All language subtitles for The public eye

[ Siren Wailing ]

[ Siren Wailing ]

[ Siren Off ]

EVERYBODY STAND BACK,
PLEASE.

[ Woman ]
THIRD FLOOR!

[ Flash Bulb Dropping ]

YOU SCARED ME.

AH, JESUS, BERNZY.

WE WEREN'T SIX BLOCKS
FROM HERE WHEN IT COME
OVER THE RADIO.

I KILLED HIM
TO GET THE PICTURE.

YOU DIDN'T TOUCH HIM,
DID YOU?

WHAT DO YOU THINK,
I'M STUPID?

HUH, MY COMPETITION.

WHO'D THIS GUY
WORK FOR, BERNZY?

FARINELLI, I THINK.
HE AIN'T LOOKIN' HIS
BEST TONIGHT, IS HE?

DO YOU MIND?
YOU'RE CASTIN' A SHADOW.

HEY, KID, PUT THE HAT
IN THERE. HIS HAT!

STICK IT IN.
PEOPLE LIKE TO SEE
THE DEAD GUY'S HAT.

THANKS, BOYS.

[ Policeman ]
ALL RIGHT, COBB.
MOVE IT ALONG.

NO! NO MORE PICTURES.
COME ON, MOVE IT ALONG.

[ Elevator Bell Dinging ]

SHIT!

[ Woman Shouting ]
[ Policeman ]
GET BACK! COME ON!

BERNZY, CLEAR OUTTA HERE.

I HEARD THIS GUY'S WALKING
AROUND WITH A MEAT CLEAVER
STICKIN' OUT OF HIS HEAD!

GET THE HELL OUT.
KEEP AN EYE ON HIM.
ONE SHOT. ONE SHOT.

THROW A SHEET OVER HIM.
THANKS A LOT. THANK YOU.

EXCUSE ME.

LET 'EM THROUGH!
LET 'EM THROUGH!

[ Indistinct Chatter ]

[ Siren Wailing ]

YOU BETTER
UNCOVER HIM NOW, SON.

CHRIST. CHRIST...
[ Speaking Nonsense Latin ]

[ Continues
Nonsense Latin ]

[ Continues
Nonsense Latin ]

WAIT A SECOND.
[ Nonsense Latin ]

[ Groaning ]

[ Whistle ]

THIS IS A NEW LOW
FOR YOU, BERNZY.

FLATTER ME ALL YOU WANT,
JACK. IT'S STILL 20 BUCKS.

YOU GOT A RELEASE
ON THAT GUY?
GOT A SPIRIT MEDIUM ON STAFF?

YOU CHECKED
WITH THE HOSPITAL?
HE NEVER MADE IT TO BELLEVUE.

THANK GOD I WAS ABLE
TO ADMINISTER HIS LAST RITES.

THANK YOU. PLEASURE
DOIN' BUSINESS WITH YOU.

[ Woman ]
THAT'S NOT VERY POLITE.

I KNOW HOW IT IS.
I WORK NIGHTS MYSELF.

PROFESSIONAL
INTEREST, SEE.

"TOMORROW HE SAILS."
THAT'S THE CAPTION.

HOW MUCH YOU GOT ON YOU?

MY WIFE
WOULDN'T LIKE IT.

HONEY, YOU'RE NOT MARRIED,
AND YOU DON'T HAVE A GIRL.

I SAW HOW YOU WERE
LOOKIN' AT THOSE TWO.

YOUR SOCKS
DON'T EVEN MATCH.

[ Door Bell Jingling ]

[ Radio ]
CAR 92, IN FRONT OF 171...

[ Radio Continues,
Indistinct ]

[ Radio Continues,
Indistinct ]

[ Alarm Clock
Ringing ]

[ Ringing ]

[ Woman On Radio ]
AND I STILL DON'T SEE
WHY WE NEED RATIONING.

[ Man On Radio ]
WE'VE GOT TO DIVIDE AMONG
OUR CIVILIAN POPULATION...

WHAT WE HAVE LEFT AFTER
FEEDING OUR FIGHTING MEN.

AND THAT MEANS THERE'LL BE
A LITTLE LESS FOR SOME OF US,
BUT A FAIR SHARE FOR ALL--

[ Car Horns Honking ]

[ Ringing ]
RINEMAN PUBLISHING.
HOLD, PLEASE.

LEON BERNSTEIN.
IS IT A PICKUP
OR A DELIVERY?

I HAVE AN APPOINTMENT.
OH.

JUST A MINUTE.
THERE'S A MISTER BERNSTEIN
FOR YOU.

MR. BERNSTEIN?
HI.

MY FATHER'LL SEE
YOU TODAY. I HAVE
A DOCTOR'S APPOINTMENT.

OKAY.
GOOD-BYE.

MR. BERNSTEIN.

[ Receptionist ]
RINEMAN PUBLISHING.

NOW, DOES ONE CALL YOU
MR. BERNSTEIN OR
MR. BERNZINI?

OR IS IT JUST
BERNZINI?
[ Chuckling ]

WELL, I WAS BORN
LEON BERNSTEIN, BUT THE
GIRLS UP AT WORLDWIDE--

THAT'S THE PHOTO AGENCY--
THEY CALL ME
THE GREAT BERNZINI...

ON ACCOUNT OF THEY SAID
I'M A MAGICIAN THE WAY
I GET EVERY PLACE SO FAST.

THAT'S MARVELOUS. I KNOW
MY SON SPOKE TO YOU QUITE
OPTIMISTICALLY ABOUT THIS.

THAT'S WHY I WANTED
TO SPEAK TO YOU...

RATHER THAN TOSSING IT
INTO THE MAIL.

FROM A TECHNICAL POINT OF
VIEW, THIS IS FINE WORK.

IT'S SIMPLY THAT WE DON'T
PUBLISH BOOKS OF THIS TYPE.

PLEASE, MR. RINEMAN, EVERYBODY
KNOWS THAT RINEMAN AND SONS...

PUBLISHES MORE
PHOTOGRAPH BOOKS
THAN ANYBODY ELSE.

WELL, SIR, WE PUBLISH BOOKS
OF PHOTOGRAPHY.

AND TO MY MIND,
THIS IS INSTEAD...

A MOST ADMIRABLE
PICTURE BOOK ABOUT NEW YORK.

NO, YOU'RE WRONG.
IF I MAY EXPLAIN.

NO, I KNOW EXACTLY
WHAT YOU MEAN. STILL LIFES.

NAKED WOMEN
GETTIN' OUT OF TUBS.
FRUIT ON A PLATE.

"IT'S A PHOTO,
LET'S PRETEND
IT'S A PAINTING."

LET'S FACE IT,
MR. RINEMAN,

YOU'VE PRINTED ENOUGH OF THOSE
BOOKS ALREADY. EVERYBODY DID.

NO, MR. RINEMAN.
THIS IS THE BOOK.

COME ON,
LET'S SHOW THOSE GUYS.

MAY I SAY YOU'RE NOT BEING
FAIR TO THE PHOTOGRAPHERS
WE PUBLISH.

YEAH, RIGHT. COURSE,
I'D LIKE TO SEE 'EM TRY TO GET
A SHOT LIKE THIS ONE HERE.

WHERE THE FIRE TRUCK IS
IN FRONT OF YA AND BEHIND YA
YOU HAVE A BURNING BUILDING.

SO YOU HAVE LIGHT COMIN' AT YA
FROM EVERY WHICH WAY.

AND YOU HAVE THESE
TWO POOR WOMEN HERE,

WATCHIN' THEIR WHOLE LIFE
GO UP IN SMOKE.

NOW I'D LIKE TO SEE ONE OF 'EM
TRY TO GET A SHOT LIKE THAT.

WELL, SIR,
WHAT I SEE HERE...

IS A BATCH OF PICTURES
THAT'S TOO...

SENSATIONAL--
TOO VULGAR, FRANKLY,

TO JUSTIFY PRINTING A BOOK
OF FINE PHOTOGRAPHY.

JUST SO I KNOW.

WHAT'S TOO VULGAR
IN THIS SHOT?

IS IT, UM, THE FIRE TRUCK
OR THESE TWO WOMEN?
SINCE YOU HAVE TALENT...

I'D LIKE TO SUGGEST THAT
YOU APPLY IT TO SUBJECT
MATTER THAT'S MORE--

NO, I HEARD
THIS ADVICE BEFORE.

PLEASE LISTEN, MR. BERNSTEIN.

THE MEN WHO DO WHAT YOU DO
DON'T USUALLY FEEL THE NEED
TO RATIONALIZE LIKE YOU,

MUCH LESS BE CELEBRATED
FOR IT.

YEAH. NOBODY DOES
WHAT I DO. NOBODY.

TELL YOUR SON I WON'T
HOLD THIS AGAINST HIM...

WHEN I HAVE
MY BIG RETROSPECTIVE

AT THE MUSEUM OF MODERN ART.

YOU'RE HAVING A SHOWING
AT THE MODERN?

YES, I AM.

WHEN?
SOMEDAY.

[ Whistle Blowing ]

[ Photographer ]
HEY, BERNZY, YOU JUST MISSED
ELEANOR ROOSEVELT...

FRENCH-KISSING
HARPO MARX.

I'LL CATCH 'EM
ON THE INSIDE.
THAT'LL BE THE DAY.

BEHIND THE ROPES,
"BERN-STINE."

IT'S "STEIN."

GOOD EVENIN',
MR., MRS. ARMSTRONG.

KITCHEN DOOR.

AND CHECK THE CAMERA.
THANK YOU, MY GOOD MAN.

[ Singer ]
* TAKE MY HAND
AND WE'LL BE TOGETHER *

EXCUSE ME.

* [ Continues Indistinct ]

JUST THE CAMERA, PLEASE.

TAKE GOOD CARE OF THAT.

* THEN WE'LL GO UP TO THE PAD
AND TURN THE LIGHTS DOWN LOW *

* I'LL TELL YOU MANY THINGS
TO LET YOU KNOW *

* HOW MUCH I DIG YA WHEN
YA WHISPER SWEET NOTHINGS *

* OOH-WHEE, BABY

* HOW YOU DAZZLE ME
LET'S STAY CRAZY
AND BE HAPPY *

* LET'S STAY TOGETHER
ALL THE TIME *

* THE WAY
YOU HOLD ME TIGHT *

* MAKES ME WISH THE SUN
WOULD NEVER SHINE *

DO YOU HAVE A RESERVATION,
SIR?
NO, BUT I CAN SEE YOU DO.

* SO, BABY, NOW YOU KNOW
MY STORY OF LOVE-- *

OH, MR. BERNSTEIN.

OH!

* BLOW, JOHN, GO, JOHN
SAM, JOHN *

* WAIL, JOHN

* [ Saxophone Solo ]

*

THANKS FOR COMING,
MR. BERNSTEIN.
UH, BERNZY.

BERNZY.
THIS WAY.

PUBLICITY MEN FROM
THE WAR DEPARTMENT.

THEY WANT TO SHOOT A NEWSREEL
IN HERE FOR WAR BONDS.

*

SCOTCH ALL RIGHT?

THERE'S NEVER BEEN
A CAMERA INSIDE.

LOU ALWAYS SAID,
"THAT WAY IT'S LIKE HEAVEN.

"THEY'RE DYING
TO SEE IT."

OH, THANKS.
PLEASE.

I'M STILL IN SHOCK.

IF I'D HAVE SNUCK INTO
THIS PLACE, I'D PROBABLY
FEEL MORE COMFORTABLE.

ME TOO. HALF THE PEOPLE
DOWN THERE FEEL MORE SURE
THEY BELONG THAN I DO.

I NEED TO ASK YOU
A FAVOR.

YOU NEED A FAVOR
FROM ME?

LOU TOLD ME YOU KNOW
EVERYBODY IN NEW YORK.

I MEAN, ALL THE CROOKS
AND ALL THE COPS,
IS THAT TRUE?

MM.

HE SAID YOU NEVER TAKE
SIDES BECAUSE ALL YOU CARE
ABOUT IS TAKING PICTURES.

TAKING SIDES MIGHT
GET IN THE WAY.

I GUESS YOU READ
ABOUT LOU'S BROTHER
CONTESTING THE WILL.

IF LOU WANTED TO LEAVE
CAFE SOCIETY
TO A RUG SALESMAN,

HE'D HAVE LEFT IT TO HIM.

WHAT'S HE SELL,
TOUPEES OR CARPETS?

IT'S HARD TO KNOW.

PEOPLE SAY SOME
LOUSY THINGS ABOUT ME.

UH, "SHE'S A COLDHEARTED GIRL
WHO MARRIED AND BURIED
AN OLD MAN." YOU HEARD THAT?

YOU SHOULD HEAR
WHAT THEY SAY ABOUT ME.

DID YOU EVER TAKE
A PICTURE OF THIS MAN?

RINGSIDE TABLE ON THE RIGHT.
THE MAN IN THE PINK SUIT.

NEVER SAW HIM BEFORE.
NO?

I'LL TAKE A STAB IN THE DARK
AND SAY HE AIN'T EXACTLY
SOCIETY LEAGUE, THOUGH.

YEAH. I GUESS I DRAGGED
YOU UP HERE FOR NOTHING.

WHAT'S HE
DOIN' EXACTLY?

HE SAYS HE WAS
MY HUSBAND'S PARTNER.

HE SAYS LOU OWED HIM MONEY
AND NOW HE'S MY PARTNER.

"OFFERED AS
COLLATERAL IN EXCHANGE
FOR SERVICES RENDERED?"

HE DIDN'T NEED MONEY AND HE
DIDN'T KEEP SECRETS FROM ME.

HOW WOULD YOU KNOW?
HMM?

I MEAN, IF THEY WERE SECRETS.

YOU KNOW HOW IT IS...

WHEN YOU'RE INTIMATE
WITH SOMEONE.

YEAH. RIGHT.

I KNOW LOU SOLD BOOTLEG IN
THE OLD DAYS. SO DID EVERYBODY
IN THE NIGHTCLUB BUSINESS.

BUT LOU WAS
A REPUTABLE BUSINESSMAN.
IS THIS HIS SIGNATURE?

HE'S HERE
EVERY NIGHT...

NOT TEN FEET
FROM THE MIRROR
OR WALTER WINCHELL.

COULDN'T YOU JUST, UM--

THROW HIM OUT?
I'D LOVE TO.

BUT HE SAYS HE'LL GO TO
MY BROTHER-IN-LAW, HELP HIM
PROVE LOU'S WILL IS INVALID.

IS IT?
NO.

BUT I'M HIS SECOND WIFE.
THERE AREN'T ANY WOMEN
IN THIS BUSINESS.

WE BOTH KNOW WHAT
PEOPLE SAY ABOUT ME.
I CAN'T TAKE THE CHANCE.

I COULD FIND OUT
WHO HE IS FOR YOU.
COULD YOU?

WON'T BE HARD FOR ME.

I'D LIKE TO PAY YOU
SOMETHING.
NO.

I INSIST.
NO, IT'S OKAY.

WELL, DANNY DOWNSTAIRS
SUGGESTED I COME IN
THROUGH THE KITCHEN.

FREDO, COULD YOU WATCH
THE DOOR FOR A FEW MINUTES?
SEND DANNY UP TO ME.

YES, MRS. LEVITZ.

WHY DON'T YOU STAY
AND HAVE DINNER?
OH, NO, THAT'S ALL RIGHT.

IT'S NOT THAT BIG A FAVOR.
OKAY IF I TAKE THIS?

OF COURSE.

THANKS.

WITH ALL DUE RESPECT,
MRS. LEVITZ,

YOU CAN'T HAVE SOMEBODY
LIKE THAT INSIDE THE CLUB.

YOU DON'T SEE THESE ANIMALS
ON THE STREET LIKE I DO.

THEY CALL THEM SHUTTERBUGS
'CAUSE THEY'RE INSECTS.

THEY'RE VERMIN, SCAVENGERS.
THEY'VE GOT NO MORALITY.

[ Kay ]
I KNOW.

HE FANCIES HE'S DIFFERENT,
OF COURSE, WHICH MAKES HIM
THE WORST OF THE LOT.

I HEAR HIM TALKIN' TO PEOPLE
SOMETIMES, IMPORTANT PEOPLE.

BOTHERIN' 'EM.
PUBLISHERS, EDITORS.

HE'S BOTHERIN' YOU
ABOUT THAT, ISN'T HE?
ABOUT HIS BOOK?

I DON'T KNOW
ANYTHING ABOUT IT.

IN FACT, I ASKED HIM
TO DO ME A FAVOR.

I SEE.

WELL, MAY I ASK WHY?

WELL, LOU ALWAYS
SAID HE WAS TENACIOUS.

THE MOST PERSISTENT,
THE MOST ANNOYING.

DANNY, I KNOW YOU KNOW
THE SOCIAL STANDING
OF EVERYBODY DOWN THERE

BETTER THAN ANYONE.

MR. LEVITZ TAUGHT ME WELL.

BUT THE NEXT TIME
MR. BERNSTEIN COMES,

WE'LL LET HIM IN
THE FRONT DOOR.

WHATEVER YOU SAY, MA'AM.

*

OKAY, CLEAR THE WAY.
JUST ONE SHOT, HUH?

DROP THE HAT, HUH?
PUT ON A SMILE, HUH?

BERNZY, THERE'S TWO GUYS
CALLED PORTIFINO WITH RECORDS,

BUT NOT THAT AGE
OR DESCRIPTION.
NO RECORD.

NOT IN NEW YORK, PAL.
HMPH.

I'M GONNA GO OVER THERE
AND TAKE HIS PICTURE.

I DON'T THINK
HE WANTS IT TOOK.

WHAT ARE YOU
TALKIN' ABOUT?

EVERYBODY LOVES TO HAVE
THEIR PICTURE TOOK.
EVERYBODY!

HOW YA DOIN', KID?
KISS OFF.

CAN YOU WRITE? SIGN HERE.
YEAH. WHERE?

YOU EVER HEARD OF
THE GREAT BERNZINI?
NO.

I SHOT DUTCH SCHULTZ,
LEGS DIAMOND.

NONE OF THOSE GUYS
EVER HID THEIR FACES.

I JUST SAID, KISS OFF.

ALL RIGHT.
HAVE IT YOUR OWN WAY.

I GET EVERYBODY WHILE
THEY'RE ALIVE OR AFTER.

I'LL LET YOU IN ON A SECRET.
NOBODY LOOKS BETTER AFTER.

YOU'RE THAT FREAK
THAT DRIVES AROUND
IN THAT SEDAN AT NIGHT.

THAT'S ME. IN YOUR LINE
OF WORK, I'M KNOWN AS
THE PHOTOGRAPHER TO THE STARS.

I HEARD OF YOU.
THEM OTHER CREEPS AROUND?

THEY'RE IN THE CORNER,
SMOKING. ONE SHOT.

COME ON, REAL FAST.
NOBODY'LL EVEN KNOW.

COME ON, LET ME
IMMORTALIZE YA.
BACK UP A LITTLE.

THANKS, KID.
KISS OFF.

[ Car Door Closing ]

AGH. GOD.

[ Phone Ringing
In Receiver ]

[ Man ]
PRECINCT.

[ Bernzy ]
HOMICIDE, PLEASE.

HOMICIDE, CONKLIN.
CONKLIN, BERNZY.

WHAT'S UP?
WELL, I WAS SORTA PAYING
THIS SOCIAL CALL,

TO THIS GUY,
UH, HIS NAME IS
EMILIO PORTIFINO.

YEAH?
WELL, HE'S BEEN MURDERED.

I'M LOOKIN' AT HIM NOW.

STAY WHERE YOU ARE.
I WANNA GO GET MY CAMERA.

YOU DON'T SEE THIS
A LOT.

STAY PUT. WE'LL BE
THERE IN FIVE MINUTES.

ALL RIGHT,
THE ADDRESS IS 115--
[ Dial Tone ]

[ Indistinct Chatter ]

HELLO, BERNZY.

YOU'RE NOT GONNA HAVE ANY
MORE TROUBLE WITH PORTIFINO
IN YOUR GOOD SEATS.

SOMEBODY KILLED HIM.
MY GOD.

ANYTHING YOU WANNA TELL ME?
ANYTHING YOU BETTER TELL ME
BEFORE THE COPS GET HERE?

UH, ALL I KNOW ABOUT HIM
IS WHAT I TOLD YOU.

IF YOU'RE ASKING WHAT
I THINK YOU ARE--
I'M NOT ASKING YOU THAT.

IT'S OBVIOUS THIS GUY
WAS DONE IN BY THE MOB.

THE MOB.

ALL RIGHT, LOOK.
I'LL BE IN TOUCH WITH YOU.

OKAY?
I GOTTA GO NOW.

YEAH, OKAY.
THANKS.

JESUS.
[ Sighing ]
MARSHALL, COME ON.

GRAHAM, STAY BY THE DOOR.

WHAT DO YOU SAY,
CONKLIN?

MR. CHADWICK,
THIS IS LEON BERNSTEIN.

OTHERWISE KNOWN
AS THE GREAT BERNZINI.

BERNZY,
THIS IS SPECIAL AGENT...

CHADWICK OF THE FEDERAL
BUREAU OF INVESTIGATION.

NICE TO MEET YA.

HEY, KNOCK IT OFF.

[ Chadwick ]
WHAT WAS YOUR BUSINESS
WITH PORTIFINO?

[ Bernzy ]
I TOLD YOU. I JUST CALLED
ON HIM AS A FAVOR TO A FRIEND.

THAT'S RIGHT.
WHAT'D YOU SAY
YOUR FRIEND'S NAME WAS?

I DIDN'T SAY.
LISTEN, WHAT ARE YOU
INVESTIGATING EXACTLY?

MR. BERNSTEIN,
DETECTIVE CONKLIN
TELLS US YOU KNOW

MANY MEMBERS
OF THE MOB IN NEW YORK.

I ALSO KNOW THE COPS
AND WASHROOM ATTENDANTS.

IT'S THE ONLY WAY
A GOOD PHOTOGRAPHER
CAN STAY IN BUSINESS.

I MEAN,
A TABLOID PHOTOGRAPHER,
NOT A STIEGLITZ OR A STEICHEN.

EXCUSE ME, STEINWITZ OR--

THE SECOND AND THIRD BEST
PHOTOGRAPHERS IN THE COUNTRY.

DON'T MOBSTERS SOMETIMES SAY
THEY WON'T LET ANYBODY
BUT YOU TAKE THEIR PICTURE?

MM. I BET YOU GET
TO KNOW A LOT OF CRIMINALS
IN YOUR LINE OF WORK TOO.

MAYBE NOT.

WAS PORTIFINO
WITH THE MOB?
I DON'T KNOW. WAS HE?

I'LL ASK THE QUESTIONS HERE.
HOW DID HE COME TO TOWN AND
SET HIMSELF UP SO FAST?

LOOK, YOU KNOW THIS GUY
BETTER THAN I DO, OBVIOUSLY.

I CALLED CONKLIN.
THE NEXT THING I KNOW
YOU ALREADY HAVE THE ADDRESS.

WHERE'D PORTIFINO
GET HIS MONEY?

I DON'T KNOW ANYTHING.

I SEE THIS GUY
ONCE FOR FIVE SECONDS.
THE NEXT TIME I SEE HIM,

WHICH WAS TONIGHT,
HE AIN'T TOO CHATTY.
I GOTTA GO NOW.

I GOT A JOB.
YOU GOT A JOB?

YES, I HAVE A JOB.
I'M A FREE-LANCE PHOTOGRAPHER.

IF I'M NOT ON
THE STREET BY MIDNIGHT,
THE WHOLE WORLD PASSES ME BY.

TOUGH WAY
TO MAKE A LIVING.

YOU HOPED TO GET MONEY
FROM PORTIFINO, RIGHT?

WHAT?
YOU INTENDED
TO BLACKMAIL HIM.

THIS IS A GAG,
RIGHT?

MR. BERNSTEIN, YOU CAME
TO THIS COUNTRY FROM RUSSIA
WHEN YOU WERE SIX YEARS OLD.

ALL RIGHT, THAT'S IT.
I HAVE MY SELL MEETING
IN A HALF AN HOUR.

WHERE DO YOU THINK
YOU'RE GOIN'?

YOU KNOW, YOU'RE TELLIN' ME
MORE THAN I'M TELLIN' YOU.

I COULD SEE THIS GUY GOT RICH
QUICK DOIN' SOMETHING
YOU REALLY DIDN'T LIKE.

WHEN YOU
BRING UP RUSSIA,

I FIGURE IT'S
SOMETHING TREASONOUS.

MR. BERNSTEIN--
MR. BERNSTEIN, I'M SORRY
WE TOOK YOU FROM WORK.

THIS IS A TIME OF WAR. WE KNOW
YOU'LL KEEP YOUR CONJECTURES
ABOUT PORTIFINO TO YOURSELF.

FACT IS, WE KNOW
VERY LITTLE ABOUT HIM.

WE WERE HOPING
YOU COULD FILL US IN.
YEAH, YEAH, SURE, OKAY.

CAN I HAVE MY FILM PLATES?
WE CAN'T GIVE THEM TO YOU
FOR A COUPLE OF DAYS.

HE'S NEWS TONIGHT.
IN A FEW DAYS, I WON'T
BE ABLE TO SELL THEM.

CHECK BACK
WITH AGENT CHADWICK
TOMORROW MORNING.

HE'LL GIVE YOU
THE PROPER FORMS TO FILL IN.

DON'T DO THAT.

GET IN THE CAR,
PLEASE.

ALL RIGHT,
ALL RIGHT.
COME ON!

WHAT'S UP? YOU'RE
FARINELLI'S BOYS, RIGHT?
GET IN THE CAR.

YOU'RE TONIO,
I KNOW YOU.
JUST GET IN THE CAR.

WHAT'S UP?
JESUS, GET IN THE CAR.

LET ME GET MY CAMERA.
JUST GET IN THE CAR!

COME ON, TONIO,
LET ME GET MY CAMERA.
GET IN THE CAR.

OKAY, I'M IN THE CAR. CAN I
GET MY CAMERA NOW, PLEASE?

I'M COMIN', I'M COMIN'.

WHAT'RE YOU
PUSHIN' HIM AROUND FOR?
WE KNOW THIS GUY!

SORRY, MR. FARINELLI.
HAVE A SEAT, BERNZY.

WANT A DRINK?
YOU GOT COFFEE?

YOU'LL BE UP ALL NIGHT.
HA, HA, HA.

GO TO THE CORNER.
GET HIM A CUP OF COFFEE.

YOU KNOW MICKEY AND SAL?

HIYA, BERNZY.

BERNZY?

SO YOU FOUND THE BODY
OF THIS PUNK PORTIFINO, RIGHT?
YEAH.

WHAT DO YOU KNOW ABOUT HIM?

NOTHIN' REALLY.

WHY'D YOU CALL THE FEDS?
I DIDN'T.

I CALLED THE COPS
LIKE I USUALLY DO.

THEY'RE THE ONES
WHO CALLED THE F.B.I.

[ Speaking Italian ]

OKAY, BERNZY,
SO WE'RE MISINFORMED.
YOU DIDN'T CALL THE FEDS.

BUT I'D STILL LIKE TO KNOW
HOW YOU KNEW PORTIFINO.
I DIDN'T.

[ Speaking Italian ]

YOU DIDN'T?
NO.

I MEAN, I MET HIM
THE OTHER NIGHT
AT THE CAFE SOCIETY.

AND HE WANTED SOMEBODY
TO TAKE HIS PICTURE...

AND HE OFFERED
A GOOD BUCK FOR IT.

YOU DON'T DO
COMMISSIONS.

TWO YEARS AGO
MY SISTER'S BOY
MADE COMMUNION.

I OFFERED YOU PLENTY OF MONEY.

I DON'T DO COMMISSIONS,
BUT I GOT
A GOOD NOSE FOR NEWS.

TALKIN' TO THIS KID,
IT SMELLED LIKE THERE
MIGHT BE SOMETHIN' IN IT.

THAT'S IT.
THAT'S ALL.

OH, THAT'S ALL?
YEAH.

[ Groaning ]
HOW DARE YOU
LIE TO ME!

OKAY, BERNZY.
OKAY.

AS IT IS,
I GOTTA TRUST YOU.
YOU NEVER CROSSED NOBODY.

YOU DO NOTHIN'
BUT SNAP PICTURES
NOON AND NIGHT.

WHAT IS IT
WITH YOU ANYWAY?

DOPE FIENDS LIVE
BETTER THAN YOU.
YOU'RE A FUCKIN' FREAK.

YEAH? WELL,
LIKE THE GUY WHO USED TO
SHOVEL ELEPHANT SHIT...

SAID TO THE CIRCUS OWNER,
"WHAT, GIVE UP SHOW BIZ?"

HA, HA, HA.
HERE, HERE'S
FOR THE CAMERA.

DO ME A FAVOR.
DON'T GO AROUND TALKIN'
ABOUT THIS DEAD GUY.

UH, WHAT'S HIS NAME,
ALL RIGHT?
RIGHT.

[ Man ]
THANK YOU, THANK YOU.

[ Woman ]
I DON'T KNOW, MAYBE HE IS.
HE'S GETTIN' IN.

SEE ANYBODY ELSE?

[ Man ]
HEY, BERNZY,
HOW DO YOU RATE?

I DON'T UNDERSTAND.
THE F.B.I.?
THINK I DO?

LOOK, I DON'T DO FAVORS FOR
PEOPLE. YOU SEE WHAT HAPPENS?

I WALK IN HERE.
YOU GIVE ME A DRINK. I START
FEELIN' GOOD ABOUT MYSELF.

THE NEXT THING I KNOW,
THE F.B.I. CALLS ME
A COMMUNIST,

AND SOME GANGSTER
USES ME TO WAX HIS FLOOR WITH.

I'M SORRY.
YEAH, LIKE YOU DIDN'T KNOW
THAT GUY WAS MOB.

YOU DIDN'T EITHER.
LIKE THERE WAS NOBODY ELSE
YOU COULD'VE ASKED.

I DID ASK.
NOBODY KNEW HIM.

[ Sighing ]

WHY'D YOU EVER ASK ME UP HERE
IN THE FIRST PLACE?

LOU TRUSTED YOU.
I TOLD YOU HE SAID THAT--

LOU THOUGHT I WAS LIKE THOSE
FLIES OUTSIDE,

BUZZIN' AROUND TO TAKE
A PICTURE OF RITA HAYWORTH.

THAT'S NOT TRUE.
A LITTLE PARASITE,
PREYIN' ON PEOPLE'S MISERY.

YOU'RE NOT THE ONLY ONE
WHO KNOWS WHAT PEOPLE
SAY ABOUT YOU.

IT DOESN'T MATTER
WHAT THEY SAY...
UNLESS YOU BELIEVE THEM.

WHY DO YOU THINK
I ASKED YOU?

I'D BE SO OVERWHELMED
TO BE INVITED
INTO THE INNER SANCTUM,

THAT I WOULD JUMP INTO THE
STREET TO DO YOUR DIRTY WORK.

YOU COULD'VE ASKED
ANY OF THOSE SCHMUCKS
WITH CAMERAS OUTSIDE.

I CAN SEE YOU HAVE
A HIGH OPINION OF ME.

YOU'RE NOT LIKE THOSE GUYS
OUTSIDE. YOU BELIEVE
IN SOMETHING. YOUR BOOK.

HOW DO YOU KNOW
ABOUT MY BOOK?

LOU TOLD ME.
AND WHEN I KNEW I NEEDED
SOMEONE I COULD TRUST--

I HOPE YOU'RE NOT
JUST SAYIN' THIS.
WHY SHOULD I?

I DON'T KNOW.

THIS IS THE FIRST TIME
I HEARD THAT LOU LEVITZ
HAD AN INTEREST IN MY BOOK.

LOU HAD EVERY GREAT ARTIST
FROM PARIS TO HOLLYWOOD
STOPPING IN HERE.

HE KNEW THEY WERE GREAT
BECAUSE
THEY WERE ROLLING IN IT.

THAT'S ALL HE KNEW OR EVER
WANTED TO KNOW ABOUT ARTISTS.

WHAT DO YOU KNOW
ABOUT THEM?

NOTHING.

I KNEW A LITTLE
SOMETHING ONCE...

WHEN I WANTED
TO BE ONE...

ON THE STAGE.

I STILL KNOW ENOUGH
TO KNOW YOU'RE THE REAL THING,

OR YOU'D HAVE GIVEN UP
LONG AGO.

YOU SEE, I NEVER WAS.

HAVING THIS PLACE
IS THE CLOSEST
I'LL EVER COME TO IT.

I AM SORRY
FOR ALL THE TROUBLE.

WHAT'S THIS?
PICTURES I TOOK
IN THE CLUB.

I SEE. WHEN?

THANK YOU.

WELL, IT'S NOT OVER JUST
BECAUSE PORTIFINO'S DEAD.

SOMEBODY ELSE IS GONNA COME
INTO THIS CLUB AND TELL YA
THEY'RE LOU'S PARTNER.

BUT WHY?

I THINK HE WAS INVOLVED
IN SOMETHING REALLY BAD.

YOU DON'T KNOW
WHAT IT IS, DO YA?

I COULD PROBABLY
FIND OUT WHAT IT IS.

I COULD DO THAT.
YOU DON'T HAVE TO.

MAYBE I COULD SHOW YOU
MY BOOK SOMETIME.

I'D LIKE THAT,
BERNZY.

*

BERNZY, I DIDN'T THINK
ANY OF MY REAL FRIENDS
COULD GET INTO THIS PLACE.

LONELY AT THE TOP,
KIDDO. COME ON.
SIT DOWN FOR A MINUTE.

ALL RIGHT,
HALF A MINUTE.
DON'T BE A PILL.

HOW ELSE YOU EVER GONNA
SIT HERE? HACK MAKES GOOD,
HUH, BERNZY?

I WANT YOU TO MEET VERA HIXON.
THIS IS THE GREAT BERNZINI.

THE BEST SHUTTERBUG--
YOU SEEN MY SHOW?
DON'T WORRY.

IT'S ON MY CALENDAR.
"BROOKLYN RHAPSODY,"
WINTER GARDEN THEATER.

BUT YOU KNOW
I WORK NIGHTS.
IT'S A BEAUTIFUL SHOW.

I'M SURE IT IS.
I KNOW WHAT YOU THINK.

WHY SHOULD I GO SEE A BUNCH OF
ARTY'S OLD COLUMNS DRAMATIZED
WHEN I ALREADY READ 'EM?

THAT'S NOT TRUE.
I NEVER READ 'EM.

HEY, WAITER, WAITER!
[ Whistle ]

WAITER!
COME ON! DYIN' HERE.

ARTY, I HAVE TO GO.
I'M 57 YEARS OLD.

THINK SHE WOULD HAVE
LOOKED AT ME
SIX MONTHS AGO, HMM?

HMM. ARTY.

BEST SHUTTERBUG
IN NEW YORK.
KNOW WHAT THAT MEANS?

IT MEANS THAT YOUR PICTURES
ARE CATCHIN' BIRD SHIT...

AT THE BOTTOM
OF THE CAGE SIX HOURS
AFTER THE PAPERS COME OUT.

JUST LIKE
MY COLUMNS USED TO.

HEY, WAITER. M--
ARTY.

PLEASE. NO.
COME ON.
WILL YOU LAY OFF?

AT LEAST
IF YOU PAINT PICTURES,
YOU WRITE BOOKS, THEY SAY,

"OKAY, SO HE DIDN'T
HAVE A LIFE.

"HE DIDN'T HAVE ANY MONEY,
HE DIDN'T EVEN HAVE
A STEADY GIRL.

"LOOK WHAT HE PAINTED,
LOOK WHAT HE WROTE."

SHE WOULDN'T HAVE
PISSED ON ME SIX MONTHS AGO.

EXCUSE ME.
MISS HIXON.

AW, VERA, COME ON.
VERA!

ARTY, YOU BETTER
APOLOGIZE TO THAT LADY.

LOOK WHO'S GIVING ME
ADVICE ON MY LOVE LIFE.

LISTEN TO SOMEBODY
WHO REALLY KNOWS.
NOBODY COULD LOVE YOU.

NO WOMAN COULD LOVE
SOME SHABBY LITTLE GUY
WHO SLEEPS IN HIS CLOTHES,

EATS OUT OF CANS,
COZIES UP TO CORPSES SO MUCH
HE BEGINS TO STINK LIKE ONE.

YOU SHOULD GET A REFUND
FROM THAT CHARM SCHOOL.

BERNZY,
COME ON BACK.

BERNZY,
I'M SORRY.

[ Radio Dispatcher,
Indistinct ]

[ Radio Continues,
Indistinct ]

[ Vacuum Whirring ]

[ Danny ]
WHY DON'T YOU TELL ME WHAT
THE TROUBLE IS, MRS. LEVITZ?

WHY WOULD SUCH A LOVELY LADY
RELY ON A MAN LIKE THAT?

I KNOW WHAT I'M DOING.
'TISN'T EASY, IS IT?

HOLDIN' ON
TO A PLACE LIKE THIS.

WHO KNOWS WHY THEY COME
OR WHEN THEY'LL STOP.

THAT'S ENOUGH.
I KNOW WHAT I'M DOING.
I HOPE YOU'RE NOT STARTIN'...

TO MISTAKE HIM FOR
A REAL PERSON, MRS. LEVITZ.

AS FOR THIS FAVOR
HE'S DOIN' YA,
DON'T COUNT ON IT.

KNOW WHAT A SHUTTERBUG DOES
WHEN HE FINDS
AN ABANDONED BABY?

HE JABS IT WITH A DIAPER PIN

BECAUSE PICTURES OF
CRYIN' BABIES ARE
WORTH A DOLLAR MORE.

SATURDAY EVENING POST,
"BRAVE MEN IN BLUE."

COME ON,
YOU MUST HAVE SEEN IT.

WEREN'T YOU HERE EARLIER?
WITH CHADWICK?

YEAH, THAT'S
WHEN I SPOTTED YA.

I SAID TO MYSELF, NOW
THERE'S A HEROIC PROFILE.

THEN CHADWICK TOLD ME
ABOUT THAT THING YOU DID.

WHAT, THE JUMPER?
ON THE FIRE ESCAPE?
YEAH, YEAH.

I DIDN'T EVEN THINK
HE KNEW ABOUT THAT.

OH, HE TOLD ME ABOUT
HOW YOU HELPED HIM
TALK THE GUY DOWN.

HE SAID WHAT? SON-OF-A-BITCH
WASN'T EVEN HERE!

THAT'S SOMETHING HOW PEOPLE
TRY TO TAKE CREDIT WHEN
THEY DIDN'T DO ANYTHING.

ALL RIGHT, I'M GONNA
CALL THIS CAPTION,
"THE GUARDIAN."

YOU CAN'T TAKE A PICTURE HERE.

ONE PICTURE. REAL FAST.

DON'T SLOUCH.
SIT UP STRAIGHT.
COME ON, GREAT BIG SMILE.

SMILE! WHOOPS.

NOW WHAT'S THE PROBLEM?

YOU GOT A LITTLE SOMETHIN'
ON YOUR TOOTH.

LET ME SEE.
I GET IT?

NAH, DON'T WORRY ABOUT IT.
IT PROBABLY WON'T SHOW UP
IN THE MAGAZINE ANYWAY.

WHERE YOU GOIN'?
I'LL BE RIGHT BACK.

YOU MIGHT WANT TO FRESHEN UP,
COMB YOUR HAIR.
IT'S UP TO YOU.

[ Muttering ]

[ Elevator Bell Dinging ]

COME WITH ME.

WHAT IS THAT,
COLOGNE?

WHAT IS THIS?

CALL CHADWICK AND TELL HIM
BERNSTEIN'S NOT LEAVIN'
UNTIL HE GETS HIS PLATES BACK.

HE SAYS ANYTHING ABOUT
YOUR PROFILE, SHOOT HIM.

LET ME TALK
TO HIM TOO.

I WANNA TELL HIM
ABOUT OUR PHOTO SESSION.

YOU DON'T MIND, DO YOU?
YOU GOT TWO MINUTES
TO LEAVE THE BUILDING.

HEY, FREDDY,
YOU GOT ANY BLACK GAS?

WHAT KIND OF GAS?
BLACK GAS.

BLACK--
I DON'T KNOW.
BLACK MARKET GAS?

ONLY GAS WE GOT HERE IS MOBIL.

THANKS.

[ Radio Dispatcher
Indistinct ]

[ Horn Blowing ]
[ Radio ]
UNTIL NEXT WEEK THEN...

THIS IS RED SKELTON
SAYING GOOD-BYE NOW.
THANKS FOR LISTENING!

OH, JESUS.
HIS HAT FELL OFF.

HUH?
HIS HAT FELL OFF.

PUT IT BACK ON FOR ME.
PEOPLE LIKE TO SEE THE
DEAD GUY WITH HIS HAT ON.

MAYBE I SHOULD PULL
HIS DICK OUT.

MAYBE THEY'D LIKE
TO SEE A DEAD GUY'S DICK.

WHO'D THIS GUY WORK FOR?

SPOLETO.

SPOLETO. SPOLETO AND
FARINELLI ALL MONTH LONG.

WHAT ARE THEY
FIGHTIN' OVER?
I DON'T KNOW.

LOOK AT THIS.
SON-OF-A-BITCH HAD SIX
MONTHS WORTH OF GAS COUPONS.

[ Young Cop ]
WISH I COULD GET
MY HANDS ON THAT MANY.

TAKE 'EM.
YOU'RE KIDDING?

WASH 'EM OFF.
THEY'RE LIKE GOLD, AIN'T THEY?

HE'S GOT NO USE
FOR 'EM NOW.

HEY, BERNZY.
I WANT YOU TO
TELL KAY WHO I AM.

I'M SURE SHE KNOWS WHO
YOU ARE. SHE JUST GOT
OUT OF A CAR WITH YA.

BERNZY,
TELL HER WHO I AM.

KAY LEVITZ,
MARC-ANTONY SPOLETO.

MR. SPOLETO
HAS THE ENTIRE WEST SIDE
OF MANHATTAN TO HIMSELF.

THEN IT'S LUCKY FOR US
WE'RE ON THE EAST SIDE.

THAT'S NO WAY
TO TALK TO YOUR
NEW PARTNER, KAY.

YOU TELL HER,
BERNZY.

[ Kay ] COME INSIDE.
BERNZY GONNA SET
HER STRAIGHT?

IF HE'S THINKIN'
STRAIGHT.
WHY WOULDN'T HE BE?

LOOK AT 'EM OVER THERE.

IT'S LIKE THAT MOVIE
WITH THE HUNCHBACK
AND SARSAPARILLA.

YOU MEAN ESMERELDA.
WHATEVER.

WHAT'S UGLIER THAN
SOMEBODY STEALIN'
FROM THE FIGHTING BOYS

TO FEATHER THEIR OWN NEST?

BUT LOU WOULDN'T
HAVE DONE THAT.
HE DID IT.

NO. HE HAS TWO NEPHEWS
IN THE SERVICE. HE NEVER
WOULD HAVE DONE ANYTHING--

KAY. KAY,
HE DID IT.

YOU KNOW HOW RICH
YOU COULD GET IF YOU COULD
CONTROL THE GAS COUPONS?

LISTEN, IF THERE'S
ONE THING I KNOW,

PEOPLE AIN'T HUMAN
WHEN THERE'S
ENOUGH MONEY INVOLVED.

I GOT PICTURES OF GUYS
KILLED OVER 50 CENTS.

NOW TO SOMEBODY
THAT WAS ENOUGH.

JESUS.
SO THAT'S IT.

HE, UH, HITCHED HIMSELF
TO THESE HOODS...

AND NOW I'M STUCK
WITH THEM FOR PARTNERS.

SEE, THEY DON'T
HAVE PARTNERS.

YOU'D BE OUT.
I SEE.

LOOK HOW MUCH WE KNOW
ABOUT THESE GUYS ALREADY.

ALL WE GOTTA DO IS GET
SOMETHIN' ON 'EM.

LIKE, UH,
MAYBE A PICTURE.
OF WHAT?

I DON'T KNOW. I JUST
KNOW THERE'S ALWAYS A PICTURE
ONCE YOU KNOW WHERE TO LOOK.

WHY ARE YOU DOING
THIS, BERNZY?

ALL RIGHT, LOOK,
I NEED TO KNOW...

EXACTLY WHAT SPOLETO
SAID TO YOU AND DON'T
LEAVE ANYTHING OUT.

YEAH, OKAY.

UH, HE SAID HE WANTED
TO SEE THE BOOKS.

WHEN I REFUSED HE SAID,
"YOU'D BETTER ASK YOUR
BOYFRIEND ABOUT ME."

YOUR BOYFRIEND?

HE MEANT YOU.
RIGHT.

HE KNEW YOU'D
BEEN UP TO MY OFFICE.
HE SEEMED TO KNOW A LOT.

I'M SURE HE'S GOT
AT LEAST ONE WAITER
ON THE PAYROLL BY NOW.

WHICHEVER ONE HEARD
PORTIFINO ASK YOU
TO TAKE HIS PICTURE.

WHAT? I NEVER EVEN
TALKED TO PORTIFINO.

THAT'S WHAT HE SAID.
I'M SURE OF IT.

THAT WAS SOMETHING
I MADE UP WHEN I WAS
TALKIN' TO FARINELLI.

CHRIST ALMIGHTY.
WHAT?

ONE OF FARINELLI'S BOYS
IS SELLIN' INFORMATION
TO SPOLETO.

I'M GONNA FIND OUT
WHO IT IS.

166, BERNZY.

PUT IT ON MY BILL.
SURE.

GONNA GET SOME MORE SHOTS
IN A MOVIE HOUSE?

SOMEPLACE EVEN DARKER,
I THINK. WILL IT WORK?

I DON'T KNOW.
CAN'T SAY REALLY.

[ Grunting ]

WHAT IS IT?

MUST BE THEM SQUIRRELS.

[ Indistinct ]

[ Car Engine Starting ]

COME ON.

SO IT'S YOU, SAL.

CHRIST ALMIGHTY.

GOOD EVENING,
MR. BROWN.
TABLE SEVEN, FREDO.

I'M AFRAID MRS. LEVITZ
IS AT NUMBER SEVEN.

WHO'S THE GENTLEMAN?

I BELIEVE HE'S
A POET WHO RECENTLY
ESCAPED MR. HITLER.

THAT'S STILL NO EXCUSE,
IS IT?

NO, SIR. EXACTLY, SIR.

THIS IS AN INCRIMINATING
PICTURE OF
THE INFORMER, SAL MINETTO.

DO YOU HAVE A SAFE
OR SOMETHING AT HOME?

IF I WIND UP DEAD, GIVE THE
PICTURE TO FRANK FARINELLI.

I'M GIVIN' YOU THE PICTURE,

WHICH GUARANTEES
I'M NOT GONNA
WIND UP DEAD.

WAIT.

BERNZY, I DON'T--
NOTHIN'S
GONNA HAPPEN.

THAT'S JUST
WHAT I'M SAYIN'.

AS LONG AS YOU KEEP THIS
IN A SAFE PLACE.

DON'T WORRY ABOUT IT.
COME ON, JUST TAKE IT.

MY OLD MAN WAS IN
THIS COUNTRY 27 YEARS.

IT'S LIKE
HE NEVER LEFT RUSSIA.

I'D SAY, "PA,
FOR GOD'S SAKE,

"YOU'RE IN AMERICA NOW.
DO SOMETHING.

"READ THE FUNNY PAPERS,
GO TO A BALL GAME,

"TRY TO ACT
COMFORTABLE."

YOU NEED A DRINK.

THAT'S HOW THEY ALL GET
THE IMPRESSION THEY BELONG.

THAT'S ALL IT TAKES?
GIVE ME A STIFF ONE.

SO, IS THAT IT?
IS THAT YOUR BOOK?
YEAH.

SHOW IT TO ME.
WHEN? NOW?

YEAH, PLEASE?
COME ON.

REALLY?
YEAH.

ALL RIGHT.

KAY.
HENRY,
HOW ARE YOU?

[ Kay ]
I'D LIKE YOU TO MEET
LEON BERNSTEIN.

BERNZY, THIS IS
HENRY HADDOCK, JUNIOR.

MR. BERNSTEIN.

I'VE GOT HALF
THE MGM BRASS OVER THERE,

DYING TO MEET YOU
BEFORE THEY CATCH
THEIR TRAIN TO THE COAST.

GIVE ME A MINUTE.
NO, NO,
THEY'RE ABOUT TO GO.

AND I PROMISED
THEY WOULD GET TO MEET
OUR BEAUTIFUL HOSTESS.

IT'S OKAY.
GO AHEAD.

EXCUSE ME.
EXCUSE ME.

WHERE'D HE GO?
I DON'T KNOW,
MRS. LEVITZ.

DID HE LEAVE
HIS BOOK WITH YOU?
HE SPARED US THAT.

GIVE ME THE UMBRELLA.
GIVE IT TO ME!

TAXI!

[ Knocking ]

[ Bernzy ]
IS SAL AROUND?

HOLD ON.
I'LL GET HIM.

SAL, THERE'S SOMEONE
HERE FOR YOU.
WHO IS IT?

I DON'T KNOW.
YOU COULD'VE
ASKED.

YEAH?
SAL, I'M BERNZY,
THE PHOTOGRAPHER.

I KNOW WHO YOU ARE.
I WANNA TALK TO YOU.
CAN I COME IN?

WHAT ABOUT?

ABOUT FARINELLI,
YOUR BOSS...

AND SPOLETO,
YOUR FRIEND.

COME IN.

GO IN THERE.
IN THE KITCHEN.

[ Radio Program ]

WHO SENT YOU?

I HAVE THREE MORE OF THESE
IN SEALED ENVELOPES
WITH PEOPLE I TRUST.

IF ANYTHING HAPPENS TO ME,
THEY GO RIGHT TO FARINELLI.

MA, NOT NOW, HUH?
NOT NOW, HUH?

[ Thunder ]

WHAT IS THIS?
WELL--

YOU COMIN' INTO MY HOUSE
WITH THIS SHIT?
WE SHOULD TALK--

YOU BOTHER MY MOTHER?
GET THE FUCK OUT!
KEEP YOUR HANDS OFF.

I'M GOING.
I'M GOING.
GET OUT.

[ Door Slams ]

KEEP THAT PICTURE.
THAT ONE'S A GIFT!

[ Sal ]
WAIT A MINUTE.
COME HERE.

COME HERE.

PORTIFINO'S JUST
A PUNK IN D.C.

HE'S FRONTIN' FOR SOMEBODY
WHO CAN GET THE STAMPS
FROM INSIDE THE A.P.O.

O.P.A.
HUH?

O.P.A., OFFICE OF
PRICE ADMINISTRATION.
YEAH, WHATEVER.

BUT HE CAN'T UNLOAD 'EM.
HE KNOWS NOBODY.

THE HEADS OF THE
FIVE FAMILIES WON'T
TOUCH 'EM BECAUSE...

THEY'RE GETTIN' AMNESTY TO
WORK WITH THE ITALIAN MOBS
AGAINST MUSSOLINI.

THEN HE HEARS LOU LEVITZ
ON SOME RADIO SHOW.

YOU KNOW, LOU LEVITZ:
ONETIME BOOTLEGGER,
MR. NEW YORK.

HE FIGURES MAYBE AN OLD-TIMER
LIKE LEVITZ KNOWS HOW
TO UNLOAD HOT COUPONS.

SO HE GOES TO HIM,
AND LEVITZ IS INTERESTED.

HE SEES THAT MAYBE
THERE'S MILLIONS IN IT,

AND HE'S GOT A HOT
YOUNG WIFE TO SUPPORT.

ALL HE'S GOTTA DO IS TURN
THE STAMPS OVER TO SPOLETO
FOR A FAT PERCENTAGE.

SHE KNEW
ABOUT THIS?

WHO?
HIS WIFE.

NO, I DIDN'T
SAY THAT.

OH.

DID SHE?

I DON'T KNOW.
HOW SHOULD I KNOW?

GO AHEAD.
I'M SORRY.

THEN LEVITZ DIES, OKAY?
PORTIFINO'S SUCH AN IDIOT,

HE FIGURES NOW HE'S FREE
TO GO SELL THE STAMPS
TO SOMEBODY ELSE.

BY THIS TIME
HE'S MET FARINELLI,
SO HE GOES TO HIM.

NEVER MENTIONS SPOLETO.
HE SIGNED HIS OWN
DEATH WARRANT.

THAT'S IT,
END OF STORY.

DIDN'T THEY LOSE THE SOURCE
WHEN THEY KILLED PORTIFINO?

WHAT HAPPENED TO HIS MAN
INSIDE THE O.P.A.?

THEY TORTURED HIM.
THEY GOT THE NAME
OF THE SOURCE.

WHO KILLED HIM?
I DON'T KNOW.

EVERYBODY WAS
AFTER THIS GUY.

MA, HOW MANY TIMES
I GOTTA TELL YOU?

[ Italian ]

WHO KILLED HIM?

FARINELLI.

FARINELLI.

LET ME SEE IF
I GOT THIS STRAIGHT NOW.

YOUR BOSS,
FARINELLI,

GETS THE NAME OF THE
SOURCE FROM PORTIFINO
AND THEN KILLS HIM.

SPOLETO, HIS RIVAL,

DOESN'T GET THE NAME
UNTIL YOU TELL HIM?

ISN'T FARINELLI GONNA
BE A LITTLE UPSET
ABOUT THAT, SAL?

I DON'T KNOW.

YOU DON'T KNOW?
YOU'RE NOT STUPID, SAL.

HEY, COME ON.

I PRINTED THAT UP
A LITTLE DARKER,
MORE DRAMATIC.

SO WHAT'S SPOLETO
GONNA DO, HUH?

COME ON, HUH?

COME ON, ALL RIGHT?
I TOLD YOU WHAT I KNOW.

YOU DIDN'T TELL ME
WHAT SPOLETO'S GONNA DO.

JUST TELL ME
WHAT HE'S GONNA DO.

COME ON,
WHAT'S HE GONNA DO?

HE'S GONNA KILL FARINELLI.
IS THAT IT?

NO.

IT'S WORSE.
IT'S WORSE.

SPOLETO'S GONNA WIPE OUT
FARINELLI'S WHOLE GANG,

ALL MY FAMILY.

AND I'M GONNA TELL HIM
WHERE AND WHEN.

OKAY?

[ Thunder ]

A MASSACRE.

HEY, SAL.

I WANNA KNOW
WHERE AND WHEN TOO.

WHY? WHAT DO YOU
WANNA KNOW FOR?

YOU WANNA CALL THE FEDS?
THEY JUST WANNA COVER THIS UP.

WHAT DO YOU
WANNA KNOW FOR?

I WANNA
TAKE SOME PICTURES.

[ Police Radio:
Indistinct ]

[ Police Radio ]
4-59 IN PROGRESS AT
53 WEST 8th STREET.

[ Telephone Rings ]

HELLO?
[ Kay ]
SPOLETO WAS JUST HERE.

DON'T MOVE.
I'LL BE RIGHT THERE.

WHAT DID HE DO?

HE WAS HERE WITH
THREE MEN, THUGS.

AND HE KEPT ASKING,
"WHO'S THE--

"WHO'S THE SOURCE, KAY?
WHO'S THE INSIDE MAN?"

SIT DOWN.
DID HE HIT YOU?

NO, HE SAYS
THAT COMES NEXT TIME.

HE KNOWS THE NAME.
SAL TOLD HIM.

HE WANTS TO SEE IF YOU KNOW.
YOU'RE TROUBLE IF YOU KNOW.

YOU DON'T KNOW, RIGHT?

I DON'T EVEN KNOW WHAT
HE'S TALKING ABOUT.
I DIDN'T MEAN THAT.

UM,

YOU KNOW
THIS GUY?

THATCHER GRAY.
HE COMES TO THE CLUB.

HE HAD CABINET JOBS
WITH TWO REPUBLICAN
ADMINISTRATIONS.

HE'S GOT AN HONORARY POST
AT THE OFFICE OF
PRICE ADMINISTRATION.

IS HE MY PARTNER TOO?

MY GOD.
DON'T WORRY
ABOUT IT.

THEY'RE ALL FINISHED AS SOON
AS I GET THE PICTURES.

PICTURES OF WHAT?

[ Narrator ]
TO HITLER AND HIS MINIONS,

LINES LIKE THESE ARE
THE SHALLOW SYMBOLS OF UNITY.

BUT WITH LINES
LIKE THESE,

AMERICA SHOWS
THE NAZI AGGRESSORS...

THE REAL MEANING OF UNITY.

AS O.P.A. OFFICIAL
THATCHER GRAY REMINDS US:

[ Thatcher Gray ]
AMERICANS KNOW
THAT TO FIGHT THIS MENACE

HALFWAY AROUND THE GLOBE...

TAKES MORE THAN
THE VALIANT MEN...

AND MIGHTY MACHINES OF OUR
ARMED SERVICES. IT TAKES GAS.

FARINELLI TAKES THE BOYS OUT
TO DINNER EVERY SO OFTEN.

HE'S TAKIN' US FRIDAY NIGHT.
THAT'S WHEN HE'S HIT.

WHERE?
WHAT TIME?

DINNER'S AT 8:00.
I GET UP TO TAKE
A LEAK AT 8:15,

AND THAT'S WHEN
SPOLETO'S MEN COME IN.

WHERE?
I DON'T KNOW YET.
WE NEVER DO.

HE ALWAYS CALLS US AROUND 6:30
THE DAY OF THE DINNER.

FOR SAFETY.

IT'S USUALLY SOME LITTLE
FAMILY PLACE IN LITTLE ITALY.

FAMILY?

DON'T WORRY ABOUT IT.
HE TAKES THE WHOLE PLACE
OVER FOR THE NIGHT.

AS SOON AS YOU HEAR FRIDAY,
EVEN BEFORE SPOLETO, CALL ME.

SPOLETO'S LIEUTENANT'S GONNA
BE THERE WHEN I GET THE CALL.

HE'LL LEAVE RIGHT AWAY.
THEN I'LL CALL YOU.
HEY, SAL.

DON'T LET ME DOWN.

YOU OUGHTA LOCK
YOUR DOOR, BERNZY.

LOOK, I, UH...

CAME TO APOLOGIZE
ABOUT THE OTHER NIGHT.

CRAZY THING IS, I'M IN LOVE
WITH VERA... MISS HIXON.

I KINDA
FIGURED THAT.

YOU DIDN'T BY ANY CHANCE--
IT WAS ADDRESSED TO ME,
IT SAID, "TO BE OPENED,"

SO I OPENED IT.
YEAH, BUT IN THE
EVENT OF MY DEATH.

ONLY I GOT KINDA BUSY
AND NEVER GOT THAT FAR.

THAT'S WHAT I FIGURED
AFTER I READ IT.

WHY ARE YOU DOING THIS,
BERNZY?
WHY?

THAT'S WHAT I DO,
ISN'T IT?

I MEAN, LIFE AS IT HAPPENS.
THAT'S MY MOTTO FOR 23 YEARS.

THIS IS DEATH
AS IT HAPPENS.

BUT THAT'S THE MAIN THING
ABOUT LIFE, ISN'T IT?

I MEAN,
HALF THE SHOTS I GET...

ARE OF SOMEBODY
JUST BEFORE OR JUST AFTER.

FOR ONCE I'LL
GET IT DURING.
YOU COULD STOP IT.

YOU COULD GO
TO THE COPS.
YOU THINK THAT'D STOP IT?

IT'S WAR, ARTY.
THESE GUYS
AIN'T GONNA LAY OFF.

I THOUGHT YOU NEVER
TOOK SIDES.

WHAT ARE YOU GETTIN' AT?

YOU'RE DOING IT
FOR HER!

YOU'RE NUTS!
AM I?

COME ON,
YOU'RE IN LOVE WITH HER.

HERE, ARTY, HERE.
HERE IT IS.

THE WHOLE HISTORY OF NEW YORK,

RIGHT HERE WITH ME
IN THIS DUMP.

AND IT AIN'T BECAUSE
I RAN AROUND INTERFERIN',

HOSIN' DOWN FIRES
OR TELLIN' PEOPLE
TO BEHAVE NICE!

THEY PAY PEOPLE TO DO THAT.
NOT ME! I'M AN ARTIST.

I'M GONNA LET PEOPLE DO
WHATEVER THE HELL
THEY'RE GONNA DO...

'CAUSE IT'S THE ONLY WAY
I COULD DO IT RIGHT!

WAIT A MINUTE, STOP IT.

I MAY BE THE ONLY GUY WHO
THINKS YOU ARE AN ARTIST
AND NOT AN ANIMAL.

BUT EVEN I'M NOT SO SURE
ABOUT THIS THING.

IT'S GOT A STINK ABOUT IT.
LOOK. LOOK.

I KNOW HOW MUCH IT HURTS TO BE
IGNORED, NOT EVEN REVILED.

BUT IF YOU'RE
DOIN' IT FOR HER,

YOU'RE RISKIN'
YOUR LIFE FOR NOTHING.
FOR LESS THAN NOTHING.

YOU ALREADY HAVE A PICTURE
OF SPOLETO WITH THATCHER GRAY.

ISN'T THAT DYNAMITE
ENOUGH?
NO!

I NEED THE EVENT TO CAPTURE
THE PUBLIC EYE.

I GOTTA GET
THE MOMENT.
DON'T BULLSHIT ME!

YOU WOULDN'T BE IN
THIS THING SO DEEP
IF YOU COULD EXPRESS, SAY,

THREE HUMAN EMOTIONS WITHOUT A
CAMERA PLASTERED TO YOUR FACE!

JUST BECAUSE THE DRAMA
CRITIC OF THE TRIBUNE
CALLS YOU "INSIGHTFUL"...

DOESN'T MEAN
IT'S TRUE.

A MANSION ON THE WEST SIDE.
A PLACE ON THE SOUTH SHORE.

SHE MILKED LEVITZ SO DRY,
HE SOLD HIMSELF TO
A WORM LIKE SPOLETO.

I WOULDN'T BE SURPRISED
IF SHE'S IN ON THIS THING
FROM THE VERY FIRST!

WAIT A MINUTE!
YOU DON'T HIT PEOPLE, BERNZY.

WE DON'T HIT PEOPLE, DO WE?
PEOPLE LIKE US.

'NIGHT, ARTY.
THANKS FOR THE APOLOGY.

* [ Jazz ]

HEY, WAIT UP.
I GOTTA
TALK TO KAY.

IT'S NOT A GOOD TIME.
COME BACK LATER.

WHAT ARE YOU TALKIN' ABOUT?
MR. BERNSTEIN,
I'M SORRY.

PERSONALLY, I LIKE YOU,
BUT YOU'RE NOT
WELCOME HERE ANYMORE.

WHAT?
MRS. LEVITZ'S
ORDERS.

THERE WERE TOO MANY
COMPLAINTS FROM THE
CUSTOMERS THE LAST TIME.

SHE FEELS
REAL BAD ABOUT IT,

BUT SHE KNOWS THAT
YOU'LL UNDERSTAND.

MAKE SURE SHE GETS THIS.
I'LL PICK IT UP SATURDAY.

HERE, PUT THAT
IN MRS. LEVITZ'S OFFICE.

*

* IF YOU'VE GOT A HEART
AND IF YOU'RE KIND *

* THEN DON'T YOU BUST APART
MAKE UP YOUR MIND *

YOU SENT HIM AWAY.

THERE WAS
TOO MUCH TALK.

LAST TIME I LOOKED, IT WAS
MY SIGNATURE ON THE CHECKS.

IT WOULD NEVER HAVE GONE
THIS FAR IF MR. LEVITZ
WAS STILL ALIVE.

LEAVE THE UNIFORM
WITH FREDO.

I'M AN INSTITUTION
IN THIS PLACE.
I KNOW EVERYBODY--

OH, YOU DON'T
KNOW ANYBODY!

YOU KNOW WHAT THEY TIP,
YOU KNOW WHAT YOU READ,

BUT DON'T KID YOURSELF
YOU KNOW THEM...

ANY MORE
THAN I DO.

WHY ARE YOU
GIVING THIS TO ME?

YOU SHOULDN'T
BE HERE, KAY.

THIS ISN'T
A PLACE FOR YOU.

I'VE SEEN WORSE.

DIDN'T, UH,
DANNY TELL YOU?

I JUST WANTED YOU
TO HOLD ONTO THAT, THAT'S ALL.

'TIL AFTER THE, UH--

'TIL AFTER WHAT?
NOTHIN'.

WHAT ARE THESE PICTURES
YOU'RE GOING TO TAKE?

WHY ARE YOU AFRAID
TO TELL ME?

[ Sighing ]

BERNZY.

SPOLETO'S GONNA WIPE OUT
FARINELLI'S WHOLE GANG.

I'M GONNA
TAKE PICTURES.

WHAT HAPPENS
IF THEY SEE YOU THERE?

I KNOW WHAT I'M DOIN'.
THEN WHY DID YOU
GIVE ME THE BOOK?

THEY'RE NOT
GONNA SEE ME.
BERNZY.

WHY ARE YOU
DOING THIS?

WHY?

IT'S WHAT I DO.

THAT'S ALL.

THAT'S ALL?

YEAH.

ASK ME.

DON'T MAKE ME ASK YOU.

DANNY SEEMS TO THINK
YOU'VE LEARNED ALL ABOUT
MY BUSINESS WITH LOU.

IS THAT TRUE?

DANNY SEEMS TO THINK
BERNZY'S THE ONE
WHO FOUND OUT ABOUT IT.

TELL ME HOW BERNZY
FOUND OUT, KAY.

I NEED TO KNOW
HOW BERNZY FOUND OUT.

YOU'RE
A PRACTICAL GIRL, KAY.

DO YOU REALLY THINK
A MAN LIKE BERNZY CAN
PROTECT YOU FROM ME?

A LITTLE MAN WITH A CAMERA
AND A FIVE-CENT CIGAR.
STOP IT!

YOU DON'T KNOW
THE FIRST THING ABOUT HIM.

YOUR LOYALTY'S
TOUCHING, KAY,

ESPECIALLY WHEN YOU THINK OF
EVERYTHING YOU'VE GOT TO LOSE.

I'LL ASK YOU AGAIN.

DO YOU REALLY THINK
A MAN LIKE BERNZY...

CAN PROTECT YOU FROM
A MAN LIKE ME?

[ Telephone Ringing ]

HELLO?
HEY!

HOW ARE YOU, MR. FARINELLI?
OKAY, GOOD.

YEAH,
D'ANGELO'S CAFE.

SURE, I KNOW IT.

OKAY, YEAH.
I'LL SEE YOU LATER.

I GUESS YOU HEARD.

D'ANGELO'S.

YOU'RE FEELIN'
KINDA ROTTEN, HUH?

YOU KNOW IT.

YOU'LL GET
OVER IT.

[ Mother ]
SALVATORE!

YEAH, IS SAL THERE?

OH, GOD.
OH, GOD.

HE TAKES THE PLACE OVER.
HE TAKES THE PLACE OVER.

ADRICA'S.
YEAH, I NEED
A RESERVATION FOR TONIGHT.

FOR HOW MANY?
AH.

YEAH, LISTEN. I NEED
A RESERVATION FOR TONIGHT.
WHAT TIME?

D'ANGELO'S.
D'ANGELO'S.

D'ANGELO'S CAFE.
YEAH, LISTEN. I NEED
A RESERVATION FOR TONIGHT.

NO, WE ARE ALL BOOKED.
PRIVATE PARTY.
OH, THAT'S TOO BAD.

MAYBE TOMORROW NIGHT.
YOU STILL THE SAME ADDRESS?

Si.
THANKS.

[ Knocking ]

[ Officer On Radio ]
3-4, SERGEANT IS EN ROUTE
TO 215th AND BROADWAY.

[ Dispatcher ]
SERGEANT, YOU RESPOND
ON 623 WEST 204th?

[ Sergeant ]
NEGATIVE.

[ Train Rumbling ]

[ Car Horns Honking ]

[ Indistinct Shouting ]

[ Horns Honking ]

[ Motorist ] COME ON,
GET OUTTA THE WAY!
[ Truck Driver ] SAYS WHO?

LOOKS LIKE HE TOOK
THE FIRE ESCAPE.
ANYWAY, HE AIN'T HERE.

NO MATTER.
WE'LL GET HIM LATER.

BERNSTEIN GOT AWAY.

WE'LL GO AHEAD WITH
THE HIT AS PLANNED.

IS THAT REALLY WISE,
MR. SPOLETO?

HE DON'T KNOW WHERE
IT'S GONNA HAPPEN.

HE DON'T KNOW
IT'S D'ANGELO'S.
WE'RE HOME FREE.

[ Arguing In Italian ]

[ Argument Continues
In Italian ]

HEY, LISTEN.
HOW MUCH THEY PAY YOU HERE?

TWO-FIFTY?
THREE DOLLARS A WEEK? HUH?

TWO MONTHS' PAY.

THREE MONTHS' PAY.
DON'T WANNA HAGGLE
OR ANYTHING, OKAY?

[ Speaking Italian ]

PSST! HEY!

Signore Farinelli.
Come stai, paesano?
Come stai?

[ Speaking Italian ]

[ Speaking Italian ]

[ Farinelli ] Grazie.
[ D'Angelo ] Prego.

[ Tapping On Glass ]

[ Speaking Italian ]

I GOT SOME BAD NEWS
JUST BEFORE I LEFT THE HOUSE.

[ Speaking Italian ]

Si.
Grazie.

THIS TIME
IT'S SALVATORE.

[ Clicking ]

[ Lead Hit Man ]
Buona sera, signori.
Buon appetito!

Basta!

[ Bernzy Panting ]

[ Sobbing ]

[ Siren Wailing ]

[ Siren Stops ]

[ Policeman ]
HOLD IT! HEY,
W-WHERE YA GOIN'?

BERNZY!
BERNZY?

* [ Classical ]

[ Door Buzzer ]

[ Buzzer ]

COME ON, LET'S GO.
MY GOD, YOU DID IT.

NOW, ARTY.
COME ON.

WHAT IF SPOLETO
FINDS YA?

HE'S FINISHED THE SECOND
THIS HITS THE PAPERS.

WITH ANY LUCK,
I'LL BE ARRESTED FIRST.

JESUS, BERNZY,
YOU'RE BLEEDING!

JUST GET THAT TO THE MIRROR,
THE NEWS, THE POST, TELEGRAPH
AND LIFE MAGAZINE.

I KNOW THE ROUTINE.

AND THIS
YOU'LL NEED TOO.

IT'S THAT PICTURE
OF THATCHER GRAY WITH SPOLETO.

COME ON.

[ Dispatcher On Radio ]
SUSPECT'S CAR HAS BEEN LOCATED
AT 401 WEST 81st STREET.

[ Policeman ]
THERE HE IS.
ARTY, YOU GO ON NOW.

[ Arty ] I WILL.

SORRY, BERNZY.
TAKE IT EASY.
HE'S BLEEDING.

GO AHEAD, ARTHUR.

YOU GONNA BE OKAY?
YES, GO AHEAD.

I SAID HE'S BLEEDING,
FOR CHRISSAKE!

ARTY, GO NOW, HUH?
OKAY, OKAY.

[ Agent Conklin ]
READ HIM THE STATUTES ABOUT
WITHHOLDING EVIDENCE AGAIN.

I TOLD YA.
I HAD NO EVIDENCE.

YOU HAD A PICTURE
OF THATCHER GRAY
WITH SPOLETO.

IF YOU'D TURNED IT OVER,
WE'D HAVE KNOWN WHO
THE INSIDE MAN WAS.

THAT'S YOUR JOB.
I JUST TAKE PICTURES.

YOU'RE OUTTA YOUR LEAGUE
HERE, BERNSTEIN.

THE POLICE MAY TAKE THIS
LIGHTLY, BUT I'LL BE GODDAMNED
IF THE BUREAU'S GONNA ALLOW...

SOME PICTURE PEDDLER TO
CREATE A GOVERNMENT SCANDAL
THAT HURTS THE WAR EFFORT.

I DIDN'T CREATE
YOUR DAMN SCANDAL.

JUST TELL US WHERE
THE PICTURES ARE, BERNZY.

NOBODY HERE
IS ENJOYING THIS.

I'M NOT SO SURE.

PUT HIM IN JAIL.

SIR, HE'S BLEEDING.
PUT HIM IN JAIL.

[ Whispering ]
HOLD ON. CHIEF OF POLICE
IS COMING IN.

STAY DOWN.
STAY DOWN.

ACCORDING TO THE TRIBUNE,
YOU'RE GONNA BE LAUDED ON THE
FLOOR OF THE SENATE TOMORROW.

SENATOR WATKINS IS GONNA
THANK YOU OFFICIALLY...

FOR SAVING THE LIVES
OF AMERICAN SERVICEMEN.

HOW'D YOU MANAGE TO GET
THE SHOT OF YOURSELF?

I DO MAGIC.

[ Chief ]
ALL RIGHT.
I HAVE HERE...

AN ADVANCE COPY
OF WALTER WINCHELL'S
SUNDAY NIGHT BROADCAST.

LEAD ITEM: "GOOD EVENING,
MR. AND MRS. AMERICA,
ET CETERA, ET CETERA.

"TONIGHT, A TIP OF THE HAT
TO LEON BERNSTEIN,

"BETTER KNOWN AS
THE GREAT BERNZINI.

"MANY IS THE NIGHT YOUR
REPORTER'S SEEN BERNZY,

"THE SUPPOSEDLY SORCEROUS
SHUTTERBUG, AT HANSON'S
ALL-NIGHT DRUGSTORE.

"BUT FRIDAY NIGHT, BERNZY
PROVED HIMSELF TO BE
A GREAT PHOTOGRAPHER,

"A GREAT NEW YORKER,
A GREAT AMERICAN.

"HIS FIRST EVER PHOTOS
OF THE MAFIA AT WAR...

"NIPPED IN THE BUD
ONE OF THE FOULEST SCANDALS
IN AMERICAN HISTORY.

"THANK YOU, BERNZY,
FOR SAVING THE LIVES OF

"COUNTLESS AMERICANS
OVER THERE."

GET HIM
TO A HOSPITAL.

BERNZY?

BERNZY?

YOU OKAY?

YOU MADE A DEAL
WITH SPOLETO.

HE SIGNED BACK THE CLUB
IN EXCHANGE FOR INFORMATION
ABOUT SAL AND ME.

RIGHT?

HE SAID HE WOULDN'T HURT YOU.
THAT WAS PART OF IT TOO.

YOU WEREN'T EVEN
SUPPOSED TO FIND
THE PLACE.

BERNZY--
WHY'D YOU DO IT?

I JUST COULDN'T
TAKE THE CHANCE...

OF LOSING THE CLUB.

IT'S LIKE YOU AND YOUR
PICTURES. YOU'D DO ANYTHING
FOR YOUR PICTURES, RIGHT?

WHEN DID YOU KNOW?

THE MINUTE I HEARD ABOUT SAL.

WHY DIDN'T YOU ASK ME
NOT TO TAKE THE PICTURES

IF YOU KNEW YOU WERE
GONNA MAKE A DAMN DEAL?

NOTHING WAS GONNA STOP YOU
FROM TAKING THOSE PICTURES.

YOU'D BE SURPRISED
WHAT I WOULD HAVE
DONE FOR YOU.

EVERYTHING THEY SAY
ABOUT ME IS TRUE, I GUESS.

IF I LOVED LOU AT ALL,
IT WAS FOR WHAT
HE COULD GIVE ME.

AND EVERYTHING THEY
SAY ABOUT YOU TOO,

THAT YOU'D RUN OVER
YOUR OWN GRANDMOTHER
TO GET THE RIGHT PICTURE.

STILL,
THIS WAS DIFFERENT.

ALL THIS WAS DIFFERENT,
BERNZY. WASN'T IT?

WASN'T IT?

DON'T HATE ME TOO MUCH.

[ Indistinct Shouting ]

GOD BLESS YOU!

[ Shouting Continues ]

BERNZY!
BERNZY!

KISS ME! KISS ME!
[ Arty ] BERNZY,
MEET MY PUBLISHER,

THE EMINENT ALBERT GERARD.
I'VE FOLLOWED
YOUR WORK FOR YEARS.

[ Arty ]
HE SAYS IF I WRITE
AN INTRO FOR YOUR BOOK,

UH, WHAT'S
IT CALLED?
PUBLIC EYE.

WITH AN ARTHUR NABLER
INTRODUCTION FOR
THE PUBLIC EYE,

HE CAN GUARANTEE US
A DOUBLE-SIZED FIRST PRINTING.

HOLD IT, EVERYBODY.
SMILE. TIME MAGAZINE.

[ Conklin ] ARE YOU OKAY?
I DON'T LIKE HAVING
MY PICTURE TOOK.

LET'S GET HIM IN THE CAR.
RIGHT OVER HERE.

DAMN IT, BERNZY,
LET IT GO.

YOU'VE BEEN WAITING
FOR THIS YOUR WHOLE LIFE.

WHATEVER IT TOOK,
IT'S WORTH IT.

LET IT GO.
HOW DO YOU DO THAT?

I DON'T KNOW. MAYBE IT'LL
MAKE YOU HUMBLE WHEN OUR
BOOK GETS PUBLISHED.

IT'S MY BOOK.
I'M WRITIN' THE INTRODUCTION.

SO, FINE.

COME ON, WE'LL GO
TO THE STORK CLUB.

[ Engine Starts,
Indistinct Radio
Transmission ]

HOW DO YOU TURN
THIS DAMN THING OFF?
[ Bernzy ] YOU CAN'T.

ISN'T THAT THE SWITCH
OVER HERE?

YOU CAN'T TURN IT OFF.

[ Police Dispatcher ]
2-11 IN PROGRESS,
THIRD AND BROADWAY.

[ Radio Dispatcher
Continues, Indistinct ]

[ Police Dispatcher,
Indistinct ]