Murder, Inc. (1960) Movie Script

What- Hey, wait.! | Wait.!
- May I help you? | - Why not?
Who did you wanna see?
I wanna see Lepke. | Tell him Reles is here. Abe Reles.
- Is he expecting you? | - It won't come as no shock.
- There's a Mr. Reles out here. | - This is a high-class place.
What'd you expect, | a candy store?
This is, uh-You know, this is | another league here.
You know the garment industry? | That's a-That's a good front.
- What is it? Men's suits? | - Yeah, men's, men's, men's.
Just to be left alone. | is that asking too much, Lep?
To get rid of you. | To never see you again.
To forget you took my business. | To put it out of my mind that you ruined me.
Is that asking | too much, Lep?
'Cause your goons | smashed my business...
is this something that | I have to spend a life hiding from?
Joe, you talk too much.
Listen, Lep. | Listen.
Never- Never | will I open my mouth.
I swear. I swear | on my children's lives.
What's done, so it's done. | I want to wipe it out of my mind.
You know what, Joe?
You should thank your lucky stars | I'm so softhearted.
Things could change.
Isn't that a basic fact, Mendy?
Now, suppose you takeJoe | out to the elevator...
and tell him exactly | how it could change.
Lep, please? Please? | I swear.
I swear on my children, | not a word. Not a word.
l- I swear, Lep. | Please, have a heart.
Lep, please!
- Mr. Reles? | - Yes.
- Sorry to keep you waiting. | - Oh, that's, uh- that's all right.
I was just, uh- | just readin' the jokes.
- Um, this is Bug Workman. | - Pleased to make your acquaintance.
You come in.
Hey, hold my place, huh?
So you're Reles, huh?
Yeah. | Yeah, I'm Reles.
Albert Anastasia tells me | you're a good man.
Yeah. Well, | he oughta know.
He says you made a good hit | the other morning when you got Venutti.
Now you got the whole | Brownsville territory locked up.
Doin' pretty good. I mean, | I got a couple of things goin' for me.
Ah. Like what?
Like slots, horse bets, | shylocking-
Oh, please. Please.
We don't operate anymore | like during Prohibition.
What does that mean?
What you have in Brownsville...
I have a hundred times over | in the garment district...
Albert Anastasia has | on the docks in Brooklyn...
and the Capone boys | have in Chicago.
We're working now | like a combination.
We can call on each other | for help like banks...
like any sensible business.
Now, we don't like | to hurt anybody.
But sometimes, | things work out differently.
That's where you and your | Brownsville operation come in.
Because you guys | are so good at it...
the Syndicate will use you.
We'll give you the contract, | and you do the job.
- Now, there's one thing- | - Excuse me for interrupting. l-l-
I wanna ask you a question.
I like what you say, and I like the idea | of working for you, the whole thing.
But, uh, | what's it gonna come to?
You get an annual retainer | equal to your Brownsville operation...
plus a fee | for each contract.
Well, that sounds interesting. | It's, uh-
I'm pleased. | Now, no private jobs.
You hit when we tell you to hit | and who we tell you to hit.
In between, uh, | we just sit?
If I tell you to sit, | you sit until you get boils.
I, uh, think | we could work it out.
Send Mendy in, please.
Just to make sure you don't get boils, | I'm handing you your first contract.
His name is Walter Sage.
A noisy comedian.
He owns a place | up in the Catskills.
He also handles the slots | for the Syndicate.
Suddenly, | he's a partner.
A nickel for him, a nickel for us.
Come in.
Mendy, this is Abe Reles.
- What do you say? | - Kid Twist?
I see you boys in Brooklyn | have been active.
Oh, we like to keep busy.
I'm giving Reles | the Sage contract.
From now on...
you never come up here.
You never call me here.
Mendy is your contact.
Everything through him.
- You understand? | - Yeah.
Mendy, get started.
Well, uh, I guess | we're in business then, right?
- What's all this about, Reles? | - I'll-I'll-
He didn't give you | any trouble, did he?
Joey? | He's a doll.
That's very good. That's very funny.
Funny boy. | Make me laugh, huh?
Listen, Bug, uh, | go get a car, will ya?
A good one. Good tires. You leave it | at the drop, and I'll pick you up there.
So, uh, | where you been, Joe?
- Around. | - Oh, yeah?
'Cause, uh, | you've been kind of scarce.
It's not because | you owe me money?
- You're gonna get it. | - Oh, yeah, sure. I mean, I know that.
I know I'll get it. | What'd you borrow, 300?
When was that? | That was in, uh-
Oh, I don't know, Joe.
You know, | it's been two months.
I paid back 180.
Yeah, but, uh, | that's only the interest.
You see, there's | five more weeks interest...
plus the principal is, | uh, $600.
You know, Joe, uh...
another month, uh, | you're gonna be in for over 1,000.
Well, what am I gonna do? | I lost that job singing with the band.
Then I got married.
You know the girl- Eadie. | She used to live on Sullivan Street.
You know, her folks | came from Europe.
Eadie- | Oh, the refugee?
Yeah, yeah, I remember. | Yeah.
Three days in the country, and they're | walkin' around like a princess there.
With the blond hair | to the neck.
Well, she got sick...
and then I had a pile of hospital bills, | and I had to pay 'em.
You see, Joe, | I don't know what to tell ya.
I mean, I can see | you got problems.
I don't know. I'll tell you what | I'll do with you, Joe.
Yeah. Maybe we'll work | something out, a deal.
We forget the money, all right? | We'll wipe out the whole debt.
Everything what you owe, | that's done. Clean. Finished.
Right? But in return, | you gotta do me a favor.
Uh, you used to work | in the, uh, Borscht Belt.
- Ajoint named Ribbon Lodge? | - Yeah.
I did a couple of weeks | there last summer.
Yeah, that's what they tell me. | They tell me you was very good there.
Did you know the owner, a fella named, uh, | Walter Sage? A comic?
Well, you and me, we go up there, | we pay him a visit.
That's all.
Well, what do I do | to clean up the debt?
- That's it. That's the deal. | - What do you want with Sage?
- Well, we got a little business thing. | - What kind?
My kind.
Hey, where you goin', Joe? | Where you goin', Joe?
Hey, Joey, where you goin'? | Hey, where are you runnin'?
- Joe, we ain't finished talking. | - Well, I'm finished talking. | Sage is a friend of mine.
All right, | he's a friend of yours.
He's good to his mother. | He raises poodles. | But that's something else.
That's different. Listen. | Hey, come here.
Hey. Sit down.
Now, look, Joe.
All we're gonna do | is work him over. That's all.
I mean, what's a little | schlammin' between friends?
I guarantee you my word, | the worst he gets is a fat lip.
No dice. | I don't want any part of it.
Okay, Joe.
Let's talk about this here.
That $600 that | was due yesterday-
You're gonna get it.
I know I'll get it, | so give it to me.
- Look, Reles, as soon as I get it- | - No, you look!
Don't you understand?
I don't wanna have | to work you over.
I like ya. | I'm lookin' to help ya.
You must be some kind | of jerk or somethin'.
What do you think? I gotta | come to you for the Sagejob?
There's nobody else? I know other guys. | But I wanna do you a favor.
But if you don't do it, | somebody else will.
So, uh, you know, | this way...
you don't do yourself no favor, | you don't do Sage no favor.
You don't say? | Well, I never-
Yeah, that's what you said | the last time.
But I don't believe ya anyway. | Oh, come on, now- Stop that.
- What do you say, Joe? | - Hey!
- Go ahead. You can tear | out the page yourself. | - What's the matter with you?
- You lousy crud.! | - Go ahead, rip it out.
Let me out ofhere.! | What are you, some kind of nut?
What's the matter with you, ya lousy crumb? | Who do you think you are-
- Hi. | - Hi, Joey.
- Hi. | - Well, hi. What you been doing?
- Nothing. | - Is that what you call it?
- What's wrong with my dancing? | - Well, you know what they say.
Love is blind. | No, I like your dancing.
Well, as long as I dance | better than you sing.
And my old man can beat up | your old man. So what?
- So kiss me. | - Hey, come here.
- You know something? | - What?
- I'm lucky. | - Yeah, I think you are. Why?
'Cause you can kiss | better than you dance.
- Whoo! | - Wait'll I get you home.
Joey, come here.
Come on.
Wait. I got good news for ya.
I just remembered, | I got wonderful news for all of ya.
You ready? The Depression | is practically over.
This afternoon, I saw a guy in the bread line | with an electric toaster under his arm.
And another news item today said that a | W.P.A. worker fell down and broke his neck.
"Really?" | Yeah.
"What happened?" | Funny you should ask.
It seems that the termites | ate his shovel out from under him.
Oh, there's so many things goin' on, | but we have to get our show under way...
and we have a wonderful | show planned for you.
I'm sorry this isn't it, but we're gonna do | our best with our lovely chorus of 50.
A few of'em are a little younger. | But we have a-
One dancer? I've heard of budgets, | but this is ridiculous.
We've only got one dancer, folks, | but she is a beaut.
I know. She dresses | in the room next to mine.
I think the walls in the joint are made of iron | or somethin'. You oughta see my knife.
- But she's gonna come out here | and dance her little head off.
I'll take what's left.
How about it, folks? | A nice, big, wonderful welcome...
for a very talented and pretty young lady, | Miss Kay Patrick.
Boy, if that dancer had any talent, | it must be in her grandmother's name.
You know, Joey, it's- Hey, come to think of it, | what are you doin' around here?
And what's this bit | of sneakin' around backstage?
- I'd like to talk to you. | - Come on, Joey.
All right, I'm here. | Talk to me.
- I'd like to talk private to you. | - You know I can't talk private.
We got a show goin' on. | I gotta hang around here.
Can we go in your office?
I don't know. You-
Boy, you look like this is | a serious thing with you.
It is.
Well, I'm your friend. | Okay, come on. Let's go.
You know, my office | is way across the alley over there.
Gee, why do you pick | a time like this to- I don't know-
It's right over here. | I don't understand why...
if you've got something to ask me, | you can't ask me...
when we got plenty of time | instead of-
- Joey? Hey! | - Hi, Walter.
- Hi. | - How ya been?
- I'm all right. | - It's nice seein' ya.
Hey. Hey, Joey.
Listen, you wanna | get a laugh?
Guess who popped up?
Your friend, that comic, | uh, Walter Sage.
Yeah, he popped right up | out of the lake.
What do you think | of that?
Uh, "Despite the numerous | punctures in the body...
and the heavy slot machine | used as a weight...
the body did not lose its buoyancy | and rose to the surface."
See, with a bum like that, you | gotta be a doctor, or else he floats.
- You swore you were | only gonna rough him up. | - Well, that's all we did.
But, you see, the man was in | delicate health. He couldn't take it.
He couldn't take an ice pick | in the gut, huh?
- Shut up. | - Why? Why did you kill him?
He had bad breath. | Now, you listen to me.
This is it.
From this, | you take no walks.
Stay in line, | keep your mouth shut...
or you get killed...
and the wife too.
- Eadie? | - That's right- Eadie.
Huh? | That's the whole story.
Listen, uh, where is Eadie? | You know, I haven't seen her...
seven, eight years, | must be longer.
- Nice girl. A little tall. | - Come on. Let's go.
You know, at one time- | Take it easy, will ya? | What's the rush?
I just wanna talk to her, | say hello.
Will ya come on?
Hey. Hey, you remember me? | Abe Reles.
You remember. Kid Twist.
- The fella with the | chocolate twist candies. | - What is he doing here?
Nothin'. Nothin'. I just come up to say | congratulations, that's all.
Joey's a friend of mine, | and I'd like to congratulate you.
Come on, Reles. | Let's go, huh? Come on.
Sure. | Nice talkin' to you.
- That's a nice girl. | She hasn't changed much. | - Joey!
- What kind of business are you mixed up in? | - No kind of business, honey.
- Please tell me! I want to know! | - What's all the excitement here?
- I just came up to pay a friendly visit. | - Get out of here!
Take it easy, Eadie. | Just take it easy.
- What's your problem? | - What do you have to do with Joey?
What are you worried | so much aboutJoey for?
- He's a big man. He's a citizen. | - And you're scum!
Now, wait a minute. | You know, you got a big mouth.
- Come on, will you, Reles? | - No, no, no. She's got a big mouth.
I told you to get out!
What are you, | some kind of nut?
Who are you? What are you? | What do you think, you're a princess?
Can't talk English, | you're tellin'me to get out. No.
This is Brownsville. | And you know what?
It stinks, but I own it. And around here, | nobody tells me what to do.
Now, you get smart, go back in the bedroom | and do something with yourself.
- Fix your hair or somethin'! | - That's my wife you're talkin' to!
- Yeah? So what? | - So what? So this ain't Brownsville.
This is my house and it's my wife, | and don't you forget it, you hear?
- Nah, I won't forget it. | - Let's go, now.
You know what? | I ain't even mad.
I'm gonna tell you | somethin' about women.
I never met one that didn't need a rap | on the head, and pretty often.
- How are you, Mrs. Corsi? | - Well, how should I be?
How about | a strawberry malted with-
- Two scoops of ice cream. | - You want an egg?
Uh, why not?
Mrs. Corsi, I was up | the block a little while | ago checkin'with your neighbors.
Lace it with rat poison.
Let me go!
Sorry I dirtied | your dishes.
That's all right.
I've been lookin' for Reles. | Has he been here?
This look like a hotel? | You think I keep a register?
- Just asking. | - Stop asking.
Every cop with a big nose end up in | Staten Island shootin' Indians, ain't it so?
- It could happen. | - "It could happen." Sure it can happen.
So mind your business | and don't ask questions.
- I got a job to do. | - Ajob.
Sure. | You gotta do a job.
Here's a pencil. | Go write tickets.
Go ask the others | who got stores.
Ask Albrazzio, | the shoemaker.
Ask Albrazzio what happened to him | when the cops came.
They said...
"Don't pay protection, Albrazzio. | We protect you."
So Albrazzio, | the dumb idiot...
he doesn't pay.
Two days later, he's in the hospital, | every bone in his body broken.
And Levey the tailor.
First come the cops, | next come the Mob.
So they pour acid on every suit | he's got hanging in his shop.
They smash his machine | right in open daylight.
And where are the cops? You tell me. | Where are the cops?
What are you giving me, | Mrs. Corsi? We came.
- Nobody would talk. | - Oh, sure.
With the teeth kicked in your mouth, | who'd wanna talk?
No. Leave us alone. | We don't want no cops.
- How's your malted? | - Pretty good.
- I had it with an egg. | - Oh, yeah?
Hey, that's good. | That's nourishing that way.
Hello, Joey.
You playing | in a kids' band?
I don't play | in anybody's band.
Oh, that's right. | You're a singer.
That's a good thing | to remember.
I've been lookin' | for you, Reles.
I'm takin'you in.
Hey, uh, you got a warrant?
Oh, yeah. | Never without one.
Oh. In again, | out again, Finnegan.
Well, here's | a familiar face.
What do you say there? | Keepin' ya busy?
- Do we book him? | - Routine questioning.
Just a minute, | Lieutenant Tobin.
Oh, you got here fast, | Mr. Lazlo.
I'd like to talk | with my client.
- Are you booking him? | - I might.
- What are the charges? | - Throwing garbage out the window.
Have you got a witness?
That's a misdemeanor. | To book, you've gotta have a witness.
Now, you know that, | Lieutenant.
Come on. | Give me the rest of it.
Habeas corpus. You got the whole | caboodle goin' for ya, don't ya?
- Signed byJudge Pearsons. | - Yeah.
Pending a hearing | on this application...
you can't even ask | Mr. Reles if it's raining.
We can go now, | Mr. Reles.
- Nice seeing you. | - You'll need this for your file, Lieutenant.
Say, Mr. Lazlo, look. | I didn't get a chance inside. Abe Reles.
Uh, thank Lep | for sending you down.
I've heard about you for years, | and you do a real nice job.
I'd like to say it's been | a pleasure workin' with you.
I've heard about | you too, Mr. Reles.
- I'm sure we'll be working together again. | - Yeah, fine.
Look, maybe | I'll buy you a drink, huh?
Thank you. | I'd sooner be found dead.
Wait a minute. Uh, what do you mean by that, | "you'd sooner be found dead"?
That was a figure | of speech, Mr. Reles.
Don't get any ideas.
Your friends are waiting | for you in the car.
- Hello, Panto. | - What, you too?
- Ah, beat it, will ya, Louie? | - Ah, take it easy, Panto.
Don't get excited. You know me, Panto. | I got no argument with you.
I just come over to talk, | and you gotta listen to what I say.
Now, listen.
The boss says he'll stake you to a grand if you | look for a job someplace not on the docks.
You tell that guy | I'm makin' no deals, Louie.
Cut it out, man. | Use your head.
It's for your own good, | I'm tellin' ya.
- Look, how do you want me- | - Now, look, you don't | want no more trouble.
Neither does the boss. | Now, listen to what I say.
- Look, leave me alone. | - Do like the boss wants | and take the thousand.
Look, leave me alone.
- Panto, I'm tellin' you, | it's for your own good. | - That's it. No more.
- You don't wanna do it, | I don't know how to tell you. | - I know how to tell you.
You go back there and tell 'em that's it. | That's the-
- Panto, let me talk to you for a second. | - What-
I'm coming.
All right, all right.
- What do you want? | - I wanna talk to you.
I want- | You know what I want?
I wanna get somethin' | straight in my mind.
Now, what was that | all about the other day? | Why did you insult me?
- Did I ever bother you? | - You better get out of here.
Get out? | I just got here!
I just wanted to talk to you. | What's the matter?
You're too good for me? | What are you runnin' for?
- Come over here! | What are you runnin' for? | - Don't touch me!
Touch ya. | I'll touch ya.
I'll touch ya good.
Eadie, where are you?
Eadie, what happened?
His hands.
His fingers. | His dirty fingers.
I'll kill him!
Don't leave me.
I'm so sorry.
I'm so, so sorry.
Oh, Eadie.
What am I gonna have to do?
Well, how- | how did he get in here?
The doorbell rang.
- I thought it was you. | - Well, you shouldn't have let him in.
You know he's a maniac.
Oh, what's wrong with me?
Am I just like they are?
Is there somethin' | missin' in me?
I keep tellin' myself over and over again, | "Stay away from those guys.
They're no good!" | And that Reles!
And yet- | And yet tonight, I see him...
and he gives me a couple of dollars | just to drive a car up to the Bronx.
That's all. Just drive a car | up to the Bronx.
Well, I'm drivin' along...
and I turn around | and I look...
and on the floor | is a dead man.
A dead man?
Oh, no, Joey!
He got to us both.
Let's run, Joey.
Run where? Where can we run? | We're in too deep.
- They're not gonna let us go. | - He'll have to find us first.
Honey, don't you understand? | They will find us.
- They're gonna find us | and they're gonna kill us. | - He's killing us now!
Look, less than a minute ago, | you said you were going to kill him.
- I know, Eadie. I know. | - I'm sorry, Joey.
You're not one like them. | You couldn't kill anyone.
- Thank God for that. | - Eadie-
But we've got to do something. | Run. Save ourselves.
- Eadie, as soon as the time is right- | - There's no other way, is there?
As soon as it's right, when I think we | at least got a fighting chance.
Until then?
Well, until then, | we're just-
we're just gonna have | to live with it.
We live with it?
What can I do, Eadie? | What can I do?
- You mean anytime- | - There's so many-What can I do?
- Don't you understand? | - Get away from me!
- What can I do? | - Get out of here! Get out of here!
Since when are you in | the docking business, Lepke?
Well, I'm just doing a favor | for a mutual friend.
He asked me to act | as an impartial mediator.
- What are you mediating? | - The strike.
- What strike? | - The strike that | the union's going to call.
Strike against me?
Well, not against me.
Nobody told me anything | about a strike.
Nobody knows about it | except the union...
Albert A. and me.
But the strike | will be called.
They're going to ask for a wage raise | of 20 cents an hour.
- They're crazy. | - They'll get it.
- I wouldn't bet on it. | - Ah. They'll get it.
Unless, of course, | I mediate.
I'm told that a 20 cents | an hour wage increase...
will cost your company | $50,000 a year.
- We can't afford it. | - Naturally.
Look, it's a ridiculous demand. | That's why you need a mediator.
Now, you pay me $25,000...
and there's no pay boost, | no strike.
This is a shakedown...
and a pretty crude one | at that.
Look, I think that | my mediation is very fair.
How do I know | you can deliver?
- Deliver. | - I don't want any trouble.
Mr. Loughran, | let's understand each other.
Who wants trouble?
Thank you.
You got a little girl in here, | uh, Eadie Collins?
- She works in the chorus with the band? | - That's right. She works here.
Is there anyplace where I can see her now? | Is she around?
Oh, uh, she's in the dressing room | for the time.
I see.
Pick me up in the apartment | in half an hour.
- You got it? | - Yeah. Where you goin'?
Don't worry about it.
Um, excuse me.
Can you tell me, uh, | where is Eadie Collins's room?
- She's in there. | - Thank you very much.
Easy.! Easy.
Now, look. If you're not sore, | I'm not sore.
All right? | Excuse me just for a minute...
but we'd like to talk | if you don't mind.
Appreciate that.
Where's Joey?
That's what I came | to talk to you about.
Why don't you give him a break? | What do you give him such a hard time for?
- You throw him out of the house- | - Where is he?
What happened to him?
Happened? | Nothin's happened to him.
Why, he's fine. | I mean, he's a little worried | about you. He'd like to see you.
- Have you seen him? | - No, but I've been in touch with him.
I'm gonna meet him now, | as a matter of fact. | That's why I came here.
I thought maybe | you'd come along.
I don't believe you.
I don't care whether you believe me, | you know, for myself...
but I'm tryin' to help | you two kids.
What can I tell ya?
Do you wanna see | your husband or not?
You know, I got a surprise for you two kids. | You're livin' in that dirty apartment.
But you can see- | You can see right away...
that the whole apartment | is beautiful, you see.
Like this sofa here. | That's all velvet.
Bar- genuine marble.
And that decor- | the whole thing, you know.
I mean, I don't know about you, | but I happen to like it.
You take that woodwork. | See all this here? This here?
They don't make stuff | like that anymore.
You see the detail there? | That beautiful detail work?
Oh, oh, oh, oh.
See? It's just like | in the movies.
Like in them Bela Lugosi | pictures, huh? Huh?
And the whole apartment, | you know...
it's all full of | this special equipment.
Hey, I'll tell you why that is. | You see...
we take this stuff over | from the other side.
When the boys get it off the boat, | they bring it here.
And this is the apartment in which they | stash it. You know what I'm talkin' about?
- Dope. | - Very good.
But you said it, not me.
Well, anyway, we're temporarily out | of that business, and, uh-
See, the whole apartment's | sittin' around doin' nothin'.
Rent's paid up in full. | And what I wanna do...
is I wanna give it | to you and Joey.
You like them chimes, | don't you? Huh?
Sure. The whole place | has got class.
Hey, Joe, come on in. | We've been waitin' for you.
- Eadie, I'd like to talk to you. | - Hey, Joe?
Listen, Joe, I was just | tellin' Eadie that, uh...
you know, you're both friends of mine, | and I like ya...
and what I'd like to do | is, uh...
I'd like for you and Eadie | to have this apartment.
We don't want it.
- What do you mean, you don't want it? | - Well, just what I said.
Well, maybe, uh, | maybe Eadie wants it.
- Well, she doesn't. | - You read minds?
- Eadie? | - Listen, what is it with you two?
What are ya doin' to me? | I don't understand it.
A guy offers you a free ticket, | then you freeze...
like I was offerin' | you poison or somethin'.
What, do you come from | some other world than I do?
Maybe they didn't | teach ya to-
Hey. You see, what you can get | your hands on, you take.
Don't ask questions! Take! | What you want, take!
What I want, I take!
Nothin' means nothin' | unless I got it!
What do you got hands for? | Huh?
- What do you want? | - Mendy's lookin' for you, Kid.
He's waitin' downstairs.
Make up your minds, | because I don't give out any rain checks.
Eadie, I'm sorry.
Let me take you home.
Well, what are you doing?
- You said we have to live with it. | - Well, not this way.
Maybe what he told us | is right.
Maybe what he told us?
Why we've got hands-
to take.
It was the mid-'30s.
The country was just | climbing out of the Depression.
Who had time to wonder | or even care...
about an assassination group | in Brooklyn?
An operation that was | building a name for itself.
The name: | Murder, Incorporated.
The Murder, Incorporated boys were | issued scores of contracts by the Syndicate...
and the business at hand was executed | with neatness and finesse.
A word from the Syndicate would send | the boys winging north, south or west.
So quick was the operation, | so smooth the technique...
that often, before the body of the victim | could be identified...
the imported killers | were well out of town.
Slowly, the public became aware | of this new crime conspiracy.
Their demand for action brought on | the appointment of Thomas E. Dewey...
a special prosecutor.
Dewey stunned the gang lords | with a steady barrage of subpoenas.
Some ran. Others decided to | brazen it out before the grandjury.
Hi. I wanted to talk to you | before you went in front of the grand jury.
- To tell me what to say? | - I just wanted to warn you-
- Please! | - The heat's on!
Please. I know how | to handle this situation.
These subpoenas, | they're only bits of paper.
Now, just a minute.
I have an idea. If we get the witnesses | not to testify-
Oh, that's a great idea.
Now we knock off | half the city.
We don't knock off anybody.
We just convince them | to keep their mouths shut.
Maybe a few | get shipped out of town.
I found my man, | counselor.
I see you found yours.
Come on, Joe.
Let's go.
What's the matter?
Him. Joe Rosen.
That miserable nothing!
He can put me behind bars | for 50 years.
- Now, look- | - If they want me, they can find me.
Huh. | A real movie star.
- These are the kids | I was tellin'you about. | - Uh-huh.
Reles thought it would be better if | someone were living here, and I thought-
Yeah, I-I know. | I know.
- What's your name? | - Joey.
Don't you have another name, | or were your parents stingy?
Mm-hmm. Your name?
- Eadie. | - For Edith?
It's very pretty.
I'm Lepke.
I'm going to | stay here with you.
All right? | I'm visiting.
- We'll go. | - You just stay where you are!
- Are these bedrooms? | - Yes, they are.
- Well, which is yours? | - Hers is on the right.
- And the other one? | - Mine.
But I'm going to have to have | one of those bedrooms for myself...
so you two | will have to be together.
Are you married?
We're married.
Well, that's good.
Now, I think we're going | to be very comfortable here.
Tell me, can you cook?
Not very well.
You're gonna have | to improve...
'cause I have | a pre-ulcer condition...
and I need | a very rigid diet.
I'll write it all out | for you.
Now, Mendy and I | have some business together.
Private business.
Go on.
It's legal. | You're married.
Relax yourself.
You gotta get rid | ofJoe Rosen.
- All right, Lep. | - Right away...
before he spills he guts | to Dewey and the grand jury.
- Should we wait for Reles? | - Wait for nobody.
I want you | to take care of it now.
- All right. | - Handle it personally, Mendy.
It's no problem, Lep. | I can handle it.
It's incredible.
I make one mistake-
I take pity on one | miserable schmuck!
Well, this is the result.
Can't you wear a dress like | a proper young lady should, huh?
Go on. Cover yourself up. | Let's have a little decency around here.
It's too hard.
I said two minutes.
Do I have to get you a stopwatch | so you can tell two minutes?
What's the matter | with you, huh?
What kind of a girl are you?
You can't cook.
You don't talk. | I don't understand you.
What did they teach you | over there in Europe?
- To be civilized. | - What?
You think I don't know two minutes | when I taste it, huh?
I told you a hundred times | I have to be on a special diet.
I got the most delicate stomach | in the world!
Now, go back | and bring me another egg.
Two minutes!
Answer it.
Be careful.
- Yes? | - It's Mendy.
Did you take care | ofJoe Rosen?
Just the way you wanted.
The back of the head.
- Rosen is dead. | - He's dead.
Joe Rosen is dead?
Oh, Mendy!
You're a good boy.
Lepke on the lam became the subject...
of one of the most intensive manhunts | in the history of crime.
The newspapers labeled him | "Most Wanted Criminal In America."
And for the first time | in its history...
the New York Police | set up a special squad...
to track down | one single fugitive.
Well! What are you made up for?
- When do you sail? | - Albert.
- Nice of you to come and visit. | - Nice to see you.
- You know where I've been? | - Yeah, sure.
We had a meet | in Hot Springs.
All the big guys | were there.
They said to say hello | for them.
- They sure miss you. | - That's nice to know.
Ah, but it wasn't | like the old days.
Without Lepke, | the judge presidin'-
It wasn't like old times. | You got a lot of friends, Lep.
Also nice to know.
Lep, we, uh- | We come to a decision.
- You gotta go in. | - Go in?
Lep, listen, | it's your own rule.
"No man is bigger | than the Syndicate."
You said that.
The heat is on | all over the country.
We got word that it's not | gonna let up until you go in.
I just walk into | the nearest police station, huh?
And say, "Here I am. I'm Lepke."
Did you and my other good friends figure out | what's gonna happen to me then?
- Listen, Lep- | - You listen to me.
I know too much.
I got too much | on too many people.
Big shots, politicians. | I'm poison to them.
Do you think they're gonna | let me live long enough to stand trial?
I don't play patsy for nobody, | and that's a basic fact.
Nobody wants you | to play patsy.
You don't walk into | any police station.
You go into the feds. | We got it all fixed.
You plead guilty to that | interstate commerce thing.
Lazlo says | it's a two-year rap, tops.
By that time, | Dewey'll be out of business.
- Lep? | - What?
Nobody's gonna find you.
You just stay here.
Albert, if I walk | into the feds...
there's got to be no "ifs," | "buts" or "maybes."
- It's got to be a deal! | - Take my word for it.
I'm not gonna do anything | to hurt you.
You know that, Lep. | The fix is in.
You've got a deal.
But there was no deal.
The Syndicate had never intended | to make a deal.
Dewey prosecuted Lepke | in New York for extortion.
Sentence:30 years to life.
So, by early 1940, | Lepke seemed to be gone for good.
Apermanent guest | of the American taxpayer.
This way to the city dump.
Am I in your way, | fella?
Oh, listen, | when that new guy-
Oh, what's his name? | Turkus!
When he gets here, | tell him I left.
I had an appointment | with him an hour ago.
Burton. Burton Turkus.
Oh, that's a great handle | for an assistant D.A. in Brooklyn.
Burton Turkus.
On Pitkin Avenue | it'll be Boiton Toikus.
I think I | like that better.
- Hold it? | - What am I supposed to do with this?
Stand up a minute, please.
Thank you.
When the crusader gets back | from polishing his armor, | tell him I left.
- Tell him who left? | - Lieutenant Detective William Flaherty Tobin.
Oh. Oh, I'm glad to know ya. | I'm Turkus.
Oh. Oh, I'm sorry.
Yeah. I'm sorry | I was late.
I've been diggin' | among the dead bodies.
I got 200 unsolved | murders in there.
That goes back | only two years.
Chief Kirk said | you forgot these.
Oh, thank you. | This is Miss Shaw.
Miss Shaw, this is | Lieutenant Detective...
William Flaherty Tobin.
- Hi. | - Hi to you, Miss Shaw.
What's that on your face?
- Blood from the files. | - Ah.
I asked the commissioner | for somebody who knew Brownsville.
I guess | you're the expert.
I'll show you.
This is what I walked into.
Every one of those pins | is an unsolved murder.
- What do I do about that? | - When?
- Now. | - Send out for more pins.
You seem to be a little bit cynical, | Lieutenant. Why is that?
Past experience | with your predecessors.
You all start out eager beaver, | but when the chips are down...
when the pressure comes in, | you fade.
Every now and then | we get a hood, cold turkey.
We got everything- | evidence, witnesses, the works.
And then it happens. | The evidence gets lost...
the witnesses disappear, | and the word comes down to lay off.
"The word comes down"? | From where?
- Never heard of it. | - You will.
- Now, what do you want from me? | - Advice.
My advice wouldn't | buy ya a subway ride.
Well, then, uh, action.
You must have some ideas.
This would be a good time | for you to stop griping...
and do something, | if you know how.
- I know how. | - Uh-huh.
- Play dirty. | - Hmm?
Show the neighborhood what they are- | bums, punks, hoodlums.
Drag 'em in off the streets, | pile 'em in paddy wagons...
slap cuffs on 'em the minute | they show their noses.
And how does that help | solve those murders?
Keep up the pressure. Just keep it up. | Sooner or later...
one of the weak ones'll crack, | and that'll split the dam.
Now, that's | a good way to start.
Lieutenant, how much | help do you need?
How much help can I get?
How much help | do you need?
What's Lazlo doing?
He says he can spring you, | but it'll take time.
I got a million dollars.
- Why should it take time? | - We're working on it.
I've been reading | about this guy Turkus.
Is he for real?
Poison. He's like hell.
I got a funny feeling.
I want you to handle | a special contract for me.
- Okay, Lep. | - I keep worrying aboutJoe Rosen.
I made a mistake.
I got personally involved, | and there are...
too many people in a position | to link me up with it.
- No one's gonna talk. | - Too-
Too many people.
I don't trust any of | those Brownsville bums.
That's the contract.
- The Brownsville crowd. | - Anyone who was near the apartment.
Well, let's see.
There's The Bug and Alpert.
Those, uh, married kids...
Joey and his wife.
Both of them.
But there's Louie. | Louie's my man.
He's okay.
For now, leave Louie. | But the others...
I want you | to handle them personally.
Mendy, | don't miss on this one.
I got that funny feeling | in my stomach again.
It's no problem, Lep.
No problem.
He's been around the neighborhood | for a long time.
- This is, uh- | - May I see Mr. Turkus?
I'm sorry. He's in the middle | of a meeting now.
Couldn't you | come back later?
- I don't think I would. | - He's very busy-
- Miss Shaw, have the lady come in. | - Come in.
May I help you? | I'm Turkus.
Won't you sit down?
I'm Eadie Collins, Joey's wife.
Oh, he's one of the guys | we picked up yesterday.
Oh. Well, Mrs. Collins, | if it's about releasing your husband-
I don't want you | to release him.
Well, what do you want?
I want you to hold him.
I want you to make him talk.
About what?
He is-
He never killed anyone. | He couldn't kill anyone.
He just couldn't.
But he went along.
Make him tell you. You must | make him tell you everything.
Mrs. Collins, | do you real-
I know what I'm saying.
Joey was along | when they killed.
I never knew who.
Joey never told me.
But he was with Reles | when Reles killed.
And Bug Workman with Red Alpert | when he killed, with Mendy Weiss.
- I want you to hold Joey Collins, | Alpert and Bug Workman. | - Joey was along.
Sprung, the three of them.
Reles is coming on | the 5:00 train from Baltimore.
Mrs. Collins, how would you know | a thing like that?
- I know a lot more. | - You mentioned Mendy Weiss.
- Who is Mendy Weiss? | - He's Lepke's man.
How does Lepke, uh, | come into this?
He came in the door | like a king-
a king with a hole | in his stomach.
All the time he stayed, | I was his housemaid.
Two-minute eggs.
I boiled a thousand | two-minute eggs...
and never did it right once.
Funny, isn't it?
Such a delicate little stomach | in a monster like that.
Yes. Mrs. Collins, | what was the connection...
between the Brownsville gang | and Lepke?
They are Lepke's | private killers.
An army of paid killers.
Don't let her | out of your sight.
We picked up Reles as he | stepped off the train from Baltimore.
But Lepke's contract for The Bug | had already been executed.
Red Alpert. | His trademark.
First The Bug, | now Alpert.
Looks like somebody else | is looking for the same guys we are.
Yeah, and doin' a better job | of findin' 'em first.
- Too late for a cup of coffee? | - Not for you, Joey.
- I won't be too long. | - That's all right.
You take your time.
I don't know why I bother | to close up.
I gotta be back | in four hours.
Here you are, Rose. | Good night.
Good night, Joey.
Oh, Rose, I need | a pack of cigarettes.
Oh, so big. You got nothin' smaller? | I closed my register.
I'll tell you what. You take the pack. | You pay me tomorrow.
You're a good boy, Joey. | You I trust.
You can at least tell me | what you're holding me for.
If this is a pinch, | I got a right to know, don't I?
I got a right | to call a lawyer.
Well, don't I?
Aw, come on, will ya? | What are you holding me for?
Come in, Mrs. Collins.
Hey, what are you | doin' here?
Hey, what's the big idea? | What'd you pick her up for?
Well, come on, you guys. | What'd you pick her up for?
No matter what she tells you, it won't do | any good, 'cause she doesn't know anything.
Look, if she told you anything, | it'd be a lie.
- Why would she lie, Joey? | - How do I know why she'd lie?
- What did she tell you? | - She told us about Lepke.
Well, she doesn't know | anything about Lepke.
- I dreamed it. | - Yeah, she dreamed it.
Look, Mr. Turkus, | let me tell you something.
You can't believe a thing she says. | She's had a terrible experience.
She wakes up in the middle | of the night, and she's shaking all over...
and cryin' and- | and sometimes screamin'.
She dreams crazy, | wild things. Why-
Why, I think | she's really sick.
My poor, scared, | littleJoey.
- The photo lab just sent these over. | - Thank you.
- Your office called, Lieutenant. | No word yet on Mendy Weiss. | - Thanks.
Well, it's been | a big night in Brownsville.
Have a look. | Two friends of yours.
Red Alpert and The Bug.
Who did it, Joey?
- I don't know. | - No idea?
It's too bad...
'cause whoever did it to them | is gonna do it to you.
I don't know.
We've got Reles.
We're holding him.
I wanna see him.
Hey, Joe.
- What'd they pick you up for? | - The Bug's been hit.
- What? | - Red Alpert's been hit too.
No, no, no, no, no, no.
- Somebody's connin'ya. | - No, nobody's connin' me.
I saw pictures of'em. | They're both dead.
No, no.
Somebody hit from the ring.
No. Oh, no.
I wanna tell ya somethin', Reles. | I've been waitin' for this.
- I'm gonna put you where they are. | - You're gonna what?
For what you did to Eadie, | I'm gonna put you in the chair...
I'm gonna turn the juice on, | and I'm gonna watch you fry!
Take it easy. You're losin' your head. | You gotta take your time.
- Oh, no, l- | - You dirty rat!
I'm gonna get you, Reles!
I'm gonna watch you fry!
All right, all right, | all right.
- Thanks. | - Oh!
It worked.
Looks like we got | ourselves a canary.
- You wanted to see me. | - You're Turkus?
Well, you don't look | like no hotshot.
This time of day, | who does?
You don't look so tough.
- Well, in here, who does? | - Mm-hmm.
- What did you wanna see me about? | - I thought, uh...
we'd talk over | our little deal.
We don't have any deal.
Yeah, but I thought maybe | we could work one out.
- You think so? | - Yeah.
'Cause I got plenty to say | you wanna hear.
What about? Murder?
Could be.
- Could be. | - Well, what's the deal?
A simple deal. | I'll sing.
I'll testify in court. | I'll give you the whole works.
You guarantee me protection, | then I walk outta here clean...
then you give me six months | to get outta the country.
I can sing pretty good.
I got a cage full of canaries | who sing pretty good.
What, that Eadie?
Why don't you talk serious?
She ain't seen nothin'.
She got a big mouth, | but what comes out, that's nothin'.
Well, I've gotJoey. | He sings pretty good.
I wanna ask ya somethin'.
- You think I'm a dope? | - No.
Because that would be a big mistake | if you thought I was a dope.
'Cause I know a lot.
You know, you'd be surprised | how much I know about your business.
- Tell me about it. | - All right.
You takeJoey. | He testifies. All right.
He's singin' in court that he drove | the car the night I hit, uh...
Dick Tracy- somebody, right?
- You can't touch me on that. | - Why not?
'Cause you got | no corroboration.
Joey's what you call an accomplice, | and you can't convict...
on the testimony | of an accomplice, right?
You gotta have corroboration | from somebody...
that wasn't in on the deal, | and that ain'tJoey.
He never went | to any college.
Well, you're not gonna | get out clean.
On nothin' that happened | have you got corroboration.
And I'm the guy who can | tell you where to get it.
But first, | I gotta have a deal.
We'll let you plead | second degree murder.
We'll ask the court | for consideration.
No, no. No.
No plea to murder two | or any other kind of murder.
Well, we're not gonna do | any business here.
Hey, Mr. Turkus, | wait a minute.
Wait a minute. | Take it easy.
Reles, you can walk out | that door right now...
and you'd be dead | in 24 hours.
Guarantee me two things. | You protect me and no murder one.
You got a deal.
When Reles started to sing, | he sang a full-length opera.
He had an extraordinary memory.
He could recall minutely | every detail of a murder...
that had taken place | a half dozen years before.
Once he started, he astonished us...
with an account of vicious lawlessness | that covered the entire country.
Then we learned that | in these United States...
major crime was organized...
was controlled by a Syndicate.
For the first time, | the lid was lifted...
on the government | within a government...
in which killings and rackets | worked hand in hand...
in a national combine of crime.
He went on for six days | without a break.
He confessed the incredible | total of 25 notebooks full.
He was a phonograph that played the long, | long-playing record...
of"Murder, Incorporated."
Uh, relax a minute, Reles.
I-I've gotta | ask you something.
Reles, didn't your- | Did your conscience every bother you?
Didn't you ever | feel anything?
Well, let me | ask you somethin'.
The first time you went to court, | like the first time you tried a case...
did you feel, | uh, a little nervous?
Yes, the first time, | but, uh, I got used to it.
I got used to it.
Reles, how do you get used | to murdering people?
What are you talkin', murder? | You don't understand.
Let me tell you somethin'. | Any punk we hit deserved to be hit.
What do you think, | we just went around shootin' people?
You think it was like a two-bit hoodlum | or some maniac-
he goes into a liquor store- $20 heist- | right away we take out the guns?
No, you see, | any guy that we hit...
he asked to be hit, | not we wanted to hit him.
We had to hit him. | Let me tell you.
As long as you | stayed in line...
nobody ever went after you.
Why are they after you?
See, your mind | isn't logical.
It's diseased.
All right. | Uh, let's get back.
I guess you're saving | the pice de rsistance for last, huh?
- The what? | - The, uh, main thing.
- Lepke. | - Oh.
Oh, Lep. Yeah.
Yeah, well, here's the story on Lep. | I'll give you that one. Uh-
See, there's a little schnook | named Joe Rosen.
He had a trucking business...
and Lepke took over | the trucking business, and-
Of course, you remember | what happened with Joe Rosen.
Rosen was gonna testify | before the grand jury...
so Lep figured the man | had to be hit...
and, uh, he handed out | a contract.
You see, | Lep got so worked up...
over this Rosen thing | that he made a mistake.
And I'll tell you. | Lep didn't make many mistakes...
but on this one | he made a beaut.
Well, when Mendy come back | to the apartment after the hit...
Lepke was so anxious | to hear the details...
that he made Mendy | tell him all about it.
So? So?
So someone heard it...
and that's, uh- | that's corroboration.
- Who heard? | - Joey.
- And then Joey told me. | - Where were you?
I think I was, uh- | I was out of town.
Listen, don't let that | worry you, because, uh...
I could swear I was there and I heard | the whole thing, and that's the whole story.
Well, we can live | without that.
Okay, but, uh, | if you want Lepke...
and Joey don't testify, | you're up a creek.
We'll worry about that.
Listen, Tobin-
Now we had something | no prosecutor ever had before-
the chance to bring a gang lord, | the powerful Lepke...
before a jury ofhis peers.
The charge would be | first degree murder.
We would ask the federal authorities | to release Lepke...
to us for trial | in New York.
It was taking a chance, going into court | withoutJoey's testimony...
but it was | a chance worth taking.
As we knew that every gunman | in the Syndicate...
would now have an open contract | for our two witnesses...
we kept them under wraps | in a carefully guarded suite...
at the Half Moon Hotel | in Coney Island.
Joey was there, silent, | and giving no sign of cracking...
and Reles, | our star boarder.
Get me some water, | will ya?
Come on. Get off your butt, | bud, and get me some water.
Give me that medicine | up there too, will ya?
Well, what are you | waitin' for? Move it.
Like hell I will. I'm here to guard you, | not to be a wet nurse.
You're a two-bit cop. | You make 50 bucks a week.
And on a bad day, | I buy you at an auction. Now move it!
You do what I say! Move it!
- What's the big noise? | - He don't get me no water.
I'm through running errands | for this bum.
There are guys out there with big guns | waitin' to bump me in the head.
Do you wanna make a pigeon out of me? | I can't walk past that window.
Who knows who's after me?
The biggest guys | in town are after me.
Name names. | Names I can name.
I can name names of politicians | this guy'd be happy to drive the car.
So what does he know? He's never been | around the block with a blue suit.
I don't know. I don't feel good again. | I got a lot of heat.
Do something with this guy, | will you? Get rid of him.
Do somethin'. Put him in | the Harlem Tunnel or somethin'.
Get him some water.
And let it run.
Abe, it might | help you to know...
that the feds picked up | Louie and Mendy in Kansas City.
It don't help.
I'll be with you | in a minute.
You look pooped.
- Are they bringing Mrs. Collins over? | - Yes.
- I didn't see you in court today. | - I was there, in the back.
Oh, that Lazlo is a cutie, | but you'll get in your licks.
Maybe I went into | the whole thing too fast.
It was the chance | of getting Lepke...
on the stand | for first degree murder.
I couldn't let that go.
You couldn't.
If only I had Joey.
Then-Then I could | put the king where he belongs-
off his throne, | into the chair.
If I had Joey.
- Hi. | - Hi.
- Oh, Eadie, I've missed you so much. | - So have I.
It feels like | it's been a million years.
Yes, I know.
Joey, what do we do?
There's nothing we can do.
Can't you talk?
It would make it | so much easier.
Why would it be easier?
Turkus says he'll ask | the judge to be lenient.
Honey, don't you understand? | I can't testify against him.
If I do, they're gonna kill you. | That's how they get to me- through you.
That's how they operate.
No, I won't talk.
So, same question, Joey.
What do we do?
I've had a lot of time | to think about it.
I've done a lot of things | I had no business doing...
and they've locked me up, and they're | gonna keep me locked up for a long time.
And the only thing | that does make sense...
is for you not to | sit around waiting for me.
You gotta forget about me. | You're still pretty enough and young to-
- But, Joey- | - No, honey. Let me finish, please.
You're still young enough | and pretty...
to start a whole new life | for yourself.
- Don't you see? | - Please, Joey.
- I'm just trying to be sensible. | - I don't care about being sensible.
What new life are you | talking about without you?
Joey, I don't want | to live without you.
Honey, please, after all | the rotten things I've done to you...
let me do | one good thing.
Please, honey.
I don't know.
I'll tell you | something funny.
You remember how I used to tease you | about your dancing?
Well, every night | I dream of you...
and you're dancing.
Hey, Tobin. Hey.
Don't forget. You're gonna | bring me them cigars, right?
Mrs. Collins is in with her husband. | Would you tell her we're leaving?
- Mrs. Collins? She's already left. | - Mmm.
- She what? | - She left about a minute ago.
I think she | went downstairs.
Eadie's dead.
Oh, no.
She's dead.
Well, how? You-You had | enough protection. Wha-
She ran away.
But it's almost as though | she wanted it to happen.
Like she was | trying to tell you something.
- Oh! | - Uh-
I'm sorry.
I'm sorry.
Beats me how he figured | to reach the ground...
with only 10 feet | of bedsheet.
Do you believe it?
Why would he want to get out? | It's the one place in the world he was safe.
- Well, it certainly doesn't figure. | - Nothin' figures.
Every cop | on the floor asleep?
All at the same time. | There must have been a struggle.
Nobody hears anything, | nobody sees anything.
He doesn't fall straight down | like a normal body.
Manages to land 20 feet | from the building wall.
He either flew out or, | uh, somebody threw him out.
Who, Burton?
Nominations are wide open.
Where do we go from here?
All I got's one dead canary.
He can't sing. | He can't fly.
My whole case against Lepke | flew out the window with that.
- How did they get to him? | - Mr. Turkus...
Joey Collins | wants to see you.
Maybe the pieces | are gonna fall into place.
Lepke was the first | of the gang lords...
to pay up in full | in the electric chair.
The first, and to date, | the one and only.
But his execution proves | that it can be done...
and that the kingpins and their rackets | can be brought tojustice.
It can be done. | It must be done...
again and again and again.