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00:00The End
01:08Ladies and gentlemen, your attention, please, for the world-renowned artists of the trapeze, the Pincus twins, Lola and Bella.
02:00Right.
02:05Help!
02:17Don't leave me.
02:18You're burning, Rick James.
02:19You could have killed me.
02:20I'll tell you, I went off perfect, Lola.
02:22I told you, you went off too bloody soon.
02:23Did you think you'd take your head off the hell you did?
02:25I admit it, Lola.
02:26You've gone too far.
02:27I've been at the bottle again, I'm deaf.
02:28Why, you stinkin' a-bag.
02:29I signed the pledge and well, you know it.
02:30I conquered my weakness.
02:32What's that supposed to mean?
02:33Well, I wasn't walking out with soldier boys as well tonight, was I?
02:35And by the time you got in, it's obvious.
02:37You weren't walking either.
02:38You fell, my mother.
02:39I shouldn't take that from anywhere.
02:40Ladies, ladies, ladies, in heaven's name, desist.
02:43Eh?
02:44I am much perturbed.
02:45To what?
02:45You can't know how the sight of such talent exposed to danger affects me.
02:50Exposed to danger?
02:51Yes.
02:51Look.
02:52What, Lola, those?
02:53Those, my dear, are the lengths of rope cut from a trapeze.
02:56I found them among the props.
02:58Someone shortened one of our trapezes.
02:59Your accident was planned in cold blood.
03:02You are fortunate to be alive.
03:06What do you think, Sarge?
03:09Seven musical accidents in four weeks.
03:12Uncommon hard to credit.
03:13Seems to have started with the Pinker sisters on the trapeze at the Middlesex.
03:18Then there was Bellotti, the barrel dancer at the Metropolitan.
03:21Fell off his barrel, broke his arm, and set light to his air on the footlights.
03:24Oh, that'll be the Macassar.
03:26Macassar?
03:27Air oil.
03:28All these foreigners plaster it on.
03:30Very inflammable.
03:31The reason he fell, Thackeray, was that some blight had plastered his barrel with axle grease.
03:35How about this, then?
03:37Sam Fagan, the comic.
03:39Seems he always closes his act with the audience joining in a song.
03:42The words are written on a large sheet wound round a roller.
03:46This time, when he unwound the sheet, he was booed off the stage.
03:50Doesn't say why.
03:51The words have been shamefully altered.
03:53There were references to a certain gracious personage.
03:56The audience was not amused.
03:58Who was next?
03:59Professor Virgo, the sword swallower.
04:02He pushed a blade down his throat, pulled it up again, started prancing up and down and shouting for water.
04:10Oh, blimey!
04:11The sword had been smeared with mustard.
04:13Something troubling you, Constable?
04:15Oh, surely you're not taking this lot seriously, Sarge.
04:18I have to, because of what happened at the Canterbury.
04:21Hmm.
04:22Haven't got that report.
04:23Girl called Lettice walks into a box.
04:25The door is shut.
04:25Audience sees only a head and boots.
04:27Drum roll as Wollstone, the great magician, plunges swords through holes in the side.
04:31Marvellous act.
04:32What happened?
04:33Second sword got stuck.
04:34Why?
04:35Lettice's leg was in the way.
04:36She screamed blue murder.
04:38Taken to hospital with fortunately just a flesh wound.
04:42Well, I suppose it could have been mechanical failure.
04:45Could have been that the box had been tampered with.
04:47Well, if it was, we're looking for a murderer.
04:49Nobody's been murdered.
04:51But Lettice could have died, and so could the trapeze artist. What was her name?
04:55Lola.
04:55No, that's not the common element, Constable.
04:58Then what is?
04:59Ridicule.
05:00All these artists were laughed, jeered and booed off the stage.
05:03It's as if someone wanted to destroy them professionally.
05:05Oh, so we're not looking for a murderer then?
05:07Not yet.
05:08Why'd you say that?
05:09Well, you said it for me.
05:11Lettice could have died.
05:12Who knows?
05:13Next time?
05:13Next time?
05:15This was delivered to Stone End Police Station this morning.
05:18Grampian Theatre Playbill.
05:20Three words ringed in black ink.
05:22Sensational.
05:23Tragedy.
05:25Tonight.
05:39The
05:40Fourth
05:40The
05:58It's
05:59A
06:09ADA
06:09And now, direct from her successes of the London Pavilion,
06:15the Metropolitan, the Tivoli Gun,
06:21here to entertain you with her ditties,
06:26Miss Ellen Blake!
06:39I'm a young girl and have just come over,
06:43over from the country where they do things big.
06:49And amongst the boys I've got a lover,
06:53and since I've got a lover, why, I don't care a fig.
06:59Oh, the boy I love is up in the gallery.
07:06Oh, how I love, he's waiting there for me.
07:10Remember, you're here on duty, Constable,
07:12at the first sign of an accident,
07:13I want you over that ledge and down on that stage.
07:17Thanks for your stunner, Sarge.
07:20Leave yourself in check, man.
07:22You're folding at the mouth.
07:24The boy I love is up in the gallery.
07:29The boy I love is looking down at me.
07:33There he is, can't you see?
07:36The boy I love is handsome and cheap.
07:41As very as the world will live,
07:44The boy I love is looking down at me.
08:03And the children leave with a redoubtable display of manly vigor.
08:11From that sovereign of strong men,
08:14The old few ladies of Brother High,
08:17The great Albert!
08:29Oh, your son!
08:49I mean, keep away from Albert.
08:50This is you, flatten him.
09:00Rule Britannia, Britannia rule the ways.
09:06Britain never, never, never shall be slaves.
09:13And now, ladies and gentlemen, my son Albert will portray the greatness of Britain
09:17and her empire.
10:01That's it, Zachary.
10:03Get the dog.
10:05Bring the curtain down.
10:07Go, go, go, go, go, go, go.
10:21Go, go, go, go, go.
10:42I'm the man what sends to prison, he what steals, what isn't his, X, you know, is my division.
10:49Oh, you poor dear. You must be in terrible pain. I shall never forgive myself.
10:56What's that, you've got?
10:57Iodine, the unfailing remedy for a dog bite.
11:01Does that animal have to be here?
11:04Evidence.
11:05Pucker investigator never lets evidence out of his sight.
11:11Your handkerchief is your police constable.
11:14Right, sir.
11:16Policeman in plain clothes. Who would have thought it?
11:20I, too, am a detective.
11:22Really?
11:23Chick, Major, 8th who's ours, retired.
11:26Private detective, then?
11:28Damn good one.
11:30What you doing here, Major?
11:31A series of incidents in London music halls led the manager to engage me.
11:35He didn't want anything suspicious happening here at the Grampian.
11:38But it has happened, Major.
11:41Definitely an accident.
11:43Can't arrest the blasted bulldog, can't we?
11:45Well, now, that's an ugly little bite, Albert.
11:48It needs cleaning.
11:52Any other injuries?
11:53I twisted my ankle as I fell.
11:55You mustn't worry about it, dear.
11:57You'll only be out of work for a week or two.
12:00I'll never work again, Erwin.
12:01A strong man, frightened of a little dog.
12:04You're a blessed laughingstock.
12:06Oh, I wouldn't say that, would you, Sarge?
12:08Poor darling.
12:10I found him locked up in that horrid quick-change room.
12:13Didn't I, Beacon Fields?
12:15Good.
12:15The real dog's been found.
12:19Substitution, by Jove.
12:20And when I find out who did it, I'll horsewhip him.
12:23Yes, I will.
12:25Would you mind paying a little attention to your son, madam?
12:27He has hurt his ankle.
12:29Can't you work?
12:30Mother, how can I?
12:31What a cruel boy.
12:33So, I shall have to go back to my solo act,
12:36or Beaconsfield and I will end up in a workhouse.
12:39Who's got a cruel son, then?
12:42Miss Allen, would you oblige us by asking the stage doorman to hail a cab for Albert?
12:45Yes, of course.
12:47If we can arrange a chaperone, I'll visit you at your lodgings.
12:51I don't deserve such kindness.
12:53If you get yourself changed, Albert, the constable and I will help you back to your lodgings.
12:56But if a crime has been committed, you cannot leave the scene.
13:00Why not?
13:01Why not?
13:01There are suspects to be interviewed.
13:04Well, you're a detective, aren't you?
13:05Yes, well...
13:06Well, then you interview them.
13:08Well, yes.
13:09Oh, and I'll leave our four-legged friend in your good care.
13:13We may need him later.
13:15Why?
13:15Why?
13:16Evidence.
13:24More damn clue bottles on the music halls that are in the Metropolitan Force.
13:33It was no practical joke, Albert.
13:35Do you have any enemies?
13:36No.
13:37What about Miss Ellen Blake?
13:39Ellen, an enemy?
13:40I was thinking of other admirers.
13:41She must have other admirers.
13:43Oh, yes, she does.
13:43But she pays them no attention.
13:46If I weren't so poor, we'd get married tomorrow.
13:49Well, we seem to have eliminated everybody except your mother, Albert.
13:52And although I can see her shutting you up, I can't see her shutting up Beaconsfield.
13:56Here we are.
14:04I'll give you a hand up to your room, then.
14:05No.
14:06Don't do that.
14:06Why not?
14:09My landlady.
14:10If she finds out I'm not able to work, she won't let me stay.
14:14Thank you for your kindness.
14:17Goodbye.
14:25Right, you take first watch.
14:27Watch who?
14:29Albert.
14:29All the performers who've had an accident so far have disappeared.
14:33Oh, they've probably moved on to new lodgings, new town, Sarge.
14:36Possibly.
14:36But I keep remembering those three words ringed in black ink on their theatre bill.
14:40Sensational tragedy tonight.
14:42And in my book, Thackeray, the night doesn't end until the morning.
15:08People are struggling.
15:08Um, sir.
15:08Oh, look.
15:08Oh, look.
15:09Oh.
15:12Oh, no.
15:13Oh.
15:26Oh, các lady.
15:33Oh, my gosh.
15:34Oh, my gosh.
15:34Oh, God.
15:35Oh, my gosh.
15:35Oh, my gosh.
17:59Can you hear anything?
18:06Sounds like singing.
18:07Hymns, I expect.
18:09It is Sunday.
18:10Tommy, make room for your uncle.
18:12Ain't it my hymn book?
18:16The mistress says, come in.
18:31Them two coppers.
18:55The room can be a little unnerving, I believe, if one is not the theatrical.
19:01Most of us are at Philbeath House.
19:06My name is Boddy.
19:08Mrs. Boddy.
19:10What is yours?
19:12Crib, ma'am.
19:12Sergeant Crib and Constable Thackeray checking for missing persons.
19:16You have theatricals, Stania?
19:18This is a home for destitute music hall performers.
19:21I am the housekeeper.
19:23Do sit down.
19:23Pardon?
19:24Thank you, ma'am.
19:26I wonder if you'd oblige me by telling me if...
19:28The Ballad of Sam Hall.
19:32Pardon?
19:33You are sitting in the very chair that W.G. Ross sat in when he sang The Ballad of Sam
19:39Hall.
19:39The condemned suite.
19:40Oh, he remembers.
19:42Oh, you must be a concert of the variety stage.
19:47Excuse me.
20:03They had no idea that their little rehearsal was disturbing us.
20:07What did they rehearse in for, ma'am?
20:09For their return to the footlights.
20:10Oh, where?
20:13You know, Mr. Crib, you remind me so strikingly of Mr. Boddy, my late husband.
20:20Except that he wore spectacles.
20:22He lost them in Hyde Park and drowned in the Serpentine.
20:27Please, how can I help you?
20:30By telling me if these people happen to be guests of yours.
20:37Why, yes.
20:38They all are.
20:40All of them?
20:43Why, you even have Albert, the strong man, and he only arrived this morning.
20:47Who was it who brought him here, ma'am?
20:48George and Bertie Smee, the undertakers.
20:51One of the most whimsical comic turns in London.
20:54Until their accident.
20:56It was they who persuaded Albert to come here to Convalesce.
21:00Whose mother's due tomorrow.
21:01I shall have to get a kennel.
21:04Not for her, for the bulldog.
21:07I'd like to have a word with those guests, if I may, ma'am.
21:09Not during rehearsals, Mr. Crib.
21:13One of the rules at Phil Beach House.
21:15I do apologize.
21:17It's quite all right, Albert.
21:19The rehearsal room is through there.
21:29Everything in order, Albert?
21:32Yes, thank you.
21:34Everyone has been so kind.
21:40Tell me, Mrs. Boddy, who is paying for all this?
21:44The owner.
21:45Our beloved patron, Sir Douglas Butterly.
21:48The gin millionaire.
21:49Oh, you're so very knowledgeable, Mr. Cribb.
21:52No wonder you remind me of my late husband.
21:55Sir Douglas must love the theatre, Mrs. Boddy.
21:58Oh, he does.
21:58He still owns a music hall.
22:01Oh?
22:02Which hall is that, ma'am?
22:04You know, we shouldn't be sitting down here.
22:08We should be sitting in the box.
22:11Sitting in the box?
22:13I should be entertaining you in my box.
22:18You must see my box.
22:21It's so very intimate.
22:24Where is this box, ma'am?
22:27My boudoir?
22:31Perhaps another time, ma'am.
22:34You haven't finished questioning me.
22:37For the present, ma'am, duty calls.
22:47Ma'am?
22:52Good day, ma'am.
22:53Come on.
23:00So light, Mr. Boddy.
23:11Right.
23:12Thanks for them.
23:15Mysterious, Thackeray.
23:16One minute artists will never work again.
23:18The next minute they're rehearsing a show.
23:20Now, why?
23:22Why didn't Mrs. Boddy want me to speak to them?
23:24And why didn't she tell me that Sir Douglas holds the Paragon here?
23:27Why are we bothering now that we know that no one's missing and no one's been really hurt?
23:33Kindly replace your eyeballs in their sockets and tell me what you're doing in my hall.
23:37You must be Mr. Plunkett, the manager.
23:39Never mind who I am.
23:40What are you doing here?
23:41Tickets, sir.
23:42We'd like to purchase a couple of tickets.
23:43Then why didn't you go to the ticket office?
23:47Rehearsals are over.
23:48Report tomorrow six sharp.
23:49Right, six o'clock tomorrow sharp.
23:51Don't forget.
23:52Right, drop it in, George.
23:54Well?
23:55Well, I've always found that a personal approach to the manager is to be recommended.
23:59Why?
24:00Well, we wouldn't like to see less than the best you can offer.
24:02For example, you have a show tomorrow night.
24:04Where did you hear that?
24:05Who told you that?
24:06Well, you did.
24:07You just told the dancers to report at six.
24:09Oh, the 7.30 show, of course.
24:12Yes, it's very good.
24:14See my daughter in the box office.
24:15She'll give you the tickets.
24:16Mighty civil of you, sir.
24:18Much obliged.
24:23I'm in.
24:25Morning.
24:26My friend and I were...
24:27I've seen you before, miss.
24:29Miss Ellen Blake, the Grampian Theatre.
24:31I'm sorry.
24:32You have the advantage.
24:34Oh, why, yes, of course.
24:36Albert's gallant rescuers.
24:38What are you doing at the Paragon?
24:40Looking for Mr. Plunkett's daughter.
24:41Why?
24:42We'd like to purchase a couple of tickets for tomorrow night.
24:45Tomorrow night?
24:46The 7.30 show?
24:48Oh.
24:50May I ask, miss, what are you doing here?
24:52Samuel Plunkett is my father.
24:54You were looking for me.
24:56You, miss!
24:57Ellen Blake is my stage name.
24:59I wouldn't get many billings as Ellen Plunkett.
25:02Where would you like to be?
25:04Oh, I think the promenade.
25:06Have you heard from Albert since he moved into his new lodgings?
25:09New lodgings?
25:10Phil Beach House.
25:11It's a home for music or performers who...
25:13Oh, good lord.
25:16Thackeray Handkerchief.
25:22Is anything wrong, miss?
25:24Nothing of this.
25:26Nothing.
25:28Well, you'll be able to visit Albert at Phil Beach House, won't you?
25:31Yes.
25:32Come in.
25:35What is it?
25:37Special delivery, Miss Plunkett.
25:38Shall we bring it in?
25:39Oh, no.
25:41Excuse me, please.
25:44Sarge, they were the ones that collected Albert.
25:47Were they by George?
25:52Now, there's another mystery to ponder on.
25:54Why didn't you want us to see the basket?
25:56What basket?
25:58Beaconsfield, the Bulldogs.
25:59Let's go.
25:59Oh, my boy.
26:23Disappointing show, isn't it, Sarge?
26:25Music Hall's more than a list of performers, Thackeray.
26:27It's everything around.
26:30How about a drink then, darling, eh?
26:34Good evening, gentlemen.
26:35Ah, Miss Blake.
26:36I expected to see you come on behind the footlights.
26:38I never sing here.
26:40Not your class of musical.
26:42How about a glass of neat gin, darling?
26:46May you perish in hell, darling.
26:50Need any help, dear?
26:55Look at the so-called fallen women promenading here, Mr. Cripp.
26:58Oh, I despise them for their fashionable gowns, exotic perfumes and gorgeous jewels.
27:04Then give a moment's thought to those girls on stage.
27:08I already have, Miss.
27:10Price of a virtuous woman is above rubies, Miss.
27:13You haven't seen them after the show, slinking back to their lodgings in rags.
27:18Decent, clean living girls.
27:20Try telling them that virtue is rewarded when they stand shivering on the streets and watch the Jezebels in all
27:27their finery being handed into carriages.
27:29Well, if it's any consolation, Miss, there aren't many of your promenaders that'll escape the poor house or the river.
27:34A few good years and they're on the way down.
27:37From the promenade here to the Thruttony Gallery at the Grampian.
27:40Excuse me.
27:41I have to be on at the Grampian in under half an hour.
27:44That's all right, Miss.
27:45We'll just stand here and enjoy the show.
27:47Good night.
27:49Might I pass a message on to Albert for you?
27:52Albert?
27:54It's not here.
27:56He can't.
27:57His ankle was so badly...
27:58No, no, no, no.
27:58You misunderstood me, Miss.
28:00It's just that it's possible we may pay another visit.
28:02But there'll be a chance.
28:03There'll be a chance.
28:05Of course.
28:07Yes.
28:07Kindly give you my best regards.
28:09You'll do that, Miss.
28:17How long do we have to stick this out for, Sarge?
28:20Had enough, have you, Constable?
28:23Well, let's take a peek behind the scenes, shall we?
28:35Oh, Sam Fagan's basket, Sarge.
28:40And Balotty's barrels.
28:42More properties from Phil Beach House.
28:48Carpenter's shop, good.
28:50Shouldn't be disturbed here.
28:51Why?
28:52What are we going to do, then, Sarge?
28:53Wait until the show's over.
28:56Make yourself comfortable, Thackeray.
28:58And do be careful.
29:00Carpenters are uncommon careless when they leave their chisels.
29:02Oh, more mysteries then, Sarge.
29:04You're yawning a lot, Thackeray?
29:06It's the dark.
29:07It's the beer, more like.
29:08Stretch yourself out and sleep it off for a while.
29:10I'm not tired.
29:12That's an order.
29:14I want you sober.
29:16Yes, Sarge.
29:18Anything you say, Sarge?
29:30You're in better shape now, I hope.
29:32Sharp as a winkle pin, Sarge.
29:34Oh, what's the time?
29:36Nearly midnight.
29:37The secret show's about to begin.
29:40Take off your jacket.
29:44And your trousers.
29:54If you have to go on stage, try not to show your face.
29:56Would you dress like this?
29:58I can't do it, Sarge.
30:00Nonsense.
30:00You'll be no different from the rest of the scene removers.
30:04Carry out any order that's given you.
30:06Oh, and Thackeray, listen, he'd have liked to warn you,
30:09there could be random goings-on tonight.
30:20Do apologise, Sarge.
30:22Sorry, Sarge.
30:25Your grace.
30:33Confound it, Sarge.
30:34Sit down.
30:35Certainly, General.
30:36Certainly.
30:36I'll be good now.
30:37Ah.
31:08Tied that all.
31:13How big trouble are we, love?
31:15Here, give me the throw line.
31:27Claire, you can step away now.
31:29That is.
31:30Unless you've a mind to remain here, pressing yourself against me.
31:54And so I have valued my chair ever since, like the shrine of a saint or the throne of a
32:02prince.
32:04St. Fanny, my patroness, sweet, I declare, the queen of me heart and me cane-bottomed chap.
32:15Push that into the middle.
32:16Turn it to face the audience.
32:17When the light comes on, take the cloth off.
32:21When the candle burns low and the company's gone, in the silence of night, as I sit here alone, I
32:29sit here alone, but we yet are a pair.
32:32My fanny I see in me cane-bottomed chap.
32:38Hooray!
32:40Hooray!
32:48Hooray!
32:54Hooray!
32:56Get rid of the cash!
33:08Excuse me, miss.
33:10Who's that act?
33:11Professor Virgo.
33:13Who are you?
33:15Lola.
33:16What do you do?
33:17What you ought to do, Ducky?
33:20Disappear.
33:28Magic liquid!
33:37Abracadabra!
33:39Here I am!
33:41Here I am!
33:50Step aside, please, Mr. Blunkett, police officers.
33:53Police officers?
33:54Aren't you the two I found stalking?
33:56I ask you once more to step aside, if you please.
34:07What's that?
34:08The tumbler containing the magical fluid.
34:11First interval, dammit, I should be mingling.
34:14It's only water with a little cochineal.
34:16It'll have to be analyzed.
34:17Why?
34:18I'm no scientist, Mr. Blunkett,
34:19but when I see a healthy young woman die in a matter of seconds
34:22and I can see no sign of a bullet hole, I think of poisons.
34:26And when I see the senses of the pupils dilated, and the cheeks a bluish color, and I sniff something
34:32that's sickly sweet,
34:33I go through the list of symptoms I keep up my sleeve, and I come up with plastic acid.
34:38But if you have that analyzed, it will immediately become a police matter.
34:41It's already a police matter, sir.
34:43Yes, but surely you and I can handle things discreetly between us, dammit.
34:47If you're suggesting what I think you're suggesting, I must warn you that it's a criminal offense.
34:52And I have serious doubts about the disgraceful behavior going on behind the footlights.
34:56Oh, come, come now, this is a private performance before a very distinguished audience.
34:59There's nothing in my shows that you can't see in other halls.
35:02Grant you that, sir, such performances can sometimes be seen in penny gaffes in the back streets of Cairo,
35:07but I'm not here to reminisce.
35:08Thackeray, start by questioning Professor Virgo.
35:10Kindly tell me your name, sir.
35:13Cribb, sir. Sergeant.
35:14And your superior, who I assume gave you permission to investigate my hall.
35:18Inspector Jowett, sir, Scotland Yard.
35:21You may have some of the magical fluid left. Confiscate it.
35:23Oh, and Thackeray.
35:24Yes, Sarge.
35:25Put your jacket and trousers on. You look ridiculous.
35:27Are you seriously suggesting, Sergeant,
35:29that Mr. Plunkett himself arranged all these ridiculous accidents
35:32in order to turn the performers into laughingstocks
35:34and then had them taken to Phil Beach House
35:36so they could be rehearsed for the midnight show at the Paragon?
35:38Six of them were there last night, sir, including the late Miss Lothar Pincus.
35:42Oh, and was her death yet another accident?
35:44Emphatically not, sir.
35:45She died of prussic acid poisoning.
35:47Ah, suicide.
35:48You'd better establish where she purchased the means for her self-destruction.
35:53But there is a more delicate matter.
35:55You implied yourself that the patrons were people eminent in society.
35:59Swells in your vocabulary.
36:01The promenade was like rotten row at the height of the season, sir.
36:03Then perhaps you can explain how two common members of the police force gained admission.
36:07There was nothing of a criminal nature going on.
36:09Young ladies being transported across the stage with nothing more on them than a ray of limelight.
36:14I didn't know you were such a prude, Sergeant.
36:17Far be it from me to condone such exhibitions.
36:20But, heavens, man, there are worse sights in London than a few fillies in flashings.
36:24Begging your pardon, sir, it was an indecent show.
36:27I've never seen more of them in my life, wherever I...
36:29Gentlemen!
36:30Somehow you engineered admission to an entertainment design for people accustomed to take their pleasures in private.
36:36Men of your limited background can be forgiven for supposing that what you saw might have had a tendency to
36:42corrupt.
36:43But you are in no position to judge.
36:45These people live on a different plane from you.
36:48Above the law, sir?
36:50No.
36:51No.
36:51No.
36:51Of course not.
36:52But if there's one thing one learns from a decent education, it is the importance of discretion.
36:59Discretion in everything.
37:01I hope I make myself clear.
37:04Rest assured, sir, we shall be discretion itself when we return to the Paragon.
37:08Return there?
37:09That's out of the question.
37:11Location of death, sir.
37:12Good heavens, man.
37:13Mr. Plunkett has a reputation to keep up.
37:16He doesn't want detectives blundering about his stage.
37:18Blundering ain't an accurate description of the way Constable Thackeray conducted himself last night.
37:22His was immaculate detective work, deserving of the highest commendation.
37:26And that will be in my report, sir.
37:28I look forward to reading it.
37:30Good day, Sergeant.
37:41That was handsome of you, Sarge.
37:43What was?
37:44Speaking up for me like that.
37:47Immaculate detective work.
37:49Well, I never looked upon it as that special myself.
37:51Nor me.
37:53But an officer's got the right to look to his superiors for support, not for insults.
37:59Sarge, do you think it was suicide?
38:01No.
38:02Well, the inspector thought it was.
38:03He'd better go on thinking that.
38:05We've stirred up a hornet's nest, and there's some pretty big specimens in it.
38:08Peers of the realm, members of parliament.
38:10I even saw two gentlemen from the director's office here at the yard.
38:14No wonder Jowett was told to tread on us.
38:16Wouldn't do much good to his career if their names became known, and you and I'd find ourselves back on
38:20the beat.
38:21Makes you feel completely impotent, Sarge.
38:24Haven't affected me quite as bad as that, Constable.
38:27Where are you going?
38:30To take up Mrs. Body's offer to inspect her little box.
38:33On your own?
38:34It should compromise you, Sarge.
38:36It's moral suicide.
38:38The yard hasn't the right to expect that of you.
38:40Jowett wouldn't go.
38:42He hasn't been invited.
38:48Might I address you on a personal matter, ma'am?
38:52My pleasure, Mr. Crimm.
38:56In his statement to the police, Mr. Plunkett mentioned a connection with you.
38:59It's outrageous.
39:01My reputation is beyond reproach.
39:04You don't frequent the Paragon?
39:05My duties keep me here, Mr. Crimm.
39:08And your guests?
39:10They perform there once a week at the midnight show.
39:13Otherwise, they have all agreed not to step outside these walls.
39:18They are here because they are unemployable.
39:22They would starve if they left.
39:35They are here.
39:36What do you think of my little snuggery?
39:40It came from the Alhambra.
39:43Takes my breath away.
39:45Not for long, I hope.
39:47Tell me, Mrs. Body, what sort of a girl was Lola?
39:53All men were like curtain calls to her, everyone a fresh delight.
39:58Oh, the jealousy among the men.
40:01Did she show any interest in Albert?
40:03She didn't stay alive long enough.
40:07Will you be going to the next midnight performance?
40:12Duty prevents, ma'am.
40:13The most distinguished patron will be among the audience.
40:17Good Lord.
40:19Not the principal.
40:21Suffice to say, it will be a command performance.
40:34Now, how would you like to give me a command performance?
40:43Miss Ellen Blake, Sarge.
40:45What?
40:45She called here yesterday to visit Albert and hasn't been heard of since.
40:48Devil, she hasn't.
40:49Downstairs as quick as you can.
40:50Search all the rooms.
40:58More gin.
41:00In fact, you can send out the bottle.
41:04And of reason to believe she may be in some danger.
41:06Now, depend upon it.
41:07We shall spare no efforts in finding her.
41:09But whilst my assistant searches the house and grounds,
41:11I must insist that you all remain in the rehearsal room.
41:14That's all for the present. Thank you.
41:20Albert!
41:25When did you last see Ellen?
41:26For a short while yesterday.
41:28My mother acted as chaperone.
41:30Do you recall your conversation?
41:31Yes.
41:32We talked of my injury.
41:34I told her that I hoped to be fit for the next midnight performance at the Paragon.
41:37Well, that seemed to upset her.
41:39She said I shouldn't rush things.
41:40I ought to get a doctor's opinion.
41:42Is your part on good terms?
41:43Yes.
41:47Albert, I must speak to you.
41:50In private.
41:51Is it something pertaining to your daughter's disappearance?
41:53It's no concern of yours, sir.
41:55This time it is.
41:56It's possible her disappearance may be closely connected with the death of Lola Pinkerson.
41:59This time I don't mind if you complain to the director of criminal investigations himself.
42:03Midnight peep shows may be above the law's reach, but killers of young women are not.
42:08I received a letter by the second post.
42:10Ah.
42:11Please.
42:13Mr. Plunkett, you're going to have police help in finding your daughter whether you want it or not.
42:16The letter.
42:23Kidnapped.
42:25My safe release rests with you.
42:28Place 500 pounds in a leather valise, Paragon, quarter to midnight tonight.
42:34One single beam of limelight from the wings.
42:38Albert to place the valise centre stage, then to return to Phil Beach House.
42:44Only Albert, no one else.
42:48Any failure to mortally...
42:49Well, what am I to do?
42:51What were you planning to do?
42:52Precisely what they wanted.
42:53I was hoping Albert here would agree to it.
42:55Albert?
42:56I again.
42:58I'll do anything to help Ellen.
42:59Good man.
43:00Now you try and slip out of the house without anybody noticing.
43:02Do you have this amount of money, Mr. Plunkett?
43:04I've several hundred pounds from the safe.
43:06After tonight's performance, I'll have enough.
43:07Capital.
43:08I'll provide the valise and then we'll all have made a contribution.
43:10Oh, one more thing, Albert.
43:12I'd like to borrow Beaconsfield.
43:14He's not a very good guard, Doc.
43:16No, no.
43:17But he'll do for my purpose.
43:40Money in the bag, is it, sir?
43:42Yes.
43:42I left the single limelight on in the wings.
43:45Where are the others?
43:46Others?
43:47The uniform.
43:48Police.
43:48I thought they'd have the police surrounded.
43:50Wouldn't be wise, sir.
43:51This perishing dog quiet.
43:52Mr. Plunkett, would you mind taking him for a walk?
43:55You want me to take him for a walk?
43:57Once round the block will do.
43:58This is ridiculous.
44:00Are there really no police, sir?
44:01Well, there's Thackeray and me.
44:02How many more do you want?
44:03Are you still game?
44:05I've given my word.
44:06On your way then, lad.
44:07Use the stage door.
44:22Grab him.
44:34Right, let's have a look then.
44:37Oh, blimey.
44:38Not you again.
44:39What are you doing here, Major?
44:41Following a suspicious person.
44:43I saw someone leave Phil Beach House by a window and followed him.
44:47Albert is your man, Sergeant.
44:49Except that he's assisting us.
44:52Is he, by Jove?
44:53Your precious near sprang the trap.
44:55Oh, dear.
45:02Did you hear any movement in there?
45:04No, sir.
45:04It was perfectly quiet.
45:05I had the strong impression I was not alone.
45:07Well, I hope you weren't.
45:08Otherwise, we're all wasting our time.
45:12Albert, have you left the ransom?
45:14Yes, sir.
45:14I carried out my instructions.
45:16Well done.
45:16Your courage will not go unrewarded.
45:18Right, now I'll take the dog.
45:23Ellen!
45:30Are you quite unhurt?
45:31Are you safe?
45:32Quite safe, now, Papa, dear.
45:35When they had counted the money, they escaped through the property room window into a waiting carriage.
45:40They?
45:41Who were they, miss?
45:42I don't know.
45:44A man and a woman.
45:45They kept me in darkness all the time, blindfolding me where they wanted me to move.
45:50They gave me a light to write the letter, but that was all.
45:53Even then, they stood behind me out of sight.
45:56I was terrified.
45:59Fire!
46:00Fire!
46:01Fire!
46:01The old place is on fire!
46:03Major, get the fire brigade!
46:04Call the fire brigade!
46:05Call the fire brigade!
46:07Call the fire brigade!
46:14Call the fire brigade!
46:16Call the fire brigade!
46:17Call the fire brigade!
46:18Papa, I'm sure that we'll be able to...
46:20Next Tuesday I was to have been presented.
46:24It would have been the greatest moment of my life.
46:29Now I have nothing.
46:31Nothing.
46:32It must have been the limelight, Papa. It was left unattended for so long.
46:37There must have been an explosion in the lime tank.
46:40Fire Brigade's doing a valiant job, Mr. Plunkett.
46:43But I doubt if they'll save the theatre.
46:48Where did you get hold of that?
46:50Aniseed, miss. Aniseed is a powerful attraction to any of the canine species.
46:54I slipped some into the valise before handing it over to your father.
46:57Now, let's see what's in here.
47:01You're 500 pounds, Mr. Plunkett.
47:04But I thought the kidnappers had taken it.
47:06And but for the efforts of my scorched assistant here,
47:08we'd have found it difficult to prove they hadn't.
47:10Why go to so much trouble if they're not going to take the money, for God's sake?
47:13Oh, because they never existed.
47:15Your daughter, Miss Blake, invented them.
47:18Didn't you miss?
47:21There's you, Mr. Plunkett, arranging accidents to keep the paragon open.
47:25And you, Miss Blake, doing your best to close it.
47:28First, by the murder of Miss Lola Pinkert.
47:30Murder?
47:31She thought police investigations would put a stop to the goings-on.
47:34And then by setting fire to the theatre.
47:36Oh, this is madness, Sergeant.
47:37You've no right to make such accusations.
47:38Father!
47:39What?
47:39At least do me the kindness of letting me face what is to come with dignity.
47:51Can't you see that your greed, your obscene midnight show's brought me to this?
48:00I only hope that the flames obliterating the paragon purify your miserable soul.
48:11Ellen, why?
48:17For you, my love.
48:20I couldn't bear to see you recruited to his vile entertainment.
48:26I had to stop it.
48:29I had to.
48:38Will he be permitted to visit me?
48:42We'll arrange it, Miss.
48:57Then I'm ready to write my confession.
49:03What makes a sweet young woman turn as vicious as that, do you think?
49:08Strong puritanical streak and infatuation for a young man.
49:11A powerful combination, sir.
49:13You've done well.
49:14A first-class investigation.
49:16Thank you, sir.
49:16There is one thing I ought to mention, though.
49:19A case like this has ramifications.
49:23Those little entertainments at the paragon had quite a following in, um, certain quarters.
49:31What I'm trying to say is that you must appreciate the reason the yard does not wish to overemphasize its
49:36part in this particular case.
49:38We're talking about discretion again, are we, sir?
49:41Discretion.
49:42Exactly.
49:43That is why it was felt that it would be in all our interests if the gentlemen of the press
49:48were advised that the arrest of Miss Blake,
49:50and, indeed, the initiative throughout the entire investigation, should be credited to Major Chick.
49:57Major Chick?
49:58He's very well connected. Late of the Eighth Hussars, you know.
50:02It should help his practice immeasurably.
50:06But don't think that you've been forgotten.
50:08Hmm? Good heavens, no.
50:14Well, thank you, sir.
50:17Thank you very much, sir.
50:37What is it, Sarge?
50:43A year's free admission to the paragon.
50:57We are here today.
51:04We'll see you in a five hour.
51:04We'll see you.
51:08We'll see you next time.
51:14Bye
51:18sailed
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