All language subtitles for Ask.Sana.Benzer.2015.DVDRip.XviD-LTRG

[GUNSHOTS]

[CASH REGlSTER BELL RlNGS]

How's that?

Gotta hand it to you, Rico.
The old bean's working all the time.

MAN: What'll it be, gents?
-Spaghetti and coffee for two.

All right, sir.

RlCO: ''Underworld pays respects
to Diamond Pete Montana. ''

What's that gotta do
with the price of eggs?

Plenty.

Diamond Pete Montana.

He don't have to waste his time
on cheap gas stations.

He's somebody. He's in the big town
doing things in a big way.

And look at us. Just a couple
of nobodies, nothing.

ls that what you want, Rico?
A party like that for you?

''Caesar Enrico Bandello.

Honored by his friends. ''

l could do all the things
that fella does and more.

Only l never got my chance.
And what's there to be afraid of?

When l get in a tight spot,
l shoot my way out of it. Why, sure.

Shoot first and argue afterwards.

You know, this game
ain't for guys that's soft.

Yeah, there's money
in the big town, all right.

And the women. Good times,
something doing all the time.

Exciting things, you know. Gee.

The clothes l could wear.

And then l'd quit, Rico.

l'd go back to dancing,
like l used to before l met you.

l don't know. l ain't made
for this sort of thing.

Dancing.

That's what l wanna do.

Dancing?

Women?

And where do they get you?
l don't want no dancing.

l'm figuring on making
other people dance.

-Oh, l ain't forgetting about the money.
-Money's okay, but it ain't everything.

Be somebody. Look hard at guys and
know they'll do anything you tell them.

Have your own way or nothing.
Be somebody.

-You'll get there, Rico.
-Yeah.

-You'll show them.
-You know. . .

. . .this was our last stand
in this burg. We're pulling out.

-Where are we going?
-East.

Where things break big.

[HONKlNG ]

RlCO:
So l beat it east, like l told you.

That's all there is to it.

l wanna run with your mob,
if you'll let me. What do you say?

You won't be sorry for letting me in.

l'll do anything you say.
l ain't afraid of nothing.

VETTORl:
You think you're a hard guy?

There's nothing soft about me.
Nothing yellow. l don't quit.

-You got an idea you're good, huh?
-Give me a chance to show you.

-What do you know about me?
-Oh, l heard plenty.

How you run things this end of town.

About this here Club Palermo,
how it's your front. l got told enough.

-l guess you're good with a rod too?
-Quick with it and sure.

Well, that don't go around here.
That's old stuff. This ain't the sticks.

Yeah, l get you.

All right. You stick around.

But, remember, l'm the boss.
And l give all the orders.

And when we split,
we split my way.

-And no squawks. You get me?
-Yeah, sure, Mr. Vettori.

-All right, come on in, meet the boys.
-Sure.

Oh, they're 1 00 percent, all right.
Every one of them.

There's Tony Passa. Can drive
a car better than any mug in the town.

Otero. He's little,
but he's the goods all right.

Bat Carilla.

Killer Peppi.

Kid Bean.

And this one here, Scabby.
What a smart guy he is.

Boys.

Come on, Tony. Wake up.

l want you to meet a new guy
what's gonna be with us.

This is. . . . Uh. . . .

Caesar Enrico Bandello.

Oh, Little Caesar, huh?

Yeah, sure.

[MUSlC PLAYlNG ]

Where did you get
the new dancer, De Voss?

Olga brought him around
a few days ago.

Not bad.

-All right.
-l'll say he is.

[MUSlC STOPS]

Well, l got hold of a real dancer
for a partner, didn't l, Mr. De Voss?

He's an elegant dancer.
We'll panic them after a few rehearsals.

Say, you're not trying to sell him
to me, are you, Olga?

Well, young fella, l guess
1 00 a week ought to buy you.

That's more than l generally start with.

That's swell with me, even though
it don't buy no limousines.

Gee, thanks, Mr. De Voss.
You'll never be sorry for this.

Come, Joey.

So it's you and me from now on.

Well, l'm glad.

And l'm not ashamed to tell you.

l guess you know by this time
how l feel about you.

That's all right with you, isn't it?

Or have you got another girl?
A steady, l mean.

Hundreds of them, sure. Only. . . .

Only, what's the difference?

This is gonna be real.

-We'll make it mean something.
-Yeah, Joey, let's.

Because l need somebody.
Somebody like you.

Awful bad.

-You believe me, Olga?
-l want to believe you.

What's that?

What you got there, Joe?

What are you doing with that?

Can't you forget you've seen it?

lt won't make no difference.
Not between us, Olga.

Don't worry, baby.

lt's just a little good-luck charm
l carry around with me.

ls that your racket?

Maybe.

l suppose l got no right to ask you, Joe.

But now. . . .

Now that we got an understanding.

Couldn't you leave it?

No.

l suppose l haven't got the right.

What would be the good
of you asking, kid?

Once in a gang. . . .

-You know the rest.
-l don't want to know.

Only maybe. . . .

Maybe it could be different this time.

lf we try.

l've never seen the guy that could
get away with it yet.

MAN:
Black. Seven.

Sam Vettori is still waiting
for you in your office.

All right, l guess l'll have to see him.

l wonder what he wants here.

Hey, Ritz.

You'd better stick with me.
l'll need you in there.

-That Sam Vettori's a no-good lug.
-You said it, boss.

Better let me go first.

Cut that.

Hello, Arnie.

Surprised to see me
in your swell joint?

Maybe l won't be after you
tell me what you want here.

Oh, l'll tell you, all right.

Diamond Pete asked me to come up.
He's coming up too.

-Pete Montana?
-That's who.

Well, if Pete wants you here,
it's got to be all right with me.

-Hello, Mr. Montana.
-Hello.

[KNOCKS]

RlTZ:
Hello.

-Hello, Arnie.
-Hello, how are you?

-Hello, Vettori.
-Hello, boss.

Cigar?

PETE:
Thanks.

Thanks, Arnie.

Sit down, boys.
l got something to tell you.

A message from the Big Boy.

Now, listen. Here's the lowdown.

-The Big Boy says--
-Just a minute, boss.

Hey, you.

Nobody asked you
to be butting in here, did they?

-Screw, mug.
-You ain't giving me orders.

ARNlE: You're a fresh guy, huh?
-Take it easy, Rico.

You go out there and wait for me.

Jake with me, boss.

Now, listen, boys.
Watch this guy McClure. . .

. . .what's head of
the new crime commission.

He's putting the screws on,
and make no mistake about him.

Now, the Big Boy wants me
to tell you guys. . .

. . .to put the chains on your gorillas
for the next few months.

Because if any of them go too far,
it'll be just too bad.

l've never seen nobody
the Big Boy couldn't get to.

He can fix anything.
That's why he's the Big Boy.

This bird McClure will be pie for him.

-He'll twist him around his little finger.
-Don't kid yourself.

Nobody's squaring nothing with McClure.
Not even the Big Boy.

Small jobs, that's different.

We could spring guys for them.
But shooting?

No, sir.

lt's guys like this torpedo of yours
that cause all the trouble.

Who, Rico?

He's all right. He's a little quick on the
trigger, but that's because he's new.

Yeah? Well, it's us
that'll swing for him. . .

. . .if he shoots
at the wrong time.

Now, remember what l told you.
Come on. So long.

And you.

You take it easy
with that cannon of yours.

Did you hear me?

Yes, Mr. Montana.

-Good night.
ARNlE: Good night.

-Good night.
RlTZ: Good night.

Do yourself a favor, will you, Rico?

Leave your gat home on the piano
the next job you pull.

Yeah, park it next to your milk bottle.

Hey. Run your own mob, Arnie.
l'll take care of mine.

Yeah, l'll park it.

l don't need no cannon to take care
of guys like you, Mr. Lorch.

VETTORl:
Yeah, we gotta be careful.

Little Arnie's interested
in this here nightclub.

-lf it ever gets out who pulled the job--
-They'll never get wise to us.

They're careless,
but they've never been tapped.

Yeah, but l don't like
the whole business.

Neither do l, Sam. Honest, l don't.

l couldn't sleep last night.
l was up worried.

l don't want to take any chances. Not
now the way they're closing down on us.

What's the matter, Tony, getting yellow?

No, but, jeez, none of us
wanna hang, do we?

You'd like to quit, wouldn't you?
You'd like to run out on us.

-You're yellow, you dirty--
-Wait a minute, Rico.

Where do you get that yellow stuff?

You want to know who's yellow,
l'll tell you.

Joe Massara, your pal.

-That's why he didn't show tonight.
-He'll be here. Just because--

l know all about that stuff.

l'm gonna give him 1 0 minutes more.
Then we'll see.

Now, listen, Sam, Joe's all right.
He's the best front man in the world.

Why, he can go to a swell hotel and
order a suite, a suite, and it's all right.

Without Joe, we can't pull the job,
and you know it.

What's that paper?

lt's this layout l've been
figuring out with Scabby.

-What, this nightclub job?
-Yeah.

Well, let me see it.

And until l say different. . .

. . .nobody's gonna plan
for this mob but me.

You get me?

He'll learn.
Now, come here, you guys.

Now, get this.

MAN:
Hello, Joe.

Hello, Rico.

Come here.

l told you to be here at 8:30.

Oh, well, you see, l--

l was busy.
l was rehearsing, and. . . .

-Oh, you know how it is.
-Yeah, l know how it is.

They've been saying it,
only l didn't believe them.

They're crazy when they call you yellow.

Tell them they can go to--

Say, what's the big idea
of the rush anyway?

lt's a little job we need you for.

A little job at the Bronze Peacock.

What do you mean?

Are you trying to kid me or something?

How can l take the chance?
They're all my friends, they all know me.

That's why, they'll never suspect you.

Now, don't stall, Joe.

l ain't stalling.

You gotta get me out of this, Rico.
You gotta. l don't want to. . . .

Well, don't you see,
l'm working steady now, and. . . .

Can't a guy ever say he's through?

You're gonna be in on this,
and you'll like it.

The time is to be sharp midnight
on New Year's Eve.

l won't. l can't.

l can't, don't you see? l--

Well, gee, l--

-l'll be working New Year's Eve.
-Now, listen, Joe.

This is the joint where you're working.

And don't you be forgetting it, either.

Come on in.

Well, maybe it ain't so hot.

-Maybe we can't buck Little Arnie.
-l can.

You're too good, that's what.

Hello, Joe. You were in a big hurry
about getting here, weren't you?

Maybe this kind of work
ain't to your liking.

Joe's all right. He's in with us.

Y34h, l'm 1n w1th y0v.

Well, let's see, now.
Here's the way l dope this thing out.

l, Sam Vettori, not you, Rico,
or nobody else.

-That's plain, ain't it?
-Sure.

Only, who stands here?
You kind of forgot that, didn't you?

Hey, l'm boss on this job, not you.
Right here.

Smart guy, Rico.
He's got plenty of brains.

l tell you, l'm afraid, Otero.
l'm afraid.

You're crazy. Rico's coming with us.

Come on now, buck up.

And you, Joe.

You'll be in the lobby
and give us the high sign. . .

. . .if everything's on the up and up.
You get me?

Yeah, and if we get in a jam, you'll have
to take a chance with the rest of us.

[CHEERlNG ]

Hey, quiet, quiet.

Holy Moses, it's Alvin McClure.

The crime commission buzzard.

Hey, De Voss. Come here.

What is it, Arnie? What is it?

Bring McClure over here,
l want to buy him a lemonade.

-Not tonight, some other time.
-Go on. Do as you're told.

Go on, De Voss, bring him here.

As you wish.

[SPEAKlNG lNDlSTlNCTLY]

What can l order for you?

-Good evening, Mr. McClure.
-Good evening, De Voss.

-Quite a party.
-Thank you.

Delighted to have you with us, folks.

Mr. McClure, a Mr. Lorch,
a financial backer of mine. . .

. . .would like to meet you.

-May l bring him over to your table?
-Lorch? Lorch?

-You mean the man they call Little Arnie?
-Yes, but--

You say he's a financial backer
of yours?

-Yes, but--
-l didn't understand that a man. . .

. . .of his type
was connected with this place.

l'm sorry, De Voss, but you might
inform Mr. Lorch that we're leaving.

l came to this place
under a misapprehension.

-Now, Mr. McClure--
-l'm sorry, folks. . .

. . .but we'll have to go somewhere else.

You like my hair this way, Joey?

Sure.

l used to wear it--
Where are you going?

-Just to get a package of cigarettes.
-Hurry back, darling, it's almost 1 2:00. . .

. . .and l wanna be with you
for New Year's.

l'll be back in a minute.

[CROWD CHEERlNG ]

-What can l get you?
-A Victor Noble.

Stay where you are.

[GUNSHOT]

WOMAN:
Oh, help! Oh, God!

Open her up, Tony, this ain't no picnic.

[GEARS GRlNDlNG ]

What's the matter, Tony,
losing your nerve?

Come on, let's go. Let's go,
we gotta get out of here. Come on.

OLGA:
Happy New Year.

Why, Joe. . . .

Joey.

What is it? What's the matter?

Nothing.

lt's all right.

-The joint's been held up, that's all.
-Held up?

They. . . .

-They shot McClure.
-Joe.

-Now you know.
-lt was you.

-No. No, it's a lie! l--
-You shot McClure.

No, l didn't, l swear.
lt wasn't me that shot him. lt was--

l don't know who.

But it's our hips for this job, all right.

Maybe-- Maybe everything
will be all right, Joey.

Maybe he wasn't hurt badly.

But you're through with that bunch.
You don't belong, Joe.

You're not that kind.

You'll never go near them again.

Olga. . .

. . .you can't go back. . .

. . .on a gang.

CLUB PALERMO
DANClNG

Well, everything come off
all right? Tell me.

Everything was all right.
Only l had to take care of a guy.

-Who was it?
-McClure.

McClure.

You shot McClure.

A million guys in this town, and you
had to pick the crime commissioner.

What did l tell you, Rico?

Didn't l say to make it clean?
Didn't l say no gunplay?

Think l'm going to let a guy
pull a gat on me?

Any more of these cracks,
and this is my last job.

The head of the crime commission.

The Big Boy can't do us
no good this trip.

They'll get us dead sure now.

-What am l gonna do?
-Why don't you go and give yourself up?

You're slipping, Sam.

And Tony, what about him?
Where is he?

Getting rid of the car.
Tony got nervous. He's like a big baby.

[ENGlNE STALLlNG ]

[GEARS GRlNDlNG ]

[SlREN WAlLlNG ]

VETTORl:
What a fine pickle we're in.

You and that rod of yours.

[KNOCKlNG ]

Flaherty's downstairs,
a couple of dicks with him.

They're coming right up.

Stay where you are, all of you.

They won't know nothing unless they
picked Tony up. Give them the shaft.

l'll be in here listening.

Happy New Year, boys.

Say, there's a lonesome
touring car down the street.

l was wondering if you happened
to know anything about it.

How should l know anything about it?

-Ain't it got license plates on it?
-Yes, but they're phony.

lt was stolen on the north side tonight.

Oh, l got a good caf� business.

l don't know nothing about automobiles
what's been stolen.

Well, you might if some of
the bright young men around here. . .

. . .had anything to do with it,
wouldn't you?

-Wasn't there anybody in it?
-Yes, one guy.

But not when we got there. He beat it.

But we got a good description
of him, though.

l'm telling you,
l don't know nothing about it.

Well, come on, fellas.

As long as Vettori
doesn't know anything about it.

Oh, say, have you heard
the news, Vettori?

No, what?

Someone knocked off Alvin McClure
over at the Bronze Peacock.

VETTORl:
McClure? No, that's terrible.

Some guys are sure careless
with the lead, all right.

What a tough break for Arnie.

lt's gonna be a tough break
for a lot of birds.

Well, so long.

Oh, l forgot to wish you fellas
a merry Christmas.

VETTORl: Tony, l can't figure him.
The kid's a great driver.

-Oh, he must've lost his nerve.
-l'll take care of him.

-Let's see the color of that money.
-Just a minute, Sam.

l got my own ideas of a split.
And you can take it or leave it.

-We ain't begging you.
-Yeah, well l bossed this job. . .

. . .and l'm gonna get my split.

How'd you boss this job?
By sitting here cheating at solitaire?

Well, that don't go no more,
not with me. We're done.

-l've taken orders from you too long.
-You'll keep on taking orders too. . .

-. . .or you'll get out of here so fast. . . .
-Maybe it won't be me that gets out.

-No?
-Yeah.

Maybe the boys have got
something to say about that.

What about it?

So, that's it, huh?

Yeah, that's it, all right.

You can dish it out, but you're getting
so you can't take it no more.

You're through.

Well?

Well, the split's okay with me, Rico.

How about you boys?

No hard feelings, Sam?

We gotta stick together.

There's a rope around my neck
right now, and they only hang you once.

lf anybody turns yellow and squeals. . .

. . .my gun's gonna speak its peace.

What's the matter, Antonio?

Why you don't sleep?

-You sick, maybe?
-Yeah.

-Oh, what--
-No, can't a guy get up when he wants. . .

. . .without answering a lot of questions?

You stay out late nights,
you drink lot of wine.

-Leave me alone.
-Oh, listen, Antonio, l--

l have some spaghetti for you
on the stove.

lf you feel better, eat some.

Yes? lt do you good.

You used to be a good boy, Antonio.

Remember when you sing in the church?

ln the choir with Father McNeil?

You in white.

Remember?

Father McNeil.

The church was beautiful.

You little boy with long hair.

The tall, big candles.

Flowers.

Remember, Antonio?

Don't leave me, Ma, do you hear?

You don't have to go now, do you?

Can't you stay a little while with me?

Please, don't go away.

-Please.
-Oh, Antonio. Oh, my baby.

l no go, l stay.

Antonio.

Oh, my boy.

[PASSA SOBBlNG ]

l'll be all right, Ma.

-You'd better run along, do you hear?
-Yes.

You run along.

Take good care of yourself, will you?

And give my love
to Miss Manccia, will you?

Father McNeil.

Hey, Tony. Where you been?
l'm looking all over for you.

Rico wants you to come
and get your split.

What's the matter, Tony?
Don't you want a split?

Are you crazy?

l'm not crazy.

And l don't want no split.

Listen, Tony.

Rico knows you lose your nerve.

Now, he wants you to be a man.

You better not turn yellow.

Get away from me, Otero.
Leave me alone!

Listen, kid. l'm trying to tell you
for your own good.

-Come with me and get your split.
-Ah!

Hey, Tony!

Tony, where you going?

TONY:
l'm going to see Father McNeil.

Rico!

l found Tony, but it's too late.

He's crazy! Crazy!

l tell him to be a man, but he shakes
his head and goes to the priest.

Well, l guess that's that.
We ain't got any time to lose.

Come on, Sam, get a car, and let's go.

Not me! Take-- Take Scabby.

-Scabby's no good.
-No. l'm not.

-Can you drive, Otero?
-Sure!

All right, let's go.
We'll use the black roadster.

There he is.

RlCO:
Tony!

[GUNSHOTS]

[BAND PLAYlNG FUNERAL MARCH]

Did you see all them wreaths?

That hearse is sure decked out pretty.

Well, this was no time
to be tight with money.

Tony deserved a swell send-off.

-Poor kid.
-Yeah, but Rico's wreath beat them all.

lt was big.

And all it had on it was ''Tony. ''

-Not even Rico's name.
-Yeah. Rico's no braggart.

Tony looked like he was asleep.

Didn't look a bit changed.

Beats me how they do it.

Got a match?

-Look, Rico. There's Flaherty, the bull.
-Huh?

Ah. . . .

Things must be getting pretty hot.
What's he want?

He's just stalling.
They ain't got a thing on me.

Gee, we're moving slow.

We got plenty of time.
The banquet won't start until 8.

Yeah.

Too bad Tony won't be there.

[CROWD CHATTERlNG lNDlSTlNCTLY]

Yeah, that's the goods, all right.
That's the fanciest l've ever seen, Sam.

Look at those
little turtledoves down here.

Friendship and loyalty, huh?

-Well, how do you like that, Sam?
VETTORl: Pretty good, Rico.

Otero told me l don't look good
in a derby. What do you think?

-Looks just like you.
-l thought so.

l guess l'll stick to them from now on.

''Compliments to a true pal.

Mr. C. Bandello from a true pal. . .

. . .Mr. Sam Vettori. '' Well, that's nice.

l appreciate, Sam. That's swell of you.

[CHATTERlNG lNDlSTlNCTLY]

Hey! Hey! Hey! Hey!

What's the matter with you birds?

Don't you know
how to act at a banquet?

What do you think you are,
a lot of gashouse yaps?

Well, cut that chatter.

Scabby's gonna make a speech.

[CROWD WHlSTLlNG ]

Well, folks. . .

. . .you all know what we're here for. . .

. . .so what's the good of me
telling you all about it?

Rico here is a great guy!

[CROWD CHEERlNG ]

Sure, and. . . .

Well. . . .

Say, Rico. . .

. . .l don't know how to talk fancy, but. . . .

This here watch is for you, see?

-From the boys!
-Come on, everybody. Clap, like.

ALL:
Speech!

Oh, no, no, no.

MAN: Speech!
-Oh, well.

All right.

You birds want me to make a speech?

Here it goes.

l-- l want to thank you, fellas,
for this here banquet.

lt sure is swell.

The. . . . The liquor is good,
so they tell me.

But l don't drink it, myself.

And the food don't leave
nothing to be desired.

Well, l guess we're all
having a swell time. . .

. . .and it sure is good to see
all you gents with your molls here.

Yeah.

Well, l. . . .

l guess that's about all.

[CROWD CHEERlNG ]

And l wish you birds wouldn't get
drunk and raise Cain. . .

. . .because that's the way
a lot of birds get bumped off.

Yeah. Lay off that stuff.
l know what l'm--

A couple of newspaper guys wanna take
a picture. What do you say, boss?

Well, what do you think of that, huh?

Sure. Send them in.
Tell them to make it snappy.

-l'll see you later.
-Oh, don't go away.

-We're going to have our pictures taken.
-l haven't had my picture taken. . .

. . .in the last 1 5 years.

Well, what do you think of that?
1 5 years, he hasn't--

Come on, boys, make it snappy.

Come on, now! Quiet, everybody!

We're gonna get mugged!

MAN:
There you are. Now, hold it.

Hold it, still!

[CROWD LAUGHlNG ]

Look at the guys over there.

That was a bad play
you made then, Rico.

That flashlight.

-They might pick you up on that.
-Well, what do l care?

Don't l want folks to see
what the boys think of me?

Hey, Rico, what become of that pal
of yours, that dancer guy, Joe Massara?

He didn't come.

He ain't been around in a long time.

He didn't quit on you, did he, Rico?

VETTORl:
Bad business to quit on me, Sam.

One guy tried that on me once.

Now, you mind your own business
and let me tend to my own.

What does that bull want in here?

-l'll show him where he gets off.
-Careful, Rico.

Who invited you here?

You're getting up in the world,
aren't you, Rico?

The downstairs is open to anybody,
even cops.

But the upstairs is private.

Thanks, but l like to keep
my eye on you, Rico.

You see, l'm your friend.

l like to see a young fellow
getting up in the world. . .

. . .that's all.

So long.

Hurry back.

l will.

Oh, say. . . .

Somebody threw a brick through
Meyer Blum's window last night.

Do you happen to know anything
about a diamond-and-platinum watch. . .

. . .that was stolen, do you?

lf you hear anything about it,
let me know, won't you?

Hmm.

Banquet, eh?

Hmm.

Rico got far. . .

. . .too far.

So now, he's got to stop.

l'm saying he's got to stop!

Oh, Arnie, are you
fellas going to start another scrap?

What's the use of my paying heavy dues
for protection if there's no peace?

Don't worry.
There'll be peace soon enough.

l'm saying he's got to stop,
so he's gonna stop.

He's been cutting in on my territory. . .

. . .and that's all wet with me.

Look.

l'm sitting here, see?

l'm sitting here quiet. . .

. . .smoking a cigarette, see?

But a couple of my boys
ain't sitting here.

They're out looking for Rico, and they
got their gats with them too. Catch on?

And when they find him,
it won't be no banquet that Rico gets.

lt will be a wake!

DEVOSS:
Arnie, you know best.

l've never met Rico.

Phelps, 2284.

Hello, Otero. This is Joe Massara.

l just found out something.
This is hot.

Tell Rico to look out. Little Arnie's gang
is out to put one in him.

What's the matter?

-Where is Rico?
-You got me. He ain't showed up yet.

Come on, quick!
We got to find him!

RlCO:
l want 1 0 of these.

Gee, you taking
all these papers, Mr. Rico?

Why, sure. Ain't l got
my picture in them?

Here.

-Thanks!
-That's all right.

Come again!

[CAR HONKS]

[GUNSHOTS]

[WOMAN SCREAMlNG ]

Fine shots you are!

WOMAN:
Oh, no! Oh!

[CROWD SHOUTlNG lNDlSTlNCTLY]

So somebody finally put one in you.

Yeah, but they just grazed me.

The old man will be glad to hear it.

He takes such an interest in you.

Tell him the cops couldn't get me
no other way, so they hired gunmen.

[MEN LAUGHlNG ]

lf l wasn't on the force,
l'd have done the job cheap.

Did you ever think how you'd look
with a lily in your hand?

No, l never did.

l've been in this game many years,
and l put the cuffs on a lot of mugs.

Someday, you and l
are gonna take a ride, Rico. . .

. . .and when we do,
l'll have the cuffs on you too.

No buzzard like you
will ever put any cuffs on Rico.

Hmm. Come on, boys.

l'm gonna get that swell-headed mug
if it's the last thing l ever do.

Boss, l'm sorry.
l should have been with you.

They thought they hit the target, boss,
but bullets just bounce off of you.

lt was Little Arnie, Rico. Joe Massara
got the tip, and he called up.

We couldn't find you in time.

Joe, huh?

Well.

l didn't think he cared enough.

Well, that was white of him, all right.

l ought to give him a chance
on my next job.

There. Guess l didn't study medicine
for nothing, did l?

Thanks, Scabby.

l'm going to see Little Arnie tonight.

lf he's looking for trouble,
why, that's what we got the most of.

l want Killer Peppi,
Otero, Kid Bean and Bat to go with me.

Listen, handsome, open up,
or you'll tell nobody nothing no more.

Tell him we're all right,
and don't act nervous.

[KNOCKS]

These fellas are all right.

Come on, stick them up.

Lock that door.

Where's Arnie?

ln the office?

Bat, stay outside that door
and don't let anybody in.

Kid, you keep them covered.
Peppi and Otero, follow me.

Come on, you. Give him the knock.

[KNOCKS]

Come on! Put them up!
Put them up! Come on!

Hello, Arnie.

-How's business?
-What's the game?

l don't know what this is all about,
but it's a private row.

-You guys better beat it.
-Ain't nobody gonna leave this room.

You guys are invited
to this private party.

Suppose we don't want to stay?

l wouldn't stop you for the world.

Only these boys
of mine have itching fingers.

Sit down, gents.

Arnie. . .

. . .you ought to have better sense
than to hire a couple of outside yaps. . .

. . .especially bad shots.

Come on. What is it?
Let's have it!

Arnie. . .

. . .you're through.

You hire these mugs, they miss.
Now you're through.

lf you ain't out of town
by tomorrow morning. . .

. . .you won't ever leave it
except in a pine box.

l'm taking over this territory.

From now on, it's mine.

You're growing, Rico.

So this is what you've been after
all the time?

l seen it in your eyes
the first time l met you.

You're no good, Rico.

lf you think you can muscle in like you
did on Sam Vettori, you're off your nut!

l suppose you forgot
all about Pete Montana, huh?

How's Diamond Pete going to stop me?
He may be your boss, but he ain't mine.

Sam didn't feel that way about him.

-Sam knew who gave orders.
-Sam was too soft.

Diamond Pete could scare him,
but l ain't no Sam.

Sam is through.

Now you're through too.

Nice stickpin you got there, Arnie.

Nothing phony about my jewelry.

Arnie. . .

. . .you better quit this racket.

You can dish it out, but you got
so that you can't take it no more.

You'd better take your hats and beat it.

The first thing you know, you'll be
arrested for firing a rod in the city limits.

Well. . .

. . .l guess that's about all.

Oh, uh. . . . Pleasant trip, gents.

Come on, boys.

Oh, thanks, boys, for the artillery.

[LAUGHlNG ]

-Well, boys. What do you think of it?
-You're in the wrong job. lt's perfect.

That means you have a new partner.

Little Caesar.

[LAUGHlNG ]

Everybody'll laugh at Scabby's story.

Gee, boss. You gave Arnie
an awful walloping.

Rico. . . .

Now you're famous.

You see, Otero.

There ain't no use in being scared
of any of these big guys.

The bigger they come,
the harder they fall.

Hmm. Yeah.

l ain't doing so bad
in this business so far.

Well, now.

OTERO:
You look great, boss.

Yeah, but it feels terrible.

Oh. You're getting up in the world, Rico.

None of us ever been invited up
to eat at the Big Boy's dump.

And nobody ever crashed the gate
except Pete Montana.

See what l mean?

Now, you don't want the Big Boy
to think you ain't got no class.

They rig you up better than this
in the stir.

lf you think l'm going out
in this, you're crazy!

You look fine, boss.

-Go on. Take a peek at yourself.
-Oh, l don't know.

All l need is a napkin over my arm.

Now, don't you look fine?

Huh?

RlCO:
Yeah.

l guess maybe l don't look so bad
after all.

Oh, hello.

-Hello, Big Boy.
BlG BO Y: Hello, Rico.

Oh, yeah. Yeah. Thanks.

Thanks very much.

Well, you're rather
lit up tonight, aren't you?

Yeah. l thought l better put on
a monkey suit.

That's right.
You may as well learn now.

Yeah.

Well. . . .

Some joint you got here.

lt'll do.

RlCO:
Yeah.

l bet all this trick furniture
set you back plenty, huh?

Well, they don't exactly give it away
with cigar coupons.

Well, l'll tell the world.

Boy, it sure look--

Oh, look at that.

BlG BO Y: Do you like it?
-Oh, l think it's elegant.

That cost me $ 1 5,000.

Fifteen thou--

[WHlSTLES]

Boy, them gold frames
sure cost plenty of dough.

Well, will you have a cocktail
or a dash of brandy?

Oh, no, thanks.
l never touch the stuff.

-No?
-No.

-Cigar, then?
-Oh, yeah. l'll have one of those.

Thanks.

Thanks very much.

BlG BO Y: Sit down, Rico.
-Yeah. Thanks.

Now, listen, Rico.

l'm gonna talk to you, but you're not
gonna hear a word l say, see?

This is inside dope, and if it gets out,
it'll be just too bad for somebody.

You know me.

All right. Get this.

Pete Montana's through.

Yeah?

Well.

-And l thought he was such a big guy.
-He's through.

Suppose l were to tell you
that from now on. . .

. . .you were Pete Montana.

That you were to take over his territory
in addition to your own.

Would you shake on it?

Would l?

Would l?

All right. lt's set.

l'm doing a lot for you, Rico,
but when l get you planted. . .

. . .l'll expect plenty of service.

Well, you'll sure get it.

Permit me, then, to drink
to the new boss of the North Side.

Thank you.

[RlCO CHUCKLES]

Otero, what did l tell you, huh?

l knew it was coming.

l knew he had his eyes on me
all the time.

And let me tell you something, Otero.

lt's not only Pete Montana
that's through, but the Big Boy himself.

He ain't what he used to be.

Pretty soon, he won't be
able to take it, and then. . .

. . .watch me.

Sure, boss.

Pretty soon, you'll be running
the whole town.

Otero, you said a mouthful.

There's a guy by the name of Massara
out there. He wants to see you, sir.

-l'll see him in a minute.
MAN: Yes, sir.

What's Joe want here? He hasn't been
near any of us for months.

l sent for him.

l heard somebody in Detroit got to
Flaherty and told him to start working. . .

. . .on a dancer at the Bronze Peacock if
he wanted to find out who shot McClure.

Gee, boss, you're wise to everything
before it happens.

Yeah, l don't miss much.

l'll find out if Flaherty's been working
on Joe after l have a little talk with him.

Gee, Rico, what a palace.

Oh, hello, Joe.

Yeah, it'll do.

But what do you expect?
Ain't l got 20 grand tied up in it?

-Hello, Otero. How are you, baby?
-First-rate.

Sit down, Joe.

Sure l'm good enough to sit
in such a swell chair?

Come on, now. Cut the comedy.
Sit down.

Screw, Otero.

-l want to talk with Joe private.
-Sure.

See you later, Joe.

-Cigar, Joe?
-No, thanks.

Well, will you have a cocktail
or a dash of brandy?

No.

Well, it surprise
you to hear from me?

Kind of.

l thought it would be kind of nice
to have a little talk together. . .

. . .like old times.

Certainly is nice to see you, Rico.

Especially like this.

-You're looking good.
-You're looking good too, Joe.

Living easy, kind of, huh?

-Not that easy. Dancing's no cinch.
-Yeah, but you ain't complaining.

-No. No, l ain't complaining.
-That's good.

Yeah.

Dancing's all right for a sideline.

lt gives you a swell front.

But it ain't my idea of a man's game.

What's the difference, Rico?

As long as l ain't kicking,
why should you kick?

Who's kicking?

Only why should a young guy
like you be wasting his time?

And l kind of took pride in you, Joe. . .

. . .brought you into the gang,
pushed you ahead.

But now you're getting to be a sissy.

We got to go into that again?
Can't you just forget about me?

l don't want to forget, Joe. You're my
pal. We started off together, didn't we?

We've got to keep going along together.

Who else do l got to give a hang about?

l need you, Joe.

l've got the biggest chance of my life.

The Big Boy just handed me
the whole North Side. . .

. . .but it's too much for one man
to handle alone. l need somebody.

-A guy like you, somebody l can trust.
-Can't be me, Rico.

l've quit.

You didn't quit.

Nobody ever quit me.

You're still in my gang, you got that?

l don't care how many fancy skirts
you've got hanging on to you.

That jane's made a softy out of you.

-You lay off Olga.
-l ain't laying off. l'm after her!

One of us has to lose, and it won't be
me. There's ways of stopping that dame.

-You're crazy. Leave her out of this!
-She's through, out of the way.

-You're lying. You wouldn't dare!
-l wouldn't?

-l'll show you!
-Rico, listen.

We're in love with one another.
Don't that mean nothing?

Nothing. Less than nothing.

Love. Soft stuff!

When she's got you,
you ain't no good for anything.

We ain't out of this yet. . .

. . .and we don't want no softies
spilling things!

l won't spill anything,
if you're scared of that.

-You think l want my neck stretched?
-Well, you know too much.

l ain't gonna take any chances.
You're hanging around with me, see?

No, l'm not.

All right.

You go back to that dame. . .

. . .and it's suicide.

Suicide for both of you.

[PHONE RlNGlNG ]

Just stick here.

Hello?

Oh, hello, Big Boy.

No. No, l don't want that guy.
l don't trust him.

Yeah. l got a kid by the name
of Joe Massara who'll help me.

Yeah. All right, goodbye, Big Boy.

Oh, Joe. . . .

[DOORBELL BUZZlNG ]

-Joe.
-Olga.

-We've gotta go. Hurry!
-Joe, what's the matter?

Didn't you hear what l said?
Hurry! Hurry!

-Yes, Joe. Oh, you're ill.
-l'm all right.

-Rico.
-What did he do to you?

Oh, didn't l know it?

He, Rico-- He said you
and me got to quit.

He'd kill you unless l stuck with him.
l ran away.

We've got to get out of here.
Anywhere. As long as we get away!

No.

-No? You're not coming?
-No. That's not the way.

But, Olga, you don't know that guy!

-Olga, you've got to! Please!
-No.

Sit down, Joe.

-We've got to think.
-l don't want to think or sit down.

-You're coming.
-Don't you see? lt would be no use!

Where? Where would we go?
Where would we run to?

There's no place he wouldn't find us.

There's only one thing for us to do.

Flaherty.

You're crazy.
You think that would save us?

Flaherty? That's worse than suicide.

-l won't do it. l can't.
-Well, l can do it.

That gang must go. Rico must go.

l want my happiness, Joe. l want you.

We'll never have peace till Rico's gone.
l'm going to do it.

Olga, don't! Please! Stay here!

Olga, open this door!

Olga, open this door! Hurry!

Park, 1 000.

Olga. Don't call Flaherty.

Please, open this door, quickly!
Rico will kill us both!

Headquarters, l want Sergeant Flaherty.

Sergeant Flaherty, this is Olga Stassoff.

l've got Joe Massara with me.
ln my apartment.

1 7 Edsel Drive.

Yes. Yes, he wants to talk to you.
Hurry, hurry!

Come on, boys,
we're going to a party.

Who's giving the party?

-Joe Massara.
-Formal or informal?

l don't know, but we'll find out
when we get there.

You shouldn't have done it.
You shouldn't have.

There was no other way.
No other right way.

-lt's the rope for me.
-No, it isn't.

Not if you turn state's evidence.

We'll make them promise
everything will be okay.

JOE:
Wait, Olga!

-Joe!
-There he is, the dirty double-crosser.

Give it to him, Rico!

No.

Shoot.

Shoot, Rico.

Get it over with.

Come on, Otero! Let's go!

OTERO:
You're getting soft too.

[BREAKS SQUEAKlNG ]

RlCO:
What's the matter with you? Come on!

OLGA:
Joe.

[OLGA SOBBlNG ]

-Who was it?
-Otero and Rico. Through the window!

Go on, boys. Go and get him!

Are you ready to talk now, Joe?

Well, l'll talk. lt was Rico's gang
that held up the Bronze Peacock.

lt was Rico who shot McClure.

That dirty, low, sneaking--
Well, Joe will tell you. Ask him.

He knows it was Rico.

ls that right, Joe?

Was it Rico?

-Where's your phone?
-ln there.

Oh, Joe. Here, let me help you.

Park, 1 000.

Hello, Dan, this is Flaherty.

Round up that Palermo gang.

l got enough on them to use
a mile of rope.

Shoot the cars right out,
and above all, get Rico.

[SlRENS WAlLlNG ]

We've gotta watch our step.
The cops are cruising around.

-You should have plugged Joe.
-And the dame.

lf they ain't squealed about McClure yet,
they'll do it now.

-From now on, we're hot.
-Yeah.

This is what l get
for liking a guy too much.

Come on.

MAN:
Halt!

Halt!

[WHlSTLlNG ]

[GUNSHOTS]

OTERO:
Oh!

Go on, Rico.

l'm done for.

Go on, Rico.

Sam! Sam!

Joe Massara! They nabbed him over
the McClure business, and he squawked.

Rico tried to get him.
Now they're after him. They got Otero.

VETTORl: Otero?
-Sam, don't you get me?

-What are you sitting there for?
-What else can l do?

l can't run now.
They'd get me anyhow.

You're out of your head.
Come on, get up. Let's beat it!

lt's no use.

[SlREN WAlLlNG ]

FLAHERTY: Put them up!
Hand over your guns.

All right. Take them down to the car.

You'd better give up, Sam.

Drop that gun before we start shooting.

Come on in.

Get on your feet and put your hands up.

Put the cuffs on him.

You ain't got nothing on me.

Nothing but the bracelets.

And we haven't
got a thing on Rico, either.

He's next.

-There's nobody in there.
-No?

Well, listen, Ma. lf you see Rico,
you'd better let us know, quick.

Well. . .

. . .you got yourself in a nice fix.

-Yeah.
-The cops were just here.

They got Otero.

Ma, l'm gonna stay here
a day or two, then l want a car.

Gonna cost you big,
because l'm taking big chances.

l got 1 0 grand planted here.
Help yourself.

When you're ready to start,
l'll give you $ 1 50.

You'll give me?

Whose money is this?
Who do you think you're talking to?

l need plenty. My money is hidden
in the apartment. l can't get to it.

l'll give you $ 1 50. Take it or leave it.

Why, you dirty, thieving old hag, l'll--

No, you won't.

Because l'm the only one knows
where the money's hid.

Kill me, and you won't get a cent.

l'll give you $ 1 50. . .

. . .if you'll be a good boy.

MAN 1 :
He was mean, Sam Vettori was.

So now he's got
what was coming to him.

MAN 2:
What does it say in the paper?

''Former gang chief
faints on scaffold.

After a futile
battle in the courts. . .

. . .Sam Vettori, former gang leader. . .

. . .today presented a pitiful figure. . .

. . .as the hangman's noose
was placed around his neck. ''

Listen. ''Little Caesar
has never been found.

According to the statement of Lieutenant
Thomas Flaherty of the homicide squad. . .

. . .Little Caesar, the once swaggering
braggart of the underworld. . .

. . .wilted in the face of real danger
and showed the world his cowardice.

Flaherty stated further that Little Caesar
has contradicted his oft-repeated boast. . .

. . .that he could dish it out
and take it too. ''

Yeah.

''When a real crisis arose. . .

. . .Rico couldn't take it.

Flaherty ended his interview
by remarking:

'Meteoric as was Rico's rise
from the gutter. . .

. . .it was inevitable that
he should return there.' ''

MAN 2: Well, just the same,
he was the real leader of that gang.

MAN 1 :
Don't you believe it.

Rico didn't have the nerve,
and he didn't have the brains.

He was yellow,
just like Flaherty said.

Huh? Here!

-That's what Rico--
-Give me that paper!

Hey, watch it!

-What's the matter with him?
-Must be crazy.

RlCO:
l'll show them where they get off.

Trying to put that kind
of stuff about me in the papers, huh?

l'll show them-- Hello?

Hello? l want Park, 1 000.

Yeah. Yeah, l can't take it
no more, huh?

l'll tell that guy where to--
Hello? Park, 1 000?

-Get me Flaherty, and get him quick.
-Sure. Just a minute.

Tom. Oh, Tom.

l may be screwy,
but this sounds like Rico.

Yeah?

-Flaherty speaking.
-Yeah, this is Rico speaking!

Rico! R-l-C-O, Rico!
Little Caesar, that's who!

You're a big guy, ain't you?
Shooting your mouth off in the papers.

So l ran out when it got hot, huh?
l can't take it no more?

Well, listen, you crummy,
flatfooted copper. . .

. . .l'll show you whether
l lost my nerve.

Thanks, Rico, old boy.
The same to you and many of them.

Come on, tell me some more.

The sound of your voice
does my heart good.

Trace that call. Find out
where he's phoning from, quick.

Uh-huh?

Say, why didn't you come to Sam's
neck-stretching party, Rico?

lt was a big success.

Hmm. Funny guy, ain't you, Flaherty?

Well, you ain't got
much longer to laugh.

l'm coming, and l'm gonna put one
in your dirty hide. . .

. . .for every lying crack
that you made about me, see?

l'll show you who's gonna
finish up in the gutter.

We've missed you, Rico.

The town has been nice and quiet.

l'm putting on weight.

River, 6547. lt's a flophouse down
at 4th and Commercial.

All right. All right, big mouth.

Get your hat and start running,
see, because you're all through.

Call the papers and tell them that,
you rotten, dirty, lying copper! Hmm.

l knew we'd hear from that guy if l
kept giving it to him in the papers.

The conceit of that guy!

They'll have to build a special noose
to get that swelled head of his through.

[MAN CHUCKLES]

Well, wish me luck.

There he is. That's Rico, all right.
Pull in there.

[GUNSHOTS]

FLAHERTY: You'd better give up.
You haven't got a chance.

You'll have to
come and get me.

You'd better be a nice boy, Rico,
and come out.

You heard me!
lf you want me, come and get me!

l'll be with you in a minute.

Give me that chopper.

This is your last chance, Rico.

Are you coming out,
or do you want to be carried out?

Well, Rico, it looks like you and l
are going to take that little ride together.

No. . . .

No, we ain't.

l told you a little buzzard like you
will never put any cuffs on me.

You should have come out
when l told you to, Rico.

Huh. Mother of mercy.

ls this the end of Rico?

Subtitles by
SDl Media Group

[ENGLlSH SDH]