D.O.A.: transcript

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D.O.A.: transcript

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Chapters

0:00 I want to report a murder
2:58 Banning
9:27 San Francisco
18:05 The Fisherman
24:17 The morning after
27:59 Poisoned
32:19 Running
35:09 Phillips is dead
38:21 The Bradbury Building
43:37 A bill of sale
49:22 Marla Rakubian
51:48 The photographer
53:20 A sniper
56:08 Halliday and Stanley
57:29 Majak's men
1:04:37 A ride with Chester
1:08:17 Paula
1:12:31 The widow
1:15:43 Halliday
1:21:09 Dead on arrival

0:00 I want to report a murder

1:37 I'll be right back.

1:49 Can I help you?

1:50 I'd like to see the man in charge.

1:52 In here.

2:01 I want to report a murder.

2:03 Sedell.

2:07 Where was this murder committed?

2:09 San Francisco, last night.

2:11 Who was murdered?

2:17 I was.

2:27 Well, do you want to hear me out or don't you, Captain?

2:29 I don't have very much time.

2:34 Your name Bigelow? Frank Bigelow?

2:36 Frank Biglow?

2:39 That's right.

2:42 Answer the San Francisco APB.

2:43 Send it direct to Inspector Bannon at Homicide.

2:45 Tell him we found Frank Biglow.

2:50 Go ahead, Mr. Biglow.

2:54 Well, this involves some other people, Captain.

2:56 A number of other people.

2:58 You tell it any way you like.

2:58 Banning

3:03 I live in a little town called Banning,

3:05 It's on the way to Palm Springs.

3:09 I have a small business there.

3:14 Paula.

3:16 Yes, Mr. Bigelow.

3:17 Give me a copy of Miss Hollison's 48 tax return, will you?

3:19 Oh, you better get the 47, too.

3:21 Yes, Mr. Bigelow.

3:22 I don't think we took any depreciation on that new equipment last year.

3:25 No, we didn't.

3:26 I remember you said we could include it all this year.

3:28 Sure we can.

3:30 I don't think we took any depreciation on that new equipment last year.

3:32 You said we could include it all this year.

3:33 Sure we can.

3:35 Hey, Frank.

3:35 Yeah, Will.

3:36 Peterson says he wants a financial statement before he can give me my loan.

3:40 Hello, Kitty.

3:40 Hi, Will.

3:41 Well, I'm leaving for San Francisco today, but I'll be back in about a week.

3:44 I'll take care of it for you then.

3:45 Sure is a scorcher, isn't it?

3:46 Well, I've seen him worse.

3:48 Well, have a nice time, Frank.

3:49 Yeah, thanks, Will.

3:50 Paolo, why don't you come down to the place and let me give you another permanent?

3:54 Makes your hair so much easier to manage in all this heat.

3:57 I can't afford it right now.

3:58 Maybe next month.

3:59 Yeah, here it is.

3:59 No, we didn't take it.

4:00 Well, we can do it this year.

4:02 You work it out any way you think best.

4:05 Have a nice trip, Frank.

4:06 Sure, Kitty. See you when I get back.

4:08 Bon voyage.

4:12 Why don't you come down anyway, Paula?

4:13 We'll work out a deal on that permanent.

4:16 Thanks. Maybe I will.

4:21 Hello?

4:22 Oh, hello, Mr. Hawkins. Just a moment.

4:25 Do you want him to send your ticket over?

4:27 No, I'll pick it up myself.

4:28 No, never mind. Mr. Bigelow will pick it up at the station. Bye.

4:36 I want to go with you, Frank.

4:38 Now, Paula, I'm just going on a little vacation, you know that?

4:41 You want to go without me, don't you?

4:43 Be gone just a week.

4:44 And I suppose you've just made up your mind to take this little vacation at 9 o'clock this morning?

4:48 No, Paula, I meant to tell you about it a few days ago. I guess I forgot.

4:51 Oh, you forgot.

4:53 Paula, don't be like that.

4:55 Don't be like what?

4:56 You just drop a little announcement that you're going away.

4:59 Not tomorrow or next week or next month, but today.

5:01 No explanations, nothing.

5:03 And I'm supposed to swallow the excuse that you need a little vacation.

5:06 I just want to get away from town for a few days, that's all.

5:09 Get away from this town or get away from me.

5:11 Oh, Paula, please try to understand.

5:14 How can you ask me to understand anything like this?

5:16 No, I'm sorry, but I don't understand.

5:21 Go to San Francisco, but don't expect me to be waiting for you when you get back.

5:25 Paula.

5:27 Please, Paula.

5:29 Come on, turn around, look.

5:37 Paula.

5:39 Please, Paula.

5:41 Come on, turn around, look.

5:43 Come here.

5:45 I'm sorry.

5:53 Come here.

5:55 Why do you do this to me, Frank?

5:58 Why can't you be honest with me?

6:00 As honest as I am with you?

6:02 Do you have to go?

6:03 I have to go, Paula. I know what I'm doing.

6:05 All right, go. Go anywhere you like.

6:07 You can go to blazes for all I care.

6:09 Paula?

6:10 Paula.

6:14 Yes, I know I'm...

6:16 I'm being foolish.

6:23 Come on, fix your face. We'll go down to Eddie's and have a drink.

6:33 All right, why not?

6:40 Hiya, Paula.

6:41 Hi, Eddie.

6:42 Give us a couple of cold beers, will you?

6:43 Coming up.

6:45 All right.

6:50 Oh, what a relief.

6:52 This air conditioning feels good.

6:54 I sure wish we had it in the office. It'd make working a pleasure.

6:57 Well, if it stays this hot, don't bother going in the rest of the week.

7:00 I win two races today.

7:01 How many did you lose?

7:02 You wouldn't have to ask that.

7:04 Kind of early for you two, ain't it?

7:06 Too hot to work.

7:07 That's what I'd like to hear.

7:22 Frank, you'll take me with you, won't you?

7:33 You will, won't you?

7:36 Or am I crowding you?

7:39 What do you mean, crowding me?

7:43 Maybe you do need this week away alone.

7:46 Maybe we both do.

7:48 I know what's going on inside of you, Frank.

7:50 You're just like any other man, only a little more so.

7:53 You have a feeling of being trapped, hemmed in,

7:55 and you don't know whether or not you like it.

7:57 Look, Paula, I'm going to be honest with you.

8:00 I care too much for you not to be honest with you.

8:03 I'm as much concerned for your happiness as I am for my own.

8:05 I know you've had one bad experience, Frank. I know all about it.

8:08 But you don't know what it can do to two people, Paula.

8:10 And the woman always gets hurt more than the man.

8:14 I don't want you to get hurt, darling.

8:17 More than anything in the world, I don't want you to get hurt.

8:20 Want to hear some music?

8:26 All right, Frank.

8:31 Got a couple of nickels, Eddie?

8:32 Yeah.

8:34 This won't bother you, will it?

8:35 No, the next result doesn't come in for half an hour.

8:37 I thought that by now we'd be married.

8:53 No, I'm not going to crowd you anymore, Frank.

8:56 Go to San Francisco.

8:57 I don't like it, but I'm convinced that you must go.

9:01 I want you to be very sure, Frank.

9:04 If it's right, and I believe it is,

9:06 We'll have something really wonderful together.

9:10 If it isn't, we should both know it as soon as possible.

9:15 So, you see, even if I could stop you, I wouldn't do it now.

9:27 San Francisco

9:36 Yes, sir.

9:47 My name is Bigelow. I have a reservation.

9:49 Yes, sir.

9:54 Here we are, sir.

9:55 My name is Bigelow. I have a reservation.

9:58 I have it, sir. It's a very nice room on the sixth floor, facing the bay.

10:01 Boy, this might help you enjoy your stay, Mr. Bigelow.

10:04 It's a little booklet on how to have fun in San Francisco.

10:07 Oh, thank you.

10:08 Very welcome, sir.

10:13 Say, is it always like this around here?

10:15 No, this is market week, and it's the last day, too.

10:18 Boy!

10:19 Always around until you need them.

10:22 All 517.

10:26 Here's a message for you, Mr. Bigelow.

10:28 Long distance call came in about an hour ago from Banning, from a Paula Gibson.

10:32 Very welcome.

10:33 Show Mr. Bigelow to 618.

10:34 Right this way, Sire.

10:52 Right this way, Mr. Bigger.

11:04 Come on.

11:11 Is there anything else, Mr. Bigler?

11:12 Oh, yes. You can get me a dry Manhattan

11:15 and a packs of razor blades.

11:16 Yes, sir. Thank you.

11:18 Oh, and you can leave that door open.

11:23 Hello, operator.

11:24 I want to speak to Miss Paula Gibson in Banning, California.

11:27 That's right.

11:29 Now I'll wait.

11:30 Hello?

11:34 Hello, Paula.

11:36 Oh, hello, Frank. How was the trip?

11:38 Fine, just fine.

11:39 Having a miserable time, I hope.

11:41 Well, I don't know. I, uh, I just got in.

11:46 Hi!

11:47 What was that?

11:48 Uh, Market Week, the place of scrolling with traveling salesmen.

11:51 You know, Charlie Anderson found out that you went away,

11:53 and he asked me to go out with him.

11:55 Oh, really? How did he make out?

11:57 I'm considering it.

11:58 Is that what you called to tell me?

12:00 I'll have you know that this call is strictly business, Mr. Bigelow.

12:03 Did a Mr. Phillips phone you?

12:05 A Eugene Phillips of Los Angeles?

12:06 No.

12:07 He will. He phoned the office three times today.

12:09 Said that he wanted to get in touch with you immediately.

12:11 He said it's most urgent and imperative that he reach you at once.

12:14 1v1.

12:15 I don't know.

12:16 But he sounded deep, dark and mysterious

12:18 and quite agitated about something.

12:20 Phillips, Phillips, have we ever done any business with him?

12:23 Not unless you've been keeping it a secret for me.

12:25 I looked through all the accounts.

12:30 Why did you tell him you could reach me here?

12:33 You know I'm supposed to be on vacation.

12:35 So you told me.

12:36 And so I told him, dear heart.

12:38 But the gentleman didn't seem to respect your temperamental moods the way I do.

12:42 He was very insistent that he speak to you before it's too late, as he put it.

12:46 Well, tell him you tried to get in touch with me and I've changed my plans and you can't reach me.

12:50 He won't talk to me.

12:51 I told him that I was your confidential secretary, but I guess I didn't sound confidential enough.

12:56 So I told him that he could reach you there this evening.

12:58 Well, call him back. If it's as important as he says it is, he'll talk to you.

13:02 Otherwise, you'll just have to wait until I get home.

13:04 Ma, aren't we adamant this evening?

13:07 All right, shall do.

13:11 And Frank.

13:12 Yeah?

13:14 I, uh, I don't quite know how to say this.

13:18 Say what?

13:20 Well, what I want to say is that there's nothing you can do that you ever have to feel guilty about.

13:24 Oh.

13:26 Sure.

13:28 Thanks, Paula.

13:30 I'll, uh...

13:32 I'll call you tomorrow.

13:34 Frank.

13:54 Oh, just put it there for you.

14:09 You keep the change.

14:11 Thanks very much.

14:12 Say, how long has this been going on?

14:14 Well, it's been a madhouse all week.

14:15 But they check out tomorrow.

14:16 Oh?

14:17 I thought you were with them.

14:18 No, no, I'm just here on a vacation.

14:20 Why does everybody come to San Francisco and tear loose?

14:24 Excuse me.

14:26 Say, I'm awfully sorry to bother you, but would you mind if I use your telephone?

14:30 No, no. Go right ahead.

14:31 I'm just across the hall here. One of the boys is using my phone, and he's been on for a half hour.

14:36 I just want to call downstairs.

14:38 Yeah.

14:41 Room service, please.

14:43 Yeah, things really picked up the last few days, didn't they?

14:45 You're not much business?

14:46 Well, I'm not here on business.

14:48 Oh, hello. Room service. It's Mr. Haskell in 617.

14:51 Yes, that's right. Would you send up three more bottles of bourbon and two scotch?

14:55 Yes, that's right. Oh, and some more ice, too.

14:58 All right, thank you. You here all alone?

15:01 Yes, I just got in town.

15:03 Well, why don't you join us for a drink?

15:05 Well, I don't want to barge in on your party.

15:07 Oh, nonsense. It's not a party. Just a few of the boys entertaining some buyers.

15:10 You know, the usual thing. A few drinks and some laughs.

15:14 It's no party. Come on.

15:16 Well...

15:17 Come on, come on, come on.

15:18 I know what it's like to be all alone in a strange city.

15:21 I'm Sam Haskell.

15:23 I'm Frank... Frank Bigelow.

15:25 You think some of these guys have never been away from home before?

15:28 Yeah.

15:31 Hey, hey, quiet down a second.

15:34 I want you to meet Frank Bigelow.

15:36 Hello.

15:37 This is Jane Carlisle.

15:38 Bill Welch.

15:39 How are you, Mr. Welch?

15:40 Glad to know you, Bigelow.

15:41 Jane's the prettiest buyer in San Francisco.

15:43 Oh, hey, I resent her.

15:45 You don't think I believe him, Elaine.

15:47 Well, he spread that from coast to coast.

15:49 But it's good for my morale anyway.

15:51 George Cantwell. Glad to know you, Mr... Bigelow.

15:54 Bigelow, yes. Right on much business?

15:56 He's not here on business.

15:57 Oh? Well...

15:59 Why don't you get the man a drink before he dies of thirst?

16:02 How about a little bourbon?

16:02 Well, that's fine.

16:03 Bourbon it is.

16:06 Of course, Mr. Wallace, Mr. Seck.

16:08 Yes, Mr. Wallace.

16:10 But, Mr. Wallace, I'll need at least a week in Cleveland to visit all my accounts.

16:13 I can't figure out being in Philadelphia until the 17th.

16:16 Eddie, will you get off the phone?

16:17 I want you to meet Frank Bigelow.

16:18 How are you, guys?

16:19 That's his boss.

16:20 He's been trying for an hour to get his expensive gun boosted.

16:22 The way this guy holds on to a dollar, you'd think they weren't printing them anymore.

16:25 Yes, Mr. Wallace. I'm leaving here the first thing in the morning.

16:29 Yes, sir.

16:31 Oh, keep your hips loose, Harry, like this.

16:35 Oh, yeah.

16:37 How's he doing?

16:38 Oh, there's nothing wrong with Harry's rubber.

16:39 Two years ago, the Murray's wouldn't be here.

16:41 Now, wait, look, I was doing all right there.

16:43 This is Sue and Harry Brantus.

16:45 Hello, sir. Good to meet you.

16:47 Where'd you find her, Sam? On a dance marathon?

16:49 Oh, she's murderous.

16:51 I bet you could do the rumble.

16:53 Well, a little, but I'm kind of rusty.

16:55 Anything would be an improvement after Harry.

16:57 Oh, how do you like that?

16:58 Well, here goes.

17:03 Hey, you're good.

17:07 Oh, my wife, she's a good dancer, isn't she, Biglow?

17:10 Oh.

17:11 Yeah.

17:13 Fellas, I thought you were going to show us a good time tonight.

17:16 Is this doing the town?

17:17 That's right.

17:18 We practically bankrupt our stores to buy everything you've got.

17:22 Then you keep us in this hotel room.

17:23 I agree.

17:24 This is my last night to howl before I go back to being a dutiful housewife.

17:29 Well, it looks like we're stuck, boys.

17:32 This is where we blow all our commissions in one night.

17:35 And you're coming with us, Bigelow.

17:37 Oh, no, thanks.

17:37 You run along.

17:38 I've got to get unpacked and have dinner.

17:39 Oh, no.

17:40 You're not going to get away from me.

17:42 Now that I've found a man who can dance, I'm going to hang on to him.

17:48 ♪♪

18:05 The Fisherman

18:18 Oh, cool, really cool!

18:48 Man, am I here.

18:50 You're right now, man, no way.

18:52 You're right now.

19:07 Blow it.

19:08 Blow up a storm, fisherman.

19:18 Get him!

19:26 Stick with the fish!

19:28 Go on, go on, get it, get it!

19:48 Let's go.

20:03 Here, have a little bit of my drink, Frank.

20:05 No, thank you.

20:06 Excuse me a moment.

20:07 Where are you going, Frank?

20:08 Excuse me.

20:09 I think you've had enough.

20:18 What'll it be?

20:26 Bourbon and water, no ice.

20:28 Nice, quiet place you got here.

20:30 We'll be hit the pitch in about an hour.

20:31 That's when they really go out of their minds.

20:33 Who's the blonde?

20:37 Oh, she's one of the chicks that hangs around here.

20:39 She's jive crazy.

20:40 Come again?

20:41 Oh, you ain't hip, pal.

20:43 Jive crazy means that she goes for this stuff.

20:45 Just between you and me, I don't get it either,

20:46 but I gotta listen to it.

20:47 They're all connoisseurs, music lovers.

20:49 Me, I like Guy Lombardo.

20:52 What's the matter with him?

20:53 Oh, he's flipped. The music's driving him crazy.

20:56 Come down, Jack.

20:58 Oh, don't bother me, man. I'm being in life.

21:01 Is the blonde alone?

21:02 Oh, sure, society. She always comes in alone.

21:05 Drives a big convertible, wears a mink coat, but knows everybody.

21:09 But she always comes in alone.

21:13 I wanted to kiss you.

21:16 I tried to...

21:17 Give me another blast, Leo.

21:20 What's your story, Jeannie?

21:21 Easy.

21:27 Hello.

21:28 Easy.

21:29 Dig the fisherman.

21:30 That's really silk, isn't it?

21:31 Can I buy you a drink?

21:32 Sure, thanks.

21:34 Give me a blast, Leo.

21:35 Leo, I left my blast at the other end of the bar.

21:47 My name is Jeannie. What's yours?

21:50 Frank.

21:51 I've never seen you here before, Frank.

21:53 Well, I've never been here.

22:01 This isn't mine. Mine was bourbon.

22:03 Well, sure it is. You saw me pour it.

22:07 Give me a fresh drink.

22:08 Anything you say.

22:10 Oh, listen to that piano.

22:12 Feel those vibrations.

22:17 You don't get your kicks out of this, do you?

22:19 I can live without it.

22:21 Why do you stay here?

22:23 I don't know.

22:24 I bet I know. You're lonely in a big city.

22:27 Why, you don't have to go into a routine with me.

22:30 I like good company, too.

22:40 See, there's some people there I want to avoid.

22:43 Couldn't we get out of here?

22:46 Let me think about it.

22:47 Oh, come on. How about going somewhere else?

22:50 Why don't you meet me later?

22:55 Okay. Well.

23:06 Call me at that number later. It's my next stop.

23:09 They've got a band there that'll really send you.

23:12 See you, Jeannie.

23:13 Easy.

23:17 I'm good.

23:41 Never mind, operator.

24:17 The morning after

25:10 Come in.

25:17 You're right with you, waiter.

25:18 Yes, sir.

25:21 Rest well, sir?

25:22 Yeah, sure.

25:23 May I?

25:24 Go ahead.

25:28 It's on there for you.

25:31 No, thank you. That's all.

25:37 Waiter.

25:38 Yes, sir.

25:40 Take this away.

25:46 Is there anything wrong, sir?

25:47 No, no, just take it away.

25:49 I don't even want to look at it.

25:54 Are you all right, sir?

25:55 Yeah, sure.

25:58 All right, I just had too big a night, I guess, that's all.

26:01 I need some fresh air.

26:03 Of course.

26:10 Come on.

26:40 Lung's in good condition.

27:08 blood pressure normal, heart fine.

27:11 Well, it's a good thing everybody isn't like you, Mr. Biglow.

27:14 Put us doctors out of business.

27:15 I'm glad to hear it, doctor. I was a little worried.

27:17 Don't let a little bellyache worry you.

27:19 Could be just a change of climate.

27:21 Well, it isn't exactly an ache, doctor.

27:23 It's kind of hard to describe the feeling.

27:25 Maybe it was the drinks I had last night.

27:26 I might have mixed them too much, huh?

27:28 Let's have another look at that throat.

27:33 You may finish dressing now, Mr. Biglow.

27:35 I want to get the results of those tests we took.

27:59 Poisoned

28:00 Mr. Bigelow, this is Dr. Schaefer.

28:03 Hello, Doctor. How are you?

28:04 Sit down, Mr. Bigelow.

28:06 According to the information you gave Miss Wilson, you're not married, Mr. Bigelow.

28:10 That's right.

28:11 Do you have any relatives, family, anyone in San Francisco?

28:14 No, no one. I don't know a soul in San Francisco.

28:17 Where is your home?

28:18 What is this, Doctor? Why all the questions?

28:20 You're a very sick man, Mr. Bigelow.

28:22 Sick? But you told me I was in good shape.

28:24 Yes, I know. But my preliminary examination didn't reveal your true condition.

28:29 You sound as if it's pretty serious, Doctor.

28:31 It's extremely serious.

28:31 I want you to understand that we wouldn't tell you something like this unless we were absolutely certain.

28:36 Of course, of course.

28:37 You must steal yourself for a shock, Mr. Bigelow.

28:39 Well, go on, doctor. What is it you're trying to tell me?

28:42 A test reveal the presence in your body of a luminous toxic matter.

28:45 What is that exactly?

28:47 A poison that attacks the vital organs.

28:49 Poison?

28:49 We have no alternative but to tell you this.

28:52 Your system has already absorbed sufficient toxin to prove fatal.

28:55 I wish there was something that we could do.

28:58 What do you mean, wish? You mean there's nothing...

29:00 There is nothing anyone can do.

29:02 This is one of the few poisons of its type for which there is no antidote.

29:06 This is fantastic.

29:08 This is the most ridiculous thing.

29:10 You don't have very long.

29:13 What do you mean?

29:14 A day, possibly a week, two weeks at the outside.

29:17 It's hard to say exactly.

29:19 Well, this is impossible. I don't believe it.

29:21 You've made a mistake. That's it. It could be a mistake, couldn't it?

29:24 You have made a mistake, haven't you? Answer me.

29:26 Dr. Schaefer is an authority on toxicology.

29:28 Then no mistake, Mr. Bigelow.

29:31 Do you realize what you're saying?

29:33 Why, you're telling me that I'm dead.

29:35 Do you think you can explain my life away in just a few words?

29:38 Why, I don't even know who you are.

29:40 Why should I believe you?

29:41 You must calm yourself, Mr. Bigelow.

29:43 We want to offer you every assistance that we...

29:45 Assistance? Who wants your assistance?

29:46 Who wants anything from you?

29:47 You're nothing but a couple of phonies.

29:49 Why, I think you're crazy.

29:50 That's it. You're crazy.

29:51 The both of you, you're crazy.

29:58 Where's the doctor?

30:05 Come on, it's home.

30:06 Get out of here.

30:07 What's the trouble here?

30:08 What's the matter with you?

30:09 Doctor, I want you to examine me for luminous poison.

30:13 I'm right in here.

30:30 Yeah, you've got it all right.

30:33 Your system has already absorbed it.

30:36 Are you sure, doctor?

30:38 Are you absolutely certain?

30:40 Couldn't there be some mistake?

30:46 There it is.

30:47 The toxin is actually luminous in the dark.

30:50 Now there's no doubt about a big low.

30:53 I don't feel sick. My stomach is just a little bit upset.

30:57 Maybe it's not as bad as you think, Doctor.

30:59 That's characteristic. With a heavy jolt, you go suddenly in a matter of hours.

31:03 But if the stuff is taken in a lesser degree, you last a while.

31:06 And then...

31:10 And then...

31:14 Give it to me straight, Doctor.

31:16 Well, a number of things are involved.

31:17 The systemic condition of the individual, the amount consumed, exertion...

31:21 Yes!

31:23 You won't feel too badly for a while.

31:25 Then it will happen suddenly.

31:26 A day, two days, a week at the most.

31:34 A day?

31:36 Two days?

31:37 There's nothing that can be done now.

31:40 If it had been caught in time, your stomach could have been washed out.

31:42 But you've had it from you for some time now.

31:44 For at least 12 hours, haven't you, Bigelow?

31:46 I don't know.

31:48 You don't know?

31:49 No.

31:50 Don't you know how you got it?

31:50 No.

31:51 This is no accident.

31:53 Somebody knew how to handle that stuff.

31:54 That wax is tasteless, notarless.

31:56 The amount of alcohol in your body, you must have got it in liquor.

31:59 I was drinking last night.

32:01 I'll arrange for your admission to the hospital immediately.

32:04 Of course, I'll have to notify the police.

32:06 This is a case for homicide.

32:09 Homicide?

32:09 I don't think you fully understand, Bigelow.

32:13 You've been murdered.

32:14 Get me police headquarters, please.

32:19 Running

32:19 Homicide Bureau.

33:44 A day to days, a week to most.

34:16 This is no incident.

34:18 Somebody knew how to handle that stuff.

34:20 You might have alcohol in your body,

34:22 you want to get them wet.

34:24 There's nothing to be done now.

35:09 Phillips is dead

35:14 Open up.

35:42 Open this door, I tell you.

35:43 Open it up or I'll break it down.

35:45 Where are those men? Where are those men who were here last night?

35:48 I don't know there are no men here. Please go away.

35:50 Don't lie to me. Where are they?

35:52 Mister, this lady just checked in.

35:54 Those men aren't here no longer.

35:56 They checked out of the hotel early this morning.

35:58 Checked out? Yes.

36:00 I'm sorry. I'm terribly sorry.

36:09 Hello?

36:11 Please, Mr. Bigelow, my eardrums.

36:14 Oh, hello, Paula.

36:16 Your enthusiasm overwhelms me.

36:18 Why haven't you phoned me?

36:19 Or is there a quota on telephone calls up there?

36:22 I'm sorry, I've been busy.

36:26 I'll bet you have.

36:27 Visiting the museums, no doubt.

36:29 What's happening up there that's exciting or different?

36:32 Nothing, not a thing.

36:33 I'll bet you miss me, but you're too stubborn to admit it.

36:36 Sure, sure.

36:38 You know, if you'd like me to come up, I can pack a toothbrush and leave right away.

36:40 No!

36:42 Well, you don't have to snap my hat off.

36:44 You could at least make pretence of missing me.

36:47 I'm sorry, Paula.

36:49 Of course I miss you.

36:52 Listen, Paula, I...

36:57 Paula, it's just that I don't feel like talking now.

37:00 I'll call you later.

37:01 Don't strain yourself.

37:02 You phone me sometime when you feel more like talking.

37:07 Oh, by the way, I called that Mr. Phillips back.

37:10 Yes, you know, the man that tried to reach you.

37:12 Well, I'm afraid you'll never know why it was so important that he speak to you.

37:15 His office said he died yesterday.

37:19 Frank, are you there?

37:21 Did you hear me?

37:26 Died?

37:28 When?

37:29 Yesterday.

37:30 So you won't have to bother your little head about him anymore.

37:32 You can just go ahead and have fun.

37:35 Paula, where did he die from? Do you know?

37:38 Do you know?

37:39 I suppose he died from whatever people usually die from.

37:42 Well, didn't they tell you? Don't you know?

37:44 What are you getting so excited about? You said you didn't even know the man.

37:47 Listen, where's his office located?

37:49 What difference does it make? You can't talk to him now. I told you, the man's dead.

37:52 Paula, will you stop talking so much and tell me where his office is?

37:56 Well, all right.

37:59 It's the Phillips Importing and Exporting Company, Bradbury Building, Los Angeles.

38:05 Bradbury Building, Los Angeles.

38:07 Los Angeles.

38:08 That's right.

38:09 Say, this is really a switch.

38:11 Listen, if you want to reach me, I'll be in Los Angeles.

38:13 Are you out of your mind?

38:14 I'm sorry, Paula.

38:15 I've got to hurry.

38:16 Wait a minute.

38:16 Where in Los Angeles?

38:18 The Allison.

38:19 The Allison Hotel.

38:20 Goodbye, Paula.

38:21 The Bradbury Building

38:37 I'd like to see someone in charge here.

38:44 What is it in regard to?

38:45 It's a personal matter. It's quite urgent.

38:47 Perhaps Mr. Halliday can help you.

38:48 Who's he?

38:49 He's our controller. Your name, please?

38:51 Bigelow.

38:52 Mr. Bigelow, to speak.

38:55 I'm not sure.

39:05 Mr. Bigelow to see you.

39:07 Send him in.

39:08 Go right in, please. That door.

39:16 Mr. Bigelow?

39:17 How are you, Mr. Halliday?

39:21 What can I do for you?

39:22 Well, Mr. Phillips phoned my office several times yesterday.

39:25 I'd like to find out what it's all about.

39:27 You know Mr. Phillips died yesterday?

39:29 Yes, I know.

39:30 Well, I don't understand.

39:31 If he phoned you, didn't he tell you what it was about?

39:34 Well, he didn't speak to me. I wasn't in my office at the time.

39:37 And he wouldn't tell my secretary.

39:39 I'm afraid I can't be of much help, Mr. Biglow.

39:42 I have no idea why Mr. Phillips tried to reach you.

39:45 I'm sorry you had to make the trip for nothing.

39:47 How do you know I made a trip?

39:49 I didn't say anything about making a trip.

39:51 I merely said he phoned my office. My office could be here in Los Angeles.

39:56 Miss Foster.

39:59 Yes?

40:00 Didn't you mention something yesterday about Mr. Phillips speaking with Mr. Biglow in San Francisco?

40:04 I said that he had phoned Mr. Bigelow's office in Banning,

40:07 but that Mr. Bigelow was staying at the St. Francis Hotel in San Francisco.

40:10 I'm sorry you misunderstood me.

40:11 Do you know why Mr. Phillips called?

40:13 No, I don't.

40:13 All right, thank you, Miss Foster.

40:15 You can understand that we've been somewhat upset around here.

40:19 Now, if you don't mind...

40:26 Do Mr. Phillips have a wife, family, anyone that could help me?

40:29 You can't intrude on people at a time like this just to satisfy some curiosity.

40:33 It isn't just curiosity.

40:34 Then I suggest you wait a week or so.

40:36 I can't wait.

40:36 Well, I'm sorry you'll have to.

40:37 Well, there's always a phone book.

40:39 You're a pretty aggressive fellow, Big Low.

40:41 Are you quite sure that this is as important as you make it appear to be?

40:44 It's important.

40:46 Mrs. Phillips lives at the Sunset Arms Apartments.

40:50 I needn't tell you she's under a strain.

40:56 I suppose you're capable of using a little more tact with her than you demonstrated with me.

41:00 I think I can handle it.

41:01 By the way, what was the cause of Mr. Phillips' death?

41:04 Suicide. He lived from the balcony of his apartment.

41:22 Come in, Mr. Bignall.

41:28 I'm Stanley Phillips, Eugene's brother.

41:31 Halliday, phone that you are coming.

41:38 This is my sister-in-law, Mrs. Phillips.

41:40 I'll try to make this as brief as possible, Mrs. Phillips.

41:43 I'm afraid I can't be of any help to you, Mr. Bigelow.

41:46 I haven't the slightest idea why my husband wanted to speak to you.

41:53 Well, I guess Halliday covered just about everything.

41:56 Did your husband ever mention anything about me, Mrs. Phillips? Anything at all?

42:01 No, I can't recall Eugene ever having mentioned your name.

42:15 I hate to ask you this, Mrs. Phillips, but it's of vital importance to me.

42:19 Do you know why your husband committed suicide?

42:23 What?

42:25 Oh!

42:27 You're certainly not the most diplomatic person in the world, are you, Biglow?

42:32 Were you a friend of my brother's?

42:34 I never met him.

42:42 My brother was in a jam, a pretty bad jam.

42:44 He was arrested two days ago.

42:46 He sold some iridium to a dealer by the name of Majak.

42:49 It's a very rare metal, very costly.

42:52 Anyway, the iridium turned out to be stolen.

42:54 He was released on bail yesterday, but he faced a pretty stiff prison term.

42:57 Men have committed suicide, the less.

42:59 Yes, I know. That's how the police feel about it.

43:01 What puzzles me, though, is this crooked deal.

43:03 Knowing Eugene, you wouldn't say he's the type of man to be mixed up in anything like that, now would you?

43:07 I told you I never met him.

43:09 That's right, so you did.

43:10 Now, what's this all got to do with you, Biglow?

43:12 I don't know.

43:13 Let's complain with each other, Biglow.

43:15 Surely you must have some idea why my brother was so desperate to contact you.

43:18 I have no idea.

43:19 That's odd. Then how could it be of such vital importance to you?

43:22 You seem to know the answer to everything else.

43:25 Maybe you know the answer to that one, too.

43:37 A bill of sale

43:37 There's a message here for you to call operator 82 at Banning.

43:42 Show Mr. Bigelow to room 821.

43:43 Say, would you have the operator put this call through to my room right away?

43:46 I'll check it up there.

43:52 Here, I'll call you if I need entry.

43:55 Hello, Paula?

43:57 Well, Sinbad, I'd just about given you up for lust.

44:01 Now, do you mind telling me just why you rushed down to Los Angeles?

44:05 I can't explain it to you just now, Paula. I just can't explain it.

44:10 What's going on, Frank? You don't even sound like yourself.

44:13 Well, I'm...

44:15 I'm just a little tired, Paula, that's all.

44:19 But I miss you.

44:23 Oh, Frank.

44:25 I can't tell you how good it is to hear you say that.

44:28 And here I was worrying that I'd lost my charm.

44:31 When are you coming home, Frank?

44:34 Soon, Pa.

44:36 I'll be home soon.

44:39 I'll go right out and get myself a permanent so I'll be pretty when you see me.

44:43 Hey, guess what?

44:44 I found that Phillips name in your notarial ledger.

44:48 Notarial ledger?

44:49 Yes, of all places. I remember now I made the entry myself.

44:53 You had notarized a paper one morning before I came to work.

44:56 What kind of paper was it?

44:58 A bill of sale for a George Reynolds made out to Eugene Phillips of Los Angeles.

45:03 So you see, I was right. We hadn't done any business with Phillips, only indirectly.

45:07 What was the bill of sale for?

45:08 A shipment of iridium, whatever that is.

45:10 Iridium?

45:11 You mentioned at the time that this fellow Reynolds had made some kind of a deal in Palm Springs

45:15 and he stopped in your office early in the morning on his way north to have it notarized.

45:21 Wait a minute, George Reynolds, that was about six months ago, wasn't it?

45:25 That's right, six months ago.

45:26 Thanks, Paul.

45:27 Oh, goodbye.

45:29 Goodbye.

45:33 Get that number back for me.

45:49 I've got to talk to you, Mrs. Phillips.

45:59 Please, go away.

46:01 I want to be left alone.

46:03 But I found out why your husband wanted to see me.

46:04 It was in connection with a bill of sale.

46:07 Come in.

46:10 What do you know about a man named George Reynolds?

46:13 George Reynolds?

46:14 Yes.

46:14 Why, that's the man my husband claims sold in the Iridium.

46:17 And what did Reynolds claim?

46:18 Reynolds disappeared.

46:19 Yes.

46:20 About two months ago, my husband grew suspicious that something was wrong.

46:24 Since then, he tried in every way to locate Reynolds, but could find no trace of him.

46:28 I don't get it.

46:29 Your husband could have proved he made a legitimate deal by showing the bill of sale he got from Reynolds.

46:33 Then there was a bill of sale?

46:34 Yes, yes, of course there was.

46:36 My husband swore there was, but at the time of his arrest, he couldn't find it.

46:39 It was mysteriously missing.

46:41 Well, then if your husband could have shown proof, it would have been George Reynolds who would have faced the prison term.

46:45 Eugene was convinced that Reynolds had stolen the bill of sale.

46:48 He was the only one who had reason to eliminate evidence of the transaction.

46:58 Oh, if you'd only come sooner, Mr. Bigelow.

47:01 My husband might be alive today.

47:03 I know.

47:12 The only thing that puzzles me, Mrs. Phillips,

47:14 is that you haven't asked how I knew there was a bill of sale.

47:30 Mr. Holliday isn't in. He should be back shortly.

47:33 I think you're the one who can help me, Miss Foster.

47:35 Mr. Phillips tried to reach someone else before he called me yesterday, didn't he?

47:38 Why don't you ask Mr. Holliday?

47:39 Obviously, Mr. Holliday wasn't here yesterday,

47:41 or he wouldn't have had to learn from you that Phillips called me.

47:44 And you're the logical person to know who else Phillips called.

47:47 I don't believe that's any of your business, Mr. Bigelow.

47:49 Don't think you're revealing anything confidential, Miss Forster.

47:51 I know that he tried to reach somebody else.

47:52 Mrs. Phillips told me.

47:54 You're bluffing, Mr. Bigelow.

47:55 I don't know what you're after, but you're trying to trick me.

47:57 Mrs. Phillips didn't tell you a thing.

47:59 How do you know that?

48:00 Mrs. Phillips knows nothing about it.

48:02 She doesn't?

48:03 Well, why wouldn't she?

48:05 I was talking about George Reynolds.

48:07 Who did you think I meant?

48:08 Just who is it that Mrs. Phillips doesn't know about?

48:10 I told you before, that's none of your business.

48:11 All right, young lady, I'm gonna give it to you straight. Phillips was murdered.

48:14 Murdered? I don't believe you.

48:15 He told me because he needed me to clear him. Phillips was innocent.

48:17 Innocent men don't have to jump out of windows.

48:19 Murdered!

48:19 Just who are you trying to protect, Miss Forster?

48:21 Why are you so afraid to tell the truth?

48:23 I'm not protecting anybody. I haven't any more to say.

48:25 All right, young lady, listen to me. This thing is going to explode wide open.

48:28 If you've got nothing to hide, you better start talking.

48:30 Or maybe you are, Mr. Boss.

48:31 No!

48:32 Well, then come on.

48:33 Mr. Phillips called Marla Recubian.

48:35 I went to see her yesterday morning.

48:37 Who's Marla Recubian?

48:38 She's a model.

48:39 She and Mr. Phillips used to be quite friendly, but he hadn't been seeing her for quite some time.

48:43 Come on.

48:43 The last couple of months, he'd been trying to locate her and finally learned where she lived yesterday morning.

48:47 When he returned from singery, he was terribly upset and excited.

48:51 That's when he had me put in the calls for you.

48:53 When he couldn't reach you, he went home.

48:55 The last time I saw him alive.

48:57 Give me Marla Recubian's address.

48:59 I don't think Mr. Phillips realized I was aware of his friendship with Marla Recubian.

49:05 Out of respect for him, I never intended to tell anybody.

49:08 I had no idea that she had anything to do with the trouble he was in.

49:11 I admire your discretion, Miss Foster.

49:16 You know, you must be pretty friendly with Stanley, Miss Foster.

49:18 He knew how desperately his brother tried to reach me yesterday,

49:20 and he wasn't even here at the time.

49:22 And now you seem to know all about what happened in Mrs. Phillips' apartment.

49:22 Marla Rakubian

49:34 Miss Recobian?

49:35 Yes?

49:36 What do you want? Get out of here or I'll call the police.

49:39 Go ahead, call him.

49:40 Oh, go ahead, call him. Going on a trip, huh?

49:43 Yes, going away for the weekend.

49:45 Sailing for Buenos Aires tomorrow some weekend.

49:47 I'll send you a postcard. Now get out of here.

49:49 Who are you going with, George Reynolds?

49:51 I've never heard of him.

49:53 I suppose you've never heard of Eugene Phillips either.

49:55 Just who are you? What do you want?

49:57 Never mind who I am. Where's Reynolds?

49:59 I told you I don't know him. Now will you get out of here and leave me alone?

50:06 So you never heard of George Reynolds, huh?

50:08 And don't try to tell me that this isn't him because I've seen him.

50:10 If you think you can scare me, you're crazy.

50:12 Look, I know that Phillips came here yesterday.

50:14 And right after he left, he was pushed out of a six-story window.

50:16 Pushed? Phillips committed suicide.

50:18 Your playmate Reynolds murdered Phillips.

50:20 Then he went up to San Francisco to get me.

50:22 Because I knew about a certain bill of sale.

50:24 I don't know what you're talking about.

50:26 You're in this right up to your pretty little neck.

50:28 I'm not mixed up in anything.

50:30 Get your hands up.

50:32 Drop that picture on the couch.

50:34 Turn around.

50:36 Don't get any ideas because I'm not afraid to use this.

50:40 Give me your wallet.

50:46 Frank Bigelow, Hotel Alex.

50:52 All right, now where's Reynolds?

50:54 I don't know. I don't know where he is.

50:56 Is that what you told Phillips yesterday?

50:57 I told him exactly what I'm telling you. I haven't heard from him in months.

51:00 Yeah? You're mighty careful of the picture of a man you haven't heard from in months.

51:03 What does the race stand for?

51:05 It was a pet name. Do you mind?

51:08 It sounds very cozy, Miss Recoupian.

51:10 You and Reynolds call each other pet names while you make a sucker out of Phillips.

51:13 Phillips made the deal because he wanted it.

51:15 Yeah?

51:16 I'll bet you you weren't above using what it takes to help make him want it.

51:19 Who's paying for this trip?

51:21 I am.

51:23 Really? A first class trip to Buenos Aires on a model salary don't make me laugh.

51:28 Since you and Reynolds aren't seeing each other anymore, you don't mind if I keep this to you.

51:32 If I were a man, I'd punch your dirty face in.

51:36 You know, I really believe you would.

51:41 Oh, I almost forgot.

51:43 Your tickets.

51:46 Don't be surprised if I'm there to see you off.

51:48 The photographer

52:02 Angelo.

52:10 Angelo!

52:12 Angelo.

52:16 Do you remember taking this picture of George Reynolds?

52:19 I take so many pictures, I can't remember them all.

52:21 This gentleman is a friend of his and would like his address.

52:23 We have no card on him.

52:24 I don't think we ought to do that.

52:26 He's willing to pay $20 for it.

52:28 That's the paper we used last year.

52:30 Of course, you understand we usually don't give out the information about our clients.

52:33 I know. You're a couple of high-class fellows.

52:36 Revealing anything confidential is against the ethics of our establishment.

52:39 That's right. Honesty is the best policy.

52:41 Of course.

52:42 But in your case, Dean, as much as your personal friend of Mr. Reynolds...

52:45 Thanks. I knew you'd come through.

52:46 Got it.

52:48 Here it is. We don't have his address. He must have called for the picture.

52:51 But he couldn't have been a very good friend of yours, mister.

52:53 Because his name is not George Reynolds.

52:55 It isn't. Well, what is it?

52:58 It's Raymond Rekubian.

53:03 Rekubian?

53:07 What's the news about that?

53:10 The picture's signed Ray, isn't it?

53:13 Yeah.

53:18 Thanks.

53:20 A sniper

54:28 I don't know.

56:08 Halliday and Stanley

56:12 Big boy, are you all right?

56:14 Can I get you anything?

56:15 No, no thanks.

56:17 Do you know this man?

56:19 No. No, I don't think so.

56:20 Are you sure you've never seen him?

56:22 Quite sure.

56:24 Does the name Raymond Recubian mean anything to you?

56:27 No, I never heard of him. Why?

56:29 He also uses the name George Reynolds.

56:31 This is Reynolds?

56:32 That's right.

56:33 Where can we find him?

56:34 That's what I want to know.

56:35 Tell me something, Holiday.

56:36 You're the controller here.

56:38 How come you didn't know about that bill of sale?

56:40 Phillips made that deal before I came to work here.

56:42 Yeah, but you still keep records, don't you?

56:44 For some reason, which is none of my business.

56:46 Phillips preferred to keep that among his personal papers.

56:49 Now, does that answer your question?

56:52 You came in here today asking for some information that you needed,

56:54 and I tried to be as cooperative as I could.

56:56 But now you're beginning to annoy me.

56:58 So get out before I throw you out.

57:01 You know, you really frighten me.

57:29 Majak's men

57:31 Well, it's about time you showed up, Biggolo.

57:42 Go ahead, Dave.

57:49 Real cute, ain't you, Biggolo?

57:51 Just real cute.

57:52 Paula didn't lose much time getting a hold of you guys, did she?

57:54 Shut up.

57:55 Let's go, Biggolo.

57:57 Look at him.

57:58 He can't take it.

57:59 Soft in the back.

58:01 You do that again and I'll kick your face out.

58:05 Lay off, Chester. Cut it out.

58:07 Shut up! Who asked Judy?

58:12 Better let him answer. The clerk might know he's in.

58:14 Go ahead, Bigelow.

58:22 Hello?

58:23 Frank. Frank, why did you hang up on me?

58:25 I've been trying to get you for hours.

58:27 I'm sorry, Paula. I was in a hurry.

58:30 Well, don't be in such a hurry this time.

58:32 You didn't give me a chance to finish what I had to say.

58:34 It's a day.

58:35 I wanted to tell you that McGowan was in hollering his head off

58:38 because you didn't go over the books.

58:40 Tell McGowan to get another audit.

58:42 Sure.

58:43 Sure, I'll just do that little thing and lose the best paying account we've got.

58:46 Do as I tell you, Paula.

58:49 Frank, are you drunk?

58:51 Paula, how much we got in the bank?

58:54 About $2,200.

58:57 Draw it out tomorrow.

58:58 Sure.

58:59 Then what do we do? Skip town without paying our bills?

59:03 Forget the bills. You know that coat you always wanted? Buy it.

59:08 You are drunk.

59:10 You know, if I didn't have such a good character,

59:12 I'd be tempted to take advantage of your intoxicated state, Mr. Bigelow.

59:15 I'm not drunk, Paula.

59:17 Well, then don't tell me that one day away from me can affect you this way.

59:21 Cut it short.

59:24 Paula.

59:25 Yes?

59:28 I'm sorry I left you.

59:33 I never realized how much I love you.

59:36 But I know it now.

59:39 Oh, Frank, Frank, darling, I love you too so very much.

59:44 Please come home.

59:47 I miss you terribly.

59:50 I said cut it short.

59:53 I'd just love to let you have a bigelow.

59:56 Let's go, Chester.

59:57 This guy's kept us waiting long enough now.

59:58 Walk in front of me, Bigelow.

1:00:02 And keep your mouth shut.

1:00:03 If you so much as look cross-eyed at anybody,

1:00:05 I'll blow the back of your skull out.

1:00:24 This Bigelow's real cute.

1:00:26 He wanted to get tough with Chester.

1:00:28 He don't know Chester.

1:00:29 Did you get the picture?

1:00:31 Don't I always get what Mr. Majak sends me after?

1:00:33 Majak?

1:00:37 That's right.

1:00:39 I'm the dealer who bought the iridium from Phillips.

1:00:42 I get it.

1:00:43 You have Recubian unload stolen stuff on Phillips

1:00:46 to help of Marla here, and then you buy it back from him.

1:00:49 Oh, you certainly made a sucker out of Phillips.

1:00:53 What is it, Mr. Bigelow?

1:00:55 Exactly what is on your mind?

1:00:58 I'm looking for Raymond Rakubian.

1:01:00 Why?

1:01:01 Well, now, Molly here has told you everything else.

1:01:03 I'm sure she must have told you that, too.

1:01:06 You don't expect me to believe this conversation.

1:01:10 So, what is on your mind? I mean underneath.

1:01:15 You forced your way into my affairs, and now I want to know why.

1:01:18 I just told you. I'm looking for Raymond Rakubian.

1:01:21 Don't get cute. I'm just itching the word Q over.

1:01:25 Soft in the belly. Can't take it.

1:01:28 See what I tell you?

1:01:41 Can't do that to Chester. I'm gonna blow your guts out.

1:01:45 Easy. Lay off Chester, not now.

1:01:50 Look at him. He's so scared of Chester, he talk now.

1:01:54 He's not afraid, Chester.

1:01:59 You can tell from a man's eyes when he is afraid.

1:02:03 Look at his eyes.

1:02:17 I'm telling you, Majak, you better keep him away from me

1:02:20 or he's really gonna have to use that gun.

1:02:24 Go away, Chester, please.

1:02:28 Do what I tell you, my boy.

1:02:30 Please.

1:02:32 And help Dave.

1:02:40 Ah, you're in pain.

1:02:44 He's an unfortunate boy.

1:02:46 He's psychopatic.

1:02:50 He's unhappy unless he gives pain.

1:02:52 He likes to see blood.

1:02:56 Come with me, Mr. Bigelow.

1:03:05 Raymond Rakobian was my nephew.

1:03:08 He could not possibly have tried to kill you.

1:03:10 He's been dead five months.

1:03:19 I'm afraid you have been sidetracked.

1:03:22 Provided it is true that somebody made an attempt on your life.

1:03:25 Somebody made an attempt again today.

1:03:28 I had no reason to kill you, believe me.

1:03:31 What do you mean you had no reason? I notarized a certain bill of sale.

1:03:34 You notarized a bill of sale for Reynolds, not Recubia.

1:03:38 What I told you was true. I had no reason to kill you.

1:03:42 That's a closet, Mr. Beagle.

1:03:45 And under other circumstances, you could go home now.

1:03:50 But now you present a problem.

1:03:55 You know too much and I am in danger.

1:03:58 Chester!

1:03:59 Suppose I were able to prove to you that I only want to find the person who tried to kill me.

1:04:02 And I won't cause you any trouble.

1:04:05 You know I can go to jail for 10 years for this little business.

1:04:08 10 years!

1:04:10 At my age, that's my life. That means my entire life.

1:04:14 With my life, I do not take chances. I am sorry. Believe me.

1:04:18 You want Joe to go with you?

1:04:20 No. Just Bigelow and me.

1:04:23 And baby Maester.

1:04:24 Good major.

1:04:26 Goodbye, Mr. Bigelow, and forgive me.

1:04:30 Let's go, Bigelow.

1:04:34 I guess you won't be there to see me off.

1:04:37 A ride with Chester

1:04:48 You tried to make a boob out of me in front of May, Jack.

1:04:56 You shouldn't have done that, Bigelow.

1:04:59 I don't like that.

1:05:02 I'm going to enjoy this, Bigelow.

1:05:06 I've done jobs like this before.

1:05:09 I knocked off guys I could like.

1:05:12 But I don't like you, Bigelow.

1:05:15 I never liked that puss of yours from the minute I seen it.

1:05:18 Yeah.

1:05:20 I'm gonna enjoy this.

1:05:37 You ain't scared yet, are you, Bigelow?

1:05:39 But you'll be scared.

1:05:41 Good and scared.

1:05:43 I think I'll give it to you in the belly.

1:05:45 You don't like it in the belly.

1:05:47 Good. Try it.

1:05:57 I'd just love you to try it, Bigelow.

1:05:59 Why don't you try it?

1:06:01 Go ahead.

1:06:07 Didn't have the nerve, did you, Bigelow?

1:06:09 Yeah.

1:06:11 I think I'll give it to you right in the belly.

1:06:17 It takes longer when you get it in the belly.

1:06:28 It's nice and slow.

1:06:31 That's the way I want to see you go, Bigelow.

1:06:33 Nice and slow.

1:07:17 Let's go.

1:08:17 Paula

1:08:47 Frank, are you all right?

1:08:50 Yes, I'm all right, Paula.

1:08:51 But what are you doing here?

1:08:52 How did you get here?

1:08:53 Freddie Ross threw me down.

1:08:54 I had to come.

1:08:54 I had to see you.

1:08:56 You shouldn't have come, Paula.

1:08:58 You shouldn't have.

1:08:58 What is it, Frank?

1:08:59 You're in some kind of trouble.

1:09:00 I know it.

1:09:01 Look at you.

1:09:02 You're beside your clothes.

1:09:03 Look as if you've slept in them.

1:09:05 Are you ill?

1:09:06 You are.

1:09:07 You're feverish.

1:09:08 I'm all right, Paula, and I'm not in any trouble.

1:09:10 Believe me.

1:09:10 You're lying, Frank.

1:09:11 Right after I spoke to you, I got a phone call from the San Francisco police.

1:09:14 They asked if I knew where you were.

1:09:15 You didn't tell them anything, did you?

1:09:17 Of course not. It was the homicide detective that called.

1:09:22 What is it, Frank?

1:09:23 If you're in any kind of trouble, you certainly can trust me.

1:09:25 Look, I'm not in any trouble with the police, Paula, believe me.

1:09:28 But you can stay here. You've got to go back to Banning right away.

1:09:31 No, I won't go, Frank. I won't. I'm staying here with you.

1:09:34 Paula, it's better that you go back. Believe me.

1:09:36 Why? What's this all about?

1:09:38 What have you got to do with this Phillips and Reynolds?

1:09:43 Phillips was murdered.

1:09:45 Murder?

1:09:47 What could that possibly have to do with you?

1:09:49 All you did was notarize a paper.

1:09:50 You've notarized hundreds of papers.

1:09:52 I know, I know.

1:09:53 All I did was notarize one little paper,

1:09:55 one little paper out of hundreds.

1:09:57 Frank, you frighten me.

1:09:58 You don't even act like you.

1:10:00 I know that you're in trouble,

1:10:01 that something is wrong,

1:10:03 that you're in serious trouble.

1:10:04 You frighten me, Frank.

1:10:06 Oh, don't be frightened, Paula.

1:10:09 Don't ever be frightened of anything again.

1:10:10 Will you promise me that?

1:10:12 I love you so much, darling,

1:10:13 more than you seem able to understand.

1:10:15 Oh.

1:10:16 I never really knew happiness until I loved you.

1:10:19 Sometimes when I used to be afraid that you weren't sure how you felt,

1:10:22 I tried to hold back, but I couldn't.

1:10:24 Losing you would have been losing everything.

1:10:26 There would have been nothing left.

1:10:27 Don't, Paula, don't.

1:10:29 Now I'm afraid again.

1:10:30 Somehow I feel that I'm going to lose you,

1:10:32 but there's nothing I can do about it.

1:10:33 I feel so helpless.

1:10:34 You're leaving me out of something.

1:10:36 Tell me, Frank, what is it?

1:10:37 Give me a chance to fight back.

1:10:39 Just give me a chance, please.

1:10:40 You do love me, don't you?

1:10:42 Oh, yes, Paula, I love you.

1:10:44 I never was most certain of anything in my life.

1:10:46 If I wasn't sure before, I was a little blind, I guess.

1:10:48 But believe me, I'm sure now.

1:10:50 Can you understand that, Paula?

1:10:51 I understand.

1:10:52 A man can be like that, Paula.

1:10:54 Something has to happen.

1:10:55 It can be a big thing or a little thing,

1:10:57 but it can make him realize how much someone means to him,

1:10:59 how much he really loves her.

1:11:02 Oh, and I love you, Paula,

1:11:04 more than I ever thought it possible

1:11:05 to love anyone in the world.

1:11:07 I love you.

1:11:07 Then why won't you tell me about this trouble you're in?

1:11:10 Why won't you try to let me help you?

1:11:13 You can't help me, Paula.

1:11:15 You don't want my help.

1:11:16 Oh, Paula, there's nothing you can do. Will you believe me?

1:11:19 So will you please go home, please?

1:11:21 No, Frank. I won't go.

1:11:24 I know you're in trouble. I can't leave you like this.

1:11:29 All right, Paula, look, wait for me in the lobby of the hotel,

1:11:31 and I'll be back for you soon, I promise.

1:11:33 You promise? You're sure?

1:11:34 Yes, Paula, I promise.

1:11:36 Is that a new outfit?

1:11:39 Yes.

1:11:40 Oh, that's beautiful.

1:11:45 You'll come back to me, won't you, Frank?

1:11:52 Yes, Paula, I'll come back, I promise.

1:11:54 Please hurry, darling. I love you.

1:11:56 I love you, Paula.

1:12:03 Goodbye, Paula.

1:12:15 I'm sorry.

1:12:31 The widow

1:12:39 Is Stanley here?

1:12:41 You sure?

1:12:43 All right, get in there.

1:12:45 Now get Stanley on the phone.

1:12:47 Tell him to come over here right away. Use any excuse you want.

1:12:49 What are you going to do?

1:12:51 What was Stanley going to do when he used me for a clay pigeon today?

1:12:53 I don't know what you're talking about.

1:12:55 Don't act innocent with me. I felt it at once.

1:12:57 I don't know what you mean. I told you everything you wanted to know this morning.

1:12:59 Yeah, you told me just enough so I'd get sidetracked

1:13:01 and wouldn't know that Stanley was the one I was after.

1:13:03 Stanley?

1:13:05 Oh, no!

1:13:07 You and Stanley have been together on this from the start.

1:13:09 Now, come on, get on that phone and call him.

1:13:13 Don't let him know I'm here.

1:13:15 Stay along.

1:13:26 He's been sidetracked all right.

1:13:28 But it was the poor, bereaved little widow who did it.

1:13:31 Miss Foster found this letter this afternoon.

1:13:34 It's at my brother's desk at the office.

1:13:36 It's postmarked two years ago.

1:13:38 It's not exactly the kind of a letter that a married woman gets from a casual friend.

1:13:43 I'm sure my brother wasn't aware that they were so well acquainted when he hired Halliday.

1:13:49 What's the matter with him?

1:13:50 He hasn't felt right since dinner.

1:13:52 Where did he have dinner?

1:13:53 At Mrs. Phillips' apartment.

1:13:54 Halliday was there too and Stanley confronted them with that letter.

1:13:58 Do you have anything to drink?

1:14:00 Yes, what?

1:14:01 How long ago?

1:14:02 Half an hour ago, just before I came here.

1:14:04 Miss Forster, get on the phone, call the emergency hospital,

1:14:06 have him get an ambulance over here right away.

1:14:08 What?

1:14:09 Tell him to prepare a stomach wash for luminous poisoning.

1:14:11 No one is possible.

1:14:12 Come on, do what I tell you.

1:14:13 You may still have a chance to save his life.

1:14:14 But I...

1:14:15 Go on!

1:14:31 I found George Reynolds, Mrs. Phillips.

1:14:33 He's been dead for five months.

1:14:36 Then he didn't steal the bill of sale.

1:14:37 No, he didn't.

1:14:38 But you could have stolen it.

1:14:40 How dare you!

1:14:42 You knew who I was when I came here today.

1:14:44 But you were surprised to see me alive, weren't you?

1:14:47 But I'm not alive, Mrs. Phillips.

1:14:49 Sure, I can stand here and talk to you.

1:14:51 I can breathe and I can move.

1:14:53 But I'm not alive.

1:14:54 Because I did take that poison.

1:14:56 And nothing can save me.

1:15:01 What are you going to do?

1:15:02 I kill you now, I have nothing to lose.

1:15:03 No, no, you've got to listen to me.

1:15:05 You've got to give me a chance.

1:15:06 But I didn't have a chance.

1:15:07 It was Halliday. Believe me, it was Halliday.

1:15:10 He made me steal the bill of sale. He planned everything.

1:15:12 What about this letter? Your husband knew about you and Halliday.

1:15:15 He found it only yesterday. He accused Halliday.

1:15:17 They fought, and Halliday pushed him over this balcony.

1:15:20 Why me? Why did he want to kill me?

1:15:22 Because you could have proved there was a bill of sale.

1:15:24 That my husband had no reason to commit suicide.

1:15:27 Halliday was desperate after he killed my husband.

1:15:29 He found out about the phone calls to you.

1:15:31 He thought you spoke to him, that you knew enough to involve him.

1:15:40 Where's Alany? Where is he?

1:15:43 Halliday

1:15:47 He's at the office.

1:15:49 This time you don't want him.

1:15:54 This time you know more of them.

1:16:51 Me, Jack!

1:18:51 Come on, this one. Break it up.

1:18:55 Come on, come on.

1:18:59 Come on, move along.

1:19:03 Come on, let's go.

1:19:15 Come on, move along.

1:19:17 Come on.

1:19:21 Come on, let's break it up. Move along now. Let's get going. Come on.

1:21:09 Dead on arrival

1:21:15 All I did was notarize a bill of sale.

1:21:26 But that piece of paper could have proven that Phillips didn't commit suicide.

1:21:32 He was murdered.

1:21:34 And that's why Halliday poisoned me.

1:21:44 Would you?

1:21:45 Paula.

1:21:55 Paula.

1:22:09 Call the morgue.

1:22:11 Johnson, you go to the Allison's Hotel.

1:22:13 Find Paula Gibson. Don't tell her anything.

1:22:15 I'll break it to her.

1:22:21 How shall I make out the report on him, Captain?

1:22:25 Better make a dead on arrival.