 The ninth exciting drama, but turning point, is reminiscent of a recent national investigation. A giant syndicate has set complete control of a large American city, and even a government committee cannot unmask the criminals. And as our stars of this thrilling Paramount picture, we have Fred McMurray and Joe Andrews, now act one of a turning point, starring Fred McMurray's Jerry and Joe Andrews as Amanda. Music Maybe there were tougher, more corrupt towns in the country than our towns, but from where I sat on the Daily Chronicle, I couldn't see any. I couldn't see them for good. So when I heard that Johnny Conroy had been made special prosecutor to clean up crime, it gave me quite a jolt. Johnny Conroy, the fair head kid I grew up with, smacking ideals against the blast knuckles of me, Michael Berger's syndicate. The brilliant young Professor John Conroy, if you please, with Ivy still twining in his collegiate hair against no-hold barred me, Michael Berger, I shut it. I found it out while Johnny set up his headquarters on the mezzanine of the Harrison Hotel. I left the rosies preliminary to the greeters, the dreamers, and all the other happiness people who didn't have the heart or the sense to let Johnny know what he was in for. How about it, Mr. Conroy? Can we say you've been given extraordinary powers to break up the crime syndicate so called in this town? And does that mean Neil Eichelberger's mob, Mr. Conroy? If it turns out to be Eichelberger, we'll take care of it, boys. Well, what specifically are you asking, Mr. Conroy? Everything illegal. Bookies, graphs, corruption, gambling. You think the Eichelberger syndicate controls all this? Well, it does. We'll find it out, break it up. May we have a last victim, Mr. Conroy? Please, gentlemen, Johnny has to go to work. Well, just one more victim, Mr. Conroy. Yes, sir, boys. Go ahead. Yeah, how's this? Fine, all right, get it done. Thank you, Mr. Conroy. I want to tell the press I'm going to need your help. I know you'll go along with me. I'll give you everything I can. My headquarters is going to remain right here, spread all over the mezzanine of the Harrison Hotel, so you know where to find me. Thanks a lot, boys. Thank you, gentlemen. Let us through, please. Let us through. Thank you. Thank you. Oh, dear. After that, Neil Eichelberger will be a vacation. Now, we've got to get organized. Shall I make a 12-30 at the mayor's office, Johnny? Yeah, an 8-30 and a plush face dear to your heart for dinner. Request files for consideration. He'll tend me for a little bit of official duties. I'm awfully doggone in love with you, uptown girl. Yes, please, Johnny. All right, Johnny, generate Jerry McKibben. Good to see you again, Johnny. Jerry McKibben of a Chronicle? Oh, I'm sorry. Amanda Way Cross, Jerry McKibben. How do you do? Amanda's helping me out. Combination of girl, Friday and spiritual advice. Also, picnic some weekends. Amanda Way Cross, eh? Do you wave crosses? Oh, why? I just wanted to get the outfit, name and rank correct for publication. How you got into a crime wave to be quite a story on the society page. Congratulations, Johnny. Thanks, Jerry. Jerry and I grew up together on Caroline Street. Well, it's nice you both got such important friends in each other. Yes, isn't it? Johnny, there are all kinds of messages, none less than cosmic. And your mother called. Oh, yeah. I promised I'd have late breakfast with Mom and Dad. Come along, Jerry. We can talk. All right. And lunch is 12.30 with the man. I'll get fat on this job. Do you want a bet? Have read your stuff, Jerry. Very tough. Very bright. Tough is what you've got to be. Bright help? I know. I'd like you to help my committee. Oh, come on in with us. There's a press secretary or a guy to point out me, Eichelberger, and his merry men to you. Write your own ticket. Ah, sorry. Why not? Because I'm a professional newspaper man and not an amateur crime worker. Don't match dream boys and fair-haired girls against girls like the Eichelberger mob. Amanda? You, too. You were always a kid with a dream on your face. Clean hands. Sure are. No political ambitions out there, darling. Yeah, that's me. You're a sucker, Johnny. You know what you're up against, do you? This isn't criminal law 205 at the university, Professor Connolly. I know that. Then why don't you let him suck the end of it? You with your clean hands and pure heart and sunny face. A happy little amateur? A kid standing in the sun with his books under his arm and the fly-fall falls on him. He'll say it was an accident. Maybe. But don't stand him like that to my mother. Your dad's a cop. He knows what I could like. But he doesn't tell mom. Okay? Okay. Sucker. Sucker. Are you sure you won't eat another big apple, son? Oh, lots with a mare, mom. He'll scowl if I don't eat with him. Oh. It's the same old political game, son. Take it from an old hand. Elections coming up and the governor wants to get some advertising out of this committee. Or you'll... What do you think, Jerry? You working on this with Johnny? No, just doing a series on the personal life of the special prosecutor. The important thing, Mr. Connolly, is how do you feel about it all? Well, I don't see how any committee in any hotel is... Well, how do you mean, Jerry? Haven't you heard from the department? By urgent request to the governor himself. You're my chief investigator. No. Why not, ma'am? I won't have it. Why? What's the matter? I'm just a cop. A cop. You're the best criminal investigator on a force you know. You're a professional, Mr. Connolly. I'm just a hard-working, hoodlum-tasting cop. And that's where I'm comfortable. But what we need most is a cop, an honest cop who knows his town inside out. That's you, Matt. Talk about it later. I've got to get back to work. Okay, sure, Matt. All right, all right, honey. Nice to see you again. Well, goodbye, Matt. Honey, I thought he'd jump at it. Thanks for the breakfast, Mr. Connolly. No, it's okay. I'll see you later, Johnny. I worked, too. I had worked all night. I was afraid I wasn't going to like him. I followed Matt Connolly in my car. I saw Matt park his car and take a taxi downtown and doubled back. The taxi ended up on Caroline Street in front of Eamon Harrigan's office. Eamon Harrigan. Political front-runner for boss Neal Eichelberger. That afternoon, I made a call on Neal Eichelberger. I expected Harrigan to be with him. And he was. Hello, Harrigan. Mr. Eichelberger. Yeah? Recipient of the Chronicle. Yeah, I'm told. I thought you might like to make a statement. About what? Johnny Connolly, the special prosecutor. That's sure. I am happy that such an investigation is underway. Sincere can only clear me of all charges aimed at me by, uh... shall we say, the gentleman of the press? Right. Any time. Are you a friend of the Connolly family? I am not. Well, Harrigan, is that you, Harrigan? I didn't mean friends. Oh, we all grew up together on Caroline Street, Harrigan. Halfway years ago. That's funny. I, uh... I always thought you stepped up there, Sincere. Think some more. I'm sure you and Matt Conroy still, still spoke. We don't. Funny, I should think that. Your guys got a diploma in journalism school, and your figure makes you something special. Don't believe it, Mr. Connolly. And it isn't funny. It's a long, much given. It wasn't funny. Your stance was corrupt. But I went back to my office and wrote a sorry-eyed story about how the young law officer was going to clean up crying. And how that honest cop, his own dad, was to be his special investigator. Johnny Wutter's job, like a ball of fire, I'll say that, pushing in zooms and taxis and wire guides and gunfills for free weeks and getting nowhere slowly. Until he came across a slick, no-down, no-good named Filbray, a former cop. All right, then, Mr. Filbray, it's a point you'll listen to this. March 27th, you resigned from the police force. On the same day, you went to work for Eichelberger. On the second day, the first day, we talked to him. Selling whiskey, as you claimed? Odd job. Killing people? Odd jobs like that? You're cute, Johnny. You were taking down a lot of small-time foot-makers, and Eichelberger got you off. He did you a favor, you did him one. You arranged the Montenegro's killing. I never heard such junk in all my life. You were a cop, Filbray, and you sold out. That's the last thing I do. I'm gonna nail you. I'd rather nail one crooked cop than a hundred hooligans. Now, get out. You'll find Montenegro's wife with or without you. That's all. May I read what you've written? Well, it's written on the commission's rendered premises about the commission. Go ahead, but try not to look down your nose if you read it. You write very well? The Amanda Way Cross Accolade for superior journalism. You don't think very much of what we're doing. No, I think you're all in cover as all get-out. Parameters with society didn't come steady. Well, girls whose experience with crime is limited to parking tickets. Well, I suppose you think I'm quite a farmer to stick my cultivated nose into a perfection crew like Sam Kim. Yeah, as a matter of fact, I do. You're quite a girl, Ms. Way Cross. For me, why would you want to walk barefoot across a pink sky? I want to help them. A real perfectionist would say, I hate crime, and I want to step on it and maybe do myself some good at the same time. You don't care for me. I hate fumbling. We're across the game. The game isn't over yet, Mrs. Way Cross. Jerry, Amanda, we're in business. Come in, pop up the door. We've located Mrs. Manzanati. Oh, wonderful. She's right here in town, hiding out at 446 Farm Street under the name of Mrs. Stefan Nova. Oh, is this the public station, Joe? No, off the record, Jerry, please. Okay. Oh, God, you're the first real man. Got to keep Mrs. Manzanati's on ice. Take care of that once, pop. Sure, son. Sure. Sure. Get her in at 10 tomorrow, pop. Will you be sure? Leave everything to me, son. We've waited a long time for this. See you in the morning. Right. Oh, not bad. Oh, I like this. Mrs. Manzanati, talk. Well, what do you say we all go out to dinner somewhere? Might even treat with a good domestic champagne. No, thanks, sir. I've got to work. I'll see you later. Now, Jerry, you'll keep this mountain out of your place strictly hush-hush. Oh, suppose a story meets out. Do I still have to keep quiet? It won't meet out. This happened to the committee before. If I were the professor, I'd question me, you, the GA, and the whole chicken caboodle. I'd screen everybody. You know, there's Ben's brains. Of course you know. I'd screen them again. I'd get them all back to the time they were born. However, I'm not running this committee. But if I were, I'd question my own mother. It's open. Well, Miss Waco, do what do I owe the honor? I'm given. I want to talk to you. What happened to your champagne dinner with Johnny? He changed our plans. What about your hurry to get back to work? Now, I have to do my flower arrangement. That thing you said is we left Johnny with me today. Was that meant to be provocative? Yes, but you mind sitting down, great lady, so I can throw myself at your feet. What did you mean in this afternoon when you said you'd question everyone even your own mother? Why don't you go home to your fireside and read a nice mystery story where everything comes out tidy at the end? What were you trying to tell Johnny to do? If you must know, I was hitting the jeweler's square and Johnny's the square and you're standing in a cold suit and you don't know him. Well, you're a whale of a tough guy in the kitchen. That I am. A real know-it-all guy. At home in the dirty, you know where the bodies are buried, but you won't tell. We're just laying around the rosy dabbling and you're a hard-boiled perfectionist. I want to know what you were really trying to tell Johnny to do. The truth. Okay, uptown girl. If you so partly put it, the truth. Yeah, don't remove your sapphire mink. We're going for a ride. This is it. Oh, man. The honor is 446 Ponsky, where any hidden Mrs. Manzanati, alias Mrs. Stephanova, be the murder witness in Johnny's office tomorrow at 10. Where are those men supposed to be down the house? Upstairs and downstairs and in my lady's chamber Mr. Neal Eichelberger's high-class food. No. They're probably convincing Mrs. Manzanati that it would be unwise to do much talking tomorrow. What can we do? Nothing now. Eichelberger got here first. At home. Somebody needs food. Hey, you want a cool place? Why don't some place out for yourself? Come on, see this. Quiet. Who are you? The police. Come on, slow. That was Roy Eichelberger. Eichelberger's Lord High Executioner. I'll get a car. I'll take you home. No car is outside your apartment. Who would talk there? I'll drive you to your car. Come on, man. What are you doing out here? Take off. Come in. Here's Mr. Conroy Eichelberger. Yeah. Sit down. What's up? I checked on 446 Pond a half hour ago. There wasn't a cop there. I know you think it was the other day. Ackerman was there with his groom. Somebody tipped him off to Mrs. Mansonati. Gary, you're crazy. Look, you called her again right after you left this at the hotel. You're drunk. I know you're working with Eichelberger, Matt. Through her again. I've known it for weeks. I've been trying to figure out what to do about it. Gary, you must be crap. I grew up with John. I know how he feels about you, and I don't want this to turn into pieces. And I don't want to see you in jail anymore than I'd like to see you in a dirty alley. Dead. All right. I won't let you run him off. That's rotten talk. I'm going to print what happened today at Mansonati. But I'm going to leave you out of it. This time. It's a lie. If you don't want Johnny to find out that his father's been crossing him every day of the calendar, you better start figuring some way to clear yourself. Okay. I'll give you 24 hours. Back two of the turning points in a moment. You know, our service men overseas have a wonderful opportunity to observe new customs and traditions. They find, too, that these ideas of other people aren't so strange after all. And take, for instance, the use that man has made of animals. You see, tears of oxen in Italy and southern France. Sarkis are both for transportation and beasts of burden in Spain. Buffalo are the domestic animals of Iran and the Near Eastern countries. Camels in Africa, the elephant of India, and dog teams in Alaska. But when you understand the reasons behind the use of these animals, it doesn't seem strange that they should be used in other countries. Why camels in Africa? Well, because in spite of their bad temper, they're well equipped for desert travel. I live to keep out the sand, so much that can store up water for a long journey. Why dogs in Alaska? Because they're meat-eaters, ideal for a country with little vegetation. Why oxen in Italy? Because their strong muscles enable them to do heavy work that would, well, would literally kill a horse. These people are as far into their animals as the American farmer is of the aesthetically bold or his prized winning style. The same is true of other customs and traditions in all countries. The way of doing things may be different, but the ideals are the same. These customs are important to the people who follow them, and our servicemen are helping to maintain goodwill by observing the customs of other people in other lands. Now our producer, Mr. Cummings, acts too of a turning point starring Fred McMurray of Jerry and Joann Drew as Amanda. What do you do? Tell your best friend with stars in his eyes that his father is more crisp and top? All the next day I kept hoping that Matt Conroy would come up with something to clear himself, but what? He was into beauty. I wrote the Manzanati story, figuring it wasn't the story that Johnny had told me to hush up. But I was afraid Johnny wouldn't see it, and I didn't know what to do with it. And I thought, well, I'm going to do it. But I was afraid Johnny wouldn't see it my way, and I was so right. I was afraid to go near him at a party Amanda threw for him that evening. But Matt was at the party too, and I kept hoping something good might come out of the evening. But Johnny, darling, this is a party. I know, I know. And it's for you. Don't talk stuff tonight. Somebody intimidated Mrs. Manzanati so that she wouldn't say a word in my office today, but how did that somebody get to her? I refuse to talk stuff. There's no kind of a pipeline out of our office to Eichelberger. The whole world in a home do I have to buttonhole to get another of your watered drinks, Mrs. Leiglas. Hello, darling. I'll get you a refill. Talk to Johnny, and keep it friendly. Hello, darling. That was a fine son of yours publishing the Manzanati story. Well, I got it. Mrs. Manzanati's arrived at the hearing perfectly briefed by the opposition. That's not the point. Keep it friendly. The point is, how did you know what the story does to the committee? I printed a simple story that happened to be true. I put terrific pressure on us to explain the way the top secret stuff has been leaking out of our office. What's wrong with that? It's a cramped newspaper man's son breaking our confidence for his story. Look, Johnny, I didn't do what he was. I told a different story that I dug up for myself. And put me right on the spot. I thought something better of you, Jerry. Okay, profession. Disillusion starts setting in the minute you lose faith in panic law. So go up. Wait a minute. Where are you running to? Tell a man I choose to get loaded in the library. Keep it friendly. I've got to talk to you. Okay, ma'am. Look, I'm in a terrible, terrible spot. Yeah. I lost my temper last night. I'm sorry. That's all right, ma'am. Suppose I admit what you said last night. We can go along with me. That depends. So when people see us, a cop is supposed to be more than human. Work harder than anybody, be more honest than anybody, and pay for his own equipment. He's not supposed to want money or things for his family. He's altogether too hard-principled for that. Well, it was fine for a while. Maybe somehow or other, you get to be 40. You got a kid growing up and you want some things for him. And then you find you're in debt. Suddenly you find some easy money in your pocket. They didn't even pocket money at first. And then you find they only... except me and a nutcracker, Jerry. You've got to help me. Well, there's only one thing you can do. View behind Eichelberger's back. Feed them phony information and try to stay alive. Or you can tell Johnny the truth. No, I can't do that. Well, I can't think of anything else. Jerry, Eichelberger had me in a crop at this point. Well, that's a young Manzanati story. He burned me for not having told him the newspaper man and the winners when we got the lead on the Manzanati woman. He called me a young flat-foot in a fly-cop. I had to take it. Is that all? No. He's giving me one more chance. There's a folder in the D.A.'s old file that he wants you to get. What? File on Lloyd Paster, 1934. Paster blabbed about things that didn't mean anything then, but they do now. They want that folder. How do I dump that? You should stay alive. You get it, man. Get it and give it to them. Only have a folder set at first, and they'll be sadder. What about that? What? Jerry, I thought I told you we were going to see the friend. Hi, Max. Well, I got to go, folks. Well, thanks, Jerry. I look into that for you. Yeah. Thanks, Dr. Hanson, which is a bit of a dream. Oh, thanks. You mind if I eat and run? Did your car downstairs? In the garage. Give me the keys, huh? No. OK. Operator, this is Miss Waycross's apartment. Would you order a cab right away? Thanks. Thank you very much, Miss Waycross. I'll see you later. Jerry. Operator. I live in Miss Waycross. Please come for that cab. Back to the cab? Oh, Amanda. I'll come for the cab. Get in. I'll drive. Go ahead. Where to? To the criminal court building. Only you don't drive up in front of the building. Can't you tell me anything about it? I'm afraid I can, Amanda. Why are you following Max Handler? Did I say I was following Max Handler? All right. Have it. You own it. I'd do it on my hair. It doesn't mean a thing. But let him have it. Michael Berger. It's arrogant. No. Conroy is fixing to cross it. He's having the cab on file protest at it. Well, are you there to hear me? I suppose you still won't tell me why you were following Max Handler. Not yet, Amanda. Is everything all right? I hope so. Yeah, if you're only relaxing it. Well, if only you weren't. Maybe we both should. All right. I know you don't think very much. Don't I am? I'm running into the danger Johnny was in. I had so much respect for him. Respect for him? I thought I could do it for you. I know. Do you? I do now. If you want to help us, I'd be getting to get screened. No, no. It'll be all right. Is that so? You like it. You're better already. I'm starting to get very hungry. Me too. I do? No, don't tell me how you've been under a great strain. No, but really, I cook quite well. I was a huge in home economics. Oh. Well, then by all means, I'd have quizzed over and economized by being your guest this late. Ah. You have it. The story of my life, and if it may, it may be reason to your coffee. I'll replace it with our son. That's not a very inspirational biography, I'd say. I'd say a very dull one. This novel you wrote. What was it about? About three times. Yeah, I mean content. It was about young love in the Mississippi. No. Remind me not to read it. Who used that? I will. There's one point in your life story that escaped me. Got it. Yeah. I went up to the university once to enter the room. I thought I was a buddy newspaper writer. And he fell in love with you. I suppose so. First bite? I guess so. Now you have that kind of effect. What a nice sound you say. I thought you knew. Rather hope. Thank you, Amanda. Thank you. Thank you, man. Does it matter? Because... Yeah, well, I'll help you clean up. I'm great with dishes. There's no pun intended. No pun. You want me to go? Yeah. Man, you're not much good as a close and baggy girl. We've been yapping half the night, and what have you found out about me? I guess we both had. Something we didn't want to know, maybe. Do you still want me to go, Amanda? Amanda. Simple as a male. Eichelberger's waiting for him. Why? He's waiting for you. Don't ask me why. Okay. Where? Oil station. Next corner. Matt Conroy never got to that oil station. He passed a small food market, just as a plant ran out screaming, hold up, hold up. The honest veteran carper Matt Conroy made him reach for his gun and start into the store. A gunman ran out, but his gun was ready. The gun was dead too. And a truck that had been standing at the curb whirled away and disappeared. And that was it. That was how Eichelberger paid off Matt Conroy. Johnny's old man. You may tell your readers that my father, Matthew Conroy, was killed in the line of duty. No connection has been established between his death and his official position with the prime minister. While his friends are in his flight into the services, well, that's all, gentlemen. Thank you. He was Johnny. Of course, there was more than this thing. I heard the screen door close behind me. I think I should know. Know what? About Matt. But what about him? He stepped into one of the bullets and that's all. What about him? Yeah, he don't cover the water. But it's not so long since he's fighting. Hold on. Oh, Amanda. Oh, my God. Amanda wasn't the only one with the trap. Oh, my God. Years ago, Matt took money from the mob to put Johnny through college. He'd been using that ever since. On my very excellent advice, he tried to double-cross. Oh, yeah. They put him into a trap. They paid him off. The police think it was line of duty, but it wasn't. What do I do now, Amanda? Call the cops? What do I tell Johnny? That his father was a cook? What do I tell him about it? I don't know. Amanda, will you be... You go in and help, mother? Of course, mother. You mind, Barry? No. I'd like to take you to the office of the Special Crime Commissary. John Conroy has resumed his questioning of what to do. That's the five-day interruption occasioned by his father's type of death doctrine. It's Conroy's questioning, Neil Eiffelberger, about his finances. And how do you know these security transactions of yours, Mr. Eiffelberger? When you did buy such securities, didn't you use a sort of clearinghouse for the transaction? That's right. You owned a company, but just that first... That's not true. I have some shares in the security company. What company? Well, it's... Arco Securities, isn't it? Oh, yeah. I'm sure you want to object to this committee's subpoenaing the records of Arco Securities, Mr. Eiffelberger. Why should you? Would you, Mr. Eiffelberger? No. Well, I should. I have absolutely nothing to conceal. My hands are clean. Thank you, Mr. Eiffelberger. That'll be all today. Where did the money come from, Mr. Eiffelberger? Arco. What was the holding company's name? Arco. Why did we leave such a loophole, Hellegan? We had to, but the income tax record knew. This professor had to come along with a bee in his monitors and get us up with Arco. Arco. Well, once he's completed the books were finished. Yeah, there's one thing to do. The building's got to go. Go? There were apartments upstairs. People. Yeah, you can wake them up and carry them out, they can be heroes. You can't believe it, can you? Now that's what makes it so good. A jury wouldn't believe it either. Would they, Hellegan? Would they? You make an ally. There's a spot for you to keep in mind as many another American have. In 1945, Lyle Hayden was sent to Iran by a privately financed organization to help the farmers with their agricultural problems. At first, they were listless and dissentrous. But Hayden started a small demonstration farm to show them what could be done. He began to drill for the water. He was sure to lay beneath the villages. And when he hit it, his second hand pump began pumping 15,000 gallons an hour. Well, now the Iranians welcomed his help. With their aid, he purified the water, removed the threat of malaria from the irrigation ditches, started a successful chicken breeding program. Then he opened a free school to teach the children reading and writing. And it was so successful that the Iranian Minister of Education asked him to organize his teaching methods in other villages. Hayden offered a teaching job to any young villager who could learn to read and write. A successful one came from his night school classes. As the months and years went by, Hayden continued educational and agricultural programs throughout the country. Today, what prosperity the present farmers of Iran enjoy can be attributed to the tireless work of Lyle Hayden, who combined the best qualities of missionary and businessman to win the thanks of a grateful people. Once again, an unselfish American proves that by helping others, you help your country. A certain rises on Act 3 of the Turning Point starring Fred McMurray as Jerry, Joanne Drew as Amanda, with Whitfield Connor as John. The blast at Arco Security shook half the city. Johnny and I raced down to the scene. There was nothing we could do. And the sounds of the injured and dying were more than anybody could bear. I let a couple of days go by before I dared go up and see John and Conroy. He was in the fire room. Alone. Hayden. Founded. Anybody came out of that explosion alive. One or two still fighting. Listen to your monthly bills here. Yeah? You suggested I wasn't the man for the job. I changed my mind, Johnny. And we both have. You have. And maybe you can tell me how long it's going to take to get the smell of burns fleshed out of my memory. Oh, but you can't blame yourself. You are me. I was just a kid standing in the sun with a dream on my face. Look at those files. Thousands of pages of testimony. What's good out of it? Yacko files are the key to this case. They're gone. That's right, Johnny. To make a case against Eichelberger now would take a major hunk of criminal evidence. Oh, by the time that happens, if it ever happens, this committee will be hit to the dead. What do you mean, Johnny? I'm quitting. Okay. So we strike off a medal for Neil Eichelberger in all his fall time, huh? The winner and still champion are the wolves, right? Does that suit you? How many more people do you expect you to kill? I've dug up a story, Johnny. It's a murder story. We play it right, and we can panic Eichelberger into making a mistake. What's murder? I'm going to have to knock you through your knees again, Johnny. What's murder? Your father. What? There wasn't a peace picker shooting his way out. There was a planned execution right down the line. Even the double-crossing that little Marty LaRue punched the ears. They let LaRue shoot your dad, and then they shot down LaRue. I know it, Johnny, it figures. My hands were tied, though. I... I couldn't hit you again. Why? Well, it would be their motive. Matt was working with Eichelberger. He told me himself. He was trying to shape Luce. They framed him dead. My father... ...our curtain shot. He died clean, Johnny. He went down shooting. Well, I can't stop you from getting sorry. All you have to do with that... I can't ask. All I can do is quit. But that means the whole investigation collapsed. They got to point some other stream, lad. You know they never will, Johnny. They'll see how much time and money produced absolutely nothing, and they'll drop a code, you know that? A committee will be appointed to investigate the investigation, and they'll return a big report that'll be filed and forgotten. And the people wind up right where they were. The mercy of the hoodlums. Is it so important to you? Yes, it is. You're the boy with the dream on his face now. No, I don't know. But I know this. Even allowing for the apathy of the people and their occasional indifference. The fact is they all want desperately to believe in a certain majesty of the law. And for people like us, like you and me, the greatest crime in law is lack of faith in the law. That's when we join hands with the hoodlums. Johnny, I've just come from the hospital. The news is pretty good. What's the matter? I've been telling Johnny about his dad. Johnny, I'm so sorry. All I can add, Johnny is, if the new Eichelburgers can convince us that it's useless to try to beat them, then we might as well hand a whole country over to them and let them let it for us. Finished? Finished. Then I'll say that I don't think I need to speak about honor and integrity from either one of you. Yeah. May I speak to Johnny now? Sure. I'm sorry, Johnny. I understood what you meant about caring in New York. I'm sorry I couldn't have told you. It's unimportant now. I'm proud of how the guys all asked you to forgive me. And only ask you try to understand that we tried very hard not to have it happen. I'm sorry. Don't let this thing slow into a decision. If you walk out now, you'll regret it the rest of your life. But sometimes, sometimes a few people have to pay a heavy price to help the law. Let Jerry publish the story about Pop. What are you talking about? What about my mother? What about the people who died in the Arco fire? And Jerry has a name. Oh, Jerry always has. If you could identify your father's name, I'd forget who had him, Johnny. You'd pay them back. Tell him, Jerry. Tell him what? Who is this? You don't know me. But I read your story about the hold-up with that cop and Mandela Rule was killed. Who is it? My name's Carmelina. Carmelina who? It doesn't matter. It's about Monty. What about him? He was killed the way he was killed. Yes, it was Carmelina. He was killed by the Arco-Gurgis gun. And I can prove it. Where are you? At a... At a place called... Yeah, yeah, yeah. I know where it is. You wait there for me. Order yourself something and don't go away, huh? Okay? We can talk at this table, Carmelina. I want to know. Was that how Monty was killed? They hired Monty to kill that policeman. And then they killed Monty. Were you his wife? Yeah. But I didn't want him to get into it. I couldn't stop him. He was crazy that he was a big guy. Yeah, I know. They told him they were going to make him a big guy. Who told him? In the next room I heard them every word. A big guy. Who was in the room, Carmelina? Did you see Monty's body? Yeah. I saw it. You'd like to have them pay for that, wouldn't you? Yeah. Who was in the room, Carmelina? A guy named Ackerman. And somebody called Herm. Herm? Herm what? What was his last name? Carmelina, what was Herm's last name? What are you staring at? Behind you. In a doorway. It's them. I don't know. I live in the next block. Have they seen you? Yes. Are they coming? Yes. Listen fast. The kids can go behind you. When I say now, run for it. I'll be right behind you. Don't get lost and go let them get you. Yeah. All right. Now. Only she hadn't slipped away from you, Jerry. Yeah, but she did slip away. The girl was crazy with fear. You got that piped up yet, Amanda? Five seconds. They'll kill her. They'll kill her. They'll kill her. I know, and this one will be on me. I know, I know. Here we are. Carmelina. Give yourself up to the police. As long as you are at large, you are in danger of your life. The police are your only protection. The kitchen. Carmelina LaRue. Twenty-seven years. Five foot six inches. A hundred and fifteen pounds. Large, dark eyes. Black hair. Olive Putex. Pull that into the police. We've got to get to her before Eichelberger gets here. What's the matter with you, Eichelberger? You're nervous? I'll tell you what's the matter, Eichelberger. That dame is loose, and he can talk. He talks to MacCibbon. He doesn't ever stand up and talk. He'll be sitting in court waiting to see if it'll stand up and I'll tell you who me. Ah, forget it. And I'll tell you something else. This guy, MacCibbon, is the only guy who can identify the LaRue dame. Anybody else they drag in is just a scared dame. But MacCibbon knows LaRue. You worry about the court, Eichelberger? I'm going to change our luck. No, you won't, Eichelman. One big mistake was knocking off Matt's time right now. I'll see yourself, Eichelman. Well, you heard what I said, LaRue, MacCibbon. There was a girl somewhere hiding out in the jungle of the city, scared to death and with every trigger man in town looking for her. Warning. Something to get me off the front-page and into the obituary column. I put a shifty little informer named Pinky Smark on Eichelman's trail. Just by way of saying a lie of myself. You're my pal. You're my pal, Gary. I hear nothing. Well, keep working, Pinky. Find MacCibbon and don't let him out of your sight. Let me know even if he coughs. Okay. I looked at police's line of trying to find Tamalina. Nothing. Radio and TV spot analysis. Nothing. And then the break. Yeah? Gary MacCibbon, the chronicle. That's right. Who are you? Where are you now? I know this is on the square. You are safe in your days. All right, Sammy. Come on, MacCibbon. What do you say, Sammy? What do you say? Okay is what he said, Mr. Rackerman. Okay. Okay, Mr. Rackerman? Oh, what a lovely lady. Who are you? I'm Tamalina. I'm Tamalina. I'm Tamalina. I'm sure of that. Forgive me. How do we know this is Tamalina? Well, look out if he's a girl. If he had lipstick. Aren't you, Tamalina? Yes, ma'am. I just spoke to Jerry's office. They said he was running down a lead on Tamalina. Oh, no. Did they say where he'd gone? Surprise. I've been looking high and low for you. So who told you I was here? In your office. I told him it was important. And pal, it's important. Are you called Rackerman? I found him right here. And I saw him point you out to one of his out of town figures. There's a gun on you, pal. So what do you want? I got to go. Thanks. Thank you. I'll be seeing you there, pal. Maybe when the crowd roars so they won't hear the sound. I think for a clear sound. I can't believe if I stand up, there'll be a sound from somewhere. I'll go down to Spain. I've got to wait. I've got to wait and go out of the crowd. Then the Tamalina goes to the street. The guy with the gun. They're in here. They're in here. They're in here. They're in here. What? A man. This is another class. Get away. Stay in bed and be quiet. Bed is no place for a word in newspaper, man. It seems to me there was an awful lot of shooting for. The one who was reported. But Tamalina talked. We got out together and heard it and asked him in the whole mall. You done, man? Yeah. Wait a minute. Don't talk. What Tamalina talked about? She said that is if we at least got some value for the price. What price? Not just me. The man there. Where's Johnny? Sometimes. Someone has to pay a great price to recall the majesty of it all. He tried to protect you and me from his son. And I stood in the schoolyard with his books under his arms. And a dream on his face. And the flag gold fell on him. And the least we can do is. Set the flag pole up again for him. We'll do it again. Yeah. Thank you.