Original subtitles

[instrumental music]

[music continues]

[engine revving]

[cars honking]

[indistinct chatter]

- We got it, Tony. - Here you are, Tony.

Signed, sealed and delivered, and all legal.

I'm getting the best of the deal, Pop.

A fifty-percent interest in your lodge is worth

a lot more than $3000.

Our lodge, Tony. Willie and I want you at Mile High.

The money part isn't important.

How soon are you coming back, Tony?

Oh, a week, maybe.

Faster if Sally can get ready in time.

- I'll wire you. - Make it fast.

We've got the lumber for those cottages all cut.

Easy, Willie, easy. We've waited years for this.

We can wait a few weeks longer.

Well, it's getting late and we've gotta get back

to the lodge.

Tony, we'll be seeing you.

You sure will, Pop, and soon.

- So long, partner. - So long, pal.

Hurry back.

[instrumental music]

[cars honking]

Alright there, come on...

Tony!

Danny Morgan.

When'd you get in? What are you doing?

It's been a million years.

Come on, I'll buy you a drink.

Right over there.

Well, I figured I'd see you in Chicago.

Charlie, check Mr. Reagan's bag.

- Yes, sir. Woman 1: Oh, boy! Jackpot! Oh...

I've been running this joint for the last six months.

I thought you'd still be with Big Jim.

I am. He owns the place.

Oh, I didn't know he was out here.

Big Jim?

If he ever left Chicago,

it'd fall in the river.

The last I heard, you were still in the army.

Japan some place. When'd you get out?

Oh, about two weeks ago, Dan.

I stayed in for an extra hitch.

- Gonna stick around a while? - No.

I'm catching the eight o'clock plane for Chicago.

- The usual, Mr. Morgan? - Right.

Why not stay here, Tony?

Lots of sunshine,

a steady supply of suckers.

And loads of lovely, lonely, loaded ladies.

- You want a job? - No, thanks, Dan.

I'm just a small-time businessman now.

- What kind of business, Tony? - Well...

It's a place called Mile High Lodge,

about 40 miles north of here.

You know, hunting, fishing. It's a beautiful place.

Never figured you for a backwoodsman. How come?

Ah, just happened.

You see, there was a good pal of mine,

he was killed in the South Pacific.

He used to always talk about the Lodge and Pop,

his kid brother.

Then I went up there and I met them.

Larry was right. Fell in love with the place.

They needed me, I needed a future, so bought an interest.

- Just like that, huh? - Just like that.

Seven years of Army savings right on the line.

- Why the trip to Chicago? - Oh,

[indistinct chatter]

Still Sally, huh?

[sighs] Always will be.

What about Big Jim?

Oh, he'll change his mind.

If he doesn't, we'll still get married.

- It's awful pretty. - Yeah.

Boy, I sure hope she likes it.

What about you, Dan? Married yet?

- I've got my eye on somebody. - Yeah?

Tony: [whistles] Hey, that is a beauty.

You didn't buy this on any GI salary.

- No. Woman 1: You're wrong.

On the 637th roll,

it'll be number 26.

Thirty four, dear.

- My graph couldn't be wrong. - It's 26.

- Thirty four! - Twenty six!

Darling, this is purely a scientific system.

Now, if you consider the hypothesis--

- Oh! Consider the hypothesis. - But you don't understand.

This is done mathematically.

Systems. They're all alike. Chicago, New York, Reno...

Say, do you let anybody win?

The law's over this town like a blanket.

- Check us every hour. - Yeah?

- What happens between checks? - You know Big Jim.

He's satisfied with percentage breaks.

I know Big Jim, but what about you?

Well, a guy's gotta float himself a loan once in a while.

Argument upstairs, Mr. Morgan.

Guy said he had a bet. You better go up.

Okay. Now, don't go away, Tony.

Take your time, Dan. I'll just look around.

[indistinct chatter]

Say, Mr. Morgan, is this okay?

Sure.

- Tony, how are you? - Oh, fine, Al, fine.

- Oh, I'm sorry. [chuckles] - Oh, I'm sorry.

Hey, Baldy!

[indistinct chatter]

Hiya, Tony.

Man 1. Come on now, eight! Oh!

- Eighter from Decatur. - Six.

Six. He's looking for an eight.

Play the field, folks. Play to come.

Still looking for an eight.

Dice, please be kind to me.

Come on now, eight, eight!

Man 2: Ten! Ten, the hard way! There's a deal number, folks...

- [chuckles] Not again. - Yes.

- Come on now, eight! Please! - Let 'em roll.

- Watch your hands. - Please, dice.

Seven! Seven the loser.

Well, we have a new shooter. Your dice, lady.

I don't know a thing about gambling.

Is it difficult to learn?

No, just expensive.

Oh, just pick any pair and throw 'em.

Throw 'em. Roll seven or eleven and you win.

Wait a second, lady. You look lucky to me.

Well, we have a new shooter. Oh! Oh, no dice.

- You haven't made your bet. - Oh.

Throw 'em hard enough to hit the edge of the table.

Eleven! The winner!

- I won! - Yeah.

Roll 'em. Keep rolling. You might be lucky.

You can do it, lady. Let my pile ride, too.

Man 2: Same shooter coming up for a new point.

Man 2: Seven! All: Seven!

I won again! Oh, this is fun!

Man 2: Say, you don't have to know anything about dice.

You're hotter than a firecracker.

How about takin' off the limit?

The limit?

Alright, folks, the limit is off.

We're ready for a buck or a bucketful.

Shoot 'em, lady, for a bucketful.

I hope your confidence in me isn't misplaced.

Roll 'em, sister. No snake-eyes.

Just a second. Do you mind if I change your bet?

Change it? But I thought I was doing it right.

Well, just a gambler's hunch. You're betting on 12 this time.

Whatever you say.

Alright, folks. Get your bets down.

Play the line. Coming up for a new point.

Let 'em roll.

There she blows.

- Twelve! Twelve the loser. - Twelve!

Man 2: Well, those box cards got you.

Why don't you get lost?

I did lose, didn't I?

No, you won, all this.

Oh. No, I shot a twelve or something, and that's bad.

Sometimes it's bad, but it was good for you.

That twelve was thirty to one. A hundred-and-twenty dollars.

- A hundred-and-twenty dollars? - Uh-huh.

Why, that's marvelous! What do we bet now?

- You don't. You're quitting. - But why? I was winning!

- Always leave a winner. - Oh.

I suppose you're right. But I don't understand.

If 12 is a loser, how did I win?

Well, 12 loses coming out. You were betting on it to come up.

Oh, I see.

Twelve is a loser, but sometimes it's a winner.

What's "Coming up?"

Come on, come on. You better cash in your chips.

- I still don't understand ab-- - Tony.

- Well, goodbye. - Oh.

- Thanks a lot. - Bye.

Goodbye.

- Yeah? - The old Reagan hunches, huh?

[chuckles] What's the big idea?

Oh, just givin' the girl a thrill, Dan.

Uh-huh.

Never figured you for the wrong side of the table.

- You have changed. - Yeah, I guess I have.

You know, you gotta be away for a while to realize

how little this all means.

[coin clinks]

See what I mean? A lemon. Good luck, Dan.

[laughs] So long, Tony.

Uh, in case you change your mind,

you've always got a job here.

- Thanks. - Be good, Tony.

[aircraft droning]

That'll be a dollar.

Are you sure you have the right address?

Mm-hmm. "Sally Lee, 1140 Dolan Street, Chicago."

- You got it. Man on PA: ...flight 128.

Now leaving for Salt Lake City.

Well, there's my plane.

- Pleasant trip. And good luck. - Thanks.

Man on PA: Direct to Chicago and New York.

[aircraft droning]

Hi!

Well, hello. Taken?

No. Sit down.

- Did you win any more? - I quit.

Always leave a winner.

- You learn fast. - I had a good teacher.

- Where are you heading? - Chicago.

- Oh, me, too. - Fine.

This is my first night flight. It's wonderful.

The blackness, floating somewhere in space.

I'll have to tell my children all about it.

- Children? - I've got 26 of them.

Now, that's not too many for a school teacher to have.

Oh, a teacher. Well...

We didn't have 'em like you when

I was playing hookey.

You know, I was just thinking, if it hadn't been for you,

the winnings, I mean,

I'd be going back to Chicago the way I came,

with 31 other schoolmarms in a motor coach.

You're gonna tell your class how you won the $120?

I'm gonna keep that a deep, dark secret.

- Cigarette? - Uh, no, thank you.

[aircraft droning]

Sleeping?

No, just thinking.

About going home?

- You mean, Chicago? - Mm-hmm.

No, I'm getting out of there as fast as I can.

Oh.

Tony: Ever hear of Mile High Lodge?

No.

The most beautiful spot in the Sierras.

Trees a million-feet high,

stars that come right down to you every night,

coolest, crispest air in the world.

That's my home from now on.

Must be lovely.

Here, this would give you an idea.

See, here's Pop and Willie.

Tony: Look at those mountains. - It's really beautiful.

We've only got a half a dozen cabins now,

but it's going to be bigger, a lot bigger.

Yeah, the stream runs right by the place.

Trout that big. Magnificent country.

You make it sound like heaven.

It is.

Up there you feel as if you could just stick up your hand

and grab a slice of it.

I'd like that.

- You would? - Mm-hmm.

You know, it isn't one of those dress-up places.

A girl would have to appreciate it for what it was,

the beauty of it, the life it could give her.

I'm sure I'd like it.

Yeah, she'll like it, too.

That's why I'm going back to Chicago, to get married.

Take her back with me.

Oh.

[sighs]

[instrumental music]

[indistinct announcement on PA]

It was a grand trip. I enjoyed every minute of it.

So did I. You know, I was just thinking.

I don't even know your name.

- I'm Ann McKnight. - I'm Tony Reagan.

- Happy to meet you. - Hello, Tony.

Look, I'm taking a taxi. Can I drop you anywhere?

- Well, which way are you going? - South Side.

- Wonderful! - Tony.

- Well, Chuck! Chuck Reckling! - Tony, it's good to see you.

- How are you? - Say, I hear you got married.

- Had a baby and everything. - What do you mean "Baby?"

I got two of 'em. One of 'em that high already.

Yeah! Wonderful! Chuck, I'd like you to meet--

Uh, this isn't social, Tony.

Oh? Excuse me a minute.

Surely.

Kerrigan wants to see you.

- Who's Kerrigan? - Captain Kerrigan.

- What's the charge? - No charge, Tony.

Just an invitation.

You'd better accept.

- Okay. - Is the dame with you?

No, just a girl I met on the plane.

- You got a baggage check? - Yeah.

- Just a minute, Chuck, huh? - Sure.

- Well, uh, I'm sorry. - Oh.

This'll have to be goodbye.

- Some business in town. - Oh.

Well, I'm sorry, too. It was nice meeting you.

- Goodbye. - Goodbye.

What's this all about, Chuck?

I don't know. It's not my case.

Kerrigan found out that we grew up in the same neighborhood,

so he sent me by to pick you up.

Oh. Well, nothing like having a cop for a pal, huh?

[chuckles] That's right.

Alright, Tony.

Alright, Kerrigan, what's next?

Take it easy, Tony.

We know why you came back, Reagan.

Oh, you do, huh? Who told you?

Good sources.

The tip tells us you're here to get Big Jim.

You're kidding.

I hear he rode you out of town

seven years ago.

- So what? - So it's four o'clock.

Take my advice and be out of Chicago by 7:00.

You've no right to order me any place.

I'm not ordering. I'm advising.

Look, if there's any charge against me, book me.

No, there's no charge.

- So long, Chuck. - So long.

Cooper, tail him.

Get me a squad car down front.

[dramatic music]

Palmer House.

[engine revving]

Follow that cab.

[engine revving]

[music continues]

[cars honking]

[cars honking]

[train chugging]

[music continues]

[train chugging]

[coin clinks]

[telephone ringing]

Hello?

Sally? Tony.

Tony! When did you arrive?

I got your telegram, but you didn't say anything

about the time. Where can I meet you?

How about Buckingham Fountain in, say, half an hour?

The fountain? Wonderful.

I'll be there.

I can't wait to see you, Tony.

Goodbye, honey.

[dramatic music]

[cars honking]

[instrumental music]

[music continues]

Seven long years.

I must've been crazy.

You look wonderful, Tony.

Just wonderful.

Nobody else taking my place?

No, Tony, nobody.

[music continues]

Listen, honey, right now we've gotta be a little careful.

Why? Careful of what?

[siren wailing]

- Tony, what's wrong? - That.

Big Jim brought out the brass band just for me.

- Uncle Jim? - Nobody else.

He must have seen the telegram and tipped the cops.

Tony, you might as well know this.

Uncle Jim still doesn't like anything about us.

I can't even mention your name to him.

Oh, I can understand that. You're like a daughter to him.

Me, I'm just a kid from a river-road gambling joint

with wedding bells on my mind.

A kid from one of his places, starting the way he started,

doing exactly what he'd done.

And I'm starting clean. Now, I'll talk to him.

- He won't listen. - Oh, he'll listen.

He'll yell some, then give out with the blessings.

I hope so.

Tony, let's not ask him. Let's not wait.

Look, he's gonna be my uncle, too. We'll ask him.

- Then let me ask him first. - Oh, no, this is my inning.

I'll rent a car and drop in on my future uncle tonight.

- Alright. - Come on.

[instrumental music]

[engine revving]

[dramatic music]

[groans]

[footsteps approaching]

Okay, get him up.

Left arm.

[gunshot]

- Here, use this. - Ah...

Not too good, sloppy, like he would with one hand.

Let's get him in the car. Make it look like an accident.

[dramatic music]

[car door shuts]

[engine starts]

[engine revving]

Good evening, sir. I'll park it for you.

No, I'm not getting out. Look, I had a little accident.

I hurt myself. Do you know where I can find a doctor around here?

I don't know, I... You wait a minute. I'll ask inside.

Man on radio: Attention. Attention, all cars. A 7103.

Be on the lookout for Anthony Reagan.

Wanted for the murder of Big Jim Lee.

This man was last seen at 9 p.m.

in the vicinity of Briar Road and Kendall Avenue.

He is described as a Caucasian, five feet, eleven inches,

weight 175 pounds,

hair black, eyes brown,

deeply-tanned complexion.

Last seen wearing a light-gray suit,

light-gray felt hat, black shoes,

known to be wounded by gunshot.

Take all precautions in approaching as he is armed...

Uh, mister, uh, Wally says

there's a little emergency hospital over on South Avenue.

Which way is that?

Uh, that way a couple of miles.

Uh, turn left when you get to South Avenue.

Man on radio: Eyes brown... - You hurt bad, mister?

You want I should drive you down there?

- No, I'm okay. Here. - I- I'll find it.

Hey! There's a gun.

Hey, fellas...

[engine revving]

[intense music]

[siren wailing]

[music continues]

[gunshots]

[gunshot]

[music continues]

[machine whirring]

[intense music]

[engine starts]

[engine revving]

[gunshots]

Yeah?

Look, I want some bandages, some adhesive tape--

- I was just closing up. - Please. Some kind of sulfur.

I got sulfur ointment I usually recommend.

Okay. I'll be using your phone.

[coin clinks]

Man on phone:Lee residence. - Hello. Ms. Lee, please.

Man on phone: Just a moment.

Ms. Lee is not in now.

If you'll hold on, I'll try to find out where she is.

[telephone ringing]

- Hello? - Hello.

- Norm? - Yeah, who's this?

When you were a kid, I called you Specks,

you called me Bud.

Tony.

Hey, what's this I hear about you and Big Jim?

A frame, Norm. Nothing to it.

Look, I've got to have a place to hide out.

Can you help me?

Sure, Tony. Let me think.

[doorbell ringing]

Just a second.

Uh, no, Aunt Mary. I'm afraid we can't do it right now.

Watch yourself.

The cops are probably covering

everybody you know.

Goodnight, Aunt Mary.

[coin clinks]

[line beeping]

Here you are, sir.

Dollar and a half out of five.

[cash register rings]

Dollar and a half, two, three, five.

I'm sorry. Hey, give me a bicarb.

Look. Look at my coat. That guy got blood all over it.

[dramatic music]

[engine revving]

Nice work. Keep the boys at it.

I'll check with you at headquarters.

It's unusual. Might be from a Jap Nambu.

Let's get it to the lab.

We've got the car Reagan rented.

Picked it up in front of a drug store.

- Fine. - I'm going back now.

- You clean up around here. - Alright.

Ms. Lee, we're finishing up now.

We should be out of here in a little while.

If you want, I'll post a man here in case

Reagan decides to pay another visit.

No, you won't have to.

Don't you understand?

Tony didn't do it. He couldn't.

I wish I could agree with you, Ms. Lee.

- But the facts add up. Man 3: Here!

Man 6: You can't go in there. - I gotta see Ms. Sally.

I gotta see Ms. Sally.

It's alright. Let him in.

Ms. Sally, I had to see you.

I just heard about it.

Tell me it ain't true.

Mr. Jim ain't dead.

He was murdered, wasn't he?

Who did it?

You worked for Big Jim?

Gene has worked for my uncle many years.

Just yesterday afternoon

Mr. Jim came for his car.

He said I polished it fine.

Said he could see his face in it

just like in a mirror.

The best man I ever knew.

Nobody better.

Always took care of me.

Took care of me good.

[instrumental music]

Ann on phone: Who's there, please?

You want to place another bet?

Ann: Mr. Reagan? Come up.

[music continues]

Mr. Reagan!

[intense music]

[door shuts]

[instrumental music]

- Good morning, Ms. McKnight. - Good morning, Mrs. Prentiss.

You had a late visitor, didn't you, Ms. McKnight?

A visitor? You must be mistaken.

Lovely day, isn't it?

[dramatic music]

[doorknob creaks]

Ms. McKnight?

Anybody here?

Mrs. Prentiss! What are you doing here?

Oh, nothing. I thought I heard someone and...

There's no one here, Mrs. Prentiss, you're mistaken.

It was very nice of you to concern yourself.

Thank you very much.

I'm sorry.

I heard the radio at the grocer's.

That's all they're talking about, the Lee murder.

I didn't do it.

I'll make some breakfast.

Don't bother about me. I'm not hungry.

Oh, I am. Just toast and coffee.

Look, Ann, I've got to get out of here.

Why?

It was swell of you to help me.

And I want you to know I'm grateful.

You'd be safer if you stayed here.

I can't.

Protecting me might get you into trouble.

- You're innocent, aren't you? - Sure.

Then I'm protecting an innocent man.

A couple of thousand cops will disagree with you.

- What are you going to do? - I don't know.

I don't know if there's anything I can do.

- You might call the police. - What for?

To tell them they're hunting for the wrong man.

Oh, sure, sure, I'll send Kerrigan a note and say,

"Dear captain, I didn't kill Big Jim. Honest, I didn't."

But you didn't kill him.

There must be some way of explaining it.

I've been framed, Ann. Framed cold.

I'm front-page news, a killer on the loose.

If Kerrigan's men get me, he'll be a great cop.

The DA who prosecutes me will be a public hero

and the guy that throws the switch,

he'll be a public benefactor now.

No, I didn't do it, but I can't prove it.

You're not running away, are you?

No, no. But where do I begin?

What can I do? I haven't even got a lead.

Somebody killed him. But who? Why?

You've been away a long time.

Maybe Sally would know something.

You said she was his niece.

Yeah, she might.

All I need is a start.

- Where's the phone? - On the bookcase.

[telephone ringing]

The Lee residence.

If someone else is listening, they won't know me.

Hello. Ms. Lee, please.

Tell her I'll meet her at the Buckingham Fountain.

Tell her Mrs. Buckingham.

Who? Uh, just a moment. I'll see.

A Mrs. Buckingham.

- Hello. - Hello, Ms. Lee?

Sally: Yes. - This is Mrs. Buckingham.

- You remember me. Sally: Who?

Mrs. Buckingham.

Oh, yes, I remember.

You do?

It must be so trying with the police and all.

I'd like to see you. In about an hour?

Alright, I'll be there.

Yes, fine.

Goodbye.

She'll be there, Tony.

- Thanks, Ann. - I'll drive you over.

No. I can't let you take that chance.

You let me worry about that.

[instrumental music]

[tires screeching]

- Ms. Lee? - Yes.

- I telephoned you. - Where's Tony?

- He's back at the aquarium. - Thank you.

[music continues]

[music continues]

Tony: Sally.

Well, don't look so scared.

Oh, Tony, I'm so afraid for you.

Listen, Sally, who had it in for your uncle?

- I don't know. - What about his old sidekicks?

Swanson, Lamport, Eddie Carter. Would they know?

He broke with them years ago.

- Can't you think of somebody? - I can't.

I don't know where to begin or whom to ask.

Boyfriend stand you up, miss?

Oh, no. [chuckles] No, no, he's late.

He's always late.

I wouldn't be. [chuckles]

Look, there's gotta be somebody.

- What about Danny Morgan? - Morgan?

I didn't even think of him.

But he couldn't help you. He's been out of town.

Well, I've gotta get a lead, some kind of a lead.

Tony, get out of Chicago.

You can't play detective. You're on the wrong side of the law.

Who says I am?

- I didn't kill Big Jim. - I know, but the evidence.

Evidence nothing. Listen, Sally, I'm not running away.

Nobody's gonna get a chance to shoot me in the back.

What about Morgan? When is he due back?

- Tonight, I believe. - Where does he stay?

- At the Ridgley Arms. - Call him, will you?

And tell him I need some help.

Yes, Tony, I'll call him.

- I'm sure he'll help you. - Thanks.

Ann.

- What did she say, Tony? - Not much.

She's going to do something, but not much.

It's up to me and nobody but me.

Here's my only chance.

This is the gun that killed Big Jim

and then was planted on me.

- I've got to trace it. - You can't trace it, Tony.

No, I can't, but a certain friend of mine, a cop.

The police?

Well, I know what you're thinking.

This certain friend of mine, if he wanted to, could help me.

He could help me a lot.

- I won't be long. - Be careful.

Hands up. Oh, go on, put 'em up, will ya?

- Isn't your name Reckling? - Sure, Teddy Reckling.

- You know my pop? - We're old pals.

Teddy, for the last time, come to bed.

Hey, mom, there's a man to see Pop.

Oh, good evening. You wish to see Charles?

Yes. I ran into him the other day at headquarters.

[chuckles] I know, and he insisted you come right out

and see his shortwave equipment.

I'll show him where Pop is.

Anything to stay up.

Alright, show the gentleman to your daddy

and then come right back. And I mean it.

- This way, partner. - Right with you, hop-along.

Down here, partner.

Hold on there, cowboy.

Didn't you hear your mother tell you to go back?

I'm gonna stay with you and Pop.

Come on, you better go back.

Hello, Chuck. Don't!

- Hello, Tony. What do you want? - Help.

For you? Not even if I wanted to.

Not even if I'm innocent?

Just listen to me, Chuck.

Teddy. Teddy, come here.

For the last time...

But, mom, I gotta rescue Pop. That man's holding him up.

I seen him through the window.

You saw him, not seen him.

Now up to bed this very minute.

But, mom, he's got a great, big gun--

Oh, Teddy, hold-up man, guns.

What you won't think up to stay out of bed.

Now up to bed now.

I don't know. It's hard to believe.

Harder to believe that you'd be fool enough to make it up.

Never said you were gonna get even when Big Jim

ran you out of town seven years ago?

I might have shot my mouth off then.

I was a smart know-it-all kid.

It didn't mean anything.

Three hours before your plane landed,

Captain Kerrigan received a tip

that you were coming back to rub Jim Lee.

That's the reason he told you to blow town.

Lee's orders, huh?

Nobody orders Kerrigan, except

the chief and the commission.

- You're sure of that? - Yes.

Any idea where the tip came from?

- Kerrigan didn't say. - Can you find out?

Perhaps.

Lee's valet opened the door.

The killer made him turn around and slugged him.

His description of the killer fits you like a painting.

Clothes, coloring, the works.

Now tell me he risked a concussion

to be in on a frame.

If he didn't, they picked a trigger man

who looks that much like me.

- Fancy picking. - Not very.

Put five men out of ten in gray suits and hats.

- Did he see my picture? - The only one we could dig up.

- From your high-school days. - And?

He said, "It sure looked a lot like the man."

I had nothing to gain, everything to lose.

- He was keeping Sally from you. - Not from me.

From anyone in the syndicate, and I'm out.

I was going there to prove it to him.

And if he still objected?

Sally promised to go with me no matter what he said.

What would killing him have got me?

A chance to marry a fortune.

We ran his will down today.

Everything he has he left to her.

It's plenty.

- Give me your left hand. - What for?

Oh, never mind, give it to me. You've still got the gun.

There are four blood types.

A, B, O and AB.

I'll have the lab boys check this

against the sample from the Lee home.

If you're telling the truth, chances are

three-to-one they won't match.

Yes, and one-to-three they will.

You won't be any worse off than you are now.

Stay where you are, Chuck.

Any chance of tracing that?

Jap Nambu, huh? Not much.

And no bullet in the chamber.

You couldn't have shot me if I had jumped you.

I can now.

How soon will you hear from the lab on that?

On the blood, by tonight. On this, probably never.

Okay, I'll call you tonight. Thanks, Chuck.

[door shuts]

[engine revving]

Tony, please watch out.

What if someone in the lobby recognizes you?

They won't. This is one of Lee's places.

I used to live here myself. There's a private entrance.

[dramatic music]

Yes, sir. Something you wanted?

Morgan, by the back way.

[groans]

Fixin' to murder Mr. Morgan like you did Mr. Lee.

He was my boss, my best friend, see?

Gave me this job and always took care me.

And you killed him!

[music continues]

Danny: Quit it, Gene. Let him go!

He only did what the rest of the boys would like to do,

including me, if Ms. Lee hadn't given me orders.

That's nice to know.

I come up for information from a guy I thought was a friend.

[sighs]

Come on in.

Clean up in there.

Big Jim was pretty close to me, you know?

- I know that. - Well, let's forget it.

- I didn't do it, Dan. - What do you wanna know?

Just a rundown on who might have done it.

Almost anybody.

Help yourself to anyone he moved in on or pushed aside.

Add everyone he double-crossed.

Throw in every sucker he clipped in his wheel-rooms

and horse parlors.

Take a number from one to a thousand.

- Help yourself. - Well, I can narrow that.

It was somebody with help, two men at least.

Somebody smart enough to give the cops a phoney tip

that I was gunning for Big Jim.

That could've been Jim's doing.

Easy way to get the police to run you out of town.

No, he wasn't like that. It was somebody else.

Well, in the meantime, I'll work on it.

I'll have the boys check for any bullet wounds

doctored on the quiet.

It's a good idea, and I'm pretty short

of good ideas right now.

Hey. Don't tell me she said no.

Give me a chance to ask her. I just got in from Reno.

But I'm going to, just as soon as I get rid of you.

Good luck, Dan.

Anything you want, let me know.

Thanks.

Oh, what about our friend Gene?

- It's okay. I called him. - Good.

[instrumental music]

It's alright. He's gone.

Danny, you should have let me call the police

while he was here.

What for? We can't tip the police.

If we did, they'd start asking us questions.

Suppose they found out about the bullet hole in my arm?

Let him hang himself, we're staying out of it.

Alright, Danny.

The syndicate's ours now, honey.

What have we got to worry about?

Hey, Mr. Reagan.

Mr. Morgan said I should give this back to you.

I guess that means you didn't bump Mr. Lee.

- No, I didn't. - I'm sorry about--

Yeah, I know. Forget it.

Big Jim used to call me his watchdog.

They got him when I wasn't around.

But I'll get that guy someday.

I'll get him.

[telephone ringing]

Hello. Yeah, this is Reckling.

- Oh, hello, Tony. - Hello, Chuck.

Have you got the lab report yet?

Yeah, the analysis just came in. It's no-go, Tony.

Your blood is Type B, the same as the sample

we got from the Lee home.

Four types and it's gotta be mine.

- What about the gun? - Nope.

The number isn't even registered.

- Fingerprints? - Yours and mine, nothing else.

- Well, thanks, Chuck. - Okay.

Sorry, Tony.

[door opens]

- I thought you went home. - I'm going now.

I still can't figure this out.

- What? - Reagan's Nambu.

I figure, the man who gave it to me

planted a few odd prints on it.

- To take the heat off himself. - Did he?

I've got his prints all over the outside of it,

but inside it's as clean a wipe as they come.

- And no prints on the bullets? - Or the barrel or the sleeve.

Handing a gun over that clean doesn't make sense,

unless he's telling the truth.

Maybe I better talk with Kerrigan.

- Goodnight. - Goodnight.

Now, look, I'm breaking my head on this case.

And if I have to, I'll break other heads.

Nobody in Chicago's more anxious to solve this case than I am.

Alright.

Yes, I will.

Goodbye, sir.

[knocking on door]

Come in.

Kerrigan: Oh, hello, Chuck. - Hot night.

You don't know how hot.

Working kind of late, aren't you, chief?

No sense in going home.

I've got a telephone there, too.

Everybody and his brother has been riding me,

telling me the public wants action,

the newspapers want action, civic groups want action.

- Got a cigarette? - Yeah.

Yeah, I know. Bad for the department.

Bad for the department nothing. It's bad for me.

I can't forget about the anonymous tip.

I can't forget that I had Tony Reagan in person

right here in this office.

I ought to have booked him,

held him in the cooler until he cooled off

and then shipped him out of town myself.

- What's on your mind? - Same thing.

You got anything better than this lead?

This is Reagan's work.

We're tracing every torn-out name.

If we're lucky, this may be Reagan's big slip.

The one that will drop him right into the chair.

- Maybe not. - What do you mean?

I think we're closing in on the wrong man.

Now, look, Chuck, I'm tired and it's hot.

Did you come in here just to tell me that?

- Listen, chief, I saw Reagan. - You what?

Yes, he came to my house to see me.

He came to you house? And you let him walk out?

- He had a gun on me. - Alright, he had a gun on you.

And you just didn't bother to report it.

The Nambu that killed Big Jim, I've got it in the lab. I've b--

He was your friend, wasn't he? The kid who grew up with you?

Don't try to tell me that did not have anything to do with it.

I'm a cop and I know my business.

I tell you, Reagan had nothing to do with it.

Now you listen to me, you're not talking

like a cop, you're talking

like a sentimental sap who had a chance

to bring a killer in and didn't.

You're talking like a suspended cop.

So save your talk until Monday morning for the commissioner.

That's all, Reckling.

[instrumental music]

[door opens]

I heard you moving around. Is something wrong?

Ann, we're kidding ourselves.

I can't stay here any longer.

I'm going to see somebody I know first thing in the morning.

Maybe he can fix it so I can get out of the country.

- You're running away? - Yes, I'm running away.

What am I supposed to do? I've tried everything.

Alright, Tony.

If you're giving up that easily, go ahead. Run.

Maybe you think dying in Joliet is better than being chased

all your life, but I have to find that out.

- Oh, Tony, something-- - Look, Ann, forget it!

I don't wanna talk about it.

Alright, Tony.

Goodnight.

Wait.

I'm sorry, but you've got to understand my side of it.

Tony. Tony, I do.

Please, don't worry. We'll work this out together.

Goodnight.

[door shuts]

[engine revving]

[knocking on door]

- Ms. McKnight? - I'm Ms. McKnight.

- What do you want? - Tony Reagan.

Tony Reagan? There's nobody here by that name.

I know he's here somewhere.

Huh. [chuckles]

Nice way to greet a man who came to warn you.

Warn me of what?

Half the force will be here by this afternoon.

That drugstore phone book was the tip-off. Page missing.

They've been working on the names from

McKee to McKnight since yesterday.

And you picked this address just by instinct?

I remembered a girl who got off the plane with you.

I sent for the passenger list

to see if a name began with Mc-something.

- I found it. Here I am. - So?

So that gun, Tony,

that's the thing that convinced me.

I think you were telling the truth.

Thanks, Chuck. I hope this doesn't get you in a jam.

[chuckles] Captain Kerrigan found out I failed

to file a report on your visit to me. He had me suspended.

I'm up before the commission Monday.

I've one chance to prove I was right.

You know, we established the Lee shooting at 9:02.

The all-cars broadcast you heard was at 9:33.

That means it was 30 minutes from the time you were slugged

at the Lee home here, until you came to in the car

opposite to Kat's Kradle here.

Now, the stop-off must have taken ten minutes at least.

Now, from here to here is seven miles,

fourteen minutes by car,

with you in it and speed cops all around.

That leaves six minutes

for any detour to that room.

Six minutes, three miles, a mile and a half away,

a mile and a half back.

There's your boundary.

Somewhere in there is that long cement-floored room

and we've got to find it.

But that covers ten square miles.

Yes, but we've one help.

If you're sure that hall was a long one.

Well, at least a hundred feet.

- And straight? - Straight as a rail.

Well, then we know it's a big building,

a hundred-feet long or wide.

Now, here's the tax assessor's map,

made up by the City Engineering Office.

These, uh, white spaces mean vacant.

The light gray, single-family dwellings.

So we'll skip those. These we work on.

Dark gray, large apartments,

and black for commercials, factory, stores, warehouses.

- I'll search them all. - We'll search 'em.

No, you're too hot to ring doorbells.

- I'm not. - Oh, you go with me.

Call headquarters in case I go in somewhere and don't come out.

I'll call Morgan, he'll help.

He has enough men to split up those places ten ways.

Men nobody'll keep out.

Hello. Let me speak to Dan Morgan, please.

But I've got to reach him right away.

Oh. Okay. Thanks.

He's at the Lee house. Are the police still out there?

No, they've been taken off.

Here, help us copy these addresses.

We have to get out of here.

Take this top row, will you?

[engine revving]

[doorbell ringing]

- Yes? - I have to see Mr. Morgan.

- Right away. - Please step in, sir.

Tell him it's the man who called on him last night.

Yes, sir. Will you wait inside, sir?

Tony.

It's alright, dear. Everything's gonna be alright now.

Got any leads?

No, but I've been working with some friends,

and I think we can locate the room

where I was shot.

A room's a room. What'll that get you?

Well, it must be rented or owned by someone.

- It's bound to give us a lead. - Oh, I know.

But to try to find one room out of a whole city.

We've got it cut down to about a dozen blocks.

Now, with the help of some of your men, we--

Isn't that a job for the police?

Why the police?

We've got two men upstairs going over the old man's books.

I'll get them. You phone Marty for more.

Alright.

Don't phone from here. They might be listening.

[dramatic music]

What about Marty?

Tony said it'd be safer to call from next door.

Alright.

Tell him to meet us at, say,

the third address.

Mm-hmm.

Let's go.

I'll make that call right away.

Good luck.

[music continues]

- Well, what is this? A gag? - What?

Well, the third address is mine, the Ridgely Arms.

Oh, it is? I didn't even know it was on the list.

We'd be wasting our time down there.

- Well, where to? - Ridgely Arms.

Maybe we can save my friends the trouble of searching it.

[music continues]

[car honking]

Take it slow. See any of your friends around?

No, no sign of 'em. We'd better back up one address.

We'll wait here. Park in the garage.

[intense music]

Hey, Mr. Morgan, there's a plainclothes dick here snoopin'.

- One of your friends? - Yeah.

It's alright, we're here to meet him. Where is he?

Over by the storeroom.

Well, glad you got here, Tony.

Danny Morgan, this is Chuck Reckling. Frost, Stoner.

- There'll be more coming. - Oh, we won't need 'em.

- This is the place. - Chuck, you must be wrong.

- This can't be the place. - Of course, it's the place.

There's your hundred-foot hall, and back there

is a cement-floored storeroom

with a bullet in the wall.

Keep your hands down, copper.

Hey, what kind of a double-cross is this?

A beauty, Chuck, by the experts who framed me.

My friend, Danny Morgan, who put his engagement ring

on the girl I came back to marry.

The girl who told him every move I made,

who lied to give him that Reno alibi.

Shut up.

There's a girl outside. Get her.

[dramatic music]

Jim Lee swore Sally would never marry

anyone in the rackets, remember?

They knew that, so they killed him and framed me for it.

Now ask me who your trigger man is.

Not Frost here, he couldn't have passed for me.

Not Stoner with that mustache.

- Shut up! - Okay, Danny.

Here's your man with Jim's bullet hole in his arm.

[grunts]

[intense music]

[gunshot]

[gunshot]

[gunshot]

[gun clicks]

[gun clatters]

[music continues]

[doorknob rattling]

[door creaking]

Danny: Gene!

Gene: You, you killed Big Jim.

Danny: Gene! Gene! Gene!

[thud]

[engine revving]

[cars honking]

[indistinct chatter]

Now, Bobbie, be careful the next time you jump on that--

- Say, miss. - Me?

- Are you Ms. McKnight? -Y... Yes.

Children, go in to the classroom.

Hurry. I'll be there in a minute.

- What did you want? - I got orders to pick you up.

But I don't understand. What's happened?

[instrumental music]

Hey, if you want to catch that plane,

it leaves in less than 20 minutes.

Now, here are your tickets, I'll have everything

ready when you get to Reno.

Oh, but, Tony, there's so much to do.

I've gotta pack, I've gotta move my furniture,

I've gotta resign my job, a million things.

How long will that take you, huh?

Well, if I rush, would tomorrow be soon enough?

Reckling: Come on, let's go.

[music continues]

[instrumental music]