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00:00:00When you hear the chimes, the hour will be 7 o'clock.
00:00:03For your entertainment, Grant Murdaugh, the clarion voice of the air, will sing a group of songs.
00:00:08Norman Wilder at the piano.
00:00:09Out where the moonbeams greet the morning, someone is waiting patiently.
00:00:36Out where my ship of dreams is sailing, over a calm, romantic sea.
00:00:52And when the distant blue horizon beckons to me, I know I'll be.
00:01:09Out where the moonbeams greet the morning, someone is waiting patiently.
00:01:14Out where the moonbeams greet the morning, someone is waiting for me.
00:01:21I'm going.
00:01:22Deliver these while Grant Murdaugh is still broadcasting, or I'll lose his trade.
00:01:24Step on it.
00:01:25Ah, the big sissy.
00:01:26Grant Murdaugh singing, Tell Me Once More.
00:01:32Grant Murdaugh.
00:01:47My big moment.
00:01:49Grant Murdaugh, huh?
00:01:51He's every woman's big moment.
00:01:53I spoke to him in the hall only yesterday, when he was going up to Norman Wilder's studio.
00:02:00We talked.
00:02:01We've been nodding to each other as we passed for months.
00:02:05And now these.
00:02:06Stick to your modeling, girlie.
00:02:11I remember him two years ago.
00:02:13A big, beautiful animal, posing in the life class at the Art League, and later for Coleraz.
00:02:19And now he gets 1,500 every time he sings.
00:02:23And you're telling me to stick to my modeling?
00:02:27Tell me you want me to end me completely.
00:02:43Raise my eyes and raise my voice.
00:02:50So that I say...
00:02:55Are you still selling cigarettes, sister?
00:02:57Or some man crowned your Queen of the Mates?
00:02:59No man has crowned me yet, brother.
00:03:01I live in hope.
00:03:07Thanks.
00:03:08You're welcome.
00:03:10Hey, sweet pea.
00:03:11Give us a look, will you?
00:03:12Give us a look.
00:03:13Yes, sir.
00:03:14It's from the sap lefty.
00:03:15I'm singing to you now.
00:03:16It's not so bad.
00:03:17Oh, don't take it like that.
00:03:18It's from the sap lefty.
00:03:19I'm singing to you now.
00:03:21Oh, don't take it like that.
00:03:22The only difference between Elsa's racket and ours is...
00:03:26She gets the flowers.
00:03:27Why, she can still smell them.
00:03:28Them and them flowers.
00:03:29What?
00:03:30No use tipping your hand.
00:03:31I told the boss not to put her on this job.
00:03:32Elsa don't care for nobody but you lefty.
00:03:33It's from the sap lefty.
00:03:34And the first one eye will be careful.
00:03:35I've never seen it.
00:03:36I'm singing to you now.
00:03:37Oh, don't take it like that.
00:03:38The only difference between Elsa's racket and ours is...
00:03:39She gets the flowers while she can still smell them.
00:03:42Give me them flowers.
00:03:43All right, what's that?
00:03:44Well, don't take it like that.
00:03:46But what's that?
00:03:51smell them give me them flowers no use tipping your hand i told the boss not to put her on this
00:03:57job ah elsa don't care for nobody but you lefty take them in yes does that look like i've fallen
00:04:09down i'm moving in tomorrow first my suitcases then in go the trunk i'm going to marry grant
00:04:14murdoch there flowers from him bring them here minnie yes ma'am does these look like i've fallen
00:04:20down sends me a box every night he used to send flowers to other women but i could have stopped
00:04:26to that i made him promise he wouldn't even give an autograph to anyone but me look at this card
00:04:32i'm singing to you now singing to me others are listening in millions of women but he's
00:04:39singing only to me does that look like joe why don't you say something
00:04:50give me more time joe ike bergen fell down listen joe minnie yes get out yes
00:05:02you've lost your head you've fallen for this crooner he's not a crooner he's got the swellest voice
00:05:08ever heard on the radio anyway the first time i ever fell for anyone except lefty and joe the
00:05:15harder i fall the better i work you've had a month already and you haven't gotten rid of murdoch's
00:05:20manager that's all that interests me bergen had more than a month and you told him he could offer
00:05:25wilder 50 grand then a hundred grand to fit out of the picture and what happened wilder just laughed
00:05:30at ike that's why i put you in i told you the beer racket is out this is a new racket if you give me
00:05:37more time listen joe you listen there isn't any more time to waste at the end of this week wilder
00:05:44will be signing new radio contracts for grant murdoch i got contracts all drawn up i got a new manager
00:05:50to take wilder's place i even got a new piano player half a million a year to be split up and you've fallen
00:05:58down joe you've got to listen that question mark of a manager's got a hold on grant he's got him
00:06:03hypnotized why i'm not imagining things why he's even got the run of his apartment and grant's afraid
00:06:08to ask him for the key he's scared a wilder he won't be scared a wilder after tonight but you're out
00:06:14what do you mean your cut goes to an old friend of yours he's in there waiting who you mean joe not
00:06:23lefty morris oh joe you can't do that lefty knows i've fallen for grant you kill him that's only knows how
00:06:28to do is just kill and kill i'm not killing the goose with a golden voice lefty will do your job
00:06:35he'll get rid of murdoch's manager but i'll trace it to you joe to me i can't help it if he gets bumped
00:06:41off accidental in a gang fight can i anyway you're out of it i'm glad i'm out of it but i'll get a bigger
00:06:49cut i tell you i'm going to marry grant murdoch get down to the radio building you can pick him up
00:07:00there step on it
00:07:03you just go ahead and marry that singing man and laugh at them all and when mr murdoch sees you
00:07:20in this dress he'll be dead in an hour oh that's just because you so emotional i'm poisoning no you
00:07:29ain't poison you just that away he'll be through singing in no time miss elsa you better get dressed
00:07:36if you're going to meet him all right now that's a girl
00:07:47i just can't get it through my head how that singing comes
00:08:17i just can't get it through my head when it comes through the sky
00:08:21sing to me
00:08:28out where the moonbeams green
00:08:31sing to me to the night
00:08:35someone is waiting
00:08:42out where my ship of dreams
00:08:47is
00:08:49is
00:08:58is
00:08:59is
00:09:01is
00:09:05is
00:09:07is
00:09:09I'll be out where the moonbeams greet the morning, greeting the one who waits for me.
00:09:39You have just heard Grant Murdock in a group of songs, accompanied by Norman Wilder.
00:09:44This concludes the Murdock broadcast, which will come to you twice a day during the anniversary week through the courtesy of the Radio Advertisers Association.
00:09:53Grant Murdock will be on the air again at 4 o'clock tomorrow afternoon and 7 o'clock tomorrow evening.
00:09:59Please stand by for station announcements.
00:10:09Oh, I'm putting in a new song tomorrow afternoon.
00:10:20I'll coach you in it tonight and tomorrow morning.
00:10:23Say, I've got to have some time to myself.
00:10:25We put in a new song last week.
00:10:39A lot depends on whether I can see Mr. Wilder tonight.
00:11:01Tell him I'll only take a minute or two of his time.
00:11:03I'll fix it.
00:11:04Just as soon as he finishes sorting Mr. Murdock's fan mail.
00:11:07Do you want an audition?
00:11:08No.
00:11:09But I do want to talk to him about my voice.
00:11:11Just leave it to me.
00:11:12I'll take care of it.
00:11:13He's a regular guy.
00:11:15Not like that.
00:11:16Say, when all the dames are gaga about a guy, there's usually something the matter with them.
00:11:21There you are.
00:11:22Thank you so much.
00:11:23Bye.
00:11:24Bye.
00:11:25Bye.
00:11:26Wait here till I come back.
00:11:29I'll tell Mr. Wilder you've got a swell voice, just like a canary.
00:11:33Oh, you won't let me down, will you?
00:11:35You can sing, can't you?
00:11:37Oh, yes.
00:11:38I can sing.
00:11:39Okay.
00:11:44Hello.
00:11:45Hello.
00:11:46Working girls smile at last rewarded.
00:11:49Wearing them, I say.
00:11:50That means dinner with me Wednesday night?
00:11:52Uh-huh.
00:11:53Even if I have to rob the cash register for a new dress.
00:11:56Let me send you a new dress, together with an overnight case, prettily fitted out.
00:12:11Are you sure?
00:12:13All right.
00:12:15Just dinner then, wherever you say.
00:12:17A soup kitchen with you would be the rich to me.
00:12:20Rich it is.
00:12:21Wednesday night?
00:12:22You bet.
00:12:23Okay.
00:12:24Okay, darling.
00:12:25Bye-bye.
00:12:26Bye-bye.
00:12:27Oh, Sandy.
00:12:28Tell Mr. Wilder I'll rehearse that new song in his studio tomorrow morning.
00:12:42I have engagements tonight.
00:12:43Oh, Sandy.
00:12:44Tell Mr. Wilder I'll rehearse that new song in his studio tomorrow morning.
00:12:47I have engagements tonight.
00:12:48Hi, Jake.
00:12:49Hi, Sandy.
00:12:51How's it about?
00:12:52Everything's good?
00:12:53All right.
00:12:54Good morning, Mr. Wilder.
00:12:55I'll rehearse that new song in his studio tomorrow morning.
00:12:56I have engagements tonight.
00:12:57Hi, Jake.
00:12:59Hi, Sandy.
00:13:00How's it about?
00:13:01Everything's good.
00:13:02Hi, Jake.
00:13:16Hi, Sandy.
00:13:17How's about it?
00:13:18Everything is great.
00:13:19Where's that little blonde in your head, doesn't it?
00:13:21Oh, next to Kraken.
00:13:32Lefty Morris.
00:13:34And Poison.
00:13:42With a couple strong-armed guys.
00:13:44Looks like somebody's going for a ride.
00:13:48Say, it just comes to me.
00:13:51The big shot Murdoch is running around with that dame that Lefty used to go with.
00:13:55Couple nickels, sweetheart.
00:13:57We got time, I'll roll you for the cigar as soon as I phone.
00:13:59All right.
00:14:03Here you are.
00:14:06Say, wasn't that the big radio singer just pulled out in that swell car?
00:14:10Sure was.
00:14:11Has manager come down yet?
00:14:12No, not yet.
00:14:13Thanks.
00:14:21Hi, Nancy.
00:14:22Hello, Sandy.
00:14:24Say, what guy sent you them cabbages?
00:14:27And who wants to know?
00:14:28Me, Sandy Higgins.
00:14:30Oh, Nancy, tell me who sent them.
00:14:32So I can bust him in the nose.
00:14:34By myself.
00:14:36Oh, no girl bought flowers for herself.
00:14:38Oh, no?
00:14:39Well, get wise, big boy.
00:14:41They all do.
00:14:42They pay for them anyway.
00:14:44Oh, fooling, Nancy.
00:14:45Tell me who sent them.
00:14:47Was it him?
00:14:50What does he want around here, anyhow?
00:14:52Nothing.
00:14:52Just wanted to know if Mr. Murdoch's manager has come down yet.
00:14:56What, my boss?
00:14:57Uh-huh.
00:14:57Uh-huh.
00:15:04Uh-huh.
00:15:08Okay.
00:15:18Good.
00:15:19I understand.
00:15:29You don't want to make sacrifices unless your voice justifies them.
00:15:32I don't want others to make sacrifices.
00:15:37Tell me, how long have you studied voice?
00:15:40Since I was 16.
00:15:41Even before that.
00:15:43But I don't want to continue unless I can reach the top.
00:15:46Well, it isn't an easy matter to reach the top.
00:15:50But it is simple to test your voice.
00:15:52Now, I have an appointment for Mr. Murdoch this evening.
00:15:55But if you'll tell me where I can get in touch with you.
00:15:58You're very, very kind, Mr. Wilder.
00:16:00Well, not at all.
00:16:01I'm very, very interested.
00:16:03You have an unusual quality in your speaking voice.
00:16:07I think we could make the test tomorrow morning.
00:16:09I hope you can.
00:16:11Tomorrow I have to decide which way I'm going.
00:16:14I've reached a crossroad.
00:16:16Crossroads.
00:16:19Each day, hundreds of letters come to Mr. Murdoch.
00:16:24These are love letters.
00:16:27Mash notes.
00:16:28The secretary answers those.
00:16:30These, I answer.
00:16:33They are from people
00:16:35whom, as you express it,
00:16:37have reached the crossroads.
00:16:40Some of them have even taken the wrong turning.
00:16:42And this broadcast has made them pause.
00:16:46This is from a man in prison.
00:16:48A criminal.
00:16:49Well, all of us commit crimes, so perhaps all of us are criminals.
00:16:54That man has the same emotions as you or I.
00:16:58This is from a woman who is dying.
00:17:00She asks for a particular song.
00:17:03It will be sung tomorrow afternoon.
00:17:06There are not more than eight or ten of these a day.
00:17:09But each one contains a heartening phrase
00:17:11that every musician should strive for.
00:17:13Each says in his own language,
00:17:19it's as though you were singing directly to me.
00:17:22It would be wonderful to have such a voice.
00:17:24The voice is merely an instrument
00:17:26to reach people who one must have sympathy.
00:17:30The realization that every person in the world
00:17:33is a human being.
00:17:34Whether it's a king on his throne
00:17:36or a cripple on the street corner.
00:17:40You know,
00:17:42we're all of us very nearly alike.
00:17:46I shall always remember what you've said.
00:17:48Goodbye, and thank you, Mr. Aradine.
00:17:55Goodbye.
00:17:58Say, boss,
00:17:59you got any business with a guy named Lefty Morris?
00:18:02Mr. Morris, Sandy, who's he?
00:18:03He's Joe Maestro's rod man.
00:18:05Rod man?
00:18:06Death, boss.
00:18:07Guns.
00:18:08He's downstairs, waiting for you.
00:18:10Well, why didn't you bring him up?
00:18:11Bring him up?
00:18:13Why, boss, he bumps people off.
00:18:14Croaks them.
00:18:15Kills them for Joe Maestro.
00:18:16Oh, you have fantastic ideas, Sandy.
00:18:20Here, gather up the letters, will you?
00:18:22I have an appointment this evening.
00:18:23No fooling, boss.
00:18:24Tillin is Lefty Morris' business,
00:18:26just the same as music as yours.
00:18:28Very interesting.
00:18:29I'd like to talk to him.
00:18:30I tell you, boss, he don't talk.
00:18:32Ike Bergen did the talking
00:18:33when he offered a hundred grand to buy you off.
00:18:35He's Joe Maestro's mouthpiece lawyer.
00:18:37You just laughed at him,
00:18:38but I told you then they wouldn't stop at nothing.
00:18:40He was very amusing, Sandy.
00:18:42He wanted to manage Mr. Murdoch.
00:18:44It's a racket, boss.
00:18:45Boss, you handle the jack for Murdoch, don't you?
00:18:47Jack?
00:18:48Money.
00:18:49Dough.
00:18:49Listen, boss, if I could play it on the piano,
00:18:51or you could understand the English language.
00:18:54Yes, Sandy, what then?
00:18:55Get this.
00:18:56Lefty Morris and two lookouts
00:18:58are downstairs waiting to take you for a ride.
00:19:00What?
00:19:00I...
00:19:00Yeah, I know.
00:19:01You got your own car,
00:19:03but it ain't that kind of a ride.
00:19:04They want to put you out of the way,
00:19:06bump you off.
00:19:07They want to kill you.
00:19:08But why?
00:19:09Oh, boss, but with you out of the way,
00:19:11they could make a play for the jack
00:19:12that Murdoch draws down.
00:19:14Couldn't they?
00:19:15With me out of the way?
00:19:17Oh, Sandy, you have no idea
00:19:19how laughable that is.
00:19:20Oh, boss, it's nothing to laugh at.
00:19:27Listen, boss.
00:19:31That woman that Murdoch's running around with,
00:19:33she's in it, too.
00:19:35She used to be Lefty Morris' mom,
00:19:37and she's still with the gang.
00:19:39Oh, boss, just this once,
00:19:40do what I tell you, will you, please?
00:19:46Baby, you ain't had a horse on me yet.
00:19:48That only proves that horses
00:19:49are scarcer around here
00:19:50than horses make.
00:19:57Back then, boss.
00:19:59Lefty Morris.
00:20:00Don't laugh him like he was wise.
00:20:04There goes Mr. Wilder now.
00:20:09Swell guy.
00:20:11You get that tip off?
00:20:13Now, boss, do what I tell you.
00:20:28Right through, boss.
00:20:29Jake Turner's tax is back on us.
00:20:30He's a pal of mine.
00:20:34He's a pal of mine.
00:20:52Oh!
00:20:53Oh!
00:20:55Oh!
00:20:56Pull up a long side up.
00:21:23Let him have it.
00:21:26Let him have it.
00:21:31Let him have it.
00:21:36Let him have it.
00:21:50Let him have it.
00:21:53You know, Wilder wanted me to rehearse a new song tonight.
00:22:09Oh, what did you tell him?
00:22:12Told him I wouldn't.
00:22:14You know, you were right, what you said yesterday.
00:22:17I've got to put him in this place and keep him there.
00:22:20Oh, did I say that?
00:22:22I really like the hunchback.
00:22:25Anyway, I'm sorry for him.
00:22:26But you might do better with a manager who could mix with people.
00:22:29And for piano players, you can buy them like bananas in the bunch or by the carload.
00:22:36Pardon me.
00:22:38Oh, hello.
00:22:39Yes.
00:22:41She's here.
00:22:43Some man wants to talk to you.
00:22:45To me.
00:22:50Hello.
00:22:52The hunchback has been bumped off.
00:22:55Accidental in a gang fight.
00:22:57The bulls are apt to come to the crooner's apartment.
00:23:09Say, what man's calling you at my apartment?
00:23:10Oh, it's the manager of the apartment house where I live.
00:23:15I should have moved my things over here this afternoon.
00:23:17My apartment's been robbed.
00:23:19But let's forget about it.
00:23:21Let's go out and make a round of the nightclubs and forget about everything.
00:23:24It's not a bad idea.
00:23:25The hunchback's liable to come here and insist on a rehearsal.
00:23:29I'll get that key away from him first thing tomorrow.
00:23:32Why do you keep talking about that hunchback?
00:23:34You're right.
00:23:35I hate him, too.
00:23:37I don't hate him.
00:23:38I don't hate anybody.
00:23:40I'm in love with you.
00:23:42Oh, Grant, for the first time in my life, I'm really in love all the way through.
00:23:49You know, don't get on your things.
00:23:51We'll go out and forget about everybody except just us.
00:23:54All right, darling.
00:24:55I told him I'd rehearse that song at your studio tomorrow morning.
00:24:59We're rehearsing it tonight.
00:25:01But I'm going out.
00:25:02I've got engagements.
00:25:03Come on, Grant.
00:25:05Don't let that hunchback tell you where to get off.
00:25:08Aside from the necessity of rehearsing,
00:25:10it might be as well if you chose your company a little more carefully.
00:25:14Are you trying to tell me who I can go with?
00:25:16Merely cautioning you.
00:25:17I don't want to take the time to create another celebrity.
00:25:24Incidentally, the car I was supposed to be riding in tonight was riddled with bullets.
00:25:28What?
00:25:28Say, somebody must have thought I was in the car.
00:25:32No.
00:25:35But apparently some of your friends have planned to share in the profits of your voice.
00:25:40The most amusing part.
00:25:43Why is he staring at me like that?
00:25:45He's crazy.
00:25:46Don't listen to him, Grant.
00:25:47He's trying to come between you and me.
00:25:49Come on.
00:25:51His mind's as twisted as his body.
00:25:52I'll be at your studio first thing in the morning.
00:26:22I'll enter it.
00:26:34All right.
00:26:38Hello?
00:26:40Oh, yes, Mr. Wilder.
00:26:43Wow.
00:26:46Yes?
00:26:48Mr. Wilder, that would be wonderful.
00:26:50Oh, no, you mustn't bother.
00:26:51A friend of mine, Dr. Brooks, will bring me to your studio.
00:26:55Yes.
00:26:56Goodbye.
00:26:58Bob.
00:26:58Yes?
00:26:59Mr. Wilder's going to try my voice.
00:27:01Now, in half an hour, at his studio.
00:27:03But you don't have to have a crooner as the company will tell you whether you have a voice or not.
00:27:07Grant Murdock isn't a crooner.
00:27:08He has the finest voice singing on the radio.
00:27:10But, Laura, can't we decide this for ourselves?
00:27:13Listen.
00:27:14Well, you had soap on your hands.
00:27:16No, I'll take that job as doctor on the ship.
00:27:19Then we'll make a six-month honeymoon of this cruise.
00:27:23You can come back to your music, and I will have saved enough money to hang my shingle out in front of my own office.
00:27:29Oh, gee, honey, everything will be swell.
00:27:31That's what I really want to do, Bob.
00:27:33But first, let's go to Mr. Wilder's and see what he has to say.
00:27:36Well, all right.
00:27:39Maybe I should give up all thought of a career.
00:27:42Oh, no, don't do that.
00:27:45Well, you go finish the dishes while I change my dress.
00:27:47We've got to hurry.
00:27:49Well, all right, but don't forget to leave the door open so we can talk.
00:27:52I won't look.
00:27:53Well, if you didn't, I'd never forgive you.
00:27:57Oh, the soul can be known
00:28:04To which I will
00:28:08But may be more dear
00:28:14Know the heart that...
00:28:20Hello, George.
00:28:22I have soup, a cabbage, some sugar, but no coffee, no bread, no butter.
00:28:27Well, we have some coffee and a ham hock.
00:28:29We'll cook it with a cabbage.
00:28:30Fine.
00:28:30And crackers and cheese.
00:28:32That's plenty.
00:28:33That's a bottle.
00:28:34I'm glad.
00:28:37Just listen to that woman's voice.
00:28:41Norman Wilder certainly can pick talent, Andy.
00:28:45Beth!
00:28:46What's in those bundles?
00:28:47They're radios.
00:28:49You've sold something.
00:28:50What a lovely voice.
00:28:53Oh, yes, I did.
00:28:54I sold my mouth to peace for $8.
00:28:56They said they'd use the design for a wallpaper.
00:29:00Come on.
00:29:01Come on.
00:29:11I'd like to try the range of your voice again.
00:29:13But first tell me, what is the sacrifice you must make in order to keep on with your music?
00:29:19Well, you see, Mr. Wilder, I, uh, we...
00:29:21She was thinking of me, Mr. Wilder.
00:29:24Oh, I understand.
00:29:26The question of a career or a marriage?
00:29:29There's a little more to it, but that's about the case.
00:29:31You see, we're both poor and...
00:29:33In love.
00:29:34If I could go into some kind of business, then Laura could have both marriage and a career.
00:29:41More doctors and sick people anyway.
00:29:43That's absurd, Mr. Wilder.
00:29:44Bob worked his way through college and medical school, and he served his internship.
00:29:48Now he's been offered the position of ship's doctor on a long cruise.
00:29:51He'll be able to save enough money to open his own office.
00:29:53Even if there were no question of money, music is a zealous master.
00:30:00So is love.
00:30:02It's up to you, Mr. Wilder.
00:30:03It all depends on what you think of her voice.
00:30:16She has as true a voice as I've heard in years.
00:30:19But if she wants to reach the top, the concert or the operatic stage, someone will have to make sacrifices.
00:30:28You mean that if Laura's voice is properly trained, she'll become famous?
00:30:33Yes.
00:30:34But no great singer can serve two masters.
00:30:39You can't mean that...
00:30:41That Bob and I...
00:30:44But you don't know how much we love each other.
00:30:46She's going on with her music.
00:30:48Well, that is for you two to decide.
00:30:52If you come back at noon, Miss Hamilton, tomorrow, I shall know that you've decided on a career.
00:30:58Then we can plan your future.
00:31:10There's nothing to cry about.
00:31:12You're going to be the world's greatest singer.
00:31:14But Bob...
00:31:15Oh, now come on, stop it.
00:31:17Well, you'll have me crying in a minute.
00:31:20Come on, we'll talk this thing out ourselves, huh?
00:31:23Come on.
00:31:24Since you're learning from May.
00:31:28You're learning from May.
00:31:29I sang.
00:31:30You're learning from my style...
00:31:31I'm going to learn from my story.
00:31:41I'm using Cliff, but I'm selecting my thoughts so that I can do all the work.
00:31:46I don't know.
00:31:46The End
00:32:16The End
00:32:46I'm sorry
00:32:52How can I prove
00:33:00How can I prove
00:33:06How can I prove
00:33:10How can I prove
00:33:16How can I prove
00:33:18How can I prove
00:33:20How can I prove
00:33:30How can I prove
00:33:32How can I prove
00:33:36All right, now then
00:33:38Now let's try again
00:33:39From here
00:33:40How can I help you
00:33:47Forgive and forget
00:33:51I can't go on without you
00:33:59Life is a sad affair
00:34:05How can I prove
00:34:11How can I prove
00:34:13How can I prove
00:34:15How can I prove
00:34:21How can I prove
00:34:23How can I prove
00:34:25How can I prove
00:34:31You seem to have a sick diaphragm
00:34:36now come here and watch me closely I've been watching you closely as I have
00:34:45repeatedly told you your mouth must absolutely be timed with my voice do you
00:34:53want the whole world to know that you're a dummy who's gonna tell the world
00:34:56nobody but you and I and Robertson know anything about it yes only you and I
00:35:01and Robertson know about it but any musician could tell at a glance that
00:35:04you're not vocalizing well I don't think you're saying that song so good anyway
00:35:08no better than my expressions you can go now I have a pupil coming at 12 o'clock
00:35:25oh I forgot to ask at the studio how many families I got yesterday about 850
00:35:30mmm biggest man I got this month I congratulate you thanks I'll see at the
00:35:37broadcasting station yeah
00:36:00oh I'm so sorry it's my fault
00:36:15the mirror is broken may I have it fixed for you oh thanks you mustn't travel
00:36:23are you the pupil my manager expected at noon
00:36:26yeah I should like to hear you sing I'm afraid I couldn't think for you mr.
00:36:31Murdoch I'd be too frightened you know my name yes what is the initial LH stand for
00:36:38Laura Hamilton what a pretty name thank you I'll have this mirror fixed a new one put in
00:36:45you're not superstitious I'm not sure perhaps I am well I'm not let me keep this
00:36:52vanity case and prove it'll bring me luck just such things inspire me in my work
00:36:56and at payment I'll sing for you at this afternoon's broadcast any song you like I
00:37:03like all your songs mr. Murdoch but for a special reason you see I just told
00:37:09someone goodbye oh well then you'd like me to sing goodbye yes goodbye it's the
00:37:14loveliest of all your songs well thank you and there I'd like to have your phone
00:37:19number and perhaps I might be instrumental in getting you an audition or something
00:37:24thank you Chelsea one one eight oh eight
00:37:49so dr. Brooks is sailing at midnight
00:38:02well I'll bring you back from the dock after you've said goodbye to him if I may
00:38:19Bob doesn't want me to come to the boat both of us would weaken but when he
00:38:24comes back in six months but I said I wasn't even going to think of such things
00:38:29just music this cruise meant a great deal to you didn't it we planned on it as a
00:38:38honeymoon and I'm to blame for spoiling your plan no both of us appreciate that
00:38:44you're doing a marvelous thing for me Bob said to tell you he's leaving me a tally in
00:38:48your charge
00:38:49then let me make a suggestion we invariably do all of our thinking in our
00:38:59dreaming in the language which we know and like the best so should it be with
00:39:05music one should actually think and dream in music to the musician the world should be an
00:39:14orchestra sometimes playing harmoniously sometimes discordantly just now I looked
00:39:22out of the window you were saying goodbye to dr. Brooks although in a minor key that was harmonious
00:39:29then I wondered what was delaying you I went and looked out into the hall you
00:39:36were talking to mr. Murdoch that was discordant I was crying but mr. Murdoch
00:39:44kindly said he'd think for me this afternoon any song I should select which song did you
00:39:50select goodbye mr. Murdoch sometimes makes promises which he cannot fulfill he promises to
00:40:01sing to many women but mr. Wilder he has such depth of feeling in his voice I can't believe he
00:40:07shallow sometime we'll talk more about him at the moment it's enough to say that the afternoon
00:40:18program is already made up mr. Murdoch will not be able to sing for you the
00:40:23song he promised now now come shall we do some scales well the moonbeams greet the morning
00:40:37someone is waiting
00:40:39someone is waiting patiently
00:40:44out where my ship of dreams is sailing over a calm romantic sea and when the distant blue horizon
00:41:04the new horizon beckons to me
00:41:09beckons to me
00:41:11I know I'll be
00:41:15out where the moonbeams greet the morning
00:41:23greeting the one who waits for me
00:41:42this concludes the special afternoon broadcast of the radio advertiser's anniversary program
00:41:48grant Murdoch will be on the air again this evening at seven o'clock
00:41:51Norman Wilder at the piano
00:41:53I asked you to put in goodbye as a final number
00:41:56I had a special reason for singing it
00:41:58I had a special reason for not singing it
00:42:01I had a special reason for not singing it
00:42:18so what are you doing with my letters
00:42:21just today I realized what I have done in giving you money and fame
00:42:26I put before the public a splendid dummy so that people wouldn't have the vision of my distorted body when they heard my voice
00:42:32your voice
00:42:33where were you and your voice before you got a hold of me
00:42:35people laughed as soon as you opened your mouth
00:42:37it's my personality that's put this act across and brings in the money
00:42:41neither the fame nor the money mattered
00:42:44my voice is reaching millions
00:42:49today it was brought home to me that you have abused the prestige I have given you
00:42:53you've given me
00:42:54it's me that people talk about
00:42:57say if you want to know how much your voice has to do with it
00:43:00you've got it in front of your eyes
00:43:02five or six letters a day while hundreds come from the old to admire me
00:43:05now get this
00:43:07you keep your nose out of my personal affairs or I'll slap you down
00:43:13Murdoch
00:43:14keep away from Miss Hamilton
00:43:16Miss Hamilton
00:43:17oh yes
00:43:19the young lady you met in my hall
00:43:21leaving my studio this morning
00:43:23oh so that's it
00:43:24you're falling for her
00:43:26that's funny
00:43:28say Wyler have you ever taken a good look at yourself in the mirror
00:43:32that's beside the point
00:43:34remember you have nothing to do with Miss Hamilton
00:43:36she differs materially from your type of woman
00:43:39she has talent and it's been placed in my charge
00:43:42stay away from her
00:43:44you interest me in this dame
00:43:46fact is as soon as I
00:43:49laid eyes on her I was interested
00:43:51whom are you telephoning to?
00:43:54that's my business
00:43:57hello
00:44:07Miss Hamilton
00:44:08this is
00:44:09this is Grant Murdoch
00:44:12I didn't sing goodbye to you this afternoon because I didn't want to sing it to several million people
00:44:16I'll sing it to you this afternoon at my apartment
00:44:19oh and say I heard several complimentary things about you from my manager
00:44:25yes
00:44:27five o'clock
00:44:29all right
00:44:30well she's coming to my apartment to hear me sing
00:44:35well I never had to sing for one yet
00:44:42just passed Mr. Murdoch in the hall looked like he was in a hurry
00:44:58what's the matter boss?
00:45:00say he done something to you
00:45:02well boss there's a mark on your face
00:45:05did he hit you?
00:45:06did Murdoch hit you?
00:45:08why the dirties
00:45:10are you all right boss?
00:45:15I won't need you anymore today Sandy
00:45:17you can go now
00:45:32so
00:45:34hey
00:45:35I don't want that you
00:45:37don't know
00:45:38I don't want that you
00:45:39can be clear
00:45:40I don't want that you
00:45:41don't know
00:45:42but I've thought you love it
00:45:43we will put it in a house
00:45:44it's easy
00:45:45so
00:45:46all right
00:45:47well
00:45:49yes
00:45:50yes
00:45:51yes
00:45:53yes
00:45:55yes
00:45:57yes
00:45:59yes
00:46:00So, let's go.
00:46:30I don't know.
00:47:00so you were through with all women that's what you said last night that's what you promised
00:47:18again this morning so where'd you find that where do you suppose in your pocket yes in
00:47:23your pocket well put it down and get out so you think you can move me in before breakfast and
00:47:34throw me out before dinner well I'm not getting out not for any woman so what are you going to do
00:47:49about it what am I going to do about it well just this grant grant you said we were going to be
00:47:59married I love you I'm not going to let you do this to me married say get out and get out quick
00:48:06I got a deal well are you going to get out no
00:48:19are you going to get out or do I have to throw you out I'll go
00:48:49give it an apartment
00:49:09I'm not going to be here
00:49:22I'm not going to be here
00:49:25I'm not going to be here
00:49:27but I'm not going to be here
00:49:30as well
00:51:34Give me the police.
00:54:23Do you mean to say you've never been here before?
00:54:26No.
00:54:28Then how did this get here?
00:54:30Oh, Mr. Murdoch was going to have it fixed for me.
00:54:32I broke the mirror this morning.
00:54:33Dropped it outside your studio.
00:54:35Oh, yes.
00:54:46Oh, yes.
00:54:46Oh, yes.
00:54:47Oh, yes.
00:54:48Oh, yes.
00:54:51My dear, my dear, my dear, my dear, you must take it and go away at once.
00:54:56Mr. Murdoch isn't here.
00:54:58You must never tell anyone you came to his apartment.
00:55:00But why?
00:55:02I nearly came to...
00:55:03What's happened to him?
00:55:16What's happened to him?
00:55:17What's happened to him?
00:55:18Mr. Murdoch's been shot.
00:55:19Mr. Murdoch's been shot.
00:55:23He's dead.
00:55:25Mr. Murdoch is dead?
00:55:27Who killed him?
00:55:32I don't know now who killed him.
00:55:35But you must leave at once.
00:55:37I telephoned the police that I killed him.
00:55:41You telephoned the police that you...
00:55:43I came here to kill him.
00:55:46I bought a pistol and I came here and I found this.
00:55:51Murdoch was in there dead.
00:55:53And this and your vanity case lying on the floor beside him.
00:56:00You thought I'd been here.
00:56:02Did you think I had...
00:56:05Listen.
00:56:08So that's why you told the police you did it?
00:56:11Let's go at once.
00:56:16But they mustn't find you here.
00:56:18Later you can clear yourself.
00:56:19You can tell them someone else telephoned the police.
00:56:21Please go quickly.
00:56:22You mustn't be seen with me.
00:56:23You'll leave as soon as I've gone?
00:56:24Yes.
00:56:25I'll be at my apartment.
00:56:26You'll hear from me.
00:56:28I can hear from him.
00:56:33convin me,
00:56:35I'll be at my apartment.
00:56:37I can hear from her.
00:56:38If you'd like this one stone in real time...
00:56:40the dog has a display of this.
00:57:11Don't let anyone in or out.
00:57:13A couple of you go around the back there.
00:57:41Bring it in.
00:57:46All right.
00:57:47I'm sorry.
00:57:48I'm sorry.
00:57:49I'm sorry.
00:57:50I'm sorry.
00:57:51I'm sorry.
00:57:52Got him to the heart.
00:58:13Never mind that.
00:58:14Search the rest of the apartment.
00:58:22There he is up there.
00:58:34Come on down over there.
00:58:38Come on down.
00:58:52Come on down.
00:59:22Come on down.
00:59:52You must have jumped down off that roof.
00:59:54Yes, Lieutenant.
00:59:54The blood stopped right here.
00:59:56Yeah, come on.
01:00:01You couldn't get him yourself.
01:00:03So you put him where we couldn't get him.
01:00:06I lost my head.
01:00:07I was jealous.
01:00:08He was going to throw me out of his apartment.
01:00:10He was going to...
01:00:11Well, you double-crossed me.
01:00:12Now you want me to help you make your getaway.
01:00:15Well, I got a passport.
01:00:17All I need is a grand.
01:00:18Have a heart, Joe.
01:00:20It's the first time she's ever muffed.
01:00:22Besides, that fluke ought to have been killed.
01:00:25Give her the jack and count it out of my pile.
01:00:29You mean it, Lefty?
01:00:30Oh, I don't think I'm falling for you again.
01:00:32Say, it's worth a grand to know that fluke won't ever sing no more.
01:00:36What time does that boat leave?
01:00:38Midnight.
01:00:38When you hear the chime, the hour will be exactly 6.45.
01:00:51Please stand by for a special announcement.
01:00:54A bulletin just received from police headquarters
01:00:56tells us that Grant Murdock,
01:00:58who for nearly a year has broadcast from this station,
01:01:00was shot through the heart shortly after his afternoon broadcast.
01:01:03The shooting occurred in Mr. Murdock's apartment.
01:01:06If you'll stand by, I'll try to get further news.
01:01:14What's the matter, honey?
01:01:16You don't seem very glad to see me.
01:01:18I wanted to see you once more before I say it.
01:01:20The most terrible thing has happened, Bob.
01:01:22I was there.
01:01:24What? Where?
01:01:25In his apartment.
01:01:26Grant Murdock's apartment.
01:01:28Just after he was killed.
01:01:30In Grant Murdock's apartment?
01:01:31A city press bulletin has just been received
01:01:36saying that Norman Wilder,
01:01:39the manager and accompanist of Grant Murdock,
01:01:42after confessing over the telephone that he'd killed Murdock,
01:01:45attempted to escape from the apartment.
01:01:47He was fired on and wounded, but is still at large.
01:01:50Please stand by.
01:01:51Mr. Wilder's been wounded.
01:01:53Bob, he didn't do it.
01:01:54I'll tell you all about it.
01:01:55Oh, come, come, come, darling.
01:01:57Sit down.
01:01:57Don't upset yourself like that.
01:02:01Just think of it.
01:02:02I had a date with Mr. Murdock tomorrow night for dinner.
01:02:05Oh, that little hunchback.
01:02:07I knew he was jealous of Mr. Murdock's voice.
01:02:10I just knew it all the time.
01:02:11That's so.
01:02:12Uh-huh.
01:02:15Say, did you hear the news?
01:02:17Grant Murdock's been killed.
01:02:18Murdered.
01:02:19You're telling me.
01:02:20I was dressing to go out to dinner with him.
01:02:22You dress and everything.
01:02:23Why do such things have to happen to me?
01:02:26Yeah, but did you know that Norman Wilder killed him?
01:02:29I knew he'd do it.
01:02:30After that, he went and confessed to the police.
01:02:32Oh, never mind that.
01:02:33Go on upstairs and get the remains of that ham, hawk, and cabbage.
01:02:36Go on.
01:02:36I know, but we've got to eat.
01:02:38Go on.
01:02:38Go on.
01:02:49Go on.
01:03:19I'm telling you, Lieutenant.
01:03:20I'd have croaked Murdock myself for hitting that hunchback.
01:03:22Say, he's a swell guy.
01:03:25I'd take the rap for him.
01:03:26Stick to the facts.
01:03:28Well, that's all there is then.
01:03:30I ain't seen either Murdock or Mr. Wilder since they left the broadcasting station.
01:03:35All right, Sandy.
01:03:37You can go.
01:03:38Thanks.
01:03:47Stay on his trail.
01:03:49He may lead you to Wilder.
01:04:00Okay, Glenn.
01:04:00I'm all ready with the substitute number for the Murdock broadcast.
01:04:03Fine.
01:04:07Gee, it gives me the willies waiting for seven o'clock.
01:04:10Sort of creepy, eh, Jimmy?
01:04:12I guess it gives us all that.
01:04:20Who's in Murdock's room?
01:04:21Nobody.
01:04:22All the doors are locked.
01:04:24Glenn.
01:04:25The signal has just come from Murdock's room.
01:04:27Hey, that's funny.
01:04:28You better stall until I investigate.
01:04:30Yeah, sure.
01:04:30What's the matter now, Thornton?
01:04:32The usual signal has just come from Murdock's room.
01:04:34The ready signal.
01:04:35I'm investigating.
01:04:36Your instructions are to keep out of Murdock's room.
01:04:39I'll investigate.
01:04:40Sound the chimes for Murdock at seven o'clock and be ready to cut in with that mic.
01:04:44But Murdock's dead.
01:04:46Be ready to cut in with that microphone at the usual time.
01:04:50Mr. Wilder made me leave the apartment ahead of him.
01:04:53He said I'd hear from him later.
01:04:54The hour is seven o'clock.
01:04:57We're tolling the chimes for Grant Murdock.
01:05:06That's Grant Murdock's signature song.
01:05:09Norman Wilder must be playing.
01:05:12That's Grant Murdock's voice.
01:05:14But he's dead.
01:05:15I thought he was in my own eyes dead.
01:05:18Bob, I'm fine.
01:05:20Come on, honey.
01:05:21We'll go to the broadcasting station.
01:05:23We'll find out what it's all about.
01:05:29He's dead.
01:05:31I killed him.
01:05:35But that's his voice.
01:05:37Say, what is this?
01:05:38Are you trying to pull a fast one?
01:05:45Either way, she's double-crossed us.
01:05:50Now she's turned yellow.
01:05:52She's liable to squeal.
01:05:57Oh, I know why you're following me, Lefty.
01:06:01But I'm entitled to a break.
01:06:02Anyway until I can find out whether he's still alive.
01:06:04Sure, kid.
01:06:06I'll wait that long.
01:06:07I got a heart.
01:06:09Murdock's singing?
01:06:10Ah, you're crazy, Mac.
01:06:12That guy's been cold for an hour.
01:06:13Am I screwy or am I screwy?
01:06:34Any police broadcast?
01:06:38Go to the radio building in connection with the Murdock murder.
01:06:43Investigate the broadcast now in the air.
01:06:48Shadows are creeping and darkness is near.
01:06:55This is the end of it all.
01:07:00Soon we'll be parted forever, my dear.
01:07:08Promise you'll sometimes recall
01:07:16Just a little lonely, lonesome
01:07:29This is my goodbye to you
01:07:37Just a little thing
01:07:43To help me carry on
01:07:49Just a lonely dream
01:07:55To linger when you're gone
01:08:02Every note is filled with long
01:08:10Every word is sad and blue
01:08:21Hear it whispered
01:08:29Dear
01:08:31I love you
01:08:39This is my goodbye
01:08:47This is my goodbye
01:08:49Goodbye
01:08:51To you
01:08:57I love you
01:09:05I love you
01:09:07I love you
01:09:14I love you
01:09:16I love you
01:09:17I love you
01:09:18I love you
01:09:19I love you
01:09:20I love you
01:09:21I love you
01:09:22I love you
01:09:23I love you
01:09:24I love you
01:09:24I love you
01:09:25I love you
01:09:25I love you
01:09:26I love you
01:09:26I love you
01:09:27I love you
01:09:27I love you
01:09:28I love you
01:09:29I love you
01:09:29I love you
01:09:30I love you
01:09:30I love you
01:09:31I love you
01:09:32I love you
01:09:33Let's go.
01:10:03I was wrong.
01:10:08Love and music are not two masters.
01:10:12I know that now.
01:10:17You must go to him, my dear.
01:10:33I can still hear his voice.
01:10:44To me, he's like a song that's been sung, yet it lives forever in your heart.
01:10:59I can't get that hunchback out of my mind.
01:11:03I wonder who he thought he was taking the rap for.
01:11:08Maybe for that dame that kissed him after he was dead.
01:11:15Well, anyway, he took the rap for me.
01:11:33I can't think so.
01:11:39Don't be afraid.
01:11:39Don't be afraid.
01:11:40Don't be afraid.
01:11:41I may be afraid.
01:11:41I care for that dame.
01:11:42We will understand.
01:11:43Little old old old old old old old.
01:11:44You still suffer as saying because you don't know who's getting hurt, right?
01:11:45I think.
01:11:45You still have never seen the police cars coming after or where it's coming from.
01:11:48I don't think i'll be afraid.
01:11:49anything but there is never used to them.