All language subtitles for The House Across the Street

Hopkins Street on the morning
of April 20th

was outwardly no different
from other streets like it.

It awakened to its well-ordered
placid existence

much the same as any other morning.

And the daily routine began
according to pattern.

The commonplace was the rule and
Hopkins Street in this city conformed,

as did the Maple streets
or Vine streets or Elm streets

of a thousand other cities.

But sometimes the most innocent of
exteriors can hide the birth of violence.

In this one respect,
Hopkins street differed.

Violence was waiting there, despite the
care that had been taken to prevent it.

It waited in a house. It sat, cat-like,

ready to spring from the early
morning shadows.

There is a letter.

Come on in.

How many of you, guys,
in this route, anyway?

Well, just me, why?

- Just you?
- Sure! What's the--?

Hello, Lieutenant.
This is Sergeant Preston.

Somebody just got Villman.

Yes, sir?

Tell Joslin I want to see him,
will you, please?

Yeah?

Mr. Grennell wants you, Mr. Joslin.

Tell him to take another bicarbonate.
I'll be right in.

Oh, Dave, here's that rewrite
you asked for.

Yeah, stick it on my desk.

Right.

- Good morning.
- Good morning.

Good morning, J. B.

Hitting a little hard, aren�t you, Dave?

Not yet, that�s just a warm up.

- This is on the street, huh?
- Yeah.

Police are gonna be hard
about this story.

- They made a mistake.
- Everybody makes mistakes, Dave.

How big can a mistake get?

Villman was the only witness
against Keever.

- Villman�s dead, murdered!
- I know I know, I read the paper.

And own it.
But I run it for you.

Yes, but it�s a question
of how you run it.

You�re not satisfied?

Well, when I�m not, I�ve got
plenty of these dismissal slips.

You'll get yours.

I�ll wait, I�ll wait.

Well, this is pretty rough stuff, Dave.

That�s the way I wanted it.

This morning a man was murdered.

A man whose testimony
would've put Keever in chains.

And now we have to stand back

and watch that racketeer and
ex-gunman beat a fraud rap, and why?

Because the police sent
a rookie detective

to watch the front
of Villman�s house.

Could have anyone else done any better?

Sure!

The minute that phony mail carrier started
up the walk, he would've been stopped.

He wasn't and Villman's dead.

Villman, that�s the point.

How or why isn�t the issue
but you�re crucifying the police!

I�m not, they made a mistake,
I just pointed it out to them.

Maybe they'll be more careful
after this.

You�re a good newspaper man,

but being one doesn�t mean
forgetting other things.

- Like what?
- People.

I love them.

If they're news.

It�s a good reason. I�ll buy that.

Lord help you, Dave,
if you ever make a mistake.

If I do, you can use this,
then you�ll really need those.

Come in.

Don't tell me.
It's the boy editor.

You psychic this morning, Kit?

No. Just a highly developed
sense of smell.

Oh, Dolly Trent shouldn't talk
like that.

What will our readers think?

My readers don't think.

Uh, pardon me, but you're sitting
on somebody's heart.

May I have it, please?

- Oh, this girl's got a problem.
- May I have it?

You know? If she married this guy,
it could solve everything.

Oh, Dave I just can't do this anymore.

- You're not in love with your work.
- Please get me out of this.

Okay.

- You said that too quickly.
- You're suspicious.

Dave, one more month of this and
I'm gonna end up a gibbering idiot.

- Marry me.
- Well, either way I end up the same.

Very funny.

Oh, Dave, please put me back
in the City.

- You had your chance there.
- One.

Sure, but a big one.

Any cub-reporter could've
done a job you muffed.

It wasn't my fault.

No, you just covered the wrong lead

and every other paper in town
covered the right one.

All right.

Do you have to stick me in here?

It's good clean work.

Oh, Dave, put me anywhere but...
get me away from this!

Kit, I'm surprised of your attitude.

Doesn't it give you a sense of power

to know that you're sending these
poor bewildered hearts

along the road to happiness?

Why, you might even become known
as the mother of your country.

I have no ambition in that direction,

not even on a smaller scale.

All right.

Whenever you get tired enough
with this

to straighten out
your own bewildered heart,

look me up.

- I'm not that bewildered!
- Okay, Dolly.

If your readers could only see you now.

Is this the rest of the Villman story?

Yeah, that's dynamite.
Too bad we can�t use it.

Who says we can�t?

But Mr. Grennell said the lack--

Wait till Mr. Grennell sees
tonight's final.

Extra! Extra!

Maybe you'd better send
for him again.

Oh, he'll be here in a moment.

Mr. Joslin doesn't care what he does
with my time or my reputation.

Yes, sir.

Please, see what's holding up Joslin.
Oh, never mind.

Hi, J. B.

Hello, Mr. Keever.

- How are you, Mr. Joslin?
- How are you?

Mr. Keever's attorney wants
to talk to you.

I should think he would.

Joslin, you've said a few things
in your editorials and stories

that are highly uncomplimentary
to my client, Mr. Keever.

Somehow, I could never bring myself
to regard your client

as the ideal American boy.

We've told Mr. Grennell that if this sort
of thing keeps up, we shall have to--

Have to what?

I want you to cut out
these stories, Mr. Joslin.

No.

That leaves only one alternative.

Why don't you talk to Mr. Grennell?
He owns the newspaper.

We have talked to him.
I think Mr. Grennell agrees with us.

Well, if... if it's just the same to you,
I'd rather discuss this with Dave alone.

Of course.

Good-bye, Mr. Grennell.

Good-bye, Mr. Joslin.

- I said "good-bye, Mr. Joslin".
- I hope so.

Well, you did it.
No more stories on Keever.

Why not?

Well, you know as well as I do

that there's no way to tie Keever in
with the murder of Villman.

Nothing except the fact that Villman
was a star witness against him,

nothing except the fact that
five days before the trial,

Villman winds up in the red,
nothing except the fact that--

Dave, I mean it.
No more stories about Keever.

Kill them.

Are you taking orders from Keever?

No, I'm giving orders... to you.

When you put me in a spot
to be sued for libel,

it's high time
I did something about it.

Libel! You know everything
I said about Keever was true.

The only way to get him is to
ride him until he pulls something

and then we've got him
right where we want him.

Yes, and in the meantime
he makes me and my paper look stupid.

- I say cut it out.
- No.

Well, you asked for one of these.

What are you gonna do about
the contract I've got with you?

- Break it.
- It's not that easy.

Dave, now, this is final.

One of two things you can do: forget
about Keever until you get something

that holds up in court or forget
that you're my managing editor.

I've got a good memory, boss.
It's not easy for me to forget.

As long as you and I have a contract,
I'm your managing editor.

I'll see you later, J. B.

Yes, sir.

Get me the legal department.
And send me in some more bicarbonate.

Yes, Mr. Grennell.

There's only one loophole
in the contract.

You can shift him to another job
as long as it's in an editorial capacity.

Editorial capacity, eh?

Good enough.
I didn't want to lose him anyway.

You'd better put Mr. Joslin's contract
back in the file.

I'll be in the City room.

Yes, sir.

- Good morning, Mr. Grennell.
- Good morning.

- Good morning, Mr. Grennell.
- Good morning.

- Good morning, Mr. Grennell.
- Good morning.

So what would you advise me to do,
as one girl to another?

Anxious.

Dear Anxious,
I would advise you to go--

Hi, Dolly. How are you doing?

Oh, boy, oh, boy--

Mail's really getting ahead of you.

Hey, none of the other girls we had
on this job ever got that far behind.

Say, say, you're a very funny
fellow, hey?

- Yeah, how old are you?
- 27.

Yeah, 27, huh?

Well, how would you like to
live to be 28?

What's the idea?
I just ordered one martini.

Look, I know Mr. Joslin.
He needs a backlog.

I thought so.

What's this?

It's a Bewildered Hearts letter
I carried off by mistake.

- You'd better answer it.
- Thanks.

You're building something?

It's already built.

What time is it?

- Eight o'clock.
- Day?

Night.

Went fast.

- You need some coffee.
- No.

No, I like olives better.

Oh, Dave, what's the big idea?

I told you. I like olives better.

- You walked out on a job.
- Me?

- Yes, you.
- I was fired.

You quit.

I was fired.

You know better than that.

Oh, put your hand down.

Kit, did I ever tell you
that I loved you?

- Dave, they're all laughing at you.
- So?

So, they say you quit
at the first punch.

- Dolly Trent?
- That's it.

You didn't expect me to stick to that?

- Well, I did.
- You're a woman.

That explains everything, doesn't it?

Oh, go away.

Well, if I do,
it's going to be permanent.

Kit, what do you want from me?

Just a little evidence that you can take
what you used to dish out.

Not Dolly Trent.

Look, Dave. You're giving a lot of people
the chance they've been waiting for.

Including you?

Look, would I have come here
if that were true?

Not Dolly Trent. Obits, sports,
classified ads, but not Dolly Trent.

Then it's not Kit Williams.

Okay then.

That's 30 for tonight.

- I said, �Okay then.�
- Okay what?

Have an olive with Dolly Trent.

My dear Miss Trent, my husband went out
to get some cigarettes July the fourth

and he's been missing ever since.

Dear Dolly, Do you think I should
get married now or wait until I can--

Dear Dolly Trent, Have I got a problem.

Dear Miss Dolly Trent--
My dear Miss Trent--

Hey, Dolly. J. B. wants to see you.

Better hurry.
Maybe it's another promotion.

That's something you won't ever
have to worry about.

You can go right in, Mr. Joslin.

Dare I?

Good morning, Dave.

Good morning, boss.

How is the column?

Just fine.

I guess we've both had enough, Dave.

Oh, I love it.

No, you've had four weeks of that
Bewildered Hearts tripe

and I've had four weeks of doing
without you as managing editor.

Now, let's forget it and get back
to normal.

Under what conditions?

- Did I mention any?
- No, but I will.

Listen, you and I both know that
Villman was killed

because he was the stake witness
against Keever in that fraud case.

Yes, but you can't prove that Keever
had anything to do with it.

We're running a newspaper.
We're gonna deal in facts.

Suppose I get some.
Couldn't we work from a new angle?

No!
No!

Okay.

All right. Then put somebody
on Bewildered Hearts.

We've already got somebody
on Bewildered Hearts: Me.

What?

It's either Keever or Dolly Trent.

I'll get rid of you altogether.

As long as I'm working in an editorial
capacity, you can't do a thing.

Now, if you want me to sit at home and
collect my salary,

it's all right with me.

Now, listen.

As long as I'm willing to work, I'm
fulfilling my side of the contract.

But you can't dictate to me!

I'll see you later, J. B.

If you want me, I'll be guiding
the love life of our city.

Ha, I don't know
how I got away with it.

Well, how are you doing, Dolly?

Listen, I'll still match pay checks
with you guys.

What did he say, Dave?

- What did who say?
- Mr. Grennell.

What makes you think
he said anything?

Oh, please, what did he say?

- Did you go and bat for me?
- Of course I did.

Thanks heaps.

Dave, you're not upset because
I went to Grennell?

No.

It just didn't do any good, that's all.

What do you mean?

Mr. Grennell and I are of different
minds, unfortunately for me.

You're an idiot.

Dear Frustrated, Your problem
interests me very much.

Why don't you get off your high horse

and go in and tell Grennell
that you'll take your--

Nothing doing, Kit.

You have a one-track mind.

Well, it seems to run
in the right direction.

Besides, I'm getting
very attached to my job.

Dear Frustrated...

Look, so you stuck it out for a month.
So you proved you could take it.

Now, for the love of Mike, will you--?

Your problem definitely
interests me very much.

Dolly, a bewildered heart to see you.

Yes?

She says she has a problem.

Well, I'm sure that Dolly
will solve it for you.

- I must be in the wrong office.
- Don't use snap judgment.

- I was looking for Dolly Trent.
- I'm Dolly Trent.

But I thought you were a man.
I mean, I thought she was a woman.

Take your choice.

Are you sure you're Dolly Trent?

I am Dolly Trent.
Sit down.

I sent you a letter, three letters.

- You did?
- Uh-huh.

My name's Billie. Billie Martin.

The letters were about me
and my boyfriend.

Oh, mm-hmm... Trouble.

- Well, yes. We were gonna be married.
- Oh, that's nice.

Oh, yes, it was. We were all ready
to be married when--

Look, Miss Martin, why don't you
let me answer your problem in my column?

But I've already written you three
letters and didn't get any answer.

The last one was over a month ago.

Oh, well, swell.
Well, I'll get right on it

and we'll probably have it out
in about three months.

But I can't wait another month.
I wanna get married.

Why?

- I gotta have a reason?
- Oh, no, no, forget it.

Look, Miss Trent. Me and Carl, my
boyfriend, had a fight in a night club.

I wanted to dance and all he wanted
to do was sit at the bar and get blotto.

Well, I can't understand that.

He even spilt a drink on my dress.
So, you know what I did?

- What did you do?
- I walked out on him.

- Well, it serves him right.
- No, it didn't.

I felt sorry for Carl sitting all alone
in Horseshoe Harry's that way.

Horseshoe Harry's?
You mean Keever's place?

Who's Keever?

Oh, never mind. Go on.

Well, anyway. When I went back to
Horseshoe Harry's, there was no Carl.

Amazing!

And when I called his house
there was still no Carl.

Fantastic!

- And do you know what else?
- No, what else?

He didn't even show up the next morning
to take me to the picnic.

What picnic?

Why, the painters and
paperhangers picnic.

All right. What's your problem?

Well, where do you think he was
all night and what was he doing?

Why don't you ask him?

That's just it. He keeps saying
he doesn't remember.

Trying to make me think
he'd blacked out or something.

Wait a minute. Your boyfriend disappears
from Horseshoe Harry's.

He's gone all night and the next
morning. What time did he show up?

Three o'clock in the afternoon.

Do you remember the date?

Of course. It was the day
of the picnic, April the 20th.

- That's the day of Villman's murder.
- What did you say?

Oh, I don't even know myself.
Now, look,

did Carl talk to anybody at Horseshoe
Harry's? Did he see anyone?

- No, not while I was with him.
- Uh-huh.

Where are you going? Aren't you going
to give me some advice?

Not now. I just wanna see Carl.
Where can I find him?

- Well, I'll show you.
- No.

I think that you better go home
and wait for the good word.

Just tell me where I can find Carl.

Well, he's working at 954
West 180 Fifth Street.

He's an artist.

But your girlfriend Billie told me
the whole story.

I don't know what she had
to see you for.

Billie's very concerned with her future.

- And you love her, don't you?
- Sure.

But she didn't have no right
bringing a stranger in.

I'm not a stranger. I'm Dolly Trent.
I fix bewildered hearts.

Well, what will they think of next?

Carl, you should be honest
with the woman you love.

Tell her where you were.

Well, I...
Look, Miss Trent.

Uh, you can call me by
my maiden name, Joslin.

Okay, but I don't want
no more bees with Billie.

Then why don't you tell her where you
went after you left Horseshoe Harry's?

I don't know.
So help me, I couldn't tell her.

Why not?

Well, I must've had a couple too many,

and when I came to, I was holed up
in a rooming house

clear on the other side of town.

I don't know what happened to Billie.

- That's all?
- That's it.

Was there anyone with you
in the rooming house?

Carl, was anyone with you
in the rooming house?

Well, maybe I remember something about
a dame at the bar after Billie left.

But I'm not sure.
Everything's kind of mixed up.

Anyway, I didn't wanna tell Billie
because, well... dame's funny that way.

Yeah, yeah, very unreasonable.
Who was this girl?

I don't know.

- You never saw her before?
- No.

Now, look Mr. Joslin,
I'm telling the truth.

I had a couple of drinks
and then... bam!

there was something
like a flash of light.

- Flash of light, huh?
- Uh-huh.

A flash of light. That sounds like
your last drink was a mickey.

But I wasn't rolled for my dough
and I had a week's pay on me.

- You didn't lose a cent?
- Nothing was missing.

You don't remember anything
till you woke up in the rooming house?

- That's right, honest.
- Do you remember the address?

Yeah. 1828 River Street.

I'll talk to you later, Carl.

What are you gonna do?

Who knows?

You're not going to tell Billie
about that dame?

Are you kidding?
Us fellows got to stick together.

You're supposed to ring the bell.

Oh, thank you.

We're full up.
No rooms.

Why should you be any different?

- You selling something?
- Not today. Just wanna talk.

I've nothing to talk about.

Like to get some information about
a guy named Carl Schrader.

I've never heard of him.
He don't live here.

He did about a month ago.

I don't keep track of the guys
who come and go.

Now, look, let's wind this up.
I got work.

He came here the night of the 19th.

Didn't leave until he woke up
the next day.

I told you, I don't remember nobody.

Guys come and they go. That's all.
I don't ask questions.

Came here with a woman, didn't he?

Once a pretty lady came here, with
pretty red hair and a pretty fur coat.

- Shut up, Madge.
- Well, she did.

Shut up and go to the kitchen!

Your little girl?

Why don't you take off?
I told you, I got no time.

Oh, your time is valuable, huh?
Well�

Yeah, too valuable.

Hello.

Marty, there was a guy here
asking about Schrader.

Who was he?

I didn't ask.
But he was kind of nosy.

What did you tell him?

Think I'm a dope?
I told him nothing.

Okay. Just keep your mouth shut
and hold tight.

Hey, Beth.

What are you, a bookworm?

A little reading wouldn't hurt you.
Why don't you go home?

Listen.

Maybe we're in a jam.

Are you sure nobody saw you
with that guy?

What guy?

The guy we took over to Eddie's
rooming house.

Oh, nobody saw me. Why?

Somebody's nosing around Eddie's place,
wanting to find out about things.

So, what could he find out?

I don't know.
Unless that dope Schrader remembers.

Oh, he won't remember.

I'm gonna make sure he doesn't.

Marty, what are you gonna do?

Protect myself, baby.
And you.

What do you mean?

Keever don't like mistakes. I made one
and he better never find out about it.

Maybe some day you'll learn
to mind your own business.

You know, Kit, with a little patience,

this Bewildered Heart job
might lead to something.

Well, if it doesn't, you've just wasted
a lot of time and a little skin.

- Ouch!
- Sorry.

Kit, I think I'm on to something.

The landlord there was afraid to talk,
but there was a little girl--

A little girl where?

At this rooming house.
A little girl named Madge.

And she said that she remembered
a beautiful lady

with red hair and a fur coat.

And he shut her up but fast.

Dave, I think you're just taking
pot shots in the dark.

No.

And I'll lay you two to one that
that's the same dame

that Carl Schrader said he remembered
down at Horseshoe Harry's.

And I wanna find out who she is.

Now, where are you going?

Police Department. To find out
if Schrader's got any kind of a record.

What'll I tell the boss
if he asks where Dolly Trent is?

Well, just tell him that Dolly is going
down to get herself a finger wave.

Look, Marty, will you stop worrying?

I tell you the guy that came here
didn't get a thing, not a thing.

Maybe.
I gotta make sure.

Remember one thing: you're in this
with me up to your neck.

Come here.

Who's that?

I don't know.

She belong around here?

Never saw her before.
I'd better call my kid inside.

No.
Leave her where she is.

- Hello.
- Hi.

Um, you're a pretty good ball player.

Why not?
I'm a boy.

Do you know a little girl
named Madge?

- Who?
- Madge.

I don't play with girls.

Well, of course you don't but...
do you know her?

Uh-huh.

Well, where is she?
Is she out here?

That's her sitting over there.

Oh, thanks a lot.

- Hello, Madge.
- Hello.

Why, that's a pretty picture.

I like it.

Did you draw that from memory?

Sure.

My, you must have a wonderful memory!

I have. My teacher thinks I'm a
genius. But I'm really quite normal.

Oh!

Madge, do you remember a lady with
pretty red hair and a pretty fur coat?

Why is everybody so interested in her?

Well...

Because, well, I'm her cousin from
out of town and I'm trying to find her.

I don't see much of a family resemblance.

Oh?
There is when you know us.

Do you remember
her leaving about a month ago?

Sure. She went away in a taxicab.

Madge, do you remember her saying
anything to the taxicab driver?

- Uh-huh.
- What was it?

She told him where to go.

Where?

Where she told him.

I know, darling, but
what was the address?

248.

248 what?

248.

But, dear, what was the avenue?

248.

But, darling, the street
must've had a name.

No.

But it had to have one.

I gotta go now.

Okay. Step on it.

Hey, taxi!

Hey, look out!

- Hey, are you all right?
- I think so.

Get me to the Star Chronicle
Building, will you, please?

Sure.
That driver must've been crazy.

Yes, ma'am, but--

but I am Dolly Trent.

Yes, ma'am, I always talk like this
in the morning.

Yes, ma'am.

Did you win?

Look, Mrs. Applegate,
I'll call you back, yeah.

What do I have to do to get
a human reaction out of you?

Walk in without my head?

Well, come in here

and tell Aunt Dolly your problems,
that's it.

Oh, my knee!

What's the matter?

Let's take a look.

- Oh, wait a minute.
- Oh, it's just a scratch.

I got some band-aid in here.

- Put it up.
- Oh, be careful.

Yeah.

Oh, tell Aunt Dolly your story.

Well, I went to 1828 River Street.

Yeah.
Hey, that's my story!

Well, you couldn't very well
have gone back there

and talked to the child
after you'd been there once.

Might have been spotted.

Oh, smart girl.
Who did this?

I don't know. Some maniac in a
black sedan tried to run me down.

Think it was deliberate?

Well, it sure looked like it.
Oh, my stockings are ruined.

Listen, what did you find out
from the kid?

Not a thing, except 248.

248.
248 what?

I don't know.

Madge said the redhead jumped into a cab
and told the driver to take her to 248.

Yeah.

I don't get it.

From the looks of you, it seems
as if somebody saw you talking to Madge

and was afraid you had found out
something.

Maybe.

Well, I guess I don't need
these anymore.

Hey, by the way, what did you
find out about Carl?

Nothing. He's clean.
No record at all.

I was just on my way to see him.

Oh, wait a minute.
I'll get cleaned up and go with you.

- Not you, baby.
- Why not?

You've already made like a clay pigeon
once today. That's enough.

There might be a story in this.

Ha, ha, I know. But I'm not gonna
assign it to you.

Oh, but you're not the managing editor
anymore, remember?

Oh, yeah.

You're ready, Miss Trent?

I'll meet you downstairs.

Yeah?

I'm looking for Carl Schrader.

He's not here.

Say, what gives with that guy,
anyway?

First you, then another character
and now you again.

Yeah?
Who was the other character?

I don't know. Schrader left with him.
He asked for the rest of the day off.

Any idea where he went?

Home, I guess.

You got his home address?

Yeah, I'll get it for you.

Dave, wouldn't it make much more sense
to go and find Carl's girlfriend,

the one that took him
to the rooming house?

No.
No, she was at 248.

We can't check every 248 in the city.

I'm sticking with Carl.

Well, that isn't the way I'd do it.

- Here it is. He lives on Fairview Street.
- Huh?

- It ain't far from here.
- Okay. Thanks a lot.

Yeah.

Let me alone, let me alone, please.

What do you want from me?

- What did you tell that newspaper guy?
- Nothing.

You're lying.

I ain't, I ain't.
I didn't tell him nothing.

I don't remember nothing.

All right. Maybe you don't.

We're gonna keep it that way.

Oh, what do you mean?

As long as you don't remember,
as long as you don't talk,

you're all right.

- Understand?
- Yeah, yeah, sure.

Wipe your nose.

Got a suitcase?

- A suitcase? Yeah.
- Get it.

- What for?
- Get it.

I don't know what I need
a suitcase for.

Pack.

- What?
- Pack it.

- I'm gonna go to the cops.
- Listen.

You don't know how big a break
you're getting.

Because you're so stupid,
I'm gonna give you a vacation.

- Oh, but I had a vacation.
- This one's on me.

Now, pack that grip.

Where do you want me to go?

Doesn't really matter, does it?

- Carl Schrader, flat 6.
- Must be upstairs. Come on.

- What's the matter?
- Shut up.

Get over there.

What's this all about?

They're coming in
and you're going to let them.

- Why?
- I got a reason.

I want to hear how much
this guy knows.

- What was that number again?
- It was flat 6.

- What's in there?
- The kitchen.

Okay.

Let him in.
And remember.

You don't know nothing.

I don't think he's in.

- Yeah?
- Remember me?

Oh, yeah, sure.
Come on in.

Carl, I want to talk to you
for a minute.

You... uh... left work early today,
didn't you?

Yeah, I wasn't feeling good.

Who'd you leave with?

I... nobody.

Your boss says you left
with somebody.

Oh, well, he don't know
what he's talking about.

- Do you?
- For sure I do.

Now, what do you want?

I don't know.
That all depends on you

and what happened that night
at Horseshoe Harry's.

I told you once, I don't know.

Don't you think if you tried real hard
you might remember?

Hey, why don't you leave me alone?
I told you before, I don't know nothing.

What's the matter with you?
Are you scared of somebody?

Dave, look.

You, ah, going someplace?

Yeah, on vacation.

Aha. Kind of sudden, isn't it?

You get out of here right now.

Look, I'm not gonna hurt you.

I just want you to try to remember
what happened that night.

If you don't get out of here right now
and leave me alone,

I'm gonna call the police.

Okay, you want the cops.
Kit, call the cops.

No, please, just go away,
please go away.

Can't you get it into your head
that we're your friends?

We're worried about you, Carl.

We wanna help you
patch things up with Billie.

We're not gonna get you
in any trouble.

I know that.
But I can't help you.

Sure you can. You've already told us
that you were at Horseshoe Harry's.

- Yeah.
- Well, go on.

Have you got a brother?

Look, I'm your brother.
I'm your big old brother.

Now, why don't you go ahead and tell me
everything you think I ought to know.

I... I don't know what to say.
I never had a brother.

Dave, let's go.

- Come on, let's go.
- What's the matter with you?

Look, we're wasting our time.
I've got another idea.

Wait a minute.
I want to tell him--

Come on. We haven't got time
to waste. It's important.

That was real nice, Carl, real nice.

Always pays to be a good boy.

Get going.
You're starting that vacation.

All right, now spill it.

- Dave, we had to get out of there.
- Why?

Because someone was hiding
behind the curtain in Carl's room.

Well, why didn't you tip me off?

Well, how could I? Whoever it was
must have been watching us.

You could have told me
after we got outside the room.

And have us killed maybe?
Now, what good would that have done?

So, you let Carl Schrader get away.
What chance have I got now?

- Oh, you've got enough.
- What do you mean?

Have Carl picked up by the police.

Oh, sure.
On what charge? Stupidity?

My purse is in his suitcase.

Your what is where?

You think you're the only one
born with a head?

I planted my purse in his suitcase.

Have him picked up and I'll sign
a complaint against him.

Well, you're improving.

I have something else for you too.

What?

I know where the missing redhead lives.

Well, let me have it.

- Remember Madge said she heard 248?
- Yeah, 248 what?

Well, that's it.
240 Eighth Street.

What a brain! A little warped maybe,
but, oh, you've got a brain!

Sure, the dame gets in the cab and
says to the driver, 2--

240 Eighth. But as Madge
would pronounce it, 248.

Stop here.

Go to the police about your handbag.

Tell them to pick up Carl Schrader
on suspicion of theft.

- Well, what about you?
- I'm going to 240, Eighth.

I'm looking for someone
I think lives in this building.

- By what name?
- I don't know.

You don't know?
That ought to help you.

- I can describe her.
- Her?

Yeah, red hair, wears a fur coat,
pretty.

It's very important
I get in touch with her.

I wish I could help you out.

Maybe I can help you out.
Red hair, wears a fur coat, pretty.

- Try 4A, upstairs.
- Thanks.

- Yeah?
- Miss Roberts?

- Uh-huh.
- I'm the man that takes the survey.

Survey?

Yeah.
So are you listening to your radio?

Radio?

- Hey, what's the big idea?
- I'd like to talk to you, Miss Roberts.

Not to me.

You know, uh, it's a very nice place
you got here.

Who are you?
What do you want?

Well, it's nothing to worry about.

I just want to enquire about a man
that you might know.

- Get out of here.
- Fellow named Carl Schrader.

I don't know him.

- You know him.
- I've never heard of him.

Not before April the 19th, you didn't.

You're crazy!

That doesn't alter the fact
that you know Carl Schrader.

You'd better get out of here.

Look, honey,
why don't you play it smart?

Why don't you get out from under
while the getting's good?

A pretty girl like you getting mixed up
in a fast deal like this?

- What do you know about this?
- What do you think that I know?

Look, if you're hooked into this act,
it'd be better if you talked.

I'll take it from there.

Well, well, well, Mr. Bremer.
How's Mr. Keever?

You're still running errands for him?

I'm in business for myself, Joslin.

No kidding? I didn't even know
you could think for yourself.

What did you let him in here for?

I didn't. He pushed his way in,
he put his foot in the door.

Oh! So you forced your way
in here, huh?

Yeah. Yeah, I apologize.
I didn't know you were so sensitive.

- I could use this legally.
- What a nice change for you.

Maybe you need a change.

What did you come here for?

If I'd known you were coming,
I would've hidden, behind a curtain.

Beth, get out of the way.
Get up. Get up!

Hey, Bremer...

Hey, wait a minute.

You've got more sense than that,
haven't you?

If you shot me, why, they'd have
a picture of my corpse

spread all over the front page
of the Star Chronicle in the morning.

I don't think Keever'd like that,
do you?

Get out.

He's on borrowed time.
Keever'll say when and where.

Lieutenant, just picked up Carl Schrader
at the bus station.

Do you want him sent in?

No, hold him out there.

Well, we've got Schrader.
Now what?

I don't know. Dave just wanted me
to have him picked up.

When is that Joslin gonna learn
to keep to the newspaper business

and let me run
the police department?

Well!
Did you win?

It was a great fight.
But I lost.

This is getting to be a habit.

- Hello, Forman.
- Hello, Joslin. What happened to you?

I want you to pick up Marty Bremer.

Say, what's the matter with you?

We can't go round picking up everybody.
You have to have a charge.

Isn't assault and battery
a charge anymore?

Maybe you deserved it.

Look, I'll draw you a picture.

You find the connection
between Bremer and Carl Schrader

and you'll reopen the Keever case.

And... just how do we go
about doing that?

That's your job.

Well, that's nice of you
to admit that, Joslin.

A month ago you were roasting
the department in your paper.

We were blockheads, inefficient.
We didn't know anything.

We let Keever get away with murder.

All right. Don't let him get away with
it again. Just pick up Bremer.

Drop it, Joslin.
I'm not sending out any more men.

Now, forget it.

Yeah?

Lieutenant, Schrader wants to call
his lawyer. Okay?

Okay.

Well, we can't hold this guy forever,
you know.

But he stole my purse.
I signed a complaint, didn't I?

Well, what about it?

- I haven't the slightest idea.
- Well, I have.

Let's go have a talk with Schrader.

That is, if the lieutenant doesn't mind.

- Do you, ah, mind if I mind?
- No, I don't mind.

Go ahead.

- Now, I'm telling you, Mr. Trent--
- Miss Trent.

Well, I didn't take that purse.

Well, we'll clear that all up later.
Right now I want you to talk.

Well, there's nothing much
to talk about.

Maybe I can bring some things
back to you.

You mentioned a girl
in Horseshoe Harry's.

Well, I... I think there's was one.

A pretty girl with red hair.

- Look, will you let me do this?
- All right.

Was she a pretty girl with red hair?

I... I... maybe.

Okay, maybe.

Now, how about that guy that
was hiding in your flat today?

He told you to get out of town,
didn't he?

No.

You don't have to be afraid now.
You're safe in here.

That's why we had you arrested.
Now, talk.

But I... I... I don't remember.

All right.
You're gonna have to stay here.

How long?

Until I can find out a few things,
starting in Horseshoe Harry's.

Come on, we're going night clubbing.

Night clubbing, at Horseshoe Harry's?

Don't go away.

# And to hear the captain shouting,

# Dinah, blow your horn.

# Won't someone kindly tell me,

# won't someone answer why,

# to me it is a riddle
and it will be till I die.

# A million peaches round me,

# yet we would like to know

# why I picked a lemon
in the garden of love,

# where they say only peaches grow.

# Why we picked a lemon in
the garden of love,

# love, love...

# where they say only peaches grow.

Do you want to eat?

Ah, two steaks medium,
you pick them out.

Yes, sir.

Well, this was Carl's last stop
before amnesia set in.

Carl was here a month ago and
on the night before Villman was murdered.

What can you possibly hope
to find out now?

I can dream, can't I?

Cute shoes.

Sure, dream boy. But this is
the awakening. Look who's here.

Watch me take the wind out of his sails.

Hello, Keever.

Being the host here,
I should be happy to see you.

I'm not.

Being a guest here, I should ask you
to pull up a chair.

I won't.

Miss Trent working on a case?

Why, Mr. Keever, don't you know all her
bewildered hearts eventually come here?

Somehow I don't believe you
came here because you like it.

The food is bad and the drinks
are worse.

Miss Trent, your nose is too long.
It gets into places it shouldn't.

- I go with my nose.
- Smell anything?

Want me to answer that?

Who cares?

Being the host here, I presume
that you'll take care of the check.

I usually do.

But adding 10% to your check
would be a pleasure.

Everything's on you, Dolly dear.

Stay as long as you want.
Die here, if you like.

Oh, you sure scared him.

Yeah, some day I'm gonna throw
a loop around that guy and--

What are you staring at?

Over there.

Grandma, what big eyes you have!
She's very cute, isn't she?

Kit, the flash of light.

Does love always come to you
like this, David?

Kit, the flash of light that Carl says
he remembered. Wait a minute.

Hey, gorgeous.

Good evening.
May I take your picture?

Yes, sure. Go ahead.
Make us look good.

How's business?

Fair. Your picture will be ready
in half an hour, sir.

All right.

Say, gorgeous,

would you remember taking a picture,
say, about a month ago?

- I take an awful lot of pictures.
- Yeah, I suppose so.

Do you own this concession?

I wish I did.

What about the negatives?
Where are those developed?

Just 'round the corner,
on Stewart Street.

- Uh-huh.
- Why?

Just curious.
The place got a name?

Sure, Shanlon's Photo Service.
Anything else?

Er, if there is,
we'll talk about it later.

I'll be back in a half an hour.

- Bye.
- Bye.

You know, you didn't have to overdo it.

I got what I wanted, didn't I?

Now what?

I think I'll take a run over
to that developing lab.

You wait here for me, huh?

- What about these?
- Take two. They're small.

Dave!

Yes, sir?

My name's Joslin.
I'm with the Star Chronicle.

What can I do for you?

Could you show me the negatives
that were shot in Horseshoe Harry's

on April the 19th?

We don't show them,
even if we kept them that long.

- What do you mean?
- We keep them only two weeks.

Lots of times we get pictures
people would rather not have seen.

Say a big out-of-towner comes here
with a doll that's not his wife.

Gets a little tight and
he has a picture taken.

I'd be out of business in two weeks.

Well, there's a chance that
you still might have the one I want.

Well, if you told me what
this picture was.

I can't. I... I've never seen it.

Mister, I run a dark room. It's the girl
on the street who has a crystal ball.

Maybe I can describe this guy.
He's, er--

- What date you say this was?
- April the 19th.

- Where?
- Horseshoe Harry's.

Horseshoe Harry's.
Wait a minute.

Yeah. Come in here.

Yeah, I think I remember all right,

because that same night a guy came in
and asked for the negative.

It wasn't the guy
who ordered the picture.

It was the fellow in the background.
I think this is the one.

Why did you have to keep this one?

Well, the girl made two shots.

Your boy fell off the stool or something
the first one. Anyway, she missed him.

Then she made this one.

What happened to the first one?

Well, the guy that wanted the negative
paid me $50 to destroy it.

- Did you?
- Sure, I burned it right in front of him.

I figured that if he paid $50
for the other one,

why, maybe I ought to keep
this one for him.

- Can you make a print of that?
- Well, I don't think--

Look, I'll take full responsibility.

You can call my newspaper; you can do
anything, but make me a print of that.

It might solve a murder.

- Murder?
- Yeah. How long will it take?

Ten minutes.

- Can I use your phone?
- Sure. It's in the office.

Well, it's a good picture,
if you like Carl Schrader.

Yeah, it's Carl all right.

- And here's Bremer.
- So what?

So, I don't get it.

Why does he go through a big routine
just to get this picture?

- Who knows?
- Bremer knows.

Let's analyze this thing scientifically.

Now, here we have a suggestion
of a bartender.

What do you suppose he's doing?

I suppose he's tending bar.

Yeah.

What do you suppose this white speck is?

Oh, I don't know, Dave. I just know I'm
very, very tired and I wanna go home.

Well, there's something here
and I'm gonna find it.

Oh, what day is it?

Oh, there's nothing in that picture.

You said that four hours ago.

Why should Bremer be so anxious
to get it? It must mean something.

You said that before too.

I'm going back to Shanlon's.

What?

Oh, Dave. No, it's 3 o'clock
in the morning.

He'll be open.
The night clubs are.

As long as there's one customer
for a picture, Shanlon works.

Want to come along?

Sure.

Just cut a hole in the bottom of the door
and I'll crawl through.

Look, Mr. Joslin, that's the picture
you wanted.

But there's nothing on it.

What did you want?
A Rembrandt?

Well, there must be something else.

- What?
- I don't know.

Ha! Has this guy got a home?

It's just a rumor.

Well, take him there.

I've been here since 8 o'clock
and I'm tired. I want to--

Listen, Shanlon, all I want you to do
is tell me how you made this print.

And I spent years in the business
but I'll give it to you in 30 seconds.

See these tanks?
The negatives are put in the soup.

Developer. I use a fast developer.

The negatives are then put
on the drying racks.

Infrared lamps dry them fast.

I then take a negative and I make
a print in this enlarger.

Goodnight, Mr. Joslin.

Ah, do you still have that negative
that I wanted?

Yeah.

Would you show me
what you did with it?

He ain't got a home.

You know, we call him "Bulldog" Joslin.
Never lets go off an idea.

Well, tell him to let go off me.

Hey, ah, here.
Make yourself a rich man.

Yeah? I wanted to go home.
Happiness isn't everything.

You can't buy money.

Let me see, that was April the 19th.

Yeah, here it is.

Here's what I did.

I put the negative
in the negative carrier.

Put it back into the enlarger.

When I want the picture bigger,
I move the enlarger up.

When I want it smaller,
I push the enlarger down.

Get it set just right,
you focus with this.

It's nice and sharp.
There.

What are you doing now?

Masking off the sides.

I just print the important part.

You mean you don't print
the whole negative?

Well, of course not.

When people have their picture taken,
they don't want everybody else

in the background, so I just print
the important part.

Well, pull the slides and print
the whole thing this time.

Okay, if you say so.
That's terrible composition.

There it's coming up. Now we can find
out what Bremer's doing.

Looks like he has a roll of bills
in his hand.

Yeah, you're right.
He's passing money to somebody.

Hey, Kit. That's Macklin,
Eddie Macklin.

There's a guy that would kill
his own grandmother for a quarter.

So, you recognize Macklin.
What newspaperman wouldn't?

What about him?

A pay-off. Let me see that.

Look.

Bremer's paying off Macklin.
Maybe for killing Villman.

Keever hired Macklin to do the job.

That mailman gimmick, that's just the
kind of thing that Macklin would think up.

Look, that picture doesn't
prove anything, Dave.

Why, Bremer could be paying off a debt,

could say that he owed Macklin
money or anything.

Well, let's go find out what Carl's
got to say about it.

- Now?
- Right now. Come on.

Nobody's got a home.

Do you remember that photograph?

Yeah, I remember it now.

Good. Now think real hard, Carl.

What happened at the bar in Harry's?

Think.

Well, I remember taking Billie in
and sitting at the bar.

We had a couple of drinks
and got to talking.

I guess we must've sat there, well,
maybe an hour, maybe longer.

And then, oh, yeah.
I kind of remember now.

A camera girl came up
and wanted to take our picture.

I told her to beat it.
All I wanted was another drink.

Billie always wanted to have her picture
taken, so she ordered her to take it.

And she grabbed my glass
out of my hand and spilled it all over.

Then she really got sore
and left in a huff.

Well, I felt like a sap, so I told
the girl to go ahead and take a picture.

She took one but I slipped
and spoiled it,

so she had to take another one.

She said it'd be about a half hour
for she'd be back with a picture.

So I had another drink, and pretty soon
she came back with it.

It was pretty good.

But I noticed there was someone else
in it, sitting right next to me.

So I showed it to this guy.

But he sort of didn't seem to like it
and he grabbed it out of my hand.

But I wouldn't let him have it,
and this made him sore.

It's a good thing there was a lot of
people around or he'd have gotten tough.

And then I remember a girl came in,
sat down beside me.

She was a real pretty girl, and...
somehow we got to talking.

I asked if she wanted to have a drink
and she said okay.

Then I don't remember anything more
till I woke up in the rooming house.

And the rest you know.

Sure, you were naked
and the picture was stolen from you.

But, Dave, it still doesn't
prove anything.

It will when I send this photograph
over to Keever.

To Keever! But why?

Because I think he'll be
interested enough in it

to show up at Grennell's
office tomorrow.

- You mean, now we can go home?
- Yeah.

I'll get you out first thing
in the morning, kid.

Mr. Keever and his attorney
are here, sir.

Ask them to wait a moment,
will you, please?

Kit, I tell you I don't like it.

Keever here with his attorney
again with some wild idea.

I tell you, I just don't like it.

Well, I don't like it either,
but you know Dave.

Yes, I know Dave.
Where is he anyway?

He is in 'her' office.

Nice of you to drop in, Bremer.

Skip it, Joslin. I'm here because
you said it was important.

It is important.

Yeah.

Come into my office, Dave.
Everybody's here.

I'll be right there.

I think you'd better wait here
till I get back.

Press down that first key,
you'll find out why I sent for you.

What's the idea?

Listen in. You'll find out.

Did you call me, Mr. Grennell?

Yes, Dave. Your company's here.

Uh-huh.
Hello, Keever.

Mr. Joslin, what does
this photograph mean?

It means we now have a proof that
your client, Mr. Keever,

had something to do
with the Villman murder.

This is no proof.

Maybe the jury will think differently.

Jury! Don't be ridiculous, Joslin.

Neither the district attorney nor the
grand jury would accept such evidence.

Bremer was just paying off a bet
he'd lost to Macklin.

Maybe Macklin will say
something different.

Maybe Mr. Macklin will have an alibi
for that morning, Joslin.

Could be.

Bremer was pretty careless
when he paid off for you, wasn't he?

He went to a lot of trouble trying
to get that photograph,

or maybe you didn't know
about that, Keever.

Maybe.

Because if you had, Schrader would've
been killed to get him out of the way.

Bremer didn't do a very good job
for you on this, did he?

This photograph doesn't prove anything.

The negative's in a very safe place.

Let's go, Mr. Markley.
They've nothing on me.

Of course, Mr. Keever.
Poor Bremer!

I wonder if he knows what you do
with your boys

when they get careless
and make a mistake.

Let's go, Markley.
We're wasting our time.

Let me show you out, gentlemen.

- Say, Keever.
- Yeah?

I'm sorry we disturbed you.

You didn't. Not in the least.

How would you like to see the heart
of a great newspaper in action?

Here it is: the city room, the funnel,
the nerve center:

politics, sports, foreign events
and... obituaries.

Now, you take this little office:
advice to the lovelorn.

Perhaps you'd like to see a real
bewildered heart.

I'm sorry. I didn't know
my company was still here.

Well, you can walk out that door
to Keever or you can stay here and talk.

If you stay here you'll live.

If you walk out, Keever will make sure
that you don't get careless again.

Bremer's up there on the second floor.

I want you to give him
a personal escort.

Hi, Editor.

Hi, what you got?

Will you take a look at this?

It's the human interest angle on how
Billie first came to see Dolly Trent

and how she started
the whole thing.

Yeah, Billie started it
and we finished it.

And as the sun sinks
slowly in the west,

we reluctantly bid a fond
farewell to Mr. Matthew J. Keever.

- Dave, be serious. Read it.
- Later.

Right now I got something very
important to talk to you about.

Yes?

We'll discuss it over some olives.

All right.

- Another olive?
- No, thank you.

That... one thing that I wanted
to talk to you about.

You realize, of course, that the paper's
without a Dolly Trent again.

I know.

Oh, Dave, you wouldn't!

I might. That office needs someone
with experience along that line

and you and I are the only ones
who've had it.

Obviously my position
as managing editor

is gonna take a great deal
of my time, so--

I'll poison you, so help me!

So, why don't you make it easy
on both of us?

Marry me.

Or?

Dear Miss Trent, I am a lonely girl
with two heads...

Oh, nothing doing!

Society, fashions, want-ads,
but not Dolly Trent.

All right.
Then it's not Dave Joslin.

Okay then.

I said okay then!

Okay what?

Have an olive with Mrs. Joslin.

Transcription and subtitles
made by gamboler[noirestyle]