.
-Would you like me to tell you?
-No, I don't want to know.
Fifteen.
And I never left a trace.
You know why?
Because I handled 'em
my own way.
Nobody tells me how...
or when.
Okay.
Handle it your own way.
I like you.
You know something?
I really like you.
Yeah, that's great, me too.
I'm gonna buy you a drink.
You love that grape, don't you?
We're gonna be friends.
(snaps)
Stop worryin'.
She goes tomorrow night at 11.
(clock ticking)
(drawers opening)
(knock on door)
(sighs)
Wait downstairs.
You didn't do it!
Why didn't you do it?
What'll happen to us
when they find out?
They're not gonna find out.
You fell for her.
You're gonna call long distance.
You're gonna say I did the job.
-You'll never get away--
-Say it so they'll believe you.
-They'll get you, both of you.
-They'll have to find us first.
But they'll find me.
What about me?
Here's a thousand bucks.
You can run
a long way with this.
Now make the call.
No!
(glass shattering)
DUKE: Make the call.
I did what Duke asked.
I called long distance.
And I ran.
We all ran.
But we didn't get very far.
They caught up with us.
With Duke.
With the girl.
And with me.
DOCTOR: That's enough.
A young girl, a nice girl...
working in a shop,
bothering nobody.
Why would anybody want her dead?
Why?
Maybe her roommate can tell us.
(dramatic theme playing)
Nina, dead?
How did it happen?
Was there an accident?
No, it wasn't an accident.
She was murdered.
Did you ever see
this man before?
That's the man
she went away with.
They were going to married.
Well, he killed her.
Do you know why anybody
would want to kill Nina?
Can you think of anybody
who'd have a motive?
No. No, I don't know.
I'm sorry to upset you
like this, Ms. Davis,
but we think perhaps you're
the only one who can help us.
What do you know about Nina?
Who was she,
where'd she come from?
She came from out of town.
I met her at the store.
We liked each other.
We took this room together.
Did she ever tell you
anything about herself?
About her past,
about her friends?
No. She never talked
about anything personal.
But come to think of it,
there was something.
Her name.
Yeah, what about her name?
She changed it.
I think it was Vetto.
Angela Vetto.
Do you know why
she changed her name?
No.
There was something
she was afraid of.
She never did tell me all of it.
It-- It had something
to do with her father.
Yeah, what about her father?
He's dead.
That's all I know about her.
That's all.
Thank you, Ms. Davis.
Sorry to have troubled you.
(dramatic theme playing)
Oh, uh...
Ms. Davis,
I wouldn't leave town.
I might want to talk to you.
Yes, of course.
Here's the only "Vetto"
we've got.
Tony Vetto.
"Tony Vetto. Presumed dead.
"Reported missing two years ago
by his daughter, Angela Vetto."
Well, that helps.
Any criminal record
on Tony Vetto?
None.
Wait a minute. Here's something.
Once reported a murder he saw.
A man named John Webb.
Ran an all-night diner
on 25th Street.
Happened ten years ago.
"Tony and his 12 year-old
daughter Angela saw
"the killing take place.
"Murder weapon
was a carving knife.
"Listed as unsolved homicide."
Well, looks like Ms. Davis
is telling the truth.
Her story checks.
Want a copy of this?
Send it to my office.
Get me Whitlow.
Well, now we know why
Tony and Angela are dead.
They saw a murder.
Whoever did it was making sure
they'd never talk.
That happened years ago,
and there doesn't seem
to be any motive.
Whitlow? Nelson.
You got a lead on Rico yet?
How about Olga Kirschin?
Did you find anything
in that back room?
Well, keep after them.
They gotta be someplace.
Why would a gang like this
kill a fellow who runs a diner?
It doesn't make sense.
Well, we're making headway.
We know a contract
means a murder,
and a hit means a victim.
Now we gotta find out
who gives out the contracts.
Rico?
No. He takes orders.
This is big, well-organized.
An organization of killers.
A business built on murders.
Mm-hmm.
-Murder for profit.
-(phone ringing)
Yeah?
Who?
Oh, yes, doctor.
Do me a favor.
Don't release him to anybody
until I get there.
That was the asylum.
Someone's trying
to spring Philadelphia.
Look, doc, I can't go
with those guys.
I got no family.
I got no friends.
I-I got nobody to take me
out of here
and put me in a private place.
I can't go. It's a trick.
They're totally tryin'
to get me. I won't go.
You don't have to go with them,
but the city has to release you.
You're perfectly lucid.
If I walk out of here, I'm
a dead pigeon. They'll get me.
Tell me what I want and I'll hold you
as a material witness.
If you don't, we'll let you go.
Now, I asked you once before.
Why did Duke Malloy
kill his girl?
I don't know.
What do you know
about Angela Vetto?
I never heard of her.
Rico. Tony Vetto.
I don't know any of those.
Okay, doc, kick him out.
(dramatic theme playing)
Now I done something.
You can lock me up for assault.
FERGUSON:
No, it won't work, Zaca.
You can't let me go out
and get killed.
You want us to help you?
You help us.
Start talking.
(tense theme playing)
That last name you mentioned,
Tony Vetto.
I do remember.
But I just drove
the laundry truck.
I had nothin' to do
with nothin' else.
FERGUSON:
What about the laundry truck?
PHILADELPHIA:
I picked up the truck
and drove it to
where Rico told me to.
Get back there. We're not ready.
I just wanted to tell you
I got the truck outside.
Mr. Rico, listen to me.
You can't pull anything in here.
Who says I can't?
This is my shop.
And you're running my book
so you'll take my orders.
There's a customer
on his way over.
An old customer.
Tony Vetto.
No.
Not Tony.
Not Tony.
It's too late for him.
I was closing up when--
We know he's on his way over.
You'll stay open for him.
Please. Please.
When he comes,
he'll sit in this chair.
He'll buy his regular
Saturday night shave.
You put the apron on him.
You put hot towels on his face.
Remember that,
I'll be right there.
Start to strike the razor.
Then I take over.
No.
No, no. I can't do it.
He's my friend.
You'll do it.
Here he comes.
(dramatic theme playing)
Am I too late
for a shave, Louis?
It's late.
Come on, you've got time
for one more for an old friend.
TONY: You know, a funny thing
happened this morning.
Who you think gets into my cab.
I could swear it was the same
guy that killed poor Mr. Webb.
You remember the coffee shop
where I saw it happen.
You think I ought
to go to the cops?
You must have made a mistake.
It couldn't be the same guy.
It was no mistake.
It was him, all right.
Listen, I could never
forget that face.
I think he remembered me too.
Yeah, I think I better go
to the police.
(dramatic theme playing)
Philadelphia.
Step on it. We got
to meet the undertaker.
DUKE:
How can a guy get that way?
They aren't all built strong
like you and me, kid.
I just ain't been
feelin' well lately.
The barber took it
better than you.
I'm all right now.
Yeah, I'm all right.
Sure.
I ain't worried
about you, Vince.
We used to go to
the same P.S. together.
That's right.
I knew you wouldn't forget
about things like that.
No.
A guy going to pieces like you
can ruin the whole discipline.
It happens.
You know, Vince, I think there's room
for you in that basket.
You got a package for me?
Two of them.
Busy night.
You keepin' count, you--
Get going.
PHILADELPHIA:
And that's the truth.
I had nothin' to do with it,
I just drove.
What about Louis the barber?
Was he one of your gang?
No, he's dead and buried
two years ago.
Legitimate.
Who's the man you delivered
the bodies to?
The undertaker.
What undertaker?
Our undertaker.
He worked for us, exclusive.
What's his name?
I don't know, we called him
"Sad Eyes."
Where do we find him?
If I tell you, you won't make
me leave here, will you?
What's the address?
Twenty-six and a half
12th Street.
(somber theme playing)
Have your men cover the front.
Wait a minute.
Try the window.
No shooting. I want him alive.
(dramatic theme playing)
(glass breaking)
(dramatic theme playing)
(gunshot)
(gun clicking)
Answer me straight
or I'll blow your head off.
Where are the bodies?
In the marsh.
(dramatic theme playing)
Get up!
(grunts)
Lock him up, sergeant.
He says the bodies
are in the marsh.
Get the city engineers over.
Have them send out steam shovels
and dig up that whole area
where we found
the station wagon.
Right.
How many bodies
do you think we'll find?
I'm afraid to guess. Any outfit
that has his own undertaker
is operating on
a pretty big scale.
(typewriter typing)
Identify any of the others?
Whoever did these jobs
is very thorough.
An attempt was made
to remove all identification.
Here's a list of victims
we know so far.
Doesn't make any sense.
There were all kinds of people
with no connection.
This doesn't make
any sense at all.
One thing makes sense.
If you haven't got a body,
you can't prosecute for murder.
Somebody went through
a lot of trouble to make sure
these would never be found.
Murder for profit.
I want the guys
who got paid for all this.
The press are getting
restless. What do I tell them?
Give them the story.
Give the papers the names,
addresses and pictures
of everybody we've identified.
Spread it around.
Blast it over the radio.
Make them think we got
a hundred leads.
Give somebody a bad time.
Somewhere someone will crack.
But I gotta get out of here.
I gotta get out of the country.
But they found the bodies.
They're still counting them.
Now they can pin murder on us.
Oh, sure.
It's a great hideout
until they find it.
And if they find me,
they find you too.
Yup.
Okay.
Okay, if that's what you want.
I'll stay right here.
Yeah.
Right here.
(breathing heavily)
-Digger.
-What was that call about?
It was long distance again.
What do they want?
There's a contract
to be filled right away.
A contract now?
Where? In the city.
Cops will be on our neck
before we get over the city line.
Where the heat's on too heavy.
I said there's a contract
to be filled in the city.
Shorty and I stay here
and take care of the chickens.
All right. I'll fill it myself.
I'll take care of you two
when I get back.
(car engine starts)
(dramatic theme playing)
(car approaching)
-Car coming!
-SHORTY: Rico?
I can't tell, but if he
wants to make trouble...
we'll give him trouble.
I'm going upstairs.
-Sit down!
-Count me out.
Sit down.
It's Herman and B.J.
from Kansas City.
Light the light.
HERMAN (knocking):
Rico! Open up!
Herman, come on in.
What are you doin' here?
Hello, Digger.
This is Olga and Shorty.
There's a lot of heat on.
Where's Rico? We gotta see him.
He had a contract.
He went into town.
This is no time
to be filling contracts.
Has he flipped his lid?
Yeah, that's what I told him.
You told him?
Yeah, we told him.
Didn't we, Shorty?
You see, everything's coming
apart. The country's on fire.
We're gonna stay here until
someone puts out that fire.
I don't blame you.
You see, there's been a change
in the whole set up.
Everything's coming out
of Kansas City now.
What do you mean Kansas?
What happens to us?
You don't have to worry.
You're gonna be taken care of.
(yells)
(gunshots)
(dramatic theme playing)
RICO: Hello?
District Attorney's office.
Let me speak to Ferguson, quick.
This is Joe Rico.
Yeah, that's what I said.
Joe Rico.
Hello? Ferguson.
I hear you've been
looking for me.
Nevermind where I am.
I got something to say to you
that you want to hear.
And if you want to hear it,
meet me at Pier 16-- in an hour.
Yeah, nine o'clock.
And listen...
no guns, no cops, no tricks.
If you're smart,
you can be a hero.
If you're dumb, you can be dead.
(boat horn blowing)
Ah, it's two minutes
to nine. I'll get going.
Don't you think
I better go with you?
He said alone and unarmed.
That means you get in the car
and get out of the neighborhood.
Hold it.
You followed us pretty good.
What's on your mind, Rico?
Not so fast.
First, we gotta make a deal.
No chair.
What's your offer?
How do I know I can trust you?
You got no choice.
(breathing heavily)
Suppose I give you the top man.
Your boss, the man
who called you on the phone?
-You know about that then.
-Who is he?
I take orders from a guy
by the name Albert Mendoza.
And I can give him to you
for murder.
That's what I want.
I want him in the chair.
I'm the one guy
that can put him there.
(chuckles)
Go ahead.
You ever hear about
a poor slob named John Webb?
What about him?
That's the one mistake
Mendoza ever made.
He killed him personally.
Can you prove it?
-In spades.
-How?
I was there.
Mendoza and me are very close.
I've been with him
ever since the beginning.
That time, I was just a crumb.
I was working for the bookies.
You know, keeping things
nice and peaceful.
This guy, Mendoza,
was chiseling in on my boss.
Trying to run
a little book of his own.
I was sent around to have
a little talk with him.
(grunts)
Now listen.
Here's the message, Mendoza.
Stay out of this neighborhood.
The boss don't want
no competition. Understand?
I've been gone over by experts,
but you're the best.
What's your name?
What's the matter?
You want some more?
I think I can use a guy
like you.
You kiddin'?
Help me up.
I'll make you a rich man.
You must be nuts!
I'm glad I ran into you.
You're just the kind
of a guy I need.
Come on.
I'll buy you a cup of coffee.
I still got a dime left.
When you get to know me better,
you'll find out I'm a great man.
My only trouble
is I was born too late.
By the time I came around
everything around was sewed up.
The only chance
for a guy like me
is to start a new racket,
and I got one.
A brand new one.
One nobody ever
thought of before.
I must have kicked you
in the head.
I've given it a lot of thought.
The business I got
needs no investment.
You can carry it around
in your hat.
All you need is a telephone.
I don't see no money
in a hat and a telephone.
What job always
pays the highest?
The most dangerous one.
Yeah.
Today I went into the most
dangerous business in the world.
What's that?
The murder business.
But I'm taking the danger
out of it.
You're really nuts.
Look, how do the cops
always catch a murderer?
They find the motive.
Once they find the motive,
they've got the killer.
I don't get it.
All right.
Take this guy here.
Who'd want to kill him?
I don't know. Who?
Not many people.
His partner, if he's got one.
A guy who owes him money.
A fellow he had
an argument with.
Maybe his wife.
You see it's easy for the cops.
They've only got four or five
people to look for.
Four or five people
who've got a motive.
But any one of them
might want to see him dead.
That's where we come in.
We service these people
with a killer
who's got no motive.
He won't even know the guy,
so how can the cops find him?
-Yeah, but who pays?
-The customer.
(scoffs):
That's where it goes wrong.
How can you trust him?
He's got you.
No. We got him.
He's the one with the motive.
That's how we get big.
Once you do a...favor
like that for a man,
he's in your hands forever.
He's like a bank.
You're talking through that hat
you got your business in.
Yeah? What do you think
I'm doing here?
This is my first contract.
I'm getting 500 bucks to...
(scoffs)
You don't have 500 bucks
as long as you live.
Hmm.
JOHN: Huh?
(John grunting)
MENDOZA: Let's get out of here.
(bell rings)
-(screams)
-MAN: Oh, kid!
Don't run. Walk.
We gotta get out of here.
Run and somebody runs after you.
Walk. Slowly.
(girl screaming)
But they saw us.
They'll tell them
what we look like.
(whistle blows)
Can you describe them?
Sure. A man and a kid.
And they'll say two men.
(breathing heavily)
They'll come after us.
Oh, yes.
We got no motive,
we didn't even take anything.
(sirens in distance)
But they saw us. They know us.
That kid lookin' at us
with her big blue eyes.
She'll remember.
They don't know us.
We know them.
Their names will be
in the papers
tomorrow morning, not ours.
He had nerves like I had.
He never even lost a night's
sleep over that killing.
Then one day, a few years
later, he got into a cab,
and who was driving?
Tony Vetto.
The guy who saw him kill Webb.
He knew by the way
that they looked at him
that Tony remembered.
It was a cinch to stop them
remembering.
But that scared the kid,
and she ran out of town.
RICO: It took us a little
while to find her.
She'd grown up
and changed her name.
But we did...
and then there were
no witnesses left.
Only me.
And you know why?
Because I'm smart.
I'm even smarter than Mendoza.
That's why
I'm the only guy alive
who can give him
to you for murder.
(machine turns off)
And he's dead.
Mendoza had quite an idea.
A lunatic idea, but it worked.
Outside's a great big country.
Mendoza's robbed it
and murdered its citizens.
And we can't touch him.
Hmm.
I guess it was just a wish
I had running through my head.
Yes, sir. That butcher is going
out of here a free man.
Right over the bodies
of his victims.
On the way out,
he'll spit right in our eye.
Heh.
Maybe, but for
the next few hours,
I've still got my hands on him.
He's not gonna spit in my eye.
If you came here
to tell me about Rico,
you can save your breath,
I already heard.
I've got a few souvenirs
for you,
pictures of some people
you killed.
Little memories
you can hang on to.
I'll have a better memory.
You lookin' like a chump
in that courtroom today.
If you think you can get away
with this, you're crazy.
You think you can shut people
up by killing them,
but you're wrong.
Even the dead can talk.
Maybe not in a courtroom,
but they'll be talkin' to you,
Mendoza.
At night, when
you're trying to sleep.
I don't have to listen to you.
Get out of here!
Sit down!
Look at these faces.
Faces of the dead, Mendoza.
Olga Kirshen, shot.
Duke Malloy, hanged.
Tony Vetto,
poor taxi driver, stabbed.
And Angela, a little girl
you hounded
from childhood
until you killed her.
Look at her, Mendoza!
Maybe this is a face
that'll haunt you.
Maybe these are the eyes
that'll drive you crazy.
(pictures slap)
Guard!
Guard!
I want to get in touch
with my lawyer.
I want to get in touch
with him right away.
(phone ringing)
Hello?
Just a minute.
It's Mendoza's lawyer.
He wants you.
Hello?
Yeah.
Yeah, okay.
Right away.
We got a contract
in Port Morris.
A rush job
right from the head man.
RICO: They were standing
in the doorway.
A cab driver and a kid.
They saw him do it.
The knife was still in his hand.
And Mendoza saw them too...
Still playin' that thing?
I was just imagining
how nice it would be
if Rico were on the stand
saying this.
Well, he's dead.
And that thing isn't evidence.
Dirty fat face...
and the girl, staring at him,
with her big blue eyes.
He threw down the knife,
but I was already running
for the door.
I ran out in the street.
He caught up with me,
and grabbed me by the arm.
Cab driver
with a dirty fat face,
and the girl staring at him
with her big blue eyes.
(tape rewinding)
Girl staring at him
with her big blue eyes.
He threw down the knife.
"Her big blue eyes."
Where's that coroner's report
on Nina Lombardo?
Woman, Caucasian, age early
twenties, height 5 foot 3,
weight 110, hair black,
eyes brown.
Brown eyes!
That's what was running
through my head.
Nina Lombardo had brown eyes,
Angela Vetto had big blue ones.
Brown? Blue?
What are you getting at?
Well, the finger man
pointed out the wrong girl.
And Duke killed the wrong girl.
The one they wanted
was the roommate,
the one we talked to.
I knew she was lying
about something.
She's Angela Vetto!
(dialing rotary phone)
Hey, this is Ferguson.
I want a postponement.
Four hours.
Yes, I've got a witness--
an eyewitness...
who can put Mendoza
in the chair.
Miss Teresa Davis in?
I'd like to speak to her.
Teresa? Well, she just left.
-Which way did she go?
-Down the street.
There was a couple of other men
here a few minutes ago,
looking for her.
Know what they look like?
I didn't notice, just two men.
There's two guys after her.
Get moving.
(car horn honking)
We'll never find her this way.
Get out of the car,
you'll take that side.
(jazz music playing
over speakers)
Can you hook up a mic
to that loud speaker
-so I can talk through it?
-I beg your pardon?
(jazz music stops)
FERGUSON: Attention, everybody.
Attention. This is the police.
Angela Vetto. I repeat.
Angela Vetto.
Your life is in danger.
Wherever you are,
get off the street.
Angela Vetto,
get off the street.
Do not come here.
Go to a telephone,
call Temple 2311.
I repeat, Temple 2311.
Angela Vetto,
get off the street.
Your life is in danger.
Call Temple 2311.
Stay where you are,
call Temple 2311.
We'll come and get you.
The hoods heard that too.
We pick up Angela,
we lead them right to her.
We'll have to take that chance.
(phone ringing)
Yes?
Yes, this is the police.
Where are you?
Repeat that.
Well, stay there.
I'll be right over.
-Where's the Talbert building?
-MAN: Up in the next block.
You take these men
and go the opposite direction.
Circle around the block.
That'll draw them off.
I'll wait here a few seconds
and then I'll pick her up.
Well, suppose they don't
fall for it and follow you?
-I'll have to risk that.
-Better take a friend with you.
POLICEMAN: Okay, break it up.
Go on home.
It's all over, go on.
Break it up.
(crowd chattering)
(dramatic theme playing)
(dramatic theme playing)
Don't come out. Stay there.
(dramatic theme playing)
All right, Miss Vetto,
come on out.
We have a date in court.
I wanna see that smile fade
on Mendoza's face
when he looks into those
big blue eyes again.
(dramatic theme playing)
(tapping)
All clear, Captain.
Okay, Rico.
Come on out.
Let's go.
Check it.
There's nobody out there.
How do you know?
Flank him on the left.
If you get it, I'll get it.
Come on.
FERGUSON (over intercom): Yeah?
They're here, Mr. Ferguson.
Okay. Be with them in a minute.
How's our witness?
He's falling apart.
(groaning)
I hope he holds together
till morning.
I'll put him on the stand
the first thing.
Send him in.
All right, Rico.
Listen, Ferguson,
I made up my mind.
I--
I ain't going to testify.
You've got to get
yourself a new boy.
Sit down.
Stop telling me to sit down!
"Take it easy, Rico.
Relax, Rico."
Well, it's my neck.
He tried once in the farm,
once in the jail
and once in the hotel.
He's gonna get me.
Nobody's going to get you.
That's why we brought you here.
Sleep tonight over there
on that cot.
Tomorrow morning, we'll take you
down in the elevator
to the courtroom.
You don't even
leave the building.
You get on the stand
and you tell us what you saw.
That's all you have to do.
Mendoza'll be there, won't he?
-Uh-huh.
-Well, he won't let me talk.
He'll find a way to kill me even if
it's on the witness stand.
It's a courtroom, Rico,
filled with police.
All I want you to do
is identify him.
I won't do it.
You go on the witness stand
tomorrow morning, 10:00.
-I won't talk!
-All right.
If you won't talk,
I'll send you to the chair.
What? You don't want me
in the chair.
You want Mendoza.
Please, Mr. Ferguson,
don't make me take the stand.
For what I've got on you, Rico,
I could burn you a dozen times.
But, I'm-- I'm letting you
squirm out because you're right.
I want Mendoza
more than I want you.
And you're gonna
help me get him.
Do you think Mendoza
would let me frame him?
You don't know him.
He'll kill me tonight
with all you uniforms around.
He's locked up in a cell
nine stories below.
-He's got organization.
-That's busted.
How do you know?
-Maybe he stuck your guy in a cop's uniform now.
-Nah.
Well...
There's something
on it's way to kill me.
I can feel it coming.
Maybe from there.
Or there.
There or there.
I've got a feeling
it's on its way.
(siren wailing)
He got away. He got away!
See, there's another.
I can hear. I can hear.
He's busted out.
(telephone rings)
See, they called to tell you.
(telephone ringing)
Yes?
Anytime tonight will do.
Oh, say, Quillen.
What's that siren?
Mm-hmm.
It's the mayor.
He's late for an appointment.
You're lying. It's Mendoza.
-He's busting loose.
-He's locked up.
He got out. He's coming
to kill me. He got out!
You want to see him?
All right, I'll show him to you.
Bring him along.
Here, see for yourself.
He's in there, huh?
You wanted to look. Look.
I don't want to see him.
Here, take a look.
He's smiling at me.
Mendoza, call them off.
I'm not going into court.
I swear I won't.
Tell them I'm not squealing.
Please tell them-- Rico!
You're gonna talk.
Do you hear me?
You're gonna talk.
You're not blowing up this case.
It took four years
to put him in that cell,
and when he walks out,
he's going to the chair.
So you're gonna talk.
It's the only chance
you've got to live.
I'm afraid.
-He'll never die.
-He'll die.
He's got to die
and you're gonna kill him.
I can't. Nobody can.
He ain't human.
Tomorrow morning at 10:00,
you go on the stand.
Take him back upstairs.
Now what's eating you?
I don't know.
Let's take a look
around outside.
(dramatic theme playing)
Like a cemetery.
Sorry, Captain.
There's the window.
The one that's lit up.
Give me a cigarette.
And a light.
-Now.
-(gunfire)
Rico.
(dramatic theme playing)
(gunfire continues)
I ain't gonna be shot
to pieces like no pigeon.
I'm getting out of here.
-How bad is it?
-It's only a flesh wound.
Whitlow. Yes, sir?
Where did those shots come from?
I think they came
from the roof of the hotel
across the street.
Uh, take him to the hospital.
Get me Central Control.
Hey, Doc. Yes?
Put this guy to sleep, will ya?
-Yes, sir.
-Put him on a cot in my office.
Nelson speaking.
Block the exits to that hotel
across the street.
Search every room.
Send a squad up
to check the rooftops.
There's 300 rooms in that hotel.
We haven't got a chance.
-Oh, Whitlow?
-WHITLOW: Yo.
Stay with him.
Don't leave him for anything.
(ticking)
How is he?
Everything okay?
Yeah.
Got some more coffee?
You got a big day ahead of you.
You better go home
and get some sleep.
Sleep?
Whoever was on that roof
is still loose.
They won't try anything else.
They shot their bolt.
We got Mendoza locked in a cell,
an air-tight indictment
for murder,
an eyewitness to the crime.
It's what the law books call
an open-and-shut case.
Nothing can happen.
-Yet--
-Here, drink your coffee.
We want you in that courtroom
tomorrow too.
(snoring lightly)
Where are you going?
I don't feel good.
Okay. In here.
I'm right with you.
(breathing deeply)
OFFICER:
Okay, Rico, that's enough air.
(dramatic theme playing)
What, again?
FERGUSON: Nelson!
He's out on the ledge below us
trying to make the fire escape.
You can't make it, Rico.
You can't make it. It's too far.
You're right.
I can't do it.
I'm getting dizzy.
I'm coming back.
Take it easy now, Rico.
FERGUSON: Don't look down.
Keep your face to the wall.
Here.
Reach my hand.
Little more.
Take it easy now.
Yeah.
Yeah, that's it.
A little more now.
Wait a minute.
Get a good grip there.
(Rico screaming)
Can we take him?
Yeah.
It's crazy.
We had it all sewed up.
It's crazy.
We could protect him against
everything but himself.
Send the boys
back to their precincts.
(siren wailing)
Nelson.
Well, can you
go to trial tomorrow?
Well, sir,
my case is right there.
You shouldn't have gone
to trial with just one witness.
-You should have waited.
-Waited for what?
Every day Mendoza's free,
people are getting murdered.
The city spent hundreds
of thousands of dollars.
Tied up the whole
police force. Months.
I pledged my word to the people
that Mendoza was
as good as convicted.
Now what do I say?
Mr. Mayor, if you want
my resignation, you can have it.
That'll give you
something to say.
-WHITLOW: It wasn't his fault.
-Shut up.
If you want a goat, I'm it.
I don't want a goat,
I want a conviction.
What do we do about Mendoza?
Are there any other witnesses?
If there were,
don't you think I'd have them?
It doesn't make any sense.
A man commits murders
and there's nobody around
to testify against him.
I had somebody.
All right,
what's our legal position?
Mendoza's lawyers will go
to court tomorrow morning,
ask for a dismissal
and get it like that.
There's nothing
we can hold him on?
I couldn't even
give him 30 days.
(car starts)
(bell tolling)
In seven more hours,
Mendoza walks out of that
courtroom a free man.
How can that be?
What's wrong with the law
that we can't touch him?
Oh, I know.
Our kind of laws are designed
to protect the innocent.
It's not enough
that we know a man is guilty,
we have to prove it.
Ever have a tune run
through your head
and you can't
remember the words?
What are you getting at?
How many people
you speak to on this case?
Oh, I hate to remember.
How many pages of testimony
do you suppose we took?
Enough to fill
a nice sized room.
(chuckles)
Somewhere in that testimony,
somebody said something
that's stuck in my brain.
Got lost in the shuffle
because we didn't need it.
We had Rico, but now...
If I could only remember.
What was it?
Well, we got nothing
else to do tonight.
Let's try and dig it out.
Well, we can start from
right to left or left to right.
Oh, let's take it
just the way it came to us
right from that first crazy day.
(dramatic theme playing)
Yes?
They made me kill my girl.
What's that, fella?
They made me kill my girl.
What girl?
What's your name?
Are you drunk?
I killed my girl.
What's her name?
Nina.
Nina what?
Nina Lombardo.
They made me do it. They made
me.
All right, they made you.
Now, where's the body?
They buried her.
I saw them.
Homicide.
Down here.
Back over behind those trees.
(indistinct chatter)
Why did you pick
this place to stop?
I don't know.
-Was it here?
-I don't know.
Now think.
Are you sure it was around here?
They took her out of the car
after I killed her.
They had a shovel.
They dug a grave
and they put her in it.
-Where's the grave?
-I don't know.
That's when I ran away.
I knew I was next.
-Where's the car?
-They must have junked it.
The way I figure is,
something's missing.
Maybe you're right, maybe not.
What were you doing
way out here?
They brought us in a car.
What kind of a car?
Station wagon.
We parked.
That's when she knew
I was gonna kill her.
I told her it wouldn't hurt.
It didn't.
She didn't even know
when it happened.
I was kissing her.
You say you loved her,
in the same breath
you say you killed her.
I don't get it.
I had to.
She was a hit.
"A hit." What's a hit?
I had the contract.
Oh, this guy is
a straightjacket case.
What do you mean?
What kind of a contract?
A contract.
I wanted to break it
but they made me do it.
Who made you? Who are "they"?
Big Babe, Philadelphia
and Smiley.
Smiley ordered me.
He runs a troop.
What kind of a troop?
What are you, a boy scout?
Philadelphia and Babe
were there.
But it was Smiley
who made me do it.
I killed her.
I killed my own girl.
MAN: Hey, sergeant!
I think I found something!
(dramatic theme playing)
They stole her!
They got her.
They took her away.
(sobbing)
Book him.
On what? Murder.
We can't book him
without a body.
I'll give you odds we find it.
-Sergeant.
-MAN: Yes, sir?
Start checking
the Monaco file on some guys
named Philadelphia,
Big Babe and Smiley.
Take him down to the station.
I'll meet you there at 8:00.
Sergeant, let's go.
-Come on.
-I loved her.
-Come on, let's go.
-I loved her and I killed her.
I want to die.
I want to die.
Evening, Captain.
Hello.
Where's Duke Malloy?
Three.
Open up. Quick.
When we got there
and cut him down, he was dead.
Tell me again. What was it
he said about contracts?
Was that the word he used?
Yeah, he said it was a contract
and that she was a hit.
You got any idea what he meant?
I never heard it in connection
with a killing before.
You?
-No, sir.
-(chuckles)
You got anything on this guy?
Who was he?
There's his sheet.
Hmm, that's nice.
James Duke Malloy, 14 arrests.
Everything from robbery
to assault and battery.
Have you got anything
on those names he mentioned?
Big Babe, Philadelphia
and Smiley?
Well, I'm waiting for a report
from the alias file now.
Small-time hoodlum walks
into a police station
and gives himself up
for murdering his girl,
then hangs himself.
Did you believe his story?
Yes. No, sir, I didn't.
(chuckles)
Well, I can't blame you.
He talks about contracts
and hits
and being forced to kill her...
and there's no body.
Oh, Joe.
(over intercom): Yes, sir?
Missing Persons come up with
anything on Nina Lombardo?
No, sir. No one by that name
is listed as missing.
She got a criminal record?
Nope, nothing on that.
Hmm. Okay.
Well, Nelson,
what do you think it is?
Insanity? Jealousy? Revenge?
I don't know, but I'd say
it's none of those.
I believe Malloy.
Somebody made him do it.
Why, I don't know
and who, I don't know.
There's one thing I do know,
he didn't have
an ordinary motive.
Cause if he had one,
we would have found a body.
What about that station wagon
he killed her in?
It's my job to start looking for it
soon as I get out of here.
Well, what are you waiting for?
Excuse me, sir.
Captain, the railroads guard
picked up a fella by the name
of Tom Zaca this morning.
-Well?
-He was busting all the windows
of the train as it was
pulling out of the station.
So? We checked him
against the alias file.
He's knows
as Philadelphia Tom Zaca.
What jail you got him in?
No jail, sir.
They shipped him back
to the insane asylum.
He's only been released
from there two weeks.
Zaca?
There's someone here to see you.
Hello, Zaca.
I'd like you to try
to answer one question.
Why did Duke Malloy
kill his girl?
(groaning)
Ah, this is hopeless.
The other times he was here,
did he have any visitors?
None listed.
No contact at all
with the outside?
Here's a notation
from the mailing department.
He used to receive a weekly
carton of cigarettes
from Olga Kirshen's lunch stand.
Have you got an address on that?
Olga Kirshen?
Who are you?
We'd like to ask you
a few questions.
Do you know
a Philadelphia Tom Zaca?
Is he out?
Was out. He's back in again.
You had me scared.
If he scares you, why do you
send him cigarettes?
I only send him cigarettes
so if he gets out,
he won't come here
and make trouble.
How long have you know him?
From when he was a kid.
Um, would you like
a glass of water?
Mm-hmm. No.
From when he first moved
here from Philadelphia.
He used to come in and take
cigarettes without paying.
Once I tried to stop him,
he broke my arm.
He's strong like a bull.
You know anybody named
Duke Malloy?
Duke? I don't remember no Duke.
How about a Big Babe
or a Smiley?
Big Babe.
On this block,
there's lots of Babes.
But I know a Smiley.
-Smiley Schultz.
-Where does he live?
Let me think.
I once delivered him some sandwiches
when he had the flu.
Oh, it's around the corner.
The third or fourth house.
-The one with the tailor shop on the first floor.
-Thanks.
Um, about Philadelphia,
if you find out when
they're gonna let him out,
I'd appreciate if you let me know.
Sure.
(sirens wailing)
Hello, Nelson.
What are you doing here?
We have to see
someone in the house.
-What's burning?
-Nothing important.
Someone conked the furnace,
and it's smoking up the place.
We'll be out of here
in a few minutes.
Hey, chief, we found
a body burned in the furnace.
I'll give you six-two and even
the body's name
is Smiley Schultz.
Hey, tailor, you know a friend
of Smiley Schultz's,
a fellow they call Big Babe?
Don't bother me.
Who knows Big Babe?
I know him, mister.
He lives around the corner.
-I just saw him.
-Where?
He jumped into his car
and yelled at his wife he was
on his way to St. Anne's church.
Thanks.
This is Martin Ferguson.
Dispatch a car
to St. Anne's church,
pick up Babe Lazick,
wanted for murder.
Hold.
What would he be doing
in church?
Robbin' the poor box
or coppin' a plea.
Always worries me when
these hoodlums get religion.
BABE (shouting): Put me down!
Quit taking me out here!
Let me stay inside!
They won't do nothin'
to me in the church!
Let me alone! Put me down!
They'll burn me too!
All right, let him
through there.
All right, go on home.
-Ahem.
-Yeah, what do you want?
Is that fat hooligan
called Big Babe?
Yes, sir, Big Babe Laznick.
He lives in the neighborhood.
Take him to headquarters,
Ferguson's office.
-Yes, sir.
-That's all.
What do you make of this?
Little is the only one
that makes sense.
He said something went wrong.
It certainly did.
What are you, an iceman?
Answer him.
What do you carry this
around for?
I just carry it.
You just carry it.
Who burned your friend Smiley?
-I don't know any Smiley.
-You're lying.
You know him,
and you know he's dead.
I don't, I don't.
Then why did you say
you didn't want to burn too?
-You know they burned him.
-I don't know.
Get the box.
(footsteps)
You see this?
This was Smiley's.
He carried an icepick too.
Do all your friends
carry icepicks?
Take it away.
I don't want to see it.
Who was Duke Malloy?
I don't know him.
He said he knew you.
Said you made him kill his girl.
I don't know what
you're talking about.
NELSON:
You know what a contract is?
-Do you know what a hit means?
-No, no.
You oughta know. Duke said you
belonged to the same troop.
What is a troop?
What kind of a troop?
(breathing heavily)
I can't talk. I can't tell you.
-I'm afraid.
-Who are you afraid of?
I can't talk. I can't.
(buzzer sounding)
Yes?
They're here, Mr. Ferguson.
I'm sorry to have to bring you
here at this hour, Mrs. Lazick.
What do you want with me?
This isn't good for the baby,
waking him up so late.
What's your name, son?
Louie.
Oh, Frank, give Louie
a drink of water.
Your husband's in trouble,
Mrs. Lazick.
(whimpering)
How much trouble
has Babe got into?
How long have you been married?
Five years.
You got any money?
Whatever he brings home,
we live on.
Tell me, what did Babe do?
What's the matter?
Mrs. Lazick, your husband is facing
one to 20 years in jail.
How long he goes in for
depends on you.
Me? What can I do?
I'm going to bring him in here.
I want you to talk to him.
If he tells me what I want to know,
if he tells me the truth,
I give you my word
I'll go easy on him.
Babe.
Babe, what did you do
to get in this mess?
I didn't do nothin'.
What'd you bring her here for?
Why you getting her
mixed up in this?
Babe, what did you do?
Tell him, he'll help us.
BABE: I can't talk.
What do you want me to do?
MRS. LAZICK: Tell him what
he wants to know.
What do we do
if they put you away?
Ain't I better to you
in jail than dead?
I can't tell him.
(crying)
What are you bawling for?
You're always crying.
Let them go, they had nothing
to do with this.
And you ain't got
anything on me. Louie--
Babe, that car you smashed up
was a stolen car.
All right, I stole a car.
You got nothing more to say?
No, nothin'.
Lock her up.
Five thousand dollars bail.
Her? What are you
locking her up for?
-She didn't do nothin'.
-She's a material witness.
Witness to what?
She heard you confess
to stealing a car.
Don't take me away.
What about the baby?
We'll take care of him.
This man will take your boy
to an institution
where he'll be well
taken care of.
Oh, no.
(crying): No, no, Louie!
Okay, okay, I'll tell you.
Let 'em go. I'll talk.
Okay, let her go home.
You, over there. Take this down.
(crying)
What do you wanna know?
About Duke Malloy. Who was he?
He was a slammer.
You know, a strongarm.
Who'd he work for?
For the troop. For them.
Who's "them"? Talk sense.
Where do you hang out?
Olga's lunch stand.
Anybody else there?
-We all hang out there.
-Duke too?
Sure, that's how I got in.
Duke was the one
that took me there.
It was a big day for me.
They had seen me
in the neighborhood,
and now they
were sending for me.
But I wondered why Duke was
taking me to Olga's.
I was sure excited because now
I was finally gettin' in
with the real boys.
It's me. Duke.
(door unlocking)
Back room was just
like what you'd expect
at the back of a store.
Shorty, that dope.
And Philadelphia,
he wasn't all there.
But nobody ever said that
when he was around.
Vince, a bundle of nerves
with no brain.
Then there, behind the desk,
all nerve and all brain,
Mr. Rico.
Is this the guy you wanted?
Sit down.
Over there.
What are you looking at?
(laughs)
(knocking on door)
DIGGER: Open up, it's Digger.
-Digger! When'd you get back?
-Hi. Just now.
How'd it go?
Took a few days to get
the sucker in position.
You know, I think he had
a feeling he was gonna go.
Always stayed in crowds.
But I nailed him one afternoon.
Bijou Theater. Back row.
Quick.
That checks.
The Miami cops found him
in the Bijou Theater.
Here's your bonus.
Say, who was this guy?
Did it make the papers?
Any time you want to know,
I'll have the cops read it to you.
(phone ringing)
RICO: Sit down.
Hello.
Where's it got to be done?
RICO: Can't they handle it?
When?
Yeah.
Right.
Right.
(hangs up receiver)
Who calls him on the phone?
If you're a good swimmer,
you can ask a guy who found out.
He's at the bottom of the river.
(chuckles)
Digger.
You ever been in St. Louis?
No.
-I've been to St. Louis.
-I didn't ask you.
I ain't had a contract
in two months.
You're getting paid.
But an out-of-town contract
is extra dough.
I-- I got expenses.
You need a rest.
You're coming apart.
You capisce?
So-so.
Finger don't speak much English.
He can point, can't he?
Here's a yard.
You grab a plane at midnight.
When you finish, don't hang
around to see any ballgames.
You all set?
Let me see that.
Who told you
you could carry a gun?
It's mine.
That's fine.
Makes it easy for the cops to
identify you if they grab you.
RICO:
You know what to use. Use it.
Now get going.
(whispering) When is he
going to talk to me?
Pick up the cards.
RICO: Leave them there.
You pick up the cards.
What's your name?
Big Babe Lazick.
You sent for me, remember?
I'm forgetful.
Sometimes I meet a guy
and then I never see him again.
I got a big turnover in friends.
A blimp like you ain't got
a girlfriend, have you?
I got a wife.
Well, if anything happens
to you, we take care of her.
You get in a jam,
we'll get you a lawyer.
If you get in jail,
you're on the payroll
all the time you're in.
There's your first week's pay.
Thanks, Mr. Rico.
Now I'm ready for the big stuff.
Maybe even a killing.
Don't ever say that.
A murder is a contract.
A hit is the sucker
that gets killed.
Remember those words
and use them.
Then, even if
the cops tap our phone,
they don't know
what you're talking about.
Get that?
Yes, sir.
-Uh, anything else?
-Yes.
Burn that tent you're wearing
and get yourself a suit.
(dramatic theme playing)
(door closes)
Get this through your head.
You're new here. You're nothin'.
Takin' orders from everybody,
from him and him and me.
Now pick up the cards.
Well, that's what I was.
A nothin'.
I've never been anything
but a nothin'.
Nelson speaking.
Send out an APB on Joseph Rico.
Stamp it number one.
Pick up Olga Kirschen and move
in on that lunch stand, quick.
Check the telephones.
Get all the long-distance
toll sheets.
Find out who the landlord is
and check who pays the rent.
(hangs up)
So you're just a nothing.
Then how did you make Duke
kill Nina Lombardo?
Me? I didn't!
I didn't make him kill her.
You better tell me or I'll hand you
an accessory to murder rap.
Me, I didn't do nothin'.
I didn't kill anyone.
I just drove away with the body.
Where'd you take it?
Where'd you take the body?
Where they told me.
I'll show you.
-Woman.
-Woman.
-Caucasian.
-Caucasian.
-Age, early 20s.
-Age, early 20s.
-Weight, about 110 pounds.
-110 pounds.
-Height, five feet, three inches.
-Five feet, three inches.
Hair, black. Eyes...
-Brown.
-Brown.
FERGUSON: Is that Nina Lombardo?
Don't make me look.
(forcefully):
Is that Nina Lombardo?
That's her.
Hey, captain, here's something
I found on the steering wheel.
Car's registered
to Thomas O'Hara,
1510 Elm Street, Fort Morris.
That's over the state line.
Yeah, about 60 miles.
I'll get in touch
with their police.
You have 'em pick up O'Hara
and hold him for us.
(car horn honks)
-Mr. Ferguson.
-Did you pick up O'Hara?
Right off the sidewalk.
He was shot.
Is he alive?
Just about.
(labored): Something...
went wrong.
I had a feeling...
something was wrong.
Duke...
It was all Duke's fault.
-Duke--
-O'Hara.
-Duke.
-O'Hara.
-He got me in all this trouble.
-What was Duke's fault?
Tell me about Duke.
He should've filled
the contract.
I found her.
I did my job.
He should've done his.
I showed him the hit.
I took him to see her.
Just Muscatel.
There's the hit.
A dame?
Does it make any difference?
No difference.
Did you get a good look at her?
-Hi.
-Hi.
Listen, I'm going down
after the cleaning.
And I washed your socks,
they're hanging in the bathroom.
Oh, thanks.
That's her girlfriend.
They live together
on the second floor,
and they work over
at Edison's Leather Goods.
When this dame goes,
it's very important
nobody should know about it.
She just disappears, see?
You got a quiet spot
for that around here?
A couple of nice, romantic
lakes just outside of town.
You shouldn't have any trouble,
a good-looking guy like you.
Not more than a couple of days.
Don't crowd me.
A job like this is going
to take a little time.
(jazz music playing
over speakers)
Where you been?
I haven't seen you in weeks.
I gotta talk to you.
Slip in here.
Long distance want action.
Yeah, I want action too.
You been here three weeks,
get goin'.
Who do you think you're
talking to? Local talent?
You know how many
contracts I've filled?
I keep the number
right in my head.
-Would you like me to tell you?
-No, I don't want to know.
Fifteen.
And I never left a trace.
You know why?
Because I handled 'em
my own way.
Nobody tells me how...
or when.
Okay.
Handle it your own way.
I like you.
You know something?
I really like you.
Yeah, that's great, me too.
I'm gonna buy you a drink.
You love that grape, don't you?
We're gonna be friends.
(snaps)
Stop worryin'.
She goes tomorrow night at 11.
(clock ticking)
(drawers opening)
(knock on door)
(sighs)
Wait downstairs.
You didn't do it!
Why didn't you do it?
What'll happen to us
when they find out?
They're not gonna find out.
You fell for her.
You're gonna call long distance.
You're gonna say I did the job.
-You'll never get away--
-Say it so they'll believe you.
-They'll get you, both of you.
-They'll have to find us first.
But they'll find me.
What about me?
Here's a thousand bucks.
You can run
a long way with this.
Now make the call.
No!
(glass shattering)
DUKE: Make the call.
I did what Duke asked.
I called long distance.
And I ran.
We all ran.
But we didn't get very far.
They caught up with us.
With Duke.
With the girl.
And with me.
DOCTOR: That's enough.
A young girl, a nice girl...
working in a shop,
bothering nobody.
Why would anybody want her dead?
Why?
Maybe her roommate can tell us.
(dramatic theme playing)
Nina, dead?
How did it happen?
Was there an accident?
No, it wasn't an accident.
She was murdered.
Did you ever see
this man before?
That's the man
she went away with.
They were going to married.
Well, he killed her.
Do you know why anybody
would want to kill Nina?
Can you think of anybody
who'd have a motive?
No. No, I don't know.
I'm sorry to upset you
like this, Ms. Davis,
but we think perhaps you're
the only one who can help us.
What do you know about Nina?
Who was she,
where'd she come from?
She came from out of town.
I met her at the store.
We liked each other.
We took this room together.
Did she ever tell you
anything about herself?
About her past,
about her friends?
No. She never talked
about anything personal.
But come to think of it,
there was something.
Her name.
Yeah, what about her name?
She changed it.
I think it was Vetto.
Angela Vetto.
Do you know why
she changed her name?
No.
There was something
she was afraid of.
She never did tell me all of it.
It-- It had something
to do with her father.
Yeah, what about her father?
He's dead.
That's all I know about her.
That's all.
Thank you, Ms. Davis.
Sorry to have troubled you.
(dramatic theme playing)
Oh, uh...
Ms. Davis,
I wouldn't leave town.
I might want to talk to you.
Yes, of course.
Here's the only "Vetto"
we've got.
Tony Vetto.
"Tony Vetto. Presumed dead.
"Reported missing two years ago
by his daughter, Angela Vetto."
Well, that helps.
Any criminal record
on Tony Vetto?
None.
Wait a minute. Here's something.
Once reported a murder he saw.
A man named John Webb.
Ran an all-night diner
on 25th Street.
Happened ten years ago.
"Tony and his 12 year-old
daughter Angela saw
"the killing take place.
"Murder weapon
was a carving knife.
"Listed as unsolved homicide."
Well, looks like Ms. Davis
is telling the truth.
Her story checks.
Want a copy of this?
Send it to my office.
Get me Whitlow.
Well, now we know why
Tony and Angela are dead.
They saw a murder.
Whoever did it was making sure
they'd never talk.
That happened years ago,
and there doesn't seem
to be any motive.
Whitlow? Nelson.
You got a lead on Rico yet?
How about Olga Kirschin?
Did you find anything
in that back room?
Well, keep after them.
They gotta be someplace.
Why would a gang like this
kill a fellow who runs a diner?
It doesn't make sense.
Well, we're making headway.
We know a contract
means a murder,
and a hit means a victim.
Now we gotta find out
who gives out the contracts.
Rico?
No. He takes orders.
This is big, well-organized.
An organization of killers.
A business built on murders.
Mm-hmm.
-Murder for profit.
-(phone ringing)
Yeah?
Who?
Oh, yes, doctor.
Do me a favor.
Don't release him to anybody
until I get there.
That was the asylum.
Someone's trying
to spring Philadelphia.
Look, doc, I can't go
with those guys.
I got no family.
I got no friends.
I-I got nobody to take me
out of here
and put me in a private place.
I can't go. It's a trick.
They're totally tryin'
to get me. I won't go.
You don't have to go with them,
but the city has to release you.
You're perfectly lucid.
If I walk out of here, I'm
a dead pigeon. They'll get me.
Tell me what I want and I'll hold you
as a material witness.
If you don't, we'll let you go.
Now, I asked you once before.
Why did Duke Malloy
kill his girl?
I don't know.
What do you know
about Angela Vetto?
I never heard of her.
Rico. Tony Vetto.
I don't know any of those.
Okay, doc, kick him out.
(dramatic theme playing)
Now I done something.
You can lock me up for assault.
FERGUSON:
No, it won't work, Zaca.
You can't let me go out
and get killed.
You want us to help you?
You help us.
Start talking.
(tense theme playing)
That last name you mentioned,
Tony Vetto.
I do remember.
But I just drove
the laundry truck.
I had nothin' to do
with nothin' else.
FERGUSON:
What about the laundry truck?
PHILADELPHIA:
I picked up the truck
and drove it to
where Rico told me to.
Get back there. We're not ready.
I just wanted to tell you
I got the truck outside.
Mr. Rico, listen to me.
You can't pull anything in here.
Who says I can't?
This is my shop.
And you're running my book
so you'll take my orders.
There's a customer
on his way over.
An old customer.
Tony Vetto.
No.
Not Tony.
Not Tony.
It's too late for him.
I was closing up when--
We know he's on his way over.
You'll stay open for him.
Please. Please.
When he comes,
he'll sit in this chair.
He'll buy his regular
Saturday night shave.
You put the apron on him.
You put hot towels on his face.
Remember that,
I'll be right there.
Start to strike the razor.
Then I take over.
No.
No, no. I can't do it.
He's my friend.
You'll do it.
Here he comes.
(dramatic theme playing)
Am I too late
for a shave, Louis?
It's late.
Come on, you've got time
for one more for an old friend.
TONY: You know, a funny thing
happened this morning.
Who you think gets into my cab.
I could swear it was the same
guy that killed poor Mr. Webb.
You remember the coffee shop
where I saw it happen.
You think I ought
to go to the cops?
You must have made a mistake.
It couldn't be the same guy.
It was no mistake.
It was him, all right.
Listen, I could never
forget that face.
I think he remembered me too.
Yeah, I think I better go
to the police.
(dramatic theme playing)
Philadelphia.
Step on it. We got
to meet the undertaker.
DUKE:
How can a guy get that way?
They aren't all built strong
like you and me, kid.
I just ain't been
feelin' well lately.
The barber took it
better than you.
I'm all right now.
Yeah, I'm all right.
Sure.
I ain't worried
about you, Vince.
We used to go to
the same P.S. together.
That's right.
I knew you wouldn't forget
about things like that.
No.
A guy going to pieces like you
can ruin the whole discipline.
It happens.
You know, Vince, I think there's room
for you in that basket.
You got a package for me?
Two of them.
Busy night.
You keepin' count, you--
Get going.
PHILADELPHIA:
And that's the truth.
I had nothin' to do with it,
I just drove.
What about Louis the barber?
Was he one of your gang?
No, he's dead and buried
two years ago.
Legitimate.
Who's the man you delivered
the bodies to?
The undertaker.
What undertaker?
Our undertaker.
He worked for us, exclusive.
What's his name?
I don't know, we called him
"Sad Eyes."
Where do we find him?
If I tell you, you won't make
me leave here, will you?
What's the address?
Twenty-six and a half
12th Street.
(somber theme playing)
Have your men cover the front.
Wait a minute.
Try the window.
No shooting. I want him alive.
(dramatic theme playing)
(glass breaking)
(dramatic theme playing)
(gunshot)
(gun clicking)
Answer me straight
or I'll blow your head off.
Where are the bodies?
In the marsh.
(dramatic theme playing)
Get up!
(grunts)
Lock him up, sergeant.
He says the bodies
are in the marsh.
Get the city engineers over.
Have them send out steam shovels
and dig up that whole area
where we found
the station wagon.
Right.
How many bodies
do you think we'll find?
I'm afraid to guess. Any outfit
that has his own undertaker
is operating on
a pretty big scale.
(typewriter typing)
Identify any of the others?
Whoever did these jobs
is very thorough.
An attempt was made
to remove all identification.
Here's a list of victims
we know so far.
Doesn't make any sense.
There were all kinds of people
with no connection.
This doesn't make
any sense at all.
One thing makes sense.
If you haven't got a body,
you can't prosecute for murder.
Somebody went through
a lot of trouble to make sure
these would never be found.
Murder for profit.
I want the guys
who got paid for all this.
The press are getting
restless. What do I tell them?
Give them the story.
Give the papers the names,
addresses and pictures
of everybody we've identified.
Spread it around.
Blast it over the radio.
Make them think we got
a hundred leads.
Give somebody a bad time.
Somewhere someone will crack.
But I gotta get out of here.
I gotta get out of the country.
But they found the bodies.
They're still counting them.
Now they can pin murder on us.
Oh, sure.
It's a great hideout
until they find it.
And if they find me,
they find you too.
Yup.
Okay.
Okay, if that's what you want.
I'll stay right here.
Yeah.
Right here.
(breathing heavily)
-Digger.
-What was that call about?
It was long distance again.
What do they want?
There's a contract
to be filled right away.
A contract now?
Where? In the city.
Cops will be on our neck
before we get over the city line.
Where the heat's on too heavy.
I said there's a contract
to be filled in the city.
Shorty and I stay here
and take care of the chickens.
All right. I'll fill it myself.
I'll take care of you two
when I get back.
(car engine starts)
(dramatic theme playing)
(car approaching)
-Car coming!
-SHORTY: Rico?
I can't tell, but if he
wants to make trouble...
we'll give him trouble.
I'm going upstairs.
-Sit down!
-Count me out.
Sit down.
It's Herman and B.J.
from Kansas City.
Light the light.
HERMAN (knocking):
Rico! Open up!
Herman, come on in.
What are you doin' here?
Hello, Digger.
This is Olga and Shorty.
There's a lot of heat on.
Where's Rico? We gotta see him.
He had a contract.
He went into town.
This is no time
to be filling contracts.
Has he flipped his lid?
Yeah, that's what I told him.
You told him?
Yeah, we told him.
Didn't we, Shorty?
You see, everything's coming
apart. The country's on fire.
We're gonna stay here until
someone puts out that fire.
I don't blame you.
You see, there's been a change
in the whole set up.
Everything's coming out
of Kansas City now.
What do you mean Kansas?
What happens to us?
You don't have to worry.
You're gonna be taken care of.
(yells)
(gunshots)
(dramatic theme playing)
RICO: Hello?
District Attorney's office.
Let me speak to Ferguson, quick.
This is Joe Rico.
Yeah, that's what I said.
Joe Rico.
Hello? Ferguson.
I hear you've been
looking for me.
Nevermind where I am.
I got something to say to you
that you want to hear.
And if you want to hear it,
meet me at Pier 16-- in an hour.
Yeah, nine o'clock.
And listen...
no guns, no cops, no tricks.
If you're smart,
you can be a hero.
If you're dumb, you can be dead.
(boat horn blowing)
Ah, it's two minutes
to nine. I'll get going.
Don't you think
I better go with you?
He said alone and unarmed.
That means you get in the car
and get out of the neighborhood.
Hold it.
You followed us pretty good.
What's on your mind, Rico?
Not so fast.
First, we gotta make a deal.
No chair.
What's your offer?
How do I know I can trust you?
You got no choice.
(breathing heavily)
Suppose I give you the top man.
Your boss, the man
who called you on the phone?
-You know about that then.
-Who is he?
I take orders from a guy
by the name Albert Mendoza.
And I can give him to you
for murder.
That's what I want.
I want him in the chair.
I'm the one guy
that can put him there.
(chuckles)
Go ahead.
You ever hear about
a poor slob named John Webb?
What about him?
That's the one mistake
Mendoza ever made.
He killed him personally.
Can you prove it?
-In spades.
-How?
I was there.
Mendoza and me are very close.
I've been with him
ever since the beginning.
That time, I was just a crumb.
I was working for the bookies.
You know, keeping things
nice and peaceful.
This guy, Mendoza,
was chiseling in on my boss.
Trying to run
a little book of his own.
I was sent around to have
a little talk with him.
(grunts)
Now listen.
Here's the message, Mendoza.
Stay out of this neighborhood.
The boss don't want
no competition. Understand?
I've been gone over by experts,
but you're the best.
What's your name?
What's the matter?
You want some more?
I think I can use a guy
like you.
You kiddin'?
Help me up.
I'll make you a rich man.
You must be nuts!
I'm glad I ran into you.
You're just the kind
of a guy I need.
Come on.
I'll buy you a cup of coffee.
I still got a dime left.
When you get to know me better,
you'll find out I'm a great man.
My only trouble
is I was born too late.
By the time I came around
everything around was sewed up.
The only chance
for a guy like me
is to start a new racket,
and I got one.
A brand new one.
One nobody ever
thought of before.
I must have kicked you
in the head.
I've given it a lot of thought.
The business I got
needs no investment.
You can carry it around
in your hat.
All you need is a telephone.
I don't see no money
in a hat and a telephone.
What job always
pays the highest?
The most dangerous one.
Yeah.
Today I went into the most
dangerous business in the world.
What's that?
The murder business.
But I'm taking the danger
out of it.
You're really nuts.
Look, how do the cops
always catch a murderer?
They find the motive.
Once they find the motive,
they've got the killer.
I don't get it.
All right.
Take this guy here.
Who'd want to kill him?
I don't know. Who?
Not many people.
His partner, if he's got one.
A guy who owes him money.
A fellow he had
an argument with.
Maybe his wife.
You see it's easy for the cops.
They've only got four or five
people to look for.
Four or five people
who've got a motive.
But any one of them
might want to see him dead.
That's where we come in.
We service these people
with a killer
who's got no motive.
He won't even know the guy,
so how can the cops find him?
-Yeah, but who pays?
-The customer.
(scoffs):
That's where it goes wrong.
How can you trust him?
He's got you.
No. We got him.
He's the one with the motive.
That's how we get big.
Once you do a...favor
like that for a man,
he's in your hands forever.
He's like a bank.
You're talking through that hat
you got your business in.
Yeah? What do you think
I'm doing here?
This is my first contract.
I'm getting 500 bucks to...
(scoffs)
You don't have 500 bucks
as long as you live.
Hmm.
JOHN: Huh?
(John grunting)
MENDOZA: Let's get out of here.
(bell rings)
-(screams)
-MAN: Oh, kid!
Don't run. Walk.
We gotta get out of here.
Run and somebody runs after you.
Walk. Slowly.
(girl screaming)
But they saw us.
They'll tell them
what we look like.
(whistle blows)
Can you describe them?
Sure. A man and a kid.
And they'll say two men.
(breathing heavily)
They'll come after us.
Oh, yes.
We got no motive,
we didn't even take anything.
(sirens in distance)
But they saw us. They know us.
That kid lookin' at us
with her big blue eyes.
She'll remember.
They don't know us.
We know them.
Their names will be
in the papers
tomorrow morning, not ours.
He had nerves like I had.
He never even lost a night's
sleep over that killing.
Then one day, a few years
later, he got into a cab,
and who was driving?
Tony Vetto.
The guy who saw him kill Webb.
He knew by the way
that they looked at him
that Tony remembered.
It was a cinch to stop them
remembering.
But that scared the kid,
and she ran out of town.
RICO: It took us a little
while to find her.
She'd grown up
and changed her name.
But we did...
and then there were
no witnesses left.
Only me.
And you know why?
Because I'm smart.
I'm even smarter than Mendoza.
That's why
I'm the only guy alive
who can give him
to you for murder.
(machine turns off)
And he's dead.
Mendoza had quite an idea.
A lunatic idea, but it worked.
Outside's a great big country.
Mendoza's robbed it
and murdered its citizens.
And we can't touch him.
Hmm.
I guess it was just a wish
I had running through my head.
Yes, sir. That butcher is going
out of here a free man.
Right over the bodies
of his victims.
On the way out,
he'll spit right in our eye.
Heh.
Maybe, but for
the next few hours,
I've still got my hands on him.
He's not gonna spit in my eye.
If you came here
to tell me about Rico,
you can save your breath,
I already heard.
I've got a few souvenirs
for you,
pictures of some people
you killed.
Little memories
you can hang on to.
I'll have a better memory.
You lookin' like a chump
in that courtroom today.
If you think you can get away
with this, you're crazy.
You think you can shut people
up by killing them,
but you're wrong.
Even the dead can talk.
Maybe not in a courtroom,
but they'll be talkin' to you,
Mendoza.
At night, when
you're trying to sleep.
I don't have to listen to you.
Get out of here!
Sit down!
Look at these faces.
Faces of the dead, Mendoza.
Olga Kirshen, shot.
Duke Malloy, hanged.
Tony Vetto,
poor taxi driver, stabbed.
And Angela, a little girl
you hounded
from childhood
until you killed her.
Look at her, Mendoza!
Maybe this is a face
that'll haunt you.
Maybe these are the eyes
that'll drive you crazy.
(pictures slap)
Guard!
Guard!
I want to get in touch
with my lawyer.
I want to get in touch
with him right away.
(phone ringing)
Hello?
Just a minute.
It's Mendoza's lawyer.
He wants you.
Hello?
Yeah.
Yeah, okay.
Right away.
We got a contract
in Port Morris.
A rush job
right from the head man.
RICO: They were standing
in the doorway.
A cab driver and a kid.
They saw him do it.
The knife was still in his hand.
And Mendoza saw them too...
Still playin' that thing?
I was just imagining
how nice it would be
if Rico were on the stand
saying this.
Well, he's dead.
And that thing isn't evidence.
Dirty fat face...
and the girl, staring at him,
with her big blue eyes.
He threw down the knife,
but I was already running
for the door.
I ran out in the street.
He caught up with me,
and grabbed me by the arm.
Cab driver
with a dirty fat face,
and the girl staring at him
with her big blue eyes.
(tape rewinding)
Girl staring at him
with her big blue eyes.
He threw down the knife.
"Her big blue eyes."
Where's that coroner's report
on Nina Lombardo?
Woman, Caucasian, age early
twenties, height 5 foot 3,
weight 110, hair black,
eyes brown.
Brown eyes!
That's what was running
through my head.
Nina Lombardo had brown eyes,
Angela Vetto had big blue ones.
Brown? Blue?
What are you getting at?
Well, the finger man
pointed out the wrong girl.
And Duke killed the wrong girl.
The one they wanted
was the roommate,
the one we talked to.
I knew she was lying
about something.
She's Angela Vetto!
(dialing rotary phone)
Hey, this is Ferguson.
I want a postponement.
Four hours.
Yes, I've got a witness--
an eyewitness...
who can put Mendoza
in the chair.
Miss Teresa Davis in?
I'd like to speak to her.
Teresa? Well, she just left.
-Which way did she go?
-Down the street.
There was a couple of other men
here a few minutes ago,
looking for her.
Know what they look like?
I didn't notice, just two men.
There's two guys after her.
Get moving.
(car horn honking)
We'll never find her this way.
Get out of the car,
you'll take that side.
(jazz music playing
over speakers)
Can you hook up a mic
to that loud speaker
-so I can talk through it?
-I beg your pardon?
(jazz music stops)
FERGUSON: Attention, everybody.
Attention. This is the police.
Angela Vetto. I repeat.
Angela Vetto.
Your life is in danger.
Wherever you are,
get off the street.
Angela Vetto,
get off the street.
Do not come here.
Go to a telephone,
call Temple 2311.
I repeat, Temple 2311.
Angela Vetto,
get off the street.
Your life is in danger.
Call Temple 2311.
Stay where you are,
call Temple 2311.
We'll come and get you.
The hoods heard that too.
We pick up Angela,
we lead them right to her.
We'll have to take that chance.
(phone ringing)
Yes?
Yes, this is the police.
Where are you?
Repeat that.
Well, stay there.
I'll be right over.
-Where's the Talbert building?
-MAN: Up in the next block.
You take these men
and go the opposite direction.
Circle around the block.
That'll draw them off.
I'll wait here a few seconds
and then I'll pick her up.
Well, suppose they don't
fall for it and follow you?
-I'll have to risk that.
-Better take a friend with you.
POLICEMAN: Okay, break it up.
Go on home.
It's all over, go on.
Break it up.
(crowd chattering)
(dramatic theme playing)
(dramatic theme playing)
Don't come out. Stay there.
(dramatic theme playing)
All right, Miss Vetto,
come on out.
We have a date in court.
I wanna see that smile fade
on Mendoza's face
when he looks into those
big blue eyes again.
(dramatic theme playing)