All language subtitles for Indiana s03e20 Mystery Of The Blues.eng

Whoa!

Good Lord!

This is not as you said
it would be, Dr. Jones.

- I got it back for you, didn't I?
- Yes, but for how long?

God it's deep!

- Good driving.
- It's not my first time, you know.

- Looks like a storm is coming.
- Good, that'll help us.

This is good.
The snow is going to cover our tracks.

If we don't find shelter soon,
it's not going to make any difference.

Look. Come on.

I really hope
that you can get us out of this.

Relax, Greycloud.

Nobody is going to come after us
till this storm dies down.

This is probably the most sacred relic
of my people's past.

Well, here's a sacred relic of my past.

Reminds me of working my way
through the University of Chicago.

You playing that?

No. No, I was a waiter.

But that's an art in itself.

You know, you don't start at the top.

You work your way up,
perfect your style

till you are at the top,
like Colosimo's Restaurant,

best food, best service
and best jazz in Chicago.

I was crazy about jazz.

Hey, kid. Hey. What is this?
This is not what I ordered.

Jonesy, Jonesy,
have we got a problem here?

Tell me we don't got a problem here.

I ordered the osso buco.
This looks like a fish to me.

Jonesy will take care of it right away.

And the next round of iced tea is on me.

Hey, where's my fish? There it is.

Jones, wake up. Here's your osso buco.

Come on.

That's for the orchestra?

That was sweet. That was really sweet.

- Good night, Indy.
- Good night, Babs.

You know, I heard King Oliver play
in New Orleans when I was 12.

You ever get to play with him?

Person's talking to you, Sidney.

Kid, he jammed with the King
when he was still in short pants.

- How come Sidney don't talk to people?
- Well, he talks to people he likes.

- He never talks to me.
- Yeah, goes to show you.

Indy, would you close the window?
I'm soaking wet.

The breeze is going
to give me pneumonia.

- I'm hot.
- Well, I'm freezing.

Come on, Eliot, let's go out.
I can't study tonight.

You're crazy. It's midnight.
I've got an 8:00 accounting class.

Let's just go down to the Royal Garden,
catch one set.

- Forget it.
- Eliot...

Just don't ask me to keep you company
at another one of your aunt's dinners.

You're such a square.

Why, because I need
a good night's sleep?

You're the world's youngest
stuffy old fart.

I am not.

I'm telling you as a pal,
you're a 70-year-old kid.

You need to loosen up.

Now get your coat.

Look, that's Baby Dodds on drums
and his brother Johnny on clarinet.

This is not like the Rosemont cotillion.

How you doing, gentlemen?
What will it be?

Two waters, please.

- Don't stare.
- I'm not staring.

Look, there's Bechet.

Listen to that syncopation!

Listen, listen.

Da, da,
The notes coming in between the beats.

- Yeah, that's what's different.
- Yes, the jazz rhythm syncopation,

- they play them behind the beats.
- You can't tell me

you think this is better than
Mozart or Puccini.

Eliot.

What the heck is this?

- I think it's gin.
- I thought you ordered water.

Guess they gave us Prohibition water.

You know my brother-in-law
works for the Bureau of Investigation.

It would not look good for him
if somebody saw me here.

- Relax, no one knows you're here.
- My parents would kill me!

- I'm leaving.
- Hey, watch yourself, kid.

- Sorry, sir, it was an accident.
- I don't like accidents.

- Come on, get out of here...
- Sorry.

Come on, get out!

Eliot, get up.

- I lost my beanie.
- Get up!

- Hey, is this what you're looking for?
- Hey!

- Excuse me, could I please have...
- No, no, no, no! Sir! Sir!

Excuse me. Gee whiz!

Come on!

Children... Hey!

Excuse me... Ma'am, ma'am...

Hey! Hey, you kids!
Get your behinds out of here.

I want to see the backs of it.

- Do you hear me talking?
- We're going, sir. We're leaving, sir.

- We're leaving.
- Who's messing this up here?

These kids are busting up the place,
that's who's messing.

Sid-man, this is all really
a big misunderstanding. Actually...

- Sid, you know these kids?
- This one.

Yeah, me and Sid-man, we're pals.
We work at Colosimo's together.

He'll vouch.

I was going to
throw them out of here, Sid.

Fine by me.

Get them out of here.
Get your behinds...

Get them out of here!

Now, keep walking!

Get out of here and don't come back!

I wanted to apologize about last night.

We weren't there to make trouble.
We just... We just wanted to listen.

You got a funny way of listening.

Place got shut down last year
because of a riot.

You thinking about starting
another one?

- No, no, I...
- A little excitement never hurt no club.

What you schoolboys doing
hanging around the club, anyway?

For the music.

I grew up listening to Tom Turpin,
Eubie Blake, Jelly Roll Morton.

I've got all Scott Joplin's music.

When I went to New Orleans,
my parents had to drag me away

- from Preservation Hall.
- I played there.

And Liberty Hall.

- And Pitman's.
- Yeah.

Hey, now, that's the place. Yeah.

You've heard the best, then.

I used to sit in the hotel window all night

and just listen to the street musicians.

Kid's got it bad.

Sid-man, you might as well accept
this man's apology

or he's going to talk you all night.

I think he might.

Some people think Johnny Dodds
is best on clarinet,

but I know if you took him
on in a cutting session,

- you'd blow him away.
- Now that's butter, Sid.

That's so much butter,

you could butter all the bread
in Chicago with it.

Well, I do hope you accept my apology.

You play?

Well, I took piano lessons
when I was a kid

and I played some ancient flutes,

- pan pipes.
- Pan pipes?

- Kind of like a flute.
- Anything else?

Well, in the army I learned soprano sax.

A little. Just...

You say soprano sax, huh?

Well, I didn't really get to play it much.
I just started, kind of.

- You have a soprano sax?
- Yeah.

I just picked it up at a pawn shop.

Played around with it a little bit,

but I think I like
those straightened ones.

Good sound
but I can't get enough out of it.

Needs a lot of lip.

- Give it a try.
- Me?

- You said you played.
- Yeah, but...

Now, I figured anyone who loved jazz
might want to fool around with playing.

Sure. Are you sure?

Okay, wow!

Maybe someday I can jam with you.

Why don't you practice a little bit.

Yeah, you hold on to that baby
and play it.

Okay.

So, you guys going to go
check out the club, see who's playing?

No, going over to the Four Deuces
to jam.

Really?

- I bet you guys really smoke, huh?
- Yeah.

Man, we sizzle.

Man, we sizzle so hot
that the fire department parks outside.

Well, I'd sure like to hear that.

Don't you got college stuff to do?

Well, I'd rather hear you jam.

Then you keep your nose clean,
no brawling.

You bet. You bet.
My nose will be so clean.

I've never been to a speakeasy before.

The only difference is that there
when you order a drink,

you don't have to call it tea.

There she is.

Hi, boys. How did it go tonight?

- Pretty much the same as usual.
- That cool?

- Aren't you coming in?
- Not tonight.

Hey, but I'll see you Sunday, though,
all right.

- Thanks, CJ.
- Bye, sis.

Who is this?

Indiana Jones.
I'm a waiter at Colosimo's.

The boy who started the fuss
at the Royal at the end of your song.

You don't like my singing?

No, the fuss had nothing to do
with your singing.

- Really. Your singing is fabulous.
- Really? Well...

I forgive anyone who thinks
my singing is fabulous.

- What do you want?
- Hank, it's us, the band.

Hey, Sid-man.

- Here you go, man.
- Thanks, Al, thanks a lot.

- Can I get a cola?
- A cola?

A real cola.

Jonesy, bring over
a pitcher of lime and gin.

- A pitcher of lime and gin.
- Lime and gin?

For the musicians.

You stepping
and fetching for the coloreds?

- Excuse me?
- Don't you think they're uppity enough?

They're my friends.

Careful who you choose
for your friends.

You don't know
how to stay out of trouble.

Don't worry about me.

That's right.

All right, yeah.

- How did he get so good?
- He's got a lot to say.

The more a man's got to say,
the more complicated his music gets.

Sidney ain't easy. He's Creole.

He's too colored for the whites,
and not colored enough for the negroes.

So he don't belong either place.

I think he's trying to find a place
in the music.

It's amazing.
They just make it up as they go.

You got the basics,
you just got to get loose.

Artie puts the brass on the melody

and Sidney slides all over it
with his own version.

That sliding on the melody
you do with the clarinet

or you do with your voice.

How about you trying to play a tune?

Eliot, this is jazz, there are no rules.
It just flows.

Well, just flow somewhere else.

I can hear you down the hall, Indy.
When are you going to stop?

Maybe I got a lot to say.

Well, say it later.
We won the scrimmage.

There's a party at Sigma Chi, free food.

- I got to get to work.
- You got an hour.

Come on, Susie Hilton's
going to be there.

- Susie?
- Yeah, the cheerleader.

Hey, you know her.
Will you introduce me to her?

Come on.

Indy.

Susie, I'd like to introduce you
to my roommate, Eliot Ness.

Hi, Susie.

- What's in your case?
- It's my saxophone.

Sometimes I jam with the guys,
you know, the band, after work.

- Really?
- Yeah.

- I want you to play for me.
- All right.

Gregory...

- What, you mean right now?
- Indy plays the saxophone.

I want him to play for me.
Let him play a song with you.

- Jones, you play sax?
- Well, yeah.

But, hey, I can see
you're right in the middle of a set.

Indy has played with professionals.

Okay, Mr. Virtuoso, hop on up.
You know April Showers?

Okay, hold it.

Hold it! Hey, hold it!

This is a respectable party, bub.
There's girls here.

- We don't like brothel music.
- Brothel music?

- This isn't brothel music...
- It's the negro music, bub.

It's not respectable. I said clear off.

Toot Toot Tootsie!

- What were you doing?
- I was jazzing.

- Did you like it?
- No.

She's really pretty, isn't she?

She said she didn't like my music.

So she has taste.

Indy, if that square from Delaware
weren't in charge,

you could've really shook the place up.

Yeah, maybe.

- I sound okay?
- Yeah.

That's the best music I ever heard
in this house.

Thanks.

It's time to make a penny.

Yeah, I guess I impressed
some people this afternoon.

- Yeah?
- Yeah.

I was just thinking maybe
you'd let me jam with you tonight.

You were thinking that.

One of the negro waiters there said

I played the best music
he's ever heard at that house.

- Oh, yeah?
- Yeah.

Well, if you're that good,
I guess we better hear it.

Really?

- Okay.
- Jones, Jones. Table Seven.

- Aye, aye, Captain.
- Come on.

Jonesy. Jonesy.

You're killing us, man.

- What?
- You is a danger to society.

Put that honey down.

Oh, man.

- Sorry I wasted your time.
- It wasn't a waste of time, kid.

A good laugh is never a waste of time.

You said you've been practicing.

- I have.
- What you been practicing?

- Jazz.
- Oh, no!

What was I doing wrong?

You don't know the first thing
about jazz, that's what's wrong.

- I love jazz.
- Well, that's fine,

but if you want to play jazz,

you've got to know
where you're coming from.

Hey, he's coming from
the wrong side of the track to start with.

You can play Happy Birthday in jazz

or you can play St. Louis Rag
so straight, it won't be jazz no more.

Two basics that make jazz jazz.

Rhythm and improvisation.

- Piano Man.
- Yeah.

Turkey In The Straws, straight time.

That's the home, Jonesy.

Now let's see
where you can go from there.

Piano Man, play it Caribbean.

And you got African.

African's got that complicated rhythm.
You hear it, Jonesy?

Yeah.

Good ragtime.

- Yeah.
- That's what I'm talking about, yeah.

You got to admit, fellas,
New Orleans, they put it all together.

- That's right.
- See? See here.

They got us coloreds,
the French, the Spanish.

They even got the doggone Creole.

Spanish, spiritual, street music,
parades, carnival,

Mardi Gras, you name it.

Hey, the melting pot of music
is where jazz all began.

- That's right.
- That's right. Yeah.

You hear a bit of everything in there,
Jonesy?

Yeah.

You got to listen to improvise,

got to know where you are
and what everyone else is doing.

There's a reason,

maybe not a rule,
but a reason for everything.

Play it, Sid.

That, boy, is sweet.

That's nice! Yeah!

- Yeah!
- Yeah, all right!

Hey, most white folks
can't get it anyway.

- So don't be upset, man.
- Artie, you're a bigot.

Why you go and say
something like that for?

Don't want the kid to get down,
that's all.

Jonesy, take it easy. Sleep tight
and don't let the Artie bugs bite.

Well, hell, you might have blown
that sweet horn a bit out of shape.

Don't be too hard on yourself.

I'm 23 years old.
I've been playing for 20 years.

Twenty years?

My parents gave me a toy fife
when I started walking.

When I was seven,
I stole my brother's clarinet.

Made the neighbors miserable
because I never quit blowing.

Made my parents' life miserable
because I hardly ever went to school.

Any who, anywhere I could learn from.

And here I am, still working on it.

Maybe I'll never get good enough.

What's enough?

You feel good playing the horn?

Yeah, I did.

Sit down.

How does a baby learn to walk?

What?

Me, my mama told me

I went from one chair in a little room
to another.

Cross the room, grab a chair.
Cross the room, grab a chair.

Back, forth, forth, back.

Then I run back and forth.

Then I hop, then I jump.

But I got the basics of walking first.

What, you get up from the crawling
and start running?

No...

Way to get confident is
to learn one thing at a time.

I got a tune for you.

Here.

Give it a try.

No, you play it too pretty.

Let's not ruin it.

Boy, this baby knows you love it.

It's talking to me.

It's saying,
"Please don't let him abandon his baby.

"I want to play music, too."

Take time.

Learn the rudimentals.

Take one tune,
know it backwards and forwards.

Then we'll talk about making jazz.

Good night.

- Thanks!
- Hey, kid.

Watch where you're going.

This marks the start
of the colored people's beach.

- Hey, Sidney!
- Charlie!

I heard
you at Deuces last night.

- Everybody knows you.
- Yeah, I come here for inspiration.

You know, all them Haitian and Cuban
and African riffs, that's part of jazz.

- Down here...
- Hey, Sidney, how you doing?

...I think it's the biggest part of it
if you ask me.

This is where I've come to learn gospel.

Take your hat off, boy, you in church.

Amen. Amen.

Yeah!

Hello, Sidney. You come late again,
you stand in the back.

Don't need a seat here, Mr. Williams,
nobody ever sits down.

- Yeah, that's true.
- This is my friend, Jonesy.

- Goldie's daddy...
- Mr. Jones.

...her mama, and her brother, CJ.

Well, let's get home

before the whole neighborhood
bores holes in Jonesy's back.

You'd think they've never seen
a white person before.

Mashed potatoes, Mrs. Williams.

Lord, all week
I dream about your cooking.

You tell that to CJ.
You know I got to fatten him up.

He can't gain that weight back
he lost while he was overseas.

- CJ fought in the Great War.
- Yeah?

- I did, too.
- What unit?

I joined the Belgian Army in '16.
I was infantry in Europe, then in Africa,

then I joined the intelligence service.

I didn't know you were a soldier, Jonesy.

- Machine gunner, Second Division.
- CJ was in Marbache, France.

- Tough ground.
- The rats in France

could take over the world.

Yeah, well, if the flies in Africa
don't get there first.

It's amazing those critters
survived all that gas.

Maybe we should have fed them
our rations.

Or let them wear our boots, huh?

Easiest way to kill them might have
been to put a helmet on them

- and call them soldiers.
- It's being back home that counts.

Time heals wounds.
Time changes things.

- You kill anyone?
- Well, it was a war.

How many?

Well, it's hard to remember how many.

Yeah, I thought I'd always remember,
but I don't.

One's enough to remember.

It's that split second when you're alive

and because of you,
someone else is dead.

You got lucky, they didn't.
So many didn't.

So many don't have to live
with their memories.

Coming home, going to college

with kids who've never seen
so much death.

- Sometimes it feels strange.
- Well, what don't feel right

is going through all that, coming home
and not having no job.

Don't worry, you'll get a job.

I've been pounding the pavement
since I've been back.

- The right thing will happen over time.
- Time. Don't talk to me about time.

I risked my neck for this country.

They say we was fighting
to keep this land of opportunity.

Well, where's my opportunity?

- Booker T. Washington said...
- And don't give me Booker T., Dad.

"Go on with your life, your work,
keep your family together...

- Joe, please.
- "...and keep out of trouble."

Well, getting in trouble
might be the only way

- to change things around here.
- I won't have that talk, CJ.

I don't want you in no more trouble.

My father wanted me to accept the
white folk murdering a little colored boy.

I couldn't. I was taught to fight.

And I'm going to fight for what's right.
The only way that they'll take notice

is if you go out and beat the hell out of...

Don't you go bragging
about being in that riot.

- That boy was not following the rules.
- Daddy, the boy was swimming.

He got a cramp. He made the mistake
of reaching out to a white folk's raft

and they threw stones at him.

What kind of rules you want us to follow

that says a boy can't try
and save himself?

It's not up to us to change the rules.

Well, they ain't going to give us nothing.
We got to demand change.

Riots and violence
are not the answer to nothing.

- We had to say, "Enough! No more!"
- You think that burning houses

and breaking windows
and killing on both sides

is going to bring about a good change?

The only change that's going to come
from that is more heartache and anger

and bigger and deeper canyons

between the white folks
and the black folks.

And I am ashamed
that my son took part in that violence.

I thought you'd have had enough of that
during the war.

There are better ways.

Now,

Mr. Jonesy is here to enjoy
Sunday dinner with us.

So everybody eat your food.

King Oliver and Louis Armstrong
in a cutting session,

this is going to be hot.

Can't I go with you?

It wouldn't be good, would it, Sidney?

- Not there.
- Look, I promise I won't ask to play.

Jonesy, this is a colored club.

Sidney, you said that
it didn't matter to you

if it was a white or a colored
who taught you music

as long as there was
something to learn.

I got a lot to learn.

First sign of trouble, I'll leave.

Come on.

Where's Louis Armstrong from,
anyway?

- From New Orleans, where else?
- I can't wait.

Hey, hey, hey. He can't come here.
It's a colored club.

- Yeah, he's with us.
- Hey, hey, hey, I don't give a damn!

- He's all right. He's all right.
- Easy.

Come on!

Yeah!

- Goldie, dear...
- I'll sit next to him.

I'll sit on his other side.

We don't want people to think
you and me are together.

Oh, okay.

Gus!

- Get me a lemonade.
- Long, tall tomato juice, Gus.

- What you having?
- Iced tea.

Hey, Gus!

We got one more person here.

A tomato juice will be fine.

Let's hear it for Louis Armstrong.

Wasn't it good?

Papa.

Hey!

- Good to see you, Sidney.
- Hey, hey. Still smoking.

Hey, Louis, it's Sidney.

I thought you were trying to kill
that old man.

Everything I know, I know from Papa.

- Yeah, I know it, I know.
- Well, hey, Goldie!

- Put it there, CJ.
- Hey, Louis, what's happening?

- Indiana Jones.
- Indiana.

- Sid, you got your baby?
- Tonight, we come to listen.

Oh, no, man. You think I'm going to let
Goldie sit here on her behind?

Goldie, if this sweet man of yours
doesn't have his clarinet,

then you come up on that stage.
Come on, now!

Yeah, mama!

Who's that with you, CJ?

He's okay. He's a friend of mine.

- People got to change.
- They always do.

Worlds change, rulers change,
even beliefs change.

- Yeah, how?
- Sometimes a natural disaster,

sometimes just a very wise person.
A very evil person can change things.

- But most of all, wars.
- I don't want a war.

I want change to come because it's right

and everyone knows it's right.

I'm going to get myself into law school
even if it takes the rest of my life.

Justice has to have its eyes open.

I'm equal, Jonesy,
so I want to be treated like it.

And so we find
that the conditions of war

and of the warrior classes
remained fundamentally unchanged

in the 1,500 years that separate
the Trojan Wars

from the battlefields of Charlemagne.

Hey, Jonesy.

I'm going over to the Royal Garden
to listen to Goldie. You want to come?

I don't know.
When me and Eliot got thrown out,

they said never to come back, so...

I'll get you in.

Thank you. Thank you.

Hello, Sid.

- Hi, Jonesy.
- Hi.

- CJ.
- You got your clarinet with you, Sidney?

He's always got his clarinet with him.

Maybe the Bechet would give us
the pleasure of hearing him play.

- Go ahead, Sidney.
- Come on.

I...

I got a friend with me tonight.

He...

He's the best I know on soprano sax.

Thing is, he's the only one I know
jazzing soprano sax.

Thought we'd get him up here
for one song.

It's his favorite song,
Twinkle, Twinkle, Little Star.

Well, let's get him up here.
His name is Jonesy, The Sax Man.

The man's calling you.

He's crazy. I can't get up there.
I don't know what I'm doing.

Come on, you can do it.

Goldie, help Jonesy up here.
He might get a little lost along the way.

Come on, Jonesy.

Well, I think if you're going to play,

you better take
that saxophone out, Jonesy.

Twinkle, Twinkle, Little Star.
You count it.

All right, you know this one.

Just take the melody
just like I heard you practice.

All right!

You hear that? Yeah.

If he keeps it quiet, he ain't half bad.

Jonesy, The Sax Man!

Indy, you have a lecture in five minutes.

You know, you could be a little quieter
when you come in at 4:00 a.m.

Some of us like to sleep.

And if you're going to
use my toothpaste, too,

put the cap back on, will you?

- And keep your sock off my bed!
- Okay, Eliot, okay.

Ralph, I need three teas, a root beer,
and two lemonades.

Look at this, big tip from Mike the Pike.
A hundred bucks!

This will buy me five acres in Wyoming.
Only 95 more to go.

Ceasarino.

Look, did you talk to your uncle?
Come over here.

I want to show you something.
Look. Look at this demenza.

Look at this, this is a sin.
I won't slice this. I won't serve it.

- I'll talk to him now.
- Please.

Anybody see my uncle?

- He's out front, Mr. Torrio.
- Thanks, kid.

Ladies and gentlemen, let's hear it
for the Sidney Bechet band. Come on.

And now, with great pleasure,
I would like to introduce my new wife,

Dale Winter!

Knock them dead.

- Uncle Jim.
- What?

You know, Ceasarino's not too happy
in the kitchen.

The lettuce is brown
and the tomatoes are bruised.

And Mickey's getting very sloppy
with his produce.

So break all his fingers
and find somebody with a green thumb.

Isn't she great? Isn't she beautiful?

They did it. They won the second game.

Don't believe it.

The Black Sox couldn't win
a foot race with a turtle.

It's true!

Why do you guys always end up
jamming at this place?

Because this speakeasy is owned
by Big Colosimo.

Hey, Bix Beiderbecke, the wonder boy.

Hi, Bix.

Jonesy said the Black Sox won.

You kidding?
Couldn't happen in this century.

- Here you go, pal.
- Hey, Al,

did the Sox win the second game
of the double-header?

Yeah, 3-2.

Hear that? Sox, 3, Yankees, 2.

Not tonight, Jonesy.

Tonight, we playing the blues.

I can do that.

You know how to play jazz.
I said tonight we were playing the blues.

I thought the blues was jazz.

The blues is the blues!
It's got its own sound.

I call it "the wanna be" sound.

I call it "No one appreciate
how good I am" sound.

- Isn't this right, fellas? Come on, man!
- Yeah.

It's that in-between sound,
the shading, the wanting.

It's the "Why does the world
have to be this way" sound.

It's the disillusion.

The difference between jazz
and the blues is a state of mind.

St. Louis Blues, boys.

Two, one, two, three.

Pythagoras believed that music
was a mathematical exercise.

Numerical equations would signify
abstract ideas

like justice, good, evil.

Like justice, good, evil.

They played on this, a lyre.

Yes, Mr. Jones.

Well, maybe musicians back then
just played

because it felt good
to express themselves.

Felt good?

Well, like with blues.

It started because there was
an emotional need for it

to express some disillusionment
or deep desire or sadness.

Mr. Jones, the Greeks did not let
their emotions rule their music.

It was a mathematical exercise
to honor the gods

and you will be tested on it.

Hey, we're not open yet.
Come back at 6:00.

- Who was that?
- Some customer salivating.

Must have heard about the lamb chops.

He's late. I got things to do.
I'm going to go check outside.

Ceasarino.

Go easy with the garlic!

- Why is the boss here so early today?
- The man owns the place,

and I'm going to ask him
what he's doing here?

Harold, get finished.

What, are you going to take all day?
Come on.

Dennis, Frank, I told you,
we need peppers!

What was that?

The boss! The boss!

- Everybody come quick!
- What? What's wrong?

- The boss, he's been shot!
- What?

- Where?
- Over here! Over here in the door!

Look, his rings are gone.

Go on, turn him over.

I want everyone rounded up.
No one leaves the premises.

Chief, Chief, any witnesses?

He was a friend of yours,
wasn't he, Garrity?

Yes, I knew him well.

- What about his wife? She know yet?
- Any suspects? Any clues?

What happened?

Uncle Jim! Uncle Jim.

- Zio, who did this to you?
- Looks like a robbery, Mr. Torrio.

Why is his shirt torn open?

He wore a money belt.
The thief got his money.

- How much was in it?
- A lot.

Stand back.
How much was Mr. Colosimo carrying?

- 200 maybe.
- That's not a lot.

Thousand. $200,000.

That's a lot of money.
Did he always carry that much money?

Sometimes yes, sometimes no.

Garrity, you don't sleep
till you find the killer, you hear me?

Big Jim was my friend.
I'm handling this case personally.

Now, where's the kid
who saw someone?

- Harold, that's you.
- A guy stuck his head in the restaurant

right before Mr. Colosimo
came out of the kitchen.

- Anybody you seen before?
- No.

No. I just...

I just figured it was a customer
and he thought the place was open

and then when he saw it was closed,
he left.

- I'm going to be sick.
- Chief.

Let me take care of the kid.
Talk to him later.

Nolan, get the guy's description
after the kid loses his lunch.

Come on, keep back.

Jim? Oh, my baby!

Cover up this body!

Excuse me, who's in charge here?

Can you please tell me
who's in charge here?

- Ernie?
- Indy!

What the hell, huh?
Gee, you look like a waiter.

I am a waiter. What are you doing here?

Just trying to get a story, you know?
Put a potato on my plate.

I'm at the Chicago Trib, now.

- Is that the wife who fainted?
- Yeah.

Jeez, those legs are nice legs.

- Jonesy, you see anything?
- No, nothing.

Nothing? Somebody's got to have
seen something.

I was in the kitchen.

Everybody is in the damn kitchen.

Damn kitchen.

That's Ben Hecht.
Damn good newspaperman.

- You know him?
- Yeah, he comes in here all the time.

Indy, look, you got to help me out here.

See, I'm freelancing for the Trib now.
No story, no money.

If I don't get money,
I go home to Mama and Papa a failure.

I don't know anything.

Well, maybe you don't
and maybe you do.

Hey, come on,
let's get out of here, yeah?

So you don't think it was just a robbery?

No. 200 grand and
who knows how much in diamonds?

Random robbers don't get that lucky.

It's probably someone who knew
he carried a lot of money.

What are you talking about?

Eyes on the book, huh, worm?

- Murder, my boss.
- Mr. Colosimo? How?

Hey, maybe it was a mob hit.
Was he into bootlegging?

He said it wasn't worth it,
that Prohibition wouldn't last.

His ex-wife got him into
the brothel business.

- He made a fortune.
- Wait, his ex-wife was a madam?

You didn't even tell me
there was an ex-wife.

Have you made a list of the suspects?

No, no, no, no. The ex-wife teaches him
everything she knows,

makes him rich and he dumps her, huh?

A woman scorned seeks revenge.

Public eats this up.

You got to get the who,
the what and the why.

Wait, but then there's the new wife
and she's a lot younger than him.

Maybe she wanted the money
and not the package it was wrapped in.

Then you establish motive and method.

You majoring in criminology, Sherlock?

No, but I'd like to.

I'm in business administration,
my father's idea.

Where'd you get this cracker?

He came with the room.

But Eliot's right,
we can't just jump to conclusions.

If you're so smart, Eliot,
what would you do?

I'd go to the funeral
and see who showed up.

Hey, Big Al, how's it going?

- AI Brown, this is Ernie and Eliot.
- Hi.

Al's the bartender
at Colosimo's speakeasy.

Some turnout, huh?

Look, even the mayor is here.
There he is, Big Bill Thompson.

Big Jim had lots of friends.

A couple of congressmen,
those two are judges.

There's the Assistant State's Attorney.

There's Mr. Camilla, the accountant.

How come he looks so nervous?

Some parade, eh, Jonesy?

- Mr. Hecht.
- Nice to see you.

- Ben Hecht, Daily News.
- Ernie Hemingway, Chicago Trib.

- You're new?
- Freelance.

Tough route. You know all the players?

That's O'Banion.

He heads the North Side. He wears
three guns on him at all times.

He have anything against Colosimo?

Irish don't got no respect for life.

What, you think he did it?

Hey, that's Caruso!

He sings opera.

- I know, I saw him do Pagliacci.
- Yeah, me, too.

I even took the kid.

That's Enrico Caruso,
the clown you heard singing.

Anthony, you remember?
The night I took you to the opera.

Well, I got to get to the restaurant.

Hey, keep your eyes open there.

I'm going to go down
to the police station.

There's got to be something
they're not spilling.

What about you, Sherlock?

I got a friend in my chemistry class,
he works part-time at the morgue.

I'm sure he can help us.

You two must have a lot of laughs.

You know, you're not very funny.

Watch it, Ernie, he knows jujitsu.

Oh, I'm real scared now.

I'll see you at the fountain for lunch.

Where the hell is the witch?

Get your hands off me!

Where were you
when my Jim needed you?

Where were you
when my Jim needed you?

Get out of my way!

Now are you happy,
you sniveling little thief?

You steal my husband
and now he's dead.

I made him what he was.

- Do you hear me?
- Get her out of here!

- Jonesy, Jonesy, come on!
- I didn't raise him

to be with trash like you!

Jonesy...

- Jonesy, you read the paper?
- Yes, ma'am.

They say that I did it,
that I ordered a hit!

If I'd ordered a hit,
that thieving little bluff would be dead!

Not my Jimmy? I love my Jimmy!

I love my Jimmy!

It seems the first bullet
penetrated behind the right ear.

Behind the right ear?
That means he was shot from behind.

Now, the second bullet penetrated
the plaster wall above the front door.

Now, my boss figures that
by the time the second shot was fired,

the victim had probably already fallen.

The first shot entering
the right cerebellar hemisphere

would have killed him instantly.

So chances are Colosimo was
looking out the front door peephole.

That means the killer must have
come up behind him,

someone already in the restaurant!

- Was that in the newspaper?
- I don't read the papers.

Now, I get a copy of your notes
on combustible elements, right?

- That's the deal.
- Come on.

Hi, Chicago Trib.
I'd like to see Chief Garrity.

Just a minute will do.

Add that to the minutes
that those guys want.

And tell them to stop eating our donuts.

McCauley.

Hey, what do they care?
Nothing's sticking, they all got alibi.

O'Banion?

He was at his flower shop arranging
a bouquet for a communion party.

Hey, what about Hymie Weiss?

He was hosting the party
for his kid's first communion.

The whole North Side gang was there.

They're making our job hard
on this one.

- They sure are.
- Yeah, what are you going to do?

Have another donut.

Here, Hem.

You're late!
I got 15 minutes to get to class.

Take a look.

He was shot from behind.

Someone was waiting for him.

Maybe someone in the restaurant.

Maybe in the lobby,
maybe behind a door.

Maybe in the cloak room.
The cloak room door was open.

Why didn't you say so before?

I didn't think it was important.

Here's shots of the suspects
from the funeral.

Hey, and what about that guy
your waiter friend saw?

You think he was the killer?

Maybe he hid in the cloak room
and waited for Colosimo.

Hey, maybe he was
the ex-wife's hit man.

I think we should
forget about the ex-wife.

She's a battle ax,
but I believed her when she said

she'd have killed Dale Winter
before Colosimo.

Let's talk to the police.

I tried, they won't talk to anyone.

We don't have anything.
All we have are maybes.

- Hi, Indy.
- Hi, Susie.

- Oh, hi...
- Eliot.

Right, Eliot.

- Bye, Indy.
- Bye, Susie.

If she could remember your name,
I'm sure she'd be crazy about you.

Shut up!

Okay, where were we?

You said Colosimo is usually
not in the restaurant that early.

Someone must have known
he'd be there.

Someone who maybe knew
how much money he was carrying.

And if that someone was
waiting in the cloak room,

he must have figured Colosimo was
going to come into the lobby.

If we figure out
who Colosimo was waiting for,

we might just find the murderer.

Lf, if, if, if.
My editor doesn't like that word.

Look, I'll talk to Harold tonight.

He must have given
a description of that guy to the police.

Wait a minute, don't you remember?
Aunt Bessie invited us to dinner.

She's making
those potato dumplings you like.

I forgot. I didn't even get the night off.

Oh, great! She slaves over a hot stove
and you don't show up.

Guys, we're talking about murder.
Forget Aunt Bessie.

That's easy for you to say,
you don't have to face her wrath.

I've got to get to class.

You're late.

The place is a mess, everything needs
to be swept and where's Harold?

- He's not here?
- No.

He's supposed to be here.

Well, he ain't. Will you please
get a broom and sweep up?

Indy!

What are you doing in here?

I was just sweeping up.

Oh, you found my earring!

- Thanks.
- You're welcome.

Haven't you ever thought
of asking me out?

I'd say yes if you did.

We'll talk about it.

I'll hold my breath.

Excuse me, sir?

Do you have any more back issues
of The New York Times?

You think we got
the whole New York Times on file?

What, are you crazy?
You've got to telegraph for them.

Then they get them on
the 20th Century Limited...

How long will it take?

About as long as it takes the train
to get from New York to Chicago.

Fill out one of these forms.

Jonesy.

What's wrong with you?
You ain't even listening.

I can't stop thinking about the murder.

This town, violent and getting worse.

I've been thinking,

I might have to pack it up
and ship myself over to Europe.

Maybe by the time all this shakes down,
we won't even have a job.

Who's getting the place, anyway?
The wife?

She's ain't no businessman,
she's a singer.

Torrio, the nephew, is taking over.

He told me.

I can't figure out why Mr. Colosimo
was there so early that day.

He was there to pick up
a shipment of bootleg.

Really? The police know that?

What police?
That's the word on the street.

- I have a plan.
- Yeah, sure.

Here's Eliot.

I told my Aunt Bessie
it was an emergency.

This better be good.

I know why Colosimo was there early.
He was waiting on a shipment of liquor.

- So it was a mob hit.
- Now all we have to do is figure out

who was supposed to be
doing the delivery.

Then we tell the police.

They can get him for violation
of the Volstead Act and murder.

Now, wait a minute, you guys!

Now, why would they kill him
if he was a customer?

- I mean, that's not good business.
- Maybe he wasn't paying up.

He had 200,000 on him,
maybe it was personal.

How do we find out who was
supposed to make the delivery?

They keep the liquor in the cellar
of the restaurant.

Let's go!

Mr. Sculli, I left my Egyptian archeology
book inside.

I have a test tomorrow.
Can I come in and get it?

Thanks, Mr. Sculli.

Not in the phonebook.

I told you Cristo Lemonade Company
wouldn't be in the phonebook.

I bet you $10 it's not advertising
on billboards either.

They ship most of the contraband
across Lake Michigan.

The police are always raiding
the warehouses.

What are you doing?

Who are you calling?

Harbor Master.

Howdy! I'm supposed to be meeting
a delivery for Cristo Lemonade,

but I dropped my ham and cheese
and mustard all over the order.

If I remember right,
I'm going to Warehouse 28?

Oh, right, Warehouse 35.

On Pine Street?

Right, on Lake Street. Right.
Appreciate it.

- What's that for?
- For lying. Good job!

I didn't lie, I fabricated.

- I'm proud of you. Let's go.
- Go where?

Warehouse 35.

Let's call the police
and tell them to go to Warehouse 35.

We're just going on a hunch.
They're not going to listen to a hunch.

Look, if we hand it over to them
and if they follow up,

I lose my exclusive.

Is that all you care about?

What do you want me to care about?
Some mobster being rubbed out?

Justice, upholding the law.

Let's go before he starts
The Pledge of Allegiance.

How are we going to get there?

- Aunt Bessie's car.
- What?

I promised Aunt Bessie
I'd have her car back tomorrow morning.

She needs it to go to Junior League.

Turn here, turn here.

There's someone standing
by the front door.

Guy looks like 300 pounds.

I'll drive around the back.

Let's try the stairs.

- We're not going in there!
- That's why we're here.

You'd be breaking and entering!

Jesus Christ!

It's locked.

Come on.

Bingo!

There's the office. Come on!

I feel a permanent position
as feature writer

for the Chicago Tribune
calling my name.

What are you doing?

Trespassing now!

Why didn't you wait in the car?

I want to solve this mystery
as much as you guys.

This is too easy.

But I think we should go
through the proper channels.

Shut up!
Just start going through the desk.

Look at this! Look at this! Look at this!

- Hey, what are you doing?
- I told you we're breaking and entering

and now the gun!

Hey!

Sorry.

Oh, God!

- What's the rumpus?
- Call the boss!

Turn the lights off!

Let's go.

Come on!

O'Banion,
someone broke into the warehouse!

Get our boys over here, quick!

Spread out!

Eliot! Go! Go!

Whatever you do,
don't get a scratch on my car!

Yeah, yeah, yeah!

Where's Indy?

- Go! Go! Go!
- We are going!

Will you be careful!

Eliot, forget about the car!

Go! Go!

Turn down this alley!

- Where the heck is a policeman?
- Shut up!

Hang on, Indy!

- We're going to run out of gas!
- What?

I didn't fill it up,
I was in too much of a hurry.

Go!

Go!

Turn! Turn again!

I'm going for it!

Ernie, we did it!

What's wrong?

We're out of gas.

Start the car! Start the car!

Remind me to kill you!

All right, yous guys, out of the car!

What is it about flowers?

Their perfume?

Their beauty? Their elegance?

Perhaps it's their short but perfect life.

Something none of us aspire to.

Is that correct?

Yes, sir, Mr. O'Banion.

We don't want a short but perfect life.

Mine was never perfect.

I grew up in Little Hell on the North Side

near the brothels and saloons.

I was a good Catholic boy.

But times were tough.

I got a job as a singer
at McGovern's cabaret,

a den of iniquity.

I worked hard
to get out of my imperfect past.

What were you doing
at the Warehouse 35?

Sightseeing.

We were on a sightseeing expedition.

Right, guys?

- Right.
- Right.

Roses or tulips?

Sir?

It's for a funeral.

Which would you prefer,
Mr. Hemingway?

Well, I'm a sucker for daisies.

I'll remember that.

Oh, no need.

You're a waiter
at Colosimo's Restaurant?

Yes, sir.

May God have mercy on his soul.

Do you hear those bells?

I was a choir boy at that church.

Now I sell flowers to close friends
and not so close friends.

And I have other business interests,
such as lemonade.

My question is,

was someone trying to set me up?

Set you up?

Cristo Lemonade Company was
scheduled to deliver some refreshments

to Big Jim that afternoon.

Was it delivered?

The truck arrived
moments after the unfortunate robbery.

The driver felt that it would
not be in good taste

to stop at that point.

Everyone was much too busy,

what with the police
and newspapermen.

The delivery was never made.

The murderer must have known
about the delivery.

He must have known
the scheduled time

and it was used
to lure Colosimo out into the lobby.

That's an interesting notion.

I could kill you kids,
but you're not that important.

I had nothing to do with
taking a pop at Big Jim

and I don't know who did,

so unfortunately
I have no clues to give you.

Please, take these
and wear them in good health.

And with them, take this advice, boyos.

No matter what your business,
stay out of mine.

That guy is scary.

I think we just about got ourselves killed
for nothing.

For a couple of red carnations.

How're you doing, Mayor?
This is my friend Al from New York.

- How are you?
- Enjoying yourselves?

If you need anything, let me know.

Come on, let's go outside.

Hey, Jonesy.

- I like that carnation, kid.
- Thanks.

Make sure the Mayor gets
the pasta fazool, all right?

We got to keep him happy.

- Hello?
- Eliot, I've got it. Stay where you are.

I was just going to call you. I've got it.

- Is that Indy?
- It's Indy.

Hey, you guys,
you won't believe what I've got.

I'll be right there.

I saw some of the loot.

Al Brown is wearing Colosimo's
diamond horseshoe pinky ring.

Al Brown ain't his real name.

- What?
- Yeah.

I had a photo sent
from The New York Times.

Look at this picture.

Colosimo's nephew, Torrio.
Look who's with him.

Al.

His real name is Capone.

Capone?

Skipped out of New York town
with a murder charge on his head.

Came here and he must have
taken up the alias Al Brown.

He's got to be our man.

Not so simple.

I grabbed this off the desk
at the warehouse and I got lucky.

Guess who ordered
the delivery that afternoon?

- Torrio.
- Torrio.

Interesting.

Let me see that.

Let me see that.

That's very interesting.

You boys have been very busy.

We tried to get in touch with you, sir.

And do you have anything else?

Well, the photo of Capone and Torrio
in New York.

That's very interesting but
circumstantial if you see what I mean.

We told you, Al is wearing the ring.
You just go to the restaurant...

It could be Big Jim's ring,
but it could be one like it.

But that order, sir, is signed by Torrio,
and that with the other evidence

could certainly begin at least
a serious investigation.

Could be, Mr. Ness.

What are you doing?

This is a game for the big boys.

Now, take my advice.
Go back to your school,

get yourself a girlfriend and have fun.

You'll have a better chance
at getting somewhere with a girl

than you will with a police investigation.

Now, get out of here.
I don't want to see any of you again.

Come on.

Wait a minute!

You just destroyed the evidence!

Police are supposed to catch criminals,
not help them get away!

Wait a minute! You can't do this!

He's not going to do anything!

He's dishonest!

Someone's got to do something.

You got to write about this, expose him!

My word against his,
my editor wouldn't go for it.

Hemingway, you got a hot tip?

Too hot for Chicago.

The old "who's got who in the pocket"?

Feels like a real kick in the behind,
doesn't it?

That's why I'm going to write a play,
fiction based on fact.

But at least I can make
the good guy win.

See you, guys.

Come on.

How can you guys be so calm?

I saw this kind of thing in the war.

I don't know, coming home to America,
I just didn't expect to see it.

We can't just accept it, we got to fight it.

Not me.

I'm going to go to Paris.

I don't want to do this newspaper stuff
for the rest of my life. Hecht is right.

I'll tell my own stories.

I got to get to the restaurant.

You're going back to work there?

How can you work there
knowing what you know?

I'm going there to quit.

See you, guys.

See you.

Why the long face, Jonesy?

- Life.
- Yeah.

I call it "It ain't never going to be
all you want it to be."

Yeah.

Here.

Time for you to play the blues.

One, two, three...

Yeah.

There you go, kid.

That's the blues. That's the blues.

Torrio and Capone took over
Colosimo's operation.

That's when the bootleg wars
really began.

It stopped snowing. Maybe we...

The pipe please, gentlemen,

then you can go back
to your little weenie roast.

Hold it.

My pistol is empty, Dr. Jones.

I don't like loaded weapons.

The pipe belongs to my people.

- What are we going to do now?
- They've got guns.

They've got the pipe.

Well, things can't always be
the way you want them to be.

But sometimes they are.

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