(gentle music) (reel clicking) (dramatic music) (bright orchestral music) (gentle music) (hand organ plays "Santa Lucia") (officer blows whistle) (partygoers laughing) ♪ Jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ Which nobody can deny ♪ ♪ Which nobody can deny ♪ ♪ Which nobody can deny ♪ ♪ For he's a jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ Which nobody can deny ♪ (men laughing) >> Man: Bottoms up, Chris!

>> Man: Bottoms up, old boy!

(men chattering) (glass clinking) >> Well, boys, I hate to break up a good party, but, you can't keep a woman waiting, can you?

You know how it is, boys.

(men laughing) >> Especially you, Mr. Hogarth!

>> That's right, J.J!

>> I'll say you can't, J.J.!

>> I can see you all understand, all right.

(men laughing) Well, believe you me, boys, I've had the time of my life tonight, and speaking of time, I have here a 14-karat, 17-jewel timepiece.

>> Man: Oh, boy.

>> And that's only right because the man I'm giving it to is a 14-karat, 17-jewel cashier.

(men cheering) >> Hear, hear!

Hear, hear!

>> Pass it along to him, boys.

>> That's a beautiful watch, J.J. >> It certainly is.

>> Oh, wonderful.

(men chattering) >> He deserves it.

>> Man: It's a dilly.

Beautiful watch, Chris.

>> Man: Certainly deserves it, too.

>> Read what's engraved inside, Chris.

>> Yes, sir.

"To my friend Christopher Cross, "in token of 25 years of faithful service, "from J.J. Hogarth, 1909-1934."

(men applauding) >> Speech, speech!

>> Speak up, Chris, speak up.

>> Man: Come on, Chris, speech.

>> Well, I hardly know what to say, J.J.

This... Why it's beautiful.

I never expected to own a watch like this.

No, sir.

Well, all I can say is that we've got the best boss in New York.

(men applauding) ♪ For he's a jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ For he's a jolly good fellow ♪ ♪ Which nobody can deny ♪ (men laughing) >> Good boy, Chris!

>> Good luck, Chris!

>> Congratulations, old boy!

Congratulations!

>> Good boy, Chris!

Good boy.

>> Thank you, Chris.

Thank you, my old friend.

God bless you.

>> Thank you.

>> Have a smoke before I go.

>> Well, I don't usually, J.J. >> Go ahead and try it.

It's made special for me, a dollar apiece.

>> Here, Charlie.

>> Oh, thanks.

(men chatting in background) (men laughing) Thank you.

>> You're not superstitious, are you, Chris?

>> No, no, no, no, sir.

No, sir.

>> Now, don't break up a good party just because I've got to go.

Everything is charged to J.J. >> Oh, that's mighty nice of you, boy.

Mighty nice of you.

>> So drink all you want.

Only don't come in late Monday morning with a hangover.

(men laughing) >> Don't worry we won't.

We'll be right there on time.

>> Well, good night, boys.

>> Goodnight.

(men shouting) >> Great, let's see that watch.

Isn't that something?

>> It's a beautiful treasure.

>> Oh, boy, aren't you a lucky dog.

>> I'll trade you this for the rest of them.

>> I'll bet you will.

(men chattering) >> Hey, fellas, look!

Look come here!

Hurry.

Get a load of that dame.

>> That's J.J.'s wife?

(men laughing) >> Man: The boss is stepping out.

(men laughing) >> Man: Say, if I had the dough he's got, I'd step out, too.

>> Man: Might feel a little ornery tonight.

(men laughing) (Chris sighs) >> Nothing like the smell of spring.

>> Which way do you go, Chris?

>> Well, I guess, I'll take the east side subway.

Gets me to Brooklyn a little quicker.

Say, you haven't got an umbrella.

Now, I'll take you to your bus.

>> Oh, no, that's out of your way.

Oh, I don't mind walking.

You know, fresh air, spring.

(Chris chuckles) I'm a little drunk.

(laughs) (rain pattering) >> Well, nevermind, I'll catch the next one.

You go on over to the subway.

>> Oh, I don't mind waiting.

I feel kind of lonely tonight.

Say, Charlie.

Do you suppose J.J. is running around with that young lady?

>> It looks that way.

>> I wonder what it's like.

>> What, Chris?

>> Well, to be loved by a young girl like that.

You know, nobody ever looked at me like that not even when I was young.

>> Yes, when we're young we have dreams that never pan out, but we go on dreaming.

>> When I was young, I wanted to be an artist.

You know, I dreamt I was going to be a great painter someday.

(chuckles) So, I'm a cashier.

>> Do you still paint?

>> Yeah, every Sunday.

>> Well, that's one way to kill time.

You know, Sunday's one day of the week that I don't like.

I never know what to do with myself.

>> Well, why don't you come over tomorrow and see me?

>> Thanks, Chris, I'll do that.

Goodnight, Chris.

>> Goodnight, Charlie.

See you tomorrow.

>> Charlie: Yeah, goodnight.

>> Hmm, stopped raining.

>> Yeah, a half hour ago.

>> Which way is it to the east side subway?

>> Around the corner, past the EL, four blocks.

>> Oh, thank you, Officer.

I guess, I got turned around.

These streets are all mixed up in Greenwich Village.

>> Yes.

(train wheels rattling on track) >> Is he hurt?

>> I'll go call a policeman.

>> Kitty: No, wait!

Wait!

(Johnny groans) >> Chris: Officer!

Officer!

>> Where'd he go?

>> In that direction.

>> What does he look like?

>> I don't know.

>> I didn't see his face.

>> He took $15.

He didn't believe it was all I had, so he began pushing me around.

Then this gentleman ran in and knocked him down.

>> That's right, Officer, he was right there.

>> I couldn't hold him he got up and ran.

>> Wait here.

>> Come on, let's get out of here.

>> But, you have to wait for the officer.

>> I don't wanna get my name in the newspaper, do you?

>> What, the newspaper?

>> Sure, we'll have to go down to the station house and make a complaint.

Then every time they make an arrest, they send detectives to your house for weeks.

Oh, it's a nuisance.

>> Hmm.

>> Won't you take me home?

>> Why, yes.

Well, sure that is.

Well, if you think that.

>> Well, here's where I live.

(gentle music) Oh, I'm sorry, I can't ask you to come up, but I share my apartment with another girl.

Millie.

Goodnight, and thanks for everything.

>> Don't you want a cup of coffee?

♪ Come to me, my ♪ ♪ Melancholy baby ♪ >> All right.

♪ Cuddle up and don't be blue ♪ ♪ All your fears are foolish ♪ >> Hello, Kitty.

>> Hello, Tiny.

Oh, this is Mister?

>> Cross.

>> Glad to know you, Mr. Cross.

>> Oh, how do you do?

>> You seen Johnny?

>> No, not since he left here.

>> Two coffees, please.

>> Oh, I think I'll change my mind.

I could stand a drink.

A rum Collins.

>> Tiny: One rum Collins?

>> Uh, yes, yes.

>> Oh, come on, keep me company.

>> Well, make mine the same.

Ever since I first saw you, I was wondering what your name was.

Kitty.

>> It's really Kat.

Katherine.

Katherine March.

My friends call me Kitty.

(Chris chuckles) What do your friends call you?

>> Uh, Chris.

>> Chris Cross.

Crisscross!

>> Yes, the boys tease me about it, but, I don't mind.

(gentle music) >> Why are you looking at me?

Is my face dirty?

>> It's beautiful.

>> I'll bet it is.

(gasps) Gee, I'm a sight!

>> Oh, thank you, sir.

>> Cheers, Chris.

>> Miss March.

>> Kitty.

>> Yes, Miss...

I mean, Kitty.

Well, look, Kitty, since I'm old enough to be your father... >> You're not so old.

>> You don't think so?

>> Well, you're not a boy.

Just.

Mature.

I like mature people.

>> Well, what I wanted to say was you shouldn't be alone in the street so late at night.

>> I was coming home from work.

>> Chris: You work this late?

>> Mm-hmm.

>> Chris: What do you do?

>> Guess.

>> You're an actress.

>> Oh, you are clever.

Now that you know all about me, tell me about yourself.

What do you do?

>> I?

I, uh... Well, you see.

>> No, no, don't tell me.

You work in a bank?

>> (chuckling) No.

>> Well, let's see.

Greenwich Village is full of artists.

I meet you in Greenwich Village.

You must be an artist, right?

>> Well.

Yes, I paint.

>> Of course, you're a painter.

I love paintings.

To think I took you for a cashier.

(Chris stammers) You know those art galleries on 5th avenue?

The prices they charge.

I saw one little picture that cost $50,000.

They called it a Seazan.

>> Cezanne he was a great French painter.

I'd like to own that painting.

>> You would?

>> Mm-hmm.

>> For $50,000?

>> Well, you can't put any price on masterpieces like that.

They're worth, well, whatever you can afford to pay for them.

>> You know what, Chris, I bet I saw some of your pictures there and didn't know it.

Next time, I'll look for your name.

>> Oh, no, no, no, no.

I don't sell my pictures.

>> Well, not in New York, you mean?

>> Chris: No.

>> I know!

I bet you sell your pictures in Europe, France, or someplace like that.

You can tell I don't know much about painting.

I bet you get as much for your pictures in France as those Frenchmen get right here in New York.

You're never appreciated in your own country.

>> Well, that's one way of looking at it.

But, you know, when I paint I don't think of money.

I just paint for fun.

>> Fun?

>> Yes, I think, it's the most fun I know, painting.

I wish I had all the time to paint.

>> Well, don't you have time?

>> Oh, no.

Well, yes, you see... Well, you know, business takes a lot of time.

>> No wonder, when you get all that money.

>> Well, what play are you acting in?

>> It closed tonight.

>> Which one?

>> The one I was in.

What time is it?

>> Oh.

It's only 10 past 2:00.

>> Only?

(yawning) It's time for Kitty to be in bed.

So you won't forget me.

(gentle music) >> Thank you.

Can't I see you again?

>> Kitty: Oh, sure, sometime.

>> Well, if you'll give me your telephone number.

>> Haven't got a phone.

>> Well, may I write you?

>> That's the address.

Goodnight, Chris.

>> Kitty, who's Johnny?

(dramatic music) >> Why do you ask that?

>> Well, I just heard you ask the bartender.

>> Oh, sure, he's just a fellow I know.

He's Millie's boyfriend.

You know, the girl I live with.

Goodnight, Chris.

>> Goodnight, Kitty.

(gentle music) (door creaks) (bright music) (doorbell rings) >> Adele: Christopher!

(doorbell rings) Christopher!

>> Yes, Adele?

Well, well, this is a pleasure.

I didn't expect to see you, Charlie.

>> But, Chris, you asked me.

>> My wife.

Well, it's good to see you, anyway.

Hey, that was a swell party last night, wasn't it, Charlie?

Say, what time did we go home?

After midnight, wasn't it?

You know, I haven't been to bed yet.

>> You haven't?

>> I guess, I'm not as old as I thought I was, eh, Charlie?

>> No, no.

>> Oh, I've got to do the dishes for Adele.

You don't mind, Charlie, do you?

>> No, no, no, go right ahead.

Say, did you paint this?

>> Chris: Great Scott, no.

That isn't painting.

That's mud, done by a photographer.

>> Charlie: Who is it?

>> The late departed.

>> Oh.

your wife's former husband.

>> Detective Sergeant Higgins.

Homer Higgins.

>> Say, that's a real medal, isn't it?

>> Yeah.

Adele got it.

>> Charlie: Your wife?

>> Yeah.

After he was drowned in the East River, jumped in to save a woman.

Neither body was found.

>> Oh, too bad.

>> Yeah, too bad.

Oh, thank you, Charlie.

>> Not at all.

How long have you been married, Chris?

>> Five years.

Well, now, she didn't wanna spend his insurance money, so she rented out the spare room.

Only $4 a week.

Well, I was trying to save money to buy paints, and so I moved in.

Oh, she was sweet.

Butter wouldn't melt in her mouth.

Well, you know how these things go.

(Charlie chuckles) Smoke?

>> Oh?

No, you smoke.

>> Where are your paintings, Chris?

>> They're out in the hall.

Would you like to see what I did today?

>> Yes, I'd like to.

(upbeat music) (Chris chuckles) Where did you find a flower like that?

You mean you see this when you look at that?

>> Well, yes.

That is, I sort of feel it.

You see, when I look at that flower, I see someone-- (Adele screams) >> Is anything private in this house?

(door slams) >> I'm sorry, Adele!

We better get out of here.

All right, Adele!

♪ Baby ♪ ♪ Cuddle up and don't be blue ♪ ♪ All your fears are foolish fancy maybe ♪ ♪ You know, dear, that I'm in love ♪ (record skipping) ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ >> Can't you get those lazy legs off that couch, baby?

>> Come here.

Can't you do any better than that?

>> That's all you think about, Lazy Legs, hmm?

>> What else is there to think about?

If you want more heat in this apartment, Miss, you'll have to call a janitor.

>> (chuckles) You idiot.

>> How come you're holding out on me, baby?

>> Oh, stop talking about Saturday night.

>> I'm not talking about Saturday night.

I'm talking about this.

Sounds like a schoolboy trying to make a date.

You must be robbing the cradle.

(Kitty laughs) What's so funny?

>> You are!

He's old enough to be my father.

That's the old fellow who came to my rescue Saturday night.

My hero.

>> No kidding?

>> See?

You were too tight to remember anything.

If I hadn't told the cop to go in the wrong direction, he'd have picked you up.

>> This the old fellow who butted in?

>> Mm-hmm.

>> The painter?

>> He's rich and famous and very sweet, too, Johnny.

He doesn't pull any rough stuff like you.

>> Well, I had a chance to clean up in a crap game.

All I needed was 50 bucks, and what did you show up with?

Fifteen, for cat's sake.

>> That's all I had.

Besides, you kept we waiting two hours in the rain.

>> And then you gave me a dirty look.

>> I didn't give you a dirty look.

>> Listen, any girl that waits two hours in the rain for a guy is gonna give him a dirty look.

(Johnny sighs) Trouble with you, baby, is you have no imagination.

>> (spits) What do you expect me to do?

>> I expect you to use your brains.

Now, for cat's sake, this chump is crazy about you.

This is a setup.

He's in the big money, isn't he?

You said $50,000 a picture, didn't you?

>> Mm-hmm.

>> Well, here I am, knocking my brains out trying to raise a little capital, and this is right in your lap.

You don't have to call what's his name and get a measly 50.

This bird is goofy about you.

Write him, date him up.

>> Oh, I can't take money off an old man like that.

>> Look, for cat's sake, get bighearted and smart, Lazy Legs.

Why, I see fellas in the big dough without half my brains, but ability isn't enough.

You got to have money to make money.

Capital.

The boys at the Acme Garage would cut me in on a half-interest if I can put up the money.

>> How much do they want?

>> Oh, 3,000 or 4,000.

>> Yipe!

>> Well, for cat's sake, I'm not talking about chicken feed.

Use your imagination.

You get an interest in a business like that, and it's a cinch to squeeze out your partners.

Then you're on easy street.

>> Jeepers, the pipe dreams you have.

>> Now, what about the letter?

>> Oh, I can get $50 or $100, perhaps, but I can't get the kind of money you're talking about.

I wouldn't know how.

(Johnny grunts) Johnny!

Johnny, where you going?

>> Where I won't be wasting my time.

>> Johnny.

Johnny.

Oh, I don't know why I'm so crazy about you.

>> Oh, yes, you do.

Now what about my proposition?

You don't have to tap the old chump for much, not at first.

We'll get you a decent apartment, someplace where I'd like to come and see you not a dump like this.

Well, Lazy Legs?

>> May I come in to my own apartment?

>> Hello, Funny Face.

>> Why don't you just move in, Johnny?

Then I can move out.

>> Now, Millie, stop picking on my fiance.

>> How do you spell that word?

>> With an F, like in Funny Face.

She pays half the rent, doesn't she?

>> Well, that was the general idea, big shot, when we signed the lease.

>> Well, I don't mind if you want this place to yourself.

Do you, baby?

>> What's he mean by that?

>> Oh, nothing.

You know, Johnny.

>> Yeah, I know Johnny, all right.

Has he bought you that engagement ring, yet?

>> You seem to worry more about it than I do.

>> The new $45 model.

Old Rogers let me have it for 18.

Bet he made a profit, at that.

>> I thought you were modeling girdles for the catalog.

>> I have been.

(groans) I ache like a dog.

If corsets ever come back, I swear I'll quit modeling.

(Millie groans) Why don't you go back to work?

With that figure, if you weren't so darn lazy.

>> Who do you think you are?

My guardian angel?

>> Not me, honey.

I lost those wings a long time ago.

>> Yeah, that's what I thought.

>> No wonder you got fired you're so darn snippy.

You never could get to work on time after you met that Johnny.

Honey, what's happened to you?

>> Don't you wish it could happen to you?

I'm in love, crazy in love!

>> With a man that pushes you around the way I wouldn't push a cat around.

>> You leave Johnny out of this!

>> With your looks and figure you could get any man you want!

>> Sure, but there's only one I want.

>> Yeah, and he's making a tramp out of you.

>> You wouldn't know love if it hit you in the face!

>> If that's where it hits you, you ought to know!

(door slams) ("Come To Me My Melancholy Baby") (gentle music) (birds twittering) >> That robin sings just like I feel.

Say, look, there's a pair of them up there.

They're building their nest.

(Chris imitates robins chirping) >> Say, where'd you learn that?

(Chris chuckles) >> Well, when I was a kid.

Yeah, I bet, I haven't done that in 40 years.

I feel like a kid myself today.

>> Sold any pictures lately?

>> Uh-uh.

>> Why don't you paint my picture?

>> I'd like to.

Could I bring my easel to your apartment?

>> I'm afraid my girlfriend wouldn't like that.

How long does it take you to paint a picture?

>> Well, sometimes a day, sometimes a year.

You can't tell it has to grow.

>> I never knew paint could grow.

>> The feeling grows.

You know, that's the important thing, feeling.

Well, now, you take me.

Well, nobody ever taught me how to draw, so I just put a line around what I feel when I look at things.

>> Yeah, I see.

>> It's like falling in love, I guess.

You know?

First you see someone, and then it keeps growing until you can't think of anyone else.

>> That's interesting.

>> Well, the way I look at things that's all art is.

Every painting, if it's any good, is a love affair.

>> I never heard anyone talk like that before.

>> Oh, well, there aren't many people you can talk to this way.

So you keep it to yourself.

You walk around with everything bottled up.

>> Yeah, that's right.

(sighs) That's the way it is with me, too.

I'm sort of keeping things bottled up, too, Chris.

The truth is I'm in a jam.

>> You, Kitty?

>> Oh, you probably guessed it.

I'm broke.

Even this dress belongs to Millie.

I can't pay my rent.

>> Well, how much is it?

>> Oh, forget it.

I shouldn't have told you.

(Kitty sniffling) It'll spoil your day.

>> Oh, but, Kitty.

>> I'll get out of it somehow.

I couldn't take anything from you, Chris.

>> No.

Yes, I mean.

>> No, no, I couldn't.

I've never taken money from a man, and I'm not going to now.

And I'm not going to spoil our friendship.

>> Oh, but, Kitty.

>> I couldn't pay you back.

>> Oh.

>> Chris, maybe I could pay you back.

If you put up the money for a studio apartment, then I'd have a place to live and you could paint there.

Don't you see?

You could paint my portrait.

What's the matter?

Don't you want to paint my picture?

>> There's something I've got to tell you, Kitty.

>> What?

>> I deceived you.

I lied.

I'm a married man, Kitty.

(dramatic music) >> Why didn't you tell me, Chris?

You know I'm not the kind of a girl to run around with a married man, don't you?

You know what you said about meeting someone and how you begin to like them and then you can't think about anybody else?

You should have told me you had a wife, Chris.

>> Yes, but I'm not in love with her, Kitty.

>> Well, you married her.

>> Well, I was lonely.

I couldn't stand my loneliness.

>> Oh, poor Chris.

>> Well, then you're not angry with me?

>> I suppose I ought to be, but I'm not.

Not with you, Chris.

I'm gonna let you help me.

>> Well, how much do you need?

>> Five-hundred dollars.

>> Five?

Five-hundred.

(dramatic music) I need $500.

I could pay it back $10 a week.

>> That's all right, Mr. Cross.

But you'll have to have a cosigner.

>> Thank you, no.

>> Property owner.

>> Property owner?

>> Just a formality.

>> Thank you very much.

>> Anytime.

>> Well, why can't that old skinflint Hogarth give you a raise?

You don't even make enough money to buy me a radio.

I have to run downstairs every night to listen to the radio.

The way I have to scrimp and save and you wasting money on paints.

I'd like to know what you'd do without me.

Poor dear Homer.

If only he had a grave where I could put some flowers.

Why, you couldn't even ask me to marry you.

I had to put the words into your mouth.

I'd have been better off a widow.

The only reason I put up with you is because I'm married to you.

I'm stuck!

>> Yes, and I'm stuck, too.

>> Have you been drinking?

>> No, I haven't.

>> Let me smell your breath.

(Chris exhales) No.

Then what's the matter with you?

Why are you sulking at me?

>> Well, you keep blaming me for not buying you a radio.

>> Well, you think I like running downstairs every night to listen to the radio?

>> Well, why don't you buy a radio?

You have money.

>> His insurance money?

>> Well, I don't want a radio.

You want it.

>> I'll never touch those bonds.

They're for my old age.

If Homer were alive, I'd have a radio.

He made a good salary.

He gave me a good home.

>> Well, you're living in the same apartment, aren't you?

>> Yes.

But it didn't smell of paint!

I can't sleep with the smell of paint and all your silly pictures cluttering up the hall!

If you don't get rid of that trash, I swear I'll give it to the junkman!

>> Adele.

>> I will.

I swear, I will.

(snickering) And the things you paint.

It was bad enough when you used to copy picture postcards.

>> Well, Utrillo copies postcards, and he's considered a great painter.

>> And now I suppose you're copying Utill, or whatever his name is.

They're getting crazier all the time.

Oh, yes.

I saw what you're doing.

Girls.

Snakes.

Next thing, you'll be painting women without clothes.

>> I never saw a woman without any clothes.

>> I should hope not.

(knocking on wall) (bright music plays on radio next door) >> "The Happy Household Hour" just coming on, dear.

>> I'll be right down, Dora.

Mr. Cross came home late.

Go ahead and eat.

And then do the dishes.

>> Announcer: This is "The Happy Household Hour" (door slams) brought to you at this time by Happy Hour Bubble Suds.

No soap gives you more happiness, more washings, and more suds per package than Happy Hour Bubble Suds.

Ask your nearest grocer for the large economy-size package today.

And now for the next episode of, "Hilda's Hope For Happiness."

As you remember, we left Hilda in the laundry.

(static crackling) Bubble suds, Hilda.

(static crackling) >> Christopher.

(door creaks) Christopher.

What are you doing?

>> I was looking for the paper.

>> Are you blind?

>> Oh.

Well didn't you like the radio?

>> It went off right in the middle of a program.

I wouldn't have such a radio.

>> Hey, did you read this?

>> Adele: Read what?

>> This murder in queens.

A man killed his wife with a window weight, put her body in the trunk, and shipped her to California.

It says here-- >> I've read the paper.

Thank you.

He didn't get away with it, did he?

He'll go to the chair, as he should.

>> Yeah.

A man hasn't got a chance with these New York detectives.

>> Can't you put that paper down and do the dishes?

>> Adele?

You didn't mean what you said about giving my paintings away to the junkman?

>> You'll find out.

>> Well, you won't have to.

A friend of mine is taking an apartment in Greenwich Village.

I'll move everything there.

>> Well, if he's fool enough to let you do it, go ahead.

The sooner, the better.

>> Yeah.

>> Top floor.

You'll get plenty of light, lots of privacy.

You heard of Tony Rivera, the illustrator?

He had this apartment on a three-year lease.

Couldn't work anywhere else.

This was his studio.

The sketches on the wall are Rivera's.

He'd do that with his models sometimes when he was working on a magazine cover.

Some people would pay a lot of money for those.

Are you an artist, Miss March?

>> Uh-huh.

>> Where's the bedroom?

>> Oh, this way.

>> What's the rent, Mr. Jones?

>> One-hundred and fifty.

Oh, there are some things that Rivera left here stored in the basement.

They go with the apartment if you care to use them.

Here you are, the bedroom.

>> I don't like the wallpaper.

>> Will they change the paper?

>> I guess so, on a year's lease.

>> I'll pick it out myself.

(doorbell ringing) (Johnny groans) (doorbell ringing) Well, don't break the bank.

(Johnny groans) >> Hello, Lazy Legs.

>> (yawning) I thought I'd heard the doorbell.

>> (yawning) I didn't hear anything.

(Kitty sighs) Say, is this all you've got?

>> I'm lucky I have that left, the way you were throwing it around last night.

You even bought me a book, honey.

>> You're supposed to be an actress, aren't you?

>> Shakespeare, for Pete's sake.

Say, that's all I have left.

>> You know where to get more, don't you, Lazy Legs?

>> He told me he hadn't sold any pictures for a long time.

And I'm in hock for all this.

>> Look, Kitty.

I need at least $1,000.

>> Ouch!

>> Well, you got him softened up.

Now push him around a bit.

>> He seems to get scared when I talk about money.

>> Listen, baby, you got him right where you want him.

He's on the hook and can't get off.

>> He can walk out, can't he?

>> He's got a wife, hasn't he?

Just drop a hint that his wife might find out about this apartment, and he'll shell out fast.

>> That's blackmail.

>> It's only blackmail, baby, when you're dumb enough to get caught.

(knocking on door) Is that him?

>> Kitty: Told you I heard the doorbell.

>> For cat's sake.

Get rid of him.

(knocking on door) (knocking on door) >> Why!

>> Don't you answer doorbells?

>> Thought you were mad at me.

>> Peace offering.

Scotch.

>> Thanks, honey.

>> I didn't think you were out.

It's only 10 past 12:00.

I rang and rang downstairs, and then I found the door was open.

Well, well, well.

You're doing all right for a working girl.

>> Now, don't start that again.

>> Don't tell me he's under the sofa, too.

>> No, bright eyes.

>> You can come out, Johnny.

>> All you have to do is call, Funny Face.

Oh.

>> You must have made a killing in Wall Street, Mr.

Prince.

>> Could be.

>> Last time I saw Johnny, he was talking about going to Hollywood.

>> I might try it yet.

Why, I read in a movie magazine about a fella who landed in Hollywood stone broke and cleaned up a million.

No experience, either.

All he had was looks.

And he worked in a drugstore.

>> If he worked, Johnny, he didn't look like you.

>> Oh, you two stop fighting.

>> I'm not fighting, baby.

She just doesn't know my speed.

Why, I hear of movie actors getting 5,000, 10,000 a week.

For what?

For acting tough, for pushing girls in the face.

What do they do I can't do?

>> (sighs) If you're so clever, why don't you do it?

>> I might, Funny Face, I might.

(knocking on door) >> What?

Chris!

>> I've brought over some of my things, Kitty.

I'll bring some more tomorrow, the rest on Saturday.

Oh, you have company.

>> Oh, just Millie and Johnny.

You know, Millie's boyfriend.

Come on, I want you to meet them.

Millie, this is a friend of mine, Mr. Cross.

Miss Ray.

>> How do you do, Miss Ray?

>> Millie: Pleased to meet you, Mr. Cross.

>> And, Johnny prince.

>> Glad to know you, Mr. Cross.

>> How do you do?

Seems to me I've seen you before somewhere.

>> Could be.

Could be, Mr. Cross.

>> Yes, I just don't seem to remember.

Maybe I'm mistaken.

>> Could be.

>> Millie: Well, I have to run along, kid.

>> I'll go with you, Sweetheart.

>> Oh, don't bother, Johnny.

>> I wouldn't think of letting you go alone, Darling.

You might get run over by a streetcar.

Goodbye, Mr. Cross.

>> Bye.

>> Nice to see you.

>> Kitty: Thanks for the Scotch, Millie.

>> That's okay, bye.

>> So long, Kitty.

>> So long, Johnny.

(door creaks) Now, what's the matter, Chris?

>> I don't think I like that young man she's in love with.

>> Kitty: Oh, Johnny's all right.

>> I know he is, or he wouldn't be your friend, but, there's something about him that.

>> She's crazy about him.

>> Well, would you like to see my pictures?

>> Not yet.

Come sit down, Chris.

You happy?

>> For the first time in my life.

>> Very happy?

>> I think of you all the time.

All I want is to see you, be near you.

I know I haven't any right to ask you this.

But, have you ever?

Well, there must have been other men who... >> Just one, Chris.

>> Do you still see him?

>> I've forgotten him.

>> Look, Kitty.

If I were single, if I had no wife.

>> But you have a wife.

>> Yes, I know, but if she'd... Well, if something would happen that would make me free, would you marry me?

>> Oh, let's not talk about it now, dear.

What I'm worried about is getting a job.

Living like this, it's expensive.

I don't like to ask you for anything more, because, well, you say you haven't sold any pictures lately.

>> Yes, but don't you have enough money?

>> You have no idea what a problem money is for an actress, Chris.

Talent doesn't count in the theater.

Everything is pull, contacts, knowing the right people.

You have to get an agent, they charge plenty, wear smart clothes, be attractive.

>> Oh, but, Kitty, you're beautiful.

>> Aw, Chris, your face doesn't mean a thing.

It's clothes, perfumes, making the right impression.

Why, an actress needs $1,000 just to get a decent wardrobe.

>> A $1,000?

>> At least.

Maybe I can borrow it from Millie or her boyfriend, Johnny.

He's got plenty of money.

>> Oh, no, no, no, Kitty Not from Johnny.

>> Why not?

>> Well, I'll get you the money some way.

>> Chris, you're a darling.

I really believe you're in love with me.

>> I am, Kitty, I am.

>> Chris, you're a caveman.

I like you to like me, but, well, there's a limit.

>> Yes, I know.

(bell tolling) Oh, I've got to go.

I'm supposed to be back.

I'll come here tomorrow noon, Kitty.

>> I'll be waiting for you.

I'm sorry you have to go.

Bye, bye, dear.

Oh.

Don't forget the money.

>> I'll get it.

>> Kitty: Bye, bye, Chris.

>> Chris: Goodbye.

(hums softly) >> Life is much too short.

That's what they tell me.

(door creaks) >> I don't get it.

The poor sap must be a hophead seeing snakes on the EL.

Imagine anyone paying money for this stuff?

Say, are you sure he's not a phony?

>> (scoffs) He's too dumb to be a phony.

>> You're right, there.

>> And how would he get all the money?

Why, if he had to work for a living, he couldn't make $50 a week.

You just don't know art.

>> Maybe not, but I'm gonna find out about it.

>> I kind of like this one.

But, where would you find flowers like that?

>> I wonder if I couldn't sell these.

>> And what do I do when he asks where they are?

>> Say you put them in storage.

You know, you got to protect them.

You can't leave valuable paintings lying around where somebody can pick them up.

>> You'd get in trouble.

Any gallery would know his work.

He tried to kiss me today.

And don't think I liked it.

>> Aw, you've been kissed before.

Say, they're not even signed.

>> Oh, that doesn't matter they'd know him.

>> Not where I'd take them, baby.

>> Johnny, I can't stand to have anybody touch me but you.

(groans deeply) And I hate him when he looks at me like that.

If he were mean or vicious or if he'd bawl me out or something, I'd like him better.

Aw, you don't love me, or you'd understand what I mean.

>> No?

>> Kitty: No.

>> No?

>> Well, maybe.

(gentle music) >> Working late tonight, Mr. Cross?

>> Oh, I'm about through, Ben.

You can let me out in a minute.

>> Yes, sir.

(dramatic music) (door creaks) >> I just caught you in time.

(tense music) Cash this for me, will you, Chris?

It's personal.

>> Yes, yes.

Yes, of course, J.J. (dramatic music) Here you are, J.J. >> Thank you, Chris, goodnight.

>> Goodnight, J.J. (door thuds) >> Hello, Nick.

>> Hi.

(lock engages) What do you got?

>> The fella that painted those gets 50 grand for a single picture.

(spits softly) Hey, what's the matter with you, Nick?

>> Where'd you pick them up?

Over in Washington Square?

The Village longhairs are peddling junk like that for the price of the canvas!

>> These weren't painted by any Village longhair.

>> That's my pawnshop, isn't it?

And that snake is strictly from the Bronx.

>> This fella lives in Brooklyn.

He's famous.

>> Yeah, what's his name?

>> Well, I... Look, Nick, I brought you stuff before, and you never asked for any name on it.

>> That was jewelry.

Bring me some more of that, and we can do business, Johnny.

Take this junk back to Washington Square where you got it.

(hand organ plays mid-tempo music) >> I can see you've got an eye for art.

That's one of my best.

>> Take a look at these.

>> Oh, I didn't know you were a painter.

>> I'm not.

Are they any good?

>> Well, they've got something, a certain peculiar something, but no perspective.

>> Is that important?

>> I should say it is.

Look at my paintings.

Where did you buy them?

>> I didn't buy them I wanna sell them.

>> Oh, you want me to sell them on commission.

>> How much do you think they're worth?

>> I always start everything at $25.

Then, you know, it's a hard business selling pictures.

Ah, people don't buy art nowadays.

No appreciation, no taste, no perception.

>> And no perspective, huh?

(artist chuckles) >> Let me have your name and address.

>> I'll come back later.

So long.

>> Hello, Johnny.

>> Hiya, Tiny.

>> Oh, where'd you get that?

>> Off Nick.

>> Well, what about my ring?

>> You know how much a good diamond costs?

>> Well, I gave you $900.

>> Would you pipe down?

You've been telling me what a dope the old guy is.

Maybe you're the dope.

He told you his paintings are worth a lot of money.

Did you check up on his story?

>> What's wrong with it?

>> Johnny: They're worth just 25 bucks apiece.

That's what's wrong with it.

>> You're crazy.

>> If I weren't a gentleman.

>> Well, don't get sore.

>> Well, then don't tell me I'm crazy.

>> I tell you, the old boy's a phony.

>> His money isn't phony, is it?

>> He could borrow dough or have it stashed away or even steal it.

>> Chris steal?

Jeepers, Johnny, he's not the type.

He wouldn't have nerve enough to steal.

>> Well, he didn't get it from his pictures.

>> He may be dumb, but not about art.

The day he took me to the museum, he explained how everything was done.

You should have heard him.

People stood around and listened.

>> What museum?

>> The Metropolitan.

Yipe, they've got pictures there worth a million bucks.

(people chatting faintly) Where you going?

>> I'm gonna make a monkey out of you, Lazy Legs.

>> You can't take his pictures to the museum.

>> Who says I can't?

(hand organ plays mid-tempo music) (horn honks in street) >> You know who bought them?

Janeway.

Damon Janeway!

Don't you know who Mr. Janeway is?

>> Uh-uh.

>> He's an art critic!

The best authority in New York on modern art.

He took one look and bought them both.

I couldn't even give him my pictures, not for nothing.

He wants to get hold of you.

Told me to telephone him.

You wait here, huh?

>> No, no.

(coin drops) (bell dings) (bell dings) (coins drops) >> Oh, man.

>> I'm sorry.

(Kitty laughing) >> For cat's sake, what's so funny?

>> You are, smarty-pants.

You're the Mr. Fix-it who was gonna make a monkey out of poor, dopey, little Kitty.

So you gave away two pictures for a couple of dimes, and now you can't collect the dimes.

>> Aw, dry up.

>> Jeepers!

>> Now what?

>> What am I gonna tell Chris?

>> He won't find out.

>> The heck he won't.

That Janeway's a critic.

He writes for the newspaper.

(Johnny groans) Golly, you got us in a spot.

I told you not to do it.

>> You're just nervous.

The old guy that sold them doesn't know me from Adam.

>> All right, give me that drink.

I can use it.

(knocking on door) >> Chris?

>> Uh-uh, he's got a key.

(knocking on door) >> Well, go ahead, see who it is.

Hurry up.

>> Oh, I beg your pardon, but we're looking for a man, and I'm afraid I don't know his name.

>> Oh, then I'm afraid I can't help you.

>> I'm sorry.

>> Oh, look!

There!

These are his!

Oh, there he is.

Why did you run away from me like that, huh?

Here, $50, less 20%.

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

>> But the pictures you brought me.

>> Perhaps we'd better introduce ourselves.

My name is Janeway.

This is Mr. Dellarowe.

>> How do you do?

>> What is it you want?

>> We'd like to find out who painted the pictures.

>> You don't know?

>> Of course, they don't know.

That's what we're here for.

>> Look, if you're a friend of the painter, you will put Mr. Dellarowe in touch with him.

>> Why'd you buy those pictures if you don't know who painted them?

>> Because they're good.

>> Who painted them?

>> No, Johnny, no!

>> Oh, don't be so modest, Miss March.

Now, you see, you got me in bad.

She made me promise not to tell.

That's why I made out like I didn't know.

(Johnny laughs) She is funny about her painting.

Never lets anyone see it.

Doesn't even put her name on her pictures.

>> So, I observed.

You're an extraordinary artist, Miss March.

>> Oh, no!

>> See, she can't stand for anybody to talk about her.

She got the idea her pictures weren't any good.

That's why I took those two to you, to give her confidence.

I knew they were good.

Now I'll take that money.

>> I never would have guessed it was a woman.

>> Nor I.

Your work is very strong, Miss March.

>> May we see some more of it?

>> Sure, go ahead.

Look in her studio.

>> Thank you.

>> You're crazy to try a thing like this.

>> For cat's sake, I thought they were cops.

I know what I'm doing.

They don't know from nothing.

>> I can't fool that critic.

>> You always wanted to be an actress.

Now's your chance.

You've been around the old boy long enough to pick up his lingo.

Feed Janeway some of that.

I'll get him in here alone with you.

>> No, no, wait!

>> How long has she been painting?

>> Ever since she was a kid, Mr. Janeway.

>> Never went to art school, did she?

>> No, she just picked it up.

I guess, I'm the only one who's been encouraging her, kind of helping her along, as a friend, you know, just a friend.

>> Oh, I didn't get your name.

>> Prince.

Say, Mr. Janeway, she's kind of upset.

Maybe you'd go in and talk to her, hmm?

>> Be glad to.

>> Well, Mr. Dellarowe?

>> I wonder if Miss March would let me have all of these.

>> Well, that depends.

What's in it for her?

>> Well, prices will have to be built up, Mr.

Prince, but.

>> I can usually tell whether a canvas has been painted by a man or woman, but you fooled me completely, Miss March.

Your work is not only original, it has a masculine force.

How long does it take you to paint a picture?

>> Sometimes a day.

(gentle music) Sometimes a year.

You can't tell.

It has to grow.

>> Of course.

>> It's a matter of feeling.

You know how a feeling grows?

It's like falling in love, I guess.

(gentle music) >> That's a very good description.

>> The way I look at it.

Every painting, if it's any good, is a love affair.

>> May I quote that?

>> Oh, no, no, no, please don't write about me.

>> I can see you're going to be a very hard case.

Why don't you have confidence in your work?

>> Because I can't draw.

>> You do all right.

>> I just put a line around what I feel when I look at things.

>> You're a very stimulating person to talk to.

>> How you two getting along?

>> I think I'm breaking the ice.

>> Kitty, Mr. Dellarowe wants to handle all your work exclusively.

Is it all right?

As a friend, I'd advise it.

>> Could you come to the galleries tomorrow?

>> What time?

>> Anytime that's convenient.

>> How about 12 o'clock, and then lunch afterward with me?

>> Well, I?

>> She'll be there.

>> I'm glad you're around, Mr.

Prince, to make up her mind for her.

(Johnny chuckles) I can see you're tired, Miss March.

This has been enough for one evening.

We'd better go.

Until tomorrow?

>> Thanks, Mr. Janeway, so long.

Good evening.

>> Night, Mr. Dellarowe.

>> Goodnight.

>> Goodnight.

>> Night.

(door creaks) >> Lazy legs.

(door creaks) I don't know what you told Janeway, but you got him eating right out of your hand.

>> It won't stop with lunch.

>> Well, what's the difference?

>> If you mean-- >> Oh, stop acting like a green kid.

Let him talk about what he wants to talk about, and he won't talk about art.

>> If I had any sense, I'd walk out on you.

>> You haven't got any sense.

(men chatting) (engine revs) Right here, just like you'd sign a letter.

Come on!

Katherine March.

>> Chris: Kitty.

>> For cat's sake.

Put that one back.

>> Chris: Kitty?

>> Chris.

>> Oh, Kitty.

I happened to be in the neigh... >> Oh, hello, Mr. Cross.

I just dropped in.

I thought Millie was here.

Say, I hope you don't mind my looking at your picture.

>> Oh, no, not at all, Mr.

Prince.

>> Fine work, that's remarkable painting.

You have a little trouble with perspective, don't you?

>> Yes, that's one thing I never could master.

Perspective.

>> Well, I guess, I'll have to run along.

So long, Mr. Cross.

If Millie drops in, tell her I'll be at Tiny's place.

Don't bother, I'll let myself out.

(door thuds) >> Has he been here long?

>> No, why?

>> I don't like him.

>> Oh, Johnny's all right.

He's a nice fellow, Chris, really, he is.

I don't know why you don't like him.

>> Well, was he the one?

>> One what?

>> Well, you said there was one man.

>> Oh, for heaven's sake, won't you ever forget that?

>> Well, was he?

>> No!

>> Kitty.

>> Go ahead and paint if you want to!

I'm not gonna stick around if you're gonna torment me!

>> Kitty?

Oh, Kitty.

>> Oh, leave me alone!

I'm going out for dinner!

>> Kitty, don't be angry.

>> Why do you come here if you want to cry?

I didn't ask you to come here.

>> Chris: Oh, please, Kitty.

>> Oh, for Pete's sake.

Go and paint.

>> Well, I can't.

I can't do a thing when you're angry with me.

Do you want me to go?

>> I want you to stay here and paint!

Chris?

I'm sorry, Chris, but why do you torment me about something that's over and done with?

>> Well, because I... Would you marry me?

>> You can't.

>> Well, something might happen.

>> What, you better not let your wife hear you talking like that.

Of course, I'd marry you if you were free.

But, you're not, so let's not talk about it.

Now, you go on and paint.

>> Well, could I paint you?

>> Well, I was going to do this myself, but.

Paint me, Chris.

(chuckles) They'll be masterpieces.

(engines revving on street) >> Hello, Adele.

I dropped over to the butcher shop like you told me to.

I got a nice piece of liver.

>> How long have you known Katherine March?

Answer me.

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

>> How long have you known her?

>> Well, now, don't get excited.

Let me help you off with your coat.

>> Well, you're the one that's excited.

Look at you and get away with that knife.

Do you want to cut my throat?

How long have you known her?

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

>> Don't lie to me.

You've been copying her work for years, pretending you painted those pictures out of your own head, and all the time you were just copying the work of a real artist!

I'll bet you're at Dellarowe's every day making notes.

>> Where?

>> You know where.

Dellarowe's Art Gallery on 57th Street.

They've got a window full of paintings by Katherine March.

>> You're talking crazy.

>> She gets $500 for a single picture.

She's a genius.

(scoffs) No wonder I used to think sometimes there was something in your work.

Now I know why.

If you ever do any more painting around here, I swear I'll write that woman a letter telling her you're stealing her ideas!

You're a thief!

Hogarth had better watch out, or next thing you'll be stealing his money.

(door slams) (dramatic music) (gentle music) >> Kitty: Not that one, honey.

>> Dellarowe is asking for more pictures.

>> Kitty: Chris just finished it.

He'll miss it.

>> Janeway says the new pictures are (Johnny clicks tongue) the best things you've done.

Wasn't I right about Janeway, Lazy Legs?

>> Yeah, but he gets on my nerves.

I've been out to dinner with him three times this week, and now he's talking about breakfast.

He's getting that look in his eye.

>> All you got to do is keep it there.

>> Well, it's all very well for you to say, but what about the wear and tear on my nerves?

>> Papa will take care of Kitty.

Baby's gonna have a big diamond ring and a shiny limousine and a penthouse.

>> And Johnny?

>> He goes with the penthouse.

(gentle music) (door slams) >> Kitty: Chris.

>> How did my pictures get into Dellarowe's window?

>> Oh, Chris.

Don't be angry with me.

>> No, I'm not angry.

I just can't understand.

(Kitty sobbing) It's not possible.

>> Forgive me, Darling.

I needed money.

They were gonna take the furniture back.

(gasps) It was humiliating.

I couldn't ask you for more.

You've been so generous.

(sniffles) I just couldn't.

So I sold some pictures.

>> To Dellarowe?

>> Kitty: Uh-huh.

>> You actually sold those pictures?

>> Uh-huh.

Oh, I know I shouldn't have put my name on them, but Mr. Dellarowe wanted to know who painted them, and I just couldn't give him your name.

Now I can't tell him different, can I?

>> (laughs) No.

>> The funny part is it didn't seem to make any difference.

>> Yes, well, the funny part is it made a great deal of difference.

If I'd brought those pictures to a man like Dellarowe, he wouldn't have taken them.

I'm a failure, Kitty.

>> Oh, you're a great painter, Chris.

(Chris chuckles) Mr. Dellarowe said so, and so did Mr. Janeway.

That is, they say I am.

>> Well, they're going to keep on saying it.

>> Oh, Chris!

>> Oh, now, don't.

Don't, Kitty.

Now, don't cry.

I'm happy.

Why, you're just like a dream.

>> Oh, Chris, you're so good, so kind.

>> Well, what difference does it make whose name is on those pictures, yours or mine.

Why, it's just like we were married.

(both chuckling) Only I'd take your name.

Well, that gives me a little authority around here.

I want to paint your picture, Kitty.

How about it?

>> (sniffs) Uh-huh.

(gentle music) >> Come with me.

(gentle music) Know what we're going to call this?

Self-portrait.

(bright music) >> Why, hello, Damon.

>> Hello, there.

>> Hello.

>> Well, this is the first time I've ever agreed with you, Janeway.

>> Thank you.

>> I find the painter even more fascinating than her paintings.

>> What's she like?

>> Mona Lisa without the smile.

Something hidden.

Sometimes it seems as if she were two people.

I mention that in my notice.

Would you care to see it?

(bright music) (knocking on door) >> Oh.

(door buzzing) >> Mr. Cross, there's a man outside says he wants to see you.

>> Who?

>> I didn't get no name, sir, but he said he was a detective.

(door creaks) (dramatic music) >> You the detective?

>> Well, I used to be, Mr. Cross.

Don't you recognize me?

>> No.

Oh, my.

>> Quite a shock, huh?

Now, don't faint, Mr. Cross.

Keep your head.

I'll explain everything.

Well, I was in trouble at the time.

I'd been collecting a little extra money from the speakeasies along the waterfront.

Word got around to headquarters.

I was up for investigation.

One night, I'm down by Brooklyn Bridge trying to fix things up.

A man runs in the speakeasy and says, "A woman just jumped off the bridge."

So I run out and tear off my coat and jump in.

The way I felt I'm hoping I don't come up again.

(Homer sniffs) You mind?

>> Hmm?

No, no.

(Homer sighs) >> Well, there I am swimming around in the dark.

I had a hold of her hat once.

Next thing you know I'm all tired out.

I heard a tugboat whistle, and right down on top of me, (spits) comes a coal barge.

So I grab a hold and climb aboard.

I look down at my hand.

What do you think I got?

Her pocketbook.

That's what I grabbed a hold of when I thought it was her hat.

And inside is $2700 in folded money.

Imagine anybody committing suicide with that much money.

Well, the coal barge unloaded on a banana boat bound for Honduras.

Well, I went with it.

>> Yes, but if you're not dead, then I'm not really married to Adele, am I?

What's it worth to you for me to keep my mouth shut and just fade away?

>> Yes, but if you're Adele's husband?

>> Wait a minute.

I can see you need Adele.

I need money.

You're a cashier.

It ought to be easy for you to put your hands on a couple of thousand.

>> Oh, I couldn't do a thing like that.

Wait, are you going back to her?

>> No!

But not to do you a favor, Mister.

I'm clearing out for Adele's sake.

And don't think you're gonna get any peace of mind either.

I might turn up again someday.

She'd kick you out in a minute for a man like me.

>> I'll get you some money.

>> Now you're using your head.

>> Yeah, but you'll have to wait here.

I can't get it till after we close at six o'clock.

>> I'll wait, Cross.

(horn honks) (tires screech) >> Hello, Johnny.

Hello, Kitty.

>> Hiya, Marchetti.

>> Hi.

>> Don't forget the champagne, baby.

>> Nice car you have, Johnny.

She go fast, huh?

>> I'd like to see any cop try to catch me.

Say, I'll give you four bits for a bucketful of that ice.

>> Okay, Johnny.

>> Can I borrow the ice pick?

>> You give it back, huh?

>> Sure, sure.

>> Thank you.

>> Only $200?

(hiccups) >> Well, that's all I could get.

>> Don't you think your wife's worth more than that?

>> Well, look, I want you to get all that's coming to you, Mr. Higgins.

Now, what about the insurance money?

>> Insurance?

>> Yeah, $2,000.

On your life.

Adele collected it.

It's really yours, isn't it?

She keeps it right in her bedroom.

Now, I wouldn't touch a penny of it, Mr. Higgins, but if you took it, it would be perfectly legal.

>> Well, just how (hiccups) would I get it?

>> That's easy.

This is the night that she always goes out to the movies.

I let you in.

You take the money.

I let you out.

>> But why don't you get it?

>> I've got to be able to say that I didn't touch it.

You know Adele.

(Homer sniffs) >> What if she don't go out and I show up?

Your goose is cooked, isn't it?

>> Yes, but I can play it safe.

>> (hiccups) How?

>> Well, you come along the street at 11 o'clock tonight.

(dramatic music) >> Okay?

>> Shh.

>> Why you whispering?

How come the lights are out?

>> Mrs. Michaels.

You remember Mrs. Michaels, don't you?

>> Oh, yeah.

>> And the neighbors.

(dramatic music) >> Where's the money?

>> In there in the bottom drawer of the chest.

>> Okay, give me the flash.

(tense music) (Adele screams) >> Adele: Help, thief!

Murderer!

(suspenseful music) Christopher!

Christopher, get on the lights!

Christopher!

♪ All your fears are foolish fancy maybe ♪ ♪ You know, dear, that I'm in love ♪ (record skipping) ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ ♪ In love, in love ♪ >> Johnny.

Oh, Johnny.

>> Lazy legs.

>> Jeepers, I love you.

(gentle music) (suitcase thuds) What's that?

(door slams) (gentle music plays on phonograph) Chris?

Johnny, is it Chris?

>> Call him quick.

>> Chris!

Chris!

>> I ought to push you over on your head.

>> How'd I know he was coming here tonight?

I don't understand it.

>> You don't understand anything!

>> Well, why get sore at me?

>> Well, what use are my brains if I'm tied up with a dumb cluck like you?

I told you to watch your step, didn't I?

>> Kitty: That's right, blame it on me.

>> Why'd you keep me here tonight?

I didn't wanna stay!

>> Johnny, don't talk like that.

>> Well, it's the truth I'm fed up with you!

(glass shatters) >> Johnny.

>> That's the only thing you ever understood!

I'm through with you!

(door slams) >> Kitty: Jeepers, I love you, Johnny.

Jeepers, I love you, Johnny.

>> Oh, Lord, have mercy upon us sinners.

The way of a sinner is made plain with stones.

But at the end, thereof, is the pit of hell.

Oh, Lord, be merciful to me, a sinner.

>> Amen.

>> Hallelujah!

>> Man: Hallelujah.

Amen.

(Kitty sighs) >> Millie?

Yeah.

Kitty.

You seen Johnny?

Ah, I thought he'd go to Tiny's.

Was he getting tight?

Oh, just a fight.

Listen, he can't live without me any more than I can live without him.

Said he was coming back here?

To beat me up!

Jeepers, the way that guy shoots off his mouth.

Oh, you don't have to warn me.

That's just the way he talks.

If you were in love, you'd understand.

Oh, stop it.

Johnny wouldn't kill a fly.

(laughs) That's love, honey.

(door slams) (glass shatters) Here he is now and has he got a bun on.

Goodbye, hon.

Hello, Johnny.

Come on, Johnny, I heard you.

>> You lied to me, Kitty.

It was him, wasn't it?

>> Can I help it if I'm in love?

>> No, just an infatuation.

Kitty, you couldn't love a man like that.

Kitty, he's evil.

He wouldn't let you alone, isn't that right?

I wanted to kill him.

(Kitty scoffs) But, it's wrong.

>> Why'd you come here?

>> To ask you to marry me.

>> What about your wife?

>> I haven't any wife that's finished.

>> For cat's sake, you-- >> Her husband turned up.

I'm free.

(Kitty laughs) Oh, now, don't cry, Kitty.

I know how you feel, but that's all over now.

We all make mistakes.

I don't care what's happened.

I can marry you now.

I want you to be my wife.

We'll go away together, way far off so you can forget this other man.

Don't cry, Kitty.

Please, don't cry.

(Kitty laughing) >> I'm not crying, you fool!

I'm laughing!

>> Kitty.

(Kitty laughing) >> Oh, you idiot!

How can a man be so dumb?

>> Kitty.

(Kitty laughing) (ice pick thuds) >> I've wanted to laugh in your face ever since I first met you!

You're old and ugly, and I'm sick of you!

Sick, sick, sick!

>> Kitty, for heaven's sake!

>> You kill Johnny?

I'd like to see you try!

Why, he'd break every bone in your body!

He's a man!

You wanna marry me?

You!

Get out of here!

Get out!

Get away from me!

Chris, Chris, get away from me!

Chris, Chris!

(ice pick plunging) (engine revs) (tires screeching) >> Hey!

Oh.

Look out, Johnny.

You'll kill somebody.

(Johnny scoffs) (somber music) (suspenseful music) (door rattling) (glass shattering) (suspenseful music) (worker types on typewriter) (people chatting softly) (footsteps approaching) (door creaks) >> Chris.

Hold on, Chris, wait a minute.

What made you do it, Chris?

When these officers called me, I wouldn't believe it.

>> We were tipped off on the telephone.

>> Officer: By a man named Higgins.

>> I checked the cash before you came in.

Do you know how much is missing?

Over $1200.

>> We'll take him along.

You can make the complaint, Mr. Hogarth.

>> Hold on, boys.

I just can't do it.

>> Officer: But Mr. Hogarth.

>> No, you've done your duty, and I'm obliged to you.

There's a box of cigars on the table.

Take them along with you.

>> Okay, Mr. Hogarth.

It's up to you.

(door thuds) >> Chris, it was a woman, wasn't it?

I thought so.

I'm not going to put you in jail, Chris.

Only, of course, you're through.

>> Mm.

(people chatting) >> Well, I didn't do anything!

I want a law...

I want a lawyer!

>> Where was he picked up?

>> Riverside Drive.

He tried to get away in the murdered girl's car.

>> That was my car.

>> This is yours, too.

It's got your initials on it.

But it's her blood.

Here's $140.

It was taken out of her pocketbook.

>> It was mine.

>> It's her diamond ring worth $500 or $600.

(Johnny chuckles) >> You guys know a lot, don't you?

It cost 1200.

>> Here's her personal jewelry.

Not much value.

But he cleaned her out.

>> Well, why wouldn't I?

She didn't have anymore use for it, did she?

Listen, you guys, I want a lawyer!

I'm a citizen I got my rights!

>> This belongs to you, too, huh?

It's got your fingerprints on it.

>> Well, naturally, I picked it up.

How did I know she was dead?

I thought she was asleep at first.

>> Uh-huh.

>> She didn't paint those pictures.

Old Cross isn't as dumb as he looks.

He painted them.

>> The accused brought me two pictures.

He told me Miss March painted them.

>> In my expert opinion, there's no doubt about it.

She was a very great artist.

>> She told me she was an artist when she rented the studio.

He was with her.

I didn't like him then, and I don't like him now.

>> Yeah, he was mean when he was drunk.

He said he was gonna fix her when he left my place around 2:00 a.m. >> That's when I tell him, "You look out, Johnny.

"You'll kill somebody."

So he killed her with my ice pick.

>> And then I heard her say, "Hello, Johnny, " before she hung up.

He was there, all right.

What I don't understand is this talk about her being an artist.

I never saw her paint.

>> That was one of her peculiar traits.

She never let anyone see her paint.

I've compared her handwriting with her signature.

There's no question.

>> Mr. Cross paint?

(scoffs) He only copied her work.

He's a thief.

He stole from me, from his employer, from Katherine March!

>> My wife, I mean, my former wife, is correct.

I really can't paint.

My copies were so bad, I had to destroy them.

>> For cat's sake, he's lying!

(dramatic music) (train wheels rattling) >> Hello, Mr. Cross.

>> Hello.

>> Tom Crocker, "Evening Globe".

>> Oh, yes, Tom Crocker.

>> Joe Williams, "Morning World".

Conway's with "The Ledger".

>> Hi.

>> Cigarette?

>> No, thanks.

Going to Sing Sing?

>> Yeah.

>> I don't like to cover executions, but I must say, this is one I don't mind.

>> You sure cooked Johnny's goose, Mr. Cross, when you testified you couldn't paint.

>> Nobody cooked Johnny's goose except Johnny, the way he shot off his mouth.

>> He was a dead pigeon when he dragged the girl's name through the mud.

I watched the jury.

>> If he'd have kept his trap shut, he might have got off with life.

>> Sure, the evidence was only circumstantial.

>> What do you mean?

He got a fair trial, didn't he?

>> Joe: Yeah, but there's always a doubt.

>> I suppose you fellas are gonna say it was a miscarriage of justice.

That someone is getting away with murder.

>> Not me, there's no such thing.

Mr. Cross, nobody gets away with murder.

>> How's that?

>> (chuckling) Oh, don't get him started.

He'll talk your ear off.

That's his pet theory.

(men laughing) >> All right, go ahead and laugh all you like, but no one escapes punishment.

I figure we have a little courtroom right in here, judge, jury, and executioner.

>> I don't get it.

>> Well, murder never solved anything.

How about it, fellas, you've covered lots of trials.

>> I'm sorry, but I have to admit you're right.

>> The problem just moves in here where it can never get out.

Right here in solitary.

So, what?

So, you go right on punishing yourself.

You can't get away with it.

Never.

>> Now, that doesn't make any sense.

>> Well, you haven't seen as much a murder as I have, Mr. Cross.

I'd rather have the judge give me the works than have to do it to myself.

(dramatic music) >> What time they throw the switch?

>> Eleven o'clock.

(somber music) >> I didn't do it.

I tell you, I didn't do it.

Won't anybody believe me?

Give me a break, somebody!

I never had a square deal in my life!

Oh, somebody, somebody give me a break!

(door slams) (rain pattering) (electricity hums) (tense music) (whistling softly) (eerie music) (suspenseful music) (whistling softly) >> Kitty: Johnny, Johnny.

Oh, Johnny, oh, Johnny.

>> Johnny: Lazy legs.

>> Kitty: Johnny darling.

>> Johnny: I'm here, baby.

>> Kitty: Jeepers, I love you, Johnny.

Johnny.

>> Johnny: Lazy legs.

>> Kitty: Jeepers, I love you, Johnny.

(suspenseful music) >> No.

(Chris breathing heavily) >> Kitty: Oh, Johnny, now we're together.

>> Johnny: Yes.

(chuckles) He killed me, too, Kitty.

>> Kitty: He brought us together, Johnny, forever.

>> Kitty.

>> Kitty: Oh, you idiot.

How can a man be so dumb?

>> No, Kitty, no.

>> Kitty: You wanted to marry me?

You?

(laughs) >> Johnny: She's mine, Chris.

>> Leave her alone!

>> Mine forever.

>> Kitty: You killed me, Chris.

You're old, and ugly, and you killed me.

You killed me.

>> No, no, Kitty.

It's him.

You were innocent, you were pure.

That's what he killed in you.

He's the murderer.

>> Kitty: No, he's not, not Johnny.

>> Johnny: See, Chris, she loves me.

>> That's why you had to die.

You're the one I killed.

(Kitty laughs) >> Johnny: Now she's mine, Chris.

>> Kitty: You kill Johnny?

I'd like to see you try.

>> Kitty, Kitty.

>> Why, he'd break every bone in your body.

Kitty.

>> He's a man.

>> Kitty!

(Chris breathing heavily) >> Kitty: Johnny, Johnny.

Oh, Johnny, oh, Johnny.

>> Johnny: Lazy legs.

(suspenseful music) >> Kitty: Jeepers, I love you, Johnny.

(suspenseful music) >> There's something wrong in there.

(chair thuds) (doorknob rattles) (heavy pounding on door) (tense music) It's all right, old man.

It's all right.

>> Kitty: Johnny.

Oh, Johnny.

>> Johnny: Lazy legs.

>> Kitty: Jeepers, I love you, Johnny.

(Chris sobbing) (somber music) (gentle music) >> Get up, come on, come on!

Get up, get up!

Oh, it's you.

Haven't I told you to keep out of this park?

You know the mayor's orders.

(gentle music) Get on down to the Bowery where you belong.

Come on, come on.

(somber music) >> Who's that, Rick?

>> He's got a crazy idea he killed a couple of people five or six years ago.

Can't get it off his mind.

Always trying to give himself up.

Wants to be tried and executed.

You know these nuts.

("O Come All Ye Faithful") (engines revving on street) (suspenseful music) (gentle music) >> Well, there goes her masterpiece.

I really hate to part with it.

>> For $10,000 I shouldn't think you'd mind, Mr. Dellarowe.

(both chuckling) (suspenseful music) >> Kitty: Johnny.

Oh, Johnny.

>> Johnny: Lazy legs.

>> Kitty: Jeepers, I love you, Johnny.

(dramatic theatrical music)