All language subtitles for Accused.of.Murder.1956.1080p.WEB-DL.DDP.2.0.H.264

["You're In Love" playing]

♪ You're in love
You're in love ♪

♪ You're too shy to confess ♪

♪ You're in love
You're in love ♪

♪ You must try to confess ♪

♪ He's everything you adore ♪

♪ The one love you dreamed of

♪ And waited for ♪

♪ Take a chance, take a chance ♪

♪ Tell him now that you care ♪

♪ Don't refuse win or lose ♪

♪ You must make him aware ♪

♪ You're in love
You're in love ♪

♪ Can't you see? ♪

♪ You're in love ♪

♪ Cries my heart

♪ To me ♪

♪ Take a chance
Take a chance ♪

♪ Can't you see? ♪

♪ You're in love ♪

♪ Cries my heart

♪ To me

[audience applauding]

Yes, sir?

Could I have my check please,
Cesar?

Of course.

[indistinct chatter]

What are you doing out here,
Scarface?

Ah, take it easy, Mr. Hobart.

I understand, you've been doing
a little gambling...

about 50,000 dollars' worth,

with Mr. Bayless' money.

What $50,000?
What are you talking about?

Now, quit stalling
and answer my question.

You're not kidding anybody,
lawyer.

You're running
a successful brokerage business

because Mr. Bayless stacked you.

You should be grateful
to Mr. Bayless.

And instead you sell
his uranium company's stock...

Phony uranium stock,

based on an option
on desert land.

You shouldn't interrupt
like that.

You sold half
a million dollars' worth,

but you didn't turn over
all the money.

You held 100,000 back.

You gambled half of it
and spent the rest.

Are you calling me a thief?

Yes, you're a thief.

Now, you listen to me,
you cheap hoodlum.

If you ever try to contact me
in public again,

I'll have you and Bayless both,
thrown into jail.

I have enough evidence
on Bayless

to send him up for life.

Have it your way, Mr. Hobart.

Only, you better pay Bayless.

Mr. Bayless
is an important promoter.

He doesn't like to be cheated.

Mr. Bayless is a crook
and a gangster.

Mr. Bayless doesn't like
to be called names.

Beat it, will you.

I have something on my mind.

So is Bayless. He's got you
on his mind.

- Here you are, sir.
- Oh, thank you, Cesar.

- Everything all right?
- Couldn't be better.

Thank you.

Check.

[indistinct chatter]

- [phone ringing]
- [indistinct chatter]

Take care of our friends, Hank,
and I'll grab the phone.

Hello.

Oh, good evening, my friend.

We just now walked in
for the theater.

How is it going with you?

Threats, huh?

I'm surprised.

I expected denials...

but threats...

All right.

Reasoning gets us no place.

Take care of him for good.

Drop by in the morning.

- Good show, Ilona.
- Thank you.

Oh, Frank, I don't feel
like going out tonight.

Call me tomorrow, hm?

Thanks. I'll get my own car.

- Thanks.
- I'll have your car brought up.

No, not just yet. Thank you.

You know Frank,
it was my opening night.

- I'm tired.
- Too tired to listen to me?

All I ask is a minute,
two minutes?

I'm sorry. Better get in
and sit down.

You know I love you, Ilona.

Yes, I know.

You probably think I'm terrible.

You're a very poor mind reader,
darling.

This is what I think of you.

Oh, it's beautiful.
It's beautiful, Frank.

I... I appreciated it,
I'm sorry, I...

I can't accept it.

Why not?

Frank, try to understand.

You've been very generous.
It isn't that, it's...

Oh, why must we go
over it again?

Oh, don't be afraid, Ilona.

But I am.

Your gambling. All those men
you see sometimes.

- Chad Bayless?
- Yes, among others.

You know I'm in your country
on a work permit.

I can't take a chance
of being involved

with these people,
I might be deported.

You think I'm involved
with the underworld?

Lets' just say,
I don't love you,

I can't marry you. I'm sorry.

Excuses. Always excuses.

The fact is,
there's someone else.

Oh, yes, there is.
There's got to be.

- Good night, Frank.
- Oh, please, darling,

you don't understand
what this means.

- Good night.
- But...

[engine running]

[engine revs]

[engine starting]

[music playing]

[music playing continues]

- [music stops]
- [applauding]

[whistling]

[Sandra exhales]

Hey, how about a couple more,
huh?

Look, give somebody else
a whirl, will you, Mack.

- I need a little fresh air.
- Sure.

And a new body.

[music playing]

[gunshot fired]

[horn blaring]

[horn blaring continues]

Must be around the corner.

Mick, get down and get
that drunk off the horn

before he attracts the cops.
I don't like him.

I don't like him
snooping around here.

It's bad for business.
Go on.

Okay, boss.

[horn blaring continues]

Look, mister,
you're making too much noise.

- Hey mister, you're making...
- [horn stops]

[music playing]

That drunk, boss.
He ain't drunk. He's dead.

- Shot.
- Cops, cops. More cops.

I'll call 'em.

[phone ringing]

Homicide.

Oh, the Lieutenant is not here,
Captain. Sergeant Lackey is.

Serg.

Hello, Captain. What can I do
for you?

Ah, lieutenant's off tonight,
but I can get him.

[siren blaring]

- [Walt] Evening, Lieutenant.
- [Roy] Evening.

- [Walt] Sergeant.
- Hello, Walt.

- This the murder car?
- Sure is.

Medical boys are taking the body
Jeff is checking for prints.

- [Roy] Captain Smedley?
- Around the corner,

upstairs in the dance hall
with fifteen

beautiful hostesses. Fifteen.

That's where the call came from.

Okay.

I can't believe that some
of you, at least one of you,

didn't see something or hear
something that would help.

Come on. Somebody speak up.

It's like I told you, Captain.

The band was playing,
the joint was jumping.

Nobody heard or saw anything,

till that auto horn
started blasting.

Yes.

Oh, I'm glad you're here, Roy.

You know who got killed?
Frank Hobart. Shot.

Oh, it's great for the papers,
anyway.

Trumbull, here,
called in at 12:22.

All we've got so far is
that Hobart was alone in the car

when he was found dead
by that bouncer, here.

Everyone here
is like the three monkeys.

Nobody saw anything,
nobody heard anything,

and they won't say anything.

What was Hobart doing
in a neighborhood like this?

- Was he robbed?
- [Smedley] Uh-uh.

Over 200 in his wallet.

And a diamond ring,
worth at least 1,000 bucks.

What he was doing here,
I don't know.

But I do know where he'd been.

- Oh.
- Cipriano's.

I found this in his pocket.

Stub from a Cipriano's
dinner check, dated tonight.

Well, that's all I know
and it's your project.

- Good night, Roy.
- Good night, Art.

Lieutenant...

can I talk to you a minute?

- Check him, will you, Lackey?
- Yeah.

- What's your name?
- Sandra Lamoreaux.

- Sandra what?
- Lamoreaux.

- Your address?
- 118 Court, apartment C.

I... I wasn't gonna say anything
to you about this,

but I figured, maybe I'd better.

You know something about this?

Well, tonight, there was
a guy in dancing with me,

giving me a large spiel
about being big with the mobs,

you know, and then he tried
to date me,

which is strictly against orders,
so I put him in the deep freeze.

- And he left.
- Well?

Well, nothing, I guess,
except that...

after he left,

about five minutes
after he left,

that horn started blasting.

- You sure of the time?
- Sure, I'm sure.

He left, see.

And before I could even
start dancing with anyone else,

I heard that horn.

Lieutenant, do you think
he could've done it?

Would you recognize
this man again, if you saw him?

Well, gee, I... I guess so.

Look, don't you have pictures
of those guys, you know?

Yeah.

I want you to be at this address
tomorrow morning.

- See Sergeant Lackey.
- All right.

- Captain, could we let the...
- Lieutenant.

Lieutenant? Sorry.

How about letting
these people go?

They don't know nothing
and holding them here

- is bad for business.
- Yeah, they can go

as soon as they give the names
and addresses

to the officer here.
Let's go. Cipriano's.

- Sure thing, Roy.
- Thanks, Lieutenant.

All right, music man, let's have
a little "Home Sweet Home".

We're gonna close the store.

[music playing]

Sorry, gentlemen,
but it's closing time.

Police. Wanna play a little game
of questions and answers?

City police.
You're outside city limits.

Listen, mister,
we might not be so good-natured

if we have
to call in the sheriff's men.

You have any objections
to hearing the questions first?

You can ask questions
and questions.

Let's have a sample of yours.

- Was Frank Hobart here tonight?
- Sure.

So were lots of other people.

But right now,
you focus on Hobart, mister.

Who was with him when he left?

Let's stick to your question,
sir, not his.

- Did Hobart leave here alone?
- He sure did.

You're making
that pretty definite.

When Mr. Hobart came out,
he went over Miss Vance's car.

She's a new singer,
started tonight.

She's a friend of Mr. Hobart.

This girl and Hobart, what did
they had to say to each other?

Well, I couldn't hear 'em.

But after a while, he get out
of her car and she drove away.

Then he got in his car and left.

- What time was that?
- Oh, about 11:15.

She finishes at 11,
it was a little after that.

Would you say
that he was following her?

I wouldn't know.

And now, it's my turn to bat,
I'd like to ask a question.

Why all this interest
in Mr. Hobart?

Is he in trouble?

- He was murdered tonight. Shot.
- Murdered?

You said this girl
was a friend of Hobart's.

What do you mean by friend?

Gentlemen, starting now,
I got nothing to say.

I'm not getting a nice girl
like Miss Vance in trouble.

Nice girl?
How long have you known her?

Knowing a girl a long time
don't make her nice,

there's lots of nice girls
I never even met.

If you wanna know anything
about Miss Vance,

- you... you better ask the boss.
- [Roy] Thanks, we will.

[door shuts]

Ah, Lieutenant Hargis
and Sergeant Lackey.

- Good evening, Cesar.
- Good evening.

Now, we'd like to have
a little talk with you.

- Official.
- Of course.

As I remember, Lieutenant,

you favor cognac late at night,
huh?

Oh, perhaps you don't drink
on duty.

- No, not on duty.
- Uh-huh.

You knew Frank Hobart,
didn't you?

You know, the lawyer.

Certainly, certainly,
I knew him.

He's a regular customer here.
Mr. Hobart is...

- You said, "Knew him"?
- Hobart's dead, Murdered.

But he... he was here tonight,

only... only a couple
of hours ago.

- Any idea who did it?
- No, not yet.

Miss Ilona Vance. I understand
she was a friend of his.

I can save you the time,
Lieutenant.

Ilona Vance couldn't kill
Frank Hobart or anyone else.

You can tell
that just by looking at her.

Cesar, if killers
looked like killers,

our job would be so much easier.

Miss Ilona Vance.
Tell me about her.

[stammers]
There's not much to tell.

A little over a week ago,

Mr. Hobart asked me

to audition her
for a singing job.

Her voice is good, not great.
She rehearsed all week,

and she opened tonight.

- Anything else?
- Pretty handy for a girl,

having an influential friend
like Hobart,

getting a job for her in a place
like this.

Hate to disillusion you,
Sergeant, if that's possible,

but Miss Vance doesn't know
that he got her the job.

She thinks it was her agent.

Hobart, made me promise not...
not to tell her. [chuckles]

What do you think of that?

Well, we'll file it under
"Unlikely."

Was Hobart in love with her?

- Keeping her.
- In love with her, yes.

Keeping her, no.

Now, let me tell you something
about yourself, Lieutenant.

You have been a cop for a lot
of years.

A good cop, I hear,
but a human being,

never.

The job and therefore your life,

has been devoted to dealing
with crooks, with people,

who just think in terms
of a fast buck. [chuckles]

Now, a person like Miss Vance,

that is someone
you'll never understand.

Oh, thanks. Was she in love
with him?

No.

And I suppose you're gonna say,
that's why she killed him.

No, I haven't said she did.
What do you know about her?

Her background,
her personal life, anything?

- Nothing.
- Not even her address?

That I got,
She's an employee.

Here it is. Put it down.
Put it down.

"417 Locust, apartment 203.
The Cradent Arms."

Respectable, inexpensive,
middle class.

Do you still think
Hobart keep her?

Well, thanks for the philosophy,
Cesar.

All right, let's drop in
on Miss Ilona Vance.

Maybe she'll sing us
a little tune.

[reporter on radio chatter]
Main criminal lawyer

was shot to death tonight
in his swank car,

by what police believe

must've been a gun
of .38 caliber.

Although the weapon
has not yet been found,

the police have been
questioning all the people

- in the surrounding area.
- [doorbell buzzing]

- Miss Ilona Vance?
- Yes.

Police.

I'm Sergeant Lackey,
this is Lieutenant. Hargis.

How do you do?
Won't you sit down.

You used to having the police
drop in on you, Miss Vance?

You don't seem surprised
to see us.

I heard about Frank's murder
on the radio.

I thought you'd be coming
around sooner or later.

Oh, you heard about it
on the radio.

Yes, on the radio.

You and Hobart
were pretty friendly, we hear.

I liked Frank.
Liked him very much.

- I see.
- Well, the way we hear it,

Hobart was in love with you.

What's wrong with that?

Can't you see I feel awful?
Can't you come back tomorrow?

- Awful meaning sorry?
- Of course, I am sorry.

I told you, I... I liked Frank,
I liked him a lot.

I mean sorry
that you killed him.

All we wanted to know,
Miss Vance,

is whether you saw Mr. Hobart

after you left Cipriano's?
Did you see Mr. Hobart?

No, no I didn't.

This was my opening night
and I was very tired.

I came straight home.

I... was too nervous
to get to sleep,

so I turned on the radio.

[Roy] I understand.

But there's something I want you
to understand.

This is our job, it's our duty
to talk to people,

who might be able to tell us
something about Frank Hobart.

I... I suppose so.

We're not going to bother you
anymore tonight,

but we'll be back again.

There are probably some things
that you can help us with,

talk to us about.

I want you to try
and get a goodnight's sleep.

Thank you, uh, Lieutenant?

- Lieutenant. Goodnight.
- Goodnight, Lieutenant.

[Roy] It's tough on a girl,
going through a thing like this.

- Tougher on Hobart.
- Meaning what?

She's lying.
For my money, she killed him.

[Hank] Mr. Wilbo
to see you, sir.

[Chad] Sure, Hank.
Send him out here.

And Hank,
hold the rest of the breakfast

- until after Mr. Wilbo's left.
- [Hank] I understand, sir.

Stan and I wanna have
a little man talk, darling,

- do you mind?
- of course not, darling.

Morning, Chad.
How are you, Mrs. Bayless?

Fine. Thank you, Stan.

Don't be long, sweet one.
Myra's hungry.

Be just a few minutes, honey.

- Oh, sorry, Chad, I...
- Don't apologize, Stan.

Makes me feel good knowing
other men want her,

and I got her.

- It was a neat job.
- I like things neat.

- Sure, nobody saw you?
- Not a chance.

- You're a good boy, Stan.
- [horn blaring]

Just keep on like you are,

and we'll never have
any trouble.

But always be careful, Stan.

Never make any mistakes,
I don't like mistakes.

I know too much about you
for that.

With what I know
it could send you to the chair.

Be careful with that too.
That's $5000.

Now, scamper and stay out
of sight

until this business dies down.

Anything you say, Chad.

That's what I say.

- [Roy] Good morning, Jeff.
- Morning, Lieutenant.

- The captain wants to see you.
- Thanks.

Oh, uh, Lackey left a message.

Said to tell you,
it's Sandra Lamoreaux

was in and looked
at the pictures in the gallery.

- Did she identify anything?
- Not a one.

Okay.

Good morning, Art.
You wanted to see me?

Yes, um, this Hobart mess.

Well, so far, it's still a mess.
It's too soon to tell much.

All we know is that Hobart
left Cipriano's last night,

and stopped in the parking lot,
and had a talk with a new singer

that started out there.
Her name is Ilona Vance.

It seems that he got her the job
but she didn't know it.

He was in love with her,
but it was a one-way street.

My, my, my.
And did they leave together?

Well, she says, no
and the doorman says, no,

and they both say that she left
in her car first,

and then Hobart left.

She claims that's the last time
she saw him.

You believe her?

Well, there's no reason not to,
so far.

- She's a foreigner, isn't she?
- Uh-huh.

Then probably here
on an artist work permit.

Uh, what about checking
the immigration boys?

- Getting her record?
- All right.

What about Hobart's connection
with the mobs?

He defended quite
a few of the lads.

Yeah, he'd defend anybody
who'd pay his price.

We're running down
his latest shady connections.

[intercom buzzes]

- Yes?
- [Jeff] Sergeant Lackey, sir.

Send him in.

Morning, Captain. Roy.

- Look what I found.
- You found? I found it.

Wait in line mister,
your turn will come.

It might be the murder gun.

[Smedley] S&W .38.

Same caliber as the bullet
that closed Hobart.

Barrel shortened
maybe two inches.

Meaning probably a hood's gun.

This looks like it's been
in a cesspool.

You say, you found it.
Who are you?

My name's Les Fuller,

and I work
for the bureau of sanitation.

[Lackey]
He means he's a sewer cleaner.

Yeah, I know.
But let him tell it. Go on.

I was cleaning out a drain,
you know, taking out the junk,

when I found the gun.

I showed it to a cop
and he called him,

that's all there's to it.

And this drain, where is it?

- On Soto, near Judson.
- See, what I mean.

Half a block from the scene
of the murder.

Fred, come in here a minute.

Well, thanks, Mr. Fuller
for your help.

It might turn out to be
very important.

Thank you, sir.

Any time I can be of service,
let me know.

Mm.

- Yes, Captain?
- Hurry this down to ballistics.

Tell 'em, I wanna quick comparison
with the bullet found in Hobart's body.

Fingerprints?

No, this gun's been in water
and mud. No chance for prints.

Yes, sir.

Sawed-off .38,
only good at close range.

But a hood can hide it
in his pocket.

Or a girl in her purse.

- Meaning?
- Ilona Vance.

Lackey, when you get an idea
in your head...

I don't see anything wrong
with talking to the girl, Roy.

Maybe, she'll recognize the gun.
Maybe, it belonged to Hobart.

- Of course.
- But first stop

in ballistics. If the gun
doesn't check, forget it.

All right. Let's go.

How did you get in here?

There was a woman cleaning
the apartment,

so I came in and told her
I'd wait.

Who are you? What do you want?

Sandra Lamoreaux.

Hostess
at the Love Land ballroom.

Awful hard work for a girl
with sore feet.

You know where the ballroom is,
honey?

No.

It's on Judson Street,
right around the corner

from Soto Avenue.

All right, grab your shoes
and get out...

Judson and Soto?

That's right.
Judson and Soto, upstairs.

It's funny.

Last night, just a little bit
after midnight,

I'm dancing with this sailor.
It was awful hot in there.

I was tired. Oh, those sailors...

Get to the point.

I'm getting there, honey.
Will you relax?

Well, like I said it was hot
in there,

so I went over to this window
for a little cool air.

All of a sudden,
I heard a noise,

you know, a shot.

So, I looked down...

guess who I saw.

[Sandra groans]

Who did you tell?
Who did you tell?

Nobody!

I told the cops there was a guy
in there dancing with me,

give me a big spiel about being
with the mobs.

I told him he left just before
that horn started blasting.

So this Lieutenant had me down
to the police station

to look at some pictures,
just in case.

And you saw picture of me, huh?

I recognized that scar.

But I didn't let on.

And on the back of your picture,
was your name and address,

so I came over here.

So if you stick to your story,
you want money, is that it?

He paid big for a job
like the Hobart killing.

I could've told them the truth,
you know.

You still could, couldn't you?

Anybody beside the maid know
you're here?

I mean, did you tell anybody,
you were coming to see me?

Oh, uh, only Marge.
She's my best friend.

She's waiting downstairs.

You know, you haven't gotten
anything on me.

You lied to the cops.

They're not gonna believe
anything you say from now on.

Now, here's a C note,
and it's more than you deserve.

- [Sandra grunts]
- And that's to remind you

not to come back!

- [Sandra crying]
- Now, get out.

- Get up and get out of here.
- [Sandra crying]

["Song in the Heart of Paris"
playing]

♪ From the Seine to Montmartre

♪ With each new morning start ♪

♪ There's a song in the heart Of Paris ♪

♪ Every day of the year

♪ All the laughter you hear ♪

♪ It's the song in the heart Of Paris ♪

♪ Every friendly bonjour

♪ Is a word of amour ♪

♪ And a stranger can find Bon ami ♪

♪ And you know
You belong... ♪

- Good evening, gentlemen.
- Good evening, Cesar.

♪ The song in the heart of

♪ Paris ♪

♪ Every friendly bonjour ♪

♪ Is a word of amour ♪

♪ And a stranger

♪ Can find bon ami

♪ And you'll know you belong ♪

♪ When you're part of the song ♪

♪ The song in the heart of

♪ Paris

How about your office, Cesar?

- We wanna talk to that girl.
- Oh, sure, sure.

I hope you've brought
your own rubber hose, huh?

That Cesar, he sure lives high
on the hog.

[door opens]

[sighs] Good evening,
Lieutenant.

- You wish to see me?
- We have some questions, Miss Vance.

Good evening, Miss Vance.

You do not have a permit
to carry a gun, I looked it up.

I don't understand.
I don't have a gun.

Then you borrowed it. Who from?

I tell you I never owned a gun,
I never borrowed a gun.

What are you trying
to make me say?

Maybe it was Hobart's, maybe
you shot him with his own gun.

- I didn't shoot him.
- Let me talk to her, will you.

Wait out at the bar.

[door opens]

[door shuts]

No, thanks.

Lieutenant,
is this the regular procedure

in a case like this?

Yes, it's part of regulation.

Then you believe in doing things
according to regulation.

Oh, you surprise me.

- I do, Miss Vance?
- Oh, yes. Very, very much.

You strike me as a sort of man

who doesn't pay any attention
at all to regulations,

but does pretty much
as he pleases.

Well, it's not very important
how I strike you.

Oh, I disagree.

It's very important to me.

It seems that my life
is in your hands.

What do you mean?

I'm quoting Cesar Cipriano.

Oh. Cesar's inclined to be
a little over emotional.

I wouldn't pay
too much attention to him.

Now, would you tell me
where you were last night,

say, from about 11:15
until we saw you.

- I told you last night.
- I know you did.

But would you mind telling me
again?

It was my opening night,
I was very tired.

I came straight home.

I couldn't get to sleep,
so I turned the radio on.

That's how I found out
about Frank.

But when you left him here
at Cipriano's,

how were you two getting along?

- We'd been quarreling.
- Why?

Frank wanted to marry me,

and I just didn't like him
that much.

He was very jealous and insisted
that there was someone else.

Was there?

Is that part of this?

No, no. Go on.

Well, anyway, there isn't.

And you didn't see
Frank Hobart again that night.

For the third time, Lieutenant,
no.

Miss Vance, uh,
routine question.

- Do you own a gun?
- No, Lieutenant, I do not.

I'm afraid of guns.

The ballistics report tells us

that Frank Hobart was killed
by a bullet,

fired from this gun.

We're trying to identify it.

Trying to locate the owner.

Would you please look at it?

I never saw it before.

- You're certain.
- [sighs]

Lieutenant, have I answered
all of your questions

to your satisfaction?

- Yes, for the time being.
- Then you'll be back?

Yes, but not right away.

Lieutenant, I depend
on your word,

your good faith for this,
should I get a lawyer?

Well, of course,
that's up to you,

but I don't think
it's necessary.

Very well.

You see, I trust you.

Well, I have to be going along

and thanks again
for your cooperation.

[door shuts]

Drop me off at my place,
will you, Emmett.

- I wanna get some sleep.
- Sure.

I showed that girl the gun,
she never saw it before.

Sure.

- Anything new come in?
- Is Lieutenant with you?

No, he's grabbing some sleep.

That's what I'm gonna be doing
in about ten minutes.

- Well, I hate to wake him but...
- Wait a minute.

What's on your mind?

This fellow called,
left his number.

Said he wanted to talk
to the man

in charge of the Hobart case.

Said he recognized
the murder gun.

Saw its picture in the paper.

No sense in waking Lieutenant
until we know it's important.

Let me call this joker myself.

[phone ringing]

Hello. Oh, it's you Emmett
Good morning.

What? Identified the gun?

Why didn't you call me earlier?
It almost ten.

I'll be right down.

- [Jeff] Morning, Lieutenant.
- Morning, Jeff.

- Sergeant Lackey?
- In your office.

Thanks.

Roy.
This is Whitey Pollock.

Pollock, Lieutenant Hargis.

Glad to make
your acquaintance, Lieutenant.

My sergeant here tells me
you can identify the gun.

- Is that right, Pollock?
- Yes, sir.

I saw the picture in the paper.
Right away, I recognized it.

So, naturally, trying to be

a good citizen like, I...
I phoned you last night

to tell you...
- Last night?

- You phoned me last night?
- Yes, sir, I...

I didn't see the papers
till late, so I... I couldn't...

So, you phoned me?

Because you wanted to be
a good citizen,

not because you wanted
to be paid for it?

You know about this, Emmett?

- Yeah. Roy, I knew about it.
- Did you?

You talked to Pollock
last night. You got his story.

What's the matter?
Anything wrong with that?

But you didn't call me
last night.

You didn't call me
till almost ten this morning.

I didn't see any reason
to bother you, Roy.

You said you wanted to sleep.

Thanks.

Go ahead, read me your story.

Sir, I knew this gun right away,

'cause it was used to be mine,
that is

- before Brosia took it away...
- Brosia?

- Nick Brosia?
- Yes, sir, he's dead now, sir.

I know. He stepped in front
of a cab. Tell me some more.

Back in those days, I used
to work in Brosia's place,

- you know...
- Yeah, we know that too.

The River Dance Hall,
down on the water front.

First called out of bounds
by the army,

and then closed
by the liquor board.

Go on about the gun.

Well, like I said,
the gun used to belong to me,

'till he took it away from me,
said he'd give it back to me,

he never did.
He gave it to this singer,

he had working there for him.

Said she needed it
for protection.

I see. Of course,
you remembered her name

when you read it
in yesterday's paper.

That's right, sir. Ilona Vance.

Well, thanks, Emmett.

Thanks for letting me sleep.

Look, you gotta face it, Roy.

This ties in the girl
tighter than a hangman's noose.

Does it?

Wino, how long have you been
hanging around Skid Row?

Oh, I ain't drinking now,
Lieutenant.

Honestly.
No, I... I took the cure.

Ah, you took the cure, hm?
How many times?

Three times.

How many times
have you been bucked, fifty?

That's all. Get out.

Wait a minute, Roy.
He still gotta

- sign a statement.
- What for? On your way.

What's gotten into you?

I nailed a girl down
and you throw away the hammer.

Emmett, you're a sergeant
and I'm lieutenant,

and that means exactly
what it's supposed to mean,

I'm boss.

It means, for example,
that you phone me

when something turns up.

It doesn't mean that
you work alone or let me sleep.

If I needed that kind of help,

I'd have asked you
to sing me a lullaby.

- Does that square us around?
- Sure, Roy, sure.

But you got me wrong.
I still think

Whitey Pollock's story
nails down the girl

and I still think
you oughta get his statement.

The statement
of a habitual drunk?

Who'd believe it...

except you?

All right, Roy.

You made your point,
you're the boss.

What do we do now,

to keep that girl
out of trouble?

How about
that immigration report?

- Gimme time, Roy, I'll get it.
- You do that.

Start thinking of the Hobart's
connections with the mobs.

Find out what mobs
didn't like him?

Find out which mob
didn't like him the most.

Get on with it
and let's have some results.

[man speaking indistinctly]

Take any messages, Jeff.
I'll be back in about an hour.

Sure thing, Lieutenant.

[music playing]

[doorbell buzzing]

- Oh. Good morning, Lieutenant.
- Good morning, Miss Vance.

- May I come in.
- Oh, yes. Of course.

I need company.

- Would you have some coffee?
- No, thank you.

- More questions?
- More questions.

How did you get
your job at Cipriano's?

It's one of the best spots
in town.

Singers must fight to get
a job out there.

My agent sent me out there,
I was auditioned

and I got the job. That's all.

Are you surprised, Lieutenant?

You worked at Cipriano's,
and before that?

I wasn't working.

Well, how long were you in town
before you went to work out there?

I'm not so sure.
Four months, I think.

You had money enough to last
that long?

Yes. I made it in San Francisco
before I came here.

Oh.

I don't understand these
questions at all, Lieutenant.

Of course,
I'll answer them but...

All right, answer 'em.

I taught ballroom dancing
in San Francisco.

- But not here?
- No, not here.

Will you please tell me
why you ask me these questions?

I'm trying to clear something up.

What?

As I told you before,
Lieutenant, I trust you.

I depend on your advice.

I haven't seen a lawyer,
but now I have a feeling that...

Yes?

That you're against me.
That you're trying to trap me,

that I can't depend on you.

If my feelings are right, I...

I think I should answer
no more questions,

until I have consulted a lawyer.

Well, that's your privilege,
Miss Vance.

But all along, I felt that...

- if I was really sure that you...
- I'm a police officer,

and I've got a job to do.

Yes, I know, I know.

I'll answer your questions,
Lieutenant.

Thank you.

Did you ever hear of a place
called the River Dance Hall?

No, I don't believe I ever did.

It used to be run by a man
named Nick Brosia.

He was killed about a year ago.
Run over by a taxi.

You don't remember reading
about it in the papers?

No.

Then you never knew Nick Brosia?

All along, I've had the feeling
that I was being,

oh, what's the word I want,
Lieutenant?

- Friend?
- Yes.

Why do you say that?

I don't really know, it's...

it's just a feeling,
call it intuition,

whatever you please.

But now that you mentioned
the River Dance Hall, I...

I'm certain of it.

Then you did work there?

Yes.

Why did you lie to me?

Because I was ashamed to admit
I worked in such a place.

But I had to.

I didn't have a penny.

And you knew Nick Brosia?

Yes, an awful man, terrible.

He made a play for you?

I had to leave.

- You just picked up and left?
- What do you mean "picked up"?

I left one night
and never went back.

Did you talk it over
with Brosia first?

No, no.

Did he ever suggest to you
that your life was in danger?

No.

What do you mean?

He never gave you a gun?

A gun? What would I do
with a gun?

You see, this is what I mean,
Lieutenant. [sobs]

I am being framed.

[sobs] Oh, you've got
to help me. Please, help me.

I'll help you.

[laughs]

Sorry, Lieutenant.
I should've knocked.

[phone ringing]

Hello.

Who?

What do you want?

You shut your cop pickin' head,
I'll tell you what I want.

You gave me a black eye

and I can't work
at the ballroom!

Sorry ain't good enough.
Sorry's cheap.

Not me. Oh, no.

'Cause, mister, that black eye
is gonna cost you

exactly 500 bucks.

- Now. Immediately!
- Five hundred bucks?

Why you, little tramp,
I'll tear your other eye out.

Now, hold on a minute.

[mumbles]

Oh, I'm sorry, Miss Lamoreaux.

Sorry about my bad temper.

Uh, black eye and a pretty girl
like you,

that's worth 500.
Where do you live?

Oh, it's just a few blocks?

Yeah,
I'll bring the money right over.

Well...

that's more like it,
Mr. Stan Wilbo,

and I want that dough
in five minutes.

You hear me good? Five minutes!

'Cause in exactly six minutes,
I'm calling Lieutenant Hargis.

Police Lieutenant Hargis.

Maybe, he'd like to know
what little girls see

when they look out windows. Ha!

[chuckles]

Mm!

[laughing]

Guess, I fixed his buggy, huh?

Fixed his buggy,
fixed your hearse,

oh, Sandra, Sandra,
you're such a fool.

Fool?

How many fools you know
can get 500 bucks

in one little old phone call?
Just pick up the phone and...

All right have it your way.
It's too late now.

Here's the raw beef
for your eye and I've gotta get

- to the drive-in, I'm late now.
- Ah.

Thank you, Marge.

You know what?
You know what I can do for you?

I'm gonna buy you some pretty,
pretties

- out of that 500. You'll see.
- Sure, you will.

Sure, you will.

Sure, I will.

I will too.

Get me the police department,
quick.

Never mind what number this is.
Hurry.

Just get me the cops.

Police department, I wanna speak
to Lieutenant Hargis. Hurry!

[phone ringing]

Hargis speaking.

Well, who is this talking?

All right,
don't give me your name.

Who?

Sandra Lamoreaux? But where?

Well, thank you.

[siren blaring]

Open up in there.

Open up!

Ambulance. Quick.

How about it, doc?

- Cerebral concussion. Serious.
- Will she live?

As a guess,
but only a guess, yes.

She was clubbed brutally
several times by a blunt object,

maybe by the butt of a gun.
Whoever did it, meant to kill.

May I speak to her for a moment?

You can try but only
for a moment.

Miss Lamoreaux,
do you remember me,

Lieutenant Hargis?

Lieutenant.

I should've called you.

I tried to question your friend,
Marge Harris,

but she was afraid to talk.

Who did it?

S... Stan...

Stanley Wilbo.

I lied to you, Lieutenant.

I saw his picture in your files.

He wasn't in the ballroom,
dancing with me...

I saw him down on the street,
when that big lawyer was killed.

Get him, Lieutenant.

Get him good!

- This Stan Wilbo you saw...
- Not any more now, Lieutenant.

Did you bring her in?

I checked with the captain first.

His orders.

Try not to worry, Miss Vance,
it won't be too long.

Now the left hand.

Been expecting you, Roy.
Sit down.

You ordered Miss Vance
picked up?

You ordered her booked.

- I did.
- On what evidence?

If it's not too much
for me to ask.

The man you put in charge
of the case.

The man I put in charge
of the case

was getting emotional.

Emotional with the suspect,
a mistake.

On what evidence?
Answer the question.

You're a good cop, Roy.
Very good. Only, this...

Captain, I asked you a question.

The gun, it belonged to her,
all right.

It was the one
Nick Brosia gave her.

The testimony of Whitey Pollock?

The testimony of a wino?

I had Pollock brought in again.

And I had two guns right here
on this desk.

Pollock picked the right one
without hesitation.

Only because he saw pictures
of it in the newspapers!

Only this morning,
he examined it in my office.

But to claim he can identify it,
because he saw it four months ago,

is utter nonsense!
This isn't evidence.

They'll throw it out of court!

Enough to justify an arrest?

What happened to you, Roy?

You were the best man I've got.
But now...

What happened to me?
What happened to you?

Letting Lackey wind you
into a stupid move like this.

What do you want?

A quick arrest for the newspapers?

- Or a conviction?
- Both.

And I think you're going
a little too far.

I'm going a lot further,
Captain. A lot further!

Hold it, Roy.

Lieutenant, come back here!
That's an order!

[door shuts]

Come on. Get up.

That tramp.

That dirty little tramp.
She's still alive.

She must have a head
like an anvil.

Sandra Lamoreaux?

How do you know
she's still alive?

[scoffs] How do I know?
You're here, aren't you?

Who else'd finger me for you?

Yeah, I'm here.

I got an ambulance for her,
I'll get one for you too.

Jack, Roy Hargis.
Got a pick up for you.

833 Park Terrace, apartment 201.

No, not the dead wagon
this time, just the ambulance.

We're saving this one
for his trial and execution,

yeah, right.

What do you mean execution,
the dame's still alive?

She was, maybe she still is.

But I'm picking you
for the Hobart killing.

Oh, no you don't, copper.
That I didn't do!

Yeah, I know.

At that time,
you were on a little reunion

with your family,
Little Rock, Arkansas...

Now, listen to me, cop.
You gotta listen to me.

I don't have much choice, do I?

What do you think I'm gonna do,
walk out and leave you?

- Go ahead. I'm listening.
- All right.

I'm telling it to you true,
copper. All of it.

Sure, I got paid
for the Hobart killing.

I got most of it right here.
Five G's.

Who paid you?

You were giving it to me true,
remember? All of it.

- Chad Bayless.
- And that figures.

But I didn't do it.
I was going to, but I didn't.

- She beat me to it.
- She?

That meadowlark,
over at Cipriano's, Ilona Vance.

I'm telling you,
I saw her do it!

All you got on me is assault
on that Lamoreaux tramp.

With intent to kill.

Well,
that's only a one to 14 rap.

It ain't the chair.

You can check my gun.

Ballistics will tell you, it never
fired the slug that killed Hobart.

You threw that gun in the sewer.

- This is another gun, Stan.
- Oh, no. I didn't.

- [siren blaring in distance]
- Look, I told you

the whole piece,
I gave it to you in a package,

why don't you take it?
Why don't you believe me?

- [siren blaring]
- Why should I?

- [siren stops]
- Your limousine is here.

Can you walk
or do you want a stretcher?

Next time I talk,
it will be through a lawyer.

Evening, gentlemen.
He's all ready for you.

Only a flesh wound,
nothing serious.

All right.

He's all yours, Art.

Thanks, doc.

So, you're Stanley Wilbo?

I understand you got 5,000
for killing Hobart.

Well?

I'll talk to my lawyer.

That ought to be
an interesting chat.

Come on.

Stand over here
where she can see you.

Nurse, will you raise her up, please.

Miss Lamoreaux.

No. No, don't...
don't let him come near me.

Can't hurt you, Miss Lamoreaux,
never again.

But you do recognize him
as the man who assaulted you?

Yes. Yes, he's the one.

- Please take him away!
- That will be all,

- Miss Lamoreaux. Thank you.
- [cries]

[Sandra crying] Please...

That girl's testimony
boxes him in for keeps.

- Ah, I suppose so.
- Why so glum, Roy?

It means you took the kick-off
and ran for a touchdown.

It also means complete clearance
for Ilona Vance.

Looks like it.

Look, Roy,
are you still brooding

about some of the things I said
to you?

I'm sorry. I was wrong,
I apologize.

That's all right, Art.

- I was a little hasty, myself.
- [laughs]

Here's Chad Bayless, Captain.

Ah, through the years,
I've heard a lot about you, Bayless.

This folder contains
a very interesting resume

of your past record,

and your latest exploit
with Hobart.

Something
about phony uranium stocks.

I'm glad to meet you at last.

Glad to meet you here.

You'll find me 100 percent ready
to cooperate, Captain.

Oh, all right, Bayless.

I, uh... I had you picked up
on certain information.

The information is
that you paid Stanley Wilbo

five-thousand dollars
for the killing of Frank Hobart.

- Is that correct?
- And just one point, Captain,

may I ask where you got
this information?

[Bayless] It's ridiculous.

Ooh, that's what Stanley Wilbo
told Lieutenant Hargis.

Stan.

[Smedley]
The question, Bayless?

The whole thing's outrageous.
I wanna talk to my attorney.

- Anything else, Roy?
- No, nothing.

Do you have
any well-chosen words

for this occasion?

- I'll save 'em for my lawyer.
- [Smedley groans]

Take 'em away. Separate cells.

Take another swing at me, Roy.
I deserve it.

That's all right, Emmett.
I'll keep it in my hope chest.

Say, Art, what about Miss Vance?

Oh sure, Roy. Right now.

- [Jeff] Yes, Captain?
- We're dropping the charges

on Miss Vance.

Have her released right away,
in Lieutenant Hargis' custody.

- [Jeff] Yes, Captain.
- Thanks, Art.

Oh, I almost forgot.

The immigration boys
gave Miss Vance

a nice clean record.
Go get her Roy.

How did you do it, Roy?

How did you get me out
so quickly?

I pinned Frank Hobart's murder

on a hood named Stan Wilbo.
A hired killer. That's all.

What's going to happen to him?

He'll be executed.
There's no doubt about it.

Roy, I... I don't anything
about this man.

Maybe he deserves to die, but...

but not for killing
Frank Hobart.

Why not?

Because he didn't do it.

That's what I thought.
Now tell me the truth.

First, about the gun,

I was frightened and I...
I lied to you.

Nick Brosia gave it to me.

Somehow, I can't see you
carrying a gun?

Oh, I didn't carry it, Roy.

I gave it to Frank and he put it
in his car.

Tell me about that night.
The night Hobart was murdered.

I lied to you again, Roy.

I told you
I left Cipriano's that night

and I didn't see Frank again.

But it wasn't true.

Frank followed me home

and stopped me in front
of my apartment.

He said he had to talk to me.

Ilona, why can't we do this much
at least?

Go to a drive-in and have a
sandwich and some coffee.

Please, Ilona,
I need your understanding,

I'm in trouble.

Trouble? What kind of trouble,
Frank?

All right, I'll go with you,
but remember, a drive in.

No stops on the way there
and no stops on the way back.

All right.

[Ilona] Frank behaved himself
for a few blocks

and then suddenly,
pulled into the curb

- and stopped the car.
- [music playing on radio]

Frank, you promised, no stops.

There's one thing I've got
to know.

Why can't you love me?
What's wrong with me?

There's nothing wrong with you,
Frank. Nothing at all.

It's just that a person
can't fall in love

to please someone else.

Then it is me,
I'm a fool and a failure.

I don't wanna live any longer.

[gunshot fired]

Frank.

[gasps]

[horn blaring]

I can still hear that car horn.
It was so loud and so long.

Almost as though
he were chasing me,

crying after me.

Roy, I... I don't care
what kind of a person he is,

the man you arrested.
I've got to go back.

I can't let anybody die
for something he didn't do.

That's right.

But I'm frightened
just the same.

Suppose, they don't believe me.

Suppose I'm convicted or...

- or sent out of the country.
- Don't be frightened.

The jury could never
convict you.

First, it was an accident,

second,
you're coming in voluntarily...

and the third, there's no proof,
and can be none,

that your story isn't true.

- Let's get it over with.
- Good.

["You're In Love" playing]

♪ You must make him aware ♪

♪ You're in love
You're in love ♪

♪ Can't you see ♪

♪ You're in love ♪

♪ Cries my heart to me ♪

♪ Take a chance
Take a chance ♪

♪ Can't you see

♪ You're in love ♪

♪ Cries my heart

♪ To me

[audience applauding]

- He paid for it.
- Take it back.

His money is no good in here.

- Good night, Roy.
- Good night, Emmett.

Did you like it?

You're just as good
as it ever was.

Thank you.

Break this over your bow.

We are witnessing
a historical event.

A good cop like the Lieutenant,
turning into a human being.