[ Horn Blowing ]
** [ Whistling ]
** [ Continues ]
GOOD AFTERNOON, FATHER. [ Irish Accent ] TOP OF THE MORNIN' TO YOU.
** [ Continues ]
TOP OF THE MORNIN' TO YOU, YOUNG LADY. HELLO, FATHER.
** [ Continues ]
AND HERE IT IS.
MRS. MULLOY? [ Woman ] YES? WHO IS IT?
IT'S FATHER MacDOWELL. I WONDER IF YOU COULD SPARE ME A MOMENT OF YOUR TIME.
WELL, UM, UH,
ARE YOU NEW TO THE NEIGHBORHOOD, FATHER?
THAT I AM. I'M NEW TO THE NEIGHBORHOOD, BUT I'M SURE...
IT'LL BE A PLEASURE TO SERVE THE LIKES OF SUCH AS YOURSELF.
OH. I JUST NEED A MINUTE OF YOUR LIFE.
UH-- WELL-- [ Latch Unlocking ]
OH. YES. HELLO.
UM-- WELL, COME IN. THANK YOU.
IT'S A LOVELY PLACE YOU GOT HERE. OH, WELL,
IT'S NOT AS NICE AS IT ONCE WAS WHEN MY HUSBAND WAS ALIVE.
STILL, IT IS HABITABLE.
HABITABLE? [ Laughs ]
OH, I LIKE THAT. THAT'S A LOVELY WORD, THAT IS. "HABITABLE."
WELL, I-I-- I DO SORT OF PRIDE MYSELF ON MY VOCABULARY.
IT'S A SELF-IMPROVEMENT COURSE THAT I'VE BEEN TAKING FOR ABOUT THREE MONTHS.
YES? WELL, UM--
UM, WOULD YOU LIKE A CUP OF TEA, FATHER?
OH. NO, I HATE TEA. I ABOMINATE IT.
I GOT MORNING TEAS, EVENING TEAS, AFTERNOON TEAS.
NO. HAD MY FILL OF TEA.
BUT I'LL TELL YA SOMETHING YOU CAN DO.
YOU CAN GIVE ME SOMETHING A MITE BIT STRONGER.
A LITTLE WINE, PERHAPS?
WINE? WINE.
WELL, LET ME SEE.
UM, I THINK I'VE GOT SOME PORT HERE.
PORT? NOW, THAT'D BE SPLENDID, THAT WOULD BE.
OH. GOOD.
SPLENDID.
I THINK THIS IS PRETTY GOOD PORT.
I'M SURE IT IS IF YOU OWN IT.
GOOD RED WINE, EH?
LIKE THE POPPIES THAT SPILL THEIR PETALS ON THE BREASTS OF DEAD MEN.
I THINK IT WAS O'CASEY SAID THAT. I DON'T KNOW, FATHER.
I THINK IT WAS. I THINK IT WAS.
YES, RED, LIKE THE VERY BLOOD...
HE SHED FOR YOU AND ME, MRS. MULLOY.
WELL... HERE'S TO YOUR HEALTH.
- THANK YOU. - YOU'RE WELCOME.
- SIT DOWN, FATHER. - OH, YES. YES, THANK YOU.
THAT'S GOOD WINE.
FATHER, MAY I ASK, IS IT ABOUT THE CHURCH?
OH, YES, THAT'S RIGHT. YES, IT'S ABOUT THE CHURCH.
BECAUSE, WELL, I MAY AS WELL TELL YOU RIGHT NOW.
I'M NOT A CATHOLIC ANYMORE.
YOU'RE NOT A CATHOLIC ANYMORE?
- I'VE FALLEN AWAY. - WHY?
WELL, IT WAS WHEN MY HUSBAND DIED.
I LOST MY FAITH, AND, WELL,
YOU CAN'T BRING IT BACK.
NOBODY CAN BRING IT BACK AGAIN.
THAT'S SAD.
WELL, NOW, THAT'S VERY SAD INDEED, THAT IS.
WELL, I HAVE SUFFERED, BELIEVE ME.
OH, YOU DON'T KNOW THE GUILT. OH, MY DEAR, SWEET LADY.
HAVEN'T WE ALL SUFFERED IN THIS GREAT VALE OF TEARS?
MY OWN SWEET, SAINTED MOTHER, MY LORD,
SHE WAS LIKE A BLAZING GLORY UPON THIS EARTH.
SHE HAD EYES THAT SPARKLED LIKE SNOW CRYSTALS ON A COLD KILDOWNEY MORNING.
HER HAIR-- HER HAIR WAS RADIANT.
SHE HAD A FIGURE THAT WAS VOLUPTUOUS. VOLUPTUOUS.
IT MADE THE EYES OF THE ARCHBISHOP BLINK HIMSELF.
CAN I TELL YA SOMETHIN', MRS. MULLOY? YOU GOT QUITE A FIGURE YOURSELF.
OH, YES, YOU DO.
OH, YES. YOU GOT A FIGURE...
THAT WOULD PLEASE THE EYE OF MANY A MATURE MAN.
MY MOTHER-- OH.
MY MOTHER USED TO WALK DOWN THE STREETS LIKE A QUEEN.
AND THE MEN WOULD TURN AND PRAISE HER WITH THEIR EYES.
SHE HAD ONE THING PECULIAR ABOUT HER, THOUGH.
SHE HAD A LITTLE DELICATE SPOT RIGHT HERE.
JUST TOUCH IT AND SHE LAUGHED AND GIGGLED LIKE A SCHOOLGIRL.
JUST TOUCH IT LIKE THAT, AND SHE'D LAUGH AND GIGGLE AND GIGGLE AND LAUGH...
AND LAUGH AND GIGGLE AND GIGGLE AND LAUGH AND LAUGH AND GIGGLE.
AND TOUCH HER THERE, AND MAKE HER GIGGLE AND GIGGLE.
OH, RIGHT THERE. GIB, GIB, GIB, GIB! GIB, GIB, GIB, GIB!
[ Yelling ]
[ Gasping ]
[ Moans ]
SO NOW, MAMA,
YOU REST IN PEACE.
MORRIS, FOR GOD'S SAKE, WILL YA HURRY UP?
MORRIS, THE EGGS ARE COOKING!
WHAT'S THE MATTER? YOU GOT A PIMPLE? CUT MYSELF SHAVING.
A MAN YOUR AGE HAS GOT NO BUSINESS HAVING PIMPLES. EAT YOUR EGGS.
HEY, IS THERE ANY TOAST, MOM?
YOU GOT LATKES.
WELL, THAT'S A-- THAT'S A LITTLE HEAVY FOR BREAKFAST.
SO TAKE A GOOD LOOK AT YOURSELF.
A SKELETON WITHOUT A CLOSET. HOW'S THE EGGS?
THEY'RE FINE. THEY'RE NOT TOO RUNNY?
NO, NO, NO. THEY'RE SWELL. YOU DON'T EAT.
YOU NEVER EAT. HALF THE WORLD IS STARVING TO DEATH--
[ Together ] AND I GOTTA PUSH THE FOOD DOWN YOUR THROAT.
SURE, SURE. MAKE FUN, MAKE FUN.
I WOULDN'T DARE.
SO WHY DO I FEED YOU? TELL ME.
HUH? TELL ME. HOW MUCH MONEY ARE YOU GONNA MAKE TODAY?
I DON'T KNOW.
SHOULD I TELL YOU HOW MUCH YOUR BROTHER FRANKLIN'S GONNA MAKE?
MAYBE A THOUSAND, MAYBE TWO THOUSAND, IN ONE DAY.
ALL RIGHT. HE DESERVES IT, MOTHER. HE'S A--
WELL, I MEAN, HE'S A VERY FINE DOCTOR.
OH, NO, NO. NOT FINE. THE BEST.
B-E-S-T. DO YOU KNOW WHAT THAT MEANS?
TO BE THE BEST LUNG SURGEON IN ALL MANHATTAN, THE QUEENS AND THE BRONX?
AND HE'S NOT EVEN 40 YET. WELL, HE'S OLDER THAN I AM. GIVE ME TIME.
YOU, TIME? [ Scoffs ]
A HUNDRED YEARS I GIVE YA, STILL CAN'T TIE YOUR OWN SHOELACES.
OKAY, OKAY. SURE, SURE. "OKAY, OKAY."
MOTHER, WHAT DO YOU WANT FROM ME?
[ Phone Ringing ]
HELLO? JUST A MINUTE.
YEAH, HELLO? [ Man ] HI, MOE.
DAWSON. HOW'S YOUR MOTHER?
SHE'S FINE. SHE'S JUST FINE.
GOOD. I'M PUTTING YOU ON THE MULLOY HOMICIDE.
YOU CAN GO STRAIGHT OVER TO HER APARTMENT RIGHT NOW.
- WHAT HAPPENED TO O'NEILL? - NAW, IT HIT HIM AGAIN LAST NIGHT.
OH, BOY. HOSPITAL THIS TIME.
SAME OLD THING? YEAH. DO YOU KNOW THE ADDRESS?
YEAH, BUT I DON'T GO ON DUTY TILL 4:00.
THANKS A LOT, MOE. AND, UH, REGARDS TO YOUR MOTHER.
I GOTTA LEAVE.
WHAT DO YOU MEAN, YOU GOTTA LEAVE? I GOTTA LEAVE!
YOU GOT THE 4:00 SHIFT. I'M TAKING OVER FOR O'NEILL.
WHAT'S THE MATTER WITH HIM? HE'S SICK.
WITH WHAT? IT DOESN'T MATTER.
WITH WHAT? DO YA HAVE TO KNOW?
I'M ASKING YOU. WHAT'S THE MATTER WITH O'NEILL? A HERNIA!
SO WHAT'S SO TERRIBLE?
YOUR VERY OWN UNCLE SIDNEY HAD ONE FOR 23 YEARS.
LOOK AT YOU WITH THAT THING. A JEWISH COP.
WHEN EVERYBODY KNOWS IF YOU'RE NOT IRISH,
YOU'RE NOBODY IF YOU'RE A COP.
FOUR YEARS AT THE CITY UNIVERSITY, YOU STILL DON'T HAVE A DEGREE?
THREE YEARS, AND IT WASN'T FULL-TIME.
DON'T BE SO PROUD WITH YOUR THREE YEARS. YOU STILL DON'T HAVE A DIPLOMA.
NOT TO MENTION GRANDCHILDREN, WHICH YOUR BROTHER FRANKLIN HAS THREE ALREADY.
[ Groaning ] WHAT HAVE I GOT FROM YOU BUT HEARTBREAK!
SO LONG, MA. OH, THAT'S RIGHT. GO OUT!
GO ON, LEAVE ME! LEAVE ME! DON'T COME BACK!
MOTHER, DON'T YOU THINK YOU'RE OVERDOING IT JUST A LITTLE BIT?
MORRIS?
MORRIS.
DARLING, WE'RE HAVING KREPLACH FOR DINNER.
YOU STOP BY FOR THE FLANKEN, HEAR ME?
MORRIS?
** [ Humming ]
GOOD MORNING TO YOU, MRS. FITTS. GOOD MORNING.
YOUR MORNING PAPER, SIR. THANK YOU.
HMM.
- CITY DESK. - I'D LIKE TO SPEAK TO THE CITY EDITOR, PLEASE.
MR. BROMLEY'S BUSY RIGHT NOW. CAN I HELP YOU?
YES, YOU CAN. YOU HAVE AN ITEM ON PAGE SEVEN--
BURIED ON PAGE SEVEN, I MIGHT ADD-- OF A MURDER OF A MRS. ALMA MULLOY.
THERE'S NO DETAILS, NO DESCRIPTION, NOTHING.
AND I THINK FOR A NEWSPAPER WITH YOUR, IF I MAY SAY, REPUTATION,
THAT'S, UH, RIDICULOUS.
I'M SORRY, SIR. IT WAS PROBABLY A MATTER OF RACING THE DEADLINE.
I MEAN TO SAY THE VICTIM WASN'T FOUND IN TIME TO GET ALL THE FACTS.
I SEE.
MAY I ASK WHO'S CALLING?
NO, YOU MAY NOT.
[ Latin ]
AMEN.
WHO'S THE SUPER? OH.
IS THERE ANYONE ELSE THAT MIGHT'VE HAD ACCESS? OH, NO, SIR.
I HAD A KEY AND SHE HAD A KEY, AND NOBODY ELSE.
NOBODY. WHO WAS IT WHO SAW THE PRIEST AT HER DOOR?
OH, 3-E, RIGHT ABOVE. HER NAME IS KATHERINE PALMER.
SORRY I CAN'T HELP YOU. WE MAY HAVE SOME QUESTIONS LATER, FATHER.
WOULD YOU SHOW ME THE WAY, PLEASE? OH, YES, SIR.
HEY, MOE.
HEY, MOE!
HELLO, SAM. YOU GOT ANYTHING?
NO, NOTHING AT ALL YET, UNLESS YOU WANNA SAY...
IT WAS WELL PLANNED, WELL EXECUTED, NO DOUBT ABOUT THAT.
EXCUSE ME.
[ Knocking ]
[ Super ] THERE'S A POLICEMAN HERE TO SEE YOU, MISS PALMER.
[ Knocking Continues ] HUH?
NO, I DON'T THINK SO. THAT'S NOT MY--
OH, IT'S ALL RIGHT. YOU CAN OPEN UP. HE'S A REAL ONE.
WHERE--
[ Moans ]
OH, ALL RIGHT.
[ Knocking Continues ]
[ Mutters, Indistinct ] UH, I'M DETECTIVE BRUMMEL, 15th SQUAD.
HMM? SORRY TO DISTURB YOU, MISS, BUT, UH,
I'D LIKE TO ASK YOU A FEW QUESTIONS. WHAT'S THAT?
SOME QUESTIONS, IF YOU DON'T MIND.
OH. OH, YEAH, OKAY.
COME ON IN.
THE SUPER SAYS THAT YOU SAW A PRIEST OUTSIDE OF MRS. MULLOY'S DOOR YESTERDAY.
MMM.
YEAH, UH, THAT'S RIGHT.
OH.
I, UH, I WONDER IF YOU CAN GIVE ME A DESCRIPTION OF THE MAN.
WELL, HE WAS, UH, A PRIEST.
I KNOW, BUT, UH,
YOU KNOW, WHAT DID HE LOOK LIKE?
WELL, HE LOOKED LIKE A PRIEST. I MEAN, YOU KNOW, HE WORE THE COLLAR AND THE--
IF YOU'VE SEEN ONE PRIEST, YOU'VE SEEN 'EM ALL.
WAS HE TALL?
MEDIUM.
ANY DISTINGUISHING FEATURES?
WHAT DO YOU MEAN? LIKE, UM-- LIKE A BIG NOSE OR SOMETHING?
YEAH. I DON'T KNOW. I DON'T REMEMBER.
THAT'S KIND OF A SWEET NOSE YOU'VE GOT THERE.
IT'S NOT HANDSOME, EXACTLY. I DIDN'T SAY HANDSOME.
IT'S JUST KIND OF SWEET, ESPECIALLY FOR A COP.
MISS PALMER, DID HE SAY ANYTHING TO YOU?
WHO? THE PRIEST.
OH, YEAH. AS A MATTER OF FACT, HE SAID SOMETHING KIND OF FUNNY.
WHAT?
HE SAID, "TOP OF THE MORNIN'."
- THAT'S FUNNY? - IT WAS AFTERNOON.
OH.
LOOK, WAS-WAS THERE ANYTHING ELSE...
THAT HE DID, OR-- [ Groaning ]
- WHAT'S THE MATTER? - WELL, I'M IN MY-- I MEAN, I DON'T HAVE ANY--
OH, LOOK, I'M SORRY.
OHH.
WHY DIDN'T YOU TELL ME, FOR GOD'S SAKES?
HEY, ARE YOU REALLY A COP?
OH, YEAH, YEAH.
UM, YEAH.
COME BACK SOME OTHER TIME. YOU MIND?
NO, NO, NOT AT ALL.
I MEANT THAT... ABOUT YOUR NOSE.
LUNATICS! LUNATICS YOU GOT NOW!
STRANGLERS! MORRIS, I TELL YOU, I AM ASHAMED, YOU KNOW?
I AM SICKENED AT HEART WHEN MY OWN SON...
GOES LOOKING AT DEAD WOMEN'S NAKED BODIES.
I TELL YOU, MORRIS, IT'S NO WAY TO TREAT A LADY.
** [ TV: Big Band ]
** [ Continues, Loud ]
[ TV Shuts Off ]
[ German Accent ] WHAT? [ German Accent ] I HAVE TO POUND.
- WHAT? - ON YOUR WATER PIPES.
I HAVE TO POUND, BUT YOU SHOULDN'T PAY ANY ATTENTION.
NOT ON MY WATER PIPES. YOU GO SOMEWHERE ELSE.
WHAT DO YOU MEAN, SOMEWHERE ELSE? YOU SEE, THAT'S THE TROUBLE WITH THE WORLD.
YOU PEOPLE HAVE NO SYMPATHY FOR EACH OTHER.
LOOK AT THE ISLAND WE LIVE ON. ELEVEN MILLION PEOPLE RUNNING AROUND LIKE APES.
THE AIR'S SO POLLUTED, YOU CAN'T BREATHE.
THE SUBWAYS ARE LIKE JUNGLES. HAVE YOU EVER TRIED TO TALK TO A TAXI DRIVER? NO.
BUT WHEN THE WATER THAT'S SUPPOSED TO BE HOT COMES OUT COLD,
THEN THEY SCREAM FOR ME.
WELL, I'LL TELL YOU SOMETHING. IT WAS A SAD DAY I EVER LEFT FRANKFURT.
FRANKFURT? YOU COME FROM FRANKFURT?
THAT'S RIGHT. I AM FROM FRANKFURT.
NO. BEFORE THE WAR.
WELL, NOW. WELL, THERE YOU ARE.
IT'S A SMALL WORLD, HUH? YEAH.
I TELL YOU SOMETHING.
FOR YOU, I DON'T MAKE A SOUND.
WELL, I DON'T MEAN TO YELL AT YOU.
WHO WAS YELLING? GO AHEAD.
POUND IF YOU WANT TO.
LISTEN, IT'LL BE A MIRACLE IF PLUMBING IN THIS HOUSE EVER WORKS, HUH?
I'M LUCKY IF I GET WARM WATER. FIVE MINUTES, I GIVE IT TO YOU HOT.
HONEST? YOU COULD DO THAT?
I GIVE YOU FIVE MINUTES HOT WATER, AND I CHARGE YOU NOTHING.
[ Chuckles, Gasps ]
MY GOD! WAS IST LOS?
DAS IST BAUMKUCHEN.
BAUMKUCHEN, AND I HAVEN'T HAD IT SINCE I WAS IN FRANKFURT.
HAVE A PIECE. NO!
[ Chuckles ]
TAKE TWO. NO, NO. TWO IS TOO MUCH.
OH. [ Chuckles ]
OH, THAT'S INCREDIBLE. INCREDIBLE.
[ Chuckling ]
THAT'S WUNDERBAR!
WHERE'D YOU GET IT? I MADE IT MYSELF.
MADE IT YOURSELF?
I MAKE GUGELHUPS TOO.
YOU MAKE GUGELHUPS? [ Chuckling ]
YOU WANNA KNOW SOMETHING? I THINK I HAVE DIED AND GONE ZU HIMMEL.
YOU KNOW SOMETHING?
WHAT? WHAT? THAT'S MY NAME-- FRAU HIMMEL.
THAT'S 'CAUSE YOU ARE AN ANGEL!
HUH?
MAYBE-- MAYBE YOU LIKE TO SEE SOME PICTURES, JA?
PICTURES? OLD PICTURES FROM FRANKFURT.
THAT'S TOO MUCH.
RIGHT HERE, NOW.
[ German ]
NO, I TELL YOU-- I TELL YOU WHAT.
YOU SIT ON THE SOFA,
AND I LOOK OVER YOUR SHOULDER.
NOW.
YOU RECOGNIZE THIS? WELL, SURE.
THE OPERA HOUSE, AND THE SQUARE IN FRONT. AH!
MAKES MY HEART ACHE, YOU KNOW, BECAUSE IT WAS BOMBED DURING THE WAR.
BOMBED? NOT OPERA HOUSE.
LOOK, LOOK, LOOK, LOOK, LOOK, LOOK, LOOK.
THERE'S MY FRIEND FRITZ RIGHT THERE.
WHO? FRITZ, MY FRIEND. CAN'T YOU SEE HIM?
LOOK CLOSELY. LITTLE GUY IN THE MIDDLE IN FRONT OF THE OPERA HOUSE.
I DON'T SEE ANYONE. YES, YES.
HE'S WAVING AT YOU. YEAH, LOOK, LOOK. HE WAVES AT YOU.
HE SAYS TO YOU, "GOOD-BYE, MRS. HIMMEL.
GOOD-BYE. AUF WIEDERSEHEN."
HEY, MOE, IT'S AFTER 10:00.
HEY, MOE, IT'S AFTER 10:00, YOU KNOW? YEAH, YEAH.
WHEN GUYS ARE HOME WITH THE WIVES?
GRIND, GRIND. MOE, WHY DON'T YOU GET MARRIED?
YOU SOUND JUST LIKE MY MOTHER. YOUR MOTHER?
BY THE WAY, HOW IS SHE? SHE'S FINE, DAVE. SHE'S JUST FINE.
MOE, WHAT'S BUGGIN' YOU? NO PRINTS?
WE'RE LOUSY WITH PRINTS. I CAN'T MATCH 'EM.
CRIMINAL INDEX? F.B.I.? NO, NO. NOTHING!
[ Phone Ringing ]
VERY FUNNY. DETECTIVE SQUAD. BRUMMEL.
[ German Accent ] YEAH, IS THIS DETECTIVE MORRIS BRUMMEL SPEAKING?
SPEAKING. YEAH, WELL, THIS IS SIR HANS SCHULTZ.
AT LEAST, I WAS HANS SCHULTZ ALL DAY TODAY,
BUT A WEEK AGO LAST I WAS FATHER KEVIN MacDOWELL.
LOOK, I DON'T HAVE TIME TO FOOL AROUND, MISTER.
YEAH, WELL, DON'T HANG UP ON ME. JUST DON'T HANG UP, MR. BRUMMEL.
WHAT DO YOU WANT? WHAT DO YOU WANT?
WELL, I WANNA TELL YOU THAT...
I AM IN THE APARTMENT OF, UH,
FRAU HIMMEL,
AND SHE IS... QUITE DEAD.
- WHAT? - [ Chuckles ]
NOW YOU'RE INTERESTED, HUH? SO MAYBE NOW, I SHOULD HANG UP ON YOU.
[ Morris ] NO, NO, DON'T HANG UP.
ALL RIGHT, JUST WAIT A SECOND. HOLD ON, PLEASE. PLEASE DON'T HANG UP.
[ Chuckling ]
WELL, NOW, YOU SAY "PLEASE." SAY "PLEASE," THEN I DON'T HANG UP.
I JUST SAID IT. PLEASE, PLEASE DON'T HANG UP.
THIS IS DETECTIVE MONAGHAN, 19th PRECINCT.
I'VE GOT A CALL IN PROGRESS. I WANT IT TRACED.
YOU KNOW WHAT I THINK? I THINK YOU, UH, YOU PUT A TRACER ON THE CALL.
SEE, THAT'S NOT GONNA WORK THOUGH,
BECAUSE THERE IS NO TRACER TONE ON THIS SET.
AND THEN BY THE TIME THAT THEY CHECK WITH THE SWITCHBOARD MAN...
AT THE CENTRAL OFFICE,
AND HE CHECKS THE FRAMES ON THE CROSSBAR EQUIPMENT, AND THEN THEY CHECK--
HE KNOWS ALL ABOUT TRACING.
BUT BY THAT TIME, AUF WIEDERSEHEN. I'M GONE, SEE?
SO I THINK IT'S BEST I TELL YOU THAT...
I AM AT 520...
EAST 89th STREET.
I LIKE WHAT YOU SAID IN THE NEWSPAPERS ABOUT THE MURDER...
BEING SO WELL PLANNED AND SO WELL EXECUTED.
I CONSIDER THAT HIGH PRAISE...
COMING FROM AN EXPERT SUCH AS YOURSELF.
I THANK YOU FOR THAT, SEE. YOU HEAR ME?
YEAH, YEAH, I HEAR YA.
NOW, THE OTHER THING I'D LIKE TO TELL YOU IS THAT...
YOU SHOULD COME OVER HERE AND TAKE A LOOK,
BECAUSE YOU FIND OUT...
THAT I AM WELL UP TO MY PREVIOUS STANDARDS,
AND I WOULD LIKE YOU TO PUT THAT IN THE NEWSPAPER.
- IN FACT, I INSIST ON THAT. - I'LL TRY.
DON'T TRY. YOU DO IT. AND REMEMBER, I'M SMARTER THAN YOU ARE.
- YOU'RE SMARTER THAN I AM? - AND THERE'S ONE MORE THING.
YOU SEE, I DON'T LIKE I SHOULD CALL YOU DETECTIVE MORRIS BRUMMEL,
BECAUSE THAT'S TOO FORMAL.
SO FROM NOW ON, I CALL YOU... MORRIS.
- FINE. LISTEN-- - [ Replaces Receiver ]
AH, SICK.
GOOD MORNING, FRAU FITTS. GOOD MORNING, SIR.
DANKE SCHON. DE NADA.
** [ Humming ]
WELL, UH, HOW LONG, THEN? I MEAN, HOW LONG DID YOU TALK TO HIM?
MMM, MAYBE FOUR MINUTES ALTOGETHER.
- WHY-WHY WOULD HE CALL YOU? - I HAPPENED TO MENTION--
MENTION?
YEAH, I HAPPENED TO MENTION THAT THE MURDER WAS WELL PLANNED, WELL EXECUTED.
I GUESS THE STRANGLER WANTED TO THANK ME.
- SURE. MOE? - YES, SIR?
NAIL HIM.
NO. NO, NO, I'M SORRY. IT JUST DOESN'T DO A THING FOR ME.
WELL, UH, WHAT IF I WIDEN THE NOSE A LITTLE...
AND, UH, BRING THE HAIRLINE DOWN?
NO.
WELL, LET'S START ALL OVER AGAIN, HMM?
NO. LOOK, PLEASE-- DO YOU SEE ANY LIKENESS HERE?
IT'S NOTHING AGAINST YOU PERSONALLY.
I MEAN, YOU'RE A TRUE ARTIST. THAT'S-- YOU SHOULD TAKE UP PAINTING.
BUT THAT MAN COULD WALK IN HERE RIGHT NOW, AND I STILL WOULDN'T RECOGNIZE HIM.
SOME PEOPLE, THEY HAVE A MEMORY FOR FACES. WITH ME, IT'S NAMES.
I'M SORRY. SO AM I.
WHAT IS ALL THIS? THIS IS THE LATENT FINGERPRINT ROOM.
THE WHICH? THE LATENT FINGERPRINT.
WE GOT-- WE GOT, UH--
WE GOT OVER THREE MILLION PRINTS HERE, AND, UH--
ALL OF THEM ARE CODED,
SO WE CAN PICK ONE OUT BY ELECTRONIC COMPUTER...
IN A MATTER OF SECONDS. WOW.
WE COULD-- WE COULD SEND A MAN'S PRINTS TO ALBANY FOR IDENTIFICATION...
WITHIN, UH, 14 MINUTES OF THE TIME THEY'RE TAKEN.
SOMETIMES, YOU KNOW, WE CAN GET A SUSPECT BEHIND BARS BEFORE THE DAY IS OUT.
OH, THAT'S MARVELOUS. OH, YEAH.
YEAH, BUT YOU DON'T. WHAT?
HAVE YOUR SUSPECT BEHIND BARS BEFORE THE DAY IS OUT.
OH, WELL, NO, NOT-NOT ALWAYS.
I MEAN, SOMETIMES WE, UH-- WE FOUL UP.
WELL, THREE MILLION PRINTS, NONE OF THEM HIS.
NOPE.
WELL, IT'S BEEN VERY NICE.
UH, WELL, ACTUALLY, THE THING OF IT IS,
I-I WENT OFF DUTY ABOUT TEN MINUTES AGO.
NO KIDDING? YEAH.
YEAH, JUST ABOUT TEN MINUTES AGO.
HMM. TEN MINUTES. YEAH.
SO, UH,
IF YOU'D LIKE, I COULD TAKE YOU HOME.
[ Laughs ] I'D LIKE.
UH--
DO YOU ALWAYS, UH, WEAR THAT THING?
OH. YEAH.
ARE YOU ANY GOOD AT IT?
AM I-- WELL, AT BEING A DETECTIVE, I MEAN.
HAVE YOU HAD ANY SUCCESS?
WELL, UH, I SUPPOSE. I MEAN--
WELL, THE REASON I ASK IS THAT...
GETTING ME DOWN THERE TO LOOK AT ALL THOSE PHOTOGRAPHS AND SKETCHES AND EVERYTHING...
WAS SORT OF A WASTE OF TIME,
ESPECIALLY SINCE I TOLD YOU IT WOULDN'T DO ANY GOOD ANYWAY.
WELL, THE THING OF IT IS, MISS PALMER,
A REALLY GOOD DETECTIVE...
CAN'T AFFORD TO OVERLOOK ANY POSSIBILITY.
YOU WANNA KNOW WHAT I THINK? WHAT?
I THINK YOU WANTED TO SEE ME AGAIN.
OH, BELIEVE ME, MISS PALMER,
IT'S VERY IMPORTANT FOR A DETECTIVE...
TO, UH, TO KEEP HIS-HIS PROFESSIONAL LIFE...
AND HIS, UH-- HIS PRIVATE LIFE VERY, UM--
SEPARATE? YOU'RE FIBBING. IT'S VERY IMPORTANT. WHAT?
YOU'RE FIBBING. WELL, BELIEVE ME, MISS PALMER--
FIBBING. YOU'RE FIBBING. YOU DID WANNA SEE ME AGAIN, DIDN'T YOU?
WELL?
YOU LOOK-- YOU LOOK VERY PRETTY.
[ Both Laughing ]
I TOOK TWO HOURS GETTING READY FOR THIS.
IT LOOKS NATURAL. THAT'S WHY IT TOOK TWO HOURS.
GETTING DOLLED UP IS EASY. LOOKING NATURAL TAKES TIME.
MISS PALMER-- KATE.
MAYBE I DID FIB A LITTLE.
OH, BOY. OH, THIS IS ME.
WHAT? WE'RE HERE.
HOW COME YOU MOVED? [ Chuckles ]
THE GHOST OF MRS. MULLOY FINALLY GOT TO ME.
YOU KNOW, THAT'S A VERY FANCY NAME-- BRUMMEL.
DETECTIVE BRUMMEL. WHAT'S YOUR FIRST NAME?
MORRIS. OH, BOY.
MORRIS BRUMMEL. I SUPPOSE EVERYBODY CALLS YOU MOE?
YES. I BET YOU HATE THAT.
I HATE IT.
OH, MOE BRUMMEL. THAT'S ME.
I'M SORRY. THAT'S OKAY. IT'S A FUNNY NAME.
NO. IT'S TERRIBLE.
SURE. IT'S OKAY.
WELL, THANKS, MORRIS.
WELL, BYE.
WAS THERE, UM, SOMETHING ELSE YOU WANTED TO ASK ME?
I GUESS NOT.
WELL, GOOD-BYE. GOOD-BYE, KATE. UH--
WELL, MAYBE I COULD CALL YOU, SAY, LIKE, SATURDAY NIGHT?
DON'T BOTHER.
HUH?
CALLING. I'LL BE READY AT 8:00.
8:00. RIGHT. WELL--
GOOD-BYE.
[ Chuckles ]
MOE BRUMMEL?
[ Buzzing ]
[ Effeminate Accent ] MISS POPPIE? MISS BELLE POPPIE?
- YES? - THIS IS DORIAN, SWEETHEART. DORIAN SMITH.
WHO? DORIAN SMITH.
I BROUGHT YOU YOUR WIG, HONEY. WIG?
YES, WIG. YOU SIGNED A COUPON AT THE DRUG STORE?
- DID I? - COME ON, NOW, SWEETHEART.
DON'T FIGHT IT. YOU'VE WON YOURSELF A CUSTOMIZED WIG...
MADE WITH 100 PERCENT HUMAN HAIR.
I DID? YES, YOU DID.
NO STRINGS? ABSOLUTELY NOT.
WON'T COST ME ANYTHING?
MY SWEETHEART, NOT A PENNY. YOU HAVE THE SACRED WORD OF DORIAN SMITH.
- ALL RIGHT, I'LL TAKE IT. - OH, NO. JUST A SECOND.
YOU SEE, I HAVE TO FIT YOU PERSONALLY MYSELF.
OTHERWISE, YOU SEE, FITTING OF A WIG NEEDS GREAT ARTISTRY.
YOU'RE LIABLE TO LOOK JUST ABSOLUTELY DREADFUL.
OH. WELL, I'LL LET YOU IN IF YOU PROMISE ME ONE THING.
- YES? - WELL, YOU SEE, I HAVE CATS,
AND YOU MUST SPEAK IN A VERY GENTLE, LOW VOICE.
THEY HAVE SENSITIVE EARS, AND YOU MUST MAKE...
NO VIOLENT, SUDDEN GESTURES.
THAT DISTURBS THEM. YOU PROMISE?
YES, I PROMISE.
ALL RIGHT.
THANK YOU.
WELL. [ Meows ]
HONESTLY, THE WHOLE WORLD IS JUST FALLING INTO CRAZY LITTLE PIECES.
IT'S GETTING SO YOU CAN'T TRUST ANYBODY ANYMORE.
I HAD A FRIEND, A VERY CLOSE FRIEND.
WE LIVED TOGETHER FOR THREE YEARS, SO YOU KNOW, SWEETHEART--
I MEAN, WE WERE CLOSE, YOU SEE.
I FOUND OUT HE WAS A VERY MEAN AND A VERY SPITEFUL PERSON.
SO JUST YESTERDAY, I JUST HAD TO KICK HIM OUT, THAT'S ALL. JUST KICK HIM OUT.
THAT'S NOT RIGHT. PEOPLE ARE JUST LIKE CATS. THEY'RE SUSPICIOUS.
AND-AND JUST LIKE CATS, IT TAKES TIME FOR THEM TO GET TO TRUST YOU.
JUST TIME, PATIENCE AND INTELLIGENCE.
WOULD YOU LIKE TO, UH, MEET MY CATS?
CATS? YES.
THIS IS MOTHER. YES.
- LITTLE MOUSE IS UP THERE ON THE SHELF. - OH, THAT'S LITTLE MOUSE.
[ Cat Meowing ]
- DIDDIWAM'S OVER THERE IN THE PAPER BAG. - DIDDIWAM.
TIDDLER IS ON THE COFFEE TABLE. YES.
UM, WELL, PICKLES IS IN THE FIREPLACE.
PICKLES IS IN THE FIREPLACE.
WELL, ALL RIGHT, NOW, MY DEAR. I WONDER IF YOU'D BE KIND ENOUGH TO SIT DOWN HERE, PLEASE.
WELL-- YES, DARLING. [ Meows ]
ALL RIGHT, MOTHER. JUST SIT DOWN THERE, DARLING.
EXCUSE ME. EXCUSE ME, DARLING. I'M SORRY.
NOW, ALL WE NEED NOW, MY SWEETHEART, IS A MIRROR.
AH! THAT'S JUST EXACTLY WHAT WE NEED.
HERE WE ARE. YES.
NOW, I'LL JUST PUT THAT DOWN THERE FOR A MOMENT.
NOW, LET ME LOOK AT YOU.
OH, THAT HAS TO GO! THAT'S NOT RIGHT. NOW, LOOK AT ME, SWEETHEART.
LET'S SEE.
[ Chuckles ] YES, I THINK I'VE GOT JUST THE THING FOR YOU.
NOW, I THINK YOU'LL LOVE THIS, SWEETHEART.
I WANT YOU TO JUST-- JUST LOOK AT THAT.
ISN'T THAT ABSOLUTELY FANTASTIC AND BREATHTAKING?
WHAT DO YOU CALL THAT?
WE CALL THIS OUR SHIRLEY TEMPLE.
WELL, SHIRLEY TEMPLE HAD MORE CURLS DOWN HERE AND MORE UP HERE.
I CAN'T HELP THAT, SWEETHEART. WE CALL IT SHIRLEY TEMPLE.
- I DON'T LIKE IT. - WHY DON'T YOU LIKE IT?
IT'S TOO OLD.
IT'S TOO OLD?
I SEE. WELL, ALL RIGHT.
I THINK I HAVE SOMETHING HERE YOU'LL FIND--
I THINK THIS IS JUST--
[ Cats Screeching ] NOW, ISN'T THAT BEAUTIFUL, SWEETHEART?
MOTHER, YOU LEAVE PICKLES ALONE!
THAT'S NOT NICE.
[ Laughing ] NOT IN PUBLIC, ANYWAY.
ANYWAY, HERE WE HAVE-- THIS IS WHAT'S CALLED OUR, UH, DESDEMONA.
DESDEMONA HAD VERY BLONDE HAIR.
THAT ONE'S TOO DARK.
I CAN'T HELP THAT, SWEETHEART. I DIDN'T WRITE THE PLAY.
[ Cats Screeching ] MOTHER! MOTHER, NO, NO.
NAUGHTY, NAUGHTY, NAUGHTY.
ALL RIGHT, MY SWEETHEART, LET'S GO ON.
JUST TAKE THIS MIRROR AND PICK IT UP WITH YOUR TWO LOVELY LITTLE HANDS,
AND THEN I'LL PUT THE WIG ON YOUR SWEET, MARVELOUS HEAD.
ALL RIGHT, DARLING. BEND YOUR HEAD BACK, PLEASE.
I HAVE TO HAVE YOUR FOREHEAD RIGHT THERE. THANK YOU. THERE?
YES. JUST BE CALM. OH!
THERE WE ARE. NOW WE JUST SEE HOW THAT IS.
DOESN'T THAT LOOK LOVELY? DOESN'T IT?
I DON'T LIKE IT. YOU DON'T? WELL, MY DARLING,
THAT'S BECAUSE I HAVEN'T FINISHED WITH IT, YOU SEE.
WHAT I HAVE TO DO NOW IS TO FIT IT IN HERE...
AND FIT IT DOWN INTO YOUR NECK, YOU KNOW, RIGHT ABOUT LIKE THAT.
YOU DO HAVE A LOVELY NECK.
IT'S VERY SOFT AND SMOOTH, MY DEAR. [ Door Opens ]
BELLE, IT'S ONLY ME.
OH, LOOK WHAT I'VE GOT FOR THE BABIES.
A LOVELY SCRATCHING POST!
[ Sneezes ] GUESS WHAT JUST HAPPENED?
WHAT? I WON A WIG.
YOU WON A WIG? MM-HMM.
THIS NICE MAN HERE, MR.-- DORIAN SMITH.
YES. OH. MY SISTER SYLVIA.
HOW DO YOU-- [ Sneezes ]
NA ZDOROVEYA.
I'M ALLERGIC TO CATS. TAKE YOUR ALLERGY PILLS.
I WILL. WELL, UH--
FIRST THING I EVER WON IN MY WHOLE LIFE. SO WHAT'S THE CATCH?
CATCH? WELL, HONESTLY!
THE SUSPICION OF SOME PEOPLE.
WELL, DO-- DO YOU LIKE IT?
NO. BUT I SUPPOSE IF YOU WON IT, YOU WON IT. ISN'T THAT RIGHT, MR.--
SMITH. DORIAN SMITH. AND THAT'S RIGHT, SWEETHEART.
YOU GET THIS LOVELY WIG, AND THEN YOU GET A PERSONAL FITTING FROM ME.
AND AT THE END OF TWO MONTHS, IF YOU DON'T LIKE IT...
YOU GET EVERY-- EVERY PENNY OF YOUR MONEY BACK.
WHAT DO YOU MEAN, EVERY PENNY OF YOUR MONEY BACK? DEPENDS HOW MUCH YOU SPEND.
WE HAVE WIGS THAT GO FROM $157 TO $350.
BUT-BUT-BUT YOU SAID THAT I HAD WON IT.
WHICH YOU DID, SWEETIE POOPIE. YOU WON IT.
BUY OBVIOUSLY, YOU HAVEN'T READ THE FINE PRINT ON THE COUPON.
OH, YOU PHONY! LET'S NOT GET BITCHY.
THAT'S DISHONEST! THAT'S-- NOBODY CALLS ME DISHONEST!
NO ONE EVER CALLS ME DISHONEST! IS THAT ONE OF YOUR OWN WIGS YOU'RE WEARING?
YOU DON'T LOOK LIKE CLEOPATRA, HONEY! DON'T RAISE YOUR VOICE!
YOU HOMO! WELL, THAT DOESN'T MEAN YOU'RE A BAD PERSON.
** [ Whistling ]
WHO IS SHE? WHO'S WHO?
THE GIRL YOU'RE THINKING ABOUT.
I'M-I'M READING THE REPORT... AHH.
FROM THE BUREAU OF CRIMINAL INFORMATION.
SO, EAT. EAT YOUR KNAYDLACH AND TELL ME WHO SHE IS.
WE HAD KNAYDLACH LAST NIGHT. YOU DON'T LIKE IT?
YEAH, I THINK IT'S ALL RIGHT. AHH!
THIS GIRL, SHE'S STOLEN YOUR APPETITE. DON'T BE RIDICULOUS.
FIRST SIGN-- NO APPETITE. MOTHER, WILL YOU DO ME A FAVOR? JUST TONIGHT?
LAY OFF. SECOND SIGN-- TEMPER.
LAY OFF. OH, NOW HE'S YELLING AT ME.
CAN YOU EVER REMEMBER-- CAN YOU REMEMBER ONE MOMENT THAT FRANKLIN EVER YELLED AT ME?
CAN YOU? THANK GOD FOR FRANKLIN.
- THANK GOD FOR FRANKLIN. - SO WHAT HAVE I GOT, A PARROT FOR DINNER?
THAT'S RIGHT, MOTHER. YOUR SON THE PARROT, AND HE'S EATING YOUR DINNER.
NOW FUNNY JOKES HE'S MAKING ABOUT HIS OWN MAMA. OH!
YOU THINK I DON'T KNOW WHO'S GOT YOU TO-- TO THINK THIS?
THINK THE BAD THINGS ABOUT YOUR MAMA? THIS AWFUL, TERRIBLE GIRL?
LOOK, SHE'S GOT NOTHING TO DO WITH YOU. OOH!
[ Tittering ]
OH! OOH! OOH!
A MAMA DOESN'T KNOW, HUH? MORRIS.
[ Clears Throat ] YES, YES. IS SHE JEWISH?
I DON'T KNOW. YOU DON'T KNOW?
SHE DOESN'T GO AROUND ANNOUNCING HER RELIGION.
OH, GOD FORGIVE YOU. A SHIKSA!
SO WHAT DO YOU DO WITH HER? GO TO MASS?
NO. WE JUST-- WE WALK AND WE TALK, AND-- OH, PLEASE, PLEASE.
I DON'T WANNA HEAR ANOTHER WORD. ALREADY, I WON'T SLEEP A WINK TONIGHT.
PLEASE, DON'T SAY ANOTHER WORD!
- MORRIS. - I THOUGHT YOU DIDN'T WANNA HEAR ANY MORE.
OH, YOU THINK I WANT TO?
YOU THINK I WANT-- I'M IN AGONY.
I-- IT'S MY DUTY. GO ON, GO ON.
WELL, SHE-- HER NAME IS KATHERINE. KATHERINE PALMER.
SHORT, BLONDE, BEAUTIFUL.
NO, SHE'S, UH-- SHE'S TALL,
AND SHE'S ONLY GOT ONE EYE RIGHT IN THE MIDDLE OF HER FOREHEAD.
OF COURSE, OF COURSE. SHE'LL BREAK YOUR HEART.
[ Sighs ] [ Phone Ringing ]
- HELLO? - I WANNA SPEAK TO MORRIS BRUMMEL.
- SPEAKING. - MORRIS, THIS IS DORIAN.
DORIAN. DORIAN SMITH.
I'M SORRY. I THINK YOU GOT THE WRONG NUMBER.
I DON'T HAVE THE WRONG NUMBER! THIS IS DORIAN! DORIAN SMITH!
CERTAINLY YOU HAVEN'T FORGOTTEN ME ALREADY, SWEETHEART!
NO. NO, I HAVEN'T-- I HAVEN'T FORGOTTEN YOU.
[ Chuckling ] WELL, I DIDN'T THINK SO, SWEETHEART.
I DIDN'T THINK SO. NOW, LOOK, I-I-I--
I'M-I'M VERY SORRY IF I-I'M DISTURBING YOU AT HOME.
- HOW'D YOU GET MY NUMBER? - HOW MANY MORRIS BRUMMELS ARE IN THE PHONE BOOK?
WHAT DO YOU WANT?
OH, MORRIS, I HAVE BEEN A BAD BOY AGAIN.
YES? YES.
WHAT DO YOU MEAN, YES? JUST DON'T SAY YES! SHOW SOME INTEREST!
CAN'T YOU NOTICE MY VOICE IS COMPLETELY DIFFERENT?
- YES, I NOTICED THAT. - ALL RIGHT.
YOU SHOULD'VE HEARD MY FATHER MacDOWELL.
IT WAS SENSATIONAL. DON'T YOU THINK I'M CLEVER?
- YEAH, YOU'RE A WIZARD. - THANK YOU. YOU SHOULD--
YOU SHOULD HEAR MY W.C. FIELDS SOMETIME. IT'S ABSOLUTELY UNCANNY.
MY BOY, YOU ARE ENGAGED IN A CONVERSATION...
WITH THE GREAT W.C. FIELDS HIMSELF,
CONCERNING DEGENERACY,
DEBAUCHERY AND MURDER,
INVOLVING ON THE CASE ONE INFANTILE DETECTIVE...
CALLED MORRIS BRUMMEL,
BOY DETECTIVE!
YOU LIKE THAT ONE, MORRIS?
ALL RIGHT, ALL RIGHT. BUT CAN'T WE TALK THIS OVER ONE HUMAN BEING TO ANOTHER?
NO, NO, NO, YOU DON'T, SWEETHEART.
[ Exhaling ]
NO, YOU DON'T. YOU, UH-- [ Sighs ]
YOU'LL HAVE TO FIND THAT OUT FOR YOURSELF. YOU SEE, IT'S NOT FAIR.
I TOLD YOU WHERE I WAS LAST TIME,
SO YOU'LL HAVE TO FIND OUT THIS TIME FOR YOURSELF.
CIAO, CIAO, CIAO, CIAO,
BAMBINO.
[ Inhales, Whimpers ]
MOE, DAVE. [ Morris ] YES?
HAIR. SEVERAL STRANDS OF BLONDE HAIR NEXT TO THE DOOR HERE.
BUT THEY'RE NOT THE VICTIM'S.
YOU THINK THEY COULD BE THE STRANGLER'S? A WOMAN'S.
LOOK AT THE LENGTH OF THAT. YEAH. A WOMAN'S?
A WOMAN'S HAIR. WAS THERE A WIG IN ALL HER STUFF?
NO, NO WIG. STRANGE.
I DON'T KNOW. HOW CAN YOU FIGURE WHEN YOU GOT A PERVERT LIKE THIS?
WE DON'T KNOW HE'S A PERVERT. IF HE'S NOT A PERVERT,
HE'S GETTIN' HIS KICKS DOIN' THIS, ISN'T HE?
MOSTLY, THEY'RE MIDDLE-AGED WOMEN.
I SUPPOSE IT'S SOME KIND OF A TWISTED MOTHER IMAGE.
IMAGINE THAT-- GOING OUT TO STRANGLE YOUR MOTHER.
[ Man ] HEY, MOE, CAN I QUOTE YOU ON THAT?
HOW THE HELL DID YOU GET IN HERE? NO, NO.
NO MORE QUOTES. I'LL PUT THAT DOWN WITH TWO M'S ON THE "BRUMMEL."
GET HIM OUT OF HERE! WILL YOU DO ME THE FAVOR JUST THIS ONCE?
PLEASE? TWO FAVORS A WEEK AND I'M OUT OF A JOB.
GET OUT OF HERE! WHOA!
** [ Soft Pop ] HELLO?
MORRIS, LISTEN, I'VE NEVER BEEN MUCH OF A COOK,
BUT I WATCHED THAT JULIA CHILD WOMAN ON TELEVISION,
AND SHE SHOWED ME EXACTLY HOW TO DO EVERYTHING.
I'VE GOT TO ADMIT THAT DINNER SMELLS PRETTY GREAT.
WELL, THE THING OF IT IS, KATE, UH, I CAN'T MAKE IT TONIGHT.
I'VE, UH-- I'VE GOTTA WORK.
OH. OKAY, SURE.
OH, WELL, WHAT'S THE DIFFERENCE? IT DOESN'T REALLY MATTER.
WE-WE HARDLY KNOW EACH OTHER ANYWAY.
WHAT WAY? IN WHAT WAY?
LET'S FACE IT, MORRIS. YOU DON'T KNOW ME,
AND WHAT DO I KNOW ABOUT YOU, REALLY?
BELIEVE ME, I CAN'T HELP IT.
MM-HMM. WELL,
JUST A-- JUST A SMALL, CRUMMY DINNER ANYWAY.
HEY, IT'D PROBABLY TASTE ROTTEN.
I CAN SMELL IT FROM HERE. OH, YEAH, SURE YOU CAN.
LOOK, MAYBE I COULD-- I COULD STOP OVER LATER.
- WHAT FOR? - OH, UH, I-I DON'T KNOW.
I JUST-- I JUST THOUGHT-- [ Clears Throat ]
MORRIS, I'M GOING TO HANG UP NOW, AND THEN I'M GOING TO EAT MY DINNER--
MY LOVELY, LOUSY DINNER.
GOOD-BYE.
- GOOD-BYE. - MORRIS.
YES?
TONIGHT, YOU BE CAREFUL.
[ Groans ]
YOU KNOW WHAT SHE SAID? [ Monaghan ] HUH?
SHE SAID, "BE CAREFUL."
ISN'T THAT BEAUTIFUL?
SHE SAID THAT TO ME, JUST NOW.
** [ Whistling ]
GOOD MORNING, MR. GILL. GOOD MORNING.
THERE YOU ARE. THANK YOU, MR. GILL.
EXCUSE ME.
I'LL TAKE THIS ONE TOO, HAROLD.
HERE YOU ARE. THANK YOU.
IT'S A LOVELY DAY.
** [ Whistling ]
LOOK, YOU TOLD ME YOURSELF YOU WANNA BE IN THE NEWSPAPER--
LOOK, I DON'T MEAN TO OFFEND YOU. LET'S CALL A SPADE A SPADE, HUH?
NO, NO, NO, NO. YOU SAID IT. I DIDN'T SAY IT.
IT WAS IN THE NEWSPAPERS IN BLACK AND WHITE. LOOK, YOU TOLD ME YOURSELF--
YOU CALLED ME A PERVERT! YOU HAD NO RIGHT TO DO THAT!
I DIDN'T MEAN TO OFFEND YOU. HOW DARE YOU BRING MY MOTHER INTO THE STORY!
MY MOTHER!
WELL, MY MOTHER, MY FRIEND, AND I WERE FAMOUSLY CLOSE TOGETHER,
AND WE LOVED EACH OTHER!
YES, LOVE!
SHE LOVED ME, AND...
I LOVED HER.
I SUPPOSE... [ Sighs ]
YOU WOULDN'T UNDERSTAND THAT.
NO. I-I-- NO, I WOULDN'T UNDERSTAND THAT.
[ Gill Laughing Over Phone ] NO, I GUESS YOU WOULDN'T.
WELL, I WANT A RETRACTION.
[ Morris Over Phone ] I CAN'T PRINT A RETRACTION.
I DON'T CARE WHETHER YOU CAN'T OR NOT!
I WANT A RETRACTION IN THE PAPERS TOMORROW MORNING!
OTHERWISE, YOU SUFFER THE CONSEQUENCES! IT WOULDN'T DO ANY GOOD.
MY FRIEND, I AM NOT AN IDIOT!
I AM NOT A PERVERT!
AND YOU WILL NOT DISHONOR MY MOTHER!
YOU WILL NOT!
MR. BRUMMEL,
YOU MADE ME LOSE MY TEMPER.
AND I HATE TO DO THAT...
BECAUSE IT IS SO COMMON.
SO, NOT ONE WORD MORE.
MR. BRUMMEL?
YES?
YOU, UH,
FORGIVE ME FOR SHOUTING.
I FORGIVE YOU.
[ Replaces Receiver ]
HE ASKED ME TO FORGIVE HIM.
I FORGAVE HIM.
WHAT THE HELL? WHY NOT FORGIVE HIM?
I MEAN, THE MAN ASKED FOR FORGIVENESS, YOU FORGIVE HIM.
[ Gill's Voice On Tape ] MR. BRUMMEL, YOU MADE ME LOSE MY TEMPER.
AND I HATE TO DO THAT BECAUSE...
IT IS SO COMMON.
[ Coughs ] SO...
NOT ONE WORD MORE.
MR. BRUMMEL?
[ Brummel On Tape ] YES?
[ Gill ] YOU, UH,
FORGIVE ME FOR SHOUTING.
YOU'VE TAKEN ADVANCED COURSES, HAVE YOU, IN PSYCHOLOGY?
NO, SIR.
BUT YOU DO THINK YOURSELF QUALIFIED...
TO PSYCHOANALYZE THIS, UH, KILLER?
NO, SIR.
THEN YOU DIDN'T STATE THAT HE'S A SEXUAL PERVERT?
WELL, NOT FOR THE RECORD, SIR. I WAS MERELY SPECULATING WITH DETECTIVE MONAGHAN--
I UNDERSTAND. OUR OWN EXPERT ON FREUD.
YOU MAY BE INTERESTED TO KNOW THAT DR. SHAFFER HERE CONCURS IN YOUR SPECULATION.
HE THINKS WE HAVE A PARANOIAC EXHIBITION OF MOTHER HATE.
IS THAT CORRECT, DR. SHAFFER?
WELL, THAT'S A RATHER BASIC APPROACH, INSPECTOR.
HMM.
WELL, WHATEVER THEORIES YOU HAVE, DOCTOR, YOU'LL BE WORKING ON THEM...
WITH LIEUTENANT DAWSON HERE AND DETECTIVE MONAGHAN.
WE'LL HAVE A TEAM OF FIVE DETECTIVES FROM THE HOMICIDE SQUAD.
- BRUMMEL? - SIR?
I'M TAKING YOU OFF THE CASE.
IN FACT, I WANT YOU TO STAY HOME FOR A FEW DAYS.
DON'T TALK TO THE PRESS. DON'T DO ANYTHING.
WHY, SIR?
WE CAN'T PRINT ANY RETRACTIONS OF YOUR OPINIONS,
BUT TAKING YOU OFF THE CASE MIGHT HELP TO PLACATE THIS MADMAN.
BELIEVE ME, SIR, IT WAS NEVER MY INTENTION TO GIVE OPINIONS.
HE CALLS YOU, TALKS TO YOU RIGHT ON THE PHONE.
HOW THE HELL DO YOU THINK THAT LOOKS TO THE PUBLIC?
THE POLICE CAN TALK TO HIM, BUT THEY CAN'T FIND HIM.
WELL, WE-WE TRIED TO TRACE THE CALLS, SIR,
BUT I CAN'T KEEP HIM ON THE PHONE LONG ENOUGH.
LET ME TELL YOU RIGHT NOW, ALL OF YOU.
THIS SPECTACLE OF A STRANGLER ON THE LOOSE CAN THROW A CITY INTO PANIC.
AND THE RESPONSIBILITY HERE MUST ULTIMATELY GO TO THE COMMISSIONER HIMSELF.
NOW, THEN, I WANT A PATROLMAN ON EVERY CORNER OF EVERY APARTMENT BUILDING...
WHERE A MURDER HAS TAKEN PLACE.
I WANT RADIO, TELEVISION AND PRESS ANNOUNCEMENTS...
WARNING PEOPLE TO KEEP THEIR DOORS LOCKED.
I WANT SPOT CALLS MADE FROM HARLEM TO THE BATTERY,
HOTELS FOR WOMEN, OLD LADIES' HOMES,
APARTMENTS THAT CATER TO WOMEN.
TELL THEM TO STAY INSIDE.
TELL THEM TO KEEP THEIR DOORS LOCKED.
[ Knocking ]
YES? OFFICER BRUMMEL, 19th SQUAD.
WHAT DID I DO? YOU DIDN'T DO ANYTHING, MA'AM.
I'M JUST GIVING OUT SOME PRECAUTIONARY INFORMATION TO WOMEN WHO LIVE ALONE.
OH, DEAR. YOU MEAN ABOUT THE STRANGLER? YES, MA'AM.
MAY I COME IN AND EXPLAIN?
BY ALL MEANS, OFFICER.
THANK YOU, MA'AM.
LOOK AT THAT! WOULD YOU LOOK AT THAT!
MORRIS, THEY DID IT AGAIN! YES?
WHAT'D THEY DO AGAIN? THEY GOT IT RIGHT HERE IN THE PAPER...
ABOUT YOU BEING TAKEN OFF THE CASE. OH.
ANNOUNCEMENT TO THE WORLD: "MY SON WAS FIRED."
I WASN'T FIRED, MOTHER. I WAS SIMPLY TAKEN OFF THE CASE.
SO WHAT ARE YOU GONNA DO NOW? I DON'T KNOW. I HAVEN'T THOUGHT ABOUT IT.
GOOD. FINE. I HAPPEN TO KNOW IT'S 90 DEGREES IN MIAMI BEACH.
A JET PLANE LEAVES EVERY HOUR.
SO WHERE ARE YOU GONNA TAKE HER? WHO?
KATE PALMER. NOWHERE.
NOWHERE? THAT'S A PLACE? NOWHERE?
WELL, WE'RE GONNA HAVE DINNER AT HER PLACE.
YOU MEAN HER OWN APARTMENT? THAT'S RIGHT.
THE TWO OF YOU, ALONE?
WE WERE GONNA INVITE THE STRANGLER, BUT HE COULDN'T MAKE IT.
OH. SURE, SURE. MAKE FUN. RIDICULE.
I LIKE ITS STRENGTH. WHAT'S THE NAME OF THE ARTIST?
IT'S OEDIPUS AND ANTIGONE BY GERHARD MARCKS.
GERHARD MARCKS. I LIKE THAT.
COULD I USE YOUR PHONE A MINUTE? YES, OF COURSE.
JUST PRESS ANY OF THOSE BUTTONS. ALL RIGHT, THANK YOU.
YOU'RE WELCOME.
WELL, BELIEVE YOU ME, I WOULDN'T OPEN MY MOUTH IF I WAS HER.
WHO? THE WOMAN WHO SAW THE COP.
ONLY IT AIN'T A REAL COP. IT'S YOU-KNOW-WHO, AND SHE'S PUT THE FINGER ON HIM.
[ Phone Ringing ] WHERE DO YOU GET EXPRESSIONS LIKE THAT?
"PUT THE FINGER ON HIM." YOU READ THAT?
HELLO?
HELLO, I'D LIKE TO SPEAK TO DETECTIVE BRUMMEL, PLEASE.
UH-- UM, JUST-- JUST A MINUTE.
MORRIS! IS IT KATE?
HIM! IT'S HIM!
- YEAH? - HELLO, HELLO, MORRIE. HOW ARE YOU?
LISTEN, I THINK IT'S TERRIBLE THE WAY THE POLICE ARE TREATIN' YOU.
I THINK IT'S ABSOLUTELY HUMILIATING.
YOU TELL 'EM I'M NOT GONNA TALK TO ANYONE ELSE BUT YOU.
UH, WELL, MAYBE YOU BETTER TELL 'EM YOURSELF.
YOU JUST TELL 'EM EITHER THEY PUT YOU BACK ON THE CASE,
OR I'M LIABLE TO BE A VERY NAUGHTY BOY TONIGHT.
HEY, DON'T DO THAT. COME ON.
I'VE GOT A SIMPLY SENSATIONAL IDEA...
OF GUARDING THE WOMAN WHAT SAID SHE SAW ME DRESSED UP IN A POLICE UNIFORM.
CHEERY-BYE, NOW, MORRIE. HEY! OH, MORRIE, YOU LIKE LIMERICKS?
LISTEN TO THIS, NOW. LISTEN.
THERE WAS A YOUNG DETECTIVE FROM KENT WHO GOT SO INVOLVED IN A CASE THAT HE BENT.
IT GAVE HIM SO MUCH TROUBLE, HE BENT OVER DOUBLE.
INSTEAD OF ARRIVING AT THE SCENE OF THE CRIME, HE WENT.
CHEERY-BYE, MORRIE.
HEY!
WHY DO YOU TALK TO HIM? I LIKE HIM!
MORRIS, 90 DEGREES IN MIAMI BEACH!
SO LONG, MA. A JET PLANE LEAVES EVERY HOUR!
[ Door Closes ]
[ Ashtray Lands On Floor ]
M-MOE, WHAT ARE YOU DOIN'?
THE FILE ON THE WOMAN WHO SAW HIM DRESSED AS A COP-- I NEED IT.
WELL, YOU'RE NOT ON THE CASE ANYMORE, MOE. YOU COULD GET SUSPENDED.
I JUST WANNA TALK TO HER. DO YOU KNOW WHERE IT IS?
SHE'S A LUSH. YOU'LL COME UP WITH NOTHING.
I KNOW, BUT DO YOU KNOW WHERE IT IS?
YEAH, I KNOW. WELL, COULD I SEE IT, DO YOU THINK?
COULD YOU FIND IT FOR ME? WHAT DO YOU THINK?
I COULD GET IN A LITTLE TROUBLE. DAVE, WHAT DO YOU THINK?
YEAH, I CAN FIND IT. HER NAME IS PEARL MENZEL.
YOU'LL BE LUCKY IF YOU FIND HER. WHY?
I THINK SHE SKIPPED TOWN AFTER TALKING TO THE PRESS. OH.
OR ELSE YOU'LL FIND HER DRINKING IT UP IN SOME GIN MILL.
BARTENDER? WHAT'S YOUR PLEASURE?
DOES, UH, PEARL MENZEL HANG OUT HERE? YEAH.
YOU'RE SURE ABOUT THAT?
JUST AS SURE AS YOU'RE A COP.
SHE HASN'T BEEN AROUND FOR ABOUT THREE DAYS.
HI. GIVE ME A DOUBLE PINK LADY.
HEY.
WHAT'S THE DIFFERENCE BETWEEN A DEAD MAN AND A DRUNK MAN?
I GIVE UP.
WELL, ONE CARRIES HIS BEER...
AND THE OTHER, THE BIER CARRIES HIM.
- [ Giggling ] - THAT'S FUNNY?
THEY GET FUNNIER AT MY PLACE.
NOT FOR ME, THEY DON'T.
WELL--
WANNA PAY ME?
HOW MUCH ARE YOU WORTH?
NINETY CENTS.
KEEP IT.
HEY, BET I GIVE YOU ONE YOU HAVEN'T HEARD BEFORE. WHAT'S THAT?
THERE WAS A YOUNG LADY NAMED RED...
WHO HAD AN ACHE IN THE BACK OF HER HEAD.
THOUGH NOTHING WOULD EASE IT, A STRANGLER DID SQUEEZE IT.
NOW THE ACHE IN RED'S HEAD IS ALL DEAD.
OH!
MY GOD.
- KNOCK IT OFF. - WHAT'D I DO?
- DON'T YOU SEE SHE'S SCARED TO DEATH? - WELL, WHO THE HELL ISN'T?
- SHE SAID SHE ACTUALLY SAW HIM. - OH, BOY.
WELL, I REALLY PUT MY FOOT INTO THAT.
[ Sobbing ]
LOOK, HONEY,
L-LISTEN, I-I-I DIDN'T MEAN ANYTHING.
DON'T YOU PAY ANY ATTENTION TO ME AT ALL.
I'M JUST A BIG BAG OF WIND. YOU HEAR?
IF YOU TAKE MY ADVICE, YOU'LL GO STRAIGHT HOME AND LOCK YOUR DOOR.
I CAN'T GO THERE.
WELL, WHERE ARE YOU GONNA SPEND THE NIGHT? I DON'T KNOW!
COME ON. COME ON NOW, LISTEN.
AS LONG AS I'M WITH YA, NOTHING'S GONNA HAPPEN.
BESIDES, HE CERTAINLY ISN'T GONNA ATTACK TWO OF US. RIGHT?
TELL YOU WHAT. I GOT AN EXTRA COUCH.
YOU'LL COME TO MY PLACE. YOU CAN SLEEP ON THE COUCH, WATCH TELEVISION.
WE'LL HAVE A FEW DRINKS. WE'LL HAVE OURSELVES A BALL.
OKAY? I CAN'T.
COME ON. SURE YOU CAN.
PLEASE? FOR ME? COME ON.
GOOD-BYE, GORGEOUS.
FAG! [ Man Laughs ]
WHO WAS THE HOOKER?
WHAT HOOKER? THE ONE IN THE BLACK DRESS. JUST WALKED OUT OF HERE.
NEVER SAW BEFORE IN MY LIFE. COME ON. WHAT WAS HER NAME?
LOOK, I DON'T ASK PEOPLE FOR THEIR CREDENTIALS. AWW.
SAY, ARE YOU BOYS FAMILIAR WITH THE AGE LIMIT FOR DRINKING IN THIS STATE?
ALL RIGHT, ALL RIGHT.
SHE JUST MOVED INTO THAT BROWNSTONE ACROSS THE STREET, IN THE BASEMENT.
YOU KNOW WHAT I THINK, HONEY? HMM?
I THINK YOU OUGHTA CALL THE COPS. HONEST.
AS MUCH AS I HATE 'EM.
AND GOD KNOWS I HATE 'EM.
BUT YOU GOTTA GIVE YOURSELF SOME KIND OF PROTECTION.
[ Whimpers ] I CAN'T. SURE YOU CAN.
LISTEN,
YOU CALL 'EM RIGHT NOW.
DO YOU HEAR? I CAN'T!
WELL, IT'S UP TO YOU AND YOUR OWN CONSCIENCE.
BUT DON'T FORGET, HONEY, HE'S ALREADY KILLED FOUR PEOPLE.
FIVE.
FIVE? I DIDN'T KNOW IT WAS FIVE.
IT IS NOW.
WHO WAS THE LADY WITH HER? NEVER SAW HER BEFORE.
SHE WAS SCARED TO DEATH. OF WHAT?
SHE CLAIMED SHE SAW THE STRANGLER.
ARE YOU SURE SHE'S NOT PEARL MENZEL? I'M POSITIVE.
THERE'S PEARL MENZEL.
KEEP HER HERE. I'LL BE RIGHT BACK.
ADULTERER! WHORE MASTER!
SERVANT OF SATAN! EASY, EASY.
TAKE YOUR HARLOT OUT OF HERE, AND TAKE HER OUT TONIGHT, OR I'LL CALL THE POLICE!
TAKE IT EASY! WHAT'S GOING ON?
OUT! EVERYBODY OUT! OUT OF HERE! [ All Shouting ]
[ Morris ] GET OUT OF HERE!
I WANT EVERY PRESS RELEASE ON THIS LAST SLAYING...
TO INCLUDE THE FACT THAT, UH,
DETECTIVE MORRIS BRUMMEL HAS BEEN PLACED IN CHARGE OF THE INVESTIGATION ONCE AGAIN.
THIS ACTION IS BEING TAKEN SOLELY UPON THE RECOMMENDATION OF DR. SHAFFER HERE.
BUT LET ME MAKE IT CLEAR TO EVERYONE IN THIS ROOM...
THAT AS FAR AS I'M CONCERNED...
LIEUTENANT DAWSON WILL CONTINUE TO DIRECT THE INVESTIGATION.
THAT'S ALL FOR NOW.
OH, BRUMMEL.
HOW DO YOU FEEL ABOUT THIS?
LOUSY, SIR. HOW WOULD YOU FEEL?
LOUSY.
RIGHT. THAT'S THE WORD.
HELLO, JAMES. GOOD AFTERNOON, MR. GILL.
HOW ARE YOU? MY TABLE FREE? YES, RIGHT THIS WAY.
ALL RIGHT, THANK YOU. HELLO, VINCENT. GOOD AFTERNOON, MR. GILL.
HOW COME YOU GET YOUNGER AND I GET OLDER? AH, C'EST LA VIE.
HELLO. HELLO.
HELLO, GEORGE. HOW ARE YOU?
OH, ALL RIGHTY. THANK YOU.
TELL YOU WHAT, I'LL HAVE SOMETHING FRENCH. MAY I SUGGEST THE PATE?
OR PERHAPS THE CORDON BLEU?
I LEAVE THAT UP TO YOU. YOU CAN ALSO SUGGEST THE WINE.
BRING ME A TELEPHONE, IF YOU'D BE SO KIND. YES, SIR.
THANK YOU, JAMES. I DON'T NEED THAT. THANK YOU.
[ French Accent ] HELLO.
MAY I HAVE MONSIEUR BRUMMEL, S'IL VOUS PLAîT?
[ Gill On Phone ] HELLO, MAURICE. C'EST MOI ICI.
FIRST OF ALL, HOW DO YOU LIKE MY NEW, UH, ACCENT?
DO YOU THINK I SOUND LIKE, UH-- [ Chuckles ]
MAURICE CHEVALIER?
- COULD I HEAR A LITTLE MORE? - AH, MAIS OUI.
I AM, UH, VERY HAPPY THAT THEY, UM--
HOW DO YOU SAY?
UH-- AH. REINSTATE YOU, EH?
C'EST BON, iA.
THAT'S VERY GOOD. THAT'S VERY FRENCH. HOW ABOUT A LITTLE MORE?
OH, NO, NO, NO, NO, NO, MON AMI.
BECAUSE IF I TALK IT TAKES TIME. [ Chuckles ]
AND IF I TAKE TIME-- EXCUSEZ-MOI.
MERCI. [ Chuckles ]
AND IF I TAKE TOO MUCH TIME, YOU TRACE THE CALL AND THEN I WOULD BE, UH...
STUPID.
SO, UH, I JUST CALLED TO SAY I COMMENCE MY VACANCE--
I-I START MY VACATION,
AND, UH, I, UH, PROMISE NOT TO BE A BAD BOY.
I GIVE YOU MY WORD OF HONOR. [ Chuckles ]
À TOUT à L'HEURE.
WAIT A MINUTE. HOLD ON. CAN YOU WAIT JUST A SECOND?
NO, NO, NO, NO, NO. AU REVOIR, MAURICE.
I'M SORRY, SIR.
THIS PIECE OF SCULPTURE IS BY HENRY MOORE.
IT'S THE LAST IN HIS SERIES OF RECLINING FIGURES.
THE SECTION TO THE RIGHT IS THE TORSO,
AND THE RATHER LARGE PORTION TO THE LEFT...
IS THE BUTTOCKS.
THE CONSTRUCTION GOING ON BEHIND US...
WILL BE THE NEW JUILLIARD SCHOOL OF MUSIC, DANCE AND DRAMA.
THIS PAINTING BY MARC CHAGALL IS 30 FEET HIGH.
MR. CHAGALL INSTALLED IT HERE IN THE THEATER HIMSELF.
THE FIGURES IN THE PAINTING--
THE FIGURES--
THE, UM, THE FIGURES IN THE PAINTING...
[ Giggling ] REPRESENT THE--
THE VARIOUS ARTISTIC ACTIVITIES...
THAT TAKE PLACE HERE AT LINCOLN CENTER.
[ Clears Throat, Laughing ]
[ Tourists Murmuring ]
YOU FOUND OUT, HUH?
- WHAT? - WELL, THAT I'M THE STRANGLER.
OTHERWISE, HOW COULD YOU SPARE ME THESE FEW PRECIOUS MOMENTS OF YOUR TIME?
I KNOW SOMETHING THOSE HANDS HAVEN'T DONE. THEY HAVEN'T TOUCHED ME.
OH, WELL, THAT'S ONE OF THE FIRST THINGS I LIKED ABOUT YOU.
YOU DIDN'T MAKE A PASS AT ME RIGHT OFF.
BUT DON'T YOU THINK YOU'RE CARRYING A GOOD THING TOO FAR?
MORRIS. WHAT?
IF WE STOPPED SEEING EACH OTHER, THAT WOULD BOTHER YOU, WOULDN'T IT?
OF COURSE. YES.
WHAT DO I DO WRONG?
[ Sighs ] THE THING OF IT IS--
I MEAN, IS A JEWISH COP SO WRONG FOR ME? I WANNA SHOW YOU MY YACHT.
- YACHT? - MY YACHT.
I'LL TELL YOU THE TRUTH, MORRIS.
I'VE HAD HIM ALREADY.
WHO?
RANDY BEAUTIFUL.
I HAD ALL THE BEAUTIFUL PEOPLE...
WHEN I FIRST CAME TO NEW YORK.
THAT'S ALL I DID FOR TWO YEARS WAS SWING WITH THE BEAUTIFUL PEOPLE.
OH, GOD, HE WAS BEAUTIFUL, OLD RANDY.
GORGEOUS.
GOOD FAMILY, GOOD FUTURE, GOOD EVERYTHING.
SO WHAT DID WE DO?
WE SWUNG. FOR SIX MONTHS WE SWUNG.
UNTIL ONE MORNING I JUST--
I DON'T KNOW. THE MESSAGE CAME TO ME IN A FLASH.
[ Chuckles ] I WOKE UP, AND I--
I TURNED OVER, TAPPED HIM ON THE TOP OF HIS BEAUTIFUL HEAD,
AND I SAID, "YOU ONLY LOVE MY BODY.
YOU DON'T LOVE ME, MY MIND."
WELL, THAT DID IT. I MEAN, THAT WAS IT. HE SCREAMED AT ME.
HE SAID, "WHAT MIND? A THOUGHT OF YOURS WOULD DIE OF LONELINESS."
SO...
I GOT UP...
AND I PUT ON MY CLOTHES,
I GRABBED MY LITTLE SUITCASE AND LEFT RANDY BEAUTIFUL...
AND HIS GOOD FUTURE AND HIS GOOD FAMILY.
MORRIS, DO YOU THINK I HAVE A GOOD MIND? YOU HAVE A BRILLIANT MIND.
AND YOU...
GOT HUNG UP ON ME BECAUSE OF MY MIND, DIDN'T YOU?
I DID.
ARE YOU TENDER, MORRIS?
YOU CAN HAVE ME IF YOU SAY "YES."
YES.
DO YOU LOVE ME?
I THINK SO.
WELL, IT'S SORT OF NICE, ISN'T IT?
YEAH, SORT OF.
WELL, KISS ME THEN, MORRIS.
UH, YOU-- YOU BRUMMEL?
THAT'S RIGHT.
OKAY, YOU GOT ME. I'M HERE.
SIT DOWN.
I'M TURNING MYSELF IN. FOR WHAT?
WHAT DO YOU THINK? WHO THE HELL YOU LOOKING FOR ALL OVER?
- THE STRANGLER? - YEAH. I KILLED EVERY ONE OF THEM.
GIVE ME A CONFESSION, AND I'LL SIGN IT RIGHT AWAY.
YOU? Y-Y-YOU KILLED THEM?
WITH MY BARE HANDS.
W-WHY? WHY'D YOU DO IT?
HOSTILITY.
MY PERSONAL LIFE DOESN'T HAVE ANYTHING TO DO WITH THIS.
BELIEVE ME, MR., UM-- KUPPERMAN.
YOU BE CAREFUL NOW, 'CAUSE I'M VERY SENSITIVE ON CERTAIN SUBJECTS.
WELL, UH,
WELL, NATURALLY I WOULDN'T BRING IT UP IF IT DIDN'T BEAR ON THE CASE,
BUT, UH... YOU'RE A MIDGET.
LOTS OF PEOPLE ARE MIDGETS.
BUT THE VERY FEW WITNESSES WE HAVE CLAIM THAT HE WAS OF NORMAL, UH--
[ Sighs ]
WHAT I MEAN TO SAY IS, HE WAS TALLER THAN YOU.
YOU SEE HOW I FOOLED 'EM? I'M A MASTER OF DISGUISE.
OH. UH-- [ Clears Throat ] HAVE WE, UH--
DID YOU TALK TO ME SEVERAL TIMES ON THE TELEPHONE?
YES, SIR.
MM-HMM.
IMITATE BARRY FITZGERALD.
GO ON.
[ Sighs ] UM...
[ Without Irish Accent ] SURE 'N BEGORRA.
UH, FAITH 'N BEGORRA, IT'LL BE ALL RIGHT, SON,
IF YOU JUST COME TO CONFESSION REGULAR.
THAT WASN'T VERY GOOD.
WAIT, WAIT. I CAN DO W.C. FIELDS.
I WENT TO PHILADELPHIA ONCE. IT WAS CLOSED.
THAT'S TERRIFIC, HUH?
MR. KUPPERMAN, I JUST DON'T BELIEVE THAT YOU'RE THE STRANGLER.
- YOU'RE A BIGOT. - JUST A MINUTE--
YOU'RE PREJUDICED AGAINST MIDGETS. THAT'S NOT TRUE.
YOU'D BELIEVE ME IN A MINUTE IF I WASN'T A MIDGET. MR. KUPPERMAN--
- YOU GOT ANY FRIENDS THAT ARE MIDGETS? - NO.
- WOULD YOU LIKE YOUR SISTER TO MARRY A MIDGET? - I DON'T HAVE A SISTER.
AHA! THAT'S A BIGOT'S ANSWER IF I EVER HEARD ONE.
ALL RIGHT, MR. KUPPERMAN!
I-I'M VERY SORRY, MR. KUPPERMAN,
BUT YOU'RE GONNA HAVE TO LEAVE NOW.
YEAH.
SEND ME OUT TO STRANGLE SOMEBODY ELSE, HUH?
OKAY. YOU WANNA KNOW WHAT'S GONNA BE IN THE HEADLINES TOMORROW MORNING?
MR. KUPPERMAN, WILL YOU PUT THE CHALK BACK, PLEASE?
JUST PUT THE CHALK BACK.
HEY, LIEUTENANT.
LIEUTENANT, I-I GOT AN IDEA I'D LIKE TO TALK TO YOU ABOUT, IF YOU'RE NOT BUSY, LIEUTENANT.
IT'S KINDA WILD, BUT IT MAY SHAKE THINGS UP A LITTLE.
** [ Piano ]
MRS. FITTS, DID MY AIRLINE TICKETS COME? YES.
THEY'RE LOVELY FLOWERS. THANK YOU, SIR.
JUST LOVELY.
ROMANCE, MRS. FITTS.
** [ Continues ] ROMANCE IS THE MAGIC...
THAT MAKES MEN WHOLE AND WOMEN BOLD.
WHEN YOU READ THE NEWSPAPERS NOWADAYS, THERE'S NOT MUCH LOVE IN IT.
NOT WITH ALL THE RIOTING AND WARS.
WITH ALL THESE MURDERS,
IT'S GETTING SO I'M AFRAID TO STEP OUT ONTO THE STREET.
IMAGINE, ONE MAN KILLING SIX WOMEN.
- WHAT DO YOU MEAN? - HERE.
LOOK AT THAT.
VICTIM NUMBER SIX, KILLED THE SAME WAY AS THE OTHERS,
WITH THE LIPSTICK ACROSS HER FOREHEAD AND EVERYTHING.
IMAGINE, MR. GILL. SIX WOMEN!
YES. YES.
UH...
COULD I HAVE MY TEA NOW?
OH, I'M SORRY, SIR. OF COURSE.
[ Gill, German Accent ] I DIDN'T DO IT. DO YOU HEAR ME?
I DID NOT KILL THAT WOMAN. YOU MUST LISTEN TO ME. LISTEN TO ME!
- YOU KNOW I'M LISTENING. WHAT CAN I SAY? - SAY YOU BELIEVE ME. SAY IT.
I CAN'T SAY THAT BECAUSE I DON'T BELIEVE YOU.
- I DIDN'T DO IT. - YOU DID IT. YOU DID IT, ALL RIGHT.
CAN'T YOU UNDERSTAND? IT'S SOMEBODY ELSE, SOMEBODY WHO IS A COPYCAT.
I DID EVERYTHING UP TO NOW, AND HE COMES ALONG NOW AND HE WANTS TO TAKE THE CREDIT.
- THAT'S NOT FAIR. - LOOK, THIS IS GETTING A LITTLE TOO WEIRD FOR ME.
- I THINK I'LL HANG UP NOW. - DON'T YOU HANG UP ON ME!
DON'T YOU HANG UP ON ME, OR I'LL KILL A HUNDRED WOMEN.
- I PROMISE YOU THAT. - GO ON.
A LITTLE COMMON SENSE WILL TELL YOU THAT IT IS A COPYCAT.
DID HE CALL YOU ON THE PHONE? DID HE TELL YOU WHERE THE BODY WAS?
- NEITHER DID YOU, THE FIRST AND FOURTH TIME. - AH, BUT YOU FORGET SOMETHING.
I HAVE GIVEN YOU MY WORD OF HONOR THAT I STOP.
FOR ALL THAT IT'S WORTH. WE GOT HIM.
THE PAN AM BUILDING.
I DON'T TELL LIES. WHAT KIND OF A PERSON DO YOU THINK I AM?
WHAT DO I THINK YOU ARE? A MALIGNANCY, A CANCER, THE CESSPOOL OF THE WORLD.
THAT'S JUST FOR OPENERS.
I SEE. [ Chuckles ]
WHY CAN'T I MAKE YOU BELIEVE IT?
YOU DON'T HAVE TO. WE GOT A FULL DESCRIPTION ON YOU THIS TIME.
SOMEBODY WHO SAW YOU LAST NIGHT AT THE MURDER.
BUT THAT'S IMPOSSIBLE. IT WAS NOT ME!
YOU'RE, UH, YOU'RE VERY SHORT.
YOU HAVE BLOND HAIR, UH, WIDE NOSE...
AND, UH, BUSHY EYEBROWS.
[ Laughing ]
THAT'S-- THAT'S VERY FUNNY, YOU SEE,
BECAUSE FIRST OF ALL I HAVE BROWN EYES,
I HAVE BROWN HAIR,
[ Continues Chuckling ] I, UH, I'M APPROXIMATELY SIX FEET TALL--
AND YOU ARE CLEVER.
- WHAT'D YOU SAY? - OH, MR. BRUMMEL, YOU'RE VERY CLEVER.
VERY CLEVER. [ Chuckles ]
LET'S GO.
YES, YOU ARE. YOU ARE A VERY CLEVER GENTLEMAN.
BUT YOU'RE NOT QUITE CLEVER ENOUGH, MR. BRUMMEL.
MONAGHAN, WHEN WE PULL UP, DON'T SLAM THE DOOR AGAIN.
CAN I ASK A STUPID QUESTION, KEVIN? WHY NOT?
- WHERE'D YOU GET THE BODY? - EAST RIVER. SUICIDE. UNIDENTIFIED.
THEY DIDN'T, UH, REALLY PUT THE LIPSTICK ON, UH--
IT WAS YOUR IDEA.
OHH. [ Disgusted Groan ]
OHH.
WHY, YOU MOTHER-- YOU SLAMMED THE DOOR ON ME!
YOU SLAMMED THE DOOR! I CANNOT BELIEVE IT! YOU SLAMMED THE DOOR!
YOU SON OF A--
THAT'S THE TELEPHONE OVER THERE.
IT WAS EMPTY WHEN WE GOT HERE. WE PICKED UP FIVE MEN IN THE CORRIDOR.
WHAT'D HE SAY?
HE SAID THE INSPECTOR DOESN'T LIKE IT, THE CHIEF DOESN'T LIKE IT,
AND HE DOESN'T LIKE IT.
YEAH, BUT THE COMMISSIONER FEELS--
YEAH?
HE SAID WE GOT OURSELVES A PHONY VICTIM, WE MIGHT AS WELL HAVE A PHONY SUSPECT.
[ Laughs ] WHAT?
WE TIP THE PRESS TOMORROW.
MOE. YES?
IT'D BETTER WORK THIS TIME. IT WILL, IT WILL. YOU'RE SUCH A WORRIER.
WELL, I'M READY.
IT'S NOW OR NEVER. ARE YOU READY, MORRIS? I GUESS SO.
OKAY. DO YOU LOVE ME? YES.
DESPERATELY? MADLY? DESPERATELY, MADLY.
IN THAT CASE, I CAN MOVE MOUNTAINS. LET'S GO.
WHAT-- [ Laughing ]
AHH! AHH. [ Chuckling ]
MOTHER, THIS IS, UH-- THIS IS KATHERINE.
HOW DO YOU DO? HOW DO YOU DO?
I'M SO PLEASED TO MEET YOU AT LAST AND TO SEE YOUR LOVELY HOME.
MORRIS, LOOK AT THIS APARTMENT. I LOVE IT.
- IT'S SO JEWISH! - WHAT?
WELL, THE JEWS ALWAYS HAVE THE BEST APARTMENTS. BEST TASTE, BEST APARTMENTS.
IT FOLLOWS.
YOU'RE JEWISH?
I HAVE BEEN STUDYING TO BE JEWISH SINCE I WAS TEN YEARS OLD.
IT'S THE ONLY RELIGION.
THAT'S INTERESTING. THAT'S VERY INTERESTING. COME IN, DARLING.
SIT DOWN. WOULD YOU LIKE SOME COFFEE? NO, THANK YOU.
SODA? NO, NOTHING.
DRINK? NO.
I'M GLAD TO SEE IT. YOU GOT A HEAD ON YOUR SHOULDERS.
OFF. WHAT?
WELL, LOOK AT HIM. HE'S GOT HIS FOOT ON YOUR COFFEE TABLE. LUMMOX.
OFF!
[ Sighs ] YOUR SON IS SUCH A MOOSE.
WELL, HE'S NOT EXACTLY DAINTY.
HONEST, I DON'T KNOW WHY I GO OUT WITH HIM.
ON THE SALARY HE MAKES WE CAN'T DO ANYTHING.
I JUST WISH I'D MET YOUR SON FRANKLIN IN TIME.
OH, YOU MUST BE SO PROUD HAVING A SON LIKE FRANKLIN.
LET ME TELL YOU, I AM.
OF COURSE YOU ARE. WITH A SON LIKE FRANKLIN, YOU DON'T MIND HAVING THIS ONE SO MUCH.
A JEWISH COP. WHAT COULD BE MORE RIDICULOUS?
I KEEP TELLING HIM THE SAME THING MYSELF.
I'VE GOT TO BE HONEST WITH YOU, MRS. BRUMMEL. MORRIS IS A NOTHING.
HE ISN'T WORTH THE POWDER TO BLOW HIM TO-- MAY I SWEAR?
- SWEAR. - HELL.
- IT'S A LITTLE HARSH. - OH, YOU'RE RIGHT. TOO HARSH.
BUT A STONE AROUND MY NECK.
THERE'S ONE THING HE'S GOOD FOR-- ORDERING AROUND.
MORRIS, LIGHT MY CIGARETTE.
NOW GO AWAY.
SEE? GOOD TO ORDER AROUND AND GOOD TO YELL AT.
YOU'RE RIGHT!
WE KNOW THE SAME PERSON. I CAN JUST TELL. ABSOLUTELY!
WOULD YOU, UH, EXCUSE ME FOR JUST A MOMENT?
OF COURSE. THANK YOU.
WELL?
THAT GIRL IS A GEM.
AN ABSOLUTE GEM.
AND I'LL TELL YOU SOMETHING ELSE. WHAT?
SHE REMINDS ME OF ME.
[ Exhales ]
[ German Accent ] MORRIS, MORRIS, I'M GLAD I GET YOU.
I FEEL RELIEVED, YOU KNOW,
BECAUSE I READ IN THE NEWSPAPER HERE ABOUT THIS WILLIAM GIBSON...
OF, UH-- WHAT WAS IT? UH, TUDOR CITY, YOU SEE.
AND NOW WE KNOW HE HAD NOTHING TO DO WITH THE FIRST FIVE,
BUT HE'S DEFINITELY RESPONSIBLE FOR THE SIXTH VICTIM.
SO AT LAST-- YOU KNOW, I THINK IT'S IMPORTANT WE GET THE FACTS STRAIGHT.
YOU CAN FORGET THE WHOLE THING. WE'RE GONNA LET HIM GO.
WHAT DO YOU MEAN? THE ONLY EVIDENCE WE HAVE ON HIM TIED UP WITH THE LAST KILLING.
YEAH, I KNOW, BUT YOU CAN'T LET HIM GO AND HE GOES OUT AND COPIES ME AGAIN!
I DON'T THINK SO, DORIAN. AS FAR AS I'M CONCERNED, YOU'VE STILL GOT SIX.
- THAT'S A LIE! - OH! WELL, YOU'RE LOSING YOUR TEMPER, DORIAN.
OH, THANK YOU, DETECTIVE.
WORD JUST REACHES ME, DORIAN, THAT WE'VE ALREADY RELEASED HIM.
RELEASED HIM?
HE HUNG UP! HMM.
YES!
RELEASED--
HEY, HEY, HEY. WHAT ARE YOU DOING? WHAT IS THAT?
MEAT LOAF SANDWICH. LATER. LATER, MA.
LATER'S NO GOOD. I DON'T WANT A MEAT LOAF SANDWICH.
THINK ABOUT IT.
** [ Pop ] "HUMMUS...
BROTEV... SFARDY."
CHICK PEAS AND SPANISH SAUCE.
HMM.
** [ Continues ]
YES? MISS PALMER?
YES. I'M FROM DELARDI'S RESTAURANT AROUND THE CORNER.
- MR. MORRIS SAID I SHOULD BRING YOU THIS. - BRING ME WHAT?
WELL, WE GOT A LITTLE HOMEMADE SPAGHETTI,
VEAL PICCATTA WITH JUST A LITTLE LEMON JUICE, A MIXED GREEN SALAD,
SPUMONI, CAFE ESPRESSO AND, LAST BUT NOT LEAST, I HAVE VALPOLICELLA WINE.
WHAT, FOR ME? YES, MA'AM.
WITH THE GENTLEMAN'S LOVE, DEEP AFFECTION AND REGRETS THAT YOU'LL HAVE TO DINE ALONE.
MORRIS?
WELL, THAT'S WHAT THE MAN SAID HIS NAME WAS-- MORRIS BRUMMEL.
WELL, I'LL BE DAMNED.
EXCUSE ME. JUST A MINUTE.
COME ON IN. [ Chuckling ] ALL RIGHT.
THANK YOU. EXCUSE ME.
OH, I WONDER,
DO YOU MIND IF I USE THAT TABLE THERE TO SERVE YOU?
OH, NO, PLEASE DO. THANK YOU.
YOU'VE GOT A VERY MOD APARTMENT HERE.
NOW, LET ME SEE.
I'LL JUST SET THAT DOWN RIGHT THERE, I'LL SET THE WINE DOWN OVER HERE,
AND THEN, YOUNG LADY, IF YOU WOULD BE KIND ENOUGH TO SIT HERE...
IT WOULD BE MY GREAT PLEASURE TO SERVE YOU.
THANK YOU. ALL RIGHTY.
OOH, THAT'S A LITTLE HOT.
SO YOU GOT FIRED AGAIN. I WAS NOT FIRED, MOTHER.
SO YOU'RE NOT THE SMARTEST COP IN THE WORLD. I WAS NOT FIRED.
[ Phone Rings ]
SHE CALLED TWICE BEFORE TODAY.
TELL HER.
TELL KATE PALMER YOU WON'T EAT YOUR MEAT LOAF SANDWICH.
HELLO. [ Monaghan ] WHO'S THAT, MOE?
THAT'S MY MOTHER, DAVE.
GET THIS. YOUR FRIEND CALLED AGAIN.
HE CALLED YOU? WHY DIDN'T HE CALL ME?
HE SAID YOU COULD REACH HIM AT THIS NUMBER IF YOU WANT TO TALK TO HIM.
SHOOT.
555-3310. WE'RE CHECKING IT OUT NOW, MOE.
OH, MY GOD. THAT'S KATE.
- KATE? I'M GONNA SEND A CAR. - NO, SUBWAY'S FASTER. SUBWAY'S FASTER.
- GO, GO, GO, GO, GO! - WHAT?
LET'S GO.
WHAT, WHAT, WHAT? CALL KATE--
GODDAMN IT. CALL KATE AND TELL HER I'M ON MY WAY.
WHY? JUST CALL HER!
I THINK YOU'LL FIND THE ANTIPASTO IS JUST DELICIOUS.
[ Giggles ] DID I SAY SOMETHING FUNNY?
NO, NO. I'M SORRY. IT'S JUST THAT THIS WHOLE THING IS SO CRAZY.
IS IT, REALLY? WELL, MAY I BE PERMITTED TO SAY SOMETHING?
YES, OF COURSE. THANK YOU VERY KINDLY.
YOU SEE, I THINK YOUR GENTLEMAN, MR. MORRIS BRUMMEL,
IS A YOUNG MAN WHO SHOWS CONSIDERATION AND TASTE...
AND KNOWS VERY WELL HOW TO TREAT A FINE YOUNG LADY LIKE YOU.
WELL, THANK YOU. YOU'RE WELCOME.
NOW, HERE WE HAVE THIS LOVELY SPAGHETTI.
WOULD YOU LIKE TO HAVE IT WITH MEAT SAUCE, JUST A LITTLE CHEESE ON TOP?
YES, THE MEAT SAUCE WILL BE--
YOU SURE YOU DON'T LIKE TO HAVE JUST PLAIN BUTTER, PEPPER?
NO, THE MEAT SAUCE WILL BE FINE. MY PLEASURE, MA'AM.
[ Phone Rings ]
DON'T ANSWER THAT. [ Ringing Continues ]
I SAID, DON'T ANSWER. I BEG YOUR PARDON.
I SAID, DON'T ANSWER IT!
IT'S A LITTLE LATE FOR MR. BRUMMEL.
OH, MY GOD.
WHY ME?
WHY DON'T YOU ASK HIM?
NO. NO.
NO!
[ Grunting ]
NO!
[ Whimpers ]
[ Pounding On Door ] [ Buzzer Buzzing ]
LET'S GO! OPEN UP, LADY! OPEN UP! POLICE!
HEY, MONAGHAN!
JERRY FOLLOWED HIM TO THE THEATER DISTRICT.
BUT I LOST HIM NEAR 44th AND 6th. YEAH?
THEY GOT A LOT OF CARS IN THE DISTRICT. COME ON, COME ON.
[ Siren Wailing, Faint ]
[ Siren Becoming Louder ]
A FEW MINUTES AGO, OFFICER. IT WAS JUST ABOUT 10:00. THAT'S ABOUT RIGHT.
WHAT IS IT?
THIS MAN SAW SOMEONE IN A HURRY ENTERING THE ALLEY ENTRANCE TO THE AMANDA GILL THEATER.
DID YOU SEE HOW HE WAS DRESSED? HE WAS MOVING TOO FAST. IT WAS DARK IN THAT ALLEY.
COME ON, DAVE.
CAN I HELP YOU GENTLEMEN?
YEAH. DETECTIVE BRUMMEL, 19th SQUAD. THAT'S DETECTIVE MONAGHAN.
- WHO ARE YOU? - WHO AM I? CHRISTOPHER GILL. I'M THE OWNER OF THE THEATER.
DO YOU HAVE ANY, UH, IDENTIFICATION?
YES, I DO.
DID YOU HEAR ANYBODY BREAK IN HERE JUST NOW?
I, UH--
NO, I DIDN'T. IT'S BEEN VERY QUIET. WHY?
WOULD YOU MIND IF WE HAD A LOOK AROUND?
- IS IT ANYTHING DANGEROUS? - YES, IT IS.
I SEE. WELL, PERHAPS, UH--
PERHAPS IT WOULD BE BETTER IF I GAVE YOU A LITTLE MORE LIGHT.
PLEASE. MAY I HAVE THAT BACK, PLEASE?
THANK YOU. THANK YOU.
IS THERE ANYTHING ELSE I CAN DO FOR YOU GENTLEMEN?
NO, AND, UH, THANKS, MR. GILL.
DID YOU FIND ANYONE?
NOPE.
I SEE.
THAT'S A RATHER STRIKING PORTRAIT OF MY MOTHER, DON'T YOU THINK?
- DID YOU EVER SEE HER ON THE STAGE? - NO, I NEVER HAD THE PLEASURE.
YOU MISSED SOMETHING.
SORRY TO TROUBLE YOU, MR. GILL.
IT'S NO TROUBLE AT ALL. AM I SAFE HERE? SAFE ENOUGH. HE'S NOT HERE.
I SEE. THEN THE ONLY THING LEFT TO DO, GENTLEMEN, IS TO SAY GOOD NIGHT.
GOOD NIGHT.
MADAM,
I BRING YOU THE WORM--
THE WORM THAT KILLS AND PAINS NOT.
HOW I REMEMBER THAT, MAMA.
HOW I REMEMBER THAT.
PUT ON MY CROWN.
GIVE ME MY ROBE.
I HAVE IMMORTAL LONGINGS IN ME.
I AM FIRE...
AND AIR.
COME, THY VEM'NOUS FOOL.
BE ANGRY...
AND DISPATCH.
YOU SURPRISED ME. I THOUGHT YOU AND I WERE FINISHED.
WE HAVEN'T EVEN STARTED.
WHAT DO YOU SAY? WHY DON'T WE TAKE ONE VICTIM AT A TIME?
VICTIM?
THE ONES WE'VE BEEN TALKING ABOUT ON THE TELEPHONE.
THE ONES YOU STRANGLED WITH YOUR HANDS, MR. GILL.
I'M GOING TO BE VERY CHARITABLE WITH YOU.
I'M GOING TO ASK YOU TO... LEAVE NOW AND FORGET WHAT YOU SAID.
YOU TRIED IT AGAIN TONIGHT WITH KATE.
KATE? I SEE. AND THIS KATE, CAN SHE IDENTIFY THE MAN?
ONLY WHAT SHE SAW, AND SHE SAW SOMEONE DISGUISED.
DISGUISED.
YEAH. YOU HAVE A WARDROBE DEPARTMENT.
YOU CAN MAKE YOURSELF UP AS A PLUMBER, A PRIEST, A POLICEMAN.
[ Chuckles ] YOU MUST BE UNDER A VERY HEAVY STRAIN.
TELL ME, HOW'S YOUR IRISH, MR. GILL? OR YOUR FRENCH?
COME ON, LET'S HAVE A LITTLE CHEVALIER.
[ Imitates W.C. Fields ] OR A LITTLE W.C. FIELDS FOR ALL THE FOLKS.
I'M GOING TO HAVE TO ASK YOU TO LEAVE.
I WONDER, WHAT DID YOUR MOTHER THINK OF YOU AS AN ACTOR?
OR BETTER STILL, WHAT DID YOUR MOTHER THINK OF YOU ALTOGETHER?
YOU THINK SHE UNDERSTOOD THE REAL YOU?
THE DEMENTED FREAK THAT STRANGLES WOMEN? SIX OF 'EM, HUH?
OH, NO, NO, NO, NO, IT WAS FIVE, WASN'T IT? AND ONE FOR THE COPYCAT.
AND THEY ALL HAD THE LIPSTICK, DIDN'T THEY?
THE VERY SHAPE OF YOUR DEAR MOTHER'S LIPS.
THE VERY LIPS ON ALL THOSE PORTRAITS OUT IN YOUR LOBBY.
I SEE.
THIS IS YOUR...
CONCRETE EVIDENCE--
THESE FLIGHTS OF FANCY,
THE ALLUSION TO MY MOTHER'S PORTRAITS?
WELL, I MUST TELL YOU, I HAVE SOME POWERFUL FRIENDS IN THIS CITY,
AND I ADVISE YOU TO FIND SOME EVIDENCE THAT WILL STAND UP,
OR YOU WILL MAKE A STUPID FOOL OUT OF YOURSELF.
COULD I HAVE THE KEY, PLEASE? THE KEY TO YOUR WARDROBE DEPARTMENT.
-I DON'T HAVE TO GIVE IT TO YOU. -NO, WE CAN COME BACK FOR IT.
I DON'T WANT YOU TO COME BACK.
THERE YOU ARE.
[ Creaking ]
[ Gasps ]
[ Exhales ]
[ Sighs ]
MR. BRUMMEL,
YOU'RE A BETTER SHOT THAN I THOUGHT YOU WERE.
WELL--
[ Chuckles ]
[ Irish Accent ] TOP OF THE MORNIN' TO YA, MRS. MULLOY.
THE TOP OF THE MORNIN' TO YA.
NOW, WHAT'S THAT I SEE AROUND YOUR NECK, EH?
IS IT THE ROSE VINE THAT WOUND AROUND THE BROW OF OUR BELOVED ST. ANTHONY,
OR IS IT THE BLOODY ROPE--
THE BLOODY ROPE...
THAT HUNG THE LIKES OF MANY OF OUR BRAVE LADS...
O'ER THE COBBLESTONES OF DUBLIN?
IT'S MY OWN HANDS...
SQUEEZIN' THE BREATH...
O' YOUR DEAR LIFE AWAY.
[ German Accent ] FRAU HIMMEL!
YOU HAVE BEEN CONVICTED OF CRIMES AGAINST THE STATE,
AND AS YOUR FUHRER...
I SENTENCE YOU TO DEATH!
[ Coughs ]
SHOOT! SHOOT! SHOOT!
OHH! OHH-OHH!
OH, SWEET JESUS,
SAVE ME.
[ Coughs ]
[ Sobbing ] OH, MY BELOVED SAVIOR.
PLEASE...
SAVE ME.
MR. BRUMMEL,
WOULD YOU DO ME A FAVOR?
WOULD YOU FORGIVE ME?
PLEASE?
[ Sobbing ]