(gentle orchestral music) (film reel clicking) (dramatic music) (solemn music) >> Can I help you?

>> [Man In Dark Suit] I'd like to see the man in charge.

>> He's in here.

>> [Man In Dark Suit] I want to report a murder.

>> Sit down.

>> Where was this murder committed?

>> [Man In Dark Suit] San Francisco, last night.

>> Who was murdered?

>> I was.

(dramatic music) Well, do you want to hear me out or don't you, Captain?

I don't have very much time.

>> Your name Bigelow, Frank Bigelow?

>> That's right.

>> Answer this San Francisco APB.

Send it direct to inspector Bannon at homicide.

Tell him we found Frank Bigelow.

(serious music) Go ahead, Mr. Bigelow.

>> Well, this involves some other people, Captain, a number of other people.

>> Captain: You tell it any way you like.

>> I live in a little town called Banning out on the desert.

It's on the way to Palm Springs.

I have a small business there.

(dreamy music) Paula?

(light music) >> Yes, Mr. Bigelow?

>> Get me a copy of Miss Hollis' '48 tax return, will you?

Oh, you better get the '47 too.

>> Yes, Mr. Bigelow.

>> I don't think we took any depreciation on that new equipment last year.

>> Oh, no, we didn't.

I remember you said we could include it all this year.

>> Sure we can.

>> Hey, Frank?

>> Yeah, Will?

>> Peterson says he wants a financial statement before he can give me my loan.

Hello, Kitty.

>> Hi, Will.

>> Well, I'm leaving for San Francisco today, but I'll be back in about a week.

I'll take care of it for you then.

>> Sure is a scorcher, isn't it?

>> Well, I've seen 'em worse.

>> Well, have a nice time, Frank.

>> Yeah, thanks, Will.

>> Paula, why don't you come down to the place and let me give you another permanent?

Makes your hair so much easier to manage in all this heat.

>> I can't afford it right now.

Maybe next month.

>> Yeah, here it is.

No, we didn't take it.

Well, we can do it this year.

>> You work it out any way you think best.

Have a nice trip, Frank.

>> Sure, Kitty, see you when I get back.

>> Bon voyage.

Oh.

Why don't you come down any way, Paula?

We'll work out a deal on that permanent.

>> Thanks, maybe I will.

(phone ringing) Hello?

Oh, hello, Mr. Hawkins.

Just a moment.

Do you want him to send your ticket over?

>> No, I'll pick it up myself.

>> No, nevermind.

Mr. Bigelow will pick it up at the station.

Bye.

I want to go with you, Frank.

>> Now, Paula, I'm just going on a little vacation.

You know that.

>> You want to go without me, don't you?

>> Be gone just a week.

>> And I suppose you've just made up your mind to take this little vacation at nine o'clock this morning?

>> No, Paula, I meant to tell you about a few days ago.

I guess I forgot.

>> Oh, you forgot.

>> Paula, don't be like that.

>> Don't be like what?

You just drop a little announcement that you're going away.

Not tomorrow or next week or next month but today.

No explanations, nothing.

And I'm supposed to swallow the excuse that you need a little vacation.

>> I just want to get away from town for a few days.

That's all.

>> Get away from this town or get away from me?

>> Oh, Paula.

Please try to understand.

>> How can you ask me to understand anything like this?

No, I'm sorry, but I don't understand.

Go to San Francisco, but don't expect me to be waiting for you when you get back.

(tense music) (drawers slamming) >> Paula, please.

Come on, turn around.

Look at me.

Come here.

>> Why do you do this to me, Frank?

Why can't you be honest with me?

As honest as I am with you.

Do you have to go?

>> I have to go, Paula.

I know what I'm doing.

>> All right, go!

Go anywhere you like.

You can go to blazes for all I care!

>> Paula.

Paula.

>> Yes, I know, I'm being foolish.

(romantic music) >> Come on, fix your face.

We'll go down to Eddie's and have a drink.

>> All right, why not?

(sweet, light music) >> Hiya, Paula.

>> Hi, Eddie.

>> Hi, Eddie.

Give us a couple of cold beers, will ya?

>> Comin' up.

>> Hi.

Come on.

>> Oh, what a relief.

This air conditioning feels good.

I sure wish we had it in the office.

It'd make working a pleasure.

>> Well, if it stays this hot, don't bother going in the rest of the week.

>> I win two races today.

>> Paula: How many did you lose?

>> You would have to ask that.

Kind of early for you two, ain't it?

>> Too hot to work.

>> That's what I like to hear.

(sweet, light music) >> Ah.

>> Frank, you'll take me with you, won't you?

You will, won't you?

Or am I crowding you?

>> What do you mean crowding me?

>> Maybe you do need this week away alone.

Maybe we both do.

I know what's going on inside of you, Frank.

You're just like any other man, only a little more so.

You have a feeling of being trapped, hemmed in, and you don't know whether or not you like it.

>> Look, Paula, I'm gonna be honest with you.

I care too much for you not to be honest with you.

I'm as much concerned for your happiness as I am for my own.

>> I know you've had one bad experience, Frank.

I know all about it.

>> But you don't know what it can do to two people, Paula.

And the woman always gets hurt more than the man.

I don't want you to get hurt, darling.

More than anything in the world, I don't want you to get hurt.

Want to hear some music?

>> All right, Frank.

>> Frank: Got a couple of nickels, Eddie?

>> Yeah.

>> This won't bother you, will it?

>> No, next result doesn't come in for half an hour.

(gentle big band music) >> I thought that by now we'd be married.

No, I'm not gonna crowd you anymore, Frank.

Go to San Francisco.

I don't like it, but I'm convinced that you must go.

I want you to be very sure, Frank.

If it's right, and I believe it is, we'll have something really wonderful together.

If it isn't, we should both know it as soon as possible.

So you see, even if I could stop you, I wouldn't do it now.

(ship horn blowing) (cable car bells ringing) >> Desk Clerk: Yes, sir.

>> My name is Bigelow.

I have a reservation.

>> Yes, sir.

Here we are, sir.

>> Uh, my name's Bigelow.

I have a reservation.

>> I have it, sir.

It's a very nice room on the sixth floor facing the bay.

>> Thank you.

(bell rings) >> Boy.

This might help you enjoy your stay, Mr. Bigelow.

It's a little booklet on how to have fun in San Francisco.

>> Oh, thank you.

>> You're very welcome, sir.

Thank you.

(slide whistle blowing) >> Say, is it always like this around here?

>> No, this is market week, and it's the last day too.

(bell rings) Boy.

Always around till you need them.

(slide whistle blows) Oh, 517?

Thank you.

Here's a message for you, Mr. Bigelow.

Long distance call came in about an hour ago from Banning from a Paula Gibson.

>> Oh, thank you.

>> Very welcome.

Show Mr. Bigelow to 618.

>> Right this way, sir.

>> Bye.

(lively music) (slide whistle blowing) (slide whistle blowing) >> Right this way, Mr. Bigelow.

Is there anything else, Mr. Bigelow?

>> Oh, yes, you can get me a dry Manhattan and a package of razorblades.

>> Yes, sir.

>> Thank you.

Oh, and you can leave that door open.

Hello, Operator?

I want to speak to Miss Paula Gibson in Banning, California.

That's right.

No, I'll wait.

(phone ringing) (sweet music) >> Hello?

>> Frank: Hello, Paula.

>> Oh, hello, Frank.

How was the trip?

>> Fine, just fine.

>> Paula: Having a miserable time, I hope.

>> Well, I don't know.

I just got in.

(lively music) >> Hi!

>> Jane!

>> Paula: What was that?

>> Uh, market week, the place is crawling with traveling salesmen.

>> Paula: You know, Charlie Anderson found out that you went away, and he asked me to go out with him.

>> Oh really?

How did he make out?

>> I'm considering it.

>> Is that what you called to tell me?

>> I'll have you know that this call is strictly business, Mr Bigelow.

Did Mr. Phillips phone you?

A Eugene Phillips of Los Angeles?

>> No.

>> He will.

He phoned the office three times today.

Said that he wanted to get in touch with you immediately.

He said it's most urgent and imperative that he reach you at once.

>> What did he want?

>> Paula: I don't know, but he sounded deep, dark and mysterious and quite agitated about something.

>> Phillips, Phillips, have we, have we ever done any business with him?

>> Paula: Not unless you've been keeping it a secret from me.

I looked through all the accounts.

>> Why did you tell him you could reach me here?

You know I'm supposed to be on vacation.

>> So you've told me.

And so I told him, dear heart.

But the gentleman didn't seem to respect your temperamental moods the way I do.

He was very insistent that he speak to you before it's too late, as he put it.

>> Well, tell him you tried to get in touch with me, and I've changed my plans and you can't reach me.

>> He won't talk to me.

I told him that I was your confidential secretary, but I guess I didn't sound confidential enough.

So I told him that he could reach you there this evening.

>> Well call him back.

If it's as important as he says it is, he'll talk to you.

Otherwise, he'll just have to wait until I get home.

>> My, aren't we adamant this evening?

All right, shall do.

(romantic music) And Frank?

>> Frank: Yeah?

>> I don't quite know how to say this.

>> Frank: Say what?

>> Well, what I want to say is that there's nothing you can do that you ever have to feel guilty about.

(lively music) >> Oh.

Sure.

Thanks, Paula, I'll, I'll call you tomorrow.

Right.

(romantic music) (lively music) Oh, just put it there, please.

You can keep the change.

>> Thanks very much.

>> Say, how long has this been going on?

>> Oh, it's been a mad house all week, but they check out tomorrow.

>> Frank: Oh?

>> I thought you were with them.

>> No, no, I'm just here on a vacation.

>> Why does everybody come to San Francisco and tear loose?

Excuse me.

>> Say, I'm awfully sorry to bother you, but would you mind if I used your telephone?

>> No, no, go right ahead.

>> I'm just across the hall here.

One of the boys is using my phone, and he's been on it for a half hour.

(chuckles) I just want to call downstairs.

>> Yeah, sure.

>> Thank you.

Room service, please.

Things really picked up the last few, didn't they?

You write up much business?

>> Well, I'm not here on business.

>> Oh.

Hello, room service?

It's Mr. Haskell and 617.

Yes, that's right.

Would you send up three more bottles of bourbon and two scotch?

Yes.

(laughs) Oh, and some more ice too.

Yeah, all right, thank you.

You here alone?

>> Yes, I just got in town.

>> Well, why don't you join us for a drink?

>> Well, I don't want to barge in on your party.

>> Oh, nonsense.

It's not a party.

Just a few of the boys entertaining some buyers, you know, the usual thing, a few drinks and some laughs.

(laughs) It's no party.

Come on.

>> Well.

>> Come on, come on.

>> All right.

>> I know what it's like to be all alone in a strange city.

I'm Sam Haskell.

>> I'm Frank, (slide whistle blows) Frank Bigelow.

>> You'd think some of these guys had never been away from home before.

>> Yeah.

(lively music) (woman laughing) Hey, hey, quiet down a minute.

Hey, will you quiet down a second?

I want you to meet Frank Bigelow.

>> Hello!

>> Hi.

>> This is Jane Carlyle.

>> Hello.

>> Bill Welch.

>> How are you, Mr. Welch?

>> Glad to know you, Bigelow.

>> Jane's the prettiest buyer in San Francisco.

>> Oh.

>> Hey, I resent that.

>> You don't think I believe him, Elaine?

Why, he spreads that from coast to coast.

>> Aw, Jane.

>> But it's good for my morale, anyway.

>> I'm George Cantwell.

Glad to know you, Mr.?

>> Bigelow.

>> Bigelow, yes.

Write up much business?

>> He's not here on business.

>> George: Oh?

Well?

>> Why don't you get the man a drink before he dies of thirst?

>> How about little bourbon?

>> Oh, that's fine.

>> Bourbon it is.

>> Of course, Mr. Wallace.

Yes, Mr. Wallace.

But, Mr. Wallace, I'll need at least a week in Cleveland to visit all my accounts.

I can't figure on being in Philadelphia until the 17th.

>> Eddie, will you get off the phone?

I want you to meet Frank Bigelow.

>> How are you?

>> That's his boss.

He's been trying for an hour to get his expense account boosted.

>> Yeah, the way this guy holds onto a dollar, you'd think they weren't printing them anymore.

Yes, Mr. Wallace.

I'm leaving here the first thing in the morning.

Yes, sir.

>> Oh, keep your hips loose, Harry, like this.

(airy music) >> Oh, yeah.

>> How's he doing?

>> Oh, there's nothing wrong with Harry Drummer that two years at Arthur Murray's wouldn't cure.

>> (laughing) Now, wait a minute, I was doing all right there.

>> This is Sue and Harry Brandis.

>> How do you do?

>> Hello.

>> Good to meet ya.

>> How are ya?

>> Where did you find her, Sam, on a dance marathon?

She's murder.

>> Bourbon.

>> Oh, thank you.

>> Oh, thanks.

>> Say, I'll bet you could do the rumba.

>> Well, a little, but I'm kinda rusty.

>> Anything would be an improvement after Harry.

>> Oh, how do you like that?

>> Frank: Well, here goes.

(upbeat Spanish music) >> Hey, you're good.

>> Oh, my wife, she's a good dancer, isn't she, Bigelow?

>> Oh, yeah.

(Sam laughing) >> Hey, fellas, I thought you were gonna show us a good time tonight.

Is this doing the town?

>> That's right.

We practically bankrupt our stores to buy everything you've got, then you keep us in this hotel room.

>> I agree.

This is my last night to howl before I go back to being a dutiful housewife.

(all laugh) >> Well, it looks like we're stuck, boys.

This is where we blow all our commissions in one night.

>> Oh, good.

>> Who cares, who cares.

>> And you're coming with us, Bigelow.

>> Oh, no thanks.

You run along.

I've got to get unpacked and have dinner.

>> Oh no, you're not gonna get away from me.

Now that I found a man who can dance, I'm going to hang on to him.

(all laughing) (rowdy jazz music) >> Cool, cool, really cool.

>> Man: Man, am I hip.

>> You're goin' nowhere, nowhere.

>> Blow it, blow up a storm, Fisherman.

>> Stay with it, Fisherman.

That's it, go on, go on, go on, get it, Fisherman.

>> Dancing Man: Take it on, man, take it on.

>> Here, have a little bit of my drink, Frank.

>> No, thank you.

Excuse me a moment.

>> Where are you goin', Frank?

>> Sue!

>> Frank: Excuse me.

>> I think you've had enough.

(audience applauding) >> Bartender: What'll it be?

>> Bourbon and water, no ice.

Nice quiet place you got here.

>> Wait'll they hit the pitch in about an hour.

That's when they really go out of their minds.

>> Who's the blonde?

(sexy music) >> Oh, she's one of the chicks that hangs around here.

She's jive crazy.

>> Frank: Come again?

>> Oh, you aint' hip, pal.

Jive crazy means that she goes for this stuff.

Just between you and me, I don't get it either, but I gotta listen to it.

They're all connoisseurs, music lovers.

Me, I like Guy Lombardo.

>> What's the matter with him?

>> Oh, he's flipped.

The music's driving him crazy.

Come down, Jack.

>> Oh, don't bother me, man, I'm being enlightened.

>> Is the blonde alone?

>> Oh, sure, society.

She always comes in alone.

Drives a big convertible, wears a mink coat, but knows everybody.

But she always comes in alone.

>> Thank you.

♪ I wanted to kiss you ♪ I tried to be with you >> Give me another blast, Leo.

>> What's your story, Jeanie?

>> Easy.

>> Easy.

>> Hello.

>> Easy.

Dig the Fishermen.

That's really silk, isn't it?

>> Can I buy you a drink?

>> Sure, thanks.

Gimme a blast, Leo.

>> Leo, I left my, uh, blast at the other end of the bar.

>> My name's Jeanie.

What's yours?

>> Frank.

>> I've never seen you here before, Frank.

>> Well, I've never been here before.

This isn't mine.

Mine was bourbon.

>> Well, sure it is.

You saw me pour it.

Gimme a fresh drink.

>> Leo: Anything you say.

>> Listen to that piano.

Feel those vibrations.

You don't get your kicks out of this, do you?

>> I can live without it.

>> Why do you stay here?

>> I don't know.

>> I bet I know.

You're lonely in a big city.

You don't have to go into a routine with me.

I like good company too.

(sultry music) >> Say, there are some people there I want to avoid.

Could we get out of here?

>> Let me think about it.

>> Oh, come on, how about going somewhere else, huh?

>> Why don't you meet me later?

>> Okay, where?

♪ I tried to forget you ♪ But you whispered, darling, I love you ♪ >> Call me at that number later.

It's my next stop.

They got a band there that'll really send ya.

>> See ya, Jeanie.

>> Easy.

(ships horn blows) (sultry music) >> Nevermind, Operator.

(romantic music) (light music) (sultry music) Room service, please.

(hand knocking) Come in.

Be right with you, Waiter.

>> Yes, sir.

Rest well, sir?

>> Yeah, sure.

>> May I?

>> Go ahead.

It's on there for you.

>> Thank you, sir.

Would you like anything else?

>> No, thank you, that's all.

(dramatic music) Waiter?

>> Yes, sir?

>> Take this away.

>> Is there anything wrong, sir?

>> No, no, just take it away.

I don't even want to look at it.

>> Are you all right, sir?

>> Yeah, sure.

I'm all right.

I just had too big a night, I guess, that's all.

I need some fresh air.

>> Of course.

Thank you, sir.

(suspenseful music) (cable car bell ringing) (energetic music) (swirling suspenseful music) >> Lungs in good condition.

Blood pressure normal, heart fine.

Well, it's a good thing everybody isn't like you, Mr. Bigelow, put us doctors out of business.

>> I'm glad to hear it, doctor.

I was a little worried.

>> Don't let a little bellyache worry you.

Could be just the change of climate.

>> Well, it isn't exactly an ache, Doctor.

It's kind of hard to describe the feeling.

Maybe it was the drinks I had last night.

I might've mixed them too much, huh?

>> Let's have another look at that throat.

You may finish dressing now, Mr. Bigelow.

I want to get the results of those tests we took.

>> Thank you, Doctor.

>> Mr. Bigelow, this is Dr. Schaefer.

>> Hello, Doctor, how are you?

>> Sit down, Mr. Bigelow.

>> According to the information you gave Miss Wilson, you're not married, Mr. Bigelow.

>> That's right.

>> Do you have any relatives, family, anyone in San Francisco?

>> No, no one.

I don't know a soul in San Francisco?

>> Where is your home?

>> What is this, Doctor?

Why all the questions?

>> You're a very sick man, Mr. Bigelow.

>> Sick?

But you told me I was in good shape.

>> Yes, I know.

But my preliminary examination didn't reveal your true condition.

>> You sound as if it's pretty serious, Doctor.

>> It's extremely serious.

>> I want you to understand that we wouldn't tell you something like this unless we were absolutely certain.

>> Well, of course, of course.

>> You must steal yourself for a shock, Mr. Bigelow.

>> Well, go on, Doctor!

What is it you're trying to tell me?

>> Our tests reveal the presence in your body of luminous toxic matter.

>> What is that exactly?

>> A poison that attacks the vital organs.

>> Poison?

>> We have no alternative but to tell you this.

>> Your system has already absorbed sufficient toxin to prove fatal.

>> I wish there was something that we could do.

>> What do you mean wish?

You mean there's nothing- >> There is nothing anyone can do.

>> This is one of the few poisons of it's type for which there is no antidote.

>> Well, this fantastic!

This is the most ridiculous thing- >> Mr. Bigelow.

You don't have very long.

>> What do you mean?

>> A day, possibly a week, two weeks at the outside.

It's hard to say exactly.

>> Well, this is impossible.

I don't believe it!

You've made a mistake.

That's it, it could be a mistake, couldn't it?

You, you have made a mistake, haven't you?

Answer me!

>> Dr. Schaefer is an authority on toxicology.

>> Been no mistake, Mr. Bigelow.

>> Do you realize what you're saying?

Why, you're telling me that I'm dead.

Do you think you can explain my life away in just a few words?

Why, I don't even know who you are!

Why should I believe you?

>> You must calm yourself, Mr. Bigelow.

We want to offer you every assistance that we- >> Assistance?

Who wants your assistance?

Who wants anything from you?

You're nothing but a couple of phonies!

Why, I think you're crazy.

That's it, you're crazy.

The both of you, you're crazy!

(dramatic music) Where's the doctor?

>> You can't just come in here!

>> Come on, tell me.

Where?

>> You've got to go through admitting before >> Doctor.

>> you come in here.

>> Tell me.

Get outta here.

>> Doctor.

>> Doctor.

>> Let me go in.

>> What's the trouble here?

What does matter with you?

>> Doctor, I want you to examine me for luminous poison.

>> Come right in here.

Yeah, you've got it all right.

Your system has already absorbed it.

(portentous music) >> Are you sure, Doctor?

Are you absolutely certain?

Couldn't there be some mistake?

>> Doctor: There it is.

The toxin is actually luminous in the dark.

No, there's no doubt about it, Bigelow.

>> Frank: But I don't feel sick.

My stomach is just a little bit upset.

Maybe it's not as bad as you think, Doctor.

>> Doctor: That's characteristic.

With a heavy jolt, you go suddenly in a matter of hours, but if the stuff is taken in a lesser degree, you last a while and then... >> And then?

(dramatic music) Give it to me straight, Doctor!

>> Well, a number of things are involved.

The systemic condition of the individual, the amount consumed, exertion- >> Yes?

>> You won't feel too badly for a while, then it will happen suddenly, a day, two days, a week at the most.

>> A day?

Two days?

>> There's nothing that can be done now.

If it had been caught in time, your stomach could have been washed out.

But you've had it in you for some time now, for at least 12 hours, haven't you, Bigelow?

>> I don't know.

>> You don't know?

>> No!

>> Don't you know how you got it?

>> No!

>> Then this is no accident.

Somebody knew how to handle that stuff.

That wax is tasteless and odorless.

With the amount of alcohol in your body, you must've got it in liquor.

>> I was drinking last night.

>> I'll arrange for your admission to the hospital immediately.

Of course, I'll have to notify the police.

This is a case for homicide.

>> Homicide?

>> I don't think you fully understand, Bigelow.

You've been murdered.

(dramatic music) Get me police headquarters, please, homicide bureau.

(frantic music) (horn beeping) (dramatic music) A day, two days, a week at the most.

(light music) (happy music) You've been murdered.

This is no accident.

Somebody knew how to handle this stuff.

With the amount of alcohol in your body, you must've got it in liquor.

There's nothing that can be done now.

You've been murdered.

You've been murdered.

You've been murdered.

You've been murdered.

You've been murdered.

(determined music) (ship horn blowing) (fist knocking) >> Open up.

Open this door, I tell ya.

Open it up, or I'll break it down!

Where are those men?

Where are those men who were here last night?

>> I don't know.

There are no men here.

Please go away.

There's nobody here- >> Don't lie to me.

Where are they?

>> Mister, this lady just checked in.

Those men aren't here no longer.

They checked out of the hotel early this morning.

>> Checked out?

>> Go away, please go away.

>> Yes.

(phone ringing) >> I'm sorry.

I'm terribly sorry.

Hello?

>> Paula: Please, Mr. Bigelow, my eardrums.

>> Oh, hello, Paula.

>> Paula: Your enthusiasm overwhelms me.

Why haven't you phoned me, or is there a quota on telephone calls up there?

(swirling suspenseful music) >> I'm sorry, I, I've been busy.

>> I'll bet you have, visiting the museums, no doubt.

What's happening up there that's exciting or different?

>> Nothing, not a thing.

>> Paula: I bet you miss me, but you're too stubborn to admit it.

>> Sure, sure.

>> Paula: You know, if you'd like me to come up, I could pack a toothbrush and leave right away.

>> No!

>> Well, you don't have to snap my head off.

You could at least make a pretense of missing me.

>> I'm sorry, Paula.

Of course I miss you.

Listen, Paula.

(sighs) Paula, it's just that I don't feel like talking now.

I'll call you later.

>> Don't strain yourself.

You phone me sometime when you feel more like talking.

Oh, by the way, I called that Mr. Phillips back.

>> Frank: Phillips?

>> Yes, you know, the man that tried to reach you.

Well, I'm afraid you'll never know why it was so important that he speak to you.

His office said he died yesterday.

(dramatic music) Frank, are you there?

Did you hear me?

>> Died?

When?

>> Paula: Yesterday.

So you won't have to bother your little head about him anymore.

You can just go ahead and have fun.

>> Paula, what did he die from, do you know?

>> I suppose he died from whatever people usually die from.

>> Well, didn't they tell you?

Don't you know?

>> Paula: What are you getting so excited about?

You said you didn't even know the man!

>> Listen, where's his office located?

>> Paula: What difference does it make?

You can't talk to him now.

I told you, the man's dead.

>> Paula, will you stop talking so much and tell me where his office is!

>> All right.

It's the Phillips Importing and Exporting Company, Bradbury Building, Los Angeles.

>> Bradbury Building, Los Angeles.

>> Paula: That's right.

Say, this is really a switch.

>> Listen, if you want to reach me, I'll be in Los Angeles.

>> Paula: Are you out of your mind?

>> I'm sorry, Paula, I've gotta hurry!

>> Paula: Wait a minute, where in Los Angeles?

>> The Allison, the Allison Hotel.

Goodbye, Paula.

(dramatic music) I'd like to see someone in charge here.

>> Secretary: What is this in regard to?

>> It's a personal matter, it's quite urgent.

>> Perhaps Mr. Halliday can help you.

>> Frank: Who's he?

>> He's our controller.

Your name, please?

>> Frank: Bigelow.

>> Mr. Bigelow to see you.

>> Mr. Halliday: Send him in.

>> Go right in, please.

That door.

>> Mr. Bigelow?

>> How are you, Mr. Halliday?

>> What can I do for you?

>> Well, Mr. Phillips phoned my office several times yesterday.

I'd like to find out what it's all about you.

>> You know Mr. Phillips died yesterday?

>> Yes, I know.

>> But I don't understand.

If he phoned you, didn't he tell you what it was about?

>> Well, he didn't speak to me.

I wasn't in my office at the time, and he wouldn't tell my secretary.

>> Well, I'm afraid I can't be of much help, Mr. Bigelow.

I have no idea why Mr. Phillips tried to reach you.

I'm sorry you had to make the trip for nothing.

>> How do you know I made a trip?

I didn't say anything about making a trip.

I merely said he phoned my office.

My office could be here in Los Angeles.

>> Miss Foster.

>> Miss Foster: Yes?

>> Didn't you mention something yesterday about Mr. Phillips speaking with Mr. Bigelow in San Francisco?

>> I said that he had phoned Mr. Bigelow's office in Banning, but that Mr. Bigelow was staying at the St. Francis hotel in San Francisco.

I'm sorry you misunderstood me.

>> Do you know why Mr. Phillips called?

>> No, I don't.

>> All right, thank you, Miss Foster.

You can understand that we've been somewhat upset around here.

Now, if you don't mind.

>> Did Mr. Phillips have a wife, family, anyone that could help me?

>> You can't intrude on people at a time like this just to satisfy some curiosity!

>> It isn't just curiosity.

>> Then I suggest you wait a week or so.

>> I can't wait.

>> Well, I'm sorry, you'll have to.

>> Well, there's always a phone book.

>> You're a pretty aggressive fella, Bigelow.

Are you quite sure that this is as important as you make it appear to be?

>> It's important.

>> Mrs. Phillips lives at the Sunset Arms Apartments.

>> Thank you.

>> I needn't tell you she's under a strain.

(dark music) I suppose you're capable of using a little more tact with her than you demonstrated with me.

>> I think I can handle it.

By the way, what was the cause of Mr. Phillips death?

>> Suicide.

He leaped from the balcony of his apartment.

>> Thank you.

(dramatic music) (doorbell buzzes) >> Come in, Mr. Bigelow.

I'm Stanley Phillips, Eugene's brother.

Halliday phoned that you were coming.

This is my sister-in-law, Mrs. Phillips.

>> Frank: I'll try to make this as brief as possible, Mrs. Phillips.

>> I'm afraid I can't be of any help to you, Mr. Bigelow.

I haven't the slightest idea why my husband wanted to speak to you.

>> Well, I guess Halliday covered just about everything.

Did your husband ever mention anything about me, Mrs. Phillips?

Anything at all?

>> No.

I can't recall Eugene ever having mentioned your name.

>> I hate to ask you this, Mrs. Phillips, but it's of vital importance to me.

Do you know why your husband committed suicide?

>> Wh?

Oh.

>> You're certainly not the most diplomatic person in the world, are you, Bigelow?

Were you a friend of my brother's?

>> I never met him.

>> My brother was in a jam, a pretty bad jam.

He was arrested two days ago.

He sold some iridium to a dealer by the name of Majak.

It's a very rare metal, very costly.

Anyway, the iridium turned out to be stolen.

He was released on bail yesterday, but he faced a pretty stiff prison term.

>> Men have committed suicide for less.

>> Yes, I know, that's how the police feel about it.

What puzzles me, though, is this crooked deal.

Knowing Eugene, you wouldn't say he's the type of man to be mixed up in anything like that, now, would you?

>> I told you I never met him.

>> That's right so you did.

Now what's this all got to do with you, Bigelow?

>> I don't know.

>> Let's come clean with each other, Bigelow.

Surely you must have some idea why my brother was so desperate to contact you.

>> I have no idea.

>> That's odd.

Then how could it be of such vital importance to you?

>> You seem to know the answer to everything else, maybe you know the answer to that one too.

(dramatic music) >> There's a message here for you to call Operator 82 at Banning.

>> Oh, thank you.

>> Show Mr. Bigelow to room 821.

>> Say, would you have the operator put this call through to my room right away.

>> Yes, sir.

>> I'll take it up there.

Thank you.

>> Hello, Operator.

(anxious music) (phone ringing) >> Here you are.

I'll call you if I need anything.

>> Thank you, sir.

>> Hello, Paula?

>> Well, Sinbad, I'd just about given you up for lost.

Now, do you mind telling me just why you rushed down to Los Angeles?

>> I can't explain it to you just now, Paula.

I, I just can't explain it.

>> Paula: What's going on, Frank?

You don't even sound like yourself.

>> Well, I...

I'm just a little tired, Paula, that's all.

(worried music) But I miss you.

>> Oh, Frank.

(romantic music) I can't tell you how good it is to hear you say that.

And here I was worrying that I'd lost my charm.

When are you coming home, Frank?

(sad music) >> Soon, Paula.

I'll be home soon.

>> I'll go right out and get myself a permanent so I'll be pretty when you see me.

Hey, guess what?

I found that Phillips name in your notarial ledger.

(surprised music) >> Notarial ledger?

>> Yes, of all places.

I remember now, I made the entry myself.

You had notarized a paper one morning before I came to work.

>> Frank: What kind of paper was it?

>> A bill of sale for a George Reynolds, made out to Eugene Phillips of Los Angeles.

So, you see, I was right.

We hadn't done any business with Phillips, only indirectly.

>> What was the bill of sale for?

>> Paula: A shipment of iridium, whatever that is.

>> Iridium?

>> Paula: You mentioned at the time that this fellow Reynolds had made some kind of a deal in Palm Springs, and he stopped in your office early in the morning on his way north to have it notarized.

>> Wait a minute.

Wait a minute, George Reynolds, that was about six months ago, wasn't it?

>> That's right, six months ago.

>> Frank: Thanks, Paula.

Oh, goodbye.

>> Goodbye?

(frantic music) Hello, Operator, get that number back for me.

(doorbell buzzes) >> I've got to talk to you, Mrs. Phillips.

>> Please, go away.

I want to be left alone.

>> But I found out why your husband wanted to see me.

It was in connection with a bill of sale.

>> Come in.

>> Thank you.

What do you know about a man named George Reynolds?

>> George Reynolds?

>> Yes.

>> Why, that's the man my husband claimed sold him the iridium.

>> And what did Reynolds claim?

>> Reynold's disappeared.

>> Yes?

>> About two months ago, my husband grew suspicious that something was wrong.

Since then, he tried in every way to locate Reynolds but could find no trace of him.

>> I don't get it.

Your husband could have proved he made a legitimate deal by showing the bill of sale he got from Reynolds.

>> Then there was a bill of sale?

>> Yes, yes, of course there was.

>> My husband's swore there was, but at the time of his arrest, he, he couldn't find it.

It was mysteriously missing.

>> Well then if your husband could have shown proof it would have been George Reynolds who would have faced the prison term.

>> Eugene was convinced that Reynolds had stolen the bill of sale.

He was the only one who had reason to eliminate evidence of the transaction.

(melancholy orchestral music) >> Thank you, Mrs. Phillips.

Thank you very much.

You've been very helpful.

>> Oh, if you'd only come sooner, Mr. Bigelow, my husband might be alive today.

>> I know.

(curious music) The only thing that puzzles me, Mrs. Phillips, is that you haven't asked how I knew there was a bill of sale.

>> Mr. Halliday isn't in.

He should be back shortly.

>> I think you're the one who can help me, Miss Foster.

Mr. Phillips tried to reach someone else before he called me yesterday, didn't he?

>> Why don't you ask Mr. Halliday?

>> Obviously, Mr. Halliday wasn't here yesterday.

Or he wouldn't have to learn from you that Phillips called me, and you're the logical person to know who else Phillips called.

>> I don't believe that's any of your business, Mr. Bigelow.

>> Don't think you're revealing anything confidential, Miss Foster.

I know that he tried to reach somebody else.

Mrs. Phillips told me.

>> You're bluffing, Mr. Bigelow.

I don't know what you're after, but you're trying to trick me.

Mrs. Phillips didn't tell you a thing.

>> How do you know that?

>> Mrs. Phillips knows nothing about it.

>> She doesn't?

Well, why wouldn't she?

Wait a minute, I was talking about George Reynolds.

Who did you think I meant?

Just who is it that Mrs. Phillips doesn't know about?

>> I told you before, that's none of your business.

>> All right, young lady, I'm gonna give it to you straight.

Phillips was murdered.

>> Murdered?

I don't believe you.

You're lying.

>> He called me because he needed me to clear him.

Phillips was innocent.

Innocent men don't have to jump out of windows.

>> Murdered?

>> Just who are you trying to protect, Miss Foster?

Why are you so afraid to tell the truth?

>> I'm not protecting anybody!

I haven't any more to say.

>> All right, young lady, listen to me.

This thing is gonna explode wide open.

If you've got nothing to hide, you better start talking.

Or maybe you are mixed up in this.

>> No!

>> Well then come on.

>> Mr. Phillips called Marla Rakubian.

He went to see her yesterday morning.

>> Who's Marla Rakubian?

>> She's a model.

She and Mr. Phillips used to be quite friendly, but he hadn't been seeing her for quite some time.

>> Come on.

>> The last couple of months, he'd been trying to locate her and finally learned where she lived yesterday morning.

When he returned from seeing her, he was terribly upset and excited.

That's when he had me put in the calls for you!

When he couldn't reach you, he went home!

It was the last time I saw him alive.

>> Give me Marla Rakubian's address.

>> I, I don't think Mr. Phillips realized I was aware of his friendship with Marla Rakubian, and out of respect for him, I never intended to tell anybody.

I had no idea that she had anything to do with the trouble he was in.

>> I admire your discretion, Miss Foster.

You know, you must be pretty friendly with Stanley, Miss Foster.

He knew how desperately his brother tried to reach me yesterday, and he wasn't even here at the time.

And now you seem to know all about what happened in Mrs. Phillips' apartment.

(doorbell buzzing) Miss Rakubian?

>> Yes.

What do you want?

Get out of here, or I'll call the police.

>> Go ahead, call 'em.

Well, go ahead, call 'em.

Goin' on a trip, huh?

>> Yes, going away for the weekend.

>> Sailing for Buenos Aires tomorrow, some weekend.

>> I'll send you a postcard.

Now, get out of here.

>> Who you going with, George Reynolds?

>> I've never heard of him.

>> I suppose you've never heard of Eugene Phillips either.

>> Just who are you?

What do you want?

>> Nevermind who I am.

Where's Reynolds?

>> I told you, I don't know him.

Now, will you get out of here and leave me alone?

>> Frank: So you never heard of George Reynolds, huh?

And don't try to tell me that this isn't him, because I've seen him!

>> If you think you can scare me, you're crazy.

>> Frank: Look, I know that Phillips came here yesterday.

And right after he left, he was pushed out of a sixth-story window.

>> Pushed?

Phillips committed suicide.

>> Your playmate Reynolds murdered Phillips, and then he went up to San Francisco to get me, because I knew about a certain bill of sale.

>> I don't know what you're talking about.

>> You're in this right up to your pretty little neck.

>> I'm not mixed up in anything.

Get your hands up.

Drop that picture on the couch.

Turn around.

Don't get any ideas, because I'm not afraid to use this.

Give me your wallet.

Frank Bigelow, Hotel Al.

>> All right, now where's Reynolds?

>> I don't know.

I don't know where he is.

>> That what you told Phillips yesterday?

>> I told him exactly what I'm telling you.

I haven't heard from him in months.

>> Yeah?

You're mighty careful of the picture of a man you haven't heard from in months.

What does the Ray stand for?

>> It was a pet name.

Do you mind?

>> Oh, it sounds very cozy, Miss Rakubian.

You and Reynolds call each other pet names while you make a sucker out of Phillips.

>> Phillips made the deal because he wanted it!

>> Yeah?

I'll bet you you weren't above using what it takes to help make him want it.

Who's paying for this trip?

>> I am!

>> Really?

A first-class trip to Buenos Aires on a model's salary, don't make me laugh.

Since you and Reynolds aren't seeing each other anymore, you don't mind if I keep this, do you?

>> If I were a man, I'd punch your dirty face in.

>> You know, I really believe you would.

Oh, I almost forgot, your tickets.

Don't be surprised if I'm there to see you off.

(dramatic music) >> Angelo.

Angelo!

Oh, Angelo.

Do you remember taking this picture of a George Reynolds?

>> I take so many pictures, I can't remember them all.

>> This gentleman is a friend of his and would like his address.

We have no card on him.

>> I don't think we ought to do that.

>> He's willing to pay $20 for it.

>> That's the paper we used last year.

>> Of course you understand, we usually don't give out the information about our clients.

>> I know, you're a couple of high-class fellas.

>> Thank you.

Revealing anything confidential is against the ethics of our establishment.

>> That's right, honesty is the best policy.

>> Of course.

But in your case, in as much as you're a personal friend of Mr. Reynolds- >> Thanks, I knew you'd come through.

>> Got it.

Here it is.

We don't have his address.

He must've called for the picture.

>> But he could not be a very good friend of yours, mister, because his name is not George Reynolds.

>> It isn't?

Well, what is it?

>> It's- >> Huh?

Oh, here.

>> It's Raymond Rakubian.

>> Rakubian?

(shocked music) >> What's so unusual about that?

The picture's signed Ray, isn't it?

>> Yeah.

Yeah.

Thanks!

(energized music) (gun fires) (dramatic music) (gun firing) (wings flapping) (barrel crashing) (gun firing) (wood clattering) (sultry jazz music) ♪ Your lips call me baby ♪ Then I thought that maybe ♪ You loved (door creaking) (dramatic music) >> Bigelow, are you all right?

Can I get you anything?

>> No, no, thanks.

Do you know this man?

>> No.

No, I don't think so.

>> Are you sure you've never seen him?

>> I'm quite sure.

>> Does the name Raymond Rakubian mean anything to you?

>> No, I've never heard of him, why?

>> He also uses the name George Reynolds.

>> This is Reynolds?

>> That's right.

>> Well, where can we find him?

>> That's what I want to know.

>> Tell me something, Halliday.

You're the controller here.

How come you didn't know about that bill of sale?

>> Phillips made that deal before I came to work here.

>> Yeah, but you still keep records, don't you?

>> For some reason, which is none of my business, Phillips preferred to keep that among his personal papers.

Now, does that answer your question?

You came in here today asking for some information that you needed, and I tried to be as cooperative as I could.

But now you're beginning to annoy me, so get out before I throw you out.

>> You know, you really frighten me.

(dark music) >> Well, it's about time you showed up, Bigelow.

Go ahead, Dave.

Real cute, ain't you, Bigelow?

Just real cute.

>> Marla didn't lose much time gettin' ahold of you guys, did she?

>> Shut up!

>> Ugh!

>> Let's go, Bigelow.

Look at him.

He can't take it.

Soft in the belly.

>> Ugh!

You do that again, and I'll kick your face in.

>> Lay off, Chester.

Cut it out.

>> Shut up!

Who asked you?

(phone ringing) >> Better let him answer it.

The clerk might know he's in.

>> Go ahead, Bigelow.

(dramatic music) >> Hello?

>> Frank.

Frank, why did you hang up on me?

I've been trying to get you for hours.

>> I'm sorry, Paula, I was in a hurry.

>> Paula: Well, don't be in such a hurry this time.

You didn't give me a chance to finish what I had to say.

>> It's a dame.

>> I wanted to tell you that McGowen was in hollering his head off because you didn't go over the books.

>> Tell McGowen to get another auditor.

>> Paula: Sure.

Sure, I'll just do that little thing and lose the best-paying account we've got.

>> Do as I tell you, Paula.

>> Frank, are you, are you drunk?

>> Frank: Paula, how much have we got in the bank?

>> About $2,200.

>> Frank: Draw it out tomorrow.

>> Sure.

Then what do we do?

Skip town without paying our bills?

>> Forget the bills.

You know that coat you always wanted?

Buy it.

>> You are drunk.

You know, if I didn't have such a good character, I'd be tempted to take advantage of your intoxicated state, Mr. Bigelow.

>> I'm not drunk, Paula.

>> Paula: Well, then don't tell me that one day away from me can affect you this way.

>> Cut it short!

>> Paula?

>> Paula: Yes?

(loving music) >> I'm, I'm sorry I left you.

I never realized how much I love you, but I know it now.

>> Oh, Frank, Frank, darling, I love you too so very much.

Please come home.

I miss you terribly.

>> I said cut it short!

(angry music) Oh, I'd just love to let you have it, Bigelow.

>> Let's go, Chester.

This guy's kept us waiting long enough now.

>> Walk in front of me, Bigelow.

(dramatic music) And keep your mouth shut.

If you so much as look cross-eyed at anybody, I'll blow the back of your skull out.

This Bigelow's real cute.

He wanted to get tough with Chester.

He don't know Chester.

>> Marla: Did you get the picture?

>> Don't I always get what Mr. Majak sends me after?

>> Majak?

(stunned music) >> That's right.

I'm the dealer who bought the iridium from Phillips.

>> I get it.

You have Rakubian unload stolen stuff on Phillips with the help of Marla here, and then you buy it back from him.

Oh, you certainly made a sucker out of Phillips.

>> What is it, Mr. Bigelow?

Exactly what is on your mind?

>> I'm looking for Raymond Rakubian.

>> Majak: Why?

>> Well now, Marla here has told you everything else.

I'm sure she must have told you that too.

>> You don't expect me to believe this conversation, so what is on your mind?

I mean, underneath.

You forced your way into my affairs, and now I want to know why.

>> I just told you.

I'm looking for Raymond Rakubian.

>> Don't get cute.

I'm just itchin' to work you over.

Soft in the belly.

Can't take it.

>> Ugh!

>> See what did I tell you?

(menacing music) >> You can't do that to Chester.

I'm going to blow your guts out.

>> Easy.

Lay off, Chester, not now.

>> Look at him.

He's so scared of Chester, he'll talk now.

>> He's not afraid, Chester.

You can tell from my man's eyes when he is afraid.

Look at his eyes.

>> Oh!

(menacing music) >> I'm telling you, Majak, you'd better keep him away from me, or he's really gonna have to use that gun.

>> Go away, Chester, please.

Do what I tell you, my boy.

Please.

And help Dave.

Joe.

Ah, you're in pain.

He's an unfortunate boy.

He psychopathic.

He's unhappy unless he gives pain.

He likes to see blood.

Come with me, Mr. Bigelow.

(dramatic music) Raymond Rakubian was my nephew.

He could not possibly have tried to kill you.

He's been dead five months.

I'm afraid you have been sidetracked.

Provided it is true that somebody made an attempt on your life?

>> Somebody made an attempt again today.

>> I had no reason to kill you, believe me.

>> What do you mean you had no reason?

I notarized a certain bill of sale.

>> You notarized a bill of sale for Reynolds, not Rakubian.

What I told you is true.

I had no reason to kill you.

That's a closet, Mr. Bigelow.

And under other circumstances, you could go home now.

But now you present a problem.

You know too much, and I am in danger.

Chester!

>> Suppose I were able to prove to you that I only want to find the person who tried to killed me, and I won't cause you any trouble?

>> You know, I can go to jail for 10 years for this little business?

10 years.

At my age, that's my life.

That means my entire life.

With my life, I do not take chances.

I am sorry, believe me.

You want Joe to go with you?

>> No.

Just Bigelow and me and baby makes three- >> But Majak.

(threatening music) >> Goodbye, Mr. Bigelow, and forgive me.

>> Let's go, Bigelow.

>> I guess you won't be there to see me off.

(grim music) >> You tried to make a boob out of me in front of Majak.

You shouldn't have done that, Bigelow.

I don't like that.

I'm gonna enjoy this, Bigelow.

I've done jobs like this before.

I knocked off guys I could like.

I don't like you, Bigelow.

I never liked that puss of yours from the minute I seen it.

Yeah.

I'm gonna enjoy this.

(suspenseful music) You ain't scared yet, are you, Bigelow?

But you'll be scared, good and scared.

I think I'll give it to you in the belly.

You don't like it in the belly.

Go ahead, try it.

I'd just love you to try it, Bigelow.

Why don't you try it.

Go ahead.

Didn't have the nerve, did you, Bigelow?

Yeah.

I think I'll give it to you right in the belly.

(dramatic music) Takes longer when you get it in the belly.

It's nice and slow.

That's the way I want to see you go, Bigelow, nice and slow.

(suspenseful music) (brakes squeal) (dramatic music) (woman screams) (gun firing) (woman screams) (gun firing) (bottle clunks) (guns firing) (anxious music) >> Frank.

Frank, are you all right?

>> Yes, I'm all right, Paula, but what are you doing here?

How did you get here?

>> Freddy Ross flew me down.

I had to come.

I had to see you.

>> You shouldn't have come, Paula.

You shouldn't have.

>> What is it, Frank?

You're in some kind of trouble, I know it.

Look at you, you're a sight.

Your clothes look as if you've slept in them.

Are you ill?

You are, you're feverish.

>> I'm all right, Paula, and I'm not in any trouble, believe me.

>> You're lying, Frank.

Right after I spoke to you, I got a phone call from the San Francisco police.

They asked if I knew where you were.

>> You didn't tell them anything, did you?

>> Of course not.

It was the homicide detective that called.

What is it, Frank?

If you're in any kind of trouble, you certainly can trust me.

>> Look, I'm not in any trouble with the police, Paula, believe me, but you can't stay here.

You've got to go back to Banning right away.

>> No, I won't go, Frank, I won't.

I'm staying here with you.

>> Paula, it's better that you go back, believe me.

>> Why?

What's this all about?

What have you got to do with this Phillips and Reynolds?

>> Phillips was murdered.

>> Murdered?

What could that possibly have to do with you?

All you did was notarize a paper.

You've notarized hundreds of papers.

>> I know, I know.

All I did was notarize one little paper.

One little paper out of hundreds!

>> Frank, you frighten me.

You don't even act like yourself.

I know that you're in trouble, that something is wrong.

That you're in serious trouble.

You frighten me, Frank.

>> Oh, don't be frightened, Paula.

Don't ever be frightened of anything again.

Will you promise me that?

>> I love you so much, darling.

More than you seem able to understand.

>> Oh.

>> I never really knew happiness until I loved you.

Sometimes, when I used to be afraid that you weren't sure how you felt, I tried to hold back, but I couldn't.

Losing you would have meant losing everything.

There would have been nothing left.

>> Don't, Paula, don't.

>> Now I'm afraid again.

Somehow I feel that I'm going to lose you, but there's nothing I can do about it.

I feel so helpless.

You're leaving me out of something.

Tell me, Frank, what is it?

Give me a chance to fight back, just give me a chance, please.

You do love me, don't you, Frank?

>> Oh, yes, Paula.

I love you.

I never was more certain of anything in my life.

I wasn't sure before.

I was a little blind, I guess, but, believe me, I'm sure now.

Can you understand that, Paula?

>> I understand.

>> A man can be like that, Paula.

Something has to happen.

It can be a big thing or a little thing, but it can make him realize how much someone means to him.

How much he really loves her.

Oh, and I love you, Paula, more than I ever thought it possible to love anyone in the world, I love you.

>> Then why won't you tell me about this trouble you're in?

Why won't you try to let me help you?

>> You can't help me, Paula.

>> You don't want my help.

>> Oh, Paula, there's nothing you can do.

Will you believe me?

So will you please go home, please?

>> No, Frank, I won't go.

I know you're in trouble.

I can't leave you like this.

>> All right, Paula, look.

Wait for me in the lobby of the hotel, and I'll be back for you soon, I promise.

>> You promise, you're sure?

>> Yes, Paula, I promise.

Is that a new outfit?

(romantic music) >> Yes.

>> Well, it's beautiful.

>> You'll come back to me, won't you, Frank?

>> Yes, Paula, I'll come back.

I promise.

>> Please hurry, darling.

Oh, I love you.

>> I love you, Paula.

Goodbye, Paula.

(bittersweet music) (dramatic music) Is Stanley here?

You sure?

All right, get in there.

Now, get Stanley on the phone.

Tell him to get over here right away.

Use any excuse you want.

>> What are you going to do?

>> What was Stanley gonna do when he used me for a clay pigeon today?

>> I don't know what you're talking about.

>> Don't act innocent with me.

I fell for that once.

>> I don't know what you mean!

I told you everything you wanted to know this morning.

>> Yeah, you told me just enough so I'd get sidetracked and wouldn't know that Stanley was the one I was after!

>> Stanley?

Oh, no.

>> You and Stanley have been together on this from the start.

Now, come on, get on that phone and call him.

And don't let him know I'm here.

>> Bigelow.

(surprised music) (swirling suspenseful music) You've been sidetracked, all right, but it was the poor bereaved little widow who did it.

Miss Foster found this letter this afternoon.

It was in my brother's desk at the offices.

It's postmarked two years ago.

It isn't exactly the kind of a letter that a married woman gets from a casual friend.

But I'm sure my brother wasn't aware that they were so well-acquainted when he hired Halliday.

(dramatic music) >> What's the matter with him?

>> Miss Foster: He hasn't felt right since dinner.

>> Where did he have dinner?

>> Miss Foster: At Mrs. Phillips' apartment.

Halliday was there too, and Stanley confronted them with that letter.

>> Did you have anything to drink?

>> Yes, why?

>> How long ago?

>> Half an hour ago, just before I came here.

>> Miss Foster, get on the phone.

Call the emergency hospital.

Have them get an ambulance over here right away.

>> Miss Foster: What?

>> Tell them to prepare a stomach wash for luminous poisoning.

>> Luminous poisoning?

>> Go on, do what I tell you.

You may still have a chance to save his life.

>> But I- >> Go on!

(dramatic music) I found George Reynolds, Mrs. Phillips.

He's been dead for five months.

>> Then he didn't steal the bill of sale?

>> No, he didn't, but you could've stolen it.

>> How dare you.

>> You knew who I was when I came here today, but you were surprised to see me alive, weren't you?

But I'm not alive, Mrs. Phillips.

Sure, I can stand here and talk to you.

I can breathe, and I can move.

But I'm not alive, 'cause I did take that poison, and nothing can save me.

>> What are you going to do?

>> I kill you now, I have nothing to lose.

>> No, no, you've got to listen to me.

You've got to give me a chance.

>> But I didn't have a chance.

>> It was Halliday.

Believe me, it was Halliday.

He made me steal the bill of sale.

He planned everything.

>> What about this letter?

Your husband knew about you and Halliday!

>> He found it only yesterday.

He accused Halliday.

They fought, and Halliday pushed him over this balcony!

>> And why me?

Why did he want to kill me?

>> Because you could've proved there was a bill of sale, that my husband had no reason to commit suicide.

Halliday was desperate.

After he killed my husband, he found out about the phone calls to you.

He thought you spoke to him, that you knew enough to involve him.

(car engine revving) (dramatic music) >> Where's Halliday?

Where is he?

>> He's at the office.

>> Frank: This time you don't warn him.

(suspenseful music) (dramatic music) >> Majak!

(dramatic music) >> Come on, mister, break it up.

Come on, come on.

Come on, move along.

Come on, let's break it up.

Move along now.

Let's get going, come on.

(dramatic music) (sultry jazz music) (dramatic music) (suspenseful music) (guns firing) (dramatic music) >> All I did was notarize a bill of sale, but that piece of paper could have proven that Phillips didn't commit suicide.

He was murdered.

And that's why Halliday poisoned me.

Would you... P-Paula.

(dramatic music) >> Call the morgue.

(somber music) Johnson, you go to the Allison's Hotel, find Paula Gibson.

Don't tell her anything.

I'll break it to her.

>> How shall I make out the report on him, Captain?

>> Better make it dead on arrival.

(dramatic music) (dramatic orchestral music)