All language subtitles for Heartaches (1947)

[XBOX SOUND]

[MUSIC]

The orange grove lay dreaming in the sun

of Southern California.

Today that orange grove is Hollywood,

city of dreams for boys

and girls all over the world.

Some but not all of

those dreams come true.

It's a young city, gay, exciting, a

challenge to ambitious youth.

For here are made the pictures which are

shown on the screens of

all the lands under the sun.

Here are the studios whose names have

become famous, and within their walls,

writers, directors, actors,

aided by thousands of skilled craftsmen,

work day and night in a world of make

believe to bring you romance and frills.

Escape from the

humdrum cares of daily life.

There are dream homes, some on

picturesque boulevards, while others are

tucked away in the

hills in charming isolation.

Then too, there are

luxurious swimming pools.

But these things are the just

rewards of hard won success.

There's the famed Hollywood Bowl, where

one is inspired by great music and

colorful ballets

presented under the stars.

On Hollywood Boulevard pause for a moment

at Hollywood Envine.

You're sure to see a face you remember

from a picture of long ago.

The radio studios

attract thousands of visitors.

There they may watch the broadcasts of

their favorite stars.

The Brown Derby is one of

the landmarks of the city.

On Sunset Boulevard there's a section

called The Strip where one finds the

restaurants and nights wide relaxation

for the hardworking people of the films.

Vic Morton came to Hollywood and was

given a leading role in a picture that

seemed to be shown at Grauman's Chinese

Theater, an indication of his success.

[Music]

[Music]

[Music]

Vic was under contract to Majestic

Studios, and there we find him one day as

he's preparing to

make his second picture.

[Music]

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[Music] [Music]

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[Music]

Vic, I'm going along.

No, I'm sorry, Jim. I

don't think Vic would like it.

Oh, he wouldn't, wouldn't he? Well, he's

going to get me right along with you,

whether he likes it or not.

What's the idea of bringing him here?

Well, after all, you know, you did

interrupt our lunch.

Why's everybody looking so worried?

Well, somebody say something.

We're not talking in front of any

newspaperman, Miss Wentworth.

Would you mind waiting outside?

I'm staying, flesh peddler.

Jimmy, please.

Nothing doing.

Earlier, when you were talking to Tony,

you mentioned something about the police.

What's up? Are they looking for you?

I don't want to have to get

rough with you, young man.

You get rough with me?

Yeah.

Sit down, Junior.

I'm going to get the story from the

police anyway, Victor. What is it?

I'm not sure I'm

going to tell the police.

All right. I'll give you a newspaperman's

promise that I won't print anything that

isn't the case for the cops. Fair enough?

What do you think?

It doesn't work good all right. But

what's the whole thing about?

This.

Your number is up six more

than I'm going to kill you.

I suppose that's funny to you.

Why not? That's the oldest

press agent gag in the world.

You're new to the business, fella.

You're going to have to dig up something

better than that to get

newspaper space today.

Mr. McDonald, that

letter came through the mail.

What of it?

Any phony can hire a

student to send him a note.

Wait a minute, fella. Don't you start

calling Victor a phony or

I'll punch you in the nose.

Any time, kid. I'm not the timid type.

Come on, honey. Let's

reorder our lunch at the Derby.

Just a minute, now.

Victor's that note on the level?

Absolutely.

Victor, tell her

about the missing picture.

I'm not sure the picture has

anything to do with this note.

What picture are you talking about?

Somebody stole the

picture out of the office.

But these pictures all seem to be of you.

Anything wrong with that?

That one that's

missing, is that of you, too?

I'm not quite sure. It probably was.

Maybe the cleaning

woman's a fan of yours.

Oh, I ought to sign you up as a comedian.

No, thanks. I prefer to

make an honest living.

Come on, honey. I'm hungry.

Wait.

Then you think the missing picture had

some connection with the death threat?

Sure. Why?

Well, it all adds up. Whoever sent the

note stole the picture so they could

study Victor's pictures.

You tell that to the cops and they'll run

you right out of the police station.

Yeah, well, what's your

angle on it, Mr. Smart Guy?

The note was probably sent by some crank.

All celebrities, get them.

Hey, if I were you, I'd ask

the cleaning woman about it.

Come on, Tony. Let's go. I'm hungry.

Wait a minute.

Get me Lieutenant

Armstrong and police headquarters.

Homicide, Lieutenant Armstrong speaking.

Oh, hello, Miss Wentworth. What's new in

the picture business?

Something very disconcerting, I'm afraid.

Bick Morton has just been sent a death

threat through the mail.

You don't say.

Well, now let me tell you

something, Miss Wentworth.

This happens to be a

very busy day in my life.

Much too busy to be

pressured by press agents, Stunts.

A girl was found in a vacant

lot last night, cut in two.

Now let me know when that crooner friend

of yours really gets killed and I'll be

happy to be a servant.

Well, what did my pal

Armstrong have to say?

He said we could go to lunch.

Mr. Morton, I know which picture was

stolen. It was the right hearing.

Why don't you stop trying to be helpful

and get after that stack of

family I gave you to answer?

But I thought...

I'll do the thinking in this office.

Yes, sir.

- Good evening, Mr. Morton. - Good

evening, Miss Wentworth.

- Good evening, Miss.

- How do you do, Miss?

- Hey, where do you think you're going? -

In there. I'm Musician.

Musician, go to Stage A.

Well, I just saw Mr. Morton go in. I'm

supposed to play for him.

Play for him on Stage A.

But I'm a great fan of yours. All I want

to do is get his autograph.

Stage A.

If no one calls to this

in 30 days, it's yours.

Hey, you.

What are you doing here?

Just wheeled a prop box on the stage.

It'll be ready in the morning.

No one's supposed to come on this set

when I'm recording. You know that.

I'm sorry, Mr. Morton.

I didn't mean the harm.

Don't argue. Get out.

- All right, Vic,

let's try a take. - Okay.

It's in five plants now,

and he starts that course.

- There's a slight

retarded finish. - Yeah.

- Now, we're ready anytime you are,

genius. - Okay, let's cut a record.

Quiet, everybody.

- You ready on Stage B?

- All set and waiting.

Ready, Dave.

(MUSIC)

I'm so in love with you.

You never know.

I've just the thought of you.

Set me aglow.

You're much too

wonderful, too wonderful to be.

Those eyes of yours,

those skies of yours,

of what they do to me.

This love I have for

you, it just kept me.

I'm more in love with you.

Each time we kiss,

to me you're everything my

dream of dreams come true.

Darling, I'm so in love with you.

- Very nice, Mowgi. - Thank you.

Now, Vic, we'll see what

you can do with the playback.

Okay, Stage A, let's hear that record.

I'm so in love with you.

You never know.

Cut, cut!

Don't worry, Vic, it's all right.

Stage A, put that record on again.

Yes, sir.

(MUSIC)

I'm so in love with you.

You never know.

I've just the thought of you.

Set me aglow.

You're much too

wonderful, too wonderful to be.

Those eyes of yours,

those skies of yours,

of what they do to me.

This love I have for

you, it just kept me.

I'm more in love with you.

Each time we kiss,

to me you're everything my

dream of dreams come true.

Darling, I'm so in love with you.

- How's it going, Vic?

- Good, how's it going?

How's the flowers, Vic?

Hey, tell me.

- Goodbye, nice one. -

Jimmy, what are you doing here?

Hop in.

I couldn't wait till

tomorrow night, sweetheart.

I was all nervous, you know, jumpy.

So I ate a couple stalks

of celery, still jumpy.

So I decided to drive

by and take you home.

Jimmy, you're a fool, but a nice one.

You're quite afraid, home, James.

I thought we were going home.

Oh, I want to talk for a while.

Hmm, just look at those lights.

Isn't that beautiful?

So are you.

Get a bang out of those lights. I'm not a fool. I'm not a fool. I'm not a fool. I'm not a fool. Get a bang out of

those lights, don't you?

Mm-hmm.

I like to sit here

and conjure up pictures.

What's going on around

each little cluster of lights?

Coppers holding hands, kids raiding ice

boxes, people making plans.

Hold up, guys, frisking

victims, robbers opening safes,

coppers in the assortment of pinches,

suckers getting clipped in night spots.

Are you such a cynic?

I'm not a cynic. I'm a newspaper.

I'm interested in those things.

How'd the recordings go tonight?

Just fine.

Bogey's got a swell voice, hasn't he?

Yes, he has.

What did you say?

Bogey's got a great voice.

I saw him dubbing it for

your friend Victor tonight.

You were recording stage?

Yeah, it's a long show.

Oh, boy.

Wait till my readers find out that the

sensational new singing star, Vic Morton,

can't even sing a note.

Jimmy, you're not going to print that.

Why not? It's hot news.

I'll lose my job.

Are you sure?

I'm positive.

That's good.

I've been trying to get you to be Mrs.

McDonald for a long time.

I think it's very unfair of us to

maintain two apartments,

with the housing situation the way it is.

If you print that story, you can just

check me out of your life permanently.

You are crazy about that, Yoda.

You know I'm not.

No, I don't.

Well, I think you'll be mighty small if

you knock his career in the head

just when it's getting started.

It's a phony career,

and I don't like phonies.

Okay, okay. So Bogey

is doubling his voice.

What of it? It's been done before.

But you've got

ghostwriters in your business.

It's not hurting anybody,

and the public is being fooled.

Fooled.

Entertained.

That's what I said. Entertained.

Oh, Jimmy, please.

Just let him get a couple

of pictures under his belt.

The story will be just as big then, and

by that time, he'll be

so firmly established,

it won't hurt him.

Please, Jimmy.

And what happened does get

those pictures under his belt?

Do we or do we not put

our furniture together?

You're a hard man, Jimmy.

[music]

Get that barn door down.

Put a scrim on number two.

What?

Harry?

That's a way to number

five, wouldn't it, Dolph?

Bill?

Yeah.

Take it down a couple of times.

See you in a second. Now put that...

That does it.

Can you get that stuff on?

Cut out the jig around me, understand?

Now remember, Vic, the heavy comes in

just as you take the girl in your arms.

Now, you don't know that you're playing

with fire, so you take it all very

wide-eyed and innocent.

Then when he gets tough, you get nasty

too, you understand?

Sure.

Got your gun all set?

I did.

Well, props, the gun.

Here you are.

Thanks.

Ready anytime you are, sir.

All right, let's take it.

First team in, Mr. Morton,

Mr. Faircharm, Mr. Long, please.

All right.

All right, quiet,

everybody. This is picture.

Okay. Action.

Let's not waste time on

ancient music, darling.

We've got things to talk about.

I'm not sure I want to talk.

I'm not so sure you should even be here.

Why are you so elusive, Lana?

You know I'm crazy about you.

I feel the same way about you, but

there's so many things

you don't know about me.

Nothing that could make any difference.

Believe me, darling.

I wouldn't be so sure, Kooner.

Who are you?

Go ahead and tell him who I am, baby.

What's the matter? Can't you talk?

You used a lot of pretty words when you

were telling me this guy

didn't mean anything to you.

Now, hold everything whoever you are.

The name's not whoever you are, pretty

boy. It's Trigam Malone.

Seems kind of a shame to

break up such a pretty room.

I guess I'll have to do it.

Move over there so I won't

break that mirror behind you.

I'm kind of superstitious.

Trigga, don't!

What are you laughing at, pretty boy?

That name of yours.

Can't be Trigga. Trigga's a horse.

That's a very funny crack.

Too bad you won't be

around to make any more of them.

Cut! Cut!

Oh, come on, here.

Is it smart to do something

wrong? Let me see that gun.

Look at that mirror.

Those are bullet holes.

Boy, these cartridges are the real McCoy.

Dick, I gave him my word of honor. I

didn't know anything about it.

Lucky for you, this guy's aim was bad.

This ought to convince people that

threatening letter

wasn't the work of a crank.

Be sure until that to Armstrong.

I certainly will.

Where's that prop, ma'am?

Cut! Cut and center!

Yes, sir.

How do these real

bullets get in this gun?

I'm sure I don't know, Mr. Hendricks.

I loaded that gun with blanks.

When?

Last night, just before I wheeled the

prop truck on the stage.

Did you see anybody fooling around the

prop truck when we were lighting up?

No, sir.

He better call the police.

Oh, Dick, call headquarters.

Lock those doors, don't let anybody out.

The police will want to

ask you a lot of questions.

Let them ask. Why should I

want to get Mr. Morton killed?

There weren't a lot of

people I can think of.

(Dramatic music)

For the life of me, I can't understand

why you joined that property man, Luce.

It's stupid.

I'm very stupid on occasion, especially

when I pick up a guy

who has a perfect record.

As a prop man, he's never made a mistake.

Any new suspect, Lieutenant?

No, not a one.

And we questioned everybody that was on

the stage when it happened.

But maybe this would be

killer. We'll try again.

You're trying to be funny.

Well, anyway, you got some swell

publicity out of it.

There's one thing I

like about you, Connelly.

You're an agent and

you always talk like one.

Oh, boy, boy, please.

Well, the publicity

didn't hurt him and he did it.

You can get a lot of swell

publicity out of a funeral, too,

but Dick ain't

hankering to get it that way.

Oh, you son. Not if I can help it.

Mr. Morton, I'm scared.

What's the matter with you, Sally?

Well, this just came in the mail and the

address is printed

just like the other one.

What is it? Another death threat?

Yes. Let's have it.

Next time we won't

miss, it won't be long now.

Let's see the envelope it came in.

Anything outstanding

about the envelope, Danny?

Yeah.

Yeah, there's only one particular

organization that

carries this type of envelope.

Any United States Post Office.

Well, that narrows it down

to only 140 million people.

All right, places, everybody.

Hurry up and make it

snappy, you lovely people.

Now remember, Vic, you don't spotter in

the audience at the end of your song.

Then when you do see her, you take it

big, but you manage to finish the number.

Then you walk down to her

table. That's where we'll cut.

Are you sure you're feeling all right?

Stop talking like an

undertaker and let's get on with it.

All set, Mr. Hendricks.

Okay, get them quiet

and we'll try a take.

All right, quiet, everybody.

And that goes for the visitors, too.

Roll them.

They're rolling.

Speed.

Let's have the playback.

I turn it on.

She won't look.

She just won't be a pal.

She's done everything that's in the book.

I just can't get that gal.

I play it fast.

I play it loose.

She's in a high school.

She can come for me.

Why do I have to go for a

gal who doesn't go for me?

She says hello.

But in a rush, I get a fast high pal.

Instead of love, I get the brush.

Just can't get that gal.

With gals, a dime a dozen.

Speaking company.

Why do I have to go for a

gal who doesn't go for me?

She says hello.

But in a rush, I get a fast high pal.

Instead of love, I get the brush.

Just can't get that gal.

Just can't get that gal.

You got a nice bud?

Vic, are you all right?

Who fired that shot?

That was no shot. I just dropped one of these bulbs.

I ought to have you fired for this.

Take it up with the union, bub.

Boy, you are just as nervous as a kitten

when that electrician dropped that bulb.

Forget it, will ya?

Well, all right, all right.

Somebody?

Yes, indeed. I'm here to see Vic Morten.

Is that Mr. Martin, are ya?

Why don't you ask him?

Tell him Bill Powers is here.

Okay, sir, where you are.

Yes?

There's a Mr. Powers

here to see you, Mr. Martin.

Just a minute.

Hiya, Vic, oh boy.

Oh, Bill.

What kind of a hello is that when I've

got big news for you?

Come on in.

How are you, Boogie?

Solid, Bill.

Sit down. Thanks.

Vic?

I've got you set for 13 straight weeks in

a package deal at $2,500 a week.

Please, no foolin'?

That's right. Starting on the 15th.

All I want from you now is two things.

Your signature on the contract and the

songs you're gonna use

on the first program.

Songs?

Sure, we've got you spotted for three

numbers on every program.

I'm not singing on any radio program.

Not singing?

That's right.

When you came to me about this before, I

thought you were

talking about a dramatic part.

Are you crazy?

Who wants drama from a picture crew?

Boy, what a deal I set up for you.

A choice evening spot, big name band,

everything first cabin.

Not interested.

Not interested?

Nope.

Now, wait a minute, Vic.

What's the matter with

you? You look worried.

I am. Bill Powers is

in Vic's dressing room.

He's got a national hookup program where

the spots are all set.

The deal wouldn't have

to take $2,500 a week.

How can Vic take a radio

program? He can't sing a note.

I know.

Well, what'd you let

the guy on the stage for?

Well, I just couldn't say

no and let it go at that.

We have other stars in the lot, you know.

I thought I'd better tell you about it so

you can think up a good story about why Vic turned on the radio.

He turned down all that dough.

Yeah.

Look, Vic, there must be a reason for

your turning down $2,500 a week.

That's more money

than you making pictures.

If someone else is bidding

for you, why don't you say so?

Perhaps we could even up the money.

No one else is bidding.

I've given you the only reason.

I just don't consider radio the proper

medium for my talents.

That's a very high sounding phrase, but

if you don't mind my

saying so, I think it's a phone.

Don't call Vic a phone.

I didn't ask you to come here. Now do me

a favor and get out.

I'm not leaving until I hear a better

reason than you've given.

You're leaving right now.

Hang it easy, buddy.

There's something screwy about this and

I'm going to find out just what it is.

Tough turning down that

kind of dough, ain't it?

Yeah.

Maybe we can figure out some way to fool

them over the radio, too.

Why don't you shut up?

Oh, now, Victor, don't get

your back up at all, Vokey.

Why the hell?

able digging

♪ (dramatic music)

(gunshot)

♪ (dramatic music)

(screaming)

(gunshot)

- Look, Mr. Connolly,

I'm a very patient man,

but there must have been something in

your file on Vic Morton

that Powers wanted. What was it?

- You got the files, you

know as much about it as I do.

- Still covering up, huh?

- Covering up what?

- I'm asking the question.

- Why question me, the man was killed

while ransacking my files.

Even if I killed him, which I didn't, you

couldn't prosecute me.

- You think so?

- I know so.

- Before you were discovered by pictures,

you were a saxophone player,

weren't you, Mr. Morton?

- You've been delving

into my past, haven't you?

- Look, can't anybody give me an answer

around here? All I get is questions.

Where you were weren't

you a saxophone tutor?

- I was. Is that

anything to be ashamed of?

- Another question.

You worked in the band

with Morton, didn't you?

- Oh yes, indeed you. For

eight long years, we had a--

- Never mind, I'll get back to you later.

- Yeah.

- You had a battle with Powers in your

dressing room yesterday, didn't you?

- We have a little argument about a

contract you wanted me to sign.

- Anything that might have

prompted you to kill him?

- That's a silly question.

- Yeah, maybe so. But you'd be surprised

how many crimes I've solved

by asking silly questions. For instance,

I noticed you tie

knots in cigar wrappers.

- What?

- Just a habit, I guess. What of it?

- I found this one on the

floor, not far from the body.

- That could be. I was in Mike's office

yesterday afternoon.

- Is this your gun?

- Why, yes.

- Where did you get it?

- One of my men picked

it up in your office.

By a strange coincidence, Powers was

killed with a .38 caliber

gun, just like this one.

By another strange coincidence, the gun

had just been cleaned and oiled.

You did that right after

you killed Powers, didn't you?

- He did not. I ordered up

that gun myself yesterday.

- Yeah, why?

- Big's been getting letters from

somebody saying

they're going to kill him.

- I figured his gun would

be in good working order.

- You can't be in this

killing home, Victor, mister.

- No?

- I was with Big last night in his

apartment running over a song.

- What time did you get there?

- About 8 o'clock.

- What time did you leave?

- About 1 o'clock in the morning.

- And Morton was--

- All that time?

- Well, practically.

- What do you mean practically?

- Well, I just happened

to wreck a lagged dog.

Big got a phone call. He

was out for a little while.

- How long?

- Ah, maybe a little bit longer.

- That gave you plenty

of time to kill Powers.

- Probably.

But it so happens I was with somebody

during the time I was out.

- Who was it?

- A lady.

- It couldn't have been you who could

have just went with.

- It certainly

couldn't. Tony was with me.

- All evening?

- All evening.

We wound up at the Brown

Derby at 2.30 in the morning.

We're going to have plans for our new

house on the table floor.

Don't tell me you've got the table floor.

- All right, Morton.

Let's have a name of the lady.

- No.

No, I'm not going to

have her mixed up in this.

- That's very noble of you.

Maybe you'll change your mind after I

book you on suspicion of murder.

- Don't be foolish, Big. You've got too

much estate. Tell him.

- It's nothing doing.

- I'm a very reasonable guy, Morton. I'll

make a deal with you.

Take me to the lady.

And if your alibi sounds like the real

McCoy, I'll never

word about it to anybody.

If you want to protect

her, that's the way to do it.

If I have to find her myself, you'll make

plenty of headlines.

- All right. I'll take you to her.

You gentlemen are familiar with the city

limits. Just stay inside them.

I may want to ask you

more questions later.

- Danny, I've got an angle on this.

- You always have an

angle. Come on, Morton.

- But, Danny, listen.

- I'm hungry.

But he ought to know about this.

- It'll just... I'm famished. Come on.

- Okay.

- I've been when I was about to give

Danny my angle on the case.

- Because you promised you wouldn't tip

off the fact that Bogie

is Big's voice, remember?

- Yeah, but there's been a murder since I

made you that promise.

If you think I'm going to cover up on a

killer, you're crazy.

Big killed Powers because he

was too close to the truth.

Powers might have been such a secret.

- Mr. Connolly's on the phone again.

- Did you tell him I wasn't in?

- Yes, but he wouldn't believe me.

I never heard of such a distrustful man.

And such language.

- Okay. I'll talk to you.

Hello, Mike.

- What's the idea you hide now, Morton?

- Just a moment.

You can close the door on your way out.

- Hmm. As a confidential secretary, I'm

not very confidential, am I?

- Okay, Mike. Go ahead.

- I suppose you know you've kept the

whole company waiting to shoot since 9

o'clock this morning.

- I'm sorry. I'm not working today.

- Why not?

- This murder business has me jittery.

I'm in no mood to do any acting.

- Oh, so now you've got a mood.

Well, get over to the studio quick.

Don't forget we've got a contract to live

up to, and there's

nothing in it about a mood.

- That's true, but there are a lot of

other things in it I don't like,

including that 40% cut you're taking.

- Yeah? Well, let me tell you something.

That contract is perfectly legal, and

it's got three more years to run.

- Oh, yeah? Well, maybe it won't run that

long when my lawyer gets

through picking up the loopholes.

- Loopholes are no loopholes.

You're gonna work out the three years if

you want to keep out of trouble.

- Yeah? - Yes.

You were nothing when I picked you up.

Try any funny business, and you'll be

less than that by the

time I get through with you.

I'll be at the studio in a half an hour,

and you'd better be there.

- Majestic Studios? I'd

like to talk to Pete Schilling.

- Having a little contract trouble with

Vic? - Who told you?

- How did you get in here? - I just

walked in. Your

secretary seems to be out.

- Well, get this before

I... - Pete Schilling, talking.

- Hello, Pete. Never mind. I'll see you

out of the studio in a short time.

- The studio? - Yeah, I'll

tell you all about it out there.

- What's the idea... -

What's wrong with Eve's dropping?

I've been doing it ever

since I was a cup reporter.

As a matter of fact, once I Eve's dropped

on the Night City

Editor and the operator,

next day I was a full-fledged reporter.

- Ooh, you funny man. - What's the beat

between you and Vic?

- Why should I tell you? - Don't tell me.

Well, you know how it is between agents

and clients, always battling.

An agent works his heart out and what

does he get in return?

- Nothing but a lot of abuse. - Seems to

me I just heard you

giving Vic a lot of abuse.

Doesn't it scare you just a

little bit to get rough with him?

- What are you talking about? - Well,

let's just say for the sake of argument

that he did kill powers.

What's to prevent him

from knocking you off?

Now you're talking like a crazy man.

Anything else on your mind?

Yeah, yeah. Why did you turn down that

radio contract that would

have netted Vic 2,500 a week?

Look, McDonald, I don't

know what you're driving at.

But if you take my advice, you'll stick

to straight reporting instead

of trying to be a detective.

In other words, quote,

"No comment." Unquote.

That's right. No comment. Quote.

Well, there's no harm in trying.

It couldn't be that your

canary cannot warble a note.

Majestic studio. Let me be

chilling right away. Yes, hurry.

Oh, Mr. Morton, it's another one.

Die before the week is

over. This is the end.

What are you standing there for? Get

Detective Armstrong on the phone.

Who's this little boy?

Working late tonight, huh, Mr. Connelly?

Mr. Connolly, the

poor man is found asleep.

Wake up, Mr. Connolly.

I've got a clean in here.

(Screaming) (Music)

What is it?

Remember me, Ms. Connolly,

McDonald, evening telegram.

I'd like to ask you a few questions.

Come in.

Thanks.

I hope you don't mind.

Nice place. Mike must

have been in the big chip.

Look, I told the police all I

know about my husband's death.

I have nothing to say to you.

I think you do. I want to talk to you

about Vic Morton and yourself.

(Music)

You're sure you didn't see anybody

hanging around the building last night?

Not a soul except Mr. Connolly.

And he wasn't hanging

around. He was dead.

Yeah, we found that out.

Where were you last night?

Are you insinuating that I killed Mike?

I'm not insinuating anything.

I'm asking you where you were.

Why pick on me?

Because Connolly was killed by a shot

fired at close range.

All the windows in the office were closed

and locked on the inside.

That means someone he knew and trusted.

Someone he let into the

office himself did the killing.

Mike knew a lot of people. Why should I

want to kill my manager?

It could be because of that hot argument

you had with him yesterday over that

contract when he threatened to ruin you.

Is that on the level?

Sure. I walked into Connolly's office and

they were going out and hot

and heavy over the telephone.

Connolly threatened to send

him back to the small time.

Better start talking.

Okay, we did have an

argument. But I didn't kill him.

I have an alibi, a perfect one this time.

Not even an hour

missing. With the same lady?

No. With a different one.

I was with Vic from

early evening until midnight.

Do you mind telling

me what you were doing?

Not at all. We were mapping out a

publicity campaign. Vic

was giving me his background.

After that, we stopped for a soda and

drive in. Then he took me home.

Sounds like a very dull

evening to me. It's quiet.

Now look, folks. We're going to be here

until somebody opens up.

I saw that little hand-patting act he put

on with you at the

homicide office. What did it mean?

Nothing. It was an ordeal for

me. Vic was being sympathetic.

Sympatico, eh? That's a little hard to

believe after the contract

trouble he had with Mike.

You're holding out something, Ms.

Connolly. What is it?

I... I don't know what

you're talking about.

Oh, yes, you do. This

thing is beginning to add up.

You know, sometimes a jealous husband

gets himself killed

instead of being the killer.

You're wrong. My being with Vic that

night was entirely

innocent. Please believe me.

Sure, sure.

Well, thank you very

much, Ms. Connolly. Goodbye.

We've got a big help,

Tony, and I want to thank you.

Oh, I'm only too happy

to do anything I can't.

No. Miss Wentworth, this is Dave

Sephroni, United States

Postal Inspection Service.

How do you do?

Hello, Miss Wentworth.

We always work close with the postal

authorities when

threatening letters are involved.

Dave here thought he'd like to ask you a

couple of questions, and as much as

you're very close to Vic Morton.

Well, I'll be happy to answer any

questions that I can.

Fine. Tell me, Miss Wentworth, can you

think of any of Morton's acquaintances

who wear pigskin gloves?

Pigskin gloves?

Yes. A man who makes a

habit of wearing pigskin gloves.

No, I can't think of anyone.

What's the dope, Dave?

By screening our male pickup trucks,

we've narrowed this thing down to three

mailboxes in Huntington Park.

The next letter, the

fellow males will grab them.

What makes you think it's a man? There

were no prints on the envelopes?

No fingerprints. That's true.

But we did get a glove

print from the last one.

The sender wears a size nine pigskin

glove. That means a

man dropped the letters.

Well, what if he

doesn't send another letter?

The last one said this is the end.

Killers who send warning notes get a kick

out of torturing their intended victims.

He'll probably send another one.

Well, thank you very much, Miss

Wentworth. I'll keep

in touch with you, Dan.

Right, Dave.

Excuse me.

Excuse me.

Well, Danny, my boy, I see you're still

solving murders sitting

on the back of your lap.

It's quite a pleasure

seeing you here, Miss Wentworth.

You're going to be very

interested in what I have to say.

I can tell by the gleaming of your eye

you've been playing detective again.

All right, let's have it.

I got news for you. Ann Conley and Vic

Morton are very close friends.

Is that all?

Is that all?

Don't you realize what that means, Danny?

Conley found out about them. They had a

battle in his office, so Vic shot him.

Look, for your information, there is

nothing phony about the relationship

between Vic and Mrs. Conley.

She was Vic's alibi for that missing

arrow when Powers was killed.

Yeah, then why didn't

you say something about it?

Because it's none of your...

Tony, will you tell the man the reason

you made up that alibi is because of a

misguided sense of loyalty?

I shall tell him nothing of the kind. But

I'll tell you plenty

when I get you alone.

All right. Maybe we better find a nice,

quiet little spot and

have at it, my darling.

You're never better, my dear.

Uh, look, Jimmy.

Yeah?

Have your fun playing copper, but don't

get too serious about it.

You might get in my way.

That sounds like a threat,

Danny, but it doesn't worry me.

The way you're handling these murder

cases, you wouldn't even

see me if I did get around.

And don't get me

wrong, Danny. I like you.

And when I do find the killer, I'm going

to turn him over to you,

just as a friendly gesture.

Come on. You talk too much.

Hey!

Hold it, mister. I want you.

Who, me?

Yeah. You. Come on.

Look, fella, why don't you

make things easy for yourself?

You can best send in the letters. Why did

you kill Powers and Connolly?

I told you I didn't kill him.

And why'd you send the letters?

I told you why I sent them.

And again, I got a short memory.

Oh, that crooner's a mean guy.

Always making it tough for little people

like me and plenty of others.

I just wanted to make him

suffer a little. That's all.

So you sent him a threatening note.

Yeah. What about it?

You'll find out after you've been in

federal prison for a while.

♪ I just say ♪

♪ I never knew I even had a voice ♪

♪ But my heart is

making music here inside me ♪

♪ And I have no choice ♪

♪ When you've just been killed ♪

♪ I never knew that I could stay ♪

♪ But here I am,

I'm making up a tune ♪

♪ I'm a little bit

befuddled in these builders ♪

♪ And I'm a little bit befuddled in these builders ♪

♪ But here it is, the moon ♪

♪ Never knew that I could stay ♪

♪ I never knew I even had a voice ♪

♪ But my heart is

making music here inside me ♪

What do you want?

Just dropped in for a social call.

Come on in. Thanks.

Very nice. That song you were singing.

You were sure tearing the pants off that

number. What's the name of it?

Got it, man.

Something you cooked up yourself?

Yeah, a long time ago.

Do you mind if I sit down or do you

always entertain your guests standing up?

Oh, sit down.

Thanks.

How about buying a guy a drink?

How about buying two drinks?

I'll have one with you.

Good. Hey, fellow, what's the

idea of snooping around here?

Nah, nah, I wasn't snooping.

I was just naturally curious when I saw

this picture turn face backwards.

Pretty good picture,

you. That's Vic, isn't it?

Yeah, that's Victor.

Here's your drink.

Thanks.

That song you were singing, I'll bet

that's the one that you and Vic used when

you were playing One Night Stance.

Man, you're so right.

It used to be my big space.

Every time I'd sing that tune, the boys

and girls would stop dancing and gather

around the bandstand just to listen.

Well, here's the good old

days and One Night Stance.

Easy, does it?

So you really made him swoon when you

were traveling the sticks, huh?

Nah, that was for both

ties and swooning came in.

But I did all right for

a guy with a homely puss.

The chicks used to write me mash notes.

No fool.

What about Vic? Did

he get mash notes too?

He was just a sax tutor. He's only the

singer who got the spotlight.

That was me.

Funny how one man can

change things, ain't it?

Mr. Schilling happened to catch our band

one night in Medicine Hat,

Montana, and everything changed.

First I thought he was aiming to put me

in the pictures, but it

turned out it was Victor he wanted.

Well, Vic's a good-looking guy, ain't he?

Yeah, he's a swooner guy too.

So the old outfit busted up.

Thanks.

Why didn't you carry on without Vic if he

were doing all right?

Well, I owe Victor a lot.

You know, well, one time in St. Louis, I

got all jammed up without a dame.

Guess I was out of my mind anyway. I was

fixing to do something crazy.

Victor stepped in and stopped me.

You just can't turn a guy down and it

saves your life, so I'm here.

So it was Schilling that discovered Vic.

No wonder he hangs

around him all the time.

Why not? Victor's a valuable property.

Only he ain't gonna be valuable long if

these things don't stop happening to him.

He's so jittery now, he's just

this side of a nervous wreck.

The first thing you know...

Yeah, the first thing you know, we'll

both be out of jobs.

Vic would hate that, wouldn't he? He

might even have to go back to the sticks.

Vic, go back. He's too proud.

What about you?

Whoever heard of a stooge being proud.

But Mr. McDonald, I don't know whether

Mr. Morton would want you to come into

his office when he's not here.

From the things he said about you, I

don't think he likes you very much.

Don't worry, Sally. The feeling's mutual.

What are you doing?

Just measuring the wall for a new

picture. See you later.

But wouldn't I tell Mr. Morton?

Don't tell him anything.

Hello, darling.

Hello.

Still sorry of me, aren't you?

Why, of course not.

I'm just crazy about people who try to

convict an immigrant man of murder.

Glad you brought that up. I'm about to

expose the real killer.

That is with some help

from you and Danny Armstrong.

You will help me, won't you?

No, thank you. I don't want any part of

your wild-eyed detective scheme.

I suppose you've cooked up a

new deal now to involve Vic.

Oh, come on, honey. Let me

in out of the court, will you?

I know I've made mistakes, but I want to

marry and make a lot more mistakes.

You've got to learn how to forgive me

sometimes. Why not now?

Well, all right. I'll

forgive you, you big lug.

But you've got to promise me that you

won't be jealous of Vic again.

Would I be jealous of him

and trying to save his life?

That's what I don't get.

But you will when the

murderer is captured.

What I want you to do is authorize an

announcement right now

that Vic Morton, the crooner,

is making his last singing picture.

What?

That he does nothing but

dramatic parts from now on.

Oh, but Jimmy, that's crazy.

Well, if you care if it traps the killer,

I'll fix it with my city

editor to give it big headlines.

But you hear me, I--

Don't argue with a man

who loves you, darling.

I've got to get to Danny Armstrong right

away and complete the plot.

What do you say?

Okay, I'll string along.

That's smart, baby.

[Music]

Okay, go ahead with the Russians.

Back.

Turn it on, but she won't look.

She just won't be a pal.

Done everything that's in the book.

I just can't get the gas.

I play it fast, I play it loose.

She's in a high carat.

But still I'm in that old caboose.

Just can't get the gas.

With gals a dime a dozen.

Seeking company.

Why do I have to go for a

gal who doesn't go for me?

She says hello, but in a

rush, I get a fast high-pass.

Instead of love, I get the brush.

Just can't get the gas.

With gals a dime a dozen.

Seeking company.

Why do I have to go for a

gal who doesn't go for me?

She says hello, but in a

rush, I get a fast high-pass.

Instead of love, I get the brush.

Just can't get the gas.

Just can't get the gas.

Say, Sal, you better

get back to the office.

See if there's any more

news for Miss Wentworth.

Well, that's the last phase rushes.

Are you glad the picture's finished?

I should say so.

Say, by the way, do you know anything

about this gag in the newspapers

about me not making any

more singing pictures?

Well, Tony says it's Jimmy's idea.

Yeah, he thinks that you're

announcing to quit singing.

We'll trap the

murderer into trying to you.

Oh, that's fine. That's fine.

So now I'm supposed to be a guinea pig.

That guy gets the craziest ideas.

Well, from what I understand, you haven't

anything to worry about, Vic.

The police will be outside.

Sounds daffy to me.

What good does it do me

if they catch the killer

and iron up with the bullet in me?

Oh, don't worry, Vic.

Jimmy's got to take care of everything.

(SIREN WAILING)

(SIREN WAILING) (SIREN WAILING) (SIREN WAILING) (SIREN WAILING) You asked me. This is a

complete waste of time.

The score doesn't say so.

Up to now, I'll get

you stuck for 13 bucks.

Mm, that helps.

Because, you know, I'm not particularly

interested in saving your life.

Saving my life? That's ridiculous.

Sure, it's ridiculous.

But every now and then,

I'll do something

against my better judgment.

Jen, hope I got you stuck

for plenty. Start counting.

Hello, Bogey.

Hello, Victor.

What are you looking so gloomy about?

Here, sit down and kibbitz the game.

This guy's beating my brains out.

It's kind of silly talking, Victor.

What is this, a gag?

I never quote gags, do I, Victor?

If it isn't a gag, what is it?

Remember what we used to say when we'd go

for a hot-hot lick in the band?

Somebody'd yell at Smarter Jackson.

This is double-Marter Jackson.

What are you trying to do,

build your string up to four?

That's right, mister.

- This is where we go in. - No, not yet.

Wait until Jimmy gets

the whole story out of it.

I can't throw it with blanks anyway.

So you did kill Connelly in powers.

What do you think?

I'll tell you what I think. That is, if

you've got some time, go ahead and spot.

This ought to be interesting, but,

Victor, you're a smart man.

Victor's a dog.

Now listen, pokey.

Shut up.

Go ahead, mister.

All right. To begin with, you've hated

Victor for a long time, right?

I just said you're a smart man.

You used to be a butt when you were

playing with that jam band.

Got to feeling powerful.

Didn't like being a stooge after being a

big shot. How does that sound?

I couldn't have said it better, mister.

Don't kid me. You

couldn't have said it as well.

Better get on with your saying it's the

last you're gonna do.

Okay. You hadn't planned to commit murder

until Vic started

getting those death threats.

You decided to kill Connelly

and make Vic appear the killer.

Your chance came the night Vic went out

and met Mrs. Connelly.

You went out yourself during that hour,

went to Connelly's office,

found Powers and shot him. Why?

I'm sorry I killed Mr.

Powers. I thought it was Connelly.

Well, it's nice to

know that you're sorry.

Have your fun, mister,

but you better be quick.

Thanks.

When Vic and Connelly had that big

contract fight, you were sure that if you

killed Connelly, Vic

would be blamed, right?

He would have too if that girl of yours

hadn't shot off her big mouth.

My girl's mouth is not big.

Pretty good blanks, ain't it?

You switched them back.

Yeah, I know all about switching bullets.

Remember the prop box?

Now you and Victor are

gonna get the rest of them.

Nice shooting, Danny. Thanks.

Don't mention that I can

do the same for anybody.

You got a radio station where I'm going.

Tune in sometime. I'll give

you a singing lesson. Come on.

Oh, Jimmy, weren't you scared when you

found out the gun was

loaded with real bullets?

Are you kidding? Me? Scared?

You brave, brave man.