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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:03:39,287 --> 00:03:42,517 [ Siren Wailing ] 2 00:03:51,499 --> 00:03:54,339 [ Siren Wailing ] 3 00:03:55,803 --> 00:03:58,273 [ Siren Off ] 4 00:04:02,310 --> 00:04:03,810 EVERYBODY STAND BACK, PLEASE. 5 00:04:03,811 --> 00:04:05,481 [ Woman ] THIRD FLOOR! 6 00:04:18,892 --> 00:04:20,762 [ Flash Bulb Dropping ] 7 00:04:27,768 --> 00:04:29,298 YOU SCARED ME. 8 00:04:29,303 --> 00:04:31,643 AH, JESUS, BERNZY. 9 00:04:31,639 --> 00:04:34,739 WE WEREN'T SIX BLOCKS FROM HERE WHEN IT COME OVER THE RADIO. 10 00:04:34,742 --> 00:04:37,582 I KILLED HIM TO GET THE PICTURE. 11 00:04:37,578 --> 00:04:40,348 YOU DIDN'T TOUCH HIM, DID YOU? 12 00:04:40,348 --> 00:04:42,418 WHAT DO YOU THINK, I'M STUPID? 13 00:04:44,318 --> 00:04:45,548 HUH, MY COMPETITION. 14 00:04:47,421 --> 00:04:49,661 WHO'D THIS GUY WORK FOR, BERNZY? 15 00:04:49,657 --> 00:04:53,687 FARINELLI, I THINK. HE AIN'T LOOKIN' HIS BEST TONIGHT, IS HE? 16 00:04:53,694 --> 00:04:56,764 DO YOU MIND? YOU'RE CASTIN' A SHADOW. 17 00:04:56,764 --> 00:04:59,534 HEY, KID, PUT THE HAT IN THERE. HIS HAT! 18 00:04:59,533 --> 00:05:03,373 STICK IT IN. PEOPLE LIKE TO SEE THE DEAD GUY'S HAT. 19 00:05:04,372 --> 00:05:04,812 THANKS, BOYS. 20 00:05:17,385 --> 00:05:19,385 [ Policeman ] ALL RIGHT, COBB. MOVE IT ALONG. 21 00:05:19,387 --> 00:05:23,417 NO! NO MORE PICTURES. COME ON, MOVE IT ALONG. 22 00:05:37,605 --> 00:05:39,405 [ Elevator Bell Dinging ] 23 00:05:56,857 --> 00:05:57,787 SHIT! 24 00:06:19,747 --> 00:06:22,477 [ Woman Shouting ] [ Policeman ] GET BACK! COME ON! 25 00:06:22,483 --> 00:06:24,753 BERNZY, CLEAR OUTTA HERE. 26 00:06:24,752 --> 00:06:27,862 I HEARD THIS GUY'S WALKING AROUND WITH A MEAT CLEAVER STICKIN' OUT OF HIS HEAD! 27 00:06:27,855 --> 00:06:30,385 GET THE HELL OUT. KEEP AN EYE ON HIM. ONE SHOT. ONE SHOT. 28 00:06:33,661 --> 00:06:35,901 THROW A SHEET OVER HIM. THANKS A LOT. THANK YOU. 29 00:06:43,871 --> 00:06:44,711 EXCUSE ME. 30 00:06:54,915 --> 00:06:57,915 LET 'EM THROUGH! LET 'EM THROUGH! 31 00:06:57,918 --> 00:07:02,018 [ Indistinct Chatter ] 32 00:07:07,795 --> 00:07:09,825 [ Siren Wailing ] 33 00:07:16,937 --> 00:07:17,867 YOU BETTER UNCOVER HIM NOW, SON. 34 00:07:24,912 --> 00:07:29,822 CHRIST. CHRIST... [ Speaking Nonsense Latin ] 35 00:07:29,817 --> 00:07:32,847 [ Continues Nonsense Latin ] 36 00:07:37,958 --> 00:07:38,688 [ Continues Nonsense Latin ] 37 00:07:43,964 --> 00:07:45,974 WAIT A SECOND. [ Nonsense Latin ] 38 00:07:51,872 --> 00:07:52,972 [ Groaning ] 39 00:07:58,746 --> 00:07:59,806 [ Whistle ] 40 00:08:02,783 --> 00:08:05,653 THIS IS A NEW LOW FOR YOU, BERNZY. 41 00:08:05,653 --> 00:08:08,563 FLATTER ME ALL YOU WANT, JACK. IT'S STILL 20 BUCKS. 42 00:08:08,556 --> 00:08:12,556 YOU GOT A RELEASE ON THAT GUY? GOT A SPIRIT MEDIUM ON STAFF? 43 00:08:12,560 --> 00:08:16,560 YOU CHECKED WITH THE HOSPITAL? HE NEVER MADE IT TO BELLEVUE. 44 00:08:16,564 --> 00:08:20,134 THANK GOD I WAS ABLE TO ADMINISTER HIS LAST RITES. 45 00:08:20,133 --> 00:08:21,903 THANK YOU. PLEASURE DOIN' BUSINESS WITH YOU. 46 00:08:31,111 --> 00:08:32,851 [ Woman ] THAT'S NOT VERY POLITE. 47 00:08:35,082 --> 00:08:38,752 I KNOW HOW IT IS. I WORK NIGHTS MYSELF. 48 00:08:40,788 --> 00:08:42,788 PROFESSIONAL INTEREST, SEE. 49 00:08:47,761 --> 00:08:49,061 "TOMORROW HE SAILS." THAT'S THE CAPTION. 50 00:08:52,032 --> 00:08:53,072 HOW MUCH YOU GOT ON YOU? 51 00:08:55,703 --> 00:08:58,143 MY WIFE WOULDN'T LIKE IT. 52 00:08:58,138 --> 00:09:01,938 HONEY, YOU'RE NOT MARRIED, AND YOU DON'T HAVE A GIRL. 53 00:09:01,942 --> 00:09:04,082 I SAW HOW YOU WERE LOOKIN' AT THOSE TWO. 54 00:09:05,946 --> 00:09:07,076 YOUR SOCKS DON'T EVEN MATCH. 55 00:09:12,019 --> 00:09:14,719 [ Door Bell Jingling ] 56 00:09:14,722 --> 00:09:18,962 [ Radio ] CAR 92, IN FRONT OF 171... 57 00:09:34,708 --> 00:09:36,108 [ Radio Continues, Indistinct ] 58 00:10:02,803 --> 00:10:05,613 [ Radio Continues, Indistinct ] 59 00:10:17,918 --> 00:10:19,888 [ Alarm Clock Ringing ] 60 00:10:19,887 --> 00:10:22,657 [ Ringing ] 61 00:10:22,656 --> 00:10:26,126 [ Woman On Radio ] AND I STILL DON'T SEE WHY WE NEED RATIONING. 62 00:10:26,126 --> 00:10:28,696 [ Man On Radio ] WE'VE GOT TO DIVIDE AMONG OUR CIVILIAN POPULATION... 63 00:10:28,696 --> 00:10:31,996 WHAT WE HAVE LEFT AFTER FEEDING OUR FIGHTING MEN. 64 00:10:31,999 --> 00:10:35,039 AND THAT MEANS THERE'LL BE A LITTLE LESS FOR SOME OF US, BUT A FAIR SHARE FOR ALL-- 65 00:10:36,203 --> 00:10:38,773 [ Car Horns Honking ] 66 00:10:46,847 --> 00:10:50,247 [ Ringing ] RINEMAN PUBLISHING. HOLD, PLEASE. 67 00:10:50,250 --> 00:10:54,050 LEON BERNSTEIN. IS IT A PICKUP OR A DELIVERY? 68 00:10:55,288 --> 00:10:57,928 I HAVE AN APPOINTMENT. OH. 69 00:10:57,925 --> 00:11:00,785 JUST A MINUTE. THERE'S A MISTER BERNSTEIN FOR YOU. 70 00:11:00,794 --> 00:11:03,034 MR. BERNSTEIN? HI. 71 00:11:03,030 --> 00:11:05,730 MY FATHER'LL SEE YOU TODAY. I HAVE A DOCTOR'S APPOINTMENT. 72 00:11:05,733 --> 00:11:07,943 OKAY. GOOD-BYE. 73 00:11:11,739 --> 00:11:13,209 MR. BERNSTEIN. 74 00:11:16,844 --> 00:11:18,284 [ Receptionist ] RINEMAN PUBLISHING. 75 00:11:18,278 --> 00:11:22,248 NOW, DOES ONE CALL YOU MR. BERNSTEIN OR MR. BERNZINI? 76 00:11:22,249 --> 00:11:24,989 OR IS IT JUST BERNZINI? [ Chuckling ] 77 00:11:24,985 --> 00:11:28,855 WELL, I WAS BORN LEON BERNSTEIN, BUT THE GIRLS UP AT WORLDWIDE-- 78 00:11:28,856 --> 00:11:33,086 THAT'S THE PHOTO AGENCY-- THEY CALL ME THE GREAT BERNZINI... 79 00:11:33,093 --> 00:11:37,773 ON ACCOUNT OF THEY SAID I'M A MAGICIAN THE WAY I GET EVERY PLACE SO FAST. 80 00:11:37,765 --> 00:11:42,865 THAT'S MARVELOUS. I KNOW MY SON SPOKE TO YOU QUITE OPTIMISTICALLY ABOUT THIS. 81 00:11:42,870 --> 00:11:46,770 THAT'S WHY I WANTED TO SPEAK TO YOU... 82 00:11:46,774 --> 00:11:50,084 RATHER THAN TOSSING IT INTO THE MAIL. 83 00:11:50,077 --> 00:11:52,777 FROM A TECHNICAL POINT OF VIEW, THIS IS FINE WORK. 84 00:11:54,281 --> 00:11:58,091 IT'S SIMPLY THAT WE DON'T PUBLISH BOOKS OF THIS TYPE. 85 00:11:58,085 --> 00:12:01,315 PLEASE, MR. RINEMAN, EVERYBODY KNOWS THAT RINEMAN AND SONS... 86 00:12:01,321 --> 00:12:04,091 PUBLISHES MORE PHOTOGRAPH BOOKS THAN ANYBODY ELSE. 87 00:12:04,091 --> 00:12:07,901 WELL, SIR, WE PUBLISH BOOKS OF PHOTOGRAPHY. 88 00:12:07,895 --> 00:12:11,895 AND TO MY MIND, THIS IS INSTEAD... 89 00:12:11,899 --> 00:12:15,899 A MOST ADMIRABLE PICTURE BOOK ABOUT NEW YORK. 90 00:12:15,903 --> 00:12:18,343 NO, YOU'RE WRONG. IF I MAY EXPLAIN. 91 00:12:18,338 --> 00:12:22,808 NO, I KNOW EXACTLY WHAT YOU MEAN. STILL LIFES. 92 00:12:22,810 --> 00:12:24,950 NAKED WOMEN GETTIN' OUT OF TUBS. FRUIT ON A PLATE. 93 00:12:24,945 --> 00:12:26,175 "IT'S A PHOTO, LET'S PRETEND IT'S A PAINTING." 94 00:12:27,347 --> 00:12:29,777 LET'S FACE IT, MR. RINEMAN, 95 00:12:29,783 --> 00:12:32,923 YOU'VE PRINTED ENOUGH OF THOSE BOOKS ALREADY. EVERYBODY DID. 96 00:12:32,920 --> 00:12:35,220 NO, MR. RINEMAN. THIS IS THE BOOK. 97 00:12:35,222 --> 00:12:36,562 COME ON, LET'S SHOW THOSE GUYS. 98 00:12:36,556 --> 00:12:40,326 MAY I SAY YOU'RE NOT BEING FAIR TO THE PHOTOGRAPHERS WE PUBLISH. 99 00:12:40,327 --> 00:12:44,997 YEAH, RIGHT. COURSE, I'D LIKE TO SEE 'EM TRY TO GET A SHOT LIKE THIS ONE HERE. 100 00:12:44,998 --> 00:12:48,138 WHERE THE FIRE TRUCK IS IN FRONT OF YA AND BEHIND YA YOU HAVE A BURNING BUILDING. 101 00:12:48,135 --> 00:12:50,835 SO YOU HAVE LIGHT COMIN' AT YA FROM EVERY WHICH WAY. 102 00:12:50,838 --> 00:12:53,138 AND YOU HAVE THESE TWO POOR WOMEN HERE, 103 00:12:53,140 --> 00:12:56,140 WATCHIN' THEIR WHOLE LIFE GO UP IN SMOKE. 104 00:12:56,143 --> 00:12:58,413 NOW I'D LIKE TO SEE ONE OF 'EM TRY TO GET A SHOT LIKE THAT. 105 00:12:58,411 --> 00:13:02,151 WELL, SIR, WHAT I SEE HERE... 106 00:13:02,149 --> 00:13:05,949 IS A BATCH OF PICTURES THAT'S TOO... 107 00:13:05,953 --> 00:13:09,893 SENSATIONAL-- TOO VULGAR, FRANKLY, 108 00:13:09,890 --> 00:13:12,060 TO JUSTIFY PRINTING A BOOK OF FINE PHOTOGRAPHY. 109 00:13:13,961 --> 00:13:16,061 JUST SO I KNOW. 110 00:13:16,063 --> 00:13:19,073 WHAT'S TOO VULGAR IN THIS SHOT? 111 00:13:19,066 --> 00:13:23,896 IS IT, UM, THE FIRE TRUCK OR THESE TWO WOMEN? SINCE YOU HAVE TALENT... 112 00:13:23,904 --> 00:13:26,174 I'D LIKE TO SUGGEST THAT YOU APPLY IT TO SUBJECT MATTER THAT'S MORE-- 113 00:13:26,173 --> 00:13:28,083 NO, I HEARD THIS ADVICE BEFORE. 114 00:13:28,075 --> 00:13:31,435 PLEASE LISTEN, MR. BERNSTEIN. 115 00:13:31,444 --> 00:13:34,314 THE MEN WHO DO WHAT YOU DO DON'T USUALLY FEEL THE NEED TO RATIONALIZE LIKE YOU, 116 00:13:34,314 --> 00:13:36,184 MUCH LESS BE CELEBRATED FOR IT. 117 00:13:36,183 --> 00:13:39,123 YEAH. NOBODY DOES WHAT I DO. NOBODY. 118 00:13:40,854 --> 00:13:42,464 TELL YOUR SON I WON'T HOLD THIS AGAINST HIM... 119 00:13:42,455 --> 00:13:43,885 WHEN I HAVE MY BIG RETROSPECTIVE 120 00:13:43,891 --> 00:13:45,891 AT THE MUSEUM OF MODERN ART. 121 00:13:45,893 --> 00:13:46,933 YOU'RE HAVING A SHOWING AT THE MODERN? 122 00:13:46,927 --> 00:13:49,027 YES, I AM. 123 00:13:49,029 --> 00:13:50,959 WHEN? SOMEDAY. 124 00:13:52,900 --> 00:13:55,240 [ Whistle Blowing ] 125 00:14:05,412 --> 00:14:07,212 [ Photographer ] HEY, BERNZY, YOU JUST MISSED ELEANOR ROOSEVELT... 126 00:14:07,214 --> 00:14:09,124 FRENCH-KISSING HARPO MARX. 127 00:14:09,116 --> 00:14:10,846 I'LL CATCH 'EM ON THE INSIDE. THAT'LL BE THE DAY. 128 00:14:12,219 --> 00:14:13,119 BEHIND THE ROPES, "BERN-STINE." 129 00:14:13,120 --> 00:14:14,350 IT'S "STEIN." 130 00:14:24,431 --> 00:14:27,071 GOOD EVENIN', MR., MRS. ARMSTRONG. 131 00:14:28,936 --> 00:14:31,036 KITCHEN DOOR. 132 00:14:31,038 --> 00:14:35,038 AND CHECK THE CAMERA. THANK YOU, MY GOOD MAN. 133 00:14:35,042 --> 00:14:37,952 [ Singer ] * TAKE MY HAND AND WE'LL BE TOGETHER * 134 00:14:37,945 --> 00:14:39,945 EXCUSE ME. 135 00:14:39,947 --> 00:14:43,047 * [ Continues Indistinct ] 136 00:14:45,385 --> 00:14:47,145 JUST THE CAMERA, PLEASE. 137 00:14:48,388 --> 00:14:49,418 TAKE GOOD CARE OF THAT. 138 00:14:51,358 --> 00:14:55,128 * THEN WE'LL GO UP TO THE PAD AND TURN THE LIGHTS DOWN LOW * 139 00:14:55,128 --> 00:14:58,268 * I'LL TELL YOU MANY THINGS TO LET YOU KNOW * 140 00:14:58,265 --> 00:15:02,165 * HOW MUCH I DIG YA WHEN YA WHISPER SWEET NOTHINGS * 141 00:15:02,169 --> 00:15:05,069 * OOH-WHEE, BABY 142 00:15:05,072 --> 00:15:10,412 * HOW YOU DAZZLE ME LET'S STAY CRAZY AND BE HAPPY * 143 00:15:10,410 --> 00:15:13,180 * LET'S STAY TOGETHER ALL THE TIME * 144 00:15:13,180 --> 00:15:17,280 * THE WAY YOU HOLD ME TIGHT * 145 00:15:17,284 --> 00:15:19,554 * MAKES ME WISH THE SUN WOULD NEVER SHINE * 146 00:15:19,552 --> 00:15:24,292 DO YOU HAVE A RESERVATION, SIR? NO, BUT I CAN SEE YOU DO. 147 00:15:24,291 --> 00:15:28,301 * SO, BABY, NOW YOU KNOW MY STORY OF LOVE-- * 148 00:15:28,295 --> 00:15:30,455 OH, MR. BERNSTEIN. 149 00:15:32,299 --> 00:15:33,269 OH! 150 00:15:34,534 --> 00:15:39,074 * BLOW, JOHN, GO, JOHN SAM, JOHN * 151 00:15:39,072 --> 00:15:40,412 * WAIL, JOHN 152 00:15:40,407 --> 00:15:43,237 * [ Saxophone Solo ] 153 00:15:44,978 --> 00:15:48,018 * 154 00:15:54,554 --> 00:15:57,364 THANKS FOR COMING, MR. BERNSTEIN. UH, BERNZY. 155 00:15:57,357 --> 00:15:59,127 BERNZY. THIS WAY. 156 00:16:04,131 --> 00:16:07,101 PUBLICITY MEN FROM THE WAR DEPARTMENT. 157 00:16:07,100 --> 00:16:09,500 THEY WANT TO SHOOT A NEWSREEL IN HERE FOR WAR BONDS. 158 00:16:10,570 --> 00:16:16,140 * 159 00:16:17,144 --> 00:16:18,984 SCOTCH ALL RIGHT? 160 00:16:20,147 --> 00:16:22,577 THERE'S NEVER BEEN A CAMERA INSIDE. 161 00:16:22,582 --> 00:16:25,152 LOU ALWAYS SAID, "THAT WAY IT'S LIKE HEAVEN. 162 00:16:25,152 --> 00:16:26,992 "THEY'RE DYING TO SEE IT." 163 00:16:35,495 --> 00:16:37,495 OH, THANKS. PLEASE. 164 00:16:43,570 --> 00:16:46,170 I'M STILL IN SHOCK. 165 00:16:46,173 --> 00:16:49,243 IF I'D HAVE SNUCK INTO THIS PLACE, I'D PROBABLY FEEL MORE COMFORTABLE. 166 00:16:49,242 --> 00:16:52,612 ME TOO. HALF THE PEOPLE DOWN THERE FEEL MORE SURE THEY BELONG THAN I DO. 167 00:16:55,415 --> 00:16:57,575 I NEED TO ASK YOU A FAVOR. 168 00:16:57,584 --> 00:16:59,094 YOU NEED A FAVOR FROM ME? 169 00:17:01,488 --> 00:17:04,388 LOU TOLD ME YOU KNOW EVERYBODY IN NEW YORK. 170 00:17:04,391 --> 00:17:07,091 I MEAN, ALL THE CROOKS AND ALL THE COPS, IS THAT TRUE? 171 00:17:08,328 --> 00:17:10,528 MM. 172 00:17:10,530 --> 00:17:14,530 HE SAID YOU NEVER TAKE SIDES BECAUSE ALL YOU CARE ABOUT IS TAKING PICTURES. 173 00:17:14,534 --> 00:17:16,144 TAKING SIDES MIGHT GET IN THE WAY. 174 00:17:18,538 --> 00:17:22,508 I GUESS YOU READ ABOUT LOU'S BROTHER CONTESTING THE WILL. 175 00:17:22,509 --> 00:17:24,209 IF LOU WANTED TO LEAVE CAFE SOCIETY TO A RUG SALESMAN, 176 00:17:24,211 --> 00:17:26,211 HE'D HAVE LEFT IT TO HIM. 177 00:17:26,213 --> 00:17:26,583 WHAT'S HE SELL, TOUPEES OR CARPETS? 178 00:17:29,282 --> 00:17:30,452 IT'S HARD TO KNOW. 179 00:17:32,519 --> 00:17:36,419 PEOPLE SAY SOME LOUSY THINGS ABOUT ME. 180 00:17:36,423 --> 00:17:39,633 UH, "SHE'S A COLDHEARTED GIRL WHO MARRIED AND BURIED AN OLD MAN." YOU HEARD THAT? 181 00:17:39,626 --> 00:17:40,356 YOU SHOULD HEAR WHAT THEY SAY ABOUT ME. 182 00:17:43,363 --> 00:17:46,573 DID YOU EVER TAKE A PICTURE OF THIS MAN? 183 00:17:46,566 --> 00:17:49,166 RINGSIDE TABLE ON THE RIGHT. THE MAN IN THE PINK SUIT. 184 00:17:50,537 --> 00:17:54,167 NEVER SAW HIM BEFORE. NO? 185 00:17:54,174 --> 00:17:57,244 I'LL TAKE A STAB IN THE DARK AND SAY HE AIN'T EXACTLY SOCIETY LEAGUE, THOUGH. 186 00:17:57,244 --> 00:17:59,454 YEAH. I GUESS I DRAGGED YOU UP HERE FOR NOTHING. 187 00:17:59,446 --> 00:18:01,246 WHAT'S HE DOIN' EXACTLY? 188 00:18:03,350 --> 00:18:06,490 HE SAYS HE WAS MY HUSBAND'S PARTNER. 189 00:18:06,486 --> 00:18:08,686 HE SAYS LOU OWED HIM MONEY AND NOW HE'S MY PARTNER. 190 00:18:15,195 --> 00:18:18,365 "OFFERED AS COLLATERAL IN EXCHANGE FOR SERVICES RENDERED?" 191 00:18:18,365 --> 00:18:22,195 HE DIDN'T NEED MONEY AND HE DIDN'T KEEP SECRETS FROM ME. 192 00:18:22,202 --> 00:18:24,202 HOW WOULD YOU KNOW? HMM? 193 00:18:24,204 --> 00:18:25,104 I MEAN, IF THEY WERE SECRETS. 194 00:18:26,239 --> 00:18:28,479 YOU KNOW HOW IT IS... 195 00:18:28,475 --> 00:18:29,605 WHEN YOU'RE INTIMATE WITH SOMEONE. 196 00:18:32,279 --> 00:18:34,109 YEAH. RIGHT. 197 00:18:36,716 --> 00:18:40,716 I KNOW LOU SOLD BOOTLEG IN THE OLD DAYS. SO DID EVERYBODY IN THE NIGHTCLUB BUSINESS. 198 00:18:40,720 --> 00:18:43,290 BUT LOU WAS A REPUTABLE BUSINESSMAN. IS THIS HIS SIGNATURE? 199 00:18:48,328 --> 00:18:51,158 HE'S HERE EVERY NIGHT... 200 00:18:51,164 --> 00:18:54,134 NOT TEN FEET FROM THE MIRROR OR WALTER WINCHELL. 201 00:18:56,403 --> 00:18:57,703 COULDN'T YOU JUST, UM-- 202 00:18:57,704 --> 00:19:01,514 THROW HIM OUT? I'D LOVE TO. 203 00:19:01,508 --> 00:19:05,138 BUT HE SAYS HE'LL GO TO MY BROTHER-IN-LAW, HELP HIM PROVE LOU'S WILL IS INVALID. 204 00:19:05,612 --> 00:19:09,322 IS IT? NO. 205 00:19:09,316 --> 00:19:12,316 BUT I'M HIS SECOND WIFE. THERE AREN'T ANY WOMEN IN THIS BUSINESS. 206 00:19:12,319 --> 00:19:14,449 WE BOTH KNOW WHAT PEOPLE SAY ABOUT ME. I CAN'T TAKE THE CHANCE. 207 00:19:18,558 --> 00:19:21,758 I COULD FIND OUT WHO HE IS FOR YOU. COULD YOU? 208 00:19:23,796 --> 00:19:25,156 WON'T BE HARD FOR ME. 209 00:19:27,434 --> 00:19:29,374 I'D LIKE TO PAY YOU SOMETHING. NO. 210 00:19:29,369 --> 00:19:31,369 I INSIST. NO, IT'S OKAY. 211 00:19:33,673 --> 00:19:36,383 WELL, DANNY DOWNSTAIRS SUGGESTED I COME IN THROUGH THE KITCHEN. 212 00:19:42,249 --> 00:19:44,479 FREDO, COULD YOU WATCH THE DOOR FOR A FEW MINUTES? SEND DANNY UP TO ME. 213 00:19:45,418 --> 00:19:47,688 YES, MRS. LEVITZ. 214 00:19:47,687 --> 00:19:50,557 WHY DON'T YOU STAY AND HAVE DINNER? OH, NO, THAT'S ALL RIGHT. 215 00:19:50,557 --> 00:19:53,457 IT'S NOT THAT BIG A FAVOR. OKAY IF I TAKE THIS? 216 00:19:54,294 --> 00:19:55,534 OF COURSE. 217 00:19:56,696 --> 00:19:58,296 THANKS. 218 00:20:08,708 --> 00:20:10,678 WITH ALL DUE RESPECT, MRS. LEVITZ, 219 00:20:10,677 --> 00:20:13,377 YOU CAN'T HAVE SOMEBODY LIKE THAT INSIDE THE CLUB. 220 00:20:13,380 --> 00:20:16,720 YOU DON'T SEE THESE ANIMALS ON THE STREET LIKE I DO. 221 00:20:16,716 --> 00:20:19,586 THEY CALL THEM SHUTTERBUGS 'CAUSE THEY'RE INSECTS. 222 00:20:19,586 --> 00:20:21,516 THEY'RE VERMIN, SCAVENGERS. THEY'VE GOT NO MORALITY. 223 00:20:22,789 --> 00:20:24,659 [ Kay ] I KNOW. 224 00:20:24,657 --> 00:20:28,827 HE FANCIES HE'S DIFFERENT, OF COURSE, WHICH MAKES HIM THE WORST OF THE LOT. 225 00:20:28,828 --> 00:20:31,298 I HEAR HIM TALKIN' TO PEOPLE SOMETIMES, IMPORTANT PEOPLE. 226 00:20:31,298 --> 00:20:35,338 BOTHERIN' 'EM. PUBLISHERS, EDITORS. 227 00:20:35,335 --> 00:20:36,765 HE'S BOTHERIN' YOU ABOUT THAT, ISN'T HE? ABOUT HIS BOOK? 228 00:20:38,805 --> 00:20:41,505 I DON'T KNOW ANYTHING ABOUT IT. 229 00:20:41,508 --> 00:20:42,638 IN FACT, I ASKED HIM TO DO ME A FAVOR. 230 00:20:44,377 --> 00:20:45,447 I SEE. 231 00:20:46,846 --> 00:20:49,416 WELL, MAY I ASK WHY? 232 00:20:49,416 --> 00:20:51,646 WELL, LOU ALWAYS SAID HE WAS TENACIOUS. 233 00:20:51,651 --> 00:20:55,861 THE MOST PERSISTENT, THE MOST ANNOYING. 234 00:20:55,855 --> 00:20:57,855 DANNY, I KNOW YOU KNOW THE SOCIAL STANDING OF EVERYBODY DOWN THERE 235 00:20:57,857 --> 00:20:59,357 BETTER THAN ANYONE. 236 00:20:59,359 --> 00:21:01,829 MR. LEVITZ TAUGHT ME WELL. 237 00:21:01,828 --> 00:21:04,298 BUT THE NEXT TIME MR. BERNSTEIN COMES, 238 00:21:04,297 --> 00:21:05,427 WE'LL LET HIM IN THE FRONT DOOR. 239 00:21:07,434 --> 00:21:08,804 WHATEVER YOU SAY, MA'AM. 240 00:21:13,540 --> 00:21:14,770 * 241 00:21:16,876 --> 00:21:18,646 OKAY, CLEAR THE WAY. JUST ONE SHOT, HUH? 242 00:21:18,645 --> 00:21:20,345 DROP THE HAT, HUH? PUT ON A SMILE, HUH? 243 00:21:22,482 --> 00:21:25,692 BERNZY, THERE'S TWO GUYS CALLED PORTIFINO WITH RECORDS, 244 00:21:25,685 --> 00:21:29,355 BUT NOT THAT AGE OR DESCRIPTION. NO RECORD. 245 00:21:29,356 --> 00:21:30,686 NOT IN NEW YORK, PAL. HMPH. 246 00:21:33,593 --> 00:21:35,563 I'M GONNA GO OVER THERE AND TAKE HIS PICTURE. 247 00:21:37,664 --> 00:21:39,674 I DON'T THINK HE WANTS IT TOOK. 248 00:21:39,666 --> 00:21:40,796 WHAT ARE YOU TALKIN' ABOUT? 249 00:21:40,800 --> 00:21:43,600 EVERYBODY LOVES TO HAVE THEIR PICTURE TOOK. EVERYBODY! 250 00:21:54,447 --> 00:21:56,477 HOW YA DOIN', KID? KISS OFF. 251 00:21:56,483 --> 00:21:58,453 CAN YOU WRITE? SIGN HERE. YEAH. WHERE? 252 00:21:59,819 --> 00:22:02,819 YOU EVER HEARD OF THE GREAT BERNZINI? NO. 253 00:22:02,822 --> 00:22:04,892 I SHOT DUTCH SCHULTZ, LEGS DIAMOND. 254 00:22:04,891 --> 00:22:07,461 NONE OF THOSE GUYS EVER HID THEIR FACES. 255 00:22:07,460 --> 00:22:09,700 I JUST SAID, KISS OFF. 256 00:22:09,696 --> 00:22:13,466 ALL RIGHT. HAVE IT YOUR OWN WAY. 257 00:22:13,466 --> 00:22:16,696 I GET EVERYBODY WHILE THEY'RE ALIVE OR AFTER. 258 00:22:16,703 --> 00:22:21,713 I'LL LET YOU IN ON A SECRET. NOBODY LOOKS BETTER AFTER. 259 00:22:21,708 --> 00:22:24,738 YOU'RE THAT FREAK THAT DRIVES AROUND IN THAT SEDAN AT NIGHT. 260 00:22:24,744 --> 00:22:28,854 THAT'S ME. IN YOUR LINE OF WORK, I'M KNOWN AS THE PHOTOGRAPHER TO THE STARS. 261 00:22:28,848 --> 00:22:30,878 I HEARD OF YOU. THEM OTHER CREEPS AROUND? 262 00:22:33,853 --> 00:22:35,863 THEY'RE IN THE CORNER, SMOKING. ONE SHOT. 263 00:22:35,855 --> 00:22:38,555 COME ON, REAL FAST. NOBODY'LL EVEN KNOW. 264 00:22:38,558 --> 00:22:40,628 COME ON, LET ME IMMORTALIZE YA. BACK UP A LITTLE. 265 00:22:45,932 --> 00:22:47,772 THANKS, KID. KISS OFF. 266 00:23:00,012 --> 00:23:01,382 [ Car Door Closing ] 267 00:23:43,490 --> 00:23:47,030 AGH. GOD. 268 00:23:53,933 --> 00:23:54,703 [ Phone Ringing In Receiver ] 269 00:23:54,701 --> 00:23:55,641 [ Man ] PRECINCT. 270 00:23:55,635 --> 00:23:58,735 [ Bernzy ] HOMICIDE, PLEASE. 271 00:23:58,738 --> 00:24:02,038 HOMICIDE, CONKLIN. CONKLIN, BERNZY. 272 00:24:02,041 --> 00:24:05,611 WHAT'S UP? WELL, I WAS SORTA PAYING THIS SOCIAL CALL, 273 00:24:05,612 --> 00:24:08,982 TO THIS GUY, UH, HIS NAME IS EMILIO PORTIFINO. 274 00:24:10,650 --> 00:24:13,650 YEAH? WELL, HE'S BEEN MURDERED. 275 00:24:15,021 --> 00:24:18,491 I'M LOOKIN' AT HIM NOW. 276 00:24:18,491 --> 00:24:19,961 STAY WHERE YOU ARE. I WANNA GO GET MY CAMERA. 277 00:24:19,959 --> 00:24:21,959 YOU DON'T SEE THIS A LOT. 278 00:24:21,961 --> 00:24:24,961 STAY PUT. WE'LL BE THERE IN FIVE MINUTES. 279 00:24:24,964 --> 00:24:27,534 ALL RIGHT, THE ADDRESS IS 115-- [ Dial Tone ] 280 00:24:29,769 --> 00:24:32,869 [ Indistinct Chatter ] 281 00:24:41,581 --> 00:24:43,751 HELLO, BERNZY. 282 00:24:43,750 --> 00:24:47,750 YOU'RE NOT GONNA HAVE ANY MORE TROUBLE WITH PORTIFINO IN YOUR GOOD SEATS. 283 00:24:47,754 --> 00:24:51,094 SOMEBODY KILLED HIM. MY GOD. 284 00:24:51,090 --> 00:24:55,060 ANYTHING YOU WANNA TELL ME? ANYTHING YOU BETTER TELL ME BEFORE THE COPS GET HERE? 285 00:24:55,061 --> 00:25:00,671 UH, ALL I KNOW ABOUT HIM IS WHAT I TOLD YOU. 286 00:25:00,667 --> 00:25:04,597 IF YOU'RE ASKING WHAT I THINK YOU ARE-- I'M NOT ASKING YOU THAT. 287 00:25:04,604 --> 00:25:05,774 IT'S OBVIOUS THIS GUY WAS DONE IN BY THE MOB. 288 00:25:07,607 --> 00:25:09,077 THE MOB. 289 00:25:09,075 --> 00:25:13,905 ALL RIGHT, LOOK. I'LL BE IN TOUCH WITH YOU. 290 00:25:13,913 --> 00:25:16,523 OKAY? I GOTTA GO NOW. 291 00:25:18,150 --> 00:25:19,920 YEAH, OKAY. THANKS. 292 00:25:32,899 --> 00:25:36,569 JESUS. [ Sighing ] MARSHALL, COME ON. 293 00:25:36,569 --> 00:25:38,069 GRAHAM, STAY BY THE DOOR. 294 00:25:40,707 --> 00:25:42,107 WHAT DO YOU SAY, CONKLIN? 295 00:25:42,108 --> 00:25:44,708 MR. CHADWICK, THIS IS LEON BERNSTEIN. 296 00:25:44,711 --> 00:25:47,051 OTHERWISE KNOWN AS THE GREAT BERNZINI. 297 00:25:47,046 --> 00:25:49,916 BERNZY, THIS IS SPECIAL AGENT... 298 00:25:49,916 --> 00:25:51,946 CHADWICK OF THE FEDERAL BUREAU OF INVESTIGATION. 299 00:25:56,923 --> 00:25:58,123 NICE TO MEET YA. 300 00:25:58,124 --> 00:25:59,064 HEY, KNOCK IT OFF. 301 00:26:15,642 --> 00:26:17,942 [ Chadwick ] WHAT WAS YOUR BUSINESS WITH PORTIFINO? 302 00:26:17,944 --> 00:26:21,954 [ Bernzy ] I TOLD YOU. I JUST CALLED ON HIM AS A FAVOR TO A FRIEND. 303 00:26:21,948 --> 00:26:23,278 THAT'S RIGHT. WHAT'D YOU SAY YOUR FRIEND'S NAME WAS? 304 00:26:23,282 --> 00:26:28,092 I DIDN'T SAY. LISTEN, WHAT ARE YOU INVESTIGATING EXACTLY? 305 00:26:28,087 --> 00:26:29,887 MR. BERNSTEIN, DETECTIVE CONKLIN TELLS US YOU KNOW 306 00:26:29,889 --> 00:26:32,059 MANY MEMBERS OF THE MOB IN NEW YORK. 307 00:26:32,058 --> 00:26:34,858 I ALSO KNOW THE COPS AND WASHROOM ATTENDANTS. 308 00:26:34,861 --> 00:26:37,631 IT'S THE ONLY WAY A GOOD PHOTOGRAPHER CAN STAY IN BUSINESS. 309 00:26:37,630 --> 00:26:39,130 I MEAN, A TABLOID PHOTOGRAPHER, NOT A STIEGLITZ OR A STEICHEN. 310 00:26:40,733 --> 00:26:42,903 EXCUSE ME, STEINWITZ OR-- 311 00:26:42,902 --> 00:26:45,972 THE SECOND AND THIRD BEST PHOTOGRAPHERS IN THE COUNTRY. 312 00:26:45,972 --> 00:26:49,642 DON'T MOBSTERS SOMETIMES SAY THEY WON'T LET ANYBODY BUT YOU TAKE THEIR PICTURE? 313 00:26:49,642 --> 00:26:51,912 MM. I BET YOU GET TO KNOW A LOT OF CRIMINALS IN YOUR LINE OF WORK TOO. 314 00:26:53,680 --> 00:26:55,750 MAYBE NOT. 315 00:26:55,748 --> 00:26:58,118 WAS PORTIFINO WITH THE MOB? I DON'T KNOW. WAS HE? 316 00:26:58,117 --> 00:27:01,787 I'LL ASK THE QUESTIONS HERE. HOW DID HE COME TO TOWN AND SET HIMSELF UP SO FAST? 317 00:27:01,788 --> 00:27:06,028 LOOK, YOU KNOW THIS GUY BETTER THAN I DO, OBVIOUSLY. 318 00:27:06,025 --> 00:27:08,895 I CALLED CONKLIN. THE NEXT THING I KNOW YOU ALREADY HAVE THE ADDRESS. 319 00:27:08,895 --> 00:27:10,695 WHERE'D PORTIFINO GET HIS MONEY? 320 00:27:10,697 --> 00:27:13,697 I DON'T KNOW ANYTHING. 321 00:27:13,700 --> 00:27:17,040 I SEE THIS GUY ONCE FOR FIVE SECONDS. THE NEXT TIME I SEE HIM, 322 00:27:17,036 --> 00:27:20,236 WHICH WAS TONIGHT, HE AIN'T TOO CHATTY. I GOTTA GO NOW. 323 00:27:20,239 --> 00:27:22,139 I GOT A JOB. YOU GOT A JOB? 324 00:27:22,141 --> 00:27:26,011 YES, I HAVE A JOB. I'M A FREE-LANCE PHOTOGRAPHER. 325 00:27:26,012 --> 00:27:28,152 IF I'M NOT ON THE STREET BY MIDNIGHT, THE WHOLE WORLD PASSES ME BY. 326 00:27:29,916 --> 00:27:32,016 TOUGH WAY TO MAKE A LIVING. 327 00:27:32,018 --> 00:27:34,248 YOU HOPED TO GET MONEY FROM PORTIFINO, RIGHT? 328 00:27:34,253 --> 00:27:36,193 WHAT? YOU INTENDED TO BLACKMAIL HIM. 329 00:27:41,027 --> 00:27:43,157 THIS IS A GAG, RIGHT? 330 00:27:43,162 --> 00:27:46,972 MR. BERNSTEIN, YOU CAME TO THIS COUNTRY FROM RUSSIA WHEN YOU WERE SIX YEARS OLD. 331 00:27:49,969 --> 00:27:52,969 ALL RIGHT, THAT'S IT. I HAVE MY SELL MEETING IN A HALF AN HOUR. 332 00:27:52,972 --> 00:27:53,772 WHERE DO YOU THINK YOU'RE GOIN'? 333 00:27:57,810 --> 00:28:02,850 YOU KNOW, YOU'RE TELLIN' ME MORE THAN I'M TELLIN' YOU. 334 00:28:02,849 --> 00:28:07,189 I COULD SEE THIS GUY GOT RICH QUICK DOIN' SOMETHING YOU REALLY DIDN'T LIKE. 335 00:28:07,186 --> 00:28:10,156 WHEN YOU BRING UP RUSSIA, 336 00:28:10,156 --> 00:28:12,286 I FIGURE IT'S SOMETHING TREASONOUS. 337 00:28:12,291 --> 00:28:16,761 MR. BERNSTEIN-- MR. BERNSTEIN, I'M SORRY WE TOOK YOU FROM WORK. 338 00:28:16,763 --> 00:28:21,073 THIS IS A TIME OF WAR. WE KNOW YOU'LL KEEP YOUR CONJECTURES ABOUT PORTIFINO TO YOURSELF. 339 00:28:21,067 --> 00:28:24,267 FACT IS, WE KNOW VERY LITTLE ABOUT HIM. 340 00:28:24,270 --> 00:28:28,980 WE WERE HOPING YOU COULD FILL US IN. YEAH, YEAH, SURE, OKAY. 341 00:28:28,975 --> 00:28:31,235 CAN I HAVE MY FILM PLATES? WE CAN'T GIVE THEM TO YOU FOR A COUPLE OF DAYS. 342 00:28:35,848 --> 00:28:38,918 HE'S NEWS TONIGHT. IN A FEW DAYS, I WON'T BE ABLE TO SELL THEM. 343 00:28:38,918 --> 00:28:40,348 CHECK BACK WITH AGENT CHADWICK TOMORROW MORNING. 344 00:28:40,352 --> 00:28:42,152 HE'LL GIVE YOU THE PROPER FORMS TO FILL IN. 345 00:29:21,327 --> 00:29:23,027 DON'T DO THAT. 346 00:29:23,029 --> 00:29:23,859 GET IN THE CAR, PLEASE. 347 00:29:25,231 --> 00:29:27,131 ALL RIGHT, ALL RIGHT. COME ON! 348 00:29:27,133 --> 00:29:30,043 WHAT'S UP? YOU'RE FARINELLI'S BOYS, RIGHT? GET IN THE CAR. 349 00:29:30,036 --> 00:29:31,136 YOU'RE TONIO, I KNOW YOU. JUST GET IN THE CAR. 350 00:29:31,137 --> 00:29:34,137 WHAT'S UP? JESUS, GET IN THE CAR. 351 00:29:34,140 --> 00:29:37,910 LET ME GET MY CAMERA. JUST GET IN THE CAR! 352 00:29:37,910 --> 00:29:39,850 COME ON, TONIO, LET ME GET MY CAMERA. GET IN THE CAR. 353 00:29:44,083 --> 00:29:47,893 OKAY, I'M IN THE CAR. CAN I GET MY CAMERA NOW, PLEASE? 354 00:29:53,059 --> 00:29:54,389 I'M COMIN', I'M COMIN'. 355 00:29:58,831 --> 00:30:00,431 WHAT'RE YOU PUSHIN' HIM AROUND FOR? WE KNOW THIS GUY! 356 00:30:00,432 --> 00:30:02,202 SORRY, MR. FARINELLI. HAVE A SEAT, BERNZY. 357 00:30:04,370 --> 00:30:07,310 WANT A DRINK? YOU GOT COFFEE? 358 00:30:07,306 --> 00:30:11,036 YOU'LL BE UP ALL NIGHT. HA, HA, HA. 359 00:30:11,043 --> 00:30:13,053 GO TO THE CORNER. GET HIM A CUP OF COFFEE. 360 00:30:13,045 --> 00:30:14,305 YOU KNOW MICKEY AND SAL? 361 00:30:14,313 --> 00:30:15,213 HIYA, BERNZY. 362 00:30:17,416 --> 00:30:20,086 BERNZY? 363 00:30:20,086 --> 00:30:23,216 SO YOU FOUND THE BODY OF THIS PUNK PORTIFINO, RIGHT? YEAH. 364 00:30:23,222 --> 00:30:24,122 WHAT DO YOU KNOW ABOUT HIM? 365 00:30:24,924 --> 00:30:25,994 NOTHIN' REALLY. 366 00:30:27,860 --> 00:30:30,300 WHY'D YOU CALL THE FEDS? I DIDN'T. 367 00:30:30,296 --> 00:30:32,196 I CALLED THE COPS LIKE I USUALLY DO. 368 00:30:32,198 --> 00:30:33,328 THEY'RE THE ONES WHO CALLED THE F.B.I. 369 00:30:35,101 --> 00:30:36,341 [ Speaking Italian ] 370 00:30:39,939 --> 00:30:44,109 OKAY, BERNZY, SO WE'RE MISINFORMED. YOU DIDN'T CALL THE FEDS. 371 00:30:44,110 --> 00:30:47,250 BUT I'D STILL LIKE TO KNOW HOW YOU KNEW PORTIFINO. I DIDN'T. 372 00:30:47,246 --> 00:30:49,046 [ Speaking Italian ] 373 00:30:50,917 --> 00:30:54,447 YOU DIDN'T? NO. 374 00:30:54,453 --> 00:30:57,123 I MEAN, I MET HIM THE OTHER NIGHT AT THE CAFE SOCIETY. 375 00:30:57,123 --> 00:30:59,363 AND HE WANTED SOMEBODY TO TAKE HIS PICTURE... 376 00:30:59,358 --> 00:31:00,388 AND HE OFFERED A GOOD BUCK FOR IT. 377 00:31:02,494 --> 00:31:04,264 YOU DON'T DO COMMISSIONS. 378 00:31:09,936 --> 00:31:11,036 TWO YEARS AGO MY SISTER'S BOY MADE COMMUNION. 379 00:31:11,037 --> 00:31:13,367 I OFFERED YOU PLENTY OF MONEY. 380 00:31:13,372 --> 00:31:18,242 I DON'T DO COMMISSIONS, BUT I GOT A GOOD NOSE FOR NEWS. 381 00:31:18,244 --> 00:31:20,084 TALKIN' TO THIS KID, IT SMELLED LIKE THERE MIGHT BE SOMETHIN' IN IT. 382 00:31:20,079 --> 00:31:22,179 THAT'S IT. THAT'S ALL. 383 00:31:22,181 --> 00:31:24,981 OH, THAT'S ALL? YEAH. 384 00:31:27,920 --> 00:31:30,290 [ Groaning ] HOW DARE YOU LIE TO ME! 385 00:31:38,397 --> 00:31:42,097 OKAY, BERNZY. OKAY. 386 00:31:42,101 --> 00:31:46,271 AS IT IS, I GOTTA TRUST YOU. YOU NEVER CROSSED NOBODY. 387 00:31:46,272 --> 00:31:47,912 YOU DO NOTHIN' BUT SNAP PICTURES NOON AND NIGHT. 388 00:31:50,142 --> 00:31:52,282 WHAT IS IT WITH YOU ANYWAY? 389 00:31:52,278 --> 00:31:56,018 DOPE FIENDS LIVE BETTER THAN YOU. YOU'RE A FUCKIN' FREAK. 390 00:31:56,015 --> 00:31:59,415 YEAH? WELL, LIKE THE GUY WHO USED TO SHOVEL ELEPHANT SHIT... 391 00:31:59,418 --> 00:32:02,418 SAID TO THE CIRCUS OWNER, "WHAT, GIVE UP SHOW BIZ?" 392 00:32:02,421 --> 00:32:08,031 HA, HA, HA. HERE, HERE'S FOR THE CAMERA. 393 00:32:08,027 --> 00:32:11,997 DO ME A FAVOR. DON'T GO AROUND TALKIN' ABOUT THIS DEAD GUY. 394 00:32:11,998 --> 00:32:14,468 UH, WHAT'S HIS NAME, ALL RIGHT? RIGHT. 395 00:32:19,005 --> 00:32:21,135 [ Man ] THANK YOU, THANK YOU. 396 00:32:28,514 --> 00:32:31,024 [ Woman ] I DON'T KNOW, MAYBE HE IS. HE'S GETTIN' IN. 397 00:32:31,017 --> 00:32:33,987 SEE ANYBODY ELSE? 398 00:32:33,986 --> 00:32:35,286 [ Man ] HEY, BERNZY, HOW DO YOU RATE? 399 00:32:38,190 --> 00:32:42,560 I DON'T UNDERSTAND. THE F.B.I.? THINK I DO? 400 00:32:42,561 --> 00:32:47,331 LOOK, I DON'T DO FAVORS FOR PEOPLE. YOU SEE WHAT HAPPENS? 401 00:32:47,333 --> 00:32:51,243 I WALK IN HERE. YOU GIVE ME A DRINK. I START FEELIN' GOOD ABOUT MYSELF. 402 00:32:51,237 --> 00:32:53,337 THE NEXT THING I KNOW, THE F.B.I. CALLS ME A COMMUNIST, 403 00:32:53,339 --> 00:32:56,039 AND SOME GANGSTER USES ME TO WAX HIS FLOOR WITH. 404 00:32:56,042 --> 00:32:59,482 I'M SORRY. YEAH, LIKE YOU DIDN'T KNOW THAT GUY WAS MOB. 405 00:32:59,478 --> 00:33:02,008 YOU DIDN'T EITHER. LIKE THERE WAS NOBODY ELSE YOU COULD'VE ASKED. 406 00:33:02,014 --> 00:33:04,024 I DID ASK. NOBODY KNEW HIM. 407 00:33:04,016 --> 00:33:06,546 [ Sighing ] 408 00:33:06,552 --> 00:33:09,492 WHY'D YOU EVER ASK ME UP HERE IN THE FIRST PLACE? 409 00:33:09,488 --> 00:33:13,228 LOU TRUSTED YOU. I TOLD YOU HE SAID THAT-- 410 00:33:13,225 --> 00:33:15,485 LOU THOUGHT I WAS LIKE THOSE FLIES OUTSIDE, 411 00:33:15,494 --> 00:33:18,164 BUZZIN' AROUND TO TAKE A PICTURE OF RITA HAYWORTH. 412 00:33:18,164 --> 00:33:21,474 THAT'S NOT TRUE. A LITTLE PARASITE, PREYIN' ON PEOPLE'S MISERY. 413 00:33:21,467 --> 00:33:24,037 YOU'RE NOT THE ONLY ONE WHO KNOWS WHAT PEOPLE SAY ABOUT YOU. 414 00:33:24,036 --> 00:33:26,506 IT DOESN'T MATTER WHAT THEY SAY... UNLESS YOU BELIEVE THEM. 415 00:33:29,608 --> 00:33:32,378 WHY DO YOU THINK I ASKED YOU? 416 00:33:32,378 --> 00:33:36,278 I'D BE SO OVERWHELMED TO BE INVITED INTO THE INNER SANCTUM, 417 00:33:36,282 --> 00:33:39,092 THAT I WOULD JUMP INTO THE STREET TO DO YOUR DIRTY WORK. 418 00:33:39,085 --> 00:33:41,515 YOU COULD'VE ASKED ANY OF THOSE SCHMUCKS WITH CAMERAS OUTSIDE. 419 00:33:41,520 --> 00:33:43,090 I CAN SEE YOU HAVE A HIGH OPINION OF ME. 420 00:33:46,525 --> 00:33:49,295 YOU'RE NOT LIKE THOSE GUYS OUTSIDE. YOU BELIEVE IN SOMETHING. YOUR BOOK. 421 00:33:56,235 --> 00:33:59,205 HOW DO YOU KNOW ABOUT MY BOOK? 422 00:33:59,205 --> 00:34:03,535 LOU TOLD ME. AND WHEN I KNEW I NEEDED SOMEONE I COULD TRUST-- 423 00:34:08,247 --> 00:34:10,517 I HOPE YOU'RE NOT JUST SAYIN' THIS. WHY SHOULD I? 424 00:34:10,516 --> 00:34:12,146 I DON'T KNOW. 425 00:34:15,321 --> 00:34:18,461 THIS IS THE FIRST TIME I HEARD THAT LOU LEVITZ HAD AN INTEREST IN MY BOOK. 426 00:34:21,560 --> 00:34:26,130 LOU HAD EVERY GREAT ARTIST FROM PARIS TO HOLLYWOOD STOPPING IN HERE. 427 00:34:26,132 --> 00:34:28,432 HE KNEW THEY WERE GREAT BECAUSE THEY WERE ROLLING IN IT. 428 00:34:28,434 --> 00:34:31,704 THAT'S ALL HE KNEW OR EVER WANTED TO KNOW ABOUT ARTISTS. 429 00:34:31,703 --> 00:34:32,673 WHAT DO YOU KNOW ABOUT THEM? 430 00:34:34,640 --> 00:34:36,280 NOTHING. 431 00:34:38,210 --> 00:34:41,180 I KNEW A LITTLE SOMETHING ONCE... 432 00:34:41,180 --> 00:34:42,680 WHEN I WANTED TO BE ONE... 433 00:34:42,681 --> 00:34:45,351 ON THE STAGE. 434 00:34:47,353 --> 00:34:49,463 I STILL KNOW ENOUGH TO KNOW YOU'RE THE REAL THING, 435 00:34:49,455 --> 00:34:51,155 OR YOU'D HAVE GIVEN UP LONG AGO. 436 00:34:53,592 --> 00:34:55,292 YOU SEE, I NEVER WAS. 437 00:34:57,663 --> 00:35:00,633 HAVING THIS PLACE IS THE CLOSEST I'LL EVER COME TO IT. 438 00:35:03,469 --> 00:35:06,169 I AM SORRY FOR ALL THE TROUBLE. 439 00:35:19,218 --> 00:35:22,218 WHAT'S THIS? PICTURES I TOOK IN THE CLUB. 440 00:35:23,622 --> 00:35:25,522 I SEE. WHEN? 441 00:35:33,232 --> 00:35:35,202 THANK YOU. 442 00:35:35,201 --> 00:35:40,511 WELL, IT'S NOT OVER JUST BECAUSE PORTIFINO'S DEAD. 443 00:35:40,506 --> 00:35:43,206 SOMEBODY ELSE IS GONNA COME INTO THIS CLUB AND TELL YA THEY'RE LOU'S PARTNER. 444 00:35:44,176 --> 00:35:46,646 BUT WHY? 445 00:35:46,645 --> 00:35:48,445 I THINK HE WAS INVOLVED IN SOMETHING REALLY BAD. 446 00:35:49,748 --> 00:35:51,418 YOU DON'T KNOW WHAT IT IS, DO YA? 447 00:35:55,554 --> 00:35:58,424 I COULD PROBABLY FIND OUT WHAT IT IS. 448 00:35:58,424 --> 00:36:00,234 I COULD DO THAT. YOU DON'T HAVE TO. 449 00:36:05,531 --> 00:36:08,231 MAYBE I COULD SHOW YOU MY BOOK SOMETIME. 450 00:36:08,234 --> 00:36:10,174 I'D LIKE THAT, BERNZY. 451 00:36:11,270 --> 00:36:13,310 * 452 00:36:17,543 --> 00:36:20,683 BERNZY, I DIDN'T THINK ANY OF MY REAL FRIENDS COULD GET INTO THIS PLACE. 453 00:36:20,679 --> 00:36:23,779 LONELY AT THE TOP, KIDDO. COME ON. SIT DOWN FOR A MINUTE. 454 00:36:23,782 --> 00:36:27,552 ALL RIGHT, HALF A MINUTE. DON'T BE A PILL. 455 00:36:27,553 --> 00:36:31,693 HOW ELSE YOU EVER GONNA SIT HERE? HACK MAKES GOOD, HUH, BERNZY? 456 00:36:31,690 --> 00:36:36,430 I WANT YOU TO MEET VERA HIXON. THIS IS THE GREAT BERNZINI. 457 00:36:36,428 --> 00:36:39,668 THE BEST SHUTTERBUG-- YOU SEEN MY SHOW? DON'T WORRY. 458 00:36:39,665 --> 00:36:42,325 IT'S ON MY CALENDAR. "BROOKLYN RHAPSODY," WINTER GARDEN THEATER. 459 00:36:42,334 --> 00:36:45,674 BUT YOU KNOW I WORK NIGHTS. IT'S A BEAUTIFUL SHOW. 460 00:36:45,671 --> 00:36:48,571 I'M SURE IT IS. I KNOW WHAT YOU THINK. 461 00:36:48,574 --> 00:36:52,714 WHY SHOULD I GO SEE A BUNCH OF ARTY'S OLD COLUMNS DRAMATIZED WHEN I ALREADY READ 'EM? 462 00:36:52,711 --> 00:36:55,381 THAT'S NOT TRUE. I NEVER READ 'EM. 463 00:36:55,381 --> 00:36:57,581 HEY, WAITER, WAITER! [ Whistle ] 464 00:36:57,583 --> 00:37:00,623 WAITER! COME ON! DYIN' HERE. 465 00:37:00,619 --> 00:37:03,289 ARTY, I HAVE TO GO. I'M 57 YEARS OLD. 466 00:37:05,491 --> 00:37:07,831 THINK SHE WOULD HAVE LOOKED AT ME SIX MONTHS AGO, HMM? 467 00:37:07,826 --> 00:37:10,496 HMM. ARTY. 468 00:37:10,496 --> 00:37:13,496 BEST SHUTTERBUG IN NEW YORK. KNOW WHAT THAT MEANS? 469 00:37:13,499 --> 00:37:15,629 IT MEANS THAT YOUR PICTURES ARE CATCHIN' BIRD SHIT... 470 00:37:15,634 --> 00:37:18,644 AT THE BOTTOM OF THE CAGE SIX HOURS AFTER THE PAPERS COME OUT. 471 00:37:18,637 --> 00:37:20,807 JUST LIKE MY COLUMNS USED TO. 472 00:37:20,806 --> 00:37:24,336 HEY, WAITER. M-- ARTY. 473 00:37:24,343 --> 00:37:27,613 PLEASE. NO. COME ON. WILL YOU LAY OFF? 474 00:37:27,613 --> 00:37:30,523 AT LEAST IF YOU PAINT PICTURES, YOU WRITE BOOKS, THEY SAY, 475 00:37:30,516 --> 00:37:32,476 "OKAY, SO HE DIDN'T HAVE A LIFE. 476 00:37:32,484 --> 00:37:37,464 "HE DIDN'T HAVE ANY MONEY, HE DIDN'T EVEN HAVE A STEADY GIRL. 477 00:37:37,456 --> 00:37:42,356 "LOOK WHAT HE PAINTED, LOOK WHAT HE WROTE." 478 00:37:42,361 --> 00:37:45,801 SHE WOULDN'T HAVE PISSED ON ME SIX MONTHS AGO. 479 00:37:48,867 --> 00:37:50,597 EXCUSE ME. MISS HIXON. 480 00:37:52,471 --> 00:37:54,471 AW, VERA, COME ON. VERA! 481 00:38:00,779 --> 00:38:03,479 ARTY, YOU BETTER APOLOGIZE TO THAT LADY. 482 00:38:03,482 --> 00:38:06,452 LOOK WHO'S GIVING ME ADVICE ON MY LOVE LIFE. 483 00:38:06,452 --> 00:38:09,392 LISTEN TO SOMEBODY WHO REALLY KNOWS. NOBODY COULD LOVE YOU. 484 00:38:09,388 --> 00:38:12,858 NO WOMAN COULD LOVE SOME SHABBY LITTLE GUY WHO SLEEPS IN HIS CLOTHES, 485 00:38:12,858 --> 00:38:16,328 EATS OUT OF CANS, COZIES UP TO CORPSES SO MUCH HE BEGINS TO STINK LIKE ONE. 486 00:38:16,328 --> 00:38:17,698 YOU SHOULD GET A REFUND FROM THAT CHARM SCHOOL. 487 00:38:20,332 --> 00:38:20,802 BERNZY, COME ON BACK. 488 00:38:22,568 --> 00:38:25,668 BERNZY, I'M SORRY. 489 00:38:25,671 --> 00:38:27,841 [ Radio Dispatcher, Indistinct ] 490 00:38:41,887 --> 00:38:44,817 [ Radio Continues, Indistinct ] 491 00:38:46,458 --> 00:38:47,828 [ Vacuum Whirring ] 492 00:38:50,896 --> 00:38:53,826 [ Danny ] WHY DON'T YOU TELL ME WHAT THE TROUBLE IS, MRS. LEVITZ? 493 00:38:53,832 --> 00:38:56,332 WHY WOULD SUCH A LOVELY LADY RELY ON A MAN LIKE THAT? 494 00:38:58,404 --> 00:39:01,714 I KNOW WHAT I'M DOING. 'TISN'T EASY, IS IT? 495 00:39:01,707 --> 00:39:02,637 HOLDIN' ON TO A PLACE LIKE THIS. 496 00:39:07,713 --> 00:39:10,583 WHO KNOWS WHY THEY COME OR WHEN THEY'LL STOP. 497 00:39:10,582 --> 00:39:12,852 THAT'S ENOUGH. I KNOW WHAT I'M DOING. I HOPE YOU'RE NOT STARTIN'... 498 00:39:12,851 --> 00:39:14,521 TO MISTAKE HIM FOR A REAL PERSON, MRS. LEVITZ. 499 00:39:17,423 --> 00:39:20,533 AS FOR THIS FAVOR HE'S DOIN' YA, DON'T COUNT ON IT. 500 00:39:20,526 --> 00:39:23,926 KNOW WHAT A SHUTTERBUG DOES WHEN HE FINDS AN ABANDONED BABY? 501 00:39:23,929 --> 00:39:25,529 HE JABS IT WITH A DIAPER PIN 502 00:39:25,531 --> 00:39:27,901 BECAUSE PICTURES OF CRYIN' BABIES ARE WORTH A DOLLAR MORE. 503 00:39:36,408 --> 00:39:39,448 SATURDAY EVENING POST, "BRAVE MEN IN BLUE." 504 00:39:39,445 --> 00:39:40,445 COME ON, YOU MUST HAVE SEEN IT. 505 00:39:42,881 --> 00:39:44,821 WEREN'T YOU HERE EARLIER? WITH CHADWICK? 506 00:39:46,985 --> 00:39:49,785 YEAH, THAT'S WHEN I SPOTTED YA. 507 00:39:49,788 --> 00:39:53,458 I SAID TO MYSELF, NOW THERE'S A HEROIC PROFILE. 508 00:39:53,459 --> 00:39:56,559 THEN CHADWICK TOLD ME ABOUT THAT THING YOU DID. 509 00:39:56,562 --> 00:39:58,702 WHAT, THE JUMPER? ON THE FIRE ESCAPE? YEAH, YEAH. 510 00:40:00,766 --> 00:40:02,666 I DIDN'T EVEN THINK HE KNEW ABOUT THAT. 511 00:40:02,668 --> 00:40:05,498 OH, HE TOLD ME ABOUT HOW YOU HELPED HIM TALK THE GUY DOWN. 512 00:40:05,504 --> 00:40:07,574 HE SAID WHAT? SON-OF-A-BITCH WASN'T EVEN HERE! 513 00:40:09,775 --> 00:40:13,645 THAT'S SOMETHING HOW PEOPLE TRY TO TAKE CREDIT WHEN THEY DIDN'T DO ANYTHING. 514 00:40:13,645 --> 00:40:15,645 ALL RIGHT, I'M GONNA CALL THIS CAPTION, "THE GUARDIAN." 515 00:40:15,647 --> 00:40:17,547 YOU CAN'T TAKE A PICTURE HERE. 516 00:40:17,549 --> 00:40:19,719 ONE PICTURE. REAL FAST. 517 00:40:19,718 --> 00:40:21,918 DON'T SLOUCH. SIT UP STRAIGHT. COME ON, GREAT BIG SMILE. 518 00:40:21,920 --> 00:40:23,690 SMILE! WHOOPS. 519 00:40:25,491 --> 00:40:26,661 NOW WHAT'S THE PROBLEM? 520 00:40:26,658 --> 00:40:28,628 YOU GOT A LITTLE SOMETHIN' ON YOUR TOOTH. 521 00:40:29,595 --> 00:40:31,025 LET ME SEE. I GET IT? 522 00:40:33,599 --> 00:40:38,069 NAH, DON'T WORRY ABOUT IT. IT PROBABLY WON'T SHOW UP IN THE MAGAZINE ANYWAY. 523 00:40:38,069 --> 00:40:40,609 WHERE YOU GOIN'? I'LL BE RIGHT BACK. 524 00:40:40,606 --> 00:40:42,966 YOU MIGHT WANT TO FRESHEN UP, COMB YOUR HAIR. IT'S UP TO YOU. 525 00:40:51,617 --> 00:40:52,547 [ Muttering ] 526 00:41:49,708 --> 00:41:50,708 [ Elevator Bell Dinging ] 527 00:41:54,980 --> 00:41:55,950 COME WITH ME. 528 00:41:59,885 --> 00:42:01,015 WHAT IS THAT, COLOGNE? 529 00:42:33,151 --> 00:42:35,691 WHAT IS THIS? 530 00:42:35,687 --> 00:42:38,657 CALL CHADWICK AND TELL HIM BERNSTEIN'S NOT LEAVIN' UNTIL HE GETS HIS PLATES BACK. 531 00:42:41,727 --> 00:42:45,557 HE SAYS ANYTHING ABOUT YOUR PROFILE, SHOOT HIM. 532 00:42:48,700 --> 00:42:50,800 LET ME TALK TO HIM TOO. 533 00:42:50,802 --> 00:42:53,172 I WANNA TELL HIM ABOUT OUR PHOTO SESSION. 534 00:42:53,171 --> 00:42:56,171 YOU DON'T MIND, DO YOU? YOU GOT TWO MINUTES TO LEAVE THE BUILDING. 535 00:43:06,084 --> 00:43:09,194 HEY, FREDDY, YOU GOT ANY BLACK GAS? 536 00:43:09,187 --> 00:43:12,687 WHAT KIND OF GAS? BLACK GAS. 537 00:43:12,691 --> 00:43:16,091 BLACK-- I DON'T KNOW. BLACK MARKET GAS? 538 00:43:16,094 --> 00:43:17,734 ONLY GAS WE GOT HERE IS MOBIL. 539 00:43:18,664 --> 00:43:19,674 THANKS. 540 00:43:24,736 --> 00:43:26,036 [ Radio Dispatcher Indistinct ] 541 00:43:44,255 --> 00:43:47,125 [ Horn Blowing ] [ Radio ] UNTIL NEXT WEEK THEN... 542 00:43:47,125 --> 00:43:50,795 THIS IS RED SKELTON SAYING GOOD-BYE NOW. THANKS FOR LISTENING! 543 00:43:50,796 --> 00:43:53,126 OH, JESUS. HIS HAT FELL OFF. 544 00:43:53,131 --> 00:43:55,871 HUH? HIS HAT FELL OFF. 545 00:43:55,867 --> 00:43:58,797 PUT IT BACK ON FOR ME. PEOPLE LIKE TO SEE THE DEAD GUY WITH HIS HAT ON. 546 00:43:58,804 --> 00:44:01,144 MAYBE I SHOULD PULL HIS DICK OUT. 547 00:44:01,139 --> 00:44:02,809 MAYBE THEY'D LIKE TO SEE A DEAD GUY'S DICK. 548 00:44:04,242 --> 00:44:05,242 WHO'D THIS GUY WORK FOR? 549 00:44:06,144 --> 00:44:08,754 SPOLETO. 550 00:44:08,747 --> 00:44:13,047 SPOLETO. SPOLETO AND FARINELLI ALL MONTH LONG. 551 00:44:13,051 --> 00:44:16,221 WHAT ARE THEY FIGHTIN' OVER? I DON'T KNOW. 552 00:44:16,221 --> 00:44:20,761 LOOK AT THIS. SON-OF-A-BITCH HAD SIX MONTHS WORTH OF GAS COUPONS. 553 00:44:20,759 --> 00:44:21,829 [ Young Cop ] WISH I COULD GET MY HANDS ON THAT MANY. 554 00:44:21,827 --> 00:44:24,827 TAKE 'EM. YOU'RE KIDDING? 555 00:44:24,830 --> 00:44:27,830 WASH 'EM OFF. THEY'RE LIKE GOLD, AIN'T THEY? 556 00:44:27,833 --> 00:44:28,973 HE'S GOT NO USE FOR 'EM NOW. 557 00:44:52,858 --> 00:44:57,798 HEY, BERNZY. I WANT YOU TO TELL KAY WHO I AM. 558 00:44:57,796 --> 00:44:59,926 I'M SURE SHE KNOWS WHO YOU ARE. SHE JUST GOT OUT OF A CAR WITH YA. 559 00:44:59,931 --> 00:45:03,071 BERNZY, TELL HER WHO I AM. 560 00:45:03,068 --> 00:45:05,968 KAY LEVITZ, MARC-ANTONY SPOLETO. 561 00:45:05,971 --> 00:45:09,271 MR. SPOLETO HAS THE ENTIRE WEST SIDE OF MANHATTAN TO HIMSELF. 562 00:45:09,274 --> 00:45:12,784 THEN IT'S LUCKY FOR US WE'RE ON THE EAST SIDE. 563 00:45:12,778 --> 00:45:16,008 THAT'S NO WAY TO TALK TO YOUR NEW PARTNER, KAY. 564 00:45:16,014 --> 00:45:17,054 YOU TELL HER, BERNZY. 565 00:45:21,787 --> 00:45:24,187 [ Kay ] COME INSIDE. BERNZY GONNA SET HER STRAIGHT? 566 00:45:24,189 --> 00:45:26,259 IF HE'S THINKIN' STRAIGHT. WHY WOULDN'T HE BE? 567 00:45:31,229 --> 00:45:34,099 LOOK AT 'EM OVER THERE. 568 00:45:34,099 --> 00:45:36,169 IT'S LIKE THAT MOVIE WITH THE HUNCHBACK AND SARSAPARILLA. 569 00:45:37,335 --> 00:45:40,005 YOU MEAN ESMERELDA. WHATEVER. 570 00:45:45,944 --> 00:45:47,914 WHAT'S UGLIER THAN SOMEBODY STEALIN' FROM THE FIGHTING BOYS 571 00:45:47,913 --> 00:45:50,123 TO FEATHER THEIR OWN NEST? 572 00:45:50,115 --> 00:45:52,245 BUT LOU WOULDN'T HAVE DONE THAT. HE DID IT. 573 00:45:52,250 --> 00:45:54,820 NO. HE HAS TWO NEPHEWS IN THE SERVICE. HE NEVER WOULD HAVE DONE ANYTHING-- 574 00:45:54,820 --> 00:45:58,360 KAY. KAY, HE DID IT. 575 00:45:58,356 --> 00:46:01,856 YOU KNOW HOW RICH YOU COULD GET IF YOU COULD CONTROL THE GAS COUPONS? 576 00:46:01,860 --> 00:46:04,360 LISTEN, IF THERE'S ONE THING I KNOW, 577 00:46:04,362 --> 00:46:06,932 PEOPLE AIN'T HUMAN WHEN THERE'S ENOUGH MONEY INVOLVED. 578 00:46:06,932 --> 00:46:09,272 I GOT PICTURES OF GUYS KILLED OVER 50 CENTS. 579 00:46:09,267 --> 00:46:10,937 NOW TO SOMEBODY THAT WAS ENOUGH. 580 00:46:12,370 --> 00:46:16,140 JESUS. SO THAT'S IT. 581 00:46:16,141 --> 00:46:18,411 HE, UH, HITCHED HIMSELF TO THESE HOODS... 582 00:46:18,409 --> 00:46:21,149 AND NOW I'M STUCK WITH THEM FOR PARTNERS. 583 00:46:21,146 --> 00:46:23,876 SEE, THEY DON'T HAVE PARTNERS. 584 00:46:23,882 --> 00:46:27,052 YOU'D BE OUT. I SEE. 585 00:46:29,154 --> 00:46:32,164 LOOK HOW MUCH WE KNOW ABOUT THESE GUYS ALREADY. 586 00:46:32,157 --> 00:46:34,857 ALL WE GOTTA DO IS GET SOMETHIN' ON 'EM. 587 00:46:34,860 --> 00:46:38,300 LIKE, UH, MAYBE A PICTURE. OF WHAT? 588 00:46:38,296 --> 00:46:40,966 I DON'T KNOW. I JUST KNOW THERE'S ALWAYS A PICTURE ONCE YOU KNOW WHERE TO LOOK. 589 00:46:42,367 --> 00:46:43,797 WHY ARE YOU DOING THIS, BERNZY? 590 00:46:56,281 --> 00:46:59,991 ALL RIGHT, LOOK, I NEED TO KNOW... 591 00:46:59,985 --> 00:47:01,945 EXACTLY WHAT SPOLETO SAID TO YOU AND DON'T LEAVE ANYTHING OUT. 592 00:47:02,888 --> 00:47:04,018 YEAH, OKAY. 593 00:47:05,323 --> 00:47:09,433 UH, HE SAID HE WANTED TO SEE THE BOOKS. 594 00:47:09,427 --> 00:47:12,057 WHEN I REFUSED HE SAID, "YOU'D BETTER ASK YOUR BOYFRIEND ABOUT ME." 595 00:47:14,099 --> 00:47:15,099 YOUR BOYFRIEND? 596 00:47:16,201 --> 00:47:19,041 HE MEANT YOU. RIGHT. 597 00:47:21,139 --> 00:47:24,339 HE KNEW YOU'D BEEN UP TO MY OFFICE. HE SEEMED TO KNOW A LOT. 598 00:47:24,342 --> 00:47:28,252 I'M SURE HE'S GOT AT LEAST ONE WAITER ON THE PAYROLL BY NOW. 599 00:47:28,246 --> 00:47:31,046 WHICHEVER ONE HEARD PORTIFINO ASK YOU TO TAKE HIS PICTURE. 600 00:47:31,049 --> 00:47:34,219 WHAT? I NEVER EVEN TALKED TO PORTIFINO. 601 00:47:34,219 --> 00:47:36,489 THAT'S WHAT HE SAID. I'M SURE OF IT. 602 00:47:36,487 --> 00:47:38,357 THAT WAS SOMETHING I MADE UP WHEN I WAS TALKIN' TO FARINELLI. 603 00:47:41,459 --> 00:47:43,259 CHRIST ALMIGHTY. WHAT? 604 00:47:46,231 --> 00:47:48,471 ONE OF FARINELLI'S BOYS IS SELLIN' INFORMATION TO SPOLETO. 605 00:47:51,369 --> 00:47:52,099 I'M GONNA FIND OUT WHO IT IS. 606 00:47:53,504 --> 00:47:56,174 166, BERNZY. 607 00:47:56,174 --> 00:47:58,284 PUT IT ON MY BILL. SURE. 608 00:48:00,145 --> 00:48:02,305 GONNA GET SOME MORE SHOTS IN A MOVIE HOUSE? 609 00:48:04,249 --> 00:48:07,989 SOMEPLACE EVEN DARKER, I THINK. WILL IT WORK? 610 00:48:07,986 --> 00:48:09,416 I DON'T KNOW. CAN'T SAY REALLY. 611 00:48:36,481 --> 00:48:37,251 [ Grunting ] 612 00:49:08,113 --> 00:49:09,453 WHAT IS IT? 613 00:49:09,447 --> 00:49:11,347 MUST BE THEM SQUIRRELS. 614 00:49:31,336 --> 00:49:32,466 [ Indistinct ] 615 00:49:37,342 --> 00:49:38,312 [ Car Engine Starting ] 616 00:50:00,365 --> 00:50:01,525 COME ON. 617 00:50:12,477 --> 00:50:13,507 SO IT'S YOU, SAL. 618 00:50:31,262 --> 00:50:32,302 CHRIST ALMIGHTY. 619 00:50:48,446 --> 00:50:50,646 GOOD EVENING, MR. BROWN. TABLE SEVEN, FREDO. 620 00:50:50,648 --> 00:50:53,648 I'M AFRAID MRS. LEVITZ IS AT NUMBER SEVEN. 621 00:50:55,286 --> 00:50:57,156 WHO'S THE GENTLEMAN? 622 00:50:57,155 --> 00:51:00,225 I BELIEVE HE'S A POET WHO RECENTLY ESCAPED MR. HITLER. 623 00:51:00,225 --> 00:51:01,655 THAT'S STILL NO EXCUSE, IS IT? 624 00:51:01,659 --> 00:51:05,329 NO, SIR. EXACTLY, SIR. 625 00:51:05,330 --> 00:51:08,170 THIS IS AN INCRIMINATING PICTURE OF THE INFORMER, SAL MINETTO. 626 00:51:10,135 --> 00:51:12,395 DO YOU HAVE A SAFE OR SOMETHING AT HOME? 627 00:51:14,239 --> 00:51:17,069 IF I WIND UP DEAD, GIVE THE PICTURE TO FRANK FARINELLI. 628 00:51:18,243 --> 00:51:20,313 I'M GIVIN' YOU THE PICTURE, 629 00:51:20,311 --> 00:51:22,111 WHICH GUARANTEES I'M NOT GONNA WIND UP DEAD. 630 00:51:22,113 --> 00:51:24,253 WAIT. 631 00:51:24,249 --> 00:51:26,579 BERNZY, I DON'T-- NOTHIN'S GONNA HAPPEN. 632 00:51:26,584 --> 00:51:28,324 THAT'S JUST WHAT I'M SAYIN'. 633 00:51:28,319 --> 00:51:31,259 AS LONG AS YOU KEEP THIS IN A SAFE PLACE. 634 00:51:34,759 --> 00:51:36,829 DON'T WORRY ABOUT IT. COME ON, JUST TAKE IT. 635 00:51:43,401 --> 00:51:46,271 MY OLD MAN WAS IN THIS COUNTRY 27 YEARS. 636 00:51:46,271 --> 00:51:47,311 IT'S LIKE HE NEVER LEFT RUSSIA. 637 00:51:49,207 --> 00:51:52,277 I'D SAY, "PA, FOR GOD'S SAKE, 638 00:51:52,277 --> 00:51:54,477 "YOU'RE IN AMERICA NOW. DO SOMETHING. 639 00:51:54,479 --> 00:51:57,419 "READ THE FUNNY PAPERS, GO TO A BALL GAME, 640 00:51:57,415 --> 00:51:59,415 "TRY TO ACT COMFORTABLE." 641 00:52:00,518 --> 00:52:03,288 YOU NEED A DRINK. 642 00:52:03,288 --> 00:52:05,518 THAT'S HOW THEY ALL GET THE IMPRESSION THEY BELONG. 643 00:52:05,523 --> 00:52:07,333 THAT'S ALL IT TAKES? GIVE ME A STIFF ONE. 644 00:52:19,437 --> 00:52:21,907 SO, IS THAT IT? IS THAT YOUR BOOK? YEAH. 645 00:52:21,906 --> 00:52:24,836 SHOW IT TO ME. WHEN? NOW? 646 00:52:24,842 --> 00:52:27,212 YEAH, PLEASE? COME ON. 647 00:52:27,212 --> 00:52:28,382 REALLY? YEAH. 648 00:52:29,314 --> 00:52:30,554 ALL RIGHT. 649 00:52:37,322 --> 00:52:40,832 KAY. HENRY, HOW ARE YOU? 650 00:52:40,825 --> 00:52:43,255 [ Kay ] I'D LIKE YOU TO MEET LEON BERNSTEIN. 651 00:52:43,261 --> 00:52:44,461 BERNZY, THIS IS HENRY HADDOCK, JUNIOR. 652 00:52:45,530 --> 00:52:46,830 MR. BERNSTEIN. 653 00:52:48,333 --> 00:52:51,343 I'VE GOT HALF THE MGM BRASS OVER THERE, 654 00:52:51,336 --> 00:52:54,336 DYING TO MEET YOU BEFORE THEY CATCH THEIR TRAIN TO THE COAST. 655 00:52:54,339 --> 00:52:57,439 GIVE ME A MINUTE. NO, NO, THEY'RE ABOUT TO GO. 656 00:52:57,442 --> 00:53:00,382 AND I PROMISED THEY WOULD GET TO MEET OUR BEAUTIFUL HOSTESS. 657 00:53:04,349 --> 00:53:05,779 IT'S OKAY. GO AHEAD. 658 00:53:38,383 --> 00:53:41,253 EXCUSE ME. EXCUSE ME. 659 00:53:46,624 --> 00:53:49,034 WHERE'D HE GO? I DON'T KNOW, MRS. LEVITZ. 660 00:53:49,026 --> 00:53:52,426 DID HE LEAVE HIS BOOK WITH YOU? HE SPARED US THAT. 661 00:53:52,430 --> 00:53:54,430 GIVE ME THE UMBRELLA. GIVE IT TO ME! 662 00:53:57,535 --> 00:53:58,935 TAXI! 663 00:55:08,373 --> 00:55:09,513 [ Knocking ] 664 00:55:20,585 --> 00:55:22,745 [ Bernzy ] IS SAL AROUND? 665 00:55:22,753 --> 00:55:25,393 HOLD ON. I'LL GET HIM. 666 00:55:25,390 --> 00:55:28,630 SAL, THERE'S SOMEONE HERE FOR YOU. WHO IS IT? 667 00:55:28,626 --> 00:55:32,696 I DON'T KNOW. YOU COULD'VE ASKED. 668 00:55:32,697 --> 00:55:36,397 YEAH? SAL, I'M BERNZY, THE PHOTOGRAPHER. 669 00:55:36,401 --> 00:55:39,541 I KNOW WHO YOU ARE. I WANNA TALK TO YOU. CAN I COME IN? 670 00:55:41,138 --> 00:55:43,008 WHAT ABOUT? 671 00:55:43,007 --> 00:55:45,637 ABOUT FARINELLI, YOUR BOSS... 672 00:55:45,643 --> 00:55:46,683 AND SPOLETO, YOUR FRIEND. 673 00:55:58,022 --> 00:55:59,492 COME IN. 674 00:56:02,760 --> 00:56:05,430 GO IN THERE. IN THE KITCHEN. 675 00:56:05,430 --> 00:56:07,130 [ Radio Program ] 676 00:56:11,669 --> 00:56:12,669 WHO SENT YOU? 677 00:56:15,172 --> 00:56:19,142 I HAVE THREE MORE OF THESE IN SEALED ENVELOPES WITH PEOPLE I TRUST. 678 00:56:19,143 --> 00:56:22,483 IF ANYTHING HAPPENS TO ME, THEY GO RIGHT TO FARINELLI. 679 00:56:30,154 --> 00:56:32,594 MA, NOT NOW, HUH? NOT NOW, HUH? 680 00:56:33,791 --> 00:56:34,991 [ Thunder ] 681 00:56:36,561 --> 00:56:38,831 WHAT IS THIS? WELL-- 682 00:56:38,829 --> 00:56:41,029 YOU COMIN' INTO MY HOUSE WITH THIS SHIT? WE SHOULD TALK-- 683 00:56:41,031 --> 00:56:44,001 YOU BOTHER MY MOTHER? GET THE FUCK OUT! KEEP YOUR HANDS OFF. 684 00:56:45,803 --> 00:56:47,713 I'M GOING. I'M GOING. GET OUT. 685 00:56:50,675 --> 00:56:52,075 [ Door Slams ] 686 00:56:53,711 --> 00:56:55,611 KEEP THAT PICTURE. THAT ONE'S A GIFT! 687 00:57:00,718 --> 00:57:03,018 [ Sal ] WAIT A MINUTE. COME HERE. 688 00:57:04,589 --> 00:57:05,519 COME HERE. 689 00:57:07,191 --> 00:57:09,831 PORTIFINO'S JUST A PUNK IN D.C. 690 00:57:09,827 --> 00:57:12,597 HE'S FRONTIN' FOR SOMEBODY WHO CAN GET THE STAMPS FROM INSIDE THE A.P.O. 691 00:57:12,597 --> 00:57:15,097 O.P.A. HUH? 692 00:57:15,099 --> 00:57:17,869 O.P.A., OFFICE OF PRICE ADMINISTRATION. YEAH, WHATEVER. 693 00:57:17,868 --> 00:57:20,738 BUT HE CAN'T UNLOAD 'EM. HE KNOWS NOBODY. 694 00:57:20,738 --> 00:57:22,238 THE HEADS OF THE FIVE FAMILIES WON'T TOUCH 'EM BECAUSE... 695 00:57:22,239 --> 00:57:26,709 THEY'RE GETTIN' AMNESTY TO WORK WITH THE ITALIAN MOBS AGAINST MUSSOLINI. 696 00:57:26,711 --> 00:57:28,751 THEN HE HEARS LOU LEVITZ ON SOME RADIO SHOW. 697 00:57:28,746 --> 00:57:32,116 YOU KNOW, LOU LEVITZ: ONETIME BOOTLEGGER, MR. NEW YORK. 698 00:57:32,116 --> 00:57:35,846 HE FIGURES MAYBE AN OLD-TIMER LIKE LEVITZ KNOWS HOW TO UNLOAD HOT COUPONS. 699 00:57:35,853 --> 00:57:39,493 SO HE GOES TO HIM, AND LEVITZ IS INTERESTED. 700 00:57:39,490 --> 00:57:41,860 HE SEES THAT MAYBE THERE'S MILLIONS IN IT, 701 00:57:41,859 --> 00:57:44,529 AND HE'S GOT A HOT YOUNG WIFE TO SUPPORT. 702 00:57:44,529 --> 00:57:48,899 ALL HE'S GOTTA DO IS TURN THE STAMPS OVER TO SPOLETO FOR A FAT PERCENTAGE. 703 00:57:48,899 --> 00:57:50,169 SHE KNEW ABOUT THIS? 704 00:57:50,167 --> 00:57:52,697 WHO? HIS WIFE. 705 00:57:54,639 --> 00:57:55,539 NO, I DIDN'T SAY THAT. 706 00:57:56,240 --> 00:57:57,540 OH. 707 00:57:58,142 --> 00:58:00,782 DID SHE? 708 00:58:00,778 --> 00:58:02,208 I DON'T KNOW. HOW SHOULD I KNOW? 709 00:58:04,181 --> 00:58:07,151 GO AHEAD. I'M SORRY. 710 00:58:07,151 --> 00:58:11,221 THEN LEVITZ DIES, OKAY? PORTIFINO'S SUCH AN IDIOT, 711 00:58:11,221 --> 00:58:13,261 HE FIGURES NOW HE'S FREE TO GO SELL THE STAMPS TO SOMEBODY ELSE. 712 00:58:13,257 --> 00:58:15,657 BY THIS TIME HE'S MET FARINELLI, SO HE GOES TO HIM. 713 00:58:15,660 --> 00:58:18,200 NEVER MENTIONS SPOLETO. HE SIGNED HIS OWN DEATH WARRANT. 714 00:58:18,195 --> 00:58:20,155 THAT'S IT, END OF STORY. 715 00:58:20,164 --> 00:58:24,204 DIDN'T THEY LOSE THE SOURCE WHEN THEY KILLED PORTIFINO? 716 00:58:24,201 --> 00:58:27,771 WHAT HAPPENED TO HIS MAN INSIDE THE O.P.A.? 717 00:58:27,772 --> 00:58:32,142 THEY TORTURED HIM. THEY GOT THE NAME OF THE SOURCE. 718 00:58:32,142 --> 00:58:35,682 WHO KILLED HIM? I DON'T KNOW. 719 00:58:35,680 --> 00:58:38,320 EVERYBODY WAS AFTER THIS GUY. 720 00:58:38,315 --> 00:58:40,145 MA, HOW MANY TIMES I GOTTA TELL YOU? 721 00:58:40,150 --> 00:58:41,120 [ Italian ] 722 00:58:44,221 --> 00:58:45,121 WHO KILLED HIM? 723 00:58:54,699 --> 00:58:55,929 FARINELLI. 724 00:58:56,834 --> 00:58:58,944 FARINELLI. 725 00:58:58,936 --> 00:59:01,166 LET ME SEE IF I GOT THIS STRAIGHT NOW. 726 00:59:01,171 --> 00:59:04,941 YOUR BOSS, FARINELLI, 727 00:59:04,942 --> 00:59:08,152 GETS THE NAME OF THE SOURCE FROM PORTIFINO AND THEN KILLS HIM. 728 00:59:08,813 --> 00:59:10,953 SPOLETO, HIS RIVAL, 729 00:59:10,948 --> 00:59:13,848 DOESN'T GET THE NAME UNTIL YOU TELL HIM? 730 00:59:13,851 --> 00:59:15,621 ISN'T FARINELLI GONNA BE A LITTLE UPSET ABOUT THAT, SAL? 731 00:59:17,622 --> 00:59:18,862 I DON'T KNOW. 732 00:59:18,856 --> 00:59:21,956 YOU DON'T KNOW? YOU'RE NOT STUPID, SAL. 733 00:59:21,959 --> 00:59:24,959 HEY, COME ON. 734 00:59:24,962 --> 00:59:27,602 I PRINTED THAT UP A LITTLE DARKER, MORE DRAMATIC. 735 00:59:28,866 --> 00:59:30,266 SO WHAT'S SPOLETO GONNA DO, HUH? 736 00:59:30,267 --> 00:59:31,967 COME ON, HUH? 737 00:59:38,008 --> 00:59:41,348 COME ON, ALL RIGHT? I TOLD YOU WHAT I KNOW. 738 00:59:43,380 --> 00:59:45,850 YOU DIDN'T TELL ME WHAT SPOLETO'S GONNA DO. 739 00:59:45,850 --> 00:59:46,780 JUST TELL ME WHAT HE'S GONNA DO. 740 00:59:50,287 --> 00:59:52,887 COME ON, WHAT'S HE GONNA DO? 741 00:59:52,890 --> 00:59:55,760 HE'S GONNA KILL FARINELLI. IS THAT IT? 742 00:59:55,760 --> 00:59:56,830 NO. 743 01:00:02,700 --> 01:00:04,600 IT'S WORSE. IT'S WORSE. 744 01:00:13,343 --> 01:00:16,383 SPOLETO'S GONNA WIPE OUT FARINELLI'S WHOLE GANG, 745 01:00:16,380 --> 01:00:18,920 ALL MY FAMILY. 746 01:00:18,916 --> 01:00:20,276 AND I'M GONNA TELL HIM WHERE AND WHEN. 747 01:00:22,787 --> 01:00:23,817 OKAY? 748 01:00:30,260 --> 01:00:32,230 [ Thunder ] 749 01:00:33,798 --> 01:00:34,928 A MASSACRE. 750 01:00:44,942 --> 01:00:45,842 HEY, SAL. 751 01:00:48,445 --> 01:00:50,305 I WANNA KNOW WHERE AND WHEN TOO. 752 01:00:50,314 --> 01:00:54,084 WHY? WHAT DO YOU WANNA KNOW FOR? 753 01:00:54,084 --> 01:00:56,954 YOU WANNA CALL THE FEDS? THEY JUST WANNA COVER THIS UP. 754 01:00:56,954 --> 01:00:58,364 WHAT DO YOU WANNA KNOW FOR? 755 01:01:00,958 --> 01:01:02,058 I WANNA TAKE SOME PICTURES. 756 01:01:07,698 --> 01:01:08,868 [ Police Radio: Indistinct ] 757 01:01:18,776 --> 01:01:22,446 [ Police Radio ] 4-59 IN PROGRESS AT 53 WEST 8th STREET. 758 01:01:22,446 --> 01:01:23,876 [ Telephone Rings ] 759 01:01:26,116 --> 01:01:28,986 HELLO? [ Kay ] SPOLETO WAS JUST HERE. 760 01:01:28,986 --> 01:01:31,356 DON'T MOVE. I'LL BE RIGHT THERE. 761 01:01:35,760 --> 01:01:37,760 WHAT DID HE DO? 762 01:01:37,762 --> 01:01:40,332 HE WAS HERE WITH THREE MEN, THUGS. 763 01:01:40,330 --> 01:01:44,330 AND HE KEPT ASKING, "WHO'S THE-- 764 01:01:44,334 --> 01:01:48,074 "WHO'S THE SOURCE, KAY? WHO'S THE INSIDE MAN?" 765 01:01:48,072 --> 01:01:52,112 SIT DOWN. DID HE HIT YOU? 766 01:01:52,109 --> 01:01:54,479 NO, HE SAYS THAT COMES NEXT TIME. 767 01:01:54,478 --> 01:01:57,008 HE KNOWS THE NAME. SAL TOLD HIM. 768 01:01:57,014 --> 01:01:59,054 HE WANTS TO SEE IF YOU KNOW. YOU'RE TROUBLE IF YOU KNOW. 769 01:02:01,118 --> 01:02:03,018 YOU DON'T KNOW, RIGHT? 770 01:02:03,020 --> 01:02:05,060 I DON'T EVEN KNOW WHAT HE'S TALKING ABOUT. I DIDN'T MEAN THAT. 771 01:02:06,356 --> 01:02:08,056 UM, 772 01:02:09,426 --> 01:02:10,386 YOU KNOW THIS GUY? 773 01:02:12,096 --> 01:02:15,796 THATCHER GRAY. HE COMES TO THE CLUB. 774 01:02:15,800 --> 01:02:19,170 HE HAD CABINET JOBS WITH TWO REPUBLICAN ADMINISTRATIONS. 775 01:02:19,169 --> 01:02:22,039 HE'S GOT AN HONORARY POST AT THE OFFICE OF PRICE ADMINISTRATION. 776 01:02:22,039 --> 01:02:23,439 IS HE MY PARTNER TOO? 777 01:02:27,912 --> 01:02:29,352 MY GOD. DON'T WORRY ABOUT IT. 778 01:02:32,016 --> 01:02:34,016 THEY'RE ALL FINISHED AS SOON AS I GET THE PICTURES. 779 01:02:34,018 --> 01:02:34,948 PICTURES OF WHAT? 780 01:02:36,821 --> 01:02:38,821 [ Narrator ] TO HITLER AND HIS MINIONS, 781 01:02:38,823 --> 01:02:42,433 LINES LIKE THESE ARE THE SHALLOW SYMBOLS OF UNITY. 782 01:02:42,426 --> 01:02:44,056 BUT WITH LINES LIKE THESE, 783 01:02:44,061 --> 01:02:45,831 AMERICA SHOWS THE NAZI AGGRESSORS... 784 01:02:45,830 --> 01:02:48,930 THE REAL MEANING OF UNITY. 785 01:02:48,933 --> 01:02:52,173 AS O.P.A. OFFICIAL THATCHER GRAY REMINDS US: 786 01:02:52,169 --> 01:02:54,439 [ Thatcher Gray ] AMERICANS KNOW THAT TO FIGHT THIS MENACE 787 01:02:54,438 --> 01:02:56,038 HALFWAY AROUND THE GLOBE... 788 01:02:56,040 --> 01:02:58,880 TAKES MORE THAN THE VALIANT MEN... 789 01:02:58,876 --> 01:03:02,476 AND MIGHTY MACHINES OF OUR ARMED SERVICES. IT TAKES GAS. 790 01:03:05,082 --> 01:03:07,892 FARINELLI TAKES THE BOYS OUT TO DINNER EVERY SO OFTEN. 791 01:03:07,885 --> 01:03:08,985 HE'S TAKIN' US FRIDAY NIGHT. THAT'S WHEN HE'S HIT. 792 01:03:10,554 --> 01:03:12,864 WHERE? WHAT TIME? 793 01:03:12,857 --> 01:03:14,887 DINNER'S AT 8:00. I GET UP TO TAKE A LEAK AT 8:15, 794 01:03:14,892 --> 01:03:15,892 AND THAT'S WHEN SPOLETO'S MEN COME IN. 795 01:03:17,962 --> 01:03:21,502 WHERE? I DON'T KNOW YET. WE NEVER DO. 796 01:03:21,498 --> 01:03:24,198 HE ALWAYS CALLS US AROUND 6:30 THE DAY OF THE DINNER. 797 01:03:26,971 --> 01:03:28,141 FOR SAFETY. 798 01:03:30,174 --> 01:03:32,084 IT'S USUALLY SOME LITTLE FAMILY PLACE IN LITTLE ITALY. 799 01:03:32,076 --> 01:03:33,006 FAMILY? 800 01:03:36,446 --> 01:03:38,016 DON'T WORRY ABOUT IT. HE TAKES THE WHOLE PLACE OVER FOR THE NIGHT. 801 01:03:41,085 --> 01:03:44,515 AS SOON AS YOU HEAR FRIDAY, EVEN BEFORE SPOLETO, CALL ME. 802 01:03:44,521 --> 01:03:47,021 SPOLETO'S LIEUTENANT'S GONNA BE THERE WHEN I GET THE CALL. 803 01:03:47,024 --> 01:03:49,234 HE'LL LEAVE RIGHT AWAY. THEN I'LL CALL YOU. HEY, SAL. 804 01:03:52,029 --> 01:03:53,229 DON'T LET ME DOWN. 805 01:04:12,016 --> 01:04:13,946 YOU OUGHTA LOCK YOUR DOOR, BERNZY. 806 01:04:16,153 --> 01:04:19,023 LOOK, I, UH... 807 01:04:19,023 --> 01:04:21,933 CAME TO APOLOGIZE ABOUT THE OTHER NIGHT. 808 01:04:21,926 --> 01:04:26,196 CRAZY THING IS, I'M IN LOVE WITH VERA... MISS HIXON. 809 01:04:28,532 --> 01:04:31,902 I KINDA FIGURED THAT. 810 01:04:31,902 --> 01:04:34,272 YOU DIDN'T BY ANY CHANCE-- IT WAS ADDRESSED TO ME, IT SAID, "TO BE OPENED," 811 01:04:34,271 --> 01:04:37,271 SO I OPENED IT. YEAH, BUT IN THE EVENT OF MY DEATH. 812 01:04:37,274 --> 01:04:40,244 ONLY I GOT KINDA BUSY AND NEVER GOT THAT FAR. 813 01:04:40,244 --> 01:04:43,184 THAT'S WHAT I FIGURED AFTER I READ IT. 814 01:04:43,180 --> 01:04:47,550 WHY ARE YOU DOING THIS, BERNZY? WHY? 815 01:04:47,551 --> 01:04:50,621 THAT'S WHAT I DO, ISN'T IT? 816 01:04:50,620 --> 01:04:53,990 I MEAN, LIFE AS IT HAPPENS. THAT'S MY MOTTO FOR 23 YEARS. 817 01:04:55,592 --> 01:04:57,662 THIS IS DEATH AS IT HAPPENS. 818 01:04:59,596 --> 01:05:02,696 BUT THAT'S THE MAIN THING ABOUT LIFE, ISN'T IT? 819 01:05:02,699 --> 01:05:05,169 I MEAN, HALF THE SHOTS I GET... 820 01:05:05,169 --> 01:05:09,969 ARE OF SOMEBODY JUST BEFORE OR JUST AFTER. 821 01:05:09,974 --> 01:05:13,014 FOR ONCE I'LL GET IT DURING. YOU COULD STOP IT. 822 01:05:13,010 --> 01:05:17,610 YOU COULD GO TO THE COPS. YOU THINK THAT'D STOP IT? 823 01:05:17,614 --> 01:05:20,224 IT'S WAR, ARTY. THESE GUYS AIN'T GONNA LAY OFF. 824 01:05:20,217 --> 01:05:21,717 I THOUGHT YOU NEVER TOOK SIDES. 825 01:05:21,718 --> 01:05:23,548 WHAT ARE YOU GETTIN' AT? 826 01:05:23,553 --> 01:05:25,363 YOU'RE DOING IT FOR HER! 827 01:05:25,355 --> 01:05:28,625 YOU'RE NUTS! AM I? 828 01:05:28,625 --> 01:05:31,325 COME ON, YOU'RE IN LOVE WITH HER. 829 01:05:31,328 --> 01:05:34,358 HERE, ARTY, HERE. HERE IT IS. 830 01:05:34,364 --> 01:05:36,234 THE WHOLE HISTORY OF NEW YORK, 831 01:05:36,233 --> 01:05:39,103 RIGHT HERE WITH ME IN THIS DUMP. 832 01:05:39,103 --> 01:05:41,573 AND IT AIN'T BECAUSE I RAN AROUND INTERFERIN', 833 01:05:41,571 --> 01:05:45,111 HOSIN' DOWN FIRES OR TELLIN' PEOPLE TO BEHAVE NICE! 834 01:05:45,109 --> 01:05:50,709 THEY PAY PEOPLE TO DO THAT. NOT ME! I'M AN ARTIST. 835 01:05:50,714 --> 01:05:52,384 I'M GONNA LET PEOPLE DO WHATEVER THE HELL THEY'RE GONNA DO... 836 01:05:52,382 --> 01:05:53,682 'CAUSE IT'S THE ONLY WAY I COULD DO IT RIGHT! 837 01:05:53,683 --> 01:05:57,723 WAIT A MINUTE, STOP IT. 838 01:05:57,721 --> 01:06:01,231 I MAY BE THE ONLY GUY WHO THINKS YOU ARE AN ARTIST AND NOT AN ANIMAL. 839 01:06:01,225 --> 01:06:03,255 BUT EVEN I'M NOT SO SURE ABOUT THIS THING. 840 01:06:03,260 --> 01:06:07,730 IT'S GOT A STINK ABOUT IT. LOOK. LOOK. 841 01:06:07,731 --> 01:06:10,301 I KNOW HOW MUCH IT HURTS TO BE IGNORED, NOT EVEN REVILED. 842 01:06:13,037 --> 01:06:14,237 BUT IF YOU'RE DOIN' IT FOR HER, 843 01:06:14,238 --> 01:06:16,168 YOU'RE RISKIN' YOUR LIFE FOR NOTHING. FOR LESS THAN NOTHING. 844 01:06:18,042 --> 01:06:20,642 YOU ALREADY HAVE A PICTURE OF SPOLETO WITH THATCHER GRAY. 845 01:06:20,644 --> 01:06:22,784 ISN'T THAT DYNAMITE ENOUGH? NO! 846 01:06:22,779 --> 01:06:25,719 I NEED THE EVENT TO CAPTURE THE PUBLIC EYE. 847 01:06:25,715 --> 01:06:28,745 I GOTTA GET THE MOMENT. DON'T BULLSHIT ME! 848 01:06:28,752 --> 01:06:31,762 YOU WOULDN'T BE IN THIS THING SO DEEP IF YOU COULD EXPRESS, SAY, 849 01:06:31,755 --> 01:06:36,655 THREE HUMAN EMOTIONS WITHOUT A CAMERA PLASTERED TO YOUR FACE! 850 01:06:36,660 --> 01:06:38,800 JUST BECAUSE THE DRAMA CRITIC OF THE TRIBUNE CALLS YOU "INSIGHTFUL"... 851 01:06:38,795 --> 01:06:41,425 DOESN'T MEAN IT'S TRUE. 852 01:06:41,431 --> 01:06:45,301 A MANSION ON THE WEST SIDE. A PLACE ON THE SOUTH SHORE. 853 01:06:45,302 --> 01:06:48,742 SHE MILKED LEVITZ SO DRY, HE SOLD HIMSELF TO A WORM LIKE SPOLETO. 854 01:06:48,738 --> 01:06:53,108 I WOULDN'T BE SURPRISED IF SHE'S IN ON THIS THING FROM THE VERY FIRST! 855 01:06:53,110 --> 01:06:56,450 WAIT A MINUTE! YOU DON'T HIT PEOPLE, BERNZY. 856 01:06:56,446 --> 01:06:58,776 WE DON'T HIT PEOPLE, DO WE? PEOPLE LIKE US. 857 01:07:07,124 --> 01:07:09,794 'NIGHT, ARTY. THANKS FOR THE APOLOGY. 858 01:07:47,431 --> 01:07:51,471 * [ Jazz ] 859 01:07:53,803 --> 01:07:56,143 HEY, WAIT UP. I GOTTA TALK TO KAY. 860 01:07:58,242 --> 01:08:00,742 IT'S NOT A GOOD TIME. COME BACK LATER. 861 01:08:00,744 --> 01:08:04,384 WHAT ARE YOU TALKIN' ABOUT? MR. BERNSTEIN, I'M SORRY. 862 01:08:04,381 --> 01:08:07,281 PERSONALLY, I LIKE YOU, BUT YOU'RE NOT WELCOME HERE ANYMORE. 863 01:08:07,284 --> 01:08:09,794 WHAT? MRS. LEVITZ'S ORDERS. 864 01:08:12,389 --> 01:08:15,389 THERE WERE TOO MANY COMPLAINTS FROM THE CUSTOMERS THE LAST TIME. 865 01:08:15,392 --> 01:08:16,862 SHE FEELS REAL BAD ABOUT IT, 866 01:08:16,860 --> 01:08:21,400 BUT SHE KNOWS THAT YOU'LL UNDERSTAND. 867 01:08:21,398 --> 01:08:23,428 MAKE SURE SHE GETS THIS. I'LL PICK IT UP SATURDAY. 868 01:08:28,305 --> 01:08:30,405 HERE, PUT THAT IN MRS. LEVITZ'S OFFICE. 869 01:08:30,874 --> 01:08:36,784 * 870 01:08:36,780 --> 01:08:39,420 * IF YOU'VE GOT A HEART AND IF YOU'RE KIND * 871 01:08:39,416 --> 01:08:41,786 * THEN DON'T YOU BUST APART MAKE UP YOUR MIND * 872 01:08:46,523 --> 01:08:48,493 YOU SENT HIM AWAY. 873 01:08:48,492 --> 01:08:50,232 THERE WAS TOO MUCH TALK. 874 01:08:50,227 --> 01:08:53,197 LAST TIME I LOOKED, IT WAS MY SIGNATURE ON THE CHECKS. 875 01:08:53,197 --> 01:08:56,227 IT WOULD NEVER HAVE GONE THIS FAR IF MR. LEVITZ WAS STILL ALIVE. 876 01:09:00,204 --> 01:09:03,214 LEAVE THE UNIFORM WITH FREDO. 877 01:09:03,207 --> 01:09:06,407 I'M AN INSTITUTION IN THIS PLACE. I KNOW EVERYBODY-- 878 01:09:06,410 --> 01:09:08,810 OH, YOU DON'T KNOW ANYBODY! 879 01:09:08,812 --> 01:09:11,852 YOU KNOW WHAT THEY TIP, YOU KNOW WHAT YOU READ, 880 01:09:11,848 --> 01:09:13,248 BUT DON'T KID YOURSELF YOU KNOW THEM... 881 01:09:15,319 --> 01:09:16,919 ANY MORE THAN I DO. 882 01:11:52,041 --> 01:11:52,911 WHY ARE YOU GIVING THIS TO ME? 883 01:11:56,012 --> 01:11:56,712 YOU SHOULDN'T BE HERE, KAY. 884 01:11:58,114 --> 01:11:59,654 THIS ISN'T A PLACE FOR YOU. 885 01:12:00,984 --> 01:12:04,024 I'VE SEEN WORSE. 886 01:12:04,020 --> 01:12:07,090 DIDN'T, UH, DANNY TELL YOU? 887 01:12:07,090 --> 01:12:10,090 I JUST WANTED YOU TO HOLD ONTO THAT, THAT'S ALL. 888 01:12:10,093 --> 01:12:12,363 'TIL AFTER THE, UH-- 889 01:12:13,997 --> 01:12:15,667 'TIL AFTER WHAT? NOTHIN'. 890 01:12:18,768 --> 01:12:20,398 WHAT ARE THESE PICTURES YOU'RE GOING TO TAKE? 891 01:12:22,406 --> 01:12:23,536 WHY ARE YOU AFRAID TO TELL ME? 892 01:12:24,641 --> 01:12:26,111 [ Sighing ] 893 01:12:29,979 --> 01:12:31,349 BERNZY. 894 01:12:35,084 --> 01:12:37,994 SPOLETO'S GONNA WIPE OUT FARINELLI'S WHOLE GANG. 895 01:12:37,987 --> 01:12:39,117 I'M GONNA TAKE PICTURES. 896 01:12:45,128 --> 01:12:48,398 WHAT HAPPENS IF THEY SEE YOU THERE? 897 01:12:48,398 --> 01:12:51,738 I KNOW WHAT I'M DOIN'. THEN WHY DID YOU GIVE ME THE BOOK? 898 01:12:51,735 --> 01:12:53,365 THEY'RE NOT GONNA SEE ME. BERNZY. 899 01:12:56,673 --> 01:12:58,073 WHY ARE YOU DOING THIS? 900 01:13:01,044 --> 01:13:02,454 WHY? 901 01:13:04,748 --> 01:13:06,078 IT'S WHAT I DO. 902 01:13:08,485 --> 01:13:09,585 THAT'S ALL. 903 01:13:11,154 --> 01:13:12,594 THAT'S ALL? 904 01:13:13,557 --> 01:13:14,587 YEAH. 905 01:13:20,697 --> 01:13:22,097 ASK ME. 906 01:13:22,799 --> 01:13:25,169 DON'T MAKE ME ASK YOU. 907 01:14:26,129 --> 01:14:27,759 DANNY SEEMS TO THINK YOU'VE LEARNED ALL ABOUT MY BUSINESS WITH LOU. 908 01:14:27,764 --> 01:14:29,074 IS THAT TRUE? 909 01:14:31,768 --> 01:14:34,868 DANNY SEEMS TO THINK BERNZY'S THE ONE WHO FOUND OUT ABOUT IT. 910 01:14:39,643 --> 01:14:42,153 TELL ME HOW BERNZY FOUND OUT, KAY. 911 01:14:42,145 --> 01:14:43,245 I NEED TO KNOW HOW BERNZY FOUND OUT. 912 01:14:46,182 --> 01:14:48,252 YOU'RE A PRACTICAL GIRL, KAY. 913 01:14:48,251 --> 01:14:52,561 DO YOU REALLY THINK A MAN LIKE BERNZY CAN PROTECT YOU FROM ME? 914 01:14:52,556 --> 01:14:55,156 A LITTLE MAN WITH A CAMERA AND A FIVE-CENT CIGAR. STOP IT! 915 01:15:00,263 --> 01:15:02,173 YOU DON'T KNOW THE FIRST THING ABOUT HIM. 916 01:15:03,533 --> 01:15:04,703 YOUR LOYALTY'S TOUCHING, KAY, 917 01:15:06,670 --> 01:15:09,810 ESPECIALLY WHEN YOU THINK OF EVERYTHING YOU'VE GOT TO LOSE. 918 01:15:11,207 --> 01:15:12,107 I'LL ASK YOU AGAIN. 919 01:15:14,277 --> 01:15:15,807 DO YOU REALLY THINK A MAN LIKE BERNZY... 920 01:15:15,812 --> 01:15:17,812 CAN PROTECT YOU FROM A MAN LIKE ME? 921 01:16:19,743 --> 01:16:20,783 [ Telephone Ringing ] 922 01:16:22,879 --> 01:16:24,879 HELLO? HEY! 923 01:16:24,881 --> 01:16:28,281 HOW ARE YOU, MR. FARINELLI? OKAY, GOOD. 924 01:16:28,284 --> 01:16:30,994 YEAH, D'ANGELO'S CAFE. 925 01:16:30,987 --> 01:16:33,257 SURE, I KNOW IT. 926 01:16:33,256 --> 01:16:35,786 OKAY, YEAH. I'LL SEE YOU LATER. 927 01:16:41,965 --> 01:16:44,025 I GUESS YOU HEARD. 928 01:16:44,033 --> 01:16:47,003 D'ANGELO'S. 929 01:16:47,003 --> 01:16:48,743 YOU'RE FEELIN' KINDA ROTTEN, HUH? 930 01:16:51,274 --> 01:16:53,784 YOU KNOW IT. 931 01:16:53,777 --> 01:16:55,307 YOU'LL GET OVER IT. 932 01:17:02,919 --> 01:17:04,619 [ Mother ] SALVATORE! 933 01:17:30,046 --> 01:17:31,846 YEAH, IS SAL THERE? 934 01:17:37,420 --> 01:17:40,390 OH, GOD. OH, GOD. 935 01:18:06,349 --> 01:18:08,349 HE TAKES THE PLACE OVER. HE TAKES THE PLACE OVER. 936 01:18:30,006 --> 01:18:31,806 ADRICA'S. YEAH, I NEED A RESERVATION FOR TONIGHT. 937 01:18:31,808 --> 01:18:33,708 FOR HOW MANY? AH. 938 01:18:47,423 --> 01:18:49,933 YEAH, LISTEN. I NEED A RESERVATION FOR TONIGHT. WHAT TIME? 939 01:19:11,014 --> 01:19:12,954 D'ANGELO'S. D'ANGELO'S. 940 01:19:22,959 --> 01:19:26,399 D'ANGELO'S CAFE. YEAH, LISTEN. I NEED A RESERVATION FOR TONIGHT. 941 01:19:26,395 --> 01:19:28,825 NO, WE ARE ALL BOOKED. PRIVATE PARTY. OH, THAT'S TOO BAD. 942 01:19:28,832 --> 01:19:31,072 MAYBE TOMORROW NIGHT. YOU STILL THE SAME ADDRESS? 943 01:19:31,067 --> 01:19:32,767 Si. THANKS. 944 01:19:41,811 --> 01:19:42,911 [ Knocking ] 945 01:20:19,582 --> 01:20:23,522 [ Officer On Radio ] 3-4, SERGEANT IS EN ROUTE TO 215th AND BROADWAY. 946 01:20:23,519 --> 01:20:27,889 [ Dispatcher ] SERGEANT, YOU RESPOND ON 623 WEST 204th? 947 01:20:27,891 --> 01:20:29,231 [ Sergeant ] NEGATIVE. 948 01:20:49,145 --> 01:20:50,975 [ Train Rumbling ] 949 01:20:52,916 --> 01:20:54,516 [ Car Horns Honking ] 950 01:20:55,284 --> 01:20:57,624 [ Indistinct Shouting ] 951 01:20:57,620 --> 01:21:00,190 [ Horns Honking ] 952 01:21:02,591 --> 01:21:05,591 [ Motorist ] COME ON, GET OUTTA THE WAY! [ Truck Driver ] SAYS WHO? 953 01:21:14,904 --> 01:21:18,044 LOOKS LIKE HE TOOK THE FIRE ESCAPE. ANYWAY, HE AIN'T HERE. 954 01:21:18,041 --> 01:21:19,081 NO MATTER. WE'LL GET HIM LATER. 955 01:21:20,576 --> 01:21:22,276 BERNSTEIN GOT AWAY. 956 01:21:24,914 --> 01:21:27,024 WE'LL GO AHEAD WITH THE HIT AS PLANNED. 957 01:21:28,551 --> 01:21:29,651 IS THAT REALLY WISE, MR. SPOLETO? 958 01:21:31,054 --> 01:21:33,694 HE DON'T KNOW WHERE IT'S GONNA HAPPEN. 959 01:21:33,689 --> 01:21:36,489 HE DON'T KNOW IT'S D'ANGELO'S. WE'RE HOME FREE. 960 01:22:07,090 --> 01:22:09,590 [ Arguing In Italian ] 961 01:22:14,730 --> 01:22:17,530 [ Argument Continues In Italian ] 962 01:22:26,609 --> 01:22:29,349 HEY, LISTEN. HOW MUCH THEY PAY YOU HERE? 963 01:22:29,345 --> 01:22:32,145 TWO-FIFTY? THREE DOLLARS A WEEK? HUH? 964 01:22:34,617 --> 01:22:36,047 TWO MONTHS' PAY. 965 01:22:39,755 --> 01:22:43,255 THREE MONTHS' PAY. DON'T WANNA HAGGLE OR ANYTHING, OKAY? 966 01:22:43,259 --> 01:22:45,359 [ Speaking Italian ] 967 01:23:23,699 --> 01:23:24,699 PSST! HEY! 968 01:23:34,810 --> 01:23:39,650 Signore Farinelli. Come stai, paesano? Come stai? 969 01:23:39,648 --> 01:23:42,088 [ Speaking Italian ] 970 01:23:47,223 --> 01:23:50,063 [ Speaking Italian ] 971 01:23:57,800 --> 01:24:00,340 [ Farinelli ] Grazie. [ D'Angelo ] Prego. 972 01:24:00,336 --> 01:24:02,206 [ Tapping On Glass ] 973 01:24:02,205 --> 01:24:05,065 [ Speaking Italian ] 974 01:24:05,074 --> 01:24:06,384 I GOT SOME BAD NEWS JUST BEFORE I LEFT THE HOUSE. 975 01:24:08,444 --> 01:24:11,454 [ Speaking Italian ] 976 01:24:11,447 --> 01:24:13,277 Si. Grazie. 977 01:24:15,218 --> 01:24:16,748 THIS TIME IT'S SALVATORE. 978 01:24:33,836 --> 01:24:34,766 [ Clicking ] 979 01:25:07,503 --> 01:25:09,213 [ Lead Hit Man ] Buona sera, signori. Buon appetito! 980 01:26:02,558 --> 01:26:04,158 Basta! 981 01:26:14,337 --> 01:26:17,837 [ Bernzy Panting ] 982 01:26:24,580 --> 01:26:27,180 [ Sobbing ] 983 01:26:41,364 --> 01:26:43,504 [ Siren Wailing ] 984 01:26:55,010 --> 01:26:56,350 [ Siren Stops ] 985 01:26:58,247 --> 01:27:00,877 [ Policeman ] HOLD IT! HEY, W-WHERE YA GOIN'? 986 01:27:01,984 --> 01:27:04,224 BERNZY! BERNZY? 987 01:27:05,988 --> 01:27:09,628 * [ Classical ] 988 01:27:16,932 --> 01:27:18,932 [ Door Buzzer ] 989 01:27:23,539 --> 01:27:25,009 [ Buzzer ] 990 01:27:32,014 --> 01:27:35,324 COME ON, LET'S GO. MY GOD, YOU DID IT. 991 01:27:35,318 --> 01:27:36,018 NOW, ARTY. COME ON. 992 01:27:39,322 --> 01:27:41,422 WHAT IF SPOLETO FINDS YA? 993 01:27:41,424 --> 01:27:44,364 HE'S FINISHED THE SECOND THIS HITS THE PAPERS. 994 01:27:44,360 --> 01:27:46,430 WITH ANY LUCK, I'LL BE ARRESTED FIRST. 995 01:27:46,429 --> 01:27:47,959 JESUS, BERNZY, YOU'RE BLEEDING! 996 01:27:51,434 --> 01:27:56,044 JUST GET THAT TO THE MIRROR, THE NEWS, THE POST, TELEGRAPH AND LIFE MAGAZINE. 997 01:27:56,038 --> 01:27:58,068 I KNOW THE ROUTINE. 998 01:27:58,073 --> 01:28:00,643 AND THIS YOU'LL NEED TOO. 999 01:28:00,643 --> 01:28:03,313 IT'S THAT PICTURE OF THATCHER GRAY WITH SPOLETO. 1000 01:28:03,312 --> 01:28:06,012 COME ON. 1001 01:28:06,014 --> 01:28:09,354 [ Dispatcher On Radio ] SUSPECT'S CAR HAS BEEN LOCATED AT 401 WEST 81st STREET. 1002 01:28:09,352 --> 01:28:10,352 [ Policeman ] THERE HE IS. ARTY, YOU GO ON NOW. 1003 01:28:10,353 --> 01:28:11,923 [ Arty ] I WILL. 1004 01:28:11,920 --> 01:28:14,620 SORRY, BERNZY. TAKE IT EASY. HE'S BLEEDING. 1005 01:28:17,460 --> 01:28:19,400 GO AHEAD, ARTHUR. 1006 01:28:19,395 --> 01:28:20,625 YOU GONNA BE OKAY? YES, GO AHEAD. 1007 01:28:25,368 --> 01:28:28,068 I SAID HE'S BLEEDING, FOR CHRISSAKE! 1008 01:28:28,070 --> 01:28:29,910 ARTY, GO NOW, HUH? OKAY, OKAY. 1009 01:28:37,079 --> 01:28:39,619 [ Agent Conklin ] READ HIM THE STATUTES ABOUT WITHHOLDING EVIDENCE AGAIN. 1010 01:28:39,615 --> 01:28:42,485 I TOLD YA. I HAD NO EVIDENCE. 1011 01:28:42,485 --> 01:28:45,515 YOU HAD A PICTURE OF THATCHER GRAY WITH SPOLETO. 1012 01:28:45,521 --> 01:28:48,121 IF YOU'D TURNED IT OVER, WE'D HAVE KNOWN WHO THE INSIDE MAN WAS. 1013 01:28:48,123 --> 01:28:49,633 THAT'S YOUR JOB. I JUST TAKE PICTURES. 1014 01:28:53,729 --> 01:28:56,629 YOU'RE OUTTA YOUR LEAGUE HERE, BERNSTEIN. 1015 01:28:56,632 --> 01:29:01,372 THE POLICE MAY TAKE THIS LIGHTLY, BUT I'LL BE GODDAMNED IF THE BUREAU'S GONNA ALLOW... 1016 01:29:01,370 --> 01:29:04,040 SOME PICTURE PEDDLER TO CREATE A GOVERNMENT SCANDAL THAT HURTS THE WAR EFFORT. 1017 01:29:05,641 --> 01:29:08,111 I DIDN'T CREATE YOUR DAMN SCANDAL. 1018 01:29:08,110 --> 01:29:11,050 JUST TELL US WHERE THE PICTURES ARE, BERNZY. 1019 01:29:11,046 --> 01:29:12,546 NOBODY HERE IS ENJOYING THIS. 1020 01:29:14,750 --> 01:29:15,650 I'M NOT SO SURE. 1021 01:29:17,520 --> 01:29:19,150 PUT HIM IN JAIL. 1022 01:29:19,154 --> 01:29:21,764 SIR, HE'S BLEEDING. PUT HIM IN JAIL. 1023 01:29:26,729 --> 01:29:28,959 [ Whispering ] HOLD ON. CHIEF OF POLICE IS COMING IN. 1024 01:29:33,035 --> 01:29:34,665 STAY DOWN. STAY DOWN. 1025 01:29:38,674 --> 01:29:42,684 ACCORDING TO THE TRIBUNE, YOU'RE GONNA BE LAUDED ON THE FLOOR OF THE SENATE TOMORROW. 1026 01:29:42,678 --> 01:29:45,078 SENATOR WATKINS IS GONNA THANK YOU OFFICIALLY... 1027 01:29:45,080 --> 01:29:48,580 FOR SAVING THE LIVES OF AMERICAN SERVICEMEN. 1028 01:29:48,584 --> 01:29:50,054 HOW'D YOU MANAGE TO GET THE SHOT OF YOURSELF? 1029 01:29:51,687 --> 01:29:52,687 I DO MAGIC. 1030 01:29:55,123 --> 01:29:57,793 [ Chief ] ALL RIGHT. I HAVE HERE... 1031 01:29:57,793 --> 01:30:01,563 AN ADVANCE COPY OF WALTER WINCHELL'S SUNDAY NIGHT BROADCAST. 1032 01:30:01,564 --> 01:30:06,104 LEAD ITEM: "GOOD EVENING, MR. AND MRS. AMERICA, ET CETERA, ET CETERA. 1033 01:30:06,101 --> 01:30:08,171 "TONIGHT, A TIP OF THE HAT TO LEON BERNSTEIN, 1034 01:30:08,170 --> 01:30:10,510 "BETTER KNOWN AS THE GREAT BERNZINI. 1035 01:30:10,506 --> 01:30:12,806 "MANY IS THE NIGHT YOUR REPORTER'S SEEN BERNZY, 1036 01:30:12,808 --> 01:30:17,808 "THE SUPPOSEDLY SORCEROUS SHUTTERBUG, AT HANSON'S ALL-NIGHT DRUGSTORE. 1037 01:30:17,813 --> 01:30:20,723 "BUT FRIDAY NIGHT, BERNZY PROVED HIMSELF TO BE A GREAT PHOTOGRAPHER, 1038 01:30:20,716 --> 01:30:23,116 "A GREAT NEW YORKER, A GREAT AMERICAN. 1039 01:30:23,118 --> 01:30:26,088 "HIS FIRST EVER PHOTOS OF THE MAFIA AT WAR... 1040 01:30:26,088 --> 01:30:29,588 "NIPPED IN THE BUD ONE OF THE FOULEST SCANDALS IN AMERICAN HISTORY. 1041 01:30:29,592 --> 01:30:31,092 "THANK YOU, BERNZY, FOR SAVING THE LIVES OF 1042 01:30:31,093 --> 01:30:32,533 "COUNTLESS AMERICANS OVER THERE." 1043 01:30:34,630 --> 01:30:35,660 GET HIM TO A HOSPITAL. 1044 01:30:38,801 --> 01:30:39,841 BERNZY? 1045 01:30:43,205 --> 01:30:45,135 BERNZY? 1046 01:30:51,480 --> 01:30:52,450 YOU OKAY? 1047 01:30:56,819 --> 01:30:57,649 YOU MADE A DEAL WITH SPOLETO. 1048 01:31:01,123 --> 01:31:04,163 HE SIGNED BACK THE CLUB IN EXCHANGE FOR INFORMATION ABOUT SAL AND ME. 1049 01:31:05,561 --> 01:31:06,561 RIGHT? 1050 01:31:08,831 --> 01:31:11,131 HE SAID HE WOULDN'T HURT YOU. THAT WAS PART OF IT TOO. 1051 01:31:13,268 --> 01:31:14,768 YOU WEREN'T EVEN SUPPOSED TO FIND THE PLACE. 1052 01:31:17,640 --> 01:31:19,540 BERNZY-- WHY'D YOU DO IT? 1053 01:31:23,245 --> 01:31:26,675 I JUST COULDN'T TAKE THE CHANCE... 1054 01:31:26,682 --> 01:31:29,752 OF LOSING THE CLUB. 1055 01:31:29,752 --> 01:31:31,692 IT'S LIKE YOU AND YOUR PICTURES. YOU'D DO ANYTHING FOR YOUR PICTURES, RIGHT? 1056 01:31:38,661 --> 01:31:39,801 WHEN DID YOU KNOW? 1057 01:31:41,597 --> 01:31:42,827 THE MINUTE I HEARD ABOUT SAL. 1058 01:31:45,668 --> 01:31:48,698 WHY DIDN'T YOU ASK ME NOT TO TAKE THE PICTURES 1059 01:31:48,704 --> 01:31:51,214 IF YOU KNEW YOU WERE GONNA MAKE A DAMN DEAL? 1060 01:31:51,206 --> 01:31:53,106 NOTHING WAS GONNA STOP YOU FROM TAKING THOSE PICTURES. 1061 01:31:57,546 --> 01:31:59,276 YOU'D BE SURPRISED WHAT I WOULD HAVE DONE FOR YOU. 1062 01:32:08,591 --> 01:32:10,861 EVERYTHING THEY SAY ABOUT ME IS TRUE, I GUESS. 1063 01:32:14,630 --> 01:32:17,830 IF I LOVED LOU AT ALL, IT WAS FOR WHAT HE COULD GIVE ME. 1064 01:32:17,833 --> 01:32:20,843 AND EVERYTHING THEY SAY ABOUT YOU TOO, 1065 01:32:20,836 --> 01:32:22,866 THAT YOU'D RUN OVER YOUR OWN GRANDMOTHER TO GET THE RIGHT PICTURE. 1066 01:32:26,341 --> 01:32:28,241 STILL, THIS WAS DIFFERENT. 1067 01:32:32,615 --> 01:32:36,615 ALL THIS WAS DIFFERENT, BERNZY. WASN'T IT? 1068 01:32:39,221 --> 01:32:40,661 WASN'T IT? 1069 01:32:59,875 --> 01:33:01,635 DON'T HATE ME TOO MUCH. 1070 01:33:07,950 --> 01:33:10,920 [ Indistinct Shouting ] 1071 01:33:20,663 --> 01:33:21,663 GOD BLESS YOU! 1072 01:33:25,901 --> 01:33:27,901 [ Shouting Continues ] 1073 01:33:32,775 --> 01:33:35,305 BERNZY! BERNZY! 1074 01:33:37,012 --> 01:33:39,682 KISS ME! KISS ME! [ Arty ] BERNZY, MEET MY PUBLISHER, 1075 01:33:39,682 --> 01:33:42,792 THE EMINENT ALBERT GERARD. I'VE FOLLOWED YOUR WORK FOR YEARS. 1076 01:33:42,785 --> 01:33:44,285 [ Arty ] HE SAYS IF I WRITE AN INTRO FOR YOUR BOOK, 1077 01:33:44,286 --> 01:33:46,016 UH, WHAT'S IT CALLED? PUBLIC EYE. 1078 01:33:46,021 --> 01:33:48,721 WITH AN ARTHUR NABLER INTRODUCTION FOR THE PUBLIC EYE, 1079 01:33:48,724 --> 01:33:51,434 HE CAN GUARANTEE US A DOUBLE-SIZED FIRST PRINTING. 1080 01:33:51,426 --> 01:33:54,296 HOLD IT, EVERYBODY. SMILE. TIME MAGAZINE. 1081 01:33:54,296 --> 01:33:56,896 [ Conklin ] ARE YOU OKAY? I DON'T LIKE HAVING MY PICTURE TOOK. 1082 01:33:56,899 --> 01:33:58,629 LET'S GET HIM IN THE CAR. RIGHT OVER HERE. 1083 01:34:12,014 --> 01:34:14,424 DAMN IT, BERNZY, LET IT GO. 1084 01:34:14,416 --> 01:34:15,846 YOU'VE BEEN WAITING FOR THIS YOUR WHOLE LIFE. 1085 01:34:15,851 --> 01:34:17,651 WHATEVER IT TOOK, IT'S WORTH IT. 1086 01:34:19,822 --> 01:34:23,432 LET IT GO. HOW DO YOU DO THAT? 1087 01:34:23,425 --> 01:34:27,825 I DON'T KNOW. MAYBE IT'LL MAKE YOU HUMBLE WHEN OUR BOOK GETS PUBLISHED. 1088 01:34:27,830 --> 01:34:28,900 IT'S MY BOOK. I'M WRITIN' THE INTRODUCTION. 1089 01:34:31,333 --> 01:34:32,673 SO, FINE. 1090 01:34:35,103 --> 01:34:37,373 COME ON, WE'LL GO TO THE STORK CLUB. 1091 01:34:37,372 --> 01:34:40,412 [ Engine Starts, Indistinct Radio Transmission ] 1092 01:34:40,408 --> 01:34:42,338 HOW DO YOU TURN THIS DAMN THING OFF? [ Bernzy ] YOU CAN'T. 1093 01:34:44,112 --> 01:34:45,282 ISN'T THAT THE SWITCH OVER HERE? 1094 01:34:46,114 --> 01:34:47,284 YOU CAN'T TURN IT OFF. 1095 01:34:50,118 --> 01:34:53,358 [ Police Dispatcher ] 2-11 IN PROGRESS, THIRD AND BROADWAY. 1096 01:34:53,355 --> 01:34:55,285 [ Radio Dispatcher Continues, Indistinct ] 1097 01:35:14,109 --> 01:35:16,309 [ Police Dispatcher, Indistinct ]82389

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