For the last four years Margaret Holt has been helping her brother, assistant D.A. Victor Holt, to try to bring down the dope dealing Schemer Marko gang. Margaret kills Marko (aka 'James Morton') when he discovers she's found evidence to use against him. Looking for someplace to hide out, she flees to a local house for disadvantaged women. Her secret is discovered by gossip columnist John Howell and crotchety old mystery writer Winthrop Clavering, who concoct a plan to try to clear Margaret of the crime and, at the same time, capture the Marko gang, who have since kidnapped Victor and are now hot on Margaret's trail as well.
#christycabanne #conspiracy #classicfilms1900 #1930smovie
#bessielove #nedsparks #hughtrevor #classicfilms #fullmovie #freemovies #comedymovie #crimemovie #romancemovie #mysterymovie
#christycabanne #conspiracy #classicfilms1900 #1930smovie
#bessielove #nedsparks #hughtrevor #classicfilms #fullmovie #freemovies #comedymovie #crimemovie #romancemovie #mysterymovie
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Short filmTranscript
00:00:11The End
00:00:35The End
00:01:06The End
00:01:31Oh, going home, Ed?
00:01:33Why, 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.
00:01:45A slow town.
00:01:47Yeah, there's more doing at home, at the corner of Maine and Elbe.
00:01:50I'll say there is.
00:01:52I 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.
00:02:19We have to see you, too.
00:02:33Oh!
00:02:52So long, Ed.
00:03:28I'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.
00:03:41All 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, I 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?
00:03:58Um, Chicago.
00:03:59I just got in tonight.
00:04:01Oh, uh, 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?
00:04:14Um, Martha.
00:04:15Martha Hunter.
00:04:17Just a moment.
00:04:21Oh, yes, this is the neighborhood house on Rivington.
00:04:24Who's calling?
00:04:25Oh, police headquarters.
00:04:28Yes, we have an employment bureau.
00:04:31What's the name?
00:04:33Mary Hadfield?
00:04:35A stenographer?
00:04:36Uh, just a moment till I look through the files.
00:04:46No, there's no such girl on our list.
00:04:49You're welcome.
00:04:51Bye.
00:05:00Uh, here's a card.
00:05:01You sign here, Miss Hunter.
00:05:05Your name?
00:05:06Age and residence.
00:05:16Why, how your hand trembles.
00:05:19You look like you're ready to pass out.
00:05:22Read about the murder at the Beaumont Hotel.
00:05:26Beaumont Hotel?
00:05:28This way, boy.
00:05:33Here you are, lady.
00:05:35Imagine a thing like this at the Beaumont of all places.
00:05:40James Morton, importer, killed at 5.30 this afternoon.
00:05:46A woman, a woman suspected of the crime.
00:05:49Why, I...
00:05:51Oh, you poor child.
00:05:53Why, I was forgetting all about you.
00:05:55Come now.
00:05:55I'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, I'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.
00:06:07And 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.
00:06:25And what can we do for you?
00:06:28My name's Howell, John Howell of the Evening Journal.
00:06:31I'm a sobby.
00:06:32A sob sister, you know.
00:06:35Howell?
00:06:36Hmm?
00:06:38Hard interstories.
00:06:39Poet and the peasants.
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?
00:06:47You'll excuse me.
00:06:48You'd better talk to Miss Rose.
00:06:50She, uh, she speaks two or three different languages.
00:06:57Good evening, Miss, uh...
00:06:58Town.
00:06:59How do you do?
00:06:59My name's Howell, John Howell.
00:07:01I'm a...
00:07:01You're a reporter.
00:07:02Hunting 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.
00:07:15Odd, 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.
00:07:30So, 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.
00:07:45Harbour of disappointed hopes.
00:07:49This isn't so hot.
00:07:51Do you want a job taking dictation?
00:07:56My, 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 Café 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.
00:08:13Come here, Richard.
00:08:14Let's go of me.
00:08:15Hey, look.
00:08:15Let's go of me.
00:08:16Come on.
00:08:17Let's go of me.
00:08:17Somebody stop that cat.
00:08:19Somebody stop that cat.
00:08:22Somebody stop that cat.
00:08:22Somebody stop that cat.
00:08:22Let's go of me.
00:08:23Hey, come here.
00:08:25Somebody stop that cat.
00:08:25Let's go of me.
00:08:27Let's go of me.
00:08:27Let's go of me.
00:08:30Let's go of me.
00:08:31Let's go of me.
00:08:31Let's go of me.
00:08:33You can't.
00:08:35Please.
00:08:36Please.
00:08:38Please.
00:08:39Please.
00:08:40Hey.
00:08:40He's been it.
00:08:41He's been it.
00:08:42We'll get him.
00:08:43Hey.
00:08:45What's the matter here?
00:08:46Get her?
00:08:46Come on.
00:08:47All right.
00:08:48All right.
00:08:50And 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 hers.
00:09:16Ow!
00:09:16Pardon me.
00:09:17I beg your pardon.
00:09:20Couldn't you let me have a quarter, sir?
00:09:22I need more ink to finish Mr. Clavering's work.
00:09:30Why, sure.
00:09:31Here.
00:09:32Get yourself a bucketful.
00:09:34Oh.
00:09:35Thanks.
00:09:36Thanks awfully, sir.
00:09:43There'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?
00:09:58You mean Little Nemo?
00:10:00I mean the man that writes the famous crime stories.
00:10:03Yes, yes, I know.
00:10:04Our paper runs his stuff.
00:10:05We call him Little Nemo.
00:10:06He'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.
00:10:19Well, 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
00:10:28to 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.
00:10:51Huh?
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,
00:11:04she'd have to stop.
00:11:05Take a pill.
00:11:07Well, I'll let her know you're here.
00:11:09Tell her it's hard work.
00:11:10No time off.
00:11:12Very little sleep.
00:11:14I 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.
00:11:27Very 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.
00:11:39I can smell a reporter a mile off.
00:11:49One.
00:11:51Two.
00:11:52Three.
00:11:54Four.
00:11:56Five.
00:12:00Seven.
00:12:02Eight.
00:12:03Two.
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 the same.
00:12:12Wild Winnie Clavering.
00:12:13Weaned on a pickle.
00:12:16You know what I'm gonna do with you?
00:12:18I'm gonna 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.
00:12:25He ain't funny, so we throw you out.
00:12:28Well, well.
00:12:33Do you mean you've already got a theory on the Morton murder?
00:12:36Morton, my eye.
00:12:38Morton's an American name.
00:12:40But did you ever hear of an American wearing earrings?
00:12:44I examined the lobes of his ears.
00:12:47And they're so faint you could hardly see them
00:12:53on the marks of old earring holes.
00:12:58What 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.
00:13:09He was a racketeer of some sort.
00:13:12A gangster.
00:13:14Listen.
00:13:16In my new story,
00:13:19I'm going to make him the head of Schemer Marco's gang.
00:13:24I tell you the Marco gang was mixed up in this Morton murder.
00:13:29And the key to it all
00:13:32lies in the cafe, Ross Amano.
00:13:36Cafe Ross Amano?
00:13:39That's the very place where...
00:13:42Say, what's the Ross Amano got to do with the Morton murder?
00:13:47Yeah.
00:13:49There were two phones in Morton's room.
00:13:51A house phone on the wall.
00:13:54And 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.
00:14:09And he dropped it because he was stabbed in the act of using it.
00:14:15There.
00:14:26Took me to think of that.
00:14:28Me.
00:14:29Little Nemo.
00:14:30Great, Little Nemo.
00:14:34I checked with Central.
00:14:36I found that at 5.30, the very hour of his death,
00:14:40Morton called the Ross Amano on that private phone.
00:14:43That message to the Ross Amano was 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.
00:15:04Do something for this poor boy.
00:15:06Take him into the dispensary.
00:15:08Put him in a harnicky.
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.
00:15:31Can 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 in the ladies' reception room.
00:15:42Oh, she's a lady, is she?
00:15:44Too bad.
00:15:45Too bad.
00:15:46No, not the lady.
00:15:48I don't think I'm gonna like her.
00:15:50I want a girl that will work.
00:15:52Never wanna sleep.
00:16:12Chelsea 6887.
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.
00:16:31Well, get it to me at once.
00:16:33I'm at the neighborhood house on 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.
00:16:58Who, uh, who are you?
00:17:00I think I'm your friend, but I'm not quite sure yet.
00:17:04What do you mean?
00:17:05I don't understand you.
00:17:07Oh, yes, you do.
00:17:08You're the girl that killed that man at the Beaumont.
00:17:11Oh, how crazily absurd.
00:17:17Well, I just got in from Chicago this evening.
00:17:19Oh, 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.
00:17:31Oh, no!
00:17:35I helped you once, and I wanna 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?
00:18:02What 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 give me up.
00:18:17I'll...
00:18:17I'll tell you.
00:18:19Oh.
00:18:20Oh.
00:18:21I didn't mean to kill him.
00:18:26Oh, I didn't mean to kill him.
00:18:30Oh, 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?
00:18:50Well, one of the gang.
00:18:51Marco's gang.
00:18:52Are you one of them?
00:18:53I'm one of them.
00:18:54I'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.
00:19:10Say, 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.
00:19:16We've got to get the scheme of Marco's gang.
00:19:18Because 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.
00:19:38Or even savages couldn't do.
00:19:42Things I couldn't speak of.
00:19:45Things 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.
00:19:56When the poor body's broken.
00:19:59And nothing left but the poor aching brain that suffers.
00:20:05Can't sleep.
00:20:08That'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.
00:20:20His private stenographer.
00:20:22You mean that Morton was Schema Marco himself?
00:20:24The head of the 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.
00:20:44I couldn't find out where he kept it hidden.
00:20:47Not until today when...
00:21:13Why, 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?
00:21:33Uh-huh.
00:21:34You're such a good little worker.
00:21:37I think I shall never be able to let you go.
00:21:40Thank you, Mr. Morton.
00:21:43Well, good night.
00:21:44Uh, wait, Miss Hatfield.
00:21:49Are you, uh, handy with tools?
00:21:52Tools?
00:21:53Yes, I see that the edge of the coffin has become untapped.
00:21:57Now, if you have a screwdriver...
00:21:59A hammer, I mean.
00:22:00I'll speak to the maid about it.
00:22:01First thing in the morning, please.
00:22:04Yes, sir.
00:22:04Good night.
00:22:05Just a minute.
00:22:09Why are you in such a hurry?
00:22:12Why not?
00:22:13I'm not at all.
00:22:14Good.
00:22:15Now, will you look up a number for me?
00:22:18The name is Privislav Stanley P.
00:22:21Yes, sir.
00:22:34Would you please open that door?
00:22:39I'm afraid that Victor Holt will have to wait for my little envelope that you stole for him.
00:22:45Who is Victor Holt?
00:22:47Your 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,
00:22:59when we really get to talking.
00:23:02First, I'll tell you something about Victor Holt.
00:23:05Just now, he's at the Café Rosamano.
00:23:08Oh, so you know that name, huh?
00:23:11Well, I guess we'll call Rosamano.
00:23:17I'll tell you something about Victor Holt.
00:23:19Give me Gramercy 7980.
00:23:22Please.
00:23:25Victor Holt thinks he's trailing my friends,
00:23:28but it's my friends that are trailing him.
00:23:30I don't know any Victor Holt.
00:23:32No?
00:23:33Hmm.
00:23:36Hello?
00:23:37Rosamano?
00:23:38Will you kindly ask Mr. Miller to take this call?
00:23:43No.
00:23:45Oh.
00:23:46So you know my good friend, Miller.
00:23:48When he comes to the phone,
00:23:50I'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.
00:24:00But why?
00:24:02You don't know any Victor Holt.
00:24:04He is 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,
00:24:14but 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.
00:24:45What?
00:24:45I can't hear you.
00:24:47Hello.
00:24:48Hello, Bert.
00:25:04Help.
00:25:05I'm dying.
00:25:07She got me.
00:25:11Oh, 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?
00:25:37Give you up?
00:25:38Gee, 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.
00:25:54A 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.
00:26:11If 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?
00:26:23Well, 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, 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,
00:27:00and when I find a prescription,
00:27:02I may find an address
00:27:02that has Mr. Winey at the other end of it.
00:27:04And 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 that 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 against themselves.
00:27:43Now, come on and get on your bonnet.
00:27:45And don't walk, run.
00:27:47We'll have to keep that girl in a safety visor 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 to the old woman's home.
00:27:58Have hysterics.
00:27:59Have them all over the place.
00:28:03Fine lemon they tried to hand me.
00:28:05Took one peek at me and 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.
00:28:26You 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.
00:28:42Never wants to leave the house.
00:28:43Just wants to work.
00:28:43Ten 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.
00:28:51Do 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.
00:28:58Get 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.
00:29:28Haven't I been telling you these ten years my time is important?
00:29:30Oh, wait now, man dear.
00:29:32Wait.
00:29:33Wait.
00:29:34Don't do that.
00:29:35I'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.
00:29:45Here'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.
00:30:01We 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.
00:30:29Oh, clean as the nose on 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?
00:30:36A child can see that.
00:30:38Always wrong at the top of your voice.
00:30:40What's that?
00:30:42You 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, go on before I laugh myself to death.
00:30:57I know she did it, cold-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 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.
00:31:17Yes, yes, when it's ended.
00:31:18Cold-blooded murderess.
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.
00:31:39You there, honey?
00:31:52I 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.
00:32:06More 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?
00:32:20Oh, that's Jack.
00:32:22What'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's been here three times, that's going to be the end of poor old Martha.
00:32:59Good evening, Gallicurchy.
00:33:03Don't you go calling me out of my name, Buckery boy.
00:33:05And don't you disremember this.
00:33:07When Master Claven come, you tell him you done forced your way in here over my dead body.
00:33:21Oh, Jack.
00:33:24Now, what's the matter?
00:33:25Tell me.
00:33:25Oh, Jack, take me away from this place.
00:33:27I can't go on.
00:33:29I can't go on.
00:33:30Now, steady, steady.
00:33:30Oh, that awful old man.
00:33:32He's making me write down my own story.
00:33:35He's guessed everything so far.
00:33:36Oh, 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, and 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.
00:33:57Listen.
00:33:58You've got to stand it.
00:33:59It 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.
00:34:17And you think they've got Victor hidden in that house?
00:34:18That's what I've got to find out.
00:34:19Well, 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.
00:34:34Well, 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, are 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. Claiborne.
00:35:20I'm scared to death.
00:35:21Now, keep your nerve.
00:35:21It won't be long now.
00:35:22Ah, cold.
00:35:23I hate the cold.
00:35:24I hate the cold.
00:35:26Who are you?
00:35:28There.
00:35:29Well, well, how'd you get in my house?
00:35:37I told that black assassin not to let anyone in.
00:35:41No, no, don't get excited, old-timer.
00:35:45Now, get out before I send for the dog catcher.
00:35:48Eh, dog catcher.
00:35:52Goodbye, my dear.
00:35:53Oh, be careful.
00:35:54Oh, do be careful.
00:35:55If you shouldn't come back.
00:35:57No, no, it'll be all right.
00:35:59Lallygagging, eh?
00:36:02I tell you, I won't have any lallygagging in my house.
00:36:07You get to work.
00:36:11You get out.
00:36:16One, two, three, four.
00:36:21I just stopped in to ask you whether you'd have another installment of your story ready
00:36:24for our paper tomorrow.
00:36:25Dix, I won't if you keep on interrupting me this way.
00:36:33Twenty-three.
00:36:35Twenty-six.
00:36:37Twenty-eight.
00:36:39Thirty.
00:36:41How can I finish my story with all these interruptions?
00:36:46Got a new train of thought on my walk.
00:36:49That 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-handed 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 thing!
00:37:22My back!
00:37:22My back!
00:37:24Oh, honey, you done sprained yourself.
00:37:28Get the kink out of it!
00:37:28Get the kink out of it!
00:37:30Higher!
00:37:30Higher!
00:37:31Lower!
00:37:33Lower!
00:37:34There, there.
00:37:36That's it.
00:37:36There, now, honey.
00:37:39Martha rub you good.
00:37:41That's it.
00:37:45There, now, honey.
00:37:46Rest your poor back.
00:37:50You better, honey.
00:37:52Say, who told you to come rubbing my back?
00:37:55Two darned officious.
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?
00:38:01Now, where the hell is 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?
00:38:14Where's the pipe?
00:38:15Now, here it is.
00:38:16Right, right left it.
00:38:22Rotting old pipe.
00:38:25Smell a little bit of the shame of a skunk.
00:38:28Smokin' in the park and all the little birds gonna drop dead.
00:38:33Let me sit.
00:38:35Stop mumbling!
00:38:36If you have anything to say, speak up like a man.
00:38:40Yes, sir!
00:38:41Don't shout at me, you squid!
00:38:44Here.
00:38:44Come here.
00:38:48Great.
00:38:50Here.
00:38:51With a present.
00:38:53Got a cheek.
00:38:57How come you all knows I used Jockey Club, boy?
00:39:03I didn't.
00:39:04Don't care.
00:39:06That joe is nice.
00:39:09Come here.
00:39:10Come here.
00:39:14Come here.
00:39:16Now, listen.
00:39:17The next time you let that gibbering, jabbering reporter in here,
00:39:21I'll ring your neck and put you in pickle.
00:39:26Like their specimen.
00:39:27Understand?
00:39:28Yes, sir, I understand.
00:39:30Yes, sir, I understand.
00:39:32Yes, sir, I understand.
00:39:36You gonna need a bigger jar than that to pickle me in.
00:39:43Oh, 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.
00:39:56Where'd 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?
00:40:05I discovered that three tacks had been pulled out of the carpet in Morton's room,
00:40:09and the dust, noly disturbed.
00:40:12Something had been hidden there and taken out.
00:40:16Well, but why a paper?
00:40:20They couldn't have hidden a limousine there, could they?
00:40:28Now we come to chapter 10.
00:40:31Head it.
00:40:32The murder.
00:40:40For 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 she 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.
00:41:01He 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.
00:41:13I keep trying to figure out the plot.
00:41:16I suppose so.
00:41:17He caught up a telephone on the desk to summon his henchman.
00:41:21Quick, he cried.
00:41:22Give me the Café Rossimano.
00:41:28Trapped 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.
00:41:50Black-eyed and gray-eyed people are nervous.
00:41:53This girl was as cool as a cucumber.
00:41:56Blue-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.
00:42:24Same height.
00:42:26Well, how did you ever figure that out?
00:42:28Why, she had to be the same height
00:42:30in 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.
00:42:47Now, uh...
00:42:48Oh, yes, where were we?
00:42:49Oh, come here.
00:42:51Come here.
00:42:53Now, take this paper knife.
00:42:55Go on, take it.
00:42:58Now, you're the girl and I'm Morton.
00:43:02Now, where would you stab me?
00:43:04Go on, stab 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.
00:43:23Now, without a moment's hesitation,
00:43:26she seized the stiletto
00:43:30and plunged it into his villainous heart.
00:43:33Oh, thank heaven.
00:43:35Now, what's the matter?
00:43:36Oh, the doorbell rang.
00:43:38The doorbell 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 I 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?
00:44:14You saber-toothed chimpanzee.
00:44:16You squiggly-eyed, flat-nosed daughter of Ham.
00:44:20You, you.
00:44:22Why can't I think of words when I need them?
00:44:25When you find them, I hope they choke you.
00:44:28What is it?
00:44:29What is it?
00:44:30There's a lady downstairs, sir.
00:44:32I said when you read this card,
00:44:34you'd see her for sure.
00:44:36Huh.
00:44:39Tell 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,
00:44:53we'll do two more chapters, huh?
00:44:55Two little chapters.
00:44:57Run along.
00:44:59Cover up well.
00:45:01Open the window.
00:45:02Fresh air won't hurt you.
00:45:11Yeah.
00:45:15Sweet.
00:45:17Very sweet.
00:45:20Mm-hmm.
00:45:21There.
00:45:23Relative of the late James Morton.
00:45:26I wonder what she wants.
00:45:28Some nuisance, I suppose.
00:45:53You are the great, the famous Mr. Clavering.
00:45:56You know I am.
00:45:59Well, well, sit down, sit down.
00:46:01No time to waste.
00:46:08Please.
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.
00:46:25Now, tell me.
00:46:26What relation was the murdered man to you?
00:46:35My uncle.
00:46:37My good, kind uncle.
00:46:42Oh, Mr. Clavering,
00:46:44I have read in the paper your story of the murder.
00:46:47You could not write like that unless you know something.
00:46:50You 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.
00:47:16Got any proofs?
00:47:18Listen.
00:47:23Listen.
00:47:24I leave my uncle a little before five that afternoon.
00:47:27And I leave that Hadfield girl alone with him.
00:47:30I 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.
00:47:42What then?
00:47:44She jumped in a taxi.
00:47:45I jumped in another and follow.
00:47:46She get out at Cafe Rosamano.
00:47:48Of course.
00:47:49Of course.
00:47:50When she gets out,
00:47:51she drop this purse.
00:47:53Yeah, let me see it.
00:47:56Oh, she's...
00:47:59Eh.
00:48:01Powder box.
00:48:05Little 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.
00:48:30And when you do,
00:48:31you tell us where she is,
00:48:33and we give you $5,000.
00:48:39If I get some information,
00:48:41where can I reach you?
00:48:43Call Gramercy,
00:48:459268.
00:48:48Huh?
00:48:48Ask for Mr. Miller.
00:48:52If I get some information,
00:48:54I may call you.
00:48:56In the meantime,
00:48:56I haven't done a stroke of work today.
00:48:58Come, come.
00:49:08It has been such a pleasure
00:49:10to meet such a man.
00:49:12Don't I know it?
00:49:18I come again when you send.
00:49:21Then I thank you myself.
00:49:25Goodbye.
00:49:27Goodbye.
00:49:28Goodbye, my dear.
00:49:30You almost make me feel young again.
00:49:39Almost.
00:49:48Almost.
00:49:56Yeah.
00:50:22Run, child, run.
00:50:23Take your foot in your hand.
00:50:24Old devil, wine, 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.
00:51:03Yes?
00:51:04Yes?
00:51:05Ready for you now.
00:51:06All ready.
00:51:08So soon?
00:51:09Yeah, wasted a lot of time already.
00:51:11Sit down.
00:51:12Sit down.
00:51:13Sit down.
00:51:14Take a new page.
00:51:16Write a new chapter.
00:51:18Headed at chapter 11.
00:51:19Flight.
00:51:20Ready.
00:51:21Yes.
00:51:24Down the fire escape she fled.
00:51:26Breakneck speed.
00:51:28With no thought of danger to herself.
00:51:30With one purpose.
00:51:32To get to the cafe.
00:51:33Rossimano.
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.
00:51:46When she got out far downtown.
00:51:48The boys were already crying extra.
00:51:50All about the murder at the Beaumont.
00:51:53At 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.
00:52:14The police.
00:52:15Oh, wait.
00:52:18Yes, it's true.
00:52:19I did it.
00:52:20Of 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.
00:52:28Or 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.
00:52:39Hang 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?
00:52:54You 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.
00:53:05Let 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 going to kill me for sure
00:53:12if I let you in here again.
00:53:15Ow!
00:53:16Glory be to goodness, woman.
00:53:17You've ruined my foot for life.
00:53:19Oh, how come?
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.
00:53:33I'll have you jailed for this,
00:53:34you jumping Jezebel.
00:53:36Look, I can't stand and I can't walk.
00:53:41You fooling, 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 bang.
00:53:50Ain't that bad, honey.
00:53:52I never did you any harm.
00:53:55Let old Martha see your whole foot.
00:53:58Thanks, Mr. Moore.
00:53:59Come back here, trash.
00:54:01Fool 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.
00:54:20Now, 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 of Victor.
00:54:26Open the door.
00:54:26I got the room.
00:54:27Open the door.
00:54:29Now, who let you in?
00:54:30I 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.
00:54:45Listen.
00:54:46We'll give you a better ending to your story.
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 rescued 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,
00:55:09he can take care of himself.
00:55:10You're right.
00:55:11I've got 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.
00:55:23There.
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've got an excuse to call him.
00:55:37I lure him.
00:55:39All great not to lure him.
00:55:42How long will it take you to get back to that house?
00:55:44Five minutes, General.
00:55:47When you see three of them come out.
00:55:49Three of them, remember?
00:55:52You go in.
00:55:53You'll know what to do.
00:55:55Okay.
00:55:56Cut the slush.
00:55:57This is no love nest.
00:55:58Bamoose.
00:55:58Get out.
00:56:00Gedaddle.
00:56:02Call me Spring.
00:56:023-100.
00:56:03Ask for that dummy, Captain McCloud.
00:56:06Well, hell, don't stand there licking any.
00:56:08Oh, yes.
00:56:11Let's bring 3-100.
00:56:19Now 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 head on him.
00:56:36Hello, Captain McCloud.
00:56:37Just a minute.
00:56:41Hello, you flat-footed baboon.
00:56:45This is your little playmate, Old Grape Nuts.
00:56:47Yeah, think 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.
00:56:55Mm-hmm.
00:56:56Well, prop your ears open and listen.
00:56:58At exactly five minutes to nine, be at my house with four men.
00:57:05Now, understand?
00:57:07No sooner, no later.
00:57:09You'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.
00:57:21Now, I mean pebbles, not rocks.
00:57:24When you see the lights go out, rush the room.
00:57:27And if you're late, you'll have the pleasure of attending my funeral.
00:57:31Goodbye, you baboon.
00:57:33Where's my notebook?
00:57:34Where'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.
00:58:01This is Winthrop Clavering speaking.
00:58:03Uh-huh.
00:58:04I want to speak to Miller.
00:58:09Hello?
00:58:09Is that you, Miller?
00:58:10Well, 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 that stenographer over to you.
00:58:23Listen, bring 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 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,
00:58:38you 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 Elf Adelda won't let them get you.
00:58:52No, sir.
00:58:53Martha!
00:58:54Martha!
00:58:55Martha!
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.
00:59:11Now, get this into your cranium.
00:59:13My way.
00:59:14Your brain box, woman.
00:59:16This vacuum.
00:59:18I'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 hate you till your bones stick through your skin.
00:59:34Deed, I won't, Master Cleven.
00:59:36I won't forget.
00:59:36Deed, I won't.
00:59:38Elf, you all ready?
00:59:39You all ready, Elfie?
00:59:41That lamp.
00:59:42Disconnected.
00:59:44This 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.
01:00:08I can see them now.
01:00:10Winthrop Clavering.
01:00:11Crime detector.
01:00:13Sherlock Holmes post.
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?
01:00:40Shh, shh.
01:00:42I'll recite Dunga 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.
01:01:06Come in.
01:01:06No such luck.
01:01:16Come in.
01:01:23Sit down.
01:01:24Sit down.
01:01:25Be with you in a minute.
01:01:25Just looking for a book.
01:01:29Excuse 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?
01:02:00I can see by your face what a good man you are.
01:02:05And this is Mr. Weinberg.
01:02:08Weinberg?
01:02:09Oh, 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.
01:02:18Mr. 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.
01:02:37Of 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.
01:02:47He 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.
01:03:01Would interest you?
01:03:02Is he trying to fool you?
01:03:03How is an old fool?
01:03:04Hey, can I tell you, be patient, Mr. Clavering.
01:03:07Some 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'm absent-minded.
01:03:15Yes, then be treat 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.
01:03:30Every year.
01:03:35Now, what did I do with my galoshes?
01:03:39I should have my galoshes.
01:03:41You're such a clever man.
01:03:42It gives me pleasure to help you.
01:03:44Oh, thank you.
01:03:45Thank you, my dear.
01:03:46Good girl.
01:03:46Nice good girl.
01:03:49Well, well.
01:03:51All ready now.
01:03:54Yes, yes.
01:03:54It'll go right along now.
01:03:57Oh, one minute.
01:03:57One minute.
01:03:58Something I forgot.
01:03:59What is it now, listen?
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.
01:04:15One.
01:04:17Two.
01:04:19Three.
01:04:23Four.
01:04:25Five.
01:04:26Six.
01:04:28Seven.
01:04:30Eight.
01:04:32Nine.
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.
01:04:41Seven.
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.
01:05:02Or?
01:05:04You've got a gun in your pocket.
01:05:06You will find out what I have got.
01:05:08All right, go on.
01:05:09Go on, shoot me.
01:05:09Shoot me.
01:05:10You can't find her without me.
01:05:12Okay.
01:05:12The police will get her first.
01:05:13Then what do you do?
01:05:19Hey, what's that?
01:05:21Pestilent, poisonous street brat.
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.
01:05:32Pestering the life out of me.
01:05:36Police, get over!
01:05:37Get over!
01:05:38Get over!
01:05:39Get out of here!
01:05:40Get out of here!
01:05:44Get away from me!
01:05:49Turn on the switch.
01:05:52Over by the door.
01:05:54Get away from me!
01:05:56Don't, don't, don't!
01:05:57Give me that ring.
01:05:59Let go!
01:06:01We got you at last, Miller.
01:06:03You've got nothing on me.
01:06:06Hey, you're not looking.
01:06:07You've got nothing on me.
01:06:09Don't you bite me.
01:06:10You've got nothing on 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 in there.
01:06:19No one in the hall, sir.
01:06:21Weinberg.
01:06:22What did you do with Clevering?
01:06:24I don't know.
01:06:25I never touched him.
01:06:26Clevering!
01:06:27Clevering!
01:06:28I'm here somewhere.
01:06:29Where are you, little Nemo?
01:06:31Cock-a-doodle-doo!
01:06:42Well, well, little Nemo.
01:06:44Now that I've handed the gang over to you, Mr. McCloud, do you think you can hang on to them
01:06:48with your butterfingers?
01:06:51You know I could lure them?
01:06:53Oh, don't be too hard on me, little Nemo.
01:06:57Clevering!
01:06:58Mr. Clevering!
01:06:58Clevering already 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 porn!
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?
01:07:12First all grape nuts.
01:07:13I told you I'd find her!
01:07:14I told you I'd find her!
01:07:16This is Margaret Holt!
01:07:18Ah, Miss Holt!
01:07:19Your dear brother!
01:07:20What do you think becomes of him now?
01:07:22Mr. Holt is large as life!
01:07:24Why not?
01:07:25Oh, you son of a doctor!
01:07:27Double cross!
01:07:28Double cross!
01:07:29Oh, Victor!
01:07:30Are you all right?
01:07:31Quite all right.
01:07:32Where's Uncle Mark?
01:07:33He took the other man to 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. Clevering, this is my brother, Mr. Holt.
01:07:40I can't help it.
01:07:41And I want to thank you, Mr. Clevering.
01:07:43Don't bother.
01:07:43Father, I need your sister to finish my story.
01:07:46Come on.
01:07:46Get to work.
01:07:47Get to work.
01:07:47This will be the biggest chapter ever written.
01:07:49McLean, take your policeman 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.
01:07:57Drag him out.
01:07:57You can't, woman.
01:07:58Go.
01:07:58Now, Mr. Weinberg, crack your knuckle bones now.
01:08:00Ah, shut up.
01:08:01I'll see you home.
01:08:02You, Mr. Clevering.
01:08:03Come on, out of here.
01:08:04Take your boy and pussy 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.
01:08:11Where are you going?
01:08:13You get out, too.
01:08:15No 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,
01:08:28our heroine turned to the young reporter
01:08:32and said,
01:08:35I love you.
01:08:39Rubbish!
01:08:41Who's writing this story anyway?
01:08:43Good with you.
01:08:45Good with you.
01:08:55Every day.
01:08:56Good with you.
01:08:57You
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