I Love Trouble (1947)

No renewal found Free in the US since 1 January 1976, on the registry's reading: registration LP1315 of 1947 by Columbia Pictures Corp., Hollywood was not renewed in the volumes searched. Record.

Copy: I_Love_Trouble_movie on the Internet Archive; registered 1947
Read: 363 shots over 1:34:21 · 928 transcript lines · JSON
Record: I Love Trouble No renewal found
Picture: Wikimedia Commons, public domain
Wrong?: Report a problem

Check before citing the shot count. A 3:14 shot at 49:53 (shot 221): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

363 shots over 1:34:21, read from the Internet Archive copy I_Love_Trouble_movie (I_Love_Trouble.mp4, 640×480, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: I Love Trouble No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 363 shots judged colour), average shot 15.6s long, a frontal face detected in 48% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 928 segments kept, 125 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

1:30 I'd like to know the reason why you're following me. Would I need a reason? You know, I'm beginning to think I might possibly have been mistaken about you. Perhaps it's your leer. It looks so genuine. It is. Yes, I can see it is. Well, you'll have to excuse me. I'm going in here and try and lose you.
2:30 Brace yourself.
2:48 Johnson? Does Johnson have a purple face?
2:54 You're a bit early, Bailey. Am I? I haven't quite made up my mind. About what, Mr. Johnson?
3:00 break your neck or merely to fire you.
3:03 Well, take lots of time.
3:05 you're paying for my wife just called me what's the idea of following her it's what she wanted to know your instructions were clear go to Portland where she's lived all her life frightened enough now without having private dicks trailing her around right
3:21 Why?
3:23 Another one came yesterday. Only this time it was addressed to Jane. She read it.
3:41 I figured she was frightened because when she read it, she laughed gaily.
3:46 That's right, she did.
3:48 And then she pointed out that being as your estate planning commissioner and chairman of the Civic Council,
3:54 something of a public figure...
3:56 That it was just a crank note?
3:57 That's right.
3:58 And I believe her.
3:59 Because she pointed out something else, too.
4:02 A lot of my old friends resent Jane.
4:04 She's very withdrawn.
4:06 Doesn't like to go out much.

908 more segments

4:07 to meet too many people.
4:09 Some of my friends would be capable of...
4:12 Getting plastered and pulling a stunt just like that.
4:17 That's a pretty rugged crowd you run with. Rugged's a good enough name.
4:22 some of my friends...
4:23 I came up the hard way.
4:25 In fact...
4:26 And that's the trouble.
4:28 I led a rough and tumble life.
4:30 Jane hasn't.
4:31 I was ready to judge her by my standards.
4:34 That's probably why I was so quick to hire you when I got that first note.
4:38 It was easy for me to think that Jane might be in trouble.
4:41 Too easy.
4:44 But her reaction to this second note...
4:46 It was genuine.
4:49 Made me realize that
4:50 Jane wouldn't be capable of doing anything she had to hide.
4:55 So, I think you can just forget about all this, Bailey. You forget about it, Mr. Johnson.
5:00 Your wife's in trouble.
5:03 You've known her only since she killed more than a year ago.
5:06 You've been married to her less than seven months.
5:09 What do you really know about her, except that she was a nice, quiet sorority girl at UCLA? Yeah.
5:14 What are you trying to prove? Nothing much.
5:17 But people don't spot me when I'm following them.
5:19 unless they're looking for it.
5:21 Your wife was looking for it.
5:23 That's pretty thin.
5:26 Did you know she's got an account in a Westwood bank?
5:29 No.
5:30 She has many money except what I give her. She came out stuffing a roll of bills in her purse that would keep me for a month.
5:35 Did you check on it?
5:36 I tried to, but whatever business she was doing, it wasn't done under her own name.
5:41 Either Mrs. Ralph Johnson or Miss Jane Brigger.
5:45 And she dresses in a way that you can't definitely describe.
5:48 I think it's deliberate.
5:50 Look, there's a ticket in here. Leaving for Portland at 6 tonight.
5:55 Do I use it or not?
5:57 I think you can use some discretion along with it.
6:04 Mm-hmm. Jane Breger, class of '41.
6:09 But, uh, we're not closing out information. Well, all I want is her address, teacher.
6:18 10476 Larrady.
6:22 Mm-mm.
6:25 She got a work permit to dance at Keller's Carousel down on South Broadway.
6:29 You're an angel, Angel.
6:34 Very funny. Now tell me where you want to go. What's the trouble? Brother, that address hasn't meant anything for five, six years now. That's why they built one of the shipyards. What about Keller's Carousel, that little club down on South Broadway? Oh, you're from out of town, huh? Cops closed that joint up a long time ago. It's a key room now. Is Keller still around town?
6:58 Keller?
6:59 Look, pal, I just drive a hack. Where do you want to go? I'll leave that up to you, pal.
7:07 Well, you don't want to find Keller. Beyond ten bucks, I lose interest in him.
7:12 Don't let Keller hear you say that. He's a very sensitive guy.
7:33 Thanks, Steve.
7:34 It's a chip crib, brother. Illegal. Just go up that ramp there and ask for Reno. Tell them Gus brought you. Thanks.
8:15 What can I do for you?
8:17 I'm looking for Reno. You're lost. That's in Nevada.
8:22 You remember here? I'm a friend of Reno's.
8:26 Home? Where's your transportation? Gus brought me down. Take him up to three. Okay, Mr. Reno.
8:37 I bet you hardly remember me.
9:23 Well, my way wouldn't help you. But he is around.
9:36 You approve of our layout? No roulette. People up this way don't go for roulette.
9:43 What do you expect to get to your ten bucks, Keller? I see everybody up here works together. We try to. I wanted to see Keller about a small matter.
9:54 Small matters are my business. What's it about? A girl. A girl who used to work for. What girl might that be? Tell her it can't be that hard to see. The gentleman is right, Reno. He paid ten dollars for the privilege of talking with me. I'm really flattered. It'll go on my expense account. I didn't get your name. I didn't give it to you. I'll take it now. Bailey. We'll have some privacy.
10:29 Oh, my God.
10:33 Oh, oh.
10:37 Now, about this girl, Mr. Bailey. She may have taken a cozier name for your nightclub, but she was born Jane Breger.
10:45 Well, this was a long time ago.
10:47 What's he done? Nothing, just missing. I'm afraid I can't help you.
10:51 Or whatever you know.
10:53 She left Portland back in 1941 when I sold the carousel.
10:57 She went to Los Angeles with a comic.
11:01 Pájense.
11:01 In 1941? You mean 1946, don't you?
11:04 Sorry, I mean 9 till 41. Did you know her? No, I never met her.
11:08 Do you know anyone here or in Los Angeles who might have kept in touch with her? Sorry.
11:12 No.
11:15 She was quite something.
11:17 I tried to brush some dust off her shoulder I want, and she accused me of...
11:21 more incurred.
11:23 If you find her,
11:25 Give her my regards.
11:26 Would you have any pictures around?
11:28 Maybe I have a room full of reddicks from the carousel
11:31 Would you like to go through? - Yeah.
11:33 Reno, you know the room?
11:35 Thanks for letting me take your time, Mr. Keller.
11:39 I'm sorry I was talking about the wrong girl.
12:47 Which one is Buster Buffett? Why don't you pick out Jane Brigham? You told her boss you never met her. I did say that, didn't I?
13:03 Comes the menace again.
13:09 Hey, you. You can walk down. I was thinking of calling a cab from the desk. They cruise around. You can pick one up. I think I'd better call one. I'm afraid of the dark. We don't like cabs coming to this address. It's a house rule.
13:25 for this morning.
14:55 What happened?
15:25 is real around I haven't seen you mind if I use this go right ahead you seem to be very much at home
15:49 Hotel Willamette?
15:50 This is Bailey, room 517. Get the houseman up to my room quick, will you?
15:55 Tell him to take it easy, but hold anybody he finds there.
15:58 I'll wait.
15:59 What happened? Did you fold down the elevator chair?
16:03 I thought maybe you could tell me.
16:04 Don't you know? It was supposed to look like a heist job.
16:07 He emptied my wallet and put it carefully under my nose.
16:11 Real subtle. The boys who work these streets can afford to be casual. Your man Reno told me I'd find a cab.
16:17 You're from Cairn.
16:18 I don't think Reno likes you, but he doesn't go in for petit terre.
16:22 Yeah?
16:24 The room isn't messed up.
16:26 All right. Tell him to watch it a while.
16:30 I thought you might be looking for something. The hard way. If I wanted anything from you, I'd get it.
16:36 And I like the hard way.
16:42 - Sorry, boss, I thought he'd gone. - He's just leaving.
16:51 I just came back to use the phone. I got a nickel left.
17:04 You know the way out. Take the stairs.
17:09 Rain spots these jackets, doesn't it? Hey, something holding you up?
17:15 Not a thing.
17:20 Nothing holding him up either.
17:24 That puts her here here in Los Angeles six years ago instead of a year and a half as I thought I
17:29 Incidentally, I'm being tailed. Since when? Since I got back from Portland. Or rather, since this morning, he picked me up at my apartment. And I'm probably being followed too. Can you find out who it is? Well, I'm pretty sure this is from the Portland inn.
17:41 I'll let him catch up with me the next time and we'll have a little talk. And if he doesn't want to catch up?
17:46 There are ways of arranging it.
17:48 By the way,
17:49 If this isn't a gag it ought to be,
17:51 The Tetra agency says Buffen quit show business and bought himself a meat market or something down at the beach.
17:56 Thanks, Vicks. I'll follow it up.
17:58 I want you to fill in the gap.
18:00 If she did come down here six years ago, I want to know what went on in the five years before I met her. Well, that shouldn't be too tough.
18:06 Here it is, Buster Buffon's buffet.
19:39 Oh
19:43 Honey, you see it's down front. Always room for one more.
19:47 You killed me, Buster. See you later. Okay, drop in again.
19:53 Well, what'll it be, clam chowder or clam chowder? You got any clam chowder? Oh, that's special. It'll cost you extra.
19:58 Any coffee?
20:00 - Matt.
20:02 - Ah.
20:04 You wouldn't be a food inspector, would you? Put it down, I might be hungry.
20:07 You'll find it warmer than an old mate's feet, but not half as clammy.
20:12 Mustard, this routine's better than the one you had in Portland.
20:19 Do I know you?
20:22 I hope not.
20:23 A crack about Portland was supposed to mean something.
20:26 What?
20:27 A man in Portland died and left a small estate.
20:30 What's that to me?
20:32 Keller says she came down here with you.
20:34 Oh.
20:35 So you're trying to find Jane.
20:37 Yeah.
20:38 That was all of six years ago, chum.
20:40 What's your angle on it?
20:41 Just legwork.
20:42 And the expense account is lean and hungry.
20:45 What's the information worth?
20:47 What's the information?
20:53 What'll that buy?
20:56 Okay.
20:57 We came down in 41, together.
20:59 Strictly photonic.
21:00 She was one of those don't maul me types.
21:02 She got up a routine with Bubble Bath or something and hit the nightclub circuit.
21:05 I cornered in Long Beach.
21:07 Pretty corny.
21:08 That was about five years ago.
21:10 Haven't given her a dime's worth of thought since.
21:13 She still looked like that when you saw her last year?
21:20 Where'd you get this?
21:21 Keller?
21:24 She dyed her hair?
21:26 Maybe cut it a little short.
21:28 What name was she using?
21:32 I've been waiting for you to ask that.
21:34 Yeah, I thought you were.
21:38 That's ceiling.
21:41 Make it 50 and I'll throw in the name of the club in Long Beach.
21:46 Forty does it.
21:52 Club Zorro, Long Beach Boulevard. She was calling herself
21:55 Janie Joy.
21:57 Club Zorro, Janie Joy.
22:02 Hey!
22:03 Only two bits for the chowder.
22:07 Oh, my God.
22:37 The door's open, Hanson, but we're closed. It's right outside. I guess you got something there.
22:44 Mind if I go on with my work? I'd rather you wouldn't. Say, what is this? I'm a guy with questions to ask. Personal? Personal?
22:52 One of them. How long you worked around here?
22:54 What's it to you? Not a thing. Were you around when Janie Joy worked here? Who? Janie Joy, 1942. The name is vaguely familiar. What about her? She may have come into some cash. An estate's trying to locate her.
23:10 It's too bad. I mean, too bad. I can't help you. Ever hear of a man named Keller?
23:16 No worry.
23:18 Has anybody else been around asking for her? Not that I know of. Look, Lamb, I'm a busy woman. If you have any more questions, just drop them in the suggestion box on your way out.
23:28 Thank you, ma'am. You've helped me more than you know.
23:46 Sorry to call you, but I thought you ought to know that a detective named Bailey is looking for your friend, Jamie Joy.
23:58 You ever have a feeling you're being watched and followed? Not nearly enough.
24:29 Why, who's playing you for a mouse? Mrs. Johnson. Oh, did you talk to her? No, no, I'll leave that to my client.
24:35 You better phone Johnson right now and tell him his wife's downstairs.
24:38 Keeping tabs on me in case he's thinking of dropping in. I'm pretty...
24:42 Josh.
24:43 You'd think with her, though, she'd hire someone to watch you. Well, people like her to keep people like us out of work.
25:20 Come on up.
25:50 Yeah, Martha.
25:57 Oh, he thinks he's just too, too social since he joined the club. The automobile club.
26:04 Well, come in.
26:13 Is this love or were you looking for a detective?
26:18 Isn't there any other alternative? Yes, but I haven't got time for it.
26:22 I understand you're looking for someone I know.
26:25 Janie Joy.
26:29 Sit down. Tell me more.
26:37 Has something happened to her?
26:40 She happens to be mine.
26:42 Sister.
26:46 You didn't tell me your name. My name is Gretchen Brieger. My sister's real name was Jane Brieger.
26:56 When did you see her last? When she first left Portland in 1941. When did you come down here? 42. Why didn't you look for her then?
27:07 How do you know I didn't? Because I covered every agency in this town.
27:12 had ever been around looking for Janie Joy. The answer was always the same. No. I see. No, I didn't look for her, Mr. Bailey, because, you see, I happen to know she wasn't in Los Angeles. The last letter received from Jane was from Acapulco, Mexico. I never heard from her again. When was that?
27:35 Just before I left Portland.
27:38 Where did you live in Portland, Gretchen?
27:42 10476 Larrabee Avenue. That's quite a memory you've got. I'm just looking for a cigarette, Miss... Shannon. Norma Shannon. 1205 Roxbury. Who sent you up here, Miss... Breger?
28:01 Acute cynicism. I suppose it's an occupational disease.
28:05 Ah, it's the people I meet. Who sent you up here? I'm a model. I just didn't care for the name Gretchen Brieger. I changed it. I didn't know models changed their names. The ones named Gretchen Brieger do. You're a highly improbable character, Mr. Bailey. Did someone just dream you up? No, you're good. You're very good. I'm surprised they didn't have your planter in Afghanistan. Why stop at Acapulco? May I go, please?
28:35 How did you know I was looking for her?
28:39 I went by my agency this afternoon and saw your card with Jamie Joy written across it.
28:46 Now may I go, please?
28:55 Well, I wouldn't have missed meeting you for all the world, Mr. Bailey.
28:58 The first time I've gone slumming in years...
29:20 Not with me, but there are still buses running. Well, I'm going your way, Gretchen. You can't turn down a ride.
29:32 Don't tell me who lives here. Let me guess. Oh, too easy. As long as I'm going out to Beverly Hills, I thought I'd change my shirt and eat out that way. Oh, Bailey, you're about as subtle as the Mickey Finn. I'm not trying to be.
29:48 If you're thirsty, you can come up while I change. Or you can wait there.
29:53 I think you mean it.
30:14 Well, I thought detectives all lived in hall bedroom apartments. I did, for ten years.
30:26 where's going in there
30:51 You have any bitters never touch this stuff.
31:02 You go into a pen.
31:03 She's an old flea. I'm a little sentimental about it.
31:16 Your phone's ringing.
31:24 Where are you?
31:26 Around the corner.
31:28 You forgot that report. I want you to pick it up right away.
31:31 You know, there's something wrong with this phone. Just like you said, I forgot a report.
31:34 The latest one.
31:37 Oh!
31:38 Oh, the one in the size 9 nylons.
31:41 Yeah. Yeah, I'll do that.
31:50 You like my girl She's very pretty like tight you think she's as pretty as your sister I
31:58 It's a matter of taste.
32:01 You know, you still haven't told me what I've been waiting to hear. Come on, let's get out of here. What's happened to Cheney? Why are you looking for her? I just represent a client, Angel. I couldn't tell you that until I had permission.
32:28 Now it's my turn to apologize. You changed your shirt and brought me home. And you left your motor running. You put in a hard day. I thought you might be hungry. I am. Perhaps I could whip up some dinner for us. Do you like lamb chops? Let's make it some other time, Angel. All right. Some other time.
33:37 This is a gun in my hand.
33:40 Yeah, I've seen one before.
33:42 Lay off Janie Joy.
33:44 There ain't nothing in it for you but a Chicago overcoat.
33:48 Really?
33:49 Maybe you better count me out.
33:51 We'll do that.
33:53 Now hold out your hand, I've got something for you.
33:57 Pick it up.
34:02 You'll find $200 in there.
34:05 for being smart.
34:06 Next time we won't be so generous.
34:08 Any other jobs you want me to lay off of, just let me know. I might give you a reduced rate. I'm in stitches.
34:15 Now turn around.
34:17 and start walking.
34:38 This is a gun in my hand.
34:42 So why didn't you use it? Would that be nice? He's a cash client.
34:47 get his license number I was afraid you wouldn't I expect 8m 2222
35:18 You went off and left that last night. I took out a buck for the trouble of finding you and bringing it back
35:24 The nice place you got here What's caprio got to do with Janie Jones? I don't know you or what you're talking about. I? Gather you won't mind if I talk it over with caprio. Oh
35:36 You ask for trouble, you'll get it.
35:38 I hired out for that job.
35:39 Who hired you?
35:40 You know what would happen if I told you?
35:42 The guy's tough, huh?
35:44 You can say that again.
35:45 Whoever's behind you is about as dangerous as a badminton bird.
35:49 Giving me that 200 bucks. That's right out of Aunt Sadie's hope chest.
35:53 You want to tell me about it?
35:55 get in quick I'll talk to you is something the matter yes I'd like to talk with you police business police I see the bin then
36:14 Martin is a chauffeur.
36:16 Beyond his duties as such, I know nothing about him.
36:19 I give you my word on that.
36:20 Fine.
36:22 Then you won't mind when I bring charges against him.
36:24 Oh, yes.
36:25 I will mind.
36:28 I'd rather you would not bring TARDIS against Martin.
36:31 I shall discharge him, of course, if what you say is true.
36:37 But she'll make it worthy a while.
36:39 Okay.
36:41 The price is cheap. Just tell me why you want me to drop it.
36:45 If I told you, Mr. Bailey...
36:48 I'm quite certain you wouldn't believe me.
36:50 Go ahead and try me.
36:52 You see, it's very simple.
36:54 I have a passion for obscurity.
36:57 is really a monster fear.
36:59 I happen to believe rather deeply...
37:02 that only the obscure are ever...
37:06 Oh, Lisa.
37:08 This is Mr. Bailey.
37:09 Mr Bailey, my wife.
37:11 Mr. Bailey has had some difficulty with your chauffeur.
37:14 What is it, Linick? I am sorry, sir, but I can't find Martin.
37:18 Excuse me.
37:19 What sort of difficulty, Mr. Bailey?
37:22 I'm investigating an ex-showgirl named Janie Joy. Martin's working for someone who'd like me to quit. Tell me...
37:28 Why didn't you report him?
37:30 Why do you want to talk with us about it?
37:32 I know something tougher than that, Nancy.
37:35 Why haven't I been thrown out?
37:37 I do not know. It is apparent my husband wishes to talk with you.
37:43 Latin American women respect their husbands wishes.
37:48 I've known.
37:49 One or two that didn't.
37:51 Really?
37:52 That is an interesting observation, Mr. Bailey.
37:55 Perhaps we should explore it further.
37:57 Some at a time.
38:00 Fine. My name's in the book, Stuart G.
38:04 But now let's talk about Martin.
38:07 Did he work for you in 1942?
38:10 I was in a convent in Rio in 1942, Mr. Bailey.
38:14 Perhaps this girl, uh, Jamie Joy, is the sweetheart of Martine. That is harmless enough.
38:20 Oh, what do you know about her?
38:22 Enough to know she isn't.
38:25 Why don't you sit down?
38:41 May I fix you another drink?
38:48 May I ask you a personal question?
38:54 Martin will be here presently
39:01 Come in.
39:02 Yes, sir.
39:02 Come in, come in.
39:05 I'd like to hear your side of the story, Martins.
39:08 What story, sir?
39:09 You have seen this man before?
39:12 Sure.
39:13 About 10 minutes ago, he asked me who lived here.
39:16 You have never seen him before, Dees?
39:19 Not that I know of.
39:20 Of course, he has the sort of face you might not remember.
39:25 Okay, let him tell it to the law. Doesn't make any difference to me. Mr. Bailey...
39:30 When did this happen? Last night. Last night's...
39:33 Are you sure?
39:34 Then I know you are mistaken. My teen was here.
39:38 and duty last night.
39:39 Are you willing to tell that story to a police magistrate?
39:43 Of course.
39:44 It happens to be true.
39:49 Thanks, Mrs. Caprio. That's all I wanted to know.
39:52 Mr. Bailey,
39:54 What about Martin?
39:56 Forget it, Mr. Caprio. I know when I'm late.
40:00 You may go, Martin.
40:02 Leesha, I thought last night was Martin's night off. No, I changed it a few weeks ago.
40:37 Hello.
40:38 Hiya, Sherlock. You just called me Watson. How did you find me? Easy, Watson.
40:44 Hey, where you been the last two days?
40:46 What's on your mind? I got something for you, but it gives for cash.
40:51 No small change like 40 bucks. What kind of figures do you think I'll talk?
40:56 For what I got, plenty, brother. Plenty. You're wasting your time, Buffen. I know where Jane Breger is and who she is.
41:05 You'll kill me, Bailey. If you're smart, you'll come down here now and be ready to talk turkey.
41:26 What's that? You see? There he is. He'll come in.
41:51 I won't... I won't talk.
41:56 I'll give him a story. What, sir? See? He'll come in in a second. I won't talk.
43:26 I want to report a murder. Buster Buffen's Buffet in Venice.
43:46 Your phone's ringing. I'm wondering why. My, we're grumpy again. I'm hungry. I haven't had my four pounds of raw beef today.
43:56 That's what I called about. I want you to have dinner with me tonight. Where? Here, my apartment. Think you can find it again? That car you hear coming to a screeching stop is me.
44:09 Open the door.
44:13 How do you feel? Fine. Also curious.
44:17 Yes, we've talked about everything except why you brought me up here
44:23 Now we're going to talk about that
44:27 I'd like to know why you're having me followed.
44:32 It takes a very special kind of girl to spot the fact she's being followed when it's done right. And what kind of a girl would that be? One who peers over her shoulder while she walks.
44:45 And that's the kind of a girl you think I am? Well, remember my occupational disease.
44:52 So you still don't believe what I told you about Janie?
44:57 you. The one thing you had me followed. You can't expect me to ignore that. And for another thing that was last night. You took me to your apartment. We had our drinks. You took me home. No tired line. No phony preliminaries. I like that kind of guy. I was going to wait
45:27 Get out right now instead. You remember that picture you saw on my desk?
45:32 yes that was your long-lost sister Jamie well they coached you well whatever information I had you had but they forgot to show you what she looked like but you're wrong Jamie had dark red hair she must have been wearing a wig in that picture what of it it wouldn't change her that much it's right it couldn't have changed her that much
46:02 Your phone's ringing.
46:10 Hello?
46:13 It's for you.
46:15 Excuse me.
46:21 Don't say anything, Hazel. Nothing to say. I just thought I'd go out and get a bite to eat as long as you were with her. Nothing at all? Nothing, except that she's being tailed. Guy in the car, they haven't taken out of the crate yet. What?
46:32 One with a wooden side. Oh, that's good news. I was afraid you were slipping. Look, after dinner, go see Jenkins in the news and get all the dope you can on John Vega Caprio and his wife. John Vega Caprio. Right.
46:49 You know, I didn't study the picture. All I saw was a mass of curls and a rather bare back. The face just didn't seem to register. Didn't it?
46:59 You know, it just hit me.
47:02 you took me to your apartment last night.
47:05 Just to see the photograph.
47:08 Oh, something like that.
47:11 And I thought she wanted to see what kind of a girl I was.
47:15 I know what type of girl you are.
47:18 No, you don't. If that was Janie's picture,
47:23 explain really.
47:26 Maybe. I don't want to be sure. Why don't you just look at me? You might find your answer.
47:39 Not a chief.
47:41 The longer I look at you, the farther I get from the ratings.
47:46 As I said once before, you're good.
47:51 I suppose you meant that to be nasty. I found it rather nice. Come on, let's go. You mind telling me where?
47:59 Your apartment, of course.
48:01 Uh-uh. Thanks just the same. Wrong again, Mr. Bailey.
48:07 We're going to have another look at that picture.
48:31 You're a great housekeeper, Bailey.
48:40 Find what you were looking for, Lieutenant?
48:42 This is just as we found it.
48:45 Kind of messy, huh?
48:46 I'm sorry, Angel. Someone beat us to it. The picture's gone. I'll take you home.
48:50 I don't like to spoil your tongue, Bailey.
48:53 But this will keep...
48:54 Sergeant Miller will take you home, miss.
48:56 Do you mind?
48:59 No.
49:00 Not at all.
49:01 Besides, I've always wanted to ride in the police car. Give Muller a cup of coffee to go with the cake.
49:10 You must be working for something hot.
49:12 No, Lieutenant Clinton. Nothing very hot.
49:16 What did you have against Buck?
49:18 His clan chowder was too cold.
49:22 You're all through, Bailey.
49:24 Ruffin made several calls for you. Toll calls, so there's a record.
49:28 An hour after the last call...
49:30 He shot and someone who looked just like you was seen leaving his place.
49:35 Now, if you expect the breaks...
49:37 forget about being cagey.
49:40 What are you working on and what did Buffon have to do with it?
49:43 I wish I knew.
49:45 Somebody else got to him first.
49:48 Who are you working for?
49:50 Give me time to...
49:51 See my client, will you?
49:53 This is murder, Bailey.
49:55 Your client doesn't count.
49:57 I'm afraid he does.
49:59 He's not the kind of a client you can get over a barrel and stay in business.
50:03 The DA knows him. If the DA says talk, I'll talk.
50:06 You talk to me, you're a grand jury. I don't get my orders from the DA's office.
50:11 You're leaving?
50:12 I'm going to check my office. I don't think the boys found what they want to come along.
50:16 What would I get after?
50:18 Let's go find out.
50:19 Were you ever mixed up in a murder before?
50:22 I'll let you in on something.
50:24 To the Bunko Squad or the Vice Squad, that license of yours may mean something.
50:28 To the Homicide Bureau.
50:31 Just a scrap of paper.
50:33 A pretty expensive scrap of paper.
50:35 Well, I'll take that back.
50:36 The license does carry certain obligations.
50:41 Why didn't you report the body? How did you find it?
50:44 Well, you know that call with no report.
50:48 Anything else on your mind?
50:49 If there was, you wouldn't be walking out that door.
51:00 I got it all down, Lieutenant.
51:02 Well, that's dandy.
51:04 Now, fair enough.
51:33 Let's talk
51:35 Who are you? I'm a guy who wants to talk. I'm lonely.
51:38 I gotta get out of here. I wouldn't do that. Your friend upstairs might see it.
51:43 Let's go up and join him. Maybe he's lonely, too.
52:02 Hey. This ain't your floor. Elevator doors make noise. Come on, we'll walk down. Come on.
52:07 I'm going to go.
52:22 Going in behind your jughead.
52:24 Do whatever you think is smart.
52:28 Come on.
52:37 Hey.
52:38 It's me, Sharpie.
52:40 Come on, open up.
52:53 I'm all ears.
52:54 What's the paper chase about?
52:57 Get started. We got a long night. After we talk, we clean the place up.
53:04 Maybe you'd rather tell it to the cops.
53:09 What is it about me you guys aren't afraid of? When you get to know me, I'm a very odious character.
53:15 Me too, Bailey.
53:16 A girl once told me I was the most odious guy she ever met.
53:21 Can you imagine that?
53:23 Better just drop the canister on the floor. You shoot Herbie, I shoot you. Where'll that get us? Better just drop it.
53:33 Car lights were on such a short time we didn't think it meant anything.
53:36 What are we gonna do with them, Reno?
53:38 We'll take him where we can talk.
53:40 Well, we heard. He won't be any trouble. Pretty smart trick getting off the wrong floor.
53:51 Look, Herbie, the guy's coming too.
53:55 I told you you would.
54:09 Thanks for putting me to bed.
54:12 I've been sick.
54:13 Lock the door, Sharpie.
54:15 He wants to put in some overtime.
54:19 You're awake.
54:21 You okay now?
54:27 Where is she?
54:28 I wouldn't know.
54:30 She's a missing person. That's why the guy hired me.
54:34 You're a bad liar, Toots.
54:36 This picture's got no name on it, but you picked it out of ten others.
54:40 Where is she?
54:42 I saw a picture before I went up to Portland.
54:46 Fair enough. We'll settle for the name of your client.
54:49 Don't be a hero, Bailey. You're gonna tell us now or later.
54:52 Why don't you tell us now and...
54:53 save yourself some teeth.
54:56 I'll talk to my client tomorrow.
54:59 Maybe he'll see it your way. Quit stalling, sweetheart. Let's have it.
55:03 I've been waiting for you to try that. What took you so long?
55:14 Come on, talk to me.
55:17 Talk to me!
55:19 Okay.
55:21 Okay.
55:24 But I don't get it.
55:27 Now, why is Keller looking for her now?
55:30 Why didn't he look for us six years ago?
55:32 She'd have been easy enough to find. Are you going to talk or shall I watch you around some more? All right, all right. I'll make a deal.
55:39 You tell me why he's looking.
55:41 for
55:42 Then I'll tell you who hired me.
55:44 Okay.
55:46 Who hired you?
55:48 Why is he looking for her?
55:50 You see, boys, the guy's a fanatic. He won't talk to me.
55:54 Take it easy, Reno. You're trying to kill him?
55:58 He's got to be in condition to talk.
56:00 Guy's a fanatic.
56:02 You can't do nothing with fanatics.
56:04 Fanatics won't talk.
56:08 Put him on the bed.
56:10 Why don't we tie him up? What do you suggest we tie him with? Have we got any rope? Guys, get out of ropes.
56:17 Get Gracie up here, she'll give him a bromide.
56:19 Tell her the guy thinks he's tough.
56:27 You asked for this, chum.
56:30 Give us a slip every time we try to follow you.
56:32 You'll ever carry anything in your pockets or anywhere else for that matter that'll tell us anything we want to know.
56:37 And we'll just have to get it the hard way.
56:43 There he is, Gracie.
56:44 Pretty, huh?
56:46 Is he out? Like a string of Christmas lights.
56:49 Well...
56:49 Can't give him all wits, then. Might kill him.
56:53 I'll give him half.
56:54 That'll keep him out for the rest of the night.
56:57 Probably for a week. Yes, to talk to someone in the morning.
57:00 Don't worry about waking him up.
57:02 I've got something for that, too.
57:04 How soon does it work?
57:06 Well, if he was wide awake, anywhere from 30 seconds to two minutes.
57:10 Swell. Let's get some chow. You stay here with him. I'm just going downstairs to wrestle some food. He starts to turn blue. Call me. Come on, Herb.
57:18 Hey, what about me?
57:20 You heard what she said, stay here. But Reno...
57:23 All right, but be back here in ten minutes and lock him in just in case.
59:32 Oh, my God.
1:02:06 Good morning.
1:02:09 Good morning.
1:02:12 Say, what's happened to you? Are you the drunk they told me you were sleeping it off upstairs? Yeah, that's me. I must have been hearing things. I thought they said it was a gal.
1:02:25 When I drink, my voice gets high. It's a nice place you got here.
1:02:29 What's it called again? Just 7:33.
1:02:33 They don't have names for places like this.
1:02:36 That's what you think.
1:02:54 Just coffee, Millie.
1:02:57 My name ain't Millie.
1:03:04 Millie got fired. My name's...
1:03:07 - Sammy.
1:03:08 Fanny, would you remember... I hate people that call me that.
1:03:12 But you just said your name was... My friends call me Jackie.
1:03:18 Well, Jackie...
1:03:19 Would you... I said my friends call me Jackie, to you or Miss Phipps.
1:03:23 Your name is Phipps.
1:03:25 Certainly.
1:03:27 You know, you ought to learn how to get along with people.
1:03:30 I see somebody struck you.
1:03:32 Miss Phipps, you're what I would call an observant woman.
1:03:36 I'll bet you'll remember a woman who came in here last Monday morning.
1:03:39 She sat at the table by the door watching people come into the building.
1:03:44 How much do you bet?
1:03:45 Five.
1:03:53 Hugh Lowe's, I don't remember...
1:03:56 Hello, Mr. Beast.
1:04:03 You're a sight for sore eyes.
1:04:05 Well, you're a sight, period.
1:04:08 Betty, would you remember a woman spending a lot of time at this table the other morning? She was dressed in black and kept watching the entrance.
1:04:14 Sure.
1:04:15 She bought a 10-cent cup of coffee and gave me a dollar tip.
1:04:18 She should come in more often.
1:04:20 Was she here long?
1:04:21 She must have been here for...
1:04:23 Two hours?
1:04:24 So a funny little man came in and they went away together.
1:04:28 A funny-looking little bald man?
1:04:29 Yes?
1:04:32 What's this for?
1:04:34 You wouldn't understand.
1:04:38 Where have you been? They searched the whole office.
1:04:41 What happened?
1:04:43 And after all the money you spent on those jujitsu lessons...
1:04:47 Get Johnson on the phone, will you? How'd you like to have him in person?
1:04:52 Call this number. Ask for Keller. If that doesn't work, tell him you want Reno. And tell him it's important.
1:05:00 Where in the... What's the matter with your face?
1:05:03 You're just the man I wanted to see, Mr. Johnson.
1:05:06 You've got to get your wife up here. My wife? Why? Because I'm dancing on a hot griddle, and she's going to get me off.
1:05:12 What's Jane got to do with it?
1:05:14 Everything.
1:05:15 I think I know the answers now. I'll find it when I see Keller.
1:05:19 One of the answers is that your wife killed Buster Buffen.
1:05:24 You're crazy. What right have you got? What have you found out about her?
1:05:28 Practically nothing.
1:05:30 Jane Breger came down here in 1941 and sets herself up as Janie Joy, bubble dance.
1:05:36 But she's scared stiff.
1:05:38 There's something riding, huh?
1:05:40 Something terrifying enough to drive her to kill. Get to the point.
1:05:44 When I first talked to Buffen, it was a 40-buck job.
1:05:47 Then he sees your wife and inflation sets in. He wants big money. How do you know he saw James?
1:05:52 because he was a cagey little guy. Something I said or did led him to think there was more than 40 bucks to be had.
1:05:59 So he followed me when I left this place last Monday.
1:06:02 He ran into your wife downstairs.
1:06:05 I just checked on that. And if Jane did kill him...
1:06:08 What do you do?
1:06:10 Throw her to the cops.
1:06:13 I can't dummy up on murder even with you for a client.
1:06:16 Better listen.
1:06:17 You can't sell her out.
1:06:19 If she did do it,
1:06:20 You've got to give me time to get her a lawyer, to get her defensed.
1:06:23 You mean an alibi?
1:06:24 Uh-uh.
1:06:25 My neck's in that noose now, and I wasn't paid to stand in for murder.
1:06:30 If you want to help her, get her down here.
1:06:36 You haven't proved a thing, Bailey.
1:06:42 James gone.
1:06:45 I drove home to take you to lunch.
1:06:47 Her car was missing.
1:06:49 A couple of bags and some clothes. Well, that's out of my hands from now on. It's a police show from here on in.
1:07:00 Homicide.
1:07:02 Is Lieutenant Quint around?
1:07:05 Come on.
1:07:05 I've got some information for him.
1:07:08 Bailey.
1:07:09 Yeah.
1:07:16 Well, this is his girlfriend, Maisie.
1:07:19 He'll be awful sore if you don't get hold of him.
1:07:22 Oh, is that so...
1:07:25 I throw angles, they toss back curves.
1:07:28 They never heard of Keller or Reno.
1:07:31 I'll see you next time.
1:07:38 Did he say anything? He just gave me that chip and said he wanted to see you. He looked mean.
1:07:50 All right, Eunice.
1:07:51 Bring him out.
1:07:52 Come on.
1:08:12 Thanks for seeing me, Miss Nester. Thank you.
1:08:14 Please excuse my appearance. I was sunbathing.
1:08:17 Don't let me interrupt.
1:08:19 Sit down.
1:08:24 Your name isn't really Kilroy, is it?
1:08:29 How much is it going to cost to keep my being out there quiet?
1:08:32 I can't pay you very much.
1:08:34 At least...
1:08:34 Not at one time.
1:08:36 How much can you float this trip?
1:08:40 - Not cash.
1:08:42 Honey, who lets you play house out here all by yourself?
1:08:46 Then you are here to blackmail me.
1:08:48 No, baby, but I should.
1:08:49 Just to teach you a lesson.
1:08:51 Amen.
1:08:53 *Gasp*
1:08:54 You really thought I had the grand, didn't you?
1:08:56 Was it fun?
1:08:57 You got out of character too soon.
1:09:00 What if I didn't like it when the sweet note turned sour?
1:09:04 This was for when I got bored with you.
1:09:07 Now tell me how emblazoned you got into that room.
1:09:09 Who owns the joint?
1:09:11 You still haven't told me how you got in there.
1:09:14 Three goons took me up.
1:09:15 A jug-eared character named Sharpie, another named Herb, and a gorilla named Reno.
1:09:20 I've seen him around. Turned up a couple days ago.
1:09:22 Who turned them up?
1:09:24 I wouldn't know.
1:09:26 I thought they just crawled out from under a rock.
1:09:28 But a man named Keller turned the rock over.
1:09:30 Right?
1:09:32 Let's get to the business at hand.
1:09:34 Why did you want to see me?
1:09:35 I've got to talk to Keller.
1:09:37 Now, I figured if you were important enough to take over a bedroom whenever you needed it, you might arrange it for me.
1:09:42 I'll give you the phone number.
1:09:43 You can call the place yourself.
1:09:45 I tried that. They never heard of him.
1:09:47 That seems to be that, doesn't it?
1:09:49 You know, I've been sitting here trying to think of a persuader for you.
1:09:53 A way to get to you.
1:09:54 You seem to have everything you need.
1:09:57 I wouldn't be too sure of that.
1:09:59 Uh-huh.
1:10:03 The name's Boots.
1:10:04 Where are you going?
1:10:06 733, I think they call it.
1:10:08 Didn't you get enough the first time? That's one reason I'm going back.
1:10:11 I like a fighter.
1:10:13 Not me, baby.
1:10:14 Soft hands.
1:10:15 Well, maybe I just like you.
1:10:17 He didn't want my thousand bucks.
1:10:20 I'm going out there at 7.30 tonight.
1:10:22 Maybe I can put in a word for you.
1:10:24 Okay, if I think of a word, I'll let you know.
1:10:27 Then while you're at it, you might tell Keller to be at my apartment at 8 o'clock tonight.
1:10:31 Not that I know anyone named Keller.
1:10:33 Where is your apartment?
1:10:35 His boys know the way. You better give me the address anyway.
1:10:39 just in case of an emergency.
1:10:44 Remember, 8 o'clock.
1:10:53 Your lock is sprung.
1:10:55 Yeah, I just noticed.
1:10:58 Who cleaned the place up, you?
1:11:00 Uh-huh.
1:11:01 I tried to get her to her office today.
1:11:04 Bailey Watson.
1:11:06 What happened? Was she married?
1:11:08 No, but she wanted to be.
1:11:11 What's on your mind?
1:11:13 several things
1:11:15 Last night, I somehow got the feeling that you had decided to trust me.
1:11:20 silly, wasn't it? I don't know. But you're still having me followed. Why? He's not my man, Angel.
1:11:27 And don't worry about them. It's me they're interested in.
1:11:34 You are in trouble, aren't you?
1:11:36 Well, right now it doesn't seem very important.
1:11:39 What were the other things?
1:11:40 My sister, of course. I'd still like to know what's happened to her.
1:11:46 All my instincts tell me there's something phony about you. All except one.
1:11:52 Let's talk about that one. You did a nice job.
1:11:57 very thorough.
1:11:59 Don't change the subject.
1:12:11 You know what I'm thinking?
1:12:14 But it wasn't a coincidence...
1:12:16 what wasn't a coincidence.
1:12:18 my having dinner with you while my apartment was being rifled.
1:12:24 What do you mean?
1:12:25 and his clean-up job.
1:12:27 Did you find what you were after? Oh, that really does it. Give me a good reason why you came up here and I'll take it all back.
1:12:40 I told you Janie wrote me for Marco Pucco.
1:12:43 I found them.
1:12:48 Where's the uncle?
1:12:55 Let me go. Listen, I've been burned before. I've been given a high-class hot foot with a gold-plated lighter. Either you're phony or most of my facts are...
1:13:04 I'm still trying to find out which. Believe me, it doesn't matter.
1:13:08 Not even a little bit.
1:13:10 It's just the trouble it does matter. More than I'd like to admit.
1:13:14 Don't ask me why. If you want me to go away, say so. My hands have tender knuckles. Is it important?
1:13:27 All things are relative. I can't answer that. It arrived special delivery.
1:13:55 what's the matter what's wrong things are going to be happening around here i don't want you mixed up in it what things i'm being framed angel now you know as much as i do well i see you i'll call you but i when did this arrive about a half hour ago that's the office gun isn't it yeah one shot fired is
1:14:25 gun in the box that came in over to my lawyer. Tell him to call me every two hours here and at the office until I tell him I'm in the clear. What if he can't get you when he tries to call you? He'll know.
1:14:40 Someone downtown was having a joke. Said you had some information for me. Let's try that entrance again. You knock and I'll open the door. The information wouldn't be about a Mrs. Ralph
1:14:55 Answer your phone
1:15:05 Hello is this my pigeon? I
1:15:22 Only get her out of the water. We don't like her in the water. Sure, sure. We'll get her out of the water. Where? Under the pier at Malibu.
1:15:33 I wouldn't want for the tide to get her.
1:15:39 Mrs. Johnson is my client's wife, Quint. What about her? You can't raise a call if you let them hang up. She's dead, Bailey. Her body fell on the beach about a half hour ago.
1:15:54 You're going down with us. Mind if I take my own car? Not if you don't mind my riding with you. Bailey, been hunting rabbits lately? Let's see that.
1:16:06 Let's go.
1:16:24 I'm sorry.
1:16:34 You know her? It's the right party. Mrs. Ralph Johnson. I can't say I know her. How long has she been dead, Doc? I don't know.
1:16:42 You tell me, Lieutenant.
1:16:45 Something for you, Chief.
1:16:47 Found it up here, just about the spot she was tossed from.
1:16:55 Well, what do you know?
1:16:58 What's your middle name, Bailey? George...
1:17:01 It begins with G. Quinton.
1:17:02 I'll save you some trouble. It's my pen.
1:17:08 Have you any idea what caliber gun she was killed with? That one I can't answer. 32. I can save you some trouble there too, Quinn. She was probably killed with that gun. It was sent back to me this afternoon by parcel post.
1:17:20 It's too bad you didn't send yourself a pen, too.
1:17:23 You any idea why I killed her?
1:17:25 Give me time. She had a bank book in her purse, Lieutenant. An account in Westwood under a foamy name.
1:17:31 She closed it out two days ago.
1:17:35 Almost 40,000 bucks. That'll do for motive. Mother, take him downtown and throw the key away. What about the car? Aren't you coming? No, take his car. I'm tired. I'm going home. I work an eight-hour shift and I've done 12 already. Why lock me up?
1:17:48 I'll be at headquarters in the morning.
1:17:50 Can't you smell a frame up when it's hanging under your nose? Not when you're the man who's hanging it there. Go on, Muller, get going. Let's go, Bailey.
1:18:02 You drive. And don't get cute.
1:18:45 Why don't you what need any help?
1:18:47 Hey. What gives?
1:18:50 Where's Liverlip taking you? I think it's a case of kidnapping. Claims he's a cop, but I don't believe it. In California, that's a very serious offense. You two ought to keep that in mind. I think he's right, Hazel. We ought to be sure. You take him down to headquarters. If he's a cop, okay. If he isn't, you can prefer charges. I can identify... So you got my wallet, too, eh? Oh, please. No, not that one.
1:19:21 Come on, come on, come on, like a good boy. I think it ought to take you about an hour to get him down there, don't you? The car's in very bad shape. I'll see what I can do.
1:19:37 Come on, you drive.
1:20:00 I have to come back. I want to help if I can. Thanks, Angel. All I can use now is luck. But can I call the police or get you a lawyer? Okay, Angel, you got a pen?
1:20:13 Uh-huh. Park across the street. If the cops start pouring in that door, stick the pin in your horn and let it blast.
1:20:39 Like mine, too.
1:20:51 Got an aspirin on you?
1:20:53 That is not very flattering.
1:20:55 No offense, Mrs. Caprillo.
1:20:57 I had the headache before I saw you.
1:21:01 We'll be right back.
1:21:09 Where's Martin?
1:21:10 In the closet? Martini's nice chauffeur.
1:21:14 Nothing else.
1:21:16 He's no chauffeur, Pat.
1:21:19 Is that the only way you could pay him blackmail? By giving him a job?
1:21:24 Mm-hmm.
1:21:28 Shall we go into whatever it is you're afraid of, beautiful? Or shall we have ourselves some gay repartee first?
1:21:35 I am afraid of nothing.
1:21:38 I am only terribly curious about something.
1:21:41 You see, I know Jamie Joy.
1:21:45 Just drop your ashes on the floor. There's a girl comes in once a month.
1:21:50 Perhaps you do not know she spent some time in Brazil.
1:21:54 We may be able to help each other.
1:21:56 Well, let's start with what it's going to cost me. How?
1:22:03 *thud*
1:22:07 *Burps*
1:22:13 Yeah?
1:22:14 Bailey.
1:22:15 I've just been notified that Jane...
1:22:18 that James...
1:22:19 Dead.
1:22:20 Murdered yeah, I'm holding you accountable Bailey. Oh
1:22:24 You bungled, disobeyed orders.
1:22:26 You've stirred up... Now, let's take it easy. You'll never work again, Bailey. Not in this town.
1:22:31 All right, have it your way.
1:22:33 I'm glad you called. I got a letter from your wife today.
1:22:36 I wanted to check with you before I opened it.
1:22:39 A letter?
1:22:40 From Janne?
1:22:41 Yeah.
1:22:43 It's...
1:22:43 Public property now, Bailey. The police will open it, not you or I. Have you got that straight? No.
1:22:48 Yeah.
1:22:49 I'm glad you see it that way.
1:22:55 Be patient, Angel. We can start needling each other again in a second, then.
1:23:35 Where were we? Oh, yeah, in Brazil. What was she doing down there? She was an entertainer.
1:23:46 What's she hiding from?
1:23:48 I do not know. Why are you looking for her? I'm not sure I know. You know, it is really asking very little, and I think I could make it worse your while.
1:24:09 Tell me, please. Okay, gorgeous. We'll get together, honey.
1:24:18 don't hurry about it is it? I hate to be mauled. Hey, Janie.
1:24:29 Okay, you can go now. I had to be sure you were Jane Breger before you got out that door.
1:24:34 What are you saying? I'm saying that you're Janie Joy, bubble dancer. The same girl whose name was Jane Brieger when she left Portland six years ago with Buster Buffer.
1:24:43 What does my aversion to being mauled have to do with Janey Joy? Everything, Janey.
1:24:48 It's the one thing they all remembered about you.
1:24:51 You are not making sense. Maybe you'd better go. There might be some unpleasantness around here in a minute.
1:24:56 Your old friend Keller is due.
1:24:59 You are wrong.
1:25:01 I do not know anyone named...
1:25:04 Keller.
1:25:07 Come in.
1:25:11 Perhaps I should have called you up first.
1:25:13 Where are Reno and the boys out in the corridor?
1:25:16 I came alone.
1:25:17 Do you want me to wait outside? No, come on in.
1:25:20 I want you to meet an old friend.
1:25:25 Why, Chaney!
1:25:29 It's been a long time.
1:25:31 Believe me, not half long enough.
1:25:33 It's been good to you.
1:25:35 Time, I mean.
1:25:37 You blossom.
1:25:39 It appears you haven't changed a bit.
1:25:43 Oh, I'm sorry. Stuart, I...
1:25:49 Jamie. So it was you who hired him. If I'd wanted to be found, if I'd wanted to see you, I'd have... Jamie, you're wrong. I had nothing to do with it. Well, I... I am sorry, ladies. You'll have to excuse me. I haven't all night. I don't care some business to transact. What was it, cops? No, it was a man in a chauffeur uniform. He started to come in the apartment, and when he saw this man, he hid.
1:26:12 I saw him sneaking in the back way. Martin's getting nervous. What are his plans? I don't know. He's been gone all day. He's nearly crazy because of the way he handled this. Leave it. You're not really smart.
1:26:32 You're just lucky. Come on in.
1:26:37 This place is getting a little bit crowded for our conference, isn't it, Bailey? Do we need privacy? Not at all.
1:26:44 Tell me where she is and I'll go.
1:26:47 Who is she killing?
1:26:49 I ask you where she is.
1:26:51 There is a price on the information
1:26:53 Name it.
1:26:57 You worked with her at the carousel.
1:27:00 How well did you know her?
1:27:01 What has she got to do with us?
1:27:03 She was using your name.
1:27:05 She was on the run. Needed a place to hide.
1:27:08 You mean you weren't looking for me at all?
1:27:10 Who is she?
1:27:12 Ellen Ellsworth.
1:27:15 She married him.
1:27:17 She's his wife.
1:27:21 And then one day, about a year ago, she ran out on you.
1:27:24 Tell me something, Keller.
1:27:26 Is it your wife you want or your 40 grand? I'll settle for the 40 grand.
1:27:31 Where is she?
1:27:32 Dead.
1:27:33 Murdered. Sometime this afternoon.
1:27:37 Who killed her, Billy?
1:27:42 I thought maybe you did.
1:27:44 That's what I taught you to do it.
1:27:46 Are the cops outside?
1:27:49 If they are, they're looking for me.
1:27:53 What's the next step, Keller?
1:27:56 Portland.
1:27:57 My plane lives in an hour. I thought you were after your 40 grand. That's what I wanted to believe. But it seems what I really wanted was... to have my wife back. What do you think of that? I'm having a rough time believing it. You didn't know her. She was...
1:28:23 Well, she had a way of making a twisted guy like me. Believe in things again.
1:28:37 Very touching little scene, but I'm going home now. Come, Martin.
1:28:41 I've got a couple of nasty questions to ask first.
1:28:44 Does your husband know about you? No.
1:28:47 And he mustn't ever.
1:28:49 That's why I didn't keep in touch with my sister.
1:28:51 That's why I sent Martin to pay you off the way I've been paying off that girl at the Club Zorro.
1:28:56 So my husband wouldn't find out. Maybe he knows more than you think.
1:29:00 There's nothing you and your husband would like better than to have Janie Joy dead and buried.
1:29:05 On the Los Angeles police records, this woman was born Jane Breger, alias Janie Joy.
1:29:10 And now she's dead.
1:29:12 I didn't know she was using my name.
1:29:14 It's a little far-fetched.
1:29:16 Murder is far-fetched too, Janie.
1:29:18 But the killer went out of his way to call and tell me Janie Joy was dead.
1:29:22 Now, why do you suppose he did that?
1:29:24 When the dead woman wasn't Janie Joy. Find yourself a fall guy somewhere else, chum.
1:29:29 We're leaving. Just a minute.
1:29:39 Killed my wife. The police just told me and I'm going to kill you. Take it easy, Johnson. I didn't kill your wife. I was trying to arrest you. That's my story. You resisted and I shot you. There's one hitch. There are witnesses that'll tell it differently. Get over there.
1:29:58 Go on.
1:30:00 Killed my wife for a few thousand dirty dollars. No jury on earth will convict me for shooting. They'll do more than convict you, Johnson.
1:30:08 You killed your wife. You're smart, Bailey. In front of witnesses, you accuse me of murder. Now I don't dare pull this trigger. Let's call in the police. I'm afraid that won't help. But this might be. That's Jane's letter. That's for the police to open. It's addressed to me. Not that I expect much from it. Don't look at that. I wouldn't do that, Johnson. You've got a gun. Brother, use it. That gun in his hand is mine, and it isn't loaded. He's kidding you, Johnson.
1:30:41 I'll take that letter now, Bailey. Get over there.
1:30:53 I just used it as bait to bring you up here, Johnson. I knew a letter from your wife would get you on the prowl for sure.
1:31:00 You see, you outsmarted yourself when you made that phone call. Get Janie Joy out from under the pier.
1:31:08 weren't talking, Johnson. That was you trying to establish your wife had been killed by somebody out of her dusty past. It was a good idea, except for one thing. It wasn't Janie Joy under the pier. You get that, Johnson? Your wife wasn't Janie Joy. And everyone in this rat race knew that, except you and me. What are you talking about? I told you it took a real name to get into a
1:31:38 the name of a friend Jane Breger. And that's your case? Only part of it. The gun in your hands another part. And that box my gun came back in. The printing's the same as on those phony blackmail notes. Why did you write those notes Johnson? To scare her into admitting something? Well you forced her into the open where she had to kill. Only because of you. All right Bailey. I wrote the note. Well that's better.
1:32:05 We're coming near the truth now, aren't we? But I didn't kill her. I was crazy about her. Maybe you were crazy about her $40,000. Yeah, and you got her money, Johnson. But that isn't really why you killed her. You killed her because you were crazy about her. She had a way of making a twisted guy like you believe in things again. Isn't that right, Johnson? And she loved you. You thought, until the truth came out.
1:32:35 up with. You found out she was a liar and a thief. And now you know she was a bigamist. But worse than that, she hadn't ever really loved you. You were a hideout. That's all you ever meant to her. She was playing you for a sucker. And you let her crawl right into your heart. And then she cut the heart right out of you. Stop it! Turn around, all of you! No, use your head, Johnson. You're licked. But your wife was a killer, too. No
1:33:05 talking if you want to. She did. Still talking. Still lying. Turn around. Turn around.
1:33:21 You certainly took your time about getting here. I've been here. You didn't have a case until a few seconds ago.
1:33:29 Let's go, Johnson. We're paying a visit to an old friend of yours, the district attorney.
1:33:36 You know, I'm the kind of a guy who can admit he's been a dope. And I'm the kind of a gal that can go for a dope like you. Hey, hey, I just saw Quint with your client on a short leash. What gives? Murder. Him? You mean we lose money on the case? Well, just so it won't be a total loss.
1:33:56 Well, well.
1:34:00 I didn't think there'd be a lie.
1:34:03 I've got news for you, dear. This is the end of the line.