- 6 days ago
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00:00:00The End
00:00:30The End
00:01:00The End
00:01:30Oh, going home, Ed?
00:01:33Oh, you're not going home, Ed.
00:01:35Yeah, I'm going home.
00:01:36But you ain't been in New York three days.
00:01:38Well, I'll say three days is aplenty.
00:01:40Yeah, I'll say the same.
00:01:42Say, this is a slow town, that's what I say.
00:01:46A slow town.
00:01:47Yeah, there's more doing at home, at the corner of Maine and Elm.
00:01:50I'll say it is.
00:01:51I thought it would be different, too, with all the wickedness and sin you hear tell of.
00:01:56And take this here hotel now.
00:01:58Why, it's like an old folks' home.
00:02:00I'll say.
00:02:01Why, nothing happens.
00:02:02That's a lot of hoey.
00:02:03But nothing could happen.
00:02:05Well, I'm going home where I can get some real excitement.
00:02:09I'll say.
00:02:10Nothing doing here.
00:02:11Well, I'll be seeing you.
00:02:14So long, Ed.
00:02:14So long.
00:02:15Say, you know he's right.
00:02:16I think we ought to be going, too.
00:02:18Yes.
00:02:19See you, Ed.
00:02:20I think we ought to be going, too.
00:02:50Let's go.
00:03:20I've been walking for hours.
00:03:31You've walked to the right place.
00:03:33Now come, sit down.
00:03:35Now tell me all about it.
00:03:37What's your trouble?
00:03:39Well, I lost my purse.
00:03:42All my money's in it.
00:03:43My trunk check and everything.
00:03:45I don't know a soul in the city.
00:03:47And if you don't help me,
00:03:48I don't know where to go.
00:03:50I don't know what to do.
00:03:53Well, we'll see what we can do.
00:03:55Where do you come from?
00:03:59Chicago.
00:04:00I just got in tonight.
00:04:01Oh, what did you do in Chicago?
00:04:04I was just a nursery governess.
00:04:08Well, do you think you can get work for me anywhere?
00:04:10Maybe.
00:04:12What's your name?
00:04:14Martha.
00:04:15Martha Hunter.
00:04:17Just a moment.
00:04:20Hello?
00:04:21Yes, this is the neighborhood house on Rivington.
00:04:24Who's calling?
00:04:26Oh, police headquarters.
00:04:28Yes, we have an employment bureau.
00:04:31What's the name?
00:04:32Mary Hadfield.
00:04:35A stenographer.
00:04:37Just a moment until I look through the files.
00:04:46No, there's no such girl on our list.
00:04:49You're welcome.
00:04:50Bye.
00:04:51Uh, here's a card.
00:05:02You sign here, Miss Hunter.
00:05:03Your name, age, and residence.
00:05:08We have found a big murder.
00:05:17Why, how your hand trembles.
00:05:19You look like you're ready to pass out.
00:05:22We have found a murder at the Beaumont Hotel.
00:05:26Beaumont Hotel?
00:05:29This way, boy.
00:05:33Here you are, lady.
00:05:34Imagine a thing like this at the Beaumont of all places.
00:05:40James Morton.
00:05:42Importer.
00:05:43Killed at 5.30 this afternoon.
00:05:47A woman suspected of the crime.
00:05:49Why, I...
00:05:50Oh, you poor child.
00:05:53Why, I was forgetting all about you.
00:05:55Come now.
00:05:56I'm going to take you right into my room.
00:05:58I'm going to give you a good cup of hot tea.
00:06:01You know, if you get something in your stomach,
00:06:02I'm sure you'll feel much better.
00:06:04Oh, thank you so much.
00:06:05And then we'll find a place for you.
00:06:08And everything's going to be perfectly all right.
00:06:10And now I'm going to take you right here into my room,
00:06:12and you'll make yourself perfectly comfortable and at home.
00:06:22Good evening.
00:06:24Good evening, sir.
00:06:26And what can we do for you?
00:06:28My name's Howell.
00:06:29John Howell of the Evening Journal.
00:06:30I'm a sobby.
00:06:32A sob sister, you know.
00:06:33Howell?
00:06:36Hmm?
00:06:38Hard interstories.
00:06:39Poet and the peasant.
00:06:40The curse of an aching heart.
00:06:42Till the sands of the desert grow cold.
00:06:44And where, oh, where is my wandering boy tonight?
00:06:47If you'll excuse me, you'd better talk to Miss Rose.
00:06:50She, uh...
00:06:52She speaks two or three different languages.
00:06:57Good evening, Miss, uh...
00:06:58I'm a little bit of a town.
00:06:59How do you do?
00:07:00My name's Howell.
00:07:00John Howell.
00:07:01I'm a...
00:07:01You're a reporter.
00:07:03Hunting a human interest story in the neighborhood house.
00:07:05How did you guess it?
00:07:06I know the breed.
00:07:08Used to be a sob sister myself.
00:07:10You did?
00:07:11Until I decided to be something useful.
00:07:13Oh, they're sending a man on this kind of assignment.
00:07:18They generally use women.
00:07:20I guess they figured I could handle it.
00:07:23You see, half my ancestors were women.
00:07:25So, you've come cruising for a story to this harbor of disappointed hopes.
00:07:35Gee, that's a good line.
00:07:36Do you mind if I use it?
00:07:37Not at all.
00:07:39It was always a good line.
00:07:41I used to use it myself.
00:07:45Harbor of disappointed hopes.
00:07:49This isn't so hot.
00:07:51Do you want a job taking dictation?
00:07:53My, what an awful looking hand.
00:07:59How did you get it?
00:08:03I was coming out of Snyder's about three hours ago.
00:08:06You know, right next door to the Cafe Rossimano.
00:08:08And in front of the Rossimano, there was a girl who seemed to want to get into a taxi.
00:08:12Hey, come here, you.
00:08:13Let go of me.
00:08:14Let go of me.
00:08:14Say, look.
00:08:15Let go of me.
00:08:16Come on.
00:08:16Somebody stop that kid.
00:08:18Somebody stop that kid.
00:08:19Somebody stop that kid.
00:08:22I can't get it.
00:08:25Let's have let them see.
00:08:27There he goes.
00:08:27Help me?
00:08:30Oh, help me.
00:08:37Police!
00:08:38Police!
00:08:39Police!
00:08:40Jose!
00:08:40Get in.
00:08:41Get out.
00:08:42You're going to get out of me.
00:08:44Exchange.
00:08:44Get out.
00:08:45Get out.
00:08:46Get out.
00:08:46Get out.
00:08:47And here are the pieces of that gangster's glasses, if you don't believe me.
00:09:00What did the girl look like?
00:09:03She had the kind of eyes you could look into and get a moving picture of paradise.
00:09:08And as for this hand, well, I'll wear it to my grave.
00:09:13A souvenir of her.
00:09:14Oh, pardon me. I beg your pardon.
00:09:20Couldn't you let me have a quarter, sir?
00:09:23I need more ink to finish Mr. Clavering's work.
00:09:30Why, sure. Here. Get yourself a bucket full.
00:09:34Oh, thanks. Thanks awfully, sir. Thank you.
00:09:37There's your human interest.
00:09:45That old fellow used to be a professor of languages in one of our big universities.
00:09:49Until Drink got him down.
00:09:51Now he makes a living translating for Mr. Clavering.
00:09:55Clavering?
00:09:56Winter Clavering?
00:09:57You mean Little Nemo?
00:10:00I mean the man that writes the famous crime stories.
00:10:03Yes, yes, I know. Our paper runs his stuff.
00:10:05We call him Little Nemo.
00:10:07He's full of theories about catching criminals.
00:10:09But they're all the wrong theories.
00:10:11He always connects when it comes to helping people.
00:10:14And your Little Nemo just about supports the neighborhood house.
00:10:18Well, well, well, where's that stenographer you promised me?
00:10:21Where's that stenographer?
00:10:22You said you'd have her here.
00:10:25Now, Mr. Christopher, where's that stenographer you promised me to take my stories from dictation?
00:10:30This girl's got to live in my house.
00:10:32Be ready when the inspiration moves me.
00:10:34Sometimes she won't get out for a week.
00:10:37Can't do it myself.
00:10:40Bad hand.
00:10:41Bad eye.
00:10:42Bad liver.
00:10:44Fresh.
00:10:45I think our Miss Taylor would suit you.
00:10:48She's been with us on and off for a year.
00:10:51I'll go see if she feels strong enough to see you.
00:10:54Strong enough?
00:10:55Has she been sick?
00:10:57I don't want a nailing woman.
00:11:00I had one.
00:11:01Every time I'd come to an exciting place in my dictation, she'd have to stop.
00:11:05Take a pill.
00:11:06Well, I let her know you're here.
00:11:09Tell her it's hard work.
00:11:11No time off.
00:11:12Very little sleep.
00:11:15I never sleep.
00:11:16My mother never slept.
00:11:18My father never slept.
00:11:20How could they with you on their minds?
00:11:22Maybe you're right.
00:11:25Ah, sweet.
00:11:28Very sweet.
00:11:29Are you fond of flowers?
00:11:31Not in the least.
00:11:33But I am interested in all odors.
00:11:35A well-trained nose is an absolute essential to a criminologist.
00:11:38I can smell a reporter a mile off.
00:11:42One, two, three, four, five, seven, eight.
00:12:03Yoo-hoo!
00:12:04I do this every hour.
00:12:06Keeps the blood in circulation.
00:12:08Nourishes the brain.
00:12:10The next act on the bill will be wild Winnie Clavering.
00:12:13Weaned on a pickle.
00:12:16You know what I'm going to do with you?
00:12:18I'm going to make you the comic relief in my new story.
00:12:21The one I'm writing about the Morton murder.
00:12:24You're in one paragraph.
00:12:26He ain't funny, so we throw you out.
00:12:28Well, well.
00:12:31Do you mean you've already got a theory on the Morton murder?
00:12:37Morton, my eye.
00:12:38Morton's an American name.
00:12:41But did you ever hear of an American wearing earrings?
00:12:44I examined the lobes of his ears.
00:12:48And they're so faint you could hardly see them
00:12:53from the marks of old earring holes.
00:12:55What do you think of that, you fresh cub?
00:13:01Morton, nothing.
00:13:02That man was a South European traveling under an alias.
00:13:06That importing business of his was a blind.
00:13:10He was a racketeer of some sort.
00:13:12A gangster.
00:13:14Listen.
00:13:14In my new story,
00:13:19I'm going to make him the head of Schemer Marco's gang.
00:13:24I tell you,
00:13:26the Marco gang was mixed up in this Morton murder.
00:13:29And the key to it all
00:13:31lies in the Cafe Rossimano.
00:13:35Cafe Rossimano?
00:13:39That's the very place where...
00:13:42Say, what's the Rossimano got to do with the Morton murder?
00:13:44There were two phones in Morton's room.
00:13:52A house phone on the wall
00:13:53and a private phone on the desk.
00:13:57The private phone was found on the floor.
00:14:02Why?
00:14:03I ask you why.
00:14:05I'll bite why.
00:14:07Because Morton dropped it there.
00:14:10And he dropped it because he was stabbed
00:14:12in the act of using it.
00:14:15There.
00:14:26Took me to think of that.
00:14:28Me.
00:14:29Little Nemo.
00:14:31Great, Little Nemo.
00:14:34I checked with Central.
00:14:36I found that at 5.30,
00:14:38the very hour of his death,
00:14:39Morton called the Rossimano
00:14:41on that private phone.
00:14:44That message to the Rossimano
00:14:45was the cause of Morton's death.
00:14:49Well, I'll be a...
00:14:50That's not all you'll be.
00:14:52Perhaps you deserve to be.
00:14:55What's the matter with your hand?
00:14:58Begins to look like a bunch of bananas, doesn't it?
00:15:02Hey, Christopher!
00:15:03Do something for this poor boy.
00:15:06Take him into the dispensary.
00:15:08Put him in a hernicky.
00:15:10Give him a dose of salt.
00:15:12What are you here for, anyway?
00:15:17Come on, sir.
00:15:19This way.
00:15:21Thanks, Pop.
00:15:22Don't thank me.
00:15:23I wouldn't let even a worm suffer.
00:15:25Can you hear me?
00:15:32Not even a worm!
00:15:38Miss Taylor will see you, Mr. Clavering.
00:15:40She's across the hall
00:15:41in the ladies' reception room.
00:15:42Oh, she's a lady, is she?
00:15:44Too bad.
00:15:45Too bad.
00:15:46It's all that lady.
00:15:48I don't think I'm gonna like her.
00:15:50I want a girl that will work.
00:15:52Never want to sleep.
00:15:54I don't think I'm gonna like her.
00:16:11Chelsea, 6-8-8-7.
00:16:15Hello.
00:16:16Hello.
00:16:17Is that you, Uncle Mark?
00:16:18This is Margaret.
00:16:19Any word from Victor?
00:16:20A letter.
00:16:22Addressed to me.
00:16:23Oh, no, not from then.
00:16:28How did the letter come?
00:16:29By messenger.
00:16:32Well, get it to me at once.
00:16:33I'm at the neighborhood house
00:16:34on Rivington Street.
00:16:36Better bring it yourself.
00:16:38Have you read The Evening World?
00:16:40Yes, it's true.
00:16:41I can't explain to you now.
00:16:43I'll tell you when you get here.
00:16:44Who, uh, who are you?
00:17:01I think I'm your friend,
00:17:02but I'm not quite sure yet.
00:17:04Well, what do you mean?
00:17:05I don't understand you.
00:17:07Oh, yes, you do.
00:17:09You're the girl that killed that man
00:17:10at the Beaumont.
00:17:11Oh, how crazily absurd.
00:17:12Well, I just got in from Chicago this evening.
00:17:20Oh, no, you didn't.
00:17:24You were outside to Rossamano at 545.
00:17:26Oh.
00:17:28Well, I have a little souvenir of our meeting.
00:17:32Oh, no.
00:17:32I helped you once,
00:17:37and I want to keep on helping you.
00:17:39I've got a hunch that you need help pretty bad.
00:17:45Hadn't you better trust me?
00:17:47I never was inside the Beaumont.
00:17:49I never killed anybody.
00:17:51I'm not the stenographer.
00:17:52There, you've said it yourself.
00:17:54You're Morton's missing stenographer.
00:17:57Oh, I didn't do it.
00:17:58I didn't do it.
00:17:59The police would like to find you, wouldn't they?
00:18:01The police?
00:18:03Oh, what are you going to do?
00:18:04What are you going to do?
00:18:05I want to tip the police off.
00:18:06Oh.
00:18:07Unless you'll tell me all about it.
00:18:08Will you?
00:18:09Well, I didn't do it.
00:18:10I didn't do it.
00:18:11Very well.
00:18:12Hello.
00:18:13Hello.
00:18:13Oh, no.
00:18:14No, no, no.
00:18:15Don't.
00:18:15Don't get me up.
00:18:17I'll tell you.
00:18:19Oh.
00:18:21Oh.
00:18:21I didn't mean to kill him.
00:18:26Oh, I didn't mean to kill him.
00:18:28Oh, here, here, here.
00:18:31Come now.
00:18:32Come sit down and tell me all about it.
00:18:34Oh, I didn't.
00:18:35I didn't mean to kill him.
00:18:39Don't lose your nerve.
00:18:40You'll need it.
00:18:43I believe I can trust you.
00:18:45About the best thing you can do.
00:18:47Now, tell me, who was that man that grabbed you outside the Rossimano?
00:18:50One of the gang, Marco's gang.
00:18:52Are you one of them?
00:18:53I'm one of them.
00:18:55So I've been fighting them for four years.
00:18:57You fighting them?
00:18:58Yes, with every bit of our strength.
00:19:00My brother and I.
00:19:01My brother.
00:19:03Victor Holt.
00:19:04The assistant district attorney that's staging the vice crusade?
00:19:07I'm his sister, Margaret Holt.
00:19:09Say, what does he mean by letting a girl like you mix in a fight of this kind?
00:19:12Oh, he couldn't keep me out.
00:19:14His fight isn't my fight.
00:19:15But we've got to get Schema Marco's gang because it's narcotics they peddle.
00:19:21And I've seen the workings of that gang with my own eyes.
00:19:28I've seen little girls drugged in filthy joints.
00:19:32Boys that beat their own mothers to get money to buy their stuff.
00:19:36And men and women that do things.
00:19:37Or even savages couldn't do.
00:19:42Things I couldn't speak of.
00:19:46Things I don't want to remember.
00:19:49Well, there, there.
00:19:50I've seen the agony and the delirium of when the stuff has stopped.
00:19:54And the last days of all.
00:19:55When the poor body's broken.
00:19:59And nothing's left but the poor aching brain that suffers.
00:20:04Can't sleep.
00:20:05That's what that gang stands for.
00:20:10That's why I made my brothers let me join in the fight.
00:20:14Somebody had to get close to Marco himself.
00:20:16After months and months, I finally got in as his personal secretary, his private stenographer.
00:20:22You mean that Morton was Schema Marco himself, the head of a dope gang?
00:20:25Oh, sure.
00:20:26That importing business was just a blind.
00:20:31You plucky little kid.
00:20:33Gee, you'd have been safer in a nest of rattlesnakes.
00:20:35Well, no matter.
00:20:36I got the evidence on him.
00:20:38But there was a list.
00:20:39A complete list of all the members of that gang.
00:20:42And I had to have that list.
00:20:45I couldn't find out where he kept it hidden.
00:20:47Not until today when...
00:20:48Why, Mr. Morton?
00:21:14You came back.
00:21:20I had a hunch, Miss Hatfield.
00:21:25I felt I should find you here.
00:21:27Always so busy with my affairs.
00:21:31Why stay behind to finish those letters?
00:21:32Uh-huh.
00:21:34You're such a good little worker.
00:21:37I think I shall never be able to let you go.
00:21:41Thank you, Mr. Morton.
00:21:43Well, good night.
00:21:45Wait, Miss Hatfield.
00:21:46Are you handy with tools?
00:21:52Tools?
00:21:53Yes, I see that the edge of the coffin has become untacked.
00:21:57Now, if you have a screwdriver, a hammer...
00:22:00I'll speak to the maid about it.
00:22:02First thing in the morning, please.
00:22:04Yes, sir.
00:22:04Good night.
00:22:05Just a minute.
00:22:06Why are you in such a hurry?
00:22:12Why not?
00:22:13I'm not at all.
00:22:14Good.
00:22:16Now, will you look up a number for me?
00:22:18The name is Previslav Stanley P.
00:22:21Yes, sir.
00:22:34Will you please open that door?
00:22:36I'm afraid that Victor Holt will have to wait for my little envelope that you stole for him.
00:22:45Why, who's Victor Holt?
00:22:47Well, your employer, Miss Hatfield.
00:22:50Our famous assistant district attorney.
00:22:54Wait just a minute.
00:22:56There's a great deal you'll have to tell me later when we really get to talking.
00:23:02First, I'll tell you something about Victor Holt.
00:23:04Just now, he's at the Café Rosamano.
00:23:08Oh, so you know that name, huh?
00:23:11Well, I guess we'll call the Rosamano.
00:23:13Victor Holt thinks he's trailing my friends, but it's my friends that are trailing him.
00:23:30I don't know any Victor Holt.
00:23:32No?
00:23:34Hmm.
00:23:36Hello?
00:23:37Rosamano?
00:23:39Will you kindly ask Mr. Miller to take this call?
00:23:43No.
00:23:43Oh, so you know my good friend, Miller.
00:23:49When he comes to the phone, I'll tell him that poor dear Aunt Louisa is failing fast.
00:23:56It means that my friends will take Victor Holt for a ride.
00:23:59Oh, no.
00:24:01But why?
00:24:02You don't know any Victor Holt.
00:24:04He's nothing to you.
00:24:06You should worry.
00:24:07Where's my brother?
00:24:08My very own brother.
00:24:12You do what you like with me, but you shan't touch him.
00:24:16I shall not forget you presently when this thing is settled.
00:24:21Hello.
00:24:22Hello.
00:24:22Is that you, Miller?
00:24:23No.
00:24:24Shut up.
00:24:28Hello, Miller.
00:24:29Oh, no.
00:24:31Everything is Jake.
00:24:33Only I just had a little bit of sad news.
00:24:36You know, poor Aunt Louisa.
00:24:39Aunt Louisa?
00:24:42What's that?
00:24:43Hello.
00:24:45Boss, I can't hear you.
00:24:47Hello.
00:24:49Hello, boss.
00:24:51What?
00:24:56Oh, God.
00:24:59Help.
00:25:05I'm dying.
00:25:07She got me.
00:25:09I'm there.
00:25:10Oh, my God.
00:25:17Oh, I had to do it.
00:25:18I had to do it.
00:25:19It was his life or my brother's.
00:25:21And your life, kid.
00:25:23You hadn't thought of that, maybe.
00:25:24Oh, I had to get to my brother.
00:25:25That's all I could think of.
00:25:27I went down the fire escape.
00:25:29Got a taxi to the Rossimano.
00:25:31And then...
00:25:32And then you came.
00:25:34Oh, are you going to give me up?
00:25:36Give you up?
00:25:38See, I've been looking for you all my life.
00:25:41Oh, I guess I can trust you.
00:25:44Don't look at me with those eyes.
00:25:47Oh, Uncle Mark.
00:25:50Easy, easy.
00:25:51Who is this?
00:25:53Oh, a friend of Victor's.
00:25:54It's a friend of mine.
00:25:55Easiest thing I do.
00:25:56Have you got the letter?
00:25:57Yes, right here.
00:26:03Dear Miss Holt,
00:26:04you took a sealed envelope away from Morton's room.
00:26:06Put that envelope with a seal unbroken
00:26:07in a book on the last seat,
00:26:09right-hand side, St. Ann's Church,
00:26:10before 10 to night.
00:26:12If you do as told,
00:26:13your brother is saving.
00:26:14So long as you don't open your mouth.
00:26:16But if you bring the police into this,
00:26:18Victor Holt goes for a ride.
00:26:21What are we to do?
00:26:22Oh, here's their envelope.
00:26:24Do just as they say,
00:26:25and don't try to trap or trace them, will you?
00:26:27What's to prevent those crooks
00:26:28from bumping your brother off
00:26:29as soon as they get back their list?
00:26:30Because I know too much about them,
00:26:32and they know I'd go straight to the police
00:26:33if it weren't for the hope of saving Victor.
00:26:35How are you going to save him
00:26:36without police help or anything?
00:26:37We have to find out first
00:26:38where they've taken him.
00:26:39Oh, to Weinberg's most likely,
00:26:41wherever that is.
00:26:42Who's Weinberg?
00:26:43The man I grabbed hold of.
00:26:45The one with the glasses.
00:26:46Glasses?
00:26:47Hold everything.
00:26:48I've got a clue.
00:26:51Look here.
00:26:52All that's left of Mr. Winey's glasses.
00:26:55Did you ever see any as thick as that?
00:26:57It's a freak prescription.
00:26:59I'll call on all the optician shops.
00:27:01And when I find the prescription,
00:27:02I may find an address
00:27:02that has Mr. Winey at the other end of it.
00:27:05And when I do,
00:27:06that's where we'll find your brother Victor.
00:27:07That's a mighty slim clue,
00:27:08and it'll take days.
00:27:10Well, until we can get a better one,
00:27:11it'll have to do.
00:27:15Hello?
00:27:16Yes?
00:27:16Yes, this is the neighborhood house.
00:27:18Sure, come on over.
00:27:20And bring your knitting.
00:27:22What do you know about that?
00:27:23Police Captain McLeod.
00:27:24Police?
00:27:25Yes, coming over.
00:27:26Nice and friendly, too.
00:27:27He has a hunch
00:27:28that the neighborhood house
00:27:29may know something about Mary Hadfield.
00:27:30They get so many girls in here.
00:27:31Oh, if the police get hold of me,
00:27:33I'll have to tell all I know about Morton.
00:27:35And Victor's life won't be worth a whisper.
00:27:37Yes, and if the Marco gang get a hold of you,
00:27:39it'll be all over with you both.
00:27:40They'll finish you and your brother
00:27:41and do away with all the evidence
00:27:42against themselves.
00:27:43Now, come on and get on your bonnet.
00:27:45And don't walk, run.
00:27:46We'll have to keep that girl
00:27:48in a safety by the box
00:27:49so we can get our hands on Victor.
00:27:50Where in the world can she hide?
00:27:52All right, go on.
00:27:53Go on, have hysterics.
00:27:55They ought to send you
00:27:56to the old woman's home.
00:27:58Have hysterics.
00:27:59Have them all over the place.
00:28:00Fine lemon they tried to hand me.
00:28:05Took one peek at me
00:28:07and threw a fit.
00:28:09Who are you?
00:28:12Just born unlucky.
00:28:14Got an inspiration.
00:28:15Got to get to work.
00:28:16Must have a stenographer.
00:28:17Need some help.
00:28:18Oh, so you want a stenographer.
00:28:21You're a mental giant.
00:28:23You haven't answered my question.
00:28:28What question?
00:28:29Who are you?
00:28:30Who are you?
00:28:32I won't tell you.
00:28:38Here you are.
00:28:40First class stenographer.
00:28:41Never wants to sleep.
00:28:41Never wants to leave the house.
00:28:43Just wants to work.
00:28:44Ten hours.
00:28:44Twelve hours.
00:28:45Sixteen hours.
00:28:46Twenty-four hours.
00:28:47Thirty hours a day, mind you.
00:28:49Shut up.
00:28:49I'll do my own talking.
00:28:50Do you want this job?
00:28:53Yes, sir.
00:28:54Well, well, come on.
00:28:55Come on.
00:28:56I'll make the wages right.
00:28:57I'll make the wages right.
00:28:59Get to work.
00:28:59I'll get to work.
00:29:00It's old Jake.
00:29:01He lives like a hermit.
00:29:02Nobody will ever find you in his house.
00:29:03I'll keep in touch with you.
00:29:04Come, come.
00:29:05Hurry up.
00:29:06Oh, say, something I forgot.
00:29:08Have you got a feller?
00:29:09A what?
00:29:10A feller.
00:29:10A sweetheart.
00:29:11Some poor sap will want to come calling on you and interrupt my dictation.
00:29:15Oh, no.
00:29:16I haven't any sweethearts.
00:29:17Good.
00:29:18Good.
00:29:18It's great.
00:29:19How do you know?
00:29:20Come on.
00:29:21Well, well, my old friend clevering, large as life.
00:29:26Don't stop me, McLeod.
00:29:27Haven't I been telling you these ten years my time is important?
00:29:30Oh, wait now, man dear.
00:29:33Wait.
00:29:33Wait.
00:29:34Don't do that.
00:29:36I've got the laugh on you for once.
00:29:38How if I said I'd got the woman that killed Morton?
00:29:42No.
00:29:43Here's your gloves, miss.
00:29:48Yes, I got that woman right under my hands.
00:29:52All I want now is to locate that Hadfield girl, the stenographer, so she can identify her.
00:29:59Identify who?
00:30:00Hello, Jack Howell.
00:30:02We want the Hadfield girl to identify the foreign woman that called on Morton.
00:30:06We've got her under arrest.
00:30:08She's the one that did the murder.
00:30:10That foreign woman never touched him.
00:30:13I hope she sues you for defamation of character.
00:30:15There you go.
00:30:16Little Nemo, the crime detector, always hands me a laugh.
00:30:20That's not all I could hand you if I chose, you big gorilla.
00:30:24I could hand you the true story of the crime.
00:30:27Baloney.
00:30:27I'm on my way home to write it now.
00:30:29Clean as the nose and your ugly face.
00:30:32I'll show you just how it was done.
00:30:34Come on.
00:30:35Wasn't that foreign woman a child could see that?
00:30:38Always wrong at the top of your voice.
00:30:40What's that?
00:30:40You grinning chimpanzee.
00:30:44That foreign woman left the hotel at five o'clock.
00:30:47I got it from a cab driver in front of the hotel who saw her go.
00:30:50You don't say.
00:30:51It was the stenographer who killed him.
00:30:53The stenographer.
00:30:54Go on now.
00:30:55Go on.
00:30:55Before I laugh myself to death.
00:30:57I know she did it.
00:30:58Cold-blooded cat.
00:31:00I'll prove it to you in my story.
00:31:01How she did it.
00:31:02Why she did it.
00:31:03Where she's hiding now.
00:31:05Stop it now.
00:31:06Stop it now.
00:31:07I'll never let you go.
00:31:08Not until it's all written.
00:31:09Can't dictate the story without you.
00:31:11You'll see.
00:31:12You'll see.
00:31:13The guilty woman.
00:31:14But I'll hand her over to you, McLeod, when my story's ended.
00:31:17That's just when it's ended.
00:31:18Cold-blooded murderous.
00:31:19I want to see her in the chair.
00:31:21I'll send her to the chair.
00:31:23I'll send her to the chair.
00:31:39Are you there, honey?
00:31:51I heard the front door shut after that old crime eater.
00:31:56Then I just slipped up here with some dinner for you.
00:31:59Oh, thanks, Martha.
00:32:01But I just couldn't worry down a mite of food.
00:32:03Oh.
00:32:04Well, then, you ought to run out and get the air.
00:32:07More than two weeks, you've been here sticking in the house the whole endoing time.
00:32:11That old devil's working you too hard.
00:32:17Lordy, who is that now?
00:32:21Well, that's Jack.
00:32:22Well, it's Jack.
00:32:23Now, I can't let that young man in.
00:32:25Well, I can't, and I'm going to.
00:32:27If that old devil knows he been here three times, that's going to be the end of poor old Martha.
00:32:35Nobody knows the trouble I see.
00:32:40Nobody knows the trouble I see.
00:32:46And out of the dark came a ghostly street.
00:32:49Nobody knows the troubles I see.
00:32:57Nobody knows the troubles I see.
00:33:01Evening, Gallicurchy.
00:33:02Don't you go calling me out of my name, Buckery boy.
00:33:06And don't you disremember this.
00:33:07When Master Clavin come, you tell him you done forced your way in here over my dead body.
00:33:12Oh, Jack.
00:33:24Now, what's the matter?
00:33:25Tell me.
00:33:25Oh, Jack, take me away from this place.
00:33:28I can't go on.
00:33:28I can't go on.
00:33:30Now, steady, steady.
00:33:31Oh, that awful old man.
00:33:32He's making me write down my own story.
00:33:35He's guessed everything so far.
00:33:36No, he's just a good guesser, that's all.
00:33:38I know, but now he's down to the actual murder.
00:33:41He'll find me out.
00:33:42No, he won't.
00:33:42No, he won't.
00:33:43He's bound to find me out.
00:33:44He'll hand me over to the police.
00:33:46And that'll be the end of my brother.
00:33:48No, no, don't do that.
00:33:49Don't do that.
00:33:49Oh, but I can't stand it.
00:33:51Oh, I can't.
00:33:53I can't.
00:33:54I can't stand it.
00:33:55Listen, you've got to stand it.
00:34:00It may only be a matter of hours now, because I think I've located your brother.
00:34:03You mean you've located Weinberg?
00:34:04Yep.
00:34:05I found the shop where those thick glasses were made up.
00:34:07Just this afternoon, I ran across that freak prescription.
00:34:09But it wasn't under the name of Weinberg.
00:34:12There was an address.
00:34:13Oh, where, Jack?
00:34:13Where?
00:34:14In an old house up a court, not a half a mile from here.
00:34:16And you think they've got Victor hidden in that house?
00:34:18That's what I've got to find out.
00:34:20Well, how will you manage?
00:34:21Well, you see, it just happened to happen that the water main that serves that house
00:34:26went on the blink about an hour ago.
00:34:28Oh, Jack, you did that.
00:34:30Oh, you're wonderful.
00:34:33Well, why should I contradict you?
00:34:38Listen, your Uncle Mark and I are going into that house as men from the water department.
00:34:42And you're going to get Victor out?
00:34:43We've got to locate him first.
00:34:44And you keep your pretty little fingers crossed.
00:34:46You may have some good news in an hour or so.
00:34:49Oh, Jack.
00:34:51Are you going into that house now?
00:34:52Right this red-hot second.
00:34:53Oh, Jack, don't go into that house.
00:34:55Don't try it.
00:34:56I can't let you.
00:34:57I won't let you.
00:34:59Gee, do I mean that much to you?
00:35:03I guess you do.
00:35:06Well, don't you worry.
00:35:07If I mean all that to you, I'll come out of that house.
00:35:10And the whole Marco gang can't stop me.
00:35:12I'll come back to you and your brother with me.
00:35:15Oh, come back to me.
00:35:18Well, that's Mr. Clayburn.
00:35:19I'm scared to death.
00:35:20Now, keep your nerves.
00:35:21It won't be long now.
00:35:22Ah, the cold.
00:35:23I hate the cold.
00:35:24I hate the cold.
00:35:26Who are you?
00:35:27There.
00:35:29Well, well.
00:35:30How'd you get in my house?
00:35:37I told that black assassin not to let anyone in.
00:35:41No, no.
00:35:41Don't get excited, old-timer.
00:35:42Now, get out before I send for the dog catcher.
00:35:48Ah, dog catcher.
00:35:52Goodbye, my dear.
00:35:53Oh, be careful.
00:35:54Oh, do be careful.
00:35:56If you shouldn't come back.
00:35:57No, no.
00:35:58It'll be all right.
00:35:59Lally gagging, eh?
00:36:02I tell you, I won't have any lally gagging in my house.
00:36:07You get to work.
00:36:08You get out.
00:36:16One.
00:36:17Two.
00:36:19Three.
00:36:20Four.
00:36:21I just stopped in to ask you whether you'd have another installment of your story ready for our paper tomorrow.
00:36:25Six.
00:36:26I won't if you keep on interrupting me this way.
00:36:30Ninety-three.
00:36:35Ninety-six.
00:36:37Twenty-eight.
00:36:39Thirty.
00:36:41How can I finish my story with all these interruptions?
00:36:46I've got a new train of thought on my walk.
00:36:50That pup knocked it out of my head.
00:36:53Martha.
00:36:54Martha!
00:36:55I'm coming.
00:36:57I'm coming.
00:36:58Stop coming and get here.
00:37:00You called me, sir?
00:37:03No, you witch.
00:37:04I was doing vocal exercises.
00:37:06Now, listen.
00:37:09That pin-headed reporter.
00:37:11What did you let him in here for?
00:37:13Well, I surely didn't let him in, boss.
00:37:16He just come in.
00:37:19Fabricator!
00:37:20For the Lord.
00:37:21My back.
00:37:22My back.
00:37:22My back.
00:37:23Sprocket.
00:37:25Oh, honey, you done sprained yourself.
00:37:27Get the kink out of it.
00:37:28Get the kink out of it.
00:37:30Higher.
00:37:30Higher, you lost kid.
00:37:31There, now.
00:37:32Higher.
00:37:32Lower.
00:37:33Lower.
00:37:35There, there.
00:37:36That's it.
00:37:37There, now, honey.
00:37:38That's it.
00:37:39Ah.
00:37:39Martha, rub your good.
00:37:41That's it.
00:37:41That's it.
00:37:42That's it.
00:37:45There, now, honey.
00:37:46Rest your poor back.
00:37:48You better, honey.
00:37:52Say, who told you to come rubbing my back?
00:37:55Too darned a fish is.
00:37:57Now, where's my pipe?
00:37:58Gotta get to work.
00:37:59Where's my pipe?
00:38:00Where's my pipe?
00:38:01How long as I done steed that old pipe?
00:38:04Stop scratching your head.
00:38:06You couldn't reach your brain with a steam shovel.
00:38:09Now, where have you gone and hid that pipe?
00:38:12Where's my pipe?
00:38:13Where's the pipe?
00:38:14Right.
00:38:15Now, here it is.
00:38:16Right right after.
00:38:17There, now, here it is.
00:38:48Great.
00:38:50Here.
00:38:51A little present.
00:38:53Got a cheek.
00:38:57How come you all knows I used Jockey Club, boy?
00:39:02I didn't.
00:39:04Don't care.
00:39:06That Joe is nice.
00:39:16Now, listen.
00:39:17And next time you let that gibbering, jabbering reporter in here,
00:39:21I'll wring your neck and put you in pickle.
00:39:26Like their specimen.
00:39:27Understand?
00:39:28Yes, sir.
00:39:29I understand.
00:39:30Yes, sir.
00:39:31I understand.
00:39:32Yes, sir.
00:39:33I understand.
00:39:36You're going to need a bigger jar than that to pickle me in.
00:39:39Oh, but some things will annoy me.
00:39:46Just when I need peace and quiet.
00:39:51Well, let's get to work.
00:39:52Let's get to work.
00:39:53Where did we end that last chapter?
00:39:58Oh, the stenographer had just found the paper hidden under the carpet.
00:40:02Well, Mr. Clavering, whatever made you think of such a thing?
00:40:06I discovered that three tacks had been pulled out of the carpet in Morton's room.
00:40:10And the dust, noly disturbed.
00:40:12Something had been hidden there and taken out.
00:40:15Well, but why a paper?
00:40:20They couldn't have hidden a limousine there, could they?
00:40:28Now we come to chapter 10.
00:40:31Headed.
00:40:32The murder.
00:40:33For one tense moment, they faced each other.
00:40:45You were sent here to spy on me, he said.
00:40:48Who sent you?
00:40:50Let's see you find out.
00:40:51She defied him.
00:40:53That's what I mean to do, he threatened.
00:40:56You'll talk, my lady, when the gang gets here.
00:40:59He caught up a telephone on the desk to summon...
00:41:04But it wasn't to summon.
00:41:07How do you know?
00:41:09Are you writing this story, or am I?
00:41:12Well, I get so interested.
00:41:14I keep trying to figure out the plot.
00:41:16I suppose so.
00:41:18He caught up a telephone on the desk to summon his henchman.
00:41:21Quick, he cried.
00:41:23Give me the Café Rossimeno.
00:41:24Now, trapped and desperate, the girl looked about her.
00:41:32And there on a table, she saw the gleam of a stiletto.
00:41:41A look of murderous purpose came into her brown eyes.
00:41:45What makes you think their eyes were brown?
00:41:48They had to be brown.
00:41:51Black-eyed and gray-eyed people are nervous.
00:41:53This girl was as cool as a cucumber.
00:41:57Blue-eyed people are slow thinkers.
00:42:01This girl's mind was as smart as a trap.
00:42:06Yes, she had brown eyes.
00:42:11Eyes just like yours.
00:42:13Like mine?
00:42:14Yes.
00:42:16She looked very much like you.
00:42:19Same eyes.
00:42:22Stand up.
00:42:23Same height.
00:42:26Well, how did you ever figure that out?
00:42:28Why, she had to be the same height in order to strike the mortal blow from the angle she did.
00:42:33Now then.
00:42:36Morton was standing near the phone.
00:42:39He was stabbed in the left side.
00:42:42He must have been standing with his right side to the table.
00:42:45Like this.
00:42:46Now, uh...
00:42:48Oh, yes.
00:42:48Where were we?
00:42:49Oh, come here.
00:42:51Come here.
00:42:53Now, take this paper knife.
00:42:55Go on.
00:42:56Take it.
00:42:58Now, you're the girl and I'm Morton.
00:43:02Now, where would you stab me?
00:43:04Go on.
00:43:05Stab me.
00:43:06Why don't you stab me?
00:43:08Now, what is it?
00:43:09Now, what's the matter?
00:43:10Now, what, what?
00:43:12Well, you make it all so real.
00:43:13Of course I do.
00:43:14That's why my books sell.
00:43:16Now, don't go fainting on me.
00:43:17I won't stand for it.
00:43:18Haven't got time to waste.
00:43:20Now, get this down.
00:43:20Now, without a moment's hesitation, she seized the stiletto and plunged it into his villainous
00:43:32heart.
00:43:33Oh, thank heaven.
00:43:35Now, what's the matter?
00:43:36Oh, the doorbell rang.
00:43:38The bell rang.
00:43:40She plunged it deep into his villainous heart.
00:43:43Shall I go see who it is?
00:43:45Sit down.
00:43:46Shut up.
00:43:47How is it?
00:43:48I must be interrupted this way.
00:43:51She plunged it into his villainous heart.
00:43:54That's not his heart.
00:43:56Where was I?
00:43:58Ah.
00:43:59She plunged it into his villainous heart.
00:44:03Now, I can't dictate with this rowing.
00:44:06I can't even think.
00:44:08Who is it?
00:44:10Ain't nobody but me, sir.
00:44:12What is it you want, you saber-toothed chimpanzee?
00:44:16You spriggly-eyed, flat-nosed daughter of ham?
00:44:20You, you, you, why can't I think of words when I need them?
00:44:25When you find them, I hope they choke you.
00:44:29What is it?
00:44:29What is it?
00:44:30There's a lady downstairs, sir.
00:44:32I said when you read this card, you'd see her for sure.
00:44:36Tell her I'll be down right away.
00:44:41Yes, sir.
00:44:42Yes.
00:44:43And you go to your room and rest.
00:44:45I have a little chore to do.
00:44:48And maybe you can get ten minutes sleep if you're quick about it.
00:44:51When we come back, we'll do two more chapters, huh?
00:44:55Two little chapters?
00:44:56Oh, please.
00:44:57Run along.
00:45:00Cover up well.
00:45:01Open the window.
00:45:02Fresh air won't hurt you.
00:45:16Sweet.
00:45:17Very sweet.
00:45:18Relative of the late James Morton.
00:45:26I wonder what she wants.
00:45:28Some nuisance, I suppose.
00:45:30Oh, you are the great, the famous Mr. Clavering.
00:45:57You know I am.
00:45:57Well, well, sit down, sit down.
00:46:01No time to waste.
00:46:08Please.
00:46:11Ah.
00:46:15Let's get down to brass tacks.
00:46:18It is a great honor that you receive me in your house, Mr. Clavering.
00:46:22Yeah, quite so.
00:46:23Now, tell me, what relation was the murdered man to you?
00:46:36My uncle.
00:46:37My good, kind uncle.
00:46:41Oh, Mr. Clavering, I have read in the paper your story of the murder.
00:46:47You could not write like that unless you know something.
00:46:51You say so many things that are true.
00:46:54How do you know?
00:46:54Because I am the woman that called on Mr. Morton just before he is murdered.
00:47:01Well, you're the foreign woman the police arrested, eh?
00:47:04They had to let me go.
00:47:06An outrage, was it not?
00:47:08When it was the stenographer.
00:47:10She killed him.
00:47:11Got any proofs?
00:47:18Listen.
00:47:23Listen.
00:47:24I leave my uncle a little before five that afternoon.
00:47:28And I leave that Hadfield girl alone with him.
00:47:31I come back to meet my uncle about 5.30.
00:47:33I'm standing across the street from the hotel,
00:47:35and I see that stenographer come down the fire escape.
00:47:38That's it.
00:47:39That's it.
00:47:40That's where I'm going to end my first chapter.
00:47:43What then?
00:47:44She jumped in a taxi.
00:47:45I jumped in another and follow.
00:47:47She get out at Cafe Rosamano.
00:47:48Of course.
00:47:49Of course.
00:47:50When she gets out, she drop this purse.
00:47:53Yeah, let me see it.
00:47:56Oh.
00:47:59Yeah.
00:48:02Powder box.
00:48:02A little money.
00:48:07Handkerchief.
00:48:09Keep these.
00:48:10May be useful.
00:48:11What then?
00:48:12Pretty soon I hear the newsboys calling about murder at the Beaumont.
00:48:16Then I know this girl.
00:48:18She has killed my uncle.
00:48:20Why come to old Grape Nuts with your story?
00:48:23You know so much.
00:48:26I am sure you'll find that stenographer very soon.
00:48:29And when you do, you tell us where she is.
00:48:33And we give you $5,000.
00:48:35If I get some information, where can I reach you?
00:48:43Call Gramercy.
00:48:449268.
00:48:48Huh?
00:48:48Ask for Mr. Miller.
00:48:52If I get some information, I may call you.
00:48:55In the meantime, I haven't done a stroke of work today.
00:48:58Come, come.
00:48:58Eh, of course so.
00:49:08It has been such a pleasure to meet such a man.
00:49:12Don't I know it?
00:49:18I come again when you send.
00:49:22Then I thank you myself.
00:49:24Well, goodbye.
00:49:28Goodbye, my dear.
00:49:30You almost make me feel young again.
00:49:39Almost.
00:49:48Almost.
00:49:49Almost.
00:49:54Run, child, run.
00:50:19Take your foot in your hand.
00:50:20Oh, devil, go on and get you just the same.
00:50:27Glad that young'un's a mess.
00:50:29That boy got run me crazy yet.
00:50:46Blonde hair.
00:50:47Brown eyes.
00:50:49Medium height.
00:50:50Yes?
00:51:04Ready for you now.
00:51:06All ready.
00:51:08So soon?
00:51:09Eh, wasted a lot of time already.
00:51:11Sit down.
00:51:12Sit down.
00:51:14Take a new page.
00:51:16Write a new chapter.
00:51:18Edit chapter 11.
00:51:19Fight!
00:51:20Ready?
00:51:22Yes.
00:51:24Down the fire escape she fled.
00:51:27Great neck speed.
00:51:28With no thought of danger to herself.
00:51:30With one purpose.
00:51:32To get to the cafe.
00:51:33Frost of Anno.
00:51:35Ready, taxi?
00:51:37Presently the garish lights of the cafe.
00:51:39She had just missed him.
00:51:40Like a frightened animal she fled.
00:51:42Up one street.
00:51:43Down another.
00:51:44Into the subway at last.
00:51:45When she got out far downtown, the boys were already crying extra all about the murder at the Beaumont.
00:51:51At that moment she saw a sign.
00:51:56A neighborhood house.
00:51:57Oh, I can't go on.
00:51:58I won't go on.
00:51:59I won't.
00:52:00You can't leave here now.
00:52:02Oh, you can't keep me here.
00:52:03I'm not your prisoner.
00:52:04Yes, you are.
00:52:05Yes, you are.
00:52:06I've got you.
00:52:07You're the girl who murdered James Morton.
00:52:10I've got you.
00:52:11I told him I'd get you.
00:52:13I'm going to turn you over.
00:52:14Look, please.
00:52:15Oh, wait.
00:52:17Yes, it's true.
00:52:19I did it.
00:52:20Yeah, of course you did it.
00:52:21Oh, but you don't know why I did it.
00:52:22You don't know who I am.
00:52:23It doesn't matter.
00:52:27You put down that phone.
00:52:29Or there's going to be another mystery.
00:52:32Do you think I'll let you give me up now?
00:52:33Ruin everything?
00:52:34Kill my brother?
00:52:36You sit down.
00:52:40Hang up that phone.
00:52:42Now you listen to me.
00:52:44It is the last thing you do.
00:52:47My name is Margaret Holt.
00:52:49I'm Victor Holt's sister.
00:52:51Victor Holt's sister?
00:52:55You mean you're the sister of the missing district attorney?
00:52:58Yes.
00:52:59We've been fighting that Marco gang.
00:53:04Quick, Martha, let me in for the love of Pete.
00:53:06Oh, you go in here, boy.
00:53:07I can't let you in no how.
00:53:09It's a matter of life and death.
00:53:10Oh, that's just it.
00:53:11Old devil's gonna kill me for sure
00:53:12if I let you in here again.
00:53:14Ow!
00:53:16Glory be to goodness, woman.
00:53:17You've ruined my foot for life.
00:53:19Oh, how could I?
00:53:20Me in.
00:53:23Smash to a pulp.
00:53:27My right foot, too.
00:53:29My best one.
00:53:30The one I always put forward.
00:53:32I'll have you jailed for this, you jumping Jezebel.
00:53:36Look, I can't stand and I can't walk.
00:53:41You foolin', Master Howell.
00:53:43I'm wrecked for life.
00:53:45I can't walk and I can't work.
00:53:48I'll have to sit in the gutter and bank.
00:53:50Ain't that bad, honey.
00:53:53I never did you any harm.
00:53:55Let old Martha see your whole foot.
00:53:58Thanks, Mr. Moira.
00:53:59Come back here, trash.
00:54:01Fool of old woman.
00:54:03I'll catch you on my bus, your head.
00:54:05Not your foot, devilimia.
00:54:08Mr. Clavering, now that you know the whole story,
00:54:10you'll help me, won't you?
00:54:12You'll help me save my brother.
00:54:14No.
00:54:15I won't mix up in it.
00:54:17No, I won't.
00:54:18I won't.
00:54:19Lock it again.
00:54:20Now, who in the...
00:54:21Oh, that's Jack.
00:54:22Oh, let him in.
00:54:23Please, please.
00:54:24He may have news evicted.
00:54:25Open the door.
00:54:26I've got the room.
00:54:27Open the door.
00:54:29Now, who let you in?
00:54:30I've got to talk to this girl.
00:54:31Big bully.
00:54:32Oh, it's all right.
00:54:33Mr. Clavering knows everything.
00:54:34He's going to help us.
00:54:35I never said I would.
00:54:38I won't help you.
00:54:39I'll turn you over to the police.
00:54:41Proper ending to my story.
00:54:42You seem to forget me and my story.
00:54:45Hey, listen.
00:54:46We'll give you a better ending to your story.
00:54:47Ah.
00:54:48You'll leave the police out of this and stick with us.
00:54:50And you'll be the white-haired boy that rescues Victor Holt.
00:54:52Oh, have you found him?
00:54:53Have you found him?
00:54:54Yes.
00:54:54Your uncle and I got into that house as I told you we would.
00:54:57And Victor's there.
00:54:58We talked to him.
00:54:59Morse code tapping on those water pipes in the cellar.
00:55:01Is the poor dear boy in any immediate danger?
00:55:05Yes.
00:55:06There are three men and a woman on guard.
00:55:08If we can get rid of three of them, he can take care of himself.
00:55:10You're right.
00:55:11Got to lure him out of the house.
00:55:13I can lure him.
00:55:14Watch me.
00:55:15Watch me.
00:55:15I'll lure him.
00:55:17Where's my notebook?
00:55:18Where's my notebook?
00:55:19Martha!
00:55:20Where's my red?
00:55:21Here it is.
00:55:23Hey.
00:55:25Did you have brains enough to find out if I had a telephone in that house?
00:55:28Sure.
00:55:28It's Gramercy 9268.
00:55:30That's it.
00:55:31That's it.
00:55:32The very number she gave me.
00:55:33That mealy-mouthed foreign hussy.
00:55:36Now I got an excuse to call him.
00:55:37I lure him.
00:55:39All great nuts to lure him.
00:55:40How long will it take you to get back to that house?
00:55:44Five minutes, General.
00:55:46When you see three of them come out, three of them, remember?
00:55:52You go in.
00:55:53You'll know what to do.
00:55:55Okay.
00:55:56Cut the slush.
00:55:56This is no lobnest.
00:55:58Bamoose.
00:55:59Get out.
00:56:00Gedaddle.
00:56:02Call me Spring.
00:56:023-100.
00:56:04Ask for that dummy, Captain McCloud.
00:56:06Well, well, don't stand there licking any.
00:56:08Oh, yes.
00:56:11Spring 3-100.
00:56:12Now remember, when you see three of them come out, you go in.
00:56:24Understand?
00:56:26Uh-huh.
00:56:30Hand him a lamp, do I?
00:56:31I'll hand him a jolt.
00:56:32Make his eyes pop out, like grapes.
00:56:34So you can hang your hat on him.
00:56:36Hello, Captain McCloud.
00:56:37Just a minute.
00:56:38Hello, you flat-footed baboon.
00:56:45This is your little playmate, old Grape Nuts.
00:56:47Think you're clever, don't you?
00:56:49How would you like the Marco gang delivered to you?
00:56:53All wrapped up for mailing.
00:56:55Uh-huh.
00:56:56Well, prop your ears open and listen.
00:56:59At exactly five minutes to nine, be at my house with four men.
00:57:05Now, understand, no sooner, no later, you'll spill the beans.
00:57:11You'll find my front door unlocked.
00:57:13Plant your men in the hall, and you keep watch from the street.
00:57:16When you're all set, throw some pebbles at the window second floor front.
00:57:21I mean pebbles, not rocks.
00:57:24When you see the lights go out, brush the room.
00:57:27And if you're late, you'll have the pleasure of attending my funeral.
00:57:31Goodbye, you baboon.
00:57:32Where's my notebook?
00:57:35Where's my notebook?
00:57:35Now, where's my notebook?
00:57:36Here it is, Mr. Leverage.
00:57:38What do you mean, hiding my notebook that way?
00:57:40Sit down now.
00:57:41Don't fuss me.
00:57:45Hello?
00:57:46Give me Gramercy.
00:57:47Nine, two, six, eight.
00:57:49Regular's clockwork.
00:57:51Trust little Nemo if the police don't gum it up.
00:57:54They will.
00:57:56Hello?
00:57:58Is this Gramercy?
00:57:59Nine, two, six, eight.
00:58:00This is Winthrop Clavering speaking.
00:58:03Uh-huh.
00:58:04I want to speak to Miller.
00:58:09Hello, is that you, Miller?
00:58:11Well, now listen.
00:58:14It's exactly 8.40.
00:58:16Uh-huh.
00:58:16If you're here at my house in ten minutes, I'll hand this stenographer over to you.
00:58:23Now listen.
00:58:24Bring Nita Strong with you.
00:58:25I want her to identify the girl.
00:58:27And bring another man.
00:58:29This girl's a dangerous character.
00:58:30You'll have to take her by force.
00:58:33Can't risk any slip-up.
00:58:35If you're not here in seven minutes, the three of you, you don't get the girl and the police do.
00:58:41Uh-huh.
00:58:41That's all.
00:58:42Goodbye.
00:58:45What do you think of little Nemo now?
00:58:48Now, don't you worry, little fella.
00:58:49Old El Fidelda won't let them get you.
00:58:52No, sir.
00:58:53Martha.
00:58:54Martha.
00:58:55Martha.
00:58:56Martha.
00:58:56Yeah, sir.
00:58:57Yeah, sir.
00:58:58I'm coming.
00:58:59Stop coming and come.
00:59:01Now, the shades on that window.
00:59:03Put them up.
00:59:08Way up.
00:59:09Way up.
00:59:10Yeah, I is, sir.
00:59:12Now, get this into your cranium.
00:59:13My way?
00:59:15Your brain box, woman.
00:59:16This vacuum.
00:59:17I'm expecting some visitors in just six minutes.
00:59:22When they come, show them right up here.
00:59:24And you go downstairs and unlock the front door.
00:59:27And if you forget it, I'm a dead man.
00:59:29Hallelujah.
00:59:31Yes, and I'll come back and hit you till your bones stick through your skin.
00:59:34Dean, I won't, Master Cleven.
00:59:36I won't forget.
00:59:36Dean, I won't.
00:59:38Help me already.
00:59:40You all ready, are we?
00:59:41That lamp.
00:59:42Disconnected.
00:59:42This one, too.
00:59:46I think of everything.
00:59:48That's why I'm good.
00:59:51Well, now, what shall I do when they come?
00:59:53You go to your room and keep quiet.
00:59:55No matter what happens.
00:59:57Oh, Mr. Clavering, you will be careful, won't you?
01:00:00You know you're not young anymore.
01:00:02And you're up against a hard-boiled gang.
01:00:04Don't I know it?
01:00:04Don't I know it?
01:00:05All the more glory.
01:00:08Headlines.
01:00:09I can see them now.
01:00:10Winthrop Clavering, crime detector.
01:00:13Sherlock Holmes, poof.
01:00:14Just a boy scout.
01:00:15Watch me now.
01:00:16Watch.
01:00:18What's that?
01:00:19They couldn't get here so soon.
01:00:21They couldn't.
01:00:22Well, maybe they have.
01:00:24If they have, I'm a cooked goose.
01:00:27Don't go near that window.
01:00:28They mustn't see you.
01:00:30Let me look.
01:00:36It's them.
01:00:37They've come in a racing car.
01:00:38Well, they're way ahead of time.
01:00:40What'll we do?
01:00:41Shh, shh.
01:00:42I'll recite Gunga Din at them.
01:00:44It'll be all right.
01:00:45McLeod doesn't fail me.
01:00:46Now, you go in there.
01:00:48Oh, now, you will be careful, won't you?
01:00:50Yes, yes.
01:00:51Now, don't make any noise.
01:00:53I'll stay here and stall them till McLeod gets here.
01:01:01Of course, McLeod couldn't be ahead of time.
01:01:06No such luck.
01:01:07Come in.
01:01:23Sit down.
01:01:24Sit down.
01:01:25Be with you in a minute.
01:01:25Just looking for a book.
01:01:26Excuse me, Mr. Clavering.
01:01:32We have only a little time.
01:01:34Uh-huh.
01:01:35Oh, here it is.
01:01:37Johnson's Anatomy.
01:01:38Did you ever study anatomy, my dear?
01:01:40You should.
01:01:42You'd make a very handsome skeleton, my dear.
01:01:45You know, you have to know everything to be an author.
01:01:47All sorts of queer books.
01:01:51All kinds of queer people.
01:01:56This is Mr. Miller.
01:01:58How do you do?
01:01:59How do you do?
01:02:01I can see by your face what a good man you are.
01:02:05And this is Mr. Weinberg.
01:02:08Weinberg?
01:02:08Oh, I had a character by that name once in one of my stories.
01:02:14I had him hang.
01:02:16I liked having him hang.
01:02:19Mr. Clavering, we are in a very great hurry.
01:02:21Yes, where is the stenographer?
01:02:23Isn't she here?
01:02:24Oh, good gracious, no.
01:02:26But you said you'd have her?
01:02:27You don't suppose I'd keep her here, do you?
01:02:30Why, I'd as soon have a wildcat.
01:02:33She's a dangerous woman.
01:02:35Well, but you can take us to her.
01:02:36Of course, of course.
01:02:40Now, what in the world is the matter with Mr. Weinberg?
01:02:44You know, you remind me of a character in one of my stories.
01:02:48He was a burglar.
01:02:49He had cracking knuckle bones, too.
01:02:53But they betrayed him in the end.
01:02:55He was hanged.
01:02:57Now, what did I do with that story?
01:02:59Let me see.
01:03:01It would interest you.
01:03:02Is he trying to fool?
01:03:03Oh, he's an old fool.
01:03:04I tell you, be patient.
01:03:06Mr. Clavering, some other time we hear the story, yes?
01:03:09Yes, yes, of course.
01:03:11Now you take us to that woman, please.
01:03:13Oh, you know, I'd almost forgotten.
01:03:14I absent-minded.
01:03:15Yes, then be great about it.
01:03:16Yes, yes.
01:03:17Will I need an overcoat?
01:03:18Is it cold outside?
01:03:20Where's my thermometer?
01:03:21What did I do with my thermometer?
01:03:23Not as young as I used to be.
01:03:26I seem to grow older.
01:03:29Every year.
01:03:31Now, what did I do with my galoshes?
01:03:39I should have my galoshes.
01:03:41You are such a clever man.
01:03:42It gives me pleasure to help you.
01:03:44Oh, thank you.
01:03:45Thank you, my dear.
01:03:45Good girl.
01:03:46Nice good girl.
01:03:49Well, well.
01:03:51All ready now.
01:03:54Yes, yes.
01:03:54Go right along now.
01:03:57Oh, one minute.
01:03:57One minute.
01:03:58Something I forgot.
01:04:00What is it now, Lison?
01:04:01The money.
01:04:01The money.
01:04:02Did you bring the money?
01:04:02I have it.
01:04:03Let me see it.
01:04:04Let me see it.
01:04:09Perhaps you want to count it.
01:04:11Right, boy.
01:04:12Right, boy.
01:04:12That's what I mean to do.
01:04:16One.
01:04:17Two.
01:04:19Three.
01:04:24Four.
01:04:25Five.
01:04:27Six.
01:04:29Seven.
01:04:30Eight.
01:04:32Nine.
01:04:32Oh, there are only nine here.
01:04:34Ten.
01:04:35Oh, it's all there.
01:04:39Six.
01:04:40Seven.
01:04:41Eight.
01:04:42Nine.
01:04:44Ten.
01:04:45You're right.
01:04:46You're right.
01:04:47Now what you are waiting for.
01:04:49I want to be sure, my dear.
01:04:50There are no counterfeits.
01:04:51Oh, the money is all right.
01:04:54Look here.
01:04:55You.
01:04:56I have wasted all the time I'm going to waste.
01:04:59Get me?
01:05:00You take me to that girl.
01:05:04Or...
01:05:04You've got a gun in your pocket.
01:05:06You will find out what I have got.
01:05:08All right, boy.
01:05:09Go on.
01:05:09Shoot me.
01:05:09Shoot me.
01:05:10Shoot me.
01:05:10You can't find her without me.
01:05:12The police will get her first.
01:05:13Then what will you do?
01:05:14Hey, what's that?
01:05:21Tessling poisonous street brass.
01:05:23Drawing beans against my window.
01:05:25Where's my cane?
01:05:26Where's my cane?
01:05:28Say, what's your racket?
01:05:29Gotta go down and give them a good thrashing.
01:05:32Tess bring the life out of me.
01:05:33Get away from me.
01:05:45Get away from me.
01:05:49Turn on, Mr. Rich.
01:05:51Hold it by the door.
01:05:53Okay.
01:05:54Get away from me.
01:05:56Get away from me.
01:05:58Get away from me.
01:05:59We got you at last, Miller.
01:06:03You've got nothing from me.
01:06:06Hurry, you're not looking.
01:06:07You've got nothing from me.
01:06:09Don't you bite me.
01:06:11Where's the old man?
01:06:12Where's the old son?
01:06:14Say, get busy and look for him.
01:06:15Look out there, will you?
01:06:16And you look over around there and over there.
01:06:19No one in the hall, sir.
01:06:21Weinberg, what did you do with clevering?
01:06:24I don't know.
01:06:25I never touched him.
01:06:26Clevering.
01:06:27Clevering.
01:06:28Yes, don't worry.
01:06:28Where are you, little Nemo?
01:06:32Cockadoodledoo!
01:06:42Well, well, little Nemo.
01:06:44Now that I've handed the gang over to you, Mr. McCloud,
01:06:47do you think you can hang on to them with your butterfingers?
01:06:51Know I could lure them.
01:06:53Oh, don't be too hard on me, little Nemo.
01:06:56Oh, Mr. Climbering, Mr. Climbering, are you hurt?
01:06:59That's the stenographer.
01:07:01Told you I'd find her.
01:07:02Told you I'd find her.
01:07:04Get that horn.
01:07:05How's he out of my way?
01:07:08Come out, Margaret.
01:07:09Are you all right?
01:07:10Say, they didn't hurt you, did they?
01:07:11No, no.
01:07:12First door, grape nuts.
01:07:13I told you I'd find her.
01:07:15I told you I'd find her.
01:07:16This is Margaret Holt.
01:07:18Ah, Miss Holt.
01:07:19Your dear brother, what do you think becomes of him now?
01:07:22Mr. Holt is large as life.
01:07:24Why, you know?
01:07:26Oh, you sons of dogs, you...
01:07:27Double cross, double cross.
01:07:29Oh, Victor, are you all right?
01:07:31Quite all right.
01:07:32Where's Uncle Mark?
01:07:33He took the other man out of the police station.
01:07:34Oh, but Victor, you're all right.
01:07:35Oh, I'm so glad to see you.
01:07:37Well, how are you?
01:07:38Oh, Mr. Climbering, this is my brother, Mr. Holt.
01:07:40I can't help it.
01:07:41And I want to thank you, Mr. Climbering.
01:07:43Don't bother.
01:07:44I need your sister to finish my story.
01:07:46Come on, get to work, get to work.
01:07:47This will be the biggest chapter ever written.
01:07:49McFarlane, take your policemen and go home.
01:07:51Take those burglars with you.
01:07:52Murphy, turn on the lights in the hall.
01:07:54Get them down to headquarters.
01:07:55Come on, all of them.
01:07:56Drag him out, drag him out if you can't.
01:07:57Come on, Mr. Weinberg.
01:07:59Let's crack your knuckle bones now.
01:08:00Ah, shut up.
01:08:01I'll see you home.
01:08:02You, Mr. Climbering.
01:08:03Come on out of here.
01:08:04I'll see you out of here, too.
01:08:05Goodbye, little Nemo.
01:08:07See you tomorrow.
01:08:08Get out.
01:08:09Okay, Commissioner.
01:08:10Get out.
01:08:11Get out.
01:08:12Where are you going?
01:08:13You get out, too.
01:08:14No time to wait.
01:08:17Get a pad now.
01:08:18Take this down before I forget it.
01:08:23As the beaten gangsters were led away,
01:08:26as the beaten gangsters were led away,
01:08:29our heroine turned to the young reporter
01:08:31and said,
01:08:33I love you.
01:08:39Rubbish!
01:08:41Who's writing this story anyway?
01:08:44Who's writing this story anyway?
01:08:45Who's writing this story anyway?
01:08:46Who's writing this story anyway?
01:08:47Who's writing this story anyway?
01:08:48Who's writing this story anyway?
01:08:49Who's writing this story anyway?
01:08:50Who's writing this story anyway?
01:08:51Who's writing this story anyway?
01:08:52Who's writing this story anyway?
01:08:53Who's writing this story anyway?
01:08:54Who's writing this story anyway?
01:08:55Who's writing this story anyway?
01:08:56Who's writing this story anyway?
01:08:57Who's writing this story anyway?
01:08:58Who's writing this story anyway?
01:08:59Who's writing this story anyway?
01:09:00Who's writing this story anyway?
01:09:01Who's writing this story anyway?
01:09:02Who's writing this story anyway?
01:09:03Who's writing this story anyway?
01:09:04Who's writing this story anyway?
01:09:05Who's writing this story anyway?
01:09:06Who's writing this story anyway?
01:09:07Who's writing this story anyway?
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