Original subtitles

(smooth jazz music)

- We don't have to tour Route 66

looking for routes anymore, Buz.

All we have to do is get on the Hollywood freeway

at rush hour and we'll grow 'em.

(horn honking)

- You think we got problems?

How'd you like to be hung up the way they are?

On the freeway, and at a time like that.

- Don't worry about that, boy.

(playful music)

- She's down a quart.

- So put it in!

- Donna?

- No help, remember?

Oh, but I do need a dime.

It was silly of me, wasn't it?

And I hope Mitch is home from the church by now.

- Okay.

You're on your own.

Here's the leash.

- Which way is it?

- Straight ahead about 10 steps.

It's on your left.

- Rex, forward.

Rex, sit.

- Poke!

- So I'll look!

What's a look?

- I oughta break his head.

(bell rings)

- Hey!

What are you doing in there?

- Forget it, bud.

Just for kicks.

Like a challenge, you know?

Only this thing of yours,

that's too easy.

- Let's call the cops, okay?

- Put it away, bud.

- Don't move.

Or I'll shoot.

(suspenseful music)

(gunshot cracks)

(suspenseful music)

- Stoop!

You started it, finish it!

(gunshot cracks)

(Rex barking)

- Jeff!

(Rex barking)

- No, not her!

- So why not her?

- You stoop, where's your sense of decency?

Can't you see she's blind?

(suspenseful music) (Rex barking)

- Jeff?

(suspenseful music)

Jeff?

(Donna shouts)

(dramatic music)

Oh, Jeff.

Oh, darling!

You can't!

Oh, you can't!

(dramatic music)

(suspenseful music)

- We go right here, Mrs. Stevens.

- Rex, right.

Correct me if I'm wrong in this, Lieutenant.

US Model 1911A1, .45 automatic,

using a new 230 grain bullet.

- Look, Mrs. Stevens--

- Isn't that the gun they used to kill him with?

Isn't that what you told me?

- Statistics.

- What caliber gun do you carry, Lieutenant?

- .38 Special, why?

- That's no good.

Good boy, Rex.

How many steps are there?

- Well I was about to tell you to watch yourself.

But that crack about the guns, shook me up a little.

- 12, darling.

- Rex, forward.

- Officer Baker is parked over to your left.

About 50 feet from here.

He'll drive you and Ms. Forbes home.

- You've been very kind, Lieutenant.

Your voice is a good voice.

Sympathy, without pity.

- I didn't know I had either left.

Sympathy or pity.

Why all the questions about guns?

- I'm going to find the men who killed Jeff.

I'm going to make sure they're punished.

Punished properly.

- Just across the street, Mrs. Stevens,

we have a building for that.

We call it a courthouse.

- But you're all so busy down here.

All doing your duty.

Why should you spend more time searching for

one criminal than another?

It's all in a day's work, isn't it?

To me...

It's all I've got left.

Finding them...

And killing them.

(dramatic music)

The same kind of gun.

US Model 1911 A1, .45 automatic.

The same kind of bullets.

The new 230 grain.

(playful laughter)

(swing music)

- [Brunette] Buz!

Buz!

He's just turned off Sunset.

- Okay girls, come on, scatter!

Come on, come on!

Come on, Judy get back here, come on.

- You going some place?

So what's the bus parked down by the tennis court?

- Well...

What bus?

- Now that's what I asked.

- Oh, oh.

That bus?

- Yeah!

- We're irritable today, hm?

- Why not?

How'd you like to find out a computing machine

is smarter than you?

I just don't think this business course is for me.

I think we should get back on the road.

- What, and give up this great pad?

Look at all the money we're saving.

- Luxury isn't everything.

- Well it's a good substitute, no?

- Remind me, I'll ask the computer in the morning.

- How do you feel?

- I'm a little tired.

- Well that's too bad.

Wait a minute.

I'll get it today.

- [Tod] What's so special about today?

- You forgot.

- [Tod] Oh, I wasn't gonna say anything about it.

I don't know why anybody celebrates their birthday

after age three, from then on, it's all downhill.

- Oh boy, you really started early today.

(playful music)

- [Tod] What have you been doing today?

- This'll bring you back.

- [Blonde] Surprise!

♪ Happy birthday to you

♪ Happy birthday to you

♪ Happy birthday dear Tod

♪ Happy birthday to you

- What'd you put in the martinis?

- [Buz] Surprise.

That's mine!

- Well this sure beats a birthday cake.

- Well what can you get for a guy that's got nothing?

- Nothing.

(all laugh)

(festive music)

- [Brunette] Come on, Tod.

- Uh, hold it, suppose we could do a Foxtrot,

or maybe and old fashioned bop?

- You don't Cha-Cha?

- Well I speak the language, but I don't really--

- Just watch, it's easy.

(festive music)

- I can handle that first Cha,

but it's the second part, that Cha-Cha--

- Don't be a shamed.

Heres your birthday present.

- Oh I sort of figured you'd already delivered.

- I did, but go on, open it.

- 10 lessons in the Cha-Cha-Cha?

- Yeah, and it begins tonight.

- Tonight, what are you, some kind of nut?

- Oh this shindig gets over at 8:00,

and your Cha-Cha lessons start at 9:00.

- I got a better idea, let's extend the curfew

on the party and cancel the Cha-Cha lesson altogether.

- No, you see that bus down there at the tennis court?

- Yeah.

- Well it's a school bus.

Private school.

- You--

- Mm hm.

- A very exclusive private school.

- You see, I sort of detoured the bus

and the girls gotta be back at 9:00.

- Come on, follow me.

- [Tod] Nine o'clock?

Yeah, keep it.

(smooth jazz music)

- I'm afraid sir, I'm going to have to ask you to leave.

- Yeah, yeah yeah.

(smooth jazz music)

Pardon me.

Pardon.

Let me show you what they showed me, okay?

It really doesn't make any sense.

When you put your left foot here, you wanna put your right--

I'm sorry.

- Would you help me, please?

- You...

Yeah.

I'm awfully sorry.

- That's all right.

- Now will you leave, sir?

- Yeah.

Yeah.

Look...

I'm really sorry.

- Now.

One, two, Cha-Cha-Cha.

(somber music)

- Mrs. Stevens.

- You don't need to apologize.

You had too much to drink.

But you're sober now.

- And I'm ashamed.

Right down to the soles of my two left feet.

- The newspapers must be out.

How else would you know my name?

- Well how did you know who I was?

All I said a minute ago was, "Mrs. Stevens,"

and right away you said, "You don't have to apologize."

- Voices are like fingerprints.

No two are alike.

What does it say in the papers?

- Not much really, just what happened

and that they're looking for the men who did it.

Look...

When I came down from the studio,

I felt like an ostrich that was

looking for a place to hide in a paved parking lot.

And I read the headline and I saw your picture.

I was gonna wait here all night if I had to to

tell you,

I never felt worse in my life.

After all you'd been through,

I had to knock you down out of six million

people in Los Angeles.

- What's your name?

- Tod.

Tod Stiles.

- It was kind of you to wait, Tod.

And I hope you'll come back to the studio.

It's not a difficult step to learn.

Good night.

Rex, forward.

- Good night.

- I got you, Mrs. Stevens.

(suspenseful music)

(knock on the door)

- Who is it?

- At this hour?

Trouble, what else?

- So invite it in.

- Yeah?

- [Woman] Is Mr. Langdon home?

- Hey!

It's a dame!

- Like I told you, come on!

- Okay, okay, okay.

Why, Mrs. Stevens!

- Hello, Freddie.

- Yeah.

Yeah yeah, just a minute.

Hey!

It's that mouse from the dance studio.

- Donna?

- Yeah!

- Let her in!

- Okay.

- Hey, my robe.

- Hi, Donna.

- Hello, Rudy.

Please send the others away.

- Hey.

You can see again?

- There was a voice at the door, Freddie's,

there were hands slapping you, I can smell

the oil and the rubbing alcohol.

- Okay Freddie, take off.

- You know what time it is?

- Go and find an all night movie for yourself

and pay George for me.

- Yeah, fine.

- You know, you look...

Great.

But then you always did.

- I'm glad you still think so, Rudy.

- [Rudy] What's a couple of years?

You didn't think I'd forget, did you?

- Why not?

I gave you nothing to remember.

- Yeah well, guys are funny that way.

You know, they always remember the girls

that turn them down.

Hey, come on, come on!

Uh, let me take your things.

- Thank you.

- I'll take the dog.

Oh, your coat.

- Well...

Not now.

- Not now.

Well the...

Couch is right over here.

Come on, I'll help you.

Straight ahead.

Couple more steps.

Alright, you're right next to it.

Feel it?

Well okay kid, you say alone...

We're alone.

Now what's on your mind?

- Two years ago, Rudy,

before my accident, you asked me to marry you.

Do you still want me to?

- Well now wait a minute--

- Now that I'm blind?

- No, no, what's that got to do with it?

No, it's just that...

Well look, once upon a time,

I took a dance course, and I met a girl

that made all the rest look like old custard pie.

I really tried, didn't I?

I mean, I went the whole route, you know what I mean?

Jacket, the keys to the convertible,

the beach house.

Even a couple of points in my clubs.

And you tossed them back at me like

you were an outfielder throwing to first...

Okay, so I tried.

- Would you like to try again, Rudy?

- Just a minute.

I mean, why now, after two years?

Why tonight?

- Did you see the papers today?

- Yeah.

Reach out, you can touch the latest edition.

- I have to find the men who did it.

- Why ask me?

- Because you have ways of finding out, Rudy.

And you're a gambler.

I hope you...

Still think I'm worth gambling for.

The names, Rudy.

- You are...

Beautiful, I mean...

You're just beautiful.

Um...

Let's suppose that I, you know,

could find out who pulled the trigger,

I'm not guaranteeing anything.

Word around has it, it was just one of those things.

You know, it wasn't a heist or anything,

so it could have been anybody, guys from out of town, even.

Here in L.A., we don't have any top boy.

It's all split up 10 ways from the middle.

Gentleman's agreement, you know.

So...

I don't know, I mean it's not as though I could just...

Put my finger on it.

- When you do know, call me.

I'm teaching back at the studio.

- I'm really sorry about what happened, kid.

Now wait a minute.

You really loved him, huh?

(somber music)

Well look.

Don't talk about it.

(somber music)

But if I got the names, so what?

Cops can't touch them, not without a witness.

What good's it gonna do you?

Will it bring him back?

- Let's just say I have my reasons, Rudy.

Maybe not good reasons...

But my reasons.

I want to know!

(somber music)

- Okay.

I'll nose around.

First, the names.

All right.

- Take me to the door, Rudy.

- Sure.

Straight ahead.

Wait here.

- Rex?

Good boy, Rex.

- Here's your purse.

- Thank you.

- This way.

- Forward, Rex.

Good night, Rudy.

- [Rudy] Good night, kid.

I'll dream about you.

(dramatic music)

(gentle music)

(glass rattles)

- You feel the way I do?

Hey.

Penny for your thoughts.

- A blind girl teaching dancing.

I can't get over it.

The manager at the dance studio said that

after she lost her sight,

she had a hard time for awhile.

Then suddenly one day, she came in and

asked for her old job back.

That takes a lot of guts.

- Well, that's what our trouble is.

That's what we're losing.

We got it too soft here.

Couple of big men living it up

in a house that somebody let us borrow.

Wild parties, girls by the bus-loads.

Oh!

Talk about a wayward bus!

Oh, it's no good.

It's no good, we're just, we're just,

we're not moving, we're not...

We're not with it, you know?

It's just too soft, and when it's like that

with guys like us, it's...

It's the worst, worst.

- So what did I say yesterday?

I said it's time to hit the road, you said,

"Oh, how could we leave this beautiful pad.

"Think of all the money we're saving."

- I know.

- That was yesterday.

- I know, I know.

(doorbell rings)

- [Tod] Good morning.

- [Donna] Good morning.

May we come in?

- [Tod] Well yes, please.

- Rex, forward.

(Rex whining)

Would you show me the way, please?

- Well, straight ahead.

- Rex, forward.

- There's a little step.

- Thank you.

- Mrs. Stevens, this is my friend, Buz.

- Well how do you do, Mrs. Stevens?

- You must have quite a head.

- Well--

- No, I can't see it.

But there's a husky sound you don't develop

until the morning after.

- Oh, yes.

- Would you like some coffee?

- Well yes, thank you.

- Oh fine, sit down.

- Where?

- Right here.

Cream and sugar?

- Oh I've learned to do without it, thanks.

Your name is Buz?

- Buz Murdock.

- I phoned the office a little while ago,

trying to find out where I might reach you.

They said you'd called in and

made an appointment with me for tonight.

I'm glad.

- Yeah well I thought I would, but

I've changed my mind.

I'm leaving town.

- When?

- Today or tomorrow.

- Oh.

- Well I'm sorry to hear that.

I wanted to ask a favor.

Of a stranger.

Because none of my friends would understand.

Does that make sense?

- Yeah, I guess so.

- I want you to buy me a gun.

(dramatic music)

.45 automatic.

US Model 1911A1.

A box of bullets.

230 grain bullets.

(dramatic music)

(suspenseful music)

(gun clicks)

Rex!

(gun clicks)

Rex!

- The blind leadeth the blind, they both fall in the ditch.

Saint Matthew.

- [Buz] Must have heard about our case.

(suspenseful music)

(doorbell buzzes)

- Good boy Rex, you can have it now.

(doorbell buzzes)

Who is it?

- [Buz] Buz and Tod.

- The door's unlocked.

Come in.

- We'd like to talk to you.

- Won't you sit down?

- You know Lieutenant Cobb?

- Yes.

- He thinks we're pretty stupid.

His exact words, and I quote,

"Fellas, you've been had."

- He means because we're a couple of

sentimental guys.

Because we listened to your story,

and that caused Tod to buy that gun.

- For your protection.

- But I told you,

what store would sell a gun to a blind person?

And what if the men who killed Jeff

decided I might be able to identify them?

I did hear their voices, you know.

I have to have the gun.

- Why a .45?

(suspenseful music)

Look, Lieutenant Cobb says he'll forget the whole thing

if we take the gun back.

He'll ask the store to refund your money

and they'll send you a check.

- That's all he said?

- No.

He said something else.

About a threat you made.

- Surely he didn't believe me.

Well that was just an emotional reaction.

And how could I possibly find the men

if he and the rest of the police force can't?

- No, he didn't believe you.

Be he figures that anybody who's

been through what you've been through this week

would be better off without a gun around the house.

You know?

(suspenseful music)

- Look.

Why don't you give us the gun back?

No hard feelings.

We'll just cut out.

(suspenseful music)

(telephone rings)

(suspenseful music)

- Hello?

- Hey.

The view from my

patio's pretty great.

And...

In fact from where I sit,

I can see a couple of names, places.

(suspenseful music)

- You sure?

- Baby, I'm a gambler, I only bet on sure things.

And the champaign will be cold in about

10 more minutes but don't wait.

Hop a cab right away, we can

always kill a little time.

- I'll be right there.

(suspenseful music)

- Would one of you mind getting my coat for me please?

It's in the hall closet.

That was Midge.

She wants me to come over right away.

Something about Jeff's funeral arrangements.

- Well before you--

- Would you harness Rex for me, please?

(suspenseful music)

I won't be long.

When I come back,

we'll settle this once and for all.

Rex?

Thank you.

Rex, forward.

(suspenseful music)

- Well, she left with the gun.

- Yeah, I know, I know.

- You should have got it.

- Well I just can't believe she'd do anything to herself.

- Why don't you let Cobb decide that?

Look,

are we gonna cut out for Reno tonight?

Or are we gonna stick around and

get into more trouble with the lieutenant?

(suspenseful music)

- Here we are, Mrs. Stevens.

- Please wait.

- I will, and it's straight ahead.

- Rex, forward.

(suspenseful music)

(knock on the door)

(suspenseful music)

- Come in, come in.

- Who are they?

- In a minute.

Let me take your dog.

Your coat.

- Who are they?

- You know, there's a lot of boys in my business

who have been fingered for a lot of different reasons.

But I don't know anybody that ever got it for

the same reason that I'm fingering these boys.

I find that amusing.

Come on.

The gun was Poke Hansel.

The boss is Blinky Ober, and a guy named Chico was driving.

- Where are they?

- Well who knows?

Out fishing maybe, they run a charter boat service

in San Pedro.

Ober and Associates.

That's like for up front.

Now what's behind, better you never know.

Well, so much for business, huh?

- What are you looking for?

- The phone.

- Why?

- I want to hear their voices.

I want to be sure.

- Now now, just a minute.

You think I just made up a couple of names?

I went to a lot of trouble and

a lot of risk digging this up, so you just

better believe it.

Now you've got your names and

that's that.

- Until I hear them myself, I won't believe you.

- You know, I've just gotta be sick.

I'll dial for you.

Come on.

Sit, now.

Information.

I'd like the number of Ober and Associates.

Yes, they run a charter boat service in San Pedro.

- Crazy-Looking funeral parlor.

- Maybe she had to make a stop on the way.

(telephone ringing)

- Now just as soon as they answer, and you've heard,

that's how quick I'm gonna hang up.

- [Man] Ober Associates.

Hello?

Hello?

(dramatic music)

- Sorry baby, but these boys,

nobody messes with.

Not even me.

- Please get me my coat, Rudy.

You didn't really think I'd keep

my end of the bargain, did you?

- No, no I didn't, even though I kept mine.

But later on, when you start feeling sorry about it,

I want the record straight.

Now I want you to remember, Donna.

That I played square with you.

- My coat, Rudy.

(suspenseful music)

- I'm sorry, baby.

- Rudy?

Stop it.

Let go of me, Rudy!

Let go! (Rex barking)

Let go of me, Rudy!

(Rex barking)

Rex!

(Rex barking)

(suspenseful music)

Stop it, Rudy!

(suspenseful music)

- [Tod] Are you all right?

- Tod? - Yeah.

- We heard Rex barking all the way outside.

- Wait a minute, who are you guys?

- Friends, we thought Mrs. Stevens might need some help.

- I see, and it takes two of you, huh?

- Oh.

Tod.

I think I need a little exercise.

- Come on.

(sharp thud)

(dramatic music)

Wait a minute.

(dramatic music)

(cracking punches)

(dramatic music)

(cracking punch)

(dramatic music)

- Now let's get the gun and be on our way.

- You know, you're the most selfish guy I ever met?

Never let me get a punch in.

- Take me to San Pedro please, Lew.

- That'll kill you on the meter, Mrs. Stevens.

Why don't you make it a flat rate?

- Just get me there, as fast as you can.

- Okay.

(dramatic music)

(suspenseful music)

The place is closed shut, Mrs. Stevens.

- But I talked to them on the phone just before I left.

- Nice people, making you come all the way

down here for nothing.

- How much, Lew?

- You're not gonna wait here, are you?

- Is that enough?

- Well sure it's enough but I can't leave you right--

- Their office, is the door straight ahead?

- Watch this step over here.

Easy now, there we are.

Now, you're facing it right in a direct line.

- How many windows are there?

- Well there's a window on the right-hand side

of the door, and then there's another one around the corner.

- And how far is the door?

- 15 feet maybe, as the crow flies.

- Good.

May I have the leash please?

- Yeah, sure.

I'll wait for you.

- No, I won't need you anymore tonight, Lew.

- Oh, Mrs. Stevens, I can't--

- Thank you, good night.

(suspenseful music)

Rex, forward.

(suspenseful music)

(taps on the window)

(suspenseful music)

Rex, stay.

(suspenseful music)

(scraping on the window)

(suspenseful music)

(glass shatters)

(suspenseful music)

Rex.

Rex, jump.

Jump!

(suspenseful music)

(suspenseful music)

- Isn't that charter supposed to leave at 6:00?

- [Sailor] (mumbles)

The top needs a new diesel.

- Oh, come on.

- He's been having trouble with it for over a month!

- I know, come on, come on.

(suspenseful music)

(lock rattling)

(suspenseful music)

Well see if he's gone yet!

(suspenseful music)

- No.

(suspenseful music)

There's something different in here.

- [Blinky] So what's different?

(suspenseful music)

- Hey, did you move this screen?

- Come on, sit down.

Sit down!

(suspenseful music)

- I'm gonna kill you both.

- Now why would you wanna do that?

- I heard your voice at the gas station.

When you told Poke not to shoot me.

Killing Jeff was your first mistake.

Telling Poke not to shoot me was your second.

- I don't know what you're talking about.

- "She can't hit me, she's blind."

Isn't that what you're thinking?

You're standing directly behind your desk, Mr. Ober.

There's a steel filing cabinet behind you.

And a water cooler alongside.

- She's not--

(Rex growling)

- Rex!

(suspenseful music)

You can't hide behind silence.

Sooner or later you'll move or cough.

Or try to get to me.

I have the time to wait.

All the time in the world.

(suspenseful music)

(gunshot echoes)

- She can see!

She didn't go for the bottle!

She went for you!

- Bottles and men make different sounds when they fall.

(suspenseful music)

Jeff never knew why he died.

I want you both to know.

When I had my accident, I hated the world.

Why me, why my eyes?

And then Jeff found me.

And brought me back, not just to sanity...

But to life.

I don't have the strength to try to live again.

When you took him away from me, you threw me

right back where I was before, hating!

You first, Poke.

(suspenseful music)

- No!

(Poke whimpering)

(suspenseful music)

No.

No.

No.

(suspenseful music)

(Rex barking)

- Hello operator, let me have the police, it's an emergency.

- Why?

Why couldn't I do it?

- I read something once.

"We consent to die, when we ourselves turn assassin."

You made you choice, Donna.

You chose to live.

- Rex?

(Rex whimpers)

(dramatic music)

(smooth jazz music)

- [Narrator] This has been a Screen Gems

film presentation from Columbia Pictures.

Herbert B. Leonard, Executive Producer.

(dramatic music)