Flesh Is Weak, The (1957)

[bunniefuu]

(crowd murmuring)

(train rattling)

(car horn honks)

(man shouting)

(people shouting)

(dramatic music)

- That's the one.

- [Marissa] Coffee please.

- Okay

- Oh, sorry dear.

- It's alright.

- Two more coffees.

- [Barista] Okay.

- Is that a late edition?

- Hmm?

- The paper.

- Oh, I don't know.

- Nevermind. Chasing a job?

- Yes.

- Plenty going by

the look of it.

- Not the sort I want.

- Go on. What you after?

- Something

different, I suppose.

- Two cappuccino.

- Oh. Here. Why don't

you come and sit down?

- No, thank you.

- Come on. Come

meet the boyfriend.

- [Marissa] Alright

- Come on.

- I'm Gracie, this is Henry.

- How do you do? Very

nice to meet you.

- My name is Marissa.

- Unusual. It's a nice change.

- Sit down.

She's looking for a job.

- Oh. Well I'm sure

you'll have no difficulty.

- I've only been

in London a week.

- Oh, all alone, are you?

(dramatic music)

- Maybe we can help.

- Yes, me might.

We might indeed.

- Henry's got lots of contacts.

- In the entertainment

world, you know.

- That's very kind of you.

- Well did you ever

consider working in a club?

- You mean as a waitress?

- Oh, heavens no. Not

that sort of club.

Something quite superior.

- What would I do?

- Well you'd be a hostess.

You know, talk with the

patrons, dance with them.

Top people.

Financiers, film stars,

high society, the lot.

- But Henry, Marissa is not

used to that sort of thing.

Staying up dancing

half the night,

drinking champagne with people.

You don't want

that, dear, do you?

- I don't know. If

it were a nice club.

- Well, now you offend me.

There's no higher class

than the one I have in mind.

It's the Golden Bucket.

It's just behind

Piccadilly Circus.

(piano music)

(buzzer buzzes)

- [Doorman] What do you want?

- I was told to come here.

- [Doorman] Come in.

(piano music)

- You must be Marissa Cooper.

Henry told me about you.

My name's Doris Newman.

It's not very big

as you can see,

but we manage to have fun.

Henry said you've never done

anything like this before.

- No, I've only been

in London a week.

- Well don't worry,

it's not difficult.

How old are you, by the way?

- 21.

- Let's see your dress.

That won't do. We better see

what there is in the wardrobe.

(upbeat piano music)

(crowd chattering)

- I don't know why I

do that. It kills me.

Hey, fetch your Geiger

counter, I think he's dead.

Come on out of it, time

to get back to dragging.

Now, now, now, no more tonight.

We're due at King's

Cross in 20 minutes.

Excuse me love. Come on over.

- [Voiceover] Peter!

- You can't blame him you

know, drink's his refuge.

Marissa, it's been a

real pleasure. Here.

Buy yourself a new girdle.

That last dance must

have taken all the zing

out of the the one

you're wearing. (laughs)

(crowd chattering)

- Well, now

Well, now.

What are you gonna have, eh?

Just name it, anything.

- I was just, um ...

- Are you trying to insult me?

Do you think I'm

drunk or something?

Aw, come on. Just

one little drinky.

What's wrong with

one little drinky?

Waiter! Hey waiter!

Give me a large scotch.

What'd you say your

name was again?

- Uh, Marissa.

- Well, uh, Marissa,

what you gonna have?

Anything at all,

anything at all.

- A gin and tonic, please.

- There. You're a

lovely bit of stuff.

I fancy you.

Come on, baby.

(piano music)

(smacking)

- You alright?

- Who do you think you

are, pushing about?

I have as much right

to that as you have.

- [Tony] Get out.

Which one is it?

- [Drunkard] The brown one.

(door slams)

- You know, this place

is the end of the line,

not the beginning.

My name's Tony Gordon.

- Thank you for ...

- For him?

- What is it? Something happen?

- This young lady's leaving.

She doesn't like your customers.

Neither do I.

Go on, get your clothes.

Go on.

Well, we were down about 70 feet

and we saw these two wrecks.

Old Roman ships, sunk

maybe 2,000 years ago.

- Where was all this?

- Oh, off a little

place near Cannes.

I imagine you know it.

- I have not been there,

but I love the sea.

My father was a sailor.

- Really?

- In the merchant navy.

He was k*lled in the w*r.

- I'm sorry.

My brother and I,

we keep a yacht

down there most of the year.

I try to spend a few

months each summer on it.

- It must be beautiful.

- Yes it is.

Would you like some brandy?

- Well.

- Sure you would. Waiter!

- [Waiter] Sir.

- Some brandy. Tell Lewis

it's for Mr. Gordon.

- Very good.

- Well, this is it.

- Do you go to that

club often, Tony?

- Soft hair. You're a

very pretty girl, Marissa.

(romantic music)

It's past midnight.

You'd better get in.

- Good night, Tony.

Good night, Tony.

- [Tony] I'll call you tomorrow.

(car tires squeal)

(whistling)

- [Waiter] Would you

like something to eat?

- No thanks.

Excuse me.

- [Angelo] Okay,

Henry, you understand?

Good.

- Now we ain't got this

street covered at all.

Why is that?

- Ah, Tony.

- Hello, Tony. How

is it out there?

- Nothing special.

- I hear you found

a new mystery.

- No, Henry did.

- Any good?

- Mmm. She will be.

- How old?

- Old enough.

- You better be careful, Tony.

Some of these women cops can

spot a juvenile a mile out.

How's Susan doing?

- Oh, okay.

- Hmm?

Oh, I warn you, Tony boy.

You rushed her.

You know, sometimes

you've got to

actually spin it out a little.

These girls, they

ain't all tramps.

Some of them have had

religious training.

It takes time for

them to shake it off.

- Yeah, well don't worry,

I can handle Susan.

- Sure, sure, I

know, but actually,

it's better not to

take any chances.

Only once one of these

girls to start talking,

could ruin the business.

Take it easy, Tony.

What's the matter?

- [Tony] There's a guy

down there with Susan.

- So?

- He just doesn't look the type.

(cash register rings)

- [Susan] Tony.

- How long have

you been in there?

- Ten minutes.

- Who's that guy

you were talking to?

- Nobody. What have

you been doing?

- That's my business.

- You haven't spent a

night with me all week.

- Oh really? Well

I've been busy.

- You can't treat

me like this, Tony.

You said if I did

what you wanted.

You've got a new girl.

If you have a ...

- You'll do what?

I'll see you later. Maybe.

(smack)

- What's your name?

- Betty.

- Alright, Betty. Any

objection if we talk?

- Oh, that'll make

a nice change.

What'll we talk

about? Cigarette?

- No thanks. You mainly.

- What are you, duckie? Police?

- No, just a writer.

- (laughs)

What are you gonna

put me in? A thriller?

- This is fact, not fiction.

- (laughs) Oh, like one of those

documentaries on the telly?

- Oh, yes, something like

that. But this might help you.

- How help me?

- Well you and your friends

get the law changed.

- What, you mean licenses?

- Well, that'll be

better than appearing

in court once a month and

paying a fine, wouldn't it?

- Could be.

- Of course, that

wouldn't suit Angelo.

- Eh?

- [Male] Angelo Giani.

- Who's he?

- It's alright. I

know all about him.

And his brother, Tony.

The Giani Brothers.

Sounds like a musical

act, doesn't it?

- Does it?

Look, duckie, we're

having a nice chat.

Don't spoil it, eh?

- Oh, tell me.

How long have you been in

the game, professionally?

- Three years,

something like that.

- How long have you

been with the Gianis?

- That's one question too many.

- I'll pay for the answer.

- If I gave it to you,

we'd both pay for it.

Now turn it up and

let's have a drink.

(knocking)

- [Voiceover] Come in.

- Now then, you know

Sergeant Franks, don't you?

Buxton.

- Morning Sergeant.

- Morning sir. How's

the book coming along?

- I've got a typewriter and

plenty of clean foolscap.

- Mr. Buxton isn't getting

all the cooperation

he'd hoped for.

- I talked to a

number of the girls,

but I didn't get

anything of any value.

At least nothing the

Social Research Council

don't know already.

- Well, as I said last

week, we can give you facts,

but obviously you

want more than that.

- Yes. I want to find out

what's behind the facts.

But there must be some

way of stopping this.

- Ought to be. If you can

catch the girls soon enough.

- Yeah, that's true.

But to do that, you've got to

find out where they come from.

How they got hold of.

Who gets hold of them?

- Ah. You're on dangerous

ground there, Mr. Buxton.

- Yes, maybe. But obviously,

I'm not going to get

what the Council wants by

standing on the sidelines.

- Well, if you really insist

on exploring the jungle,

you better know what kind of

reptiles you'll find there.

- Maybe that's true.

I could get those girls

to talk, I'm sure of it.

If only I could convince them

that I knew it all already.

- Ah, it's already

been tried sir.

It doesn't work. They're

too darned scared.

- Yes, perhaps. Remember,

you're the police.

Well, you better tell me about

these reptiles, Inspector.

- This is the Giani file.

A description of

their activities

since they arrived

in this country.

(car horn honking)

(upbeat music)

(foghorn blowing)

(clock chiming)

- How would you like to

go to Brighton tomorrow?

- You're going to teach

me to swim as well?

- Well, I have a flat down there

just eating up its

rent for nothing.

- You never told me about this.

- Do you expect my life

history in four days?

- Tony, you won't let me down,

would you?

- What do you think I am,

some kind of a monster?

- I love you. I want to be

with you always. All the time.

But I never saw it like this.

Not this way.

- Yeah, I know.

It's not for long.

As soon as the

divorce comes through.

- You have seen the

lawyers, haven't you?

- Sure I have. They're

getting right on with it.

- Darling, you won't

change your mind,

go back to her?

- No, I told you

before. It's through.

It never was like this anyway.

- I know. I want

to make up for it.

If my mother found out,

she wouldn't understand.

She'd make me go back.

- Don't turn me

down now, Marissa.

Finding you is the

most wonderful thing

that's ever happened to me.

Don't leave me now, please.

- Hold me. Hold me tight.

- You will go to Brighton then?

Good, we can spend two or

three days. A week maybe.

- Just be.

Don't say anything.

(upbeat music)

- Darling.

You're late. (laughs)

You had me afraid for an hour.

- You sound as though

we're already married.

I'm frozen.

- It was cold on the train?

- [Tony] Very.

- Perhaps we can

live in London soon

and you won't have

to travel so much.

- Yeah.

- How was business today?

- Okay.

- Darling, what

is your business?

- I told you, I'm an agent.

- You mean you buy

and sell things?

- Yeah. That's right.

(dramatic music)

I'm a boy scout.

Didn't you know?

You've come a long way from

that frightened little girl

I saw in the Golden

Bucket, haven't you?

- Thanks to you.

- How about getting

poppa a drink, huh?

- What about a dinner, Tony?

- It can wait five minutes.

Who's the letter from?

- My mother. The

hostel sent it down.

Tony, she's anxious about me.

I wish I could

tell her about us.

- Oh yeah. What

about the drinks?

- Tony, did you see

the lawyers today?

- You've been asking that

question for months now.

I told you these

things take time.

I can't stand nagging.

- I'm sorry, Tony.

I didn't mean to nag.

- What are you worrying about?

Don't I give everything

a girl could want?

A nice flat, clothes, furs.

Jewelry.

What more do you want?

- It's not these

things, I want, Tony.

They're not important to me.

But you are.

I love you.

I want to belong to you.

To be married to you.

- Don't I come back

nearly every night?

You know, I can't be

here all the time.

I have my work to do.

- I know, darling.

- Alright, so we'll

get married then.

First, I have to take

care of the business.

- You mean, you're

not doing so well?

- I have my troubles,

same as you have.

- Tony, what is it?

- Honey, I don't know

if you understand,

but in business, you

have to take chances.

Sometimes things don't work out,

and well, you lose the lot.

- Like gambling?

- Yeah, that's right.

If I win, it's a

flat in Park Lane,

mink coats, diamonds, the lot.

If I lose--

- If you lose, then I get a job.

I don't mind what happens

so long as we are together.

You know, darling, sometimes

I feel we really are married.

- Yeah, well, how about getting

your husband some dinner then?

(dramatic music)

- They found him wandering

down by the river,

2 o'clock in the morning,

bruised all over.

- She didn't ought to have kids

if that's how she

looks after them.

- Well my sister won't let hers

out the house after dark.

- I'm most assured.

Wandering about the streets

all hours of the night.

Wicked, I call it.

- Uh-oh, hold it.

- Now what do you think

you're doing here?

Come on, come on.

- Alright, boy, alright.

See you later, Joe.

- Okay, Millie.

- Egg and sips.

- Two eggs?

- Mmm.

(women chattering)

- (sighs)

(jangling)

- Come on, Millie.

- What do you mean,

"Come on, Mille?"

You had me last week.

- And we're having

you again this week.

- Oh!

Oh well, do with an

early night. Let's go.

(knocking)

(dramatic music)

- Mr. Salvi.

- Nice to see you.

- Anything I can do?

- Get Angelo, I want to see him

- Yes, certainly, Mr. Salvi.

(romantic music)

(phone rings)

- Yeah, hello?

- Tony. Angelo.

- Oh, for Pete's sake,

I'm just hitting the hay.

- We got trouble. You alone?

- Well not exactly.

- [Angelo] A girl there?

- Yeah.

- [Angelo] Well get rid of her.

- Get me a drink will you?

- [Marissa] But Tony--

- Go on, don't argue.

Yeah, yeah, what's your trouble.

- Salvi was here tonight.

He says he's moving in on us.

We've got to talk, Tony.

I want you to come

right back up here.

- There's no need to talk.

If Salvi moves in on us,

talking won't do any good.

(door slams)

This is my department, Angelo.

I'll handle Salvi.

- Oh, sure.

You handle Salvi,

someone else handles you.

Pretty soon, the

streets are full of cops

and we've got no

business coming in.

- Yeah, well that's easy to say

from where you sit in

the cafe all night.

But out in the street--

- Now listen, Tony.

This is business.

It's not actually a game

of cowboys and Indians.

Now we got to talk, we got

to find a way out of this,

and no violence, you understand?

Now you come right back

up here. I want you here.

- If you don't want me to

hear, there is no need--

- Some business came

up, I have to go back.

- To London?

Tonight?

- Yeah, I'll phone you tomorrow.

- Tony, please don't

leave me alone.

Not tonight, please will you?

(romantic music)

(clock bells ringing)

- And about time.

You walk here from

Brighton or something?

- Well I had to

smooth the girl down.

- Big boy, my brother. He goes

with women and everything.

The next thing you know,

he'll actually be smoking.

Four weeks you've been

down there with her,

she ain't ready yet?

- You're the one that wanted

a precision job, remember?

Now she wants to get married.

- What she want that for?

She's British

already, ain't she?

- Shut up, Benny,

don't interrupt.

Lofty, you get her

down here tomorrow.

She can go in with

Trixie for a start.

Actually give that

old bag a chance

to earn her keep for a change.

Okay, Tony?

- Yeah, I guess so. I started

the breakdown tonight.

Now she's all ready to go to

work to save the happy home.

Say what's all this about Salvi?

- Oh, yeah, he was

here to tonight.

He says the race game

isn't paying off,

he reckons he can do

business around here.

- Oh really?

- No, Tony, no.

- What else did he say, Angelo?

(suspenseful music)

- Well here we are, good as new.

I'd love a drink, but

I'm afraid I can't stay.

- You ruined my day.

Come on dear, I've been

expecting you for hours.

The bedroom's this way.

You smoke this kind of poison?

- No, thank you.

- Lucky for you.

My cigarettes are

about 60 a day.

Oh well.

So I get to

introduce myself, eh?

My name's Trixie. I'm your maid.

Like the radio on?

- Isn't Tony here?

- Oh, he'll be along

presently, I expect.

Have you known him long?

- About six weeks.

- Tony's alright.

So long as you watch him.

- Do you know why he

wanted me in London?

It was so sudden.

- I expect he'll tell

you that himself.

- What does that Lofty do?

Does he work for Tony?

- Well, no, not

really. For Angelo.

That's Tony's brother.

He's the boss.

- Well, I don't like him.

- Oh, Lofty's alright.

What did he do, make a pass?

- Oh, no. Nothing like that.

He was ... He kept joking,

sneering about things.

About Tony's business.

What did he mean?

What is Tony's business?

- Well, well.

Grass don't come any

greener, does it?

- Trixie, why did Tony want to--

(door rattling)

- Shh.

Here he is now.

She's in the bedroom. I'll be

in the kitchen if you want me.

- Tony. I was worried.

- Now, now, everything

will be alright.

- But Lofty and

Trixie. They scared me.

Something happened?

Is it your business?

- Don't worry. Let

me get you a drink.

Lofty's a fool. I told him

to tell you not to worry.

I got tied up with

the lawyers all day.

- The lawyers?

You mean your divorce?

- No. No, the business.

Remember last night I told you

I was playing for big stakes?

Well, I lost out.

Yesterday I was okay, and

today I might have been rich,

but instead, I'm broke.

- You mean you've

lost everything?

- Everything. I did it for you.

I wanted you to have the best.

- So you gambled all you had.

- More than that. When

you do big business,

you don't gamble

just your own money.

- You mean, you borrowed money?

And you lost that too.

- Now he wants it back.

- How much is it?

- 5,000 in two weeks.

- 5,000! But Tony, where

will you get this money?

- I don't know.

I can sell the

place in Brighton.

The clothes, the jewelry.

I'm sorry, honey.

- Will that be enough?

- No. 2,000. Three maybe.

- And if you haven't got it?

- I go to jail.

- Not jail!

Can I help you?

Of course I can. I can work.

I can go back to that club.

- I knew you

wouldn't let me down.

I'm a lucky fellow.

You know, I bet there

are plenty of men

who would give a lot to be

here like this with you.

You know that? A lot to be

here like this with you.

- What did you say, darling?

- I just thought of something.

There's a guy with

a lot of money.

His name's Rico Marx.

Why, he could loan

me a couple thousand

and not even feel it.

The trouble is, Rico's lonely.

He's as rich as they

come, but lonely.

He lost his wife

in a plane crash.

Now he goes around

all tied up inside.

Hanging onto the only thing

he's got left, is money

All he needs is a pretty

girl to make a fuss over him.

You know, make him feel like

he's got something to live for.

Hey. Now look, don't

get me wrong, please.

But go to dinner with

him. Dance with him.

You, know, laugh and

make him feel happy.

Well then bring him

back here for a drink--

- Just a minute.

Where will you be?

- I'll be here.

Oh, now, look. This is

all up and above board.

You tell Rico right off

about us. He won't mind.

Just as long as he's having fun.

Let's see. Yeah, we

give him a few drinks

and he'll be more than

happy to loan me the money.

- Are you sure, Tony?

- Sure, I'm sure.

You know how long I

would have been in jail?

Three, maybe five years.

All because I love

you so much that ...

You're kind of cute.

How about you tell me how

much you love me, huh?

- I love you.

- I didn't hear it.

- I love you.

- Mmm, yeah, that's good.

(dog barking)

- You sure it's okay

for me to come in?

- Tony will be very

glad to see you.

- Well that's fine.

I want to tell him

what a great evening I've had.

- Tony?

- Tony not in?

- He said he would be.

Tony?

Trixie?

(suspenseful music)

- No one at home?

Nevermind.

What about that drink?

Your key.

- Thank you.

(suspenseful music)

What will you have?

- What have you got?

- Please.

- Oh come on now, it's

been a great evening.

You're not going to

spoil it for me, are you?

- Would you take your

hand off, please?

- How much is it that

Tony wants me to lend him?

2,000?

You can't blame me for

wanting a little interest

on my money, in advance.

- (mumbles)

- Be nice to me, honey,

and you'll have that

money tomorrow morning.

You want him to

have it, don't you?

- If Tony knew

about this, he'd--

- Tony won't know.

Not from me anyway.

- No, I can't. I'm sorry.

- That's fair. If

that's how you feel.

- But you'll lend him the money?

- Maybe I will,

and maybe I won't.

- But he must have it.

He'll go to prison.

- Too bad.

Drink for you?

- Yes.

(man shouting)

(man shouting)

(bell ringing)

- Well, did you

have a good sleep?

- Yes.

Thank you.

What time is it?

- Half past 11.

- Trixie?

- Hmm?

- You were out last night.

- Yes, why, did you want me?

- No it, it's just ...

Tony! Tony, did you see him?

- Mm-hmm.

- Tony, what is it?

Didn't he give you the money?

- Mm-mm.

- But Tony, Tony he promised.

- And he said he could

always pay our 500.

- Tony, last night.

- Look, whatever

he said last night,

he's not saying this morning.

- I can't believe it. (cries)

- It's okay, baby. You

did the best you could.

(water running)

- What are we going to do now?

- I don't know.

Say, did Rico behave

himself last night?

Sorry I didn't get

back, but I got tied up.

Did Rico behave himself?

Oh, yeah, I'm sure he did.

- (cries)

- Anyway, you know how to take

care of yourself, don't you?

You know, you've got a knack

for making a guy fall for you.

I should know that, huh?

- What are you trying to say?

- Well, it's just that you've

got such a way with you,

and I had another chance to ...

- You mean,

there's another man?

- Well, yeah, if we

play our cards right.

- Oh, no, Tony. No, I

can't! Please! (cries)

- So Rico Marx takes her out,

Gene Connor takes her out,

what are you trying

to do, actually?

You training her to

be a society hostess?

- I know what I'm doing.

- Yeah, maybe. But you

don't do it fast enough.

- Shut up, Benny.

Now, look Tony. I want you

to get her working and fast.

I don't want to have to tell

you again, you understand?

- Yeah.

- Well, go on.

- Have you fixed Salvi yet?

- Actually, you let

me worry about Salvi.

I take care of my business,

you take care of yours. Go on.

- [Tony] You think I

want you to do this?

So, alright, you don't do it.

What happens then? I go

to jail for five years.

Five years that we could

have been together.

Oh, now, honey, there's

nothing to cry about.

(door latch clicks)

(crying)

(knocking)

She goes out tomorrow

night at eight.

Just makes sure she's ready.

And keep your mouth shut

about the other girls.

It's wonderful what a

dame will do for love,

isn't it, Trixie?

- Yeah. The old Giani touch, eh?

Never fails, does it?

- (crying)

(clock chimes)

Tony!

- Now, now. Don't

spoil the makeup.

You know, no one expects

you to like this.

Just like we said, it's for us.

A little while, then, well

let the world go bury itself.

You're not going to

let me down, are ya?

I can count on ya?

- Let's get it over.

- You'll need this to let

yourself in where they're going.

- Have you got it?

Is everything clear?

I'll be around to see that

nothing happens to you.

And remember, it's for us.

(footsteps)

Go on. Over by the phone box.

(ominous music)

(heavy footsteps)

Where are the other girls?

- I don't know.

- Get them out, huh?

- Yes.

- [Tony] Yes.

(heavy foot steps)

(women chattering)

- Hello, dear.

You'll get frostbite if

you stand there, you know.

This your first time out?

Oh.

Well, one hour for me then

home and a hot water bottle.

I think I'll nip in for

a drink, want to come?

Alright.

Well, don't stand there

as if you're in the army.

Pretend you're enjoying

yourself, walk about, smile.

So long, dear.

- You know who he is?

- No, but I don't

think he's police.

- Yeah, I saw him in the

cafe about a month ago.

Talking to Susan.

- Yes. He's been in

quite a few times.

- Next time you see

him, you tell me.

(ominous music)

- Good evening.

(heavy footsteps)

- Get Lofty.

- Would you like a drink?

- Um ... No thank you.

You go ahead and

have one though.

Must be rather cold

standing out there.

- Yes it is.

- I don't really drink.

At least, I didn't until ...

Well, anyway.

I suppose most of the

chaps are pretty ginned up

before they come up

here, aren't they?

- Yes, I suppose they are.

- I'm afraid I don't

know what to say, I ...

Well, the chaps were right.

They said I wouldn't

get away with it.

- I don't understand.

- You're not what I expected.

You're nice and ...

Sort of ...

Well, you could

almost be like me.

You know, this is the first time

I've ever done

anything like this.

Sorry, have I said something?

Please don't worry.

Here.

Take this.

I don't really want to ...

Well, the only reason I

came here this evening

was because my girlfriend

left me last week,

and I had a few drinks.

The chaps at the office

said the best cure

was to pick up a--

Sorry, I ... I didn't mean ...

I didn't mean that you ...

Look, I'll go, shall I?

- You paid for something.

Why don't you stay and get it?

- No. I wanted the real thing.

And you're not the

real thing, are you?

Good night. Thanks.

(suspenseful music)

- Let's take him out of here.

(smacking)

- [Voiceover] Let him go!

- Tony, what happened?

- It's alright. It's

just a drunk. Shh.

(whistle blows)

(dog barks)

(footsteps running away)

- You alright, son?

- [Officer] Now then, now

then, what's going on here?

- I don't want to get mixed

up in this, now go inside.

If they come here, you

haven't seen me, okay?

- But Tony--

- Okay?

That's a-baby.

(knocking)

- You go and fetch another

policeman for me, please sir.

- Alright.

- There's been a fight.

This gentleman got hurt.

Know anything about it?

- I was just going out.

- How long have you been in?

- Not very long.

- Hmm.

There's been a roughhouse.

You hang on here, I'll

go get on the phone.

- Right.

- [First Officer] Now then,

come along, move along then.

(women chattering)

- Millie, what is this?

- Well you don't expect me

to stay out there, do you?

The police are so thick,

there isn't a man for miles.

- Police?

- Well, what did you expect

after a job like that?

- Give it to be in

English, Millie,

what is all of this about?

- That fellow. Tony gave

him a beauty treatment.

Didn't you know?

- Okay.

- Well at least

we can (mumbling).

- Saradine, get me Tony.

- Now, Angelo, before you

start, I've been checking out--

- You're my brother, Tony.

You could actually

have my right arm.

Why you do these things?

- Look, it's easy for you

to talk sitting in here.

- I told you

before. No violence.

Sure, you're my brother.

But also you work for me.

So when I give an order, it

don't matter who you are.

You do it, or you get out.

- Yeah. Okay

But now you listen

to me, Angelo.

This guy's been talking to

the girls, asking questions.

Lots of questions.

He's either from the police

or he works for Salvi.

But anyway he's dangerous.

- But I said no violence, Tony.

- No, you said

don't beat up Salvi.

- So you do worse than that!

You go and beat

up this other guy!

You know what's going to happen

if that girl talks

to the police?

- She won't talk.

- How do you know that?

She's new, isn't she?

And when the new

girls scare easy,

that means we gotta lie low

and Salvi's got the

business right on a plate.

Okay, Tony.

I gotta stand by you. We'll

see this thing through.

But you hear me now.

You cross me again, and

brother or no brother,

I'll cut your throat.

- It was too dark.

I can't be sure.

- Well I warned you, didn't I?

What does your wife

think about this?

- I told her I'd

been hit by a taxi.

- I'd have said a bus myself.

- It sounded stupid.

- Well, let's see what

the girl has to say

in court this morning.

- I wish I would have had

a chance to talk to her.

You say she's a new recruit?

- [Sergeant] As far as I know.

- What time is she appearing?

- [Sergeant] About 11:30 sir.

- Well, if there's nothing

more, I'll be getting along.

- I'd leave it alone if

I were you, Mr. Buxton.

- Would you?

Thanks.

- I've got the report

here about Salvi.

- Anything in it?

- Looks as if he's stepping

in on the Giani territory.

- Better pass the

word on to the super.

Advise him to have his night

men work in pairs for a bit.

- Excuse me, my

name's Lloyd Buxton.

- Are you from Tony?

- No, I was in court just

now. I'd like to talk to you.

- What do you want?

Are you newspaper?

- No, I'm not. Look, time

is rather against us.

There's a cafe up the road.

- Two teas, please.

- [Waitress] Two teas, please.

- It was your first

time, wasn't it?

- What?

- Wasn't much fun.

- Look, what do you want?

There's nothing I can tell you.

- Isn't there?

Marissa,

your parents know

what you're doing?

- My parents?

My father is dead.

- Your mother then?

- No.

- Thanks.

That was your first conviction.

I wouldn't make a habit of it.

- Please, I don't

want to talk about it.

- Well, if you don't

want to help yourself,

perhaps you'd help me.

I want to find out how

a decent girl like you

from an apparently

normal background

could get tangled

up in this business.

- [Waitress] Egg and

chips twice, please, Mary.

- How did it start? Is it a man?

One of the Gianis?

- Gianis?

I don't understand.

- Tell me, how do

they go about it?

Threats? Blackmail?

- No, nothing like that.

I'm not what you are thinking.

I had to do it.

I had to help Tony. To save him.

- Tony. That was him.

Tony Giani.

- That is not his name.

- Yes it is, Marissa.

Tony Giani, brother

of Angelo Giani.

(tense music)

- Angelo?

- So he mentioned

brother Angelo. What

about brother Benny?

The three of them, they're

in business together.

- Business?

What do you mean?

- You heard what we said

in court, didn't you?

The Giani Brothers'

activities are notorious.

So are the Giani girls.

Surely you knew?

- I am not. Tony's not--

- Oh, yes he is.

He's Tony Giani.

And you're one of

the Giani girls.

(suspenseful music)

- Yeah.

Yeah.

Okay.

Yeah, we'll be there.

Alright.

Salvi says he'll talk.

In half an hour, at his place.

- Good. We get this thing

settled once and for all.

Well?

- The usual. Two pounds.

- Did she talk?

- No, she just acted stupid.

I think she is stupid.

- Alright, alright, alright.

Come on let's go and see

Salvi, you too, Tony.

And remember, everything

nice and quiet.

I don't want no

violence. Come on.

- Yeah, I think this

will do you good.

- Thank you, Trixie.

- Now, if you're

really set on going,

you'd better make it snappy.

If he comes in, you

won't get away with it.

- I'm nearly ready.

- Ah, there's nothing

like a cuppa, is there?

- Trixie, have you been

doing this for a long time?

- Most of me life.

Of course, I started on

the street, same as you.

Then I worked in Paris,

in a house there.

After that, I sort of hit the

in-between stage, you know.

Too old for your job,

too young for this.

- Why did you ever start?

- Well, I suppose I was born

to it, as you might say.

My ma was a drunk,

and my father was,

well, he might have been

anybody as far as I could tell.

When I was about 17, ma

thought it was about time

I started earning, so.

- Trixie.

- Now I've come to terms really.

A sense of humor

helps, of course.

(doorknob rattling)

(suspenseful music)

- You better get

that thing fixed up.

The way this thing is going,

I'm gonna need you healthy.

- Will you get me

a cuff for this?

- Get me Benny.

Who was it, that fellow

that you slashed?

- Billy Sacceti.

- We're going to need alibis.

If he dies, life ain't going

to be worth living around here.

Hello, Benny?

Listen, we're at Trixie's house.

Big trouble, Salvi

double crossed us.

Yeah, he dropped

us on the way off.

What?

Oh yeah, one of Salvi's

boys, Billy, uh?

- Sacceti.

- Sacceti. And Tony got a cut.

What?

- Tony, what happened?

- Oh nothing, nothing,

it's just a scratch,

that's all, nothing

to worry about.

- Let me see it.

- Now listen to me carefully.

This doesn't make

any difference to me.

The girls have got to

go out just the same.

You got the boys in the office?

Well get them there. I'll

be there in 15 minutes.

How's it feel?

- I'll live.

- She's your alibi.

You stay with her the

rest of the night.

And you remember, he was

here since 6 o'clock.

- Who's Sacceti?

- I'll tell you later.

- Get your story

and get it perfect!

And whatever happens,

she saw it happen.

- Did I?

- Now let's fix this

before I bleed to death.

(suspenseful music)

- I was just ...

- Leaving?

Come on, fix this.

- Tony.

I know who you are now.

What your business is.

What I am. What you've made me.

A Giani girl.

- Yeah. You're a Giani girl.

- This is what you

always meant to happen.

Make me love you, and then ...

Well, I did. I hope

you're satisfied.

- Sure, I'm satisfied.

And if you have any

sense, you will be too.

You're a Giani girl now

and you're going to go on

being a Giani girl as

long as I want you to.

You understand?

- Tony.

What happens if that man dies?

- They bury him.

- Suppose the police

find out it was you.

- Then they bury me.

But they're not

going to find out.

None of the boys will talk.

We sort this thing

out between ourselves.

Trouble, any kind of trouble,

we take care of ourselves.

Remember that.

- That's him.

(dramatic music)

(tires squealing)

(glass shattering)

- No. Right. You

stay with him then.

Yes. I want to know

the minute he can talk.

Sacceti's out of danger.

- That knocks any case we might

have had right in the head.

None of them talk for

less than a m*rder charge.

By the way, we

picked up what's left

of one of Giani's minders.

He's in a pretty bad state.

- Get me Sam Salvi

and Angelo Giani.

I want them both in,

wherever they are.

(razor buzzing)

- Franks is downstairs.

- What?

- Franks is downstairs. He's

taking you to Kingcombe.

- Alright, I'll be down.

(door slams)

- Hello, Angelo.

- Sammy, it's good to see you.

- Long time, no see.

How's business these days?

- It's terrible. If things

don't get better soon,

I'll have to go

out and get a job.

- Alright, you two comedians,

Sacceti's going to live.

So I suppose nobody will talk

and the fight never happened.

But you listen to this.

I know what's brewing.

I'm going to stop

it before it starts.

If so much as one

earlobe gets chibbed

on my men in the next month,

I'll not rest until I've put

you both out of business.

And that's from the heart.

- What's the matter

with you, Inspector?

I don't know anything

about anything.

- We're not responsible

for every hophead

who gets the feeling,

you know, Inspector.

- That's tough luck on you both.

Keep out of each other's way,

that's what I'm telling you.

Or so help me, I'll

put on such a pressure,

that ten years hard will

seem like a rescue after it.

(women laughing)

- Your place is over there

with the other girls.

(women chattering)

- Oh, sorry dear.

- There will be no trouble with

this one, she's a pushover.

(women chattering)

(crying)

- Oh, it's you. What

are you doing here?

- Do I need a reason?

Thank you.

Say, what gives with her?

- I don't know. She came in

early, she wouldn't talk to me.

She seems upset about something.

- Yeah, I'll give her upset.

- No, I wouldn't, not

tonight, not if I was you.

- What is it, do you know?

- Well. No woman in her right

mind could understand it,

but the girl happens

to be in love with you.

- Yeah.

Yeah, love.

- Yeah.

So if you do go into there,

just try to be nice, eh?

- Well, uh, I don't feel nice.

Tell her I'll look

by in the morning.

- Tony.

(dramatic music)

Aren't you going to say hello?

- Oh yeah. Hello.

- You haven't spent a

night here all week.

- Oh, really? Well

I've been busy.

- So I heard.

Tony. Can I talk to you? Please?

- Yeah.

- Tony, darling. What is it?

What have I done?

You don't come here any more.

You look at me as

if I'm a stranger.

- What do you want

me to tell you?

Every time I see you,

my heart stands still?

That you're the only

girl in the world?

Grow up.

- All this was for nothing?

- Not exactly for nothing, baby.

Why'd you do that? You tell me.

- Because I loved you!

- Love me?

No, my money and the

things it can give you!

Look, let me tell

you something, yeah.

Let me tell you something

about the frail sex.

And believe me this is an

animal I've come to know.

You use the word

"love" like a passport

to get you where you want to go.

And when you get there and

you find you don't like it,

what do you do?

You turn around and you tear

some poor Tom to shreds.

Because for every woman, there's

got to be a whipping boy.

Yeah.

Oh, look.

Look, I've had girls

ten times as gone as you

and they still wouldn't do it.

No, because when

they had to choose

between what they believed

and what they wanted,

they gave up what they wanted.

But you.

Oh, the minute that you

walked into that club

and saw what it was,

you made a decision.

You wanted to see life, and

you didn't care how you did it.

So if you blame

anyone, Mrs. Innocence,

blame your own

hypocritical, female dreams.

- You know it's not true!

You know it's not true!

(cries)

- Yeah.

Right.

(voices speaking in background)

- Right. You.

What's your name?

- Henry Alder Smithers.

- You married?

- I'm a widower.

- You sure of that?

- Well, I should be.

I helped to bury her.

- Cheers.

You get the rest

after the ceremony.

Get rid of them.

- Okay.

- What's going on?

- Oh, nothing for you

to lose any sleep over.

You know, a few mornings in

bed wouldn't do you any harm.

These skins are beginning

to look like blotting paper.

What's the matter with you?

I said what's the

matter with you?

- Why don't you go back

and finish your

wedding arrangements?

- That's all over

by the screaming.

What's wrong?

Look, don't you have

everything you want?

Well, take this fur.

You know most women

would give their eyes for this.

What'd you give that

was so precious?

(glass shattering)

- What's the matter with her?

- [Tony] She's a women, that's

what's the matter with her.

- Lots of use she is in

your line of business.

- You know, you'll never

get away with it, ducks.

- We'll see about that.

- No girl walks

out on them, honey.

You don't know the kind of

men you're dealing with.

- You're not going

to stop me, Trixie.

- But where will you go?

- I'll find somewhere.

- Look, you better

go to Doris Newman,

you know, at the Golden Bucket.

She'll put you up.

- I can look after myself.

- Yes, maybe, but you've

got to eat, honey.

You've got to eat. How

are you going to live?

- Don't you know? I've

got a profession now.

- Please don't go

out again tonight.

There are lots of other

places, why look for trouble?

Come on, what do you say

we go to the pictures?

I can easily get the

night off from the club.

- Thank you, Doris.

- Oh, that? I would

never stand the hours.

- And what about this?

(all laughing)

- Here she comes.

- Have I got the

plague or something?

- Look, kid, don't be crazy.

They find you here,

they'll k*ll you.

Well, don't blame us.

If they saw us talking to

you, we'd catch it too.

Look, take a bit of advice.

Get out of the racket.

Wherever you go, they'll

find you if you don't.

- Thank you.

- She on the street?

- Large as life.

- So what are you gonna do?

(glass slamming)

I already tell you.

Get rid of her.

Think something up. Just

get her out of my hair.

- Yeah.

(music playing on radio)

- I don't like this, I've

got nothing against her.

- You're going to have

something against me

in a minute if you don't

keep your mouth shut.

I'm going to have both of

you if you let me down.

(whistling)

- Alright, Edna. You

go on down with Bella.

Alright.

(foreign voice talking on radio)

- [Edna] Hello there.

- Hello.

- Awfully warm tonight.

Just out?

- Yes.

(dramatic music)

- Go on.

Go on!

- How's Doris keeping? Alright?

(groaning)

(smacking)

(whistle blowing)

(smacking)

- [Officer] Break

it up! Break it up!

(crowd chattering)

Oh, it's you.

And you, what's the

matter with your shoulder?

- She did it. She had a knife.

- That's a lie.

I only pushed her

when she hit me.

- Oh, did she?

- [Voiceover] Look, officer,

there's the knife on the step.

- I tell you, I

never had a knife.

(crowd murmuring)

- Alright, save it

for the sergeant.

Come on now, come on.

- Remember me?

You know why I'm here.

- I said no once and

I'll say it again.

- Even after what happened?

- Especially after

what happened.

I don't like the Gianis, mister,

but I don't like the

police any better.

- They only reminded you.

- She attacked me!

I never had a knife.

I know it as well as you do.

- A week in your mind

isn't all that bad?

- Well, you try it some time.

- Anyway, I'm nothing

to do with the police.

Look, with the

information I've got,

I could smash the Gianis.

I've got everything I've need,

except the testimony of a girl

who had actually

worked for them.

And paid them money.

- I grieve for you.

(phone ringing)

- Yeah?

Who is this?

What?

Yeah, thanks.

They only gave her six months.

- Did she talk?

- No, she didn't talk.

- Armed as*ault and only

six months. Tsk tsk tsk.

What's this country

actually coming to?

(brushes scrubbing)

- When do you go out, kid?

- Two days time.

- I've got a message

for you from Doris.

She says get out of

this right quick.

If you don't, Angelo's

planning something

real nasty for you.

- Thank you.

(suspenseful music)

- Coming along nicely, or uh ...

(door slams)

(engine rumbles)

- Why have you brought me here?

- For breakfast.

- What do you think?

- Well, we'll just wait

and see what happens.

- Oh, hello darling.

This is Marissa Cooper.

This is my wife.

- Hello, Marissa.

- Hello.

What's the mystery about?

- Oh, you'll see.

But I don't think you'll

like what you see.

- Doris!

(dramatic music)

- You know why they did it?

Because she let you

stay in her flat

after you walked out on Tony.

- What do you want to know?

(typewriter clicks)

- [Buxton's Wife] Coffee.

- [Buxton] Thank you.

(sighs)

- Do you think she's beautiful?

- [Buxton] No, just young.

- Finished?

- Yes.

- What happens next?

- Well, as they say,

I've got the facts,

it's up to Kingcombe

to find the body.

Giani. We've lived with

that name quite long enough.

- Well, what are we

gonna do now, huh?

- See, without the girl, there

wouldn't be much of a case.

- No.

- That couple goes

everywhere with her.

She's never alone a second.

- That's just

where you're wrong.

No one was ever more alone

than that girl is right now.

(suspenseful music)

(rotary phone dialing)

(phone buzzing)

- [Benny] Hello?

- Hello. This is Marissa.

Is Tony there?

- Hold on.

It's the girl. It's Marissa.

- Tony! Tony, go on!

Well, go on! You

don't wanna say.

- Marissa, what's this?

You're at Buxton's?

- Yes, but I'm leaving.

I just wanted to say

goodbye to you, Tony.

- Leaving? Where are you going?

- I don't know, Tony. I

just can't go on any more.

- Oh, now wait a minute, baby.

You mean you're not going

to give evidence against me?

- I can't do that. I loved you.

- Oh, that's fine. Say, listen.

- Tony, please, don't--

- No, you listen.

Now you get over to Trixie's,

and you stay there

until the case is over.

- It's no good, Tony.

- Look, honey, I need you.

I know I treated you badly,

and maybe I deserve

to go to jail.

But you stick by me this time

and I swear I'll

make it up to you.

They can't convict me

without your evidence.

When the case is over,

well, we'll go away,

start all over again.

The South of France,

or Italy maybe.

Yeah, how'd you like to

go back to Italy, huh?

Oh, and I'll get

a job, a real job.

Oh, honey, I love you.

You're not going to

let down, are you?

- You said all

this before, Tony.

I've had enough lies.

You don't love

me, you never did.

You used me. I know

I behaved foolishly.

But what I did, I did

it because I loved you.

Because I would have done

anything for you, Tony.

But it means nothing to you.

Nothing.

- Look, I swear.

Now you get into a cab

and get over to Trixie's.

- No, Tony.

- Listen, Giani.

Tomorrow morning,

Marissa will be in court.

Tomorrow night, you'll

be in jail. Goodbye.

- Buxton.

- Did you phone him?

- You've got to let me go.

I can't do this to him.

- What'd he tell you to do?

Go back and wait for him

at Trixie's, I suppose.

And then what? A

new life together?

Start again, go abroad?

Life in a cottage with

roses around the door?

And you believed him!

- Does it matter?

- Of course it matters!

A man like Giani can't change.

Within a week, he'd have

you back on the streets.

And you won't escape again.

- I'll never escape.

- You'll be safe here.

By tomorrow, it'll all be over.

They'll be too busy worrying

about their own skins

to bother about you.

Now, listen Marissa.

You do believe I'm

your friend, don't you?

- I suppose so.

- Then why not trust me?

- That's what he said. It

doesn't matter who I trust!

Even if I never see any of them,

what sort of life

is there for me?

My mother will know what I

have been. Everyone will know.

I can't stay in London

and I can't go home.

Where can I go?

- Leave it to me.

I'll see that you get a

chance to start again.

I promise you.

- How can you promise--

- I said you'll

have to trust me!

You better get to bed now.

You've got to be in court

at ten in the morning.

- Doesn't seem right

that I should hurt him.

- It's his turn to be hurt.

Look, Marissa, there's

been others before you

and there will be

others to follow.

We've got a chance

to break the chain.

But there's only one

way we can do that.

Put Tony Giani behind bars.

You know that's true.

- I did love him, you

know. I really did.

(sad music)

- Of course you did.

(crowd murmuring)

- [Officer] Break it up, then.

No photographs, please.

On your way folks.

- This is Marissa Cooper.

She's prosecution witness

in the Giani case.

- [Voiceover]

Marissa Jane Cooper.

- I'll be waiting.

(dramatic music)