Enforcer, The (1951)

[bunniefuu]

(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 k*ll 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 k*ll 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 k*ll 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 k*ll 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 k*ll 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.

-(g*nf*re)

Rico.

(dramatic theme playing)

(g*nf*re 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 m*rder,

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 m*rder*d.

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 k*ll my girl.

What's that, fella?

They made me k*ll my girl.

What girl?

What's your name?

Are you drunk?

I k*lled 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 k*lled 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 k*ll 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 k*lled 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 k*lled her.

I k*lled 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? m*rder.

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 k*lled 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 k*lling 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 as*ault 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 k*ll 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 k*lled 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

k*ll 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 m*rder.

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 k*ll 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 g*n?

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 k*lling.

Don't ever say that.

A m*rder is a contract.

A hit is the sucker

that gets k*lled.

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

k*ll Nina Lombardo?

Me? I didn't!

I didn't make him k*ll her.

You better tell me or I'll hand you

an accessory to m*rder rap.

Me, I didn't do nothin'.

I didn't k*ll 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 m*rder*d.

Did you ever see

this man before?

That's the man

she went away with.

They were going to married.

Well, he k*lled her.

Do you know why anybody

would want to k*ll 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 m*rder 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 k*lling take place.

"m*rder 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 m*rder.

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 g*ng like this

k*ll a fellow who runs a diner?

It doesn't make sense.

Well, we're making headway.

We know a contract

means a m*rder,

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 K*llers.

A business built on murders.

Mm-hmm.

-m*rder 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

k*ll 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 as*ault.

FERGUSON:

No, it won't work, Zaca.

You can't let me go out

and get k*lled.

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 k*lled 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 g*ng?

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 sh**ting. I want him alive.

(dramatic theme playing)

(glass breaking)

(dramatic theme playing)

(g*nsh*t)

(g*n 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 m*rder.

Somebody went through

a lot of trouble to make sure

these would never be found.

m*rder 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 m*rder 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)

(g*nshots)

(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 g*ns, 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 m*rder.

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 k*lled 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 m*rder business.

But I'm taking the danger

out of it.

You're really nuts.

Look, how do the cops

always catch a m*rder*r?

They find the motive.

Once they find the motive,

they've got the k*ller.

I don't get it.

All right.

Take this guy here.

Who'd want to k*ll 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 k*ller

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 k*lling.

Then one day, a few years

later, he got into a cab,

and who was driving?

Tony Vetto.

The guy who saw him k*ll 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 m*rder.

(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 m*rder*d 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 k*lled.

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 k*lling 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 k*lled 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 k*lled 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)