Jigsaw (1949)

No renewal found Free in the US since 1 January 1978, on the registry's reading: registration LP2158 of 1949 by Tower Pictures, Inc was not renewed in the volumes searched. Record.

Copy: Jigsaw_ on the Internet Archive; registered 1949
Read: 9 shots over 1:11:27 · 1169 transcript lines · JSON
Record: Jigsaw No renewal found
Picture: Wikimedia Commons, public domain
Wrong?: Report a problem

Check before citing the shot count. Few shot boundaries: 9 shots in 1:11:27 is under one a minute. The detector misses cuts on dark, faded or damaged prints and treats dissolves as continuous; the count is a floor, not a measurement. A 22:38 shot at 45:57 (shot 7): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

9 shots over 1:11:27, read from the Internet Archive copy Jigsaw_ (Jigsaw.mp4, 640×480, 25.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Jigsaw No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 9 shots judged colour), average shot 476.3s long, a frontal face detected in 22% 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. 1169 segments kept, 177 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.

1:46 I'll be there.
2:59 As district attorney, I don't seem fit to follow such a case.
3:04 Yes, you can quote me.
3:09 This thing's a coroner's report.
3:11 Max von Borg, bullet wound in head.
3:14 Why are you showing it to me?
3:16 Just listen to this.
3:17 Has anybody invited you to join the Crusaders?
3:21 These invidious invitations are handed out...
3:23 by a new group of local hate- - And? Mr. Randolph here for his appointment. - Tomorrow, I'm an extreme race player. Oh, and Mr. Walker, Mr. Polly wants you to call her when you're free.
3:32 Oh, that'll be another spin.
3:33 Race prejudice and discrimination and make money out of it.
3:37 What were you saying, Howard?
3:39 You look at it.
3:40 Read down there where it's marked.
3:43 I traced some of their leaflets to a small print shop here in the city. A fellow named Max von Borg prints them, but he isn't telling who pays for them.
3:50 I'm out to uncover the patron of these lunatics who start hate campaigns. I'm out to find them and expose them.
3:57 Well, a man named Max Borg prints leaflets for a hate group.
4:00 A man named Max Borg kills himself.
4:03 I want to look into it.

1149 more segments

4:04 When was this in Riggs, Carlton?
4:06 Eh?
4:06 When did Borg die?
4:08 today.
4:09 He's on it.
4:10 No, I can always do better with Charlie Riggs if I need him off my beat.
4:14 - Delicious.
4:15 He's going to be my brother-in-law any week now.
4:18 All right.
4:19 Go find them at some nightclub.
4:21 You're the assistant district attorney in charge of nightclubs?
4:24 Don't let Carolyn Riggs hear you say that.
4:28 I'm a reformed man. Anyway, Charlie never goes to nightclubs.
4:32 A very serious fellow, Charlie.
4:40 Charlie, what makes you think Borg was murdered?
4:43 Sometimes a lot of people have to get killed to protect an industry.
4:47 Our disheight thing is a big fat racket.
4:50 And it needs a lot of protecting.
4:52 If your office knows its business,
4:54 They'd have gone after these racketeers a long time ago. That's good news, Peter.
4:59 But where would a racket like that pay off?
5:01 Forming an organization.
5:03 Membership dues, badges, buttons.
5:08 Even uniforms.
5:10 Hurry up to exploit the anti-this or that.
5:13 Any race or religion they can use is a scapegoat.
5:17 Ignorance pays off, Howard.
5:19 and the profits can climb into millions.
5:22 Whatever happened to the old Charlie Riggs with his eye to a keyhole? I've got both eyes open these days.
5:29 Now, if you guys will excuse me. You aren't going out again tonight. I've got some business.
5:34 Sorry.
5:36 I'm doing that for weeks now.
5:37 I never know where he goes.
5:39 Well, Charlie's a big boy now.
5:41 Sometimes he doesn't come home until morning.
5:44 Now, you two can have the rest of the evening to yourselves. It was my blessing.
5:47 How's that for a pal, huh?
5:49 Ought to put me in right with the DA's office. Put me in right with the office. Come on down tomorrow and have a talk about it. Anytime.
5:55 I've got to interview Mrs. Borg.
5:57 - Hold me a favor.
6:22 Oh, no!
6:23 No, Max was not killed.
6:25 My husband.
6:27 He take his own life.
6:30 For what reason?
6:31 For us.
6:34 Next.
6:35 Don't worry.
6:37 That man, he is always calling on telephone.
6:41 Always then he come to the shop.
6:45 Always questions, questions.
6:47 What man was this, Mr.
6:48 for it's
6:48 His name.
6:50 Rick.
6:52 He writes things in the newspapers about me. But Mr. Riggs wasn't trying to hurt your husband. I don't know. Yes.
7:00 Mrs. Dvorak.
7:01 You've seen this before, haven't you?
7:08 Max printed his job. He do it last week.
7:11 It's one of those invitations Riggs mentioned in his column.
7:14 Join the Crusaders...
7:16 Fight for American.
7:19 Where'd you get this?
7:20 From Charlie.
7:21 He's got quite a collection.
7:23 - He's still waiting outside? - No.
7:25 Mrs. Borg?
7:26 When was the last time Mr. Riggs came to see your husband?
7:30 Last time? Yes, sir.
7:32 Have Mr. Malloy's friend come in, please, Miss McConaughey. Yes, I would.
7:38 Yes, they...
7:39 Night before Max.
7:41 - Bye. - What about yesterday morning?
7:43 Didn't you see anyone in the shop when you came down and found your husband's body?
7:48 and downstairs.
7:51 Only Max!
7:54 Are you sure of that, Mrs. Borg? No one there? Did nobody want to kill Max?
7:58 He'd kill himself.
8:02 Come in.
8:03 Good afternoon, sir.
8:05 Hello, Howard.
8:06 Charlie? That's the man!
8:08 Yes, you.
8:10 You'll make Max go crazy.
8:12 You make him take his own life!
8:14 The murder, Max!
8:19 What do you say, Charlie?
8:23 I've never seen anyone so afraid.
8:28 There, Howard, there!
8:30 It's a terrible weapon.
8:31 You saw what it did to Mrs. Bogg this afternoon.
8:34 I could see she was lying.
8:35 She's afraid if she doesn't hang on to that suicide story, they'll get rid of her, too.
8:40 Jackson.
8:41 Set him up again.
8:42 Sounds like a pony and Schultz and the mobs are back again.
8:46 When the law closes in on one racket, the big boys always find another.
8:50 It was the mobsters, it was liquor and blood.
8:52 With this outfit, it's hate and blood.
8:54 But they're just harmless lunatics, these hate groups.
8:57 Lilithex, yes.
8:59 Especially the warp mines on top with a dream of power or gold or political
9:05 But not harmless.
9:07 When the racket boys move in.
9:09 It's Merry Christmas for a few smart operators when they find a soft touch like this.
9:14 Charlie, what got you into this?
9:16 I'm fed to the teeth seeing people pushed around.
9:20 You know, I was born in this city, Howard.
9:23 In our block...
9:24 We had guys from practically every race and religion you ever heard of, and a couple of
9:29 But we got along pretty well.
9:31 Well, that's the way it ought to be.
9:32 An hour block.
9:34 Nobody cared what country your parents came from or where they went to church.
9:39 Nobody called your nasty names.
9:41 until you were taught there were nasty names, and some people were supposed to be called by them.
9:46 Polak.
9:47 Rob's?
9:48 Limey.
9:49 I hear you.
9:50 That's part of our history.
9:52 America always has hope.
9:54 melt away the differences.
9:56 Sure, and most always you don't understand why they're supposed to be different.
10:00 Just somebody else's face or somebody else's influence.
10:03 Now we've got people around who want to make people hate each other.
10:06 Be afraid of each other.
10:07 Just so they can make money out of it.
10:09 I don't like that.
10:11 Look, Charlie, hold off these columns of yours.
10:14 or so.
10:15 Give me time to run this.
10:17 Here's your rundown right here in my case.
10:19 And I've got a fistful of new stuff.
10:22 You're getting into it.
10:25 Sure, I mean.
10:26 But we're not playing with kids.
10:28 Take it easier.
10:29 way to work.
10:30 And lose a great story and my readers think I'm scared.
10:33 Give me time to find out who murdered Borg.
10:35 Give me a week.
10:36 Sorry, my friend.
10:37 I told you last night. That's all I wanted. One week. I mean it, Charlie. Take it here.
10:41 Nothing doing. I'm a little guy, but I don't scare easy.
10:44 Oh, uh, pay the tab, huh? You're the new boy in this club.
10:52 I never drink alone.
10:54 That can be fixed.
11:10 I'm going to go.
11:43 After you.
11:49 What floor? 11. 11.
12:34 I'm going to go.
13:25 Come on.
13:47 Jeez.
13:52 The janitor, Mr. Wojcicki. I'm the body.
13:55 The only way they could identify him was by his...
13:58 Okay.
14:00 His face.
14:02 -Hah.
14:03 And then Mrs. Wojcinski came to come.
14:07 Oh, we couldn't have done it.
14:09 to be home.
14:10 Charlie would never.
14:11 Of course not.
14:14 Anybody who ever knew Charlie at all,
14:16 I'm sorry.
14:18 How's it coming, Wiley?
14:20 Find anything? Not much, Mr. Malloy.
14:22 All the fingerprints seem to belong to Miss Riggs in the building.
14:26 Is anything missing?
14:28 I talked to Miss Riggs earlier.
14:30 His briefcase, apparently.
14:33 He did most of his writing here.
14:36 You check his office?
14:38 Find anything?
14:39 Not that they could see.
14:42 I'm fine.
14:44 I find out about a lot of things.
14:49 Assistant District Attorney Malloy charges murder.
14:52 and hence hate conspiracy and deaths of countless pals.
14:56 Oh, yes, eh?
14:57 and the reporter asked me what I thought.
14:59 No use of it.
15:03 The time is now to appoint a special prosecutor capable of handling this vicious outbreak of violence in our fair city.
15:10 We want...
15:11 Ah.
15:12 They want action and they want it now.
15:16 Yes?
15:17 Mrs. Hartley's here for her appointment. Oh, is that me?
15:20 All right, Andrea.
15:23 Howard?
15:23 There's no evidence that Riggs was murdered.
15:26 There's no evidence that anything he told you was true.
15:29 Dennis?
15:32 What?
15:33 Sorry. He'll be. No. Come in, Grace. Just finish it.
15:37 This is my assistant. How are you? How are you doing, Mr. Boy?
15:40 What a Franksman.
15:41 You mustn't let him overwork you, Mr. Malloy. Well, we're always busy, Mrs. Malloy.
15:47 All right, Howard. Go ahead with it.
15:50 But if what Rick said was true,
15:52 Watch out.
15:53 He was right.
15:54 Forget he was a palinger.
15:56 Use your head instead of your heart.
15:57 I don't want this office to look any worse than it does already.
16:00 That's hardly possible.
16:02 Frank making another speech for you? It's a Vic Bediment dinner next week. I hope.
16:07 Grace, you've lead an old horse to dinner.
16:14 Nothing foolish.
16:15 I'll try.
16:17 Sit down, Grace.
16:21 Now then.
16:23 What's this about a speech?
16:25 Frank we mean.
16:26 at the speech unstable.
16:27 With you there, it'll be almost as though Jonathan himself were present.
16:31 Everybody remembers that you were his last protege, that you worked with him until the very end. I'd never be district attorney today if it hadn't been for Judge Hartley's sponsorship and guidance.
16:41 We'll never forget him.
16:42 Will we, Frank?
16:44 No honest politician could ever forget your husband.
16:47 What kind?
16:48 through the night.
16:49 We must send some sort of announcement to the papers.
16:52 Perhaps I could say a few words about
16:55 Civil liberty in our great metropolis. Good.
16:58 you know
16:59 A free city with freedom for all men,
17:03 uh...
17:04 that sort of
17:05 Fine.
17:10 You had nothing to prove that Borg was murdered.
17:14 And now you've got nothing to prove that we...
17:18 How are you?
17:25 How are you?
17:29 Almost.
17:32 I guess I'd better be getting home.
17:35 Very tired.
17:38 Why don't you stretch out?
17:39 Take it, ma'am.
17:40 No, I'd better go home.
17:42 Get a clean shirt.
17:44 Then start out again.
17:47 Thanks for lunch, baby.
17:49 How do you feel?
17:51 scared.
17:54 Oh, Sophie.
17:56 I just don't know why.
17:58 All that work.
18:00 courage.
18:01 going after these thugs.
18:04 He never realized, I guess, how they could turn their viciousness.
18:07 against him and
18:09 No.
18:10 - A feeling of help?
18:12 No, we're not so helpless.
18:15 I'm going to follow every lead Charlie left.
18:22 Now, what about tonight?
18:24 You can't stay here.
18:25 Why not?
18:26 Wow.
18:28 Don't think you should.
18:29 It'll be all right.
18:30 Mrs. Willis across the hall insists on staying with her.
18:33 You're sure you'll let her?
18:34 I don't think I can stop her.
18:36 All right, I'll phone you later.
18:41 I'll be waiting.
18:45 Well, I'll be off.
18:46 Oh.
18:47 I wanted to show you this.
18:49 I found it on a shelf in Charlie's closet.
18:51 where it came from.
18:53 I really don't know.
18:55 signed with just initials.
18:56 There's something written on the back of it.
19:00 Well, that's Charlie's hand.
19:03 I try to perform.
19:05 Oh, my God.
19:07 of the government
19:09 Renman still
19:13 *Ballon sound*
19:14 What is that?
19:16 What cost them, huh?
19:18 Who?
19:19 A client.
19:20 No plans.
19:21 - Uh, telegrams. - New telegrams.
19:24 the day.
19:25 Oh, please, Mr. Costa Rica. I've got to talk to you. I'm an admirer of yours.
19:29 Later.
19:30 Admirer.
19:31 You're charming.
19:32 Won't you come in?
19:36 Now what do you want here?
19:38 We all want something.
19:39 Go.
19:40 Why?
19:41 are the once beautiful women
19:43 But what do you want?
19:44 Well, I'll tell you, Mr. Costa Rica.
19:46 Some old fraternity brothers of mine are planning a reunion.
19:49 We were wondering if you'd make up a poster for us.
19:52 A post-it.
19:53 A poster.
19:54 Are you not drunk?
19:56 I'm an officer.
19:57 paint it.
19:58 You would go now?
19:59 Oh, Carl.
20:00 Come on now, Mr. Kostrick. You've made posters before.
20:03 Have fun.
20:04 Don't you remember?
20:05 often it is not quite to remember.
20:08 Go.
20:09 Why?
20:11 A beautiful woman. That's your story.
20:13 It's just the Oshie story.
20:15 Wow, there's a beautiful woman.
20:17 Uh,
20:18 - You'll see him.
20:20 Who is she? A mutton. A no frame. I'd like to have that.
20:25 It's already sold.
20:27 What's he doing here then?
20:29 I'm going to hang it at an exhibition of mine.
20:31 at the Contemporary Museum next week.
20:34 It will be my first one-man show in America.
20:36 certainly is different from the big blonde head on the crew.
20:41 You're from the police, I think.
20:44 What does that mean?
20:45 District Attorney.
20:48 Oh.
20:49 You'd better think back about that poster.
20:51 Yes, I will. I will indeed.
20:54 You are going now to get to
20:55 - Really?
20:56 Matter of fact, I'm not. I'm on my way home to change my shirt.
21:11 Oh, my God.
21:46 I'll take those.
21:50 You're looking for something?
21:53 I said were you looking for something?
21:57 What's your name?
21:58 Millen.
22:01 Take it easy.
22:05 No identification.
22:11 I've seen this one before. Who is she? Just a dame. I don't know who...
22:16 I tore it on the paper.
22:18 It reminded me of my grandmother.
22:19 Make better jokes, kid. You're in trouble.
22:22 What are these?
22:24 You need help?
22:25 See the angel. Who's this angel?
22:27 How should I know?
22:28 Where'd you get these cards?
22:30 Someone wanted me to see the guy. With a fresh card for every visit, huh?
22:35 What were you after in my apartment?
22:37 Just a little bit.
22:38 Just on a little visit.
22:40 Okay.
22:41 I'll send you.
22:42 All right.
22:44 Give you time to think up some more answers.
22:46 Ranking and entering?
22:48 - Sold the battery?
22:51 See the angel.
22:52 Huh?
22:54 I'll do a little visiting myself.
22:57 You, son.
22:58 I'll help her.
23:15 Where can I find the angels?
23:19 You got a new around here, huh?
23:22 Frank.
23:39 What do you sell?
23:40 push charges.
23:42 - The grapes are everything in season.
23:44 Please, you fix it, a summons up.
23:46 Please.
23:48 Pardon me. Where can I find the angel?
23:55 I'm the angel.
23:57 What can I do for you, my friend?
24:05 Stay off the main streets with your push guard. You won't get another something.
24:09 Hit us.
24:10 They did fine.
24:13 Thank you, Mr. Angel.
24:15 Harry, take over. Sure, boss.
24:17 Come into my office.
24:19 Talk to me.
24:19 - Right. Anything you say. - Sure. And beyond man is that.
24:24 - Sit down, mister. - Malloy. Malloy. Yes, I know.
24:28 That boy Knuckles in trouble again, huh?
24:31 He told me his name was Miller. I guess he has a lot of names. Around here we call him Knuckles.
24:35 We don't let him around here anymore, those punk kids.
24:39 You know, sometimes you can't help them.
24:40 What'd he do now? He hid himself in my apartment.
24:43 Try to give me the business.
24:44 What happened?
24:46 Last I saw of him, he was riding off in a little black wagon.
24:50 Uh-huh.
24:52 What brings you here, Mr. Moore?
24:55 Well, I found this card in the kid's pocket.
24:57 It says...
24:58 See the angel.
24:59 So you came to see me?
25:02 Check. Good.
25:03 I give away thousands of cards like that.
25:06 What can I do for you, my friend?
25:08 Answer a few questions. Such as? You can't agree.
25:11 Never cared more.
25:12 Why are you called the angels?
25:16 Well, my name is Angelo...
25:18 in all my life.
25:20 I enjoy doing things.
25:24 What?
25:25 Here's to the first angel I ever met.
25:27 And here's to our next segment.
25:29 Special Prosecutor.
25:31 Who would that be?
25:33 You, I think, Mr. Mallory.
25:36 You've been making quite an impression on this town. I knew who you were when you
25:39 is commended.
25:41 and driving the newspapers crazy. They're demanding the governor appoint a special prosecutor.
25:47 No chance I'd get it.
25:49 You got every chance.
25:51 Mr. Beloyed.
25:53 I'm curious.
25:55 Just how far do you
25:56 Inspector Gordon.
25:58 At least as far as whoever murdered Charles Riggs.
26:03 You're a tough guy, Mr.
26:05 I can tell.
26:06 I like toughness.
26:08 who are tough about the right things.
26:12 Perhaps in my fashion, I could be of some help to you.
26:17 Like I told you, I enjoy doing things
26:20 What can you do for me?
26:24 This is the angel calling.
26:26 The big fellow in?
26:29 He's young and happy doing things
26:33 Hello?
26:35 How's the golf these days?
26:37 Fine, fine.
26:40 Hey, what are you doing about appointing a special prosecutor?
26:44 I got Malloy here with me.
26:45 From the DA's office.
26:46 Seems to me you'd make a fine special process.
26:49 I thought if you'd talk to the boss, put pressure on the right people.
26:53 Fine, I'd appreciate it.
26:55 Oh, I'm sorry. I wouldn't be.
26:59 What's your angle, Agostini?
27:01 Must I have an angle?
27:03 Who was that you just called?
27:06 - Did I mention names?
27:08 You make a phone call and just like that, I'm special prosecutor? Of course you'll have to do that.
27:14 Get some of those civic roofs tonight. You go.
27:18 That was...
27:19 Let's keep in touch with me.
27:22 Let's try to help you.
27:24 Oh.
27:27 I've heard quite a lot about the young lady. Her name's Whitfield. Whitfield? Barbara Whitfield.
27:34 Wow.
27:35 It wasn't changed from office routine.
27:38 What'd she do besides pose for pictures?
27:40 Quite a few things.
27:42 She's worked in nightclubs.
27:43 Very fancy ones.
27:45 No dice.
27:46 No dives.
27:48 For a while, she worked as a model in the 5th Avenue dress shop.
27:51 Two years ago, she sang in a Broadway musical.
27:55 Quite a dish.
27:57 She's singing anyplace now?
27:59 Nice place over on the east side.
28:02 and I'll blow the lights and soft music.
28:07 My last love number nine, my best love.
28:13 Mmm.
28:14 You lay
28:19 the
28:37 Uh, waiter?
28:41 When does Miss Whitfield sing again?
28:44 We just got here.
28:45 It was the supper show. That was the...
28:48 supper show and
28:54 I'm
28:55 Is that why we came here? To hear that singer? Well, I wanted to get a look at her, but I also wanted to spend some time with you.
29:02 I really shouldn't have come to a nightclub. Nonsense, do you? Good to get away.
29:06 book, you're going to move for
29:07 Roger
29:09 I don't think so.
29:11 At least not for a while yet anyway.
29:14 I keep hoping I'll find her.
29:16 some clue. Oh, that reminds me. We can't stay here very long.
29:19 My assistant Quigley's...
29:22 I think we've got a lead.
29:24 Missed the place, Howard.
29:28 President, our reporter arrived here about a half hour ago with a load of leaf.
29:32 I'd like to get a look inside.
29:34 See all of them.
29:42 That's the what? Anybody else along? Yeah.
29:45 Yeah?
29:48 Who?
29:50 Ah, you got the delivery entry.
29:51 He's downstairs.
29:53 Who's downstairs?
29:54 I don't know. Two or three of them.
29:56 We got a chance. Let's go in. I'll let you downstairs. Now, wait a minute.
30:09 I'm not sure what you're doing.
30:22 This stuff can't all be useless.
30:25 Hard to tell what any of it is. I need to be legitimate. Let's poke around, sir.
30:37 We're standing right in the middle of Main Street here.
30:39 Hey, wait a minute. I wonder what's inside the
30:42 Let's look.
30:45 This looks like some all-in-four.
30:48 Yeah.
30:51 There's some kind of shirt.
30:53 uniformed shirt.
30:54 fancy dress costumes and everything.
30:57 Even businesses.
30:57 It's a lapel.
30:58 with this practice.
31:00 Somebody must be making a lot of money out of these.
31:03 You mean they sell these uniforms?
31:04 Don't get them away.
31:06 If you want to play Crusader, you gotta buy a uniform.
31:08 Bye, John.
31:10 capsules.
31:11 All that old man.
31:11 station.
31:13 How wars have started.
31:15 Dusty.
31:15 Who do you really think is behind these two bags? Let's find out what's going on down there.
31:39 Who said angels fear the threat? Not me. Let's get out of here.
31:58 Another Crusader leaflet? Where'd you get it? In a little print shop downtown.
32:02 Haven't watched 24 hours a day. Tending to that, boss.
32:06 Malloy.
32:07 Yes, Mrs. Hartley.
32:09 Well, uh...
32:15 Well, yes, but it'll have to be after 7:00.
32:19 Yeah.
32:19 primes.
32:21 Old Mother Hartley?
32:23 Yeah.
32:24 Got to speak for your supper?
32:27 Oh, no.
32:40 Yes, Keller.
32:43 Oh, yes. Send you in.
32:53 Mr. Malloy. Thanks.
32:55 Come in, Mr. Lalloy.
32:58 Hmm.
33:02 So glad you could drop by.
33:03 Frankly, your call aroused my curiosity.
33:06 There's a demo.
33:09 Howard,
33:10 May I call you Howard?
33:12 Yes, of course.
33:14 Do you want to be special, Prophet?
33:17 - Huh? - Because you can be if you want to be.
33:20 Some rather influential people
33:23 You're the man for the job.
33:25 Well, Charlie Riggs started it.
33:27 I'd like a chance to do it.
33:28 finish it. They've already been in touch with
33:29 Governor?
33:30 Really?
33:31 Then I guess it's okay with the D.A. Frank, he won't object when he knows that I'm supporting you.
33:37 I'm very grateful.
33:37 Mrs. Hartley.
33:38 Now, one thing.
33:40 I'm told that a small-time politician named
33:43 Agostini.
33:44 had something to do with suggesting your name a special process.
33:48 Well, I guess that's right. He did.
33:50 For this man's reputation is
33:53 Unsavory, to say the least. I suggest that you disavow Mr. Agassini immediately.
33:59 Consider him disavowed.
34:01 In that case, I think you might consider yourself
34:04 Appointed.
34:07 Malloy. Tried to reach you all afternoon.
34:10 Heh!
34:11 Other people can call you a special prosecutor, but to me, you'll always be my favorite assistant.
34:17 Is that you, Malloy?
34:19 Agostini. I phoned to congratulate you on your appointment.
34:26 What?
34:28 Well, if there's anything I can do, let me know.
34:31 Call the angel.
34:35 Well, Howard, we did it. Your special prosecutor...
34:40 I expect great things.
34:42 of you, okay?
34:43 By the way,
34:44 Could you drive over tomorrow night? I want you to meet some people.
34:48 I sent you a confidential file on the...
34:51 Some of them.
34:52 - The man who had
34:53 - I'm in this inside.
34:55 Take a look at my notes before you come over.
34:58 Yeah.
34:59 Yeah, I'll do that.
35:00 About 6:00 tomorrow.
35:01 Right, right.
35:04 Mrs. Hartley sent you this envelope about an hour ago.
35:06 A special message. Yeah, she just told me.
35:12 Things are moving pretty fast, aren't they?
35:15 a circle.
35:17 I wish there was something I could do to help you.
35:23 I usually like to help myself.
35:32 That's fine, too.
35:34 But what about these wires?
35:37 All these papers you have to...
35:39 I...
35:41 I could...
35:42 Ron Harrison.
35:43 I hate to keep you out of this.
35:45 Howard.
35:47 We picked her up at the airport. That man, he has no right to stop me. Where were you going? Get a one-way ticket to Mexico City. I take a little trip.
35:53 And expensive.
35:54 Who arranged? - Nobody. Somebody ordered you to leave. Who was it?
35:58 Please.
35:59 I have had so much fun.
36:01 Without my husband, I don't know what to do.
36:05 Oh, quiet, are you?
36:07 What is it?
36:07 Someone called her this afternoon, told her to catch the next plane to Mexico City. You know about that? We've had your telephone tapped for several days.
36:14 Please.
36:14 Or for your own sake, tell us.
36:16 Who called you?
36:18 I...
36:19 I don't know. It was...
36:21 Yes.
36:22 - Strange voice.
36:24 Booker is a material witness, without faith. What does this mean? This means you'll be safe, Mrs. Moore.
36:28 If we let you go home, those men might kill you the way they killed your husband. You won't let them kill me? Come along, Mrs. Boyd. Don't you worry.
36:34 Mr. Malloy will take good care of him.
36:38 Sure.
36:40 Take good care of both of them.
36:43 You want to help?
36:44 Okay, you got the job.
36:47 Right.
36:49 I wanted you.
36:50 Say that.
36:51 I did.
36:52 Anything else you wanted me to say?
36:54 Anything else you want to say?
36:56 That'll take a long time.
36:58 Oh
37:25 Right, just this. What do you mean, sir?
37:33 Mr. Malloy. You are the next one? Yes, dear.
37:36 You did come. I'm so pretty. So am I. Changed the scene. Would you have a cocktail? Or would you rather have something to drink?
37:44 Thanks. I'll wait a while. We'll cut the...
37:46 Would you ask if you please?
37:49 Now, as I told you,
37:52 You're going to meet some people. Rain, will you come over and look at this? Presently, my dear.
37:59 Bill, I'll tell you.
38:01 I've met a few of those already.
38:03 We'll add to your collection. All these people?
38:07 Just the ones I think should be nothing.
38:09 As a matter of fact, I don't know how to speak.
38:11 You'll hear my thoughts.
38:14 The only people I enjoy
38:16 the ones I hadn't
38:17 for money.
38:18 The strings.
38:18 survivor.
38:19 bring along.
38:21 And we do.
38:24 You went over my notes.
38:25 - Careful. - Yes, very.
38:29 Now keep them in mind.
38:31 Oh, I'll take your pardon. As we meet the subject-- Grace, I left your top tail.
38:36 Yes, just a moment.
38:38 Now we'll go from there to rest. Mr. Nichols?
38:43 May I present Mr. Malloy? Harry, this is our new special prosecutor. Malloy. We've already met, informally. Mr. Nichols' papers didn't think much of my appointment. Harry against you? Really? Well, surely it's only because he's opposing his local competitor, the Express Journal.
39:00 Oh, now, really, Grace, who wants to look into a man's motives at a gay time like this?
39:06 We're all here for a little relaxation from serious things.
39:09 Nichols, as a lord of the press, began as a copy boy and worked his way to the top by inheriting a chain of newspapers from his father.
39:17 Give Nichols any trouble and you'll be the subject of a furious editorial the next day, simultaneously in 34 newspapers. Well, I think this is the time to discuss Mr. Malloy's business or mine? Why, Harry, I thought you did all your business at cocktail parties. Sometimes, Grace, your polite little jokes aren't very polite. Or very little.
39:33 Which brings us to Tom Waldron, Jr. Mr. Malloy, may I present the worst dressed radio executive in the industry. And the only really frivolous mind you'll meet this afternoon. If Grace hadn't been Judge Hartley's wife, she'd not get away with such casual slander.
39:49 Waldron is a schemer and a fool. He wants to get into politics, but then who doesn't? Like a lot of people, he thinks society is tumbling and that the Waldron
40:00 The plan for social reorganization must be applied at once or we perish. And if Grace ever runs out of bright conversation, all she has to do is to remember the judge's epigrams.
40:09 You are a rascal, Kostrick.
40:13 A complete rascal.
40:14 I acknowledge it.
40:15 And here's Stuart Pemberton.
40:17 - Public relations. - Hello.
40:19 Mr. Malloy. Or should I say private relations? You shouldn't, Grace. May I introduce Sigmund Kostrick, Mrs. Hartley, Mr. Malloy. Mr. Kostrick and I have met. I, uh...
40:33 I don't seem to recall our meeting.
40:36 Oh? Well, I must be mistaken. If you'll excuse me.
40:43 Look here, Malloy.
40:44 This crusade of yours.
40:46 Tongue in cheek, isn't it? Well, hardly. Don't tell me you're the quixotic defender of the rights of men.
40:53 The Express Journal says you are. It's hard to tell what you mean.
40:57 What I mean is you can't be falling for your own publicity. I can't help thinking the law.
41:03 - Periton's a big time fixer.
41:06 He's a fool too, but very influential.
41:09 I can't tell you anything about him that he won't tell you himself in conversation.
41:13 Be careful of this man.
41:15 Right to hate.
41:16 is just as an Alina Valeste...
41:18 I say, "Alias number has the right to..."
41:20 Free speech. You've got to defend that too, you know.
41:23 Inalienable is a very important word, Mr. Pemberton.
41:26 I'm sure it's hard to say on purpose.
41:28 Never mind, never mark, son of a man.
41:31 I'm talking about the history of manhood.
41:34 Out of hatred came the triumph of one group over another.
41:37 The elimination of the misfit in the week.
41:39 The creative evolution of a superior class.
41:42 Don't you see, Maroy? Out of it came our great industrial civilization.
41:47 And out of it came a war.
41:49 Twenty million dead. Oh. I feel obliged to interrupt this conversation. Will you excuse us, Stuart, please?
41:58 Bad politics, Howard. A bad man. I agree. And a man with the habit of victory.
42:14 You must move your phone a moment just to set the point for us. Apparently, I'm necessary to have argued. Will you excuse me? Of course. .
42:30 Good.
42:43 I'm Barbara. Good.
42:47 Good what?
42:48 Good name for you.
42:50 You look as if you ought to be called Barbara. Really?
42:54 Yes.
42:57 Scotch and water, sir.
42:58 Oh, it is.
43:00 That was mine.
43:01 Yes, I know.
43:05 I wonder if your name fits the way you look.
43:07 Malloy's my name. Howard Malloy. Good.
43:11 Said what?
43:12 Good guessing.
43:13 That's who I thought you were.
43:14 How?
43:16 Everybody here has been talking about you this afternoon.
43:19 And you're the only stranger who looks as if he ought to be called home.
43:24 You're a special something or other, aren't you?
43:27 Prosecutor.
43:29 What are you doing?
43:30 Yes, obviously.
43:32 You ever relax?
43:34 - From what? - Singing.
43:36 as often as possible.
43:39 What about the song a minute ago?
43:41 That was just for myself. I like to do things for myself once in a while.
43:47 Doesn't that happen often?
43:49 Now stop this.
43:51 I never answer questions on an empty stomach. I'm hungry too.
43:56 You with somebody?
43:58 That's a very large question. I'm not with Harry anyway. I, uh...
44:03 I like the song, Barbara. The song? Thank you. Howard, please forgive me. Did you finally get a drink? Yes, I did, Mrs. Hartley. Thank you.
44:14 You've had more strangers today than I have. I was just getting acquainted when Nichols arrived. Who's she with? Goodness knows. Well, our Mr. Pemberton did nothing most progressive.
44:37 Does that mean you have to go? Yes, right away.
44:40 Oh, well, I'll have Andrew fetch your hand.
44:45 Good night, Miss Whitman.
44:47 Good night, Mr. Malloy.
45:28 Oh. What did you want? I just wanted to see you again, that's all. Didn't you want to see me again?
45:36 - Yeah.
45:37 Didn't you want to see me again?
45:39 Yes?
45:40 All right, then.
45:44 How did you get my number? That's easy where I work.
45:47 Is everything easy for you?
45:49 No. It's just as well.
45:53 Oh, please, no pictures. This is for the house collection, sir.
46:00 That's going to look as if the drinks weren't very good.
46:03 Maybe they can paint in a smile.
46:05 You're through, Marjorie. Sure. Let's get out of here. I've got to change.
46:11 Oh, yeah.
46:12 Oh, my God.
46:15 Come on.
46:17 Oh, my God.
46:20 Did you see the show tonight?
46:22 Most of it.
46:22 Like it.
46:24 I like you.
46:26 Didn't you think the boy with the harp was good? I, uh...
46:29 I didn't notice. I was waiting for you.
46:32 Well, I won't be long.
46:35 I'll pardon your back.
46:38 About space.
46:39 prosecutor.
46:40 Oh, sure.
46:45 Is this visit, um...
46:46 Business or pleasure?
46:48 Right now it's...
46:49 Your business and my pleasure.
46:52 we can go somewhere else.
46:54 People always want to go somewhere else.
46:58 Do you blame them?
46:59 It depends.
47:00 This wall is very uninteresting.
47:05 Patience, patience.
47:07 I'm changing my mind.
47:09 About what?
47:12 All right.
47:13 At ease.
47:18 Changing from what to what?
47:20 From...
47:22 Maybe.
47:23 Perhaps.
47:24 Are you always so uncertain about it?
47:27 things.
47:28 people.
47:31 aren't you?
47:32 Sometimes.
47:35 birds of a feather.
47:44 Special prosecutor.
47:45 to the trans playboy.
47:47 I should have broken that girl's camera last night.
47:50 Forget about life.
47:52 You forgotten about it?
47:54 Not yet.
47:55 But I'm trying.
47:56 Why?
47:59 It doesn't figure.
48:00 What?
48:01 with you
48:06 What are you after?
48:10 Look out, Howard.
48:12 Look out.
48:13 For what?
48:13 Don't play with me. Who's playing?
48:16 If you meant everything last night, then...
48:18 Look out.
48:20 I told you before everything.
48:21 For you?
48:22 Too easy.
48:23 Not always.
48:24 No.
48:25 When was it?
48:26 I don't know.
48:27 Maybe you're right.
48:28 Am I? Matter of fact, things happen.
48:31 take away, I got to be special prosecutor.
48:33 What do you mean?
48:35 as though somebody fixed it.
48:36 or had to fix
48:38 Sixty?
48:39 Yeah.
48:41 smiled at someone.
48:42 the way you smile at me.
48:44 People should be careful of that smile.
48:47 careful of a lot of things about you.
48:49 You know, even angels.
48:51 get their wings clipped.
48:54 You got the scissors?
48:56 from iWings
48:58 Take a look at this, Malloy, and keep looking at it so it doesn't happen again. That's no way to run a special investigation. Now stay out of trouble.
49:12 Trouble? Really?
49:15 Am I a lot of trouble?
49:16 Women always are.
49:18 Oops.
49:21 Of course.
49:23 That's what men always like.
49:25 the trouble.
49:27 Perhaps you'd like this little lady better, Miss Whitfield.
49:31 This is the one for me.
49:33 Does he have a name?
49:34 Hitch.
49:34 It's Vinny.
49:35 Ha! Benvenuto, really.
49:38 Hmm.
49:39 I used to have a cat they called Hadrian VII.
49:42 We ended up calling him Harry.
49:44 Why, yes. Wasn't that the cap Mr. Pemberton bought for you?
49:47 Yes.
49:48 It was.
49:50 All right.
49:51 really
49:52 Will you take Benny with you or shall we send him?
49:54 I'll take him with me.
49:56 Do you have one of those...
49:58 carrying boxes
50:00 Oh, yes, the traveling case. I'll get one for you.
50:03 I always thought you bought cats at a...
50:05 special place.
50:06 Cat farmers.
50:08 and train them.
50:10 They train them here.
50:11 but not out of the last shred of their characters.
50:16 Anyway, I like to train them myself.
50:20 What happened to Hadrian VII?
50:23 I got tired of him.
50:27 Why did you come over to me at that party, Howard?
50:31 because you were the only person who
50:33 Didn't look as if you belonged there.
50:35 spring.
50:37 I belong anywhere I wanted.
50:40 Do you?
50:41 Don't I?
50:44 This is a nice one. It's finished in leatherette.
50:46 May I take him?
50:50 What is this great interest in cats, anyway?
50:53 I have a friend who doesn't like cats.
50:57 Can you lend me $35?
50:59 Why, sure.
51:00 I think so.
51:01 It's for Benny
51:03 Well, can't I...
51:04 Would you like to?
51:06 Oh, you're welcome.
51:08 Pleasure.
51:10 It's the thought, not the thought.
51:11 cats.
51:11 I know he'll be well behaved.
51:14 Do you?
51:15 Here you are.
51:16 Oh, sorry.
51:27 Whistling
51:28 Robber. Robber, darling.
51:30 Hi, Lenny. How are you? Fine.
51:32 Fine. You? Going along? You know Howard Malloy, Lenny?
51:35 Leonard Lyons Howard. How do you do?
51:38 In a hurry, Lenny.
51:39 - Bye. - Nice seeing you.
51:43 Now, who was that? - I... - Leonard Lyons, my son.
51:46 He writes that column, The Lion's Den.
52:03 Howard, this is too much.
52:06 putting cats on your expense sheet. One cat? Thirty-five dollars.
52:10 Mine a duty, Frank.
52:11 Better stick to the obvious accessories.
52:14 Oh, by the way.
52:15 Somebody sprung your little gunman friend this morning. What? I ordered him held without fail. Couldn't be done. I don't notice, Charlie. Then we should have made some up. You should have. But you've been so busy in nightclubs and pet shops. You're making a fool out of yourself and the whole department. Now, Howard.
52:29 You've got to stop seeing this Whitfield girl.
52:32 playboy prosecutor. I'm seeing her this afternoon, Frank.
52:35 In about an hour. Yes, pink tights and a high wire in front of City Hall, I suppose.
52:39 No.
52:40 It's in her apartment.
52:44 Get asked to stop.
52:45 There's got to be an end to it right away.
52:48 You understand, there must be a finish to the whole thing this afternoon.
52:51 We can't let it go.
52:53 What do you mean, we? I mean, those are my ears.
52:56 instructions.
52:57 I agree with you.
52:59 Feel full of little shocks
53:00 surprises these days, aren't you?
53:02 It's always life.
53:03 our kind of life anyway.
53:06 I don't get it.
53:07 First, I'm told to make sparks with Malloy and I get along fine.
53:10 Then told the stop, put an end to it.
53:12 This afternoon.
53:14 - How? - I don't care how you do it. He's coming here.
53:16 You know that. You told me to invite him. I didn't know whether you reached him or not as well.
53:20 Ooh, you're so touchy these days.
53:23 What's the matter, my angel? Upset again?
53:26 Afraid things are being found out about you and me.
53:29 Take it easy.
53:31 I'm talking business now.
53:32 I know you are.
53:34 Sorry you talk business, my pet.
53:36 You do it so rudely. Just do what you told.
53:39 What else do I ever do?
53:45 When Molloy comes, tell him anything you like.
53:47 Going away for a trip?
53:49 Tired of them?
53:51 Or a husband has come back. Husband? Whee! Anything you like.
53:55 But finish it.
53:57 And if he doesn't take finish for an answer? Get tough. Aggravate him. Insult him.
54:01 - Set him on fire. - Now cut it out.
54:04 Maybe you'd better get out of town.
54:05 Maybe it better really go away for a while.
54:07 Mm-hmm.
54:09 Take a little trip. Would you miss me? Like my next breath.
54:12 Who would that be?
54:15 Probably the man with the dynamite that put under Mr. Pony. Now, breathe it. Oh, relax.
54:20 It's just the man from the liquor store, Molloy like scotch.
54:23 Come on in, Sam.
54:25 - Milkman! - Hi.
54:26 Here's your stuff, Miss Whitfield. Charge it. Don't I always say it? Sure, Miss Whitfield. I just like to hear you talk. Next time, Sam.
54:33 So...
54:34 Now that I'm making headway with our handsome prosecutor, now I stop, huh? I'm glad you finally understand. I'm glad you finally understand.
54:39 What does...
54:40 I know what to do.
54:41 but I certainly don't understand it.
54:43 Oh, don't worry, honey. Sometimes we all have to do things we don't understand.
54:49 Until afterwards.
54:51 Come on, Nuggles. Leave our little bright friend Mr. Malloy.
54:56 He likes cats, too.
55:00 What do you mean you're going away?
55:03 Something wrong?
55:05 I, uh...
55:06 I need a change.
55:08 Relaxation, sunshine.
55:10 I think I'll go to Florida or someplace.
55:13 I've been thinking about it for some time.
55:14 about getting away
55:16 Away from anything special?
55:18 What do you mean?
55:19 There comes a time when the wisest thing to do is get away.
55:22 I don't know what you're talking about.
55:24 Who would I want to get away from?
55:27 Amen.
55:28 Maybe.
55:30 Maybe.
55:32 That's what I said.
55:33 All right, and I'm tired of you.
55:34 Go!
55:35 I don't want any more and that's that. There.
55:38 You can't escape from me, darling.
55:41 Really, can't I?
55:44 You're stuck.
55:46 You're it.
55:46 You're in the wrong conversation.
55:49 Who is it you're afraid of? I'm not afraid of anyone.
55:52 All right, if you won't tell me, I'll tell you. All right.
55:56 Tell me that.
55:57 There's a hard-eyed little gunman, calls himself Miller. Other people
56:00 call them nothing.
56:02 Then there's an office.
56:03 a scrubby beard. He painted your forehead. His name's
56:06 There's another guy, a very important guy, calls himself the Angel.
56:11 He's somebody you might want to say goodbye to. Stop acting like a prosecutor. I don't know any of these people. Never heard of them. Don't lie anymore. Oh, stop it. I'm trying to help you.
56:19 to warn you, when these people finish using you... Nobody's using me. They murdered Borg and Riggs. And Heaven only knows what's happened to Costal, Rick. Ziggy!
56:28 Yes, he's been missing for three days.
56:30 And when they're through with you, you knew what they were up to. Why didn't you stay out of it? I couldn't stay out of it. They wouldn't let me.
56:37 Come on.
56:39 Now that's more like it. There's no point in lying.
56:43 Oh, Howard, hold me. Help me.
56:51 I can't help you, baby, unless you help me.
56:54 We need your evidence. Why, you hinging double-crossing? You're using me just like all the rest. Now, look, Bob. Why, you-- These people you're mixed up with, don't throw things. They put a floor, and you'll put them out a window. Let go of me. There's a lot of questions for you to answer before you let it go. Don't!
57:24 Who can? Who can?
57:32 Baby, I don't want to hurt you. I'm trying to help you. I'll kill you.
57:40 Yes.
57:42 Huh?
57:43 Ah!
57:44 I'm not.
57:49 Oh, my God.
59:28 Mr. Malloy. Mr. Malloy!
59:33 Mr. Malloy!
59:34 What are you doing?
59:37 The door was open.
59:38 And I came in.
59:39 All right.
59:41 I couldn't see what those...
59:42 happening.
59:43 Nothing.
59:44 happening. She pushed me.
59:46 So...
59:47 Believe.
59:48 his face.
59:49 Death?
59:50 Barbara. Barbara was alive when I passed out.
59:53 You must have come in here.
59:55 Why would I have waited for you to awaken it, my dear?
59:57 fingerprints are on this gun.
59:59 And so are yours.
1:00:00 Yeah, but I know I didn't kill her.
1:00:02 What are you doing?
1:00:04 Going on weight.
1:00:06 I swear I had nothing to do with this. I swear, I swear.
1:00:09 And what are you doing here?
1:00:11 When you got mixed up with the Crusaders, Costa Rick, you got mixed up with murder. I did not intend to get mixed up with them.
1:00:17 It was all because of that woman.
1:00:19 Barbara?
1:00:20 No, not Barbara. Grace Hartling. Grace Hartling?
1:00:27 Yes.
1:00:28 She's the one who is behind all this. She's the one who is
1:00:32 dust.
1:00:33 Can you prove that? I was painting a portrait.
1:00:36 i was in her library and i discovered some papers that i thought
1:00:40 interesting and important. What kind of paper?
1:00:44 Names, figures.
1:00:46 These crusaders make money, you know.
1:00:50 These papers told me a lot about you.
1:00:51 where they get the money and what they do with it.
1:00:55 I took them away with me.
1:00:57 for what they were worth.
1:00:58 What? Please.
1:01:00 Grace Hartley could help me in my career. She had influence.
1:01:03 And she had provided me, among other comforts,
1:01:06 at my first one-man show. It opens tomorrow at the Contemporary Museum. You told me the first time I met you. Where are these papers? I won't see them. At the museum. Yeah? They're hidden behind one of my paintings.
1:01:18 They are between the canvas
1:01:19 and the backing of the prey.
1:01:22 Please. No, you do not believe I killed Barbara.
1:01:27 Help me, I'm a Quigley there.
1:01:33 Grace.
1:01:37 I thought you'd gone. We saw your car outside.
1:01:41 What's going on in us?
1:01:43 Never mind, nothing.
1:01:49 that can be a good one.
1:01:50 That don't make sense.
1:01:52 Give me your gun.
1:01:56 What's going on?
1:01:58 - I haven't had.
1:02:00 Don't wait around here.
1:02:02 trouble with
1:02:03 Where are you going now?
1:02:05 I'll talk more.
1:02:11 Bring the car around.
1:02:13 Let's see what you're doing.
1:02:18 Look, call Homicide for me, will ya?
1:02:20 Barbara Whitfield.
1:02:22 Tell him to come to 689 East 57th.
1:02:26 Yeah, I'm still there.
1:02:28 But when the boys get here, I'll be on my way to the contemporary museum.
1:02:31 with Sigmund Kostnerich.
1:02:33 Got it?
1:02:38 Just a minute. Just a minute. I'm coming as fast as I can.
1:02:48 I'm sorry, ma'am. We're close for the night. But I just want to go upstairs.
1:02:51 one of the gals. I can't let you do that, ma'am. No visitors after hours. I was here earlier and I left my first. Well, you just have to come back in the morning, ma'am. I got my orders. Well, I...
1:03:41 So watch him.
1:03:45 Yes.
1:03:46 Race has been busy.
1:03:48 Better move the body away from the door, like against the wall.
1:03:52 somebody comes by looks
1:03:55 Suppose you went?
1:03:56 Don't ask me.
1:03:57 There's a light in those stands.
1:03:59 That's long. Yeah. Let's go.
1:04:21 The place is wide open at any hour of the night. There must be a guard around somewhere.
1:04:25 Know where the exhibition is?
1:04:27 Of course I hung it myself. Let's go, then. This way.
1:04:31 Oh, my God.
1:04:45 Oh, my God.
1:04:50 Come on.
1:05:02 Amen.
1:05:04 Oh
1:05:22 It's in here.
1:05:43 Oh
1:05:46 There seems to be somebody in there. Must be a guard.
1:06:16 Agostini.
1:06:25 Grace Hartley. She must have heard when I told Molloy.
1:06:59 Oh, my thing. You hurt.
1:07:06 In Barbara's apartment, what I told Malloy.
1:07:09 every word you say.
1:07:12 You can't bother.
1:07:14 I knew in the end you would harm her.
1:07:17 and anyone else who gets in my way.
1:08:09 I'll take both, Mrs. Hartley.
1:08:46 Badly, first.
1:08:48 No, I...
1:08:49 I.
1:08:50 I caught her trying to find the papers.
1:08:54 I had to get them.
1:08:56 I was not too quick.
1:08:59 I had no gun.
1:09:00 Where did she get you?
1:09:02 We were the same kind of target footer.
1:09:05 Just under the shoulder.
1:09:09 She killed Barbara.
1:09:12 She was in the apartment.
1:09:14 And she heard me telling you where the papers were.
1:09:17 She killed Barbara. Alois, where are you? In here.
1:09:25 Place looks like the last act of Hamlet.
1:09:27 It's the last act for all kinds of things.
1:09:29 Brace yourself, Frank.
1:09:33 Grace Hartley?
1:09:34 I'll tell you about it later.
1:09:36 There's part of it.
1:09:37 All right, Carolyn. Is Carolyn here?
1:09:39 I made a way down the corridor. It's kind of noisy in here.
1:09:54 Howard! Howard!
1:10:04 Howard, come and tell me about all this.
1:10:08 Give me time. We'll put it all together.

Also from 1949

Impact 1949

The Quiet One 1949

Enter the Lone Ranger 1949

Snow Foolin' 1949

Every free film of 1949 with a copy

Similar frames

Whistle Stop 1946

My Favorite Brunette 1947

Bowery at Midnight 1942

By the average clip vector of the keyframes; a measurement, not a judgement