'Conspiracy' is a "1930 American mystery melodrama" directed by Christy Cabanne and produced by RKO Pictures. The film follows siblings Margaret and Victor Holt, who are determined to bring down the drug gang responsible for their father’s death. As Margaret infiltrates the criminal organization, she finds herself in grave danger when the gang leader discovers her true identity. With "tense storytelling, dramatic twists, and a gripping crime narrative", this film is a fascinating example of early sound-era cinema.
Credits:
Director: Christy Cabanne
Producer: William LeBaron
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Ivan Lebedeff
Screenplay: Beulah Marie Dix
Cinematography: Nicholas Musuraca
#Conspiracy1930 #ClassicHollywood #PreCodeCinema #MysteryThriller
Credits:
Director: Christy Cabanne
Producer: William LeBaron
Starring: Bessie Love, Ned Sparks, Hugh Trevor, Ivan Lebedeff
Screenplay: Beulah Marie Dix
Cinematography: Nicholas Musuraca
#Conspiracy1930 #ClassicHollywood #PreCodeCinema #MysteryThriller
Category
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Short filmTranscript
00:00:00The End
00:00:30The End
00:01:00Oh, going home, Ed?
00:01:17Oh, you're not going home, Ed.
00:01:19Yeah, I'm going home.
00:01:20But you ain't been in New York three days.
00:01:22Well, I'll say three days is aplenty.
00:01:24Yeah, I'll say the same.
00:01:26I'll say, this is a slow town, that's what I say.
00:01:30A slow town.
00:01:31There's more doing at home, at the corner of Maine and Elbe.
00:01:35I'll say this.
00:01:36I thought it would be different, too, with all the wickedness and sin you hear tell of.
00:01:40And take this here hotel now.
00:01:42Why, it's like an old folks' home.
00:01:44I'll say.
00:01:45Why, nothing happens.
00:01:46That's a lot of hooey.
00:01:48But nothing could happen.
00:01:49Well, I'm going home where I can get some real excitement.
00:01:53I'll say.
00:01:54Nothing doing here.
00:01:56Well, I'll be seeing you.
00:01:58So long, Ed.
00:01:58So long.
00:01:59Say, you know he's right.
00:02:01I think we ought to be going, too.
00:02:02I think we ought to be going, too.
00:02:32I think we ought to be going, too.
00:03:02I've been walking for hours.
00:03:15You've walked to the right place.
00:03:17Now come, sit down.
00:03:19Now tell me all about it.
00:03:21What's your trouble?
00:03:24Well, I lost my purse.
00:03:26All my money's in it.
00:03:27My trunk check and everything.
00:03:28I don't know a soul in the city.
00:03:31And if you don't help me, I don't know where to go.
00:03:34I don't know what to do.
00:03:37Well, we'll see what we can do.
00:03:39Where do you come from?
00:03:42Um, Chicago.
00:03:44I just got in tonight.
00:03:45Oh, uh, what did you do in Chicago?
00:03:48I was just a nursery governess.
00:03:52Well, do you think you can get work for me anywhere?
00:03:54Maybe.
00:03:56What's your name?
00:03:58Um, Martha.
00:03:59Martha Hunter.
00:04:01Just a moment.
00:04:02Hello?
00:04:05Yes, this is the neighborhood house on Rivington.
00:04:08Who's calling?
00:04:10Oh, police headquarters.
00:04:13Yes, we have an employment bureau.
00:04:15What's the name?
00:04:17Mary Hadfield?
00:04:19A stenographer?
00:04:21Just a moment till I look through the files.
00:04:23No, there's no such girl on our list.
00:04:33You're welcome.
00:04:35Bye.
00:04:35Bye.
00:04:44Here's a card.
00:04:46You sign here, Miss Hunter.
00:04:49Your name, age, and residence.
00:04:53Wait, I'll stop the big murder.
00:05:01Why, how your hand trembles.
00:05:03You look like you're ready to pass out.
00:05:06Wait, I'll stop the murder at the Beaumont Hotel.
00:05:10Beaumont Hotel?
00:05:13Extra.
00:05:13This way, boy.
00:05:17Here you are, lady.
00:05:20Imagine a thing like this at the Beaumont of all places.
00:05:23James Morton.
00:05:27Importer.
00:05:27Killed at 5.30 this afternoon.
00:05:31A woman suspected of the crime.
00:05:33Why, I...
00:05:34Oh, you poor child.
00:05:37Why, I was forgetting all about you.
00:05:39Come now.
00:05:40I'm going to take you right into my room.
00:05:42I'm going to give you a good cup of hot tea.
00:05:45You know, if you get something in your stomach, I'm sure you'll feel much better.
00:05:48Oh, thank you so much.
00:05:49And then we'll find a place for you.
00:05:52And everything's going to be perfectly all right.
00:05:54And now I'm going to take you right here into my room,
00:05:56and you'll make yourself perfectly comfortable and at home.
00:06:06Good evening.
00:06:08Good evening, sir.
00:06:10And what can we do for you?
00:06:12My name's Howell.
00:06:13John Howell of the Evening Journal.
00:06:15I'm a sobbing.
00:06:16A sob sister, you know.
00:06:20Hmm?
00:06:22Hard interstories.
00:06:23Poet and the peasants.
00:06:24The curse of an aching heart.
00:06:26Till the sands of the desert grow cold.
00:06:28And where, oh, where is my wandering boy tonight?
00:06:31You'll excuse me.
00:06:33You'd better talk to Miss Rose.
00:06:34She, uh, she speaks two or three different languages.
00:06:41Good evening, Miss, uh...
00:06:42Town.
00:06:43How do you do?
00:06:43My name's Howell, John Howell.
00:06:45I'm a...
00:06:45You're a reporter.
00:06:46Hunting a human interest story in the neighborhood house.
00:06:49How did you guess it?
00:06:50I know the breed.
00:06:52Used to be a sob sister myself.
00:06:54You did?
00:06:55Until I decided to be something useful.
00:06:59Ah, they're sending a man on this kind of assignment.
00:07:02They generally use women.
00:07:04I guess they figured I could handle it.
00:07:07You see, half my ancestors were women.
00:07:14So you've come cruising for a story to this harbor of disappointed hopes.
00:07:20Gee, that's a good line.
00:07:21Do you mind if I use it?
00:07:22Not at all.
00:07:23It was always a good line.
00:07:25I used to use it myself.
00:07:29Harbor of disappointed hopes.
00:07:31This isn't so hot.
00:07:36Do you want a job taking dictation?
00:07:40My, what an awful looking hand.
00:07:44How did you get it?
00:07:45I was coming out of Snyder's about three hours ago.
00:07:50You know, right next door to the Cafe Rosamano.
00:07:52And in front of the Rosamano, there was a girl who seemed to want to get into a taxi.
00:07:56Hey, come here, you.
00:07:57Come here, Richard.
00:07:58Let go of me.
00:07:59Let go of me.
00:07:59Let go of me.
00:07:59Let go of me.
00:08:00Come on.
00:08:01Come on.
00:08:01Let go of me.
00:08:01Somebody stop that.
00:08:02Somebody stop that.
00:08:02Let go of me.
00:08:03No.
00:08:03Somebody stop that.
00:08:06Let go of me.
00:08:07Hey, devil.
00:08:07Hey, come here.
00:08:08Let go of me.
00:08:09I can't get him.
00:08:10Let me see him.
00:08:11Let me go.
00:08:12Oh, please.
00:08:13Let me go.
00:08:14Oh, please.
00:08:15Please.
00:08:16Let me go.
00:08:17You can't.
00:08:18Please.
00:08:19Please.
00:08:20No.
00:08:21Please.
00:08:22Please.
00:08:23Hey.
00:08:24Hey.
00:08:25Hey.
00:08:26Police.
00:08:27Police.
00:08:28What's the matter?
00:08:29Get her hair.
00:08:30All right.
00:08:31How are you people?
00:08:32Come on.
00:08:33And here are the pieces of that gangster's glasses, if you don't believe me.
00:08:37What did the girl look like?
00:08:44She had the kind of eyes you could look into and get a moving picture of paradise.
00:08:51And as for this hand, well, I'll wear it to my grave.
00:08:56A souvenir of her.
00:08:58Ow!
00:08:59Pardon me.
00:09:00I beg your pardon.
00:09:02Couldn't you let me have a quarter, sir?
00:09:05I need more ink to finish Mr. Clavering's work.
00:09:12Why, sure.
00:09:13Here.
00:09:14Get yourself a bucketful.
00:09:15Oh.
00:09:16Thanks.
00:09:17Thanks awfully, sir.
00:09:19There's your human interest.
00:09:28That old fellow used to be a professor of languages in one of our big universities.
00:09:32Until Drink got him down.
00:09:34Now he makes a living translating for Mr. Clavering.
00:09:38Clavering?
00:09:39Winter Clavering?
00:09:40You mean Little Nemo?
00:09:43I mean the man that writes the famous crime stories.
00:09:46Yes, yes.
00:09:47I know.
00:09:48Our paper runs his stuff.
00:09:49We call him Little Nemo.
00:09:50He's full of theories about catching criminals.
00:09:52But they're all the wrong theories.
00:09:54He always connects when it comes to helping people.
00:09:57And your Little Nemo just about supports the neighborhood house.
00:10:01Well, well, well.
00:10:02Where's that stenographer you promised me?
00:10:04Where's that stenographer?
00:10:05You said you'd have her here.
00:10:08Now, Mr. Christopher, where's that stenographer you promised me to take my stories from dictation?
00:10:13This girl's got to live in my house.
00:10:15Be ready when the inspiration moves me.
00:10:17Sometimes she won't get out for a week.
00:10:20Can't do it myself.
00:10:22Bad hand.
00:10:23Bad eye.
00:10:24Bad liver.
00:10:25Crash.
00:10:26I think our Miss Taylor would suit you.
00:10:31She's been with us on and off for a year.
00:10:34I'll go see if she feels strong enough to see you.
00:10:37Strong enough?
00:10:38Has she been sick?
00:10:40I don't want a nailing woman.
00:10:43I had one.
00:10:44Every time I'd come to an exciting place in my dictation, she'd have to stop.
00:10:48Take a pill.
00:10:49Well, I let her know you're here.
00:10:51Tell her it's hard work.
00:10:52No time off.
00:10:53Very little sleep.
00:10:54I never sleep.
00:10:55My mother never slept.
00:10:56My father never slept.
00:10:57How could they, with you on their minds?
00:10:58Maybe you're right.
00:10:59Ah, sweet.
00:11:00Very sweet.
00:11:01Are you fond of flowers?
00:11:02Not in the least.
00:11:03But I am interested in all odors.
00:11:04A well-trained nose is an absolute essential.
00:11:06You're right.
00:11:07You're right.
00:11:08You're right.
00:11:09You're right.
00:11:10You're right.
00:11:11You're right.
00:11:12You're right.
00:11:13You're right.
00:11:14You're right.
00:11:15You're right.
00:11:16You're right.
00:11:17You're right.
00:11:18You're right.
00:11:19You're right.
00:11:20You're right.
00:11:21You're right.
00:11:22You're right.
00:11:23You're right.
00:11:24I can smell a reporter a mile off.
00:11:33One.
00:11:34Two.
00:11:35Three.
00:11:36Four.
00:11:37Five.
00:11:38Seven.
00:11:39Eight.
00:11:40You-hoo.
00:11:41I do this every hour.
00:11:42Keeps the blood in circulation.
00:11:43Nourishes the brain.
00:11:44The next act on the bill will be wild Winnie Clavering.
00:11:45Weaned on a pickle.
00:11:46You know what I'm gonna do with you?
00:11:48I'm gonna make you the comic relief in my new story.
00:11:51The one I'm writing about the Morton murder.
00:11:52You're in one paragraph.
00:11:53He ain't funny so we throw you out.
00:11:54Well, well.
00:11:55Do you mean you've already got a theory on the Morton murder?
00:11:57Morton, my eye.
00:11:58Morton's an American name.
00:11:59But did you ever hear of an American wearing earrings for you?
00:12:00You know what I'm gonna do with you?
00:12:02I'm gonna make you the comic relief in my new story.
00:12:05The one I'm writing about the Morton murder.
00:12:07You're in one paragraph.
00:12:08He ain't funny so we throw you out.
00:12:10Well, well.
00:12:11Do you mean you've already got a theory on the Morton murder?
00:12:15Morton, my eye.
00:12:16Morton's an American name.
00:12:17But did you ever hear of an American wearing earrings?
00:12:20I examined the lobes of his ears.
00:12:23And they're so faint you could hardly see them
00:12:27on the marks of old earring holes.
00:12:31And they're so faint you could hardly see them
00:12:35on the marks of old earring holes.
00:12:38What do you think of that, you fresh cub?
00:12:43Morton nothing.
00:12:45That man was a South European traveling under an alias.
00:12:49That importing business of his, he was a blind.
00:12:52He was a racketeer of some sort.
00:12:54A gangster.
00:12:56Listen.
00:12:58In my new story,
00:13:02I'm going to make him the head of Schemer Marco's gang.
00:13:07I tell you, the Marco gang was mixed up in this Morton murder.
00:13:12And the key to it all lies in the Cafe Rossimano.
00:13:17Cafe Rossimano?
00:13:20That's the very place where...
00:13:23Say, what's the Rossimano got to do with the Morton murder?
00:13:27Eh.
00:13:28There were two phones in Morton's room.
00:13:30A house phone on the wall, and a private phone on the desk.
00:13:36The private phone was found on the floor.
00:13:39Why?
00:13:40I ask you, why?
00:13:42I'll bite why.
00:13:43Because Morton dropped it there.
00:13:44And he dropped it because he was stabbed in the act of using it.
00:13:57It took me to think of that.
00:14:11Me.
00:14:12Little Nemo.
00:14:13Great, Little Nemo.
00:14:14I checked with Central.
00:14:15I found that at 5.30, the very hour of his death,
00:14:19Morton called the Rossimano on that private phone.
00:14:22That message to the Rossimano was the cause of Morton's death.
00:14:27Well, I'll be a...
00:14:28That's not all you'll be.
00:14:29Perhaps you deserve to be.
00:14:30What's the matter with your hand?
00:14:31Begins to look like a bunch of bananas, doesn't it?
00:14:34Hey, Christopher!
00:14:35Do something for this poor boy.
00:14:36Take him into the dispensary.
00:14:38Put him in a harnequey.
00:14:39Give him a dose of salt.
00:14:40What are you here for, anyway?
00:14:41What are you here for, anyway?
00:14:44I don't know.
00:14:46You are lying.
00:14:47I don't know.
00:14:48You have to be here.
00:14:49You have to be here.
00:14:50You have to be here.
00:14:51You have to be here.
00:14:52You have to be here.
00:14:53You have to be here.
00:14:54You have to be here.
00:14:55You have to be here.
00:14:56here for anyway. Come on, sir. This way. Thanks, Pop. Don't thank me. I wouldn't let even a worm
00:15:09suffer. Can you hear me? Not even a worm! Miss Taylor will see you, Mr. Clavering. She's across
00:15:25the hall in the ladies reception room. Oh, she's a lady, is she? Too bad. Too bad. No, not the lady. I don't think I'm going to like her. I want a girl that will work. Never want to sleep.
00:15:55Chelsea, 6887. Hello. Hello. Is that you, Uncle Mark? This is Margaret. Any word from Victor? A letter. Addressed to me. Oh, no, not from them.
00:16:12How did the letter come? By messenger. Well, get it to me at once. I'm at the neighborhood house on Rivington Street.
00:16:19You better bring it yourself. Have you read The Evening World? Yes, it's true. I can't explain to you now. I'll tell you when you get here.
00:16:42Who, uh, who are you? I think I'm your friend, but I'm not quite sure yet. Well, what do you mean?
00:16:48I don't understand you. Oh, yes, you do. You're the girl that killed that man at the Beaumont. Oh, how crazily absurd.
00:17:01Why did you get in from Chicago this evening? Oh, no, you didn't.
00:17:08You were outside to Rossamano at 545. Oh. Well, I have a little souvenir of our meeting.
00:17:16Oh, no.
00:17:18I helped you once, and I want to keep on helping you. I've got a hunch that you need help pretty bad.
00:17:29Hadn't you better trust me?
00:17:31I never was inside the Beaumont. I never killed anybody. I'm not the stenographer.
00:17:36There, you've said it yourself. You're Morton's missing stenographer.
00:17:41Oh, I didn't do it. I didn't do it.
00:17:43The police would like to find you, wouldn't they?
00:17:45The police? Well, what are you going to do? What are you going to do?
00:17:49I want to tip the police off. Oh.
00:17:51Unless you'll tell me all about it. Will you?
00:17:53Well, I didn't do it. I didn't do it.
00:17:55Very well. Hello. Hello.
00:17:58Oh, no. No, no, no. Don't. Don't give me up.
00:18:01I'll, I'll tell you.
00:18:04Oh. Oh.
00:18:05Oh, I didn't mean to kill him.
00:18:10Oh, I didn't mean to kill him.
00:18:14Oh, here, here, here. Come now. Come sit down and tell me all about it.
00:18:18Oh, I didn't, I didn't mean to kill him.
00:18:23Don't lose your nerve. You'll need it.
00:18:27I believe I can trust you.
00:18:29About the best thing you can do.
00:18:31Now, tell me, who was that man that grabbed you outside the Rossimano?
00:18:33Well, one of the gang, Marco's gang.
00:18:36Are you one of them?
00:18:37I'm one of them.
00:18:39I've been fighting them for four years.
00:18:41You fighting them?
00:18:42Yes, with every bit of our strength.
00:18:44My brother and I.
00:18:45My brother, Victor Holt.
00:18:48The assistant district attorney that's staging the vice crusade?
00:18:51I'm his sister, Margaret Holt.
00:18:54Say, what does he mean by letting a girl like you mix in a fight of this kind?
00:18:56Oh, he couldn't keep me out.
00:18:58His fight isn't my fight.
00:19:00We've got to get the scheme of Marco's gang.
00:19:02Because it's narcotics they peddle.
00:19:05And I've seen the workings of that gang with my own eyes.
00:19:12I've seen little girls drugged in filthy joints.
00:19:16Boys that beat their own mothers to get money to buy their stuff.
00:19:20And men and women that do things.
00:19:22Or even savages couldn't do.
00:19:25Things I couldn't speak of.
00:19:30Things I don't want to remember.
00:19:33Well, there, there.
00:19:34I've seen the agony and the delirium of when the stuff has stopped.
00:19:38And the last days of all.
00:19:39When the poor body's broken.
00:19:43And nothing's left but the poor aching brain that suffers.
00:19:49Can't sleep.
00:19:52That's what that gang stands for.
00:19:54That's why I made my brothers let me join in the fight.
00:19:58Somebody had to get close to Marco himself.
00:20:00After months and months, I finally got in as his personal secretary, his private stenographer.
00:20:05You mean that Morton was Schema Marco himself, the head of the dope gang?
00:20:09Oh, sure.
00:20:10That importing business was just a blind.
00:20:15You plucky little kid.
00:20:17Gee, you'd have been safer in a nest of rattlesnakes.
00:20:19Well, no matter.
00:20:20I got the evidence on him.
00:20:22But there was a list.
00:20:24A complete list of all the members of that gang.
00:20:27And I had to have that list.
00:20:29I couldn't find out where he kept it hidden.
00:20:31Not until today when...
00:20:32Why, Mr. Morton, you came back.
00:21:02I had a hunch, Miss Hatfield.
00:21:09I felt I should find you here.
00:21:11Always so busy with my affairs.
00:21:15Well, I stayed behind to finish those letters.
00:21:17Uh-huh.
00:21:18Yeah, you're such a good little worker.
00:21:21I think I shall never be able to let you go.
00:21:25Thank you, Mr. Morton.
00:21:27Well, good night.
00:21:29Uh, wait, Miss Hatfield.
00:21:32Are you handy with tools?
00:21:36Tools?
00:21:37Yes, I see that the edge of the coffin has become untacked.
00:21:41Now, if you have a screwdriver, a hammer, I will...
00:21:44I'll speak to the maid about it.
00:21:46First thing in the morning, please.
00:21:48Yes, sir.
00:21:49Good night.
00:21:49Just a minute.
00:21:50Why are you in such a hurry?
00:21:56Why not?
00:21:57I'm not at all.
00:21:58Good.
00:22:00Now, will you look up a number for me?
00:22:02The name is Przewislaw, Stanley P.
00:22:05Yes, sir.
00:22:06Would you please open that door?
00:22:23I'm afraid that Victor Holt will have to wait for my little envelope that you stole for him.
00:22:28Why, who is Victor Holt?
00:22:31Well, your employer, Miss Hatfield.
00:22:34Our famous assistant district attorney.
00:22:38Wait just a minute.
00:22:40There's a great deal you'll have to tell me later, when we really get to talking.
00:22:46First, I'll tell you something about Victor Holt.
00:22:49Just now, he's at the Café Rosamano.
00:22:52Oh, so you know that name, huh?
00:22:54Well, I guess we'll call Rosamano.
00:23:01Hello?
00:23:03Give me Gramercy 7980.
00:23:06Please.
00:23:09Victor Holt thinks he's trailing my friends, but it's my friends that are trailing him.
00:23:14I don't know any Victor Holt.
00:23:16No?
00:23:18Hmm.
00:23:20Hello?
00:23:21Rosamano?
00:23:22Well, will you kindly ask Mr. Miller to take this call?
00:23:27No.
00:23:29Oh.
00:23:30So you know my good friend Miller.
00:23:33When he comes to the phone, I'll tell him that poor dear Aunt Louisa is failing fast.
00:23:40It means that my friends will take Victor Holt for a ride.
00:23:43Oh, no.
00:23:45But why?
00:23:46You don't know any Victor Holt.
00:23:48He's nothing to you.
00:23:50You should worry.
00:23:51Where's my brother?
00:23:52My very own brother.
00:23:56You do what you like with me.
00:23:58But you shan't touch him.
00:24:00I shall not forget you.
00:24:02Presently.
00:24:03When this thing is settled.
00:24:05Hello.
00:24:06Hello.
00:24:06Is that you, Miller?
00:24:07No.
00:24:09Shut up.
00:24:09Hello, Miller.
00:24:13Oh, no.
00:24:15Everything is Jake.
00:24:17Only I just had a little bit of sad news.
00:24:20You know, poor Aunt Louisa.
00:24:23Aunt Louisa?
00:24:26What's that?
00:24:27Hello.
00:24:28Hello.
00:24:28I can't hear you.
00:24:31Hello.
00:24:32Hello, Bert.
00:24:33Oh, my God.
00:24:36Oh, my God.
00:24:41Oh, my God.
00:24:41Oh, I had to do it.
00:25:02I had to do it.
00:25:03It was his life or my brother's.
00:25:06And your life, kid.
00:25:07You hadn't thought of that, maybe.
00:25:08Oh, I had to get to my brother.
00:25:09That's all I could think of.
00:25:11I went down to fire escape.
00:25:13Got a taxi to the Rossimano.
00:25:15And then, and then you came.
00:25:18Oh, are you going to give me up?
00:25:21Give you up?
00:25:22Gee, I've been looking for you all my life.
00:25:25Oh, I guess I can trust you.
00:25:28Don't look at me with those eyes.
00:25:31Oh, Uncle Mark.
00:25:34Easy, easy.
00:25:36Who is this?
00:25:37Oh, a friend of Victor's.
00:25:38A friend of mine.
00:25:39The easiest thing I do.
00:25:40Have you got the letter?
00:25:41Yes, right here.
00:25:47Dear Miss Holtz,
00:25:48you took a sealed envelope away from Morton's room.
00:25:50Put that envelope with a seal unbroken.
00:25:52In a book on the last seat,
00:25:53right-hand side, St. Ann's Church,
00:25:55before ten tonight.
00:25:56If you do as told,
00:25:57your brother is saving.
00:25:58So long as you don't open your mouth.
00:26:00But if you bring the police into this,
00:26:02Victor Holtz goes for a ride.
00:26:05What are we to do?
00:26:07Well, here's their envelope.
00:26:08Do just as they say,
00:26:09and don't try to trap or trace them, will you?
00:26:11What's to prevent those crooks
00:26:12from bumping your brother off
00:26:13as soon as they get back their list?
00:26:14Because I know too much about them,
00:26:16and they know I'd go straight to the police
00:26:17if it weren't for the hope of saving Victor.
00:26:19How are you going to save him
00:26:20without police help or anything?
00:26:21We have to find out first
00:26:22where they've taken him.
00:26:23Oh, to Weinberg's most likely.
00:26:25Wherever it that is.
00:26:26Who's Weinberg?
00:26:27The man I grabbed hold of.
00:26:29The one with the glasses.
00:26:30Glasses?
00:26:31Hold everything.
00:26:33I've got a clue.
00:26:36Look here.
00:26:36All that's left of Mr. Winey's glasses.
00:26:39Did you ever see any as thick as that?
00:26:41It's a free prescription.
00:26:43I'll call on all the optician shops.
00:26:45And when I find a prescription,
00:26:46I may find an address
00:26:47that has Mr. Winey at the other end of it.
00:26:49And when I do,
00:26:50that's where we'll find your brother Victor.
00:26:51That's a mighty slim clue,
00:26:53and it'll take days.
00:26:54Well, until we can get a better one,
00:26:55it'll have to do.
00:26:59Hello?
00:27:00Yes?
00:27:01Yes, this is the neighborhood house.
00:27:02Sure, come on over.
00:27:04Bring your knitting.
00:27:06What do you know about that?
00:27:07Police Captain McCloud.
00:27:08Police?
00:27:09Yes, coming over.
00:27:10Nice and friendly, too.
00:27:11He has a hunch
00:27:12at the neighborhood house
00:27:13may know something about Mary Hadfield.
00:27:14They get so many girls in here.
00:27:16Oh, if the police get hold of me,
00:27:17I'll have to tell all I know about Morton.
00:27:19And Victor's life won't be worth a whisper.
00:27:21Yes, and if the Marco gang
00:27:22get a hold of you,
00:27:23it'll be all over with you both.
00:27:24They'll finish you and your brother
00:27:25and do away with all the evidence
00:27:26against themselves.
00:27:27Now, come on and get on your bonnet.
00:27:28And don't walk, run.
00:27:31We'll have to keep that girl
00:27:32in a safety guide of the box
00:27:33so we can get our hands on Victor.
00:27:34Where in the world can she hide?
00:27:36All right, go on.
00:27:37Go on, have hysterics.
00:27:39They ought to send you
00:27:40to the old woman's home.
00:27:42Have hysterics.
00:27:43Have them all over the place.
00:27:47Fine lemon they tried to hand me.
00:27:50Took one peek at me
00:27:51and threw a fit.
00:27:53Who are you?
00:27:56Just born unlucky.
00:27:58Got an inspiration.
00:27:59Got to get to work.
00:28:00Must have a stenographer.
00:28:01Need some help.
00:28:03Oh, so you want a stenographer.
00:28:05You're an immense agent.
00:28:11You haven't answered my question.
00:28:12What question?
00:28:13Who are you?
00:28:14Who are you?
00:28:16I'll tell you.
00:28:16Here you are.
00:28:24First class stenographer.
00:28:25Never wants to sleep,
00:28:26never wants to leave the house.
00:28:27Just wants to work.
00:28:2810 hours, 12 hours, 16 hours,
00:28:3024 hours, 30 hours a day, mind you.
00:28:33Shut up.
00:28:34I'll do my own talking.
00:28:35Do you want this job?
00:28:36Yes, sir.
00:28:38Oh, well, come on.
00:28:39Come on.
00:28:40I'll make the wages right.
00:28:41I'll make the wages right.
00:28:43Get to work.
00:28:43I'll get to work.
00:28:44It's old Jake.
00:28:45He lives like a hermit.
00:28:46Nobody will ever find you in his house.
00:28:47I'll keep in touch with you.
00:28:48Come, come.
00:28:49Hurry up.
00:28:50Oh, say, something I forgot.
00:28:52Have you got a feller?
00:28:53A what?
00:28:54A feller.
00:28:54A sweetheart.
00:28:56Some poor sap will want to come calling on you
00:28:57and interrupt my dictation.
00:28:59Oh, no.
00:29:00I haven't any sweethearts.
00:29:01Good.
00:29:02Good.
00:29:02It's great.
00:29:03How do you know?
00:29:04Come on.
00:29:05Well, well, my old friend flavoring large as life.
00:29:10Don't stop me, McLeod.
00:29:12Heaven, I've been telling you these 10 years
00:29:13my time is important.
00:29:15Oh, wait now, man, dear.
00:29:17Wait.
00:29:17Wait.
00:29:18Don't do that.
00:29:20I've got the laugh on you for once.
00:29:23How if I said I'd got the woman that killed Morton?
00:29:26No.
00:29:30Here's your gloves, miss.
00:29:32Yes, I got that woman right under my hands.
00:29:37All I want now is to locate that Hadfield girl,
00:29:40the stenographer, so she can identify her.
00:29:43Identify who?
00:29:44Hello, Jack Howell.
00:29:46We want the Hadfield girl to identify the foreign woman
00:29:49that called on Morton.
00:29:50We've got her under arrest.
00:29:52She's the one that did the murder.
00:29:55That foreign woman never touched him.
00:29:57I hope she sues you for defamation of character.
00:29:59There you go.
00:30:00Little Nemo, the crime detector, always hands me a laugh.
00:30:04That's not all I could hand you if I chose you, big gorilla.
00:30:08I could hand you the true story of the crime.
00:30:11Baloney.
00:30:11I'm on my way home to write it now.
00:30:13Plain as the nose on your ugly face.
00:30:16I'll show you just how it was done.
00:30:18Come on.
00:30:19Wasn't that foreign woman?
00:30:20A child can see that.
00:30:22Always wrong at the top of your voice.
00:30:24What's that?
00:30:25You grinning chimpanzee.
00:30:28That foreign woman left the hotel at five o'clock.
00:30:31I got it from a cab driver in front of the hotel who saw her go.
00:30:34You don't say.
00:30:35It was the stenographer who killed him, the stenographer.
00:30:38Go on now, go on, before I laugh myself to death.
00:30:41I know she did it, cold-blooded cat.
00:30:44I'll prove it to you in my story.
00:30:45How she did it, why she did it, where she's hiding now.
00:30:49Stop it now, stop it now.
00:30:51I'll never let you go, not until it's all written.
00:30:53Can't dictate the story without you.
00:30:55You'll see, you'll see, the guilty woman.
00:30:58But I'll hand her over to you, McLeod, when my story's ended.
00:31:01That's just when it's ended.
00:31:02Cold-blooded murderous.
00:31:03I want to see her in the chair.
00:31:05I'll send her to the chair.
00:31:07I'll send her to the chair.
00:31:19I'll send her to the chair.
00:31:24You there, honey?
00:31:37I heard the front door shut after that old crime eater.
00:31:41Then I just slipped up here with some dinner for you.
00:31:44Oh, thanks, Martha.
00:31:45But I just couldn't worry down a mite of food.
00:31:47Oh, well, then, you ought to run out and get the air.
00:31:51More than two weeks, you've been here sticking in the house the whole endoing time.
00:31:55That old devil's working you too hard.
00:32:01Lordy, who is that now?
00:32:05Well, that's Jack.
00:32:06What's Jack?
00:32:07Now, I can't let that young man in.
00:32:10Well, I can't, and I'm going to.
00:32:11If that old devil knows he's been here three times, that's going to be the end of poor old Martha.
00:32:17Oh, well, I can't let that young man in.
00:32:19Nobody knows the trouble I see.
00:32:24Nobody knows the trouble I see.
00:32:30And out of the dark came a ghostly shriek.
00:32:36Nobody knows the troubles I see.
00:32:41Nobody knows the troubles I see.
00:32:45Good evening, Gallicurchy.
00:32:47Don't you go calling me out of my name, Buckery boy.
00:32:50And don't you disremember this.
00:32:51When Master Claven come, you tell him you done forced your way in here over my dead body.
00:33:05Oh, Jack.
00:33:08Now, what's the matter?
00:33:09Tell me.
00:33:10Oh, Jack, take me away from this place.
00:33:12I can't go on.
00:33:13I can't go on.
00:33:14Now, steady, steady.
00:33:15Oh, that awful old man.
00:33:16He's making me write down my own story.
00:33:19He guessed everything so far.
00:33:21Well, he's just a good guesser, that's all.
00:33:22I know, but now he's down to the actual murder.
00:33:25He'll find me out.
00:33:26No, he won't.
00:33:26No, he won't.
00:33:27He's bound to find me out.
00:33:28He'll hand me over to the police, and that'll be the end of my brother.
00:33:32No, no, don't do that.
00:33:33Don't do that.
00:33:33Oh, but I can't stand it.
00:33:35Oh, I can't.
00:33:37I can't, I can't stand it.
00:33:41Listen, you've got to stand it.
00:33:44It may only be a matter of hours now, because I think I've located your brother.
00:33:47You mean you've located Weinberg?
00:33:49Yep.
00:33:49I found the shop where those thick glasses were made up.
00:33:51Just this afternoon, I ran across that freak prescription, but it wasn't under the name
00:33:54of Weinberg.
00:33:56There was an address.
00:33:57Oh, where, Jack?
00:33:58Where?
00:33:58In an old house up a court, not a half a mile from here.
00:34:01And you think they've got Victor hidden in that house?
00:34:02That's what I've got to find out.
00:34:04Well, how will you manage?
00:34:05Well, you see, it just happened to happen that the water main that serves that house
00:34:10went on the blink about an hour ago.
00:34:13Oh, Jack, you did that.
00:34:15Oh, you're wonderful.
00:34:17Well, why should I contradict you?
00:34:22Listen, your Uncle Mark and I are going into that house as men from the water department.
00:34:26And you're going to get Victor out?
00:34:27We've got to locate him first, and you keep your pretty little fingers crossed.
00:34:31You may have some good news in an hour or so.
00:34:32Oh, Jack, are you going into that house now?
00:34:36Right this red-hot second.
00:34:37Oh, Jack, don't go into that house.
00:34:39Don't try it.
00:34:40I can't let you.
00:34:41I won't let you.
00:34:43Gee, do I mean that much to you?
00:34:47I guess you do.
00:34:50Well, don't you worry.
00:34:51If I mean all that to you, I'll come out of that house, and the whole Marco gang can't
00:34:56stop me.
00:34:56I'll come back to you, and your brother with me.
00:34:59Oh, come back to me.
00:35:01Oh, that's Mr. Claiborne.
00:35:04I'm scared to death.
00:35:05Now, keep your nerves.
00:35:05It won't be long now.
00:35:06Ah, cold.
00:35:07I hate the cold.
00:35:08I hate the cold.
00:35:10Who are you?
00:35:12There.
00:35:13Well, well.
00:35:14How'd you get in my house?
00:35:15I told that black assassin not to let anyone in.
00:35:25No, no, don't get excited, old-timer.
00:35:29Now, get out, before I send for the dog catcher.
00:35:32Eh, dog catcher.
00:35:36Goodbye, my dear.
00:35:37Oh, be careful.
00:35:38Oh, do be careful.
00:35:40If you shouldn't come back.
00:35:41No, no, it'll be all right.
00:35:43Lally gagging, eh?
00:35:46I tell you, I won't have any lally gagging in my house.
00:35:51You get to work.
00:35:55You get out.
00:35:56One, two, three, four.
00:36:05I just stopped in to ask you whether you'd have another installment of your story ready
00:36:08for our paper tomorrow.
00:36:09Six.
00:36:10I won't if you keep on interrupting me this way.
00:36:17Twenty-three.
00:36:19Twenty-six.
00:36:21Twenty-eight.
00:36:21Thirty.
00:36:25How can I finish my story with all these interruptions?
00:36:30Got a new train of thought on my walk.
00:36:34That pup knocked it out of my head.
00:36:37Martha.
00:36:38Martha!
00:36:40I'm coming.
00:36:41I'm coming.
00:36:42Stop coming and get here.
00:36:44You called me, sir?
00:36:47No, you witch.
00:36:48I was doing vocal exercises.
00:36:50Now, listen.
00:36:51Get out.
00:36:53That pin-handed reporter.
00:36:56What did you let him in here for?
00:36:57Well, I surely didn't let him in, boss.
00:37:00He just come in.
00:37:03Fabricator!
00:37:04That for the lord.
00:37:05My back thing.
00:37:06My back.
00:37:06My back.
00:37:07What's the fucking deal?
00:37:09Oh, honey, you done sprained yourself.
00:37:11Get the kink out of it.
00:37:12Get the kink out of it.
00:37:14Higher.
00:37:14Higher, you lot.
00:37:15There, now.
00:37:16Higher.
00:37:16Lower.
00:37:17Lower.
00:37:18There, there.
00:37:19That's it.
00:37:20That's it.
00:37:20There, now, honey.
00:37:22That's it.
00:37:23I'll rub you good.
00:37:25That's it.
00:37:26That's it.
00:37:29There, now, honey.
00:37:30Rest your poor back.
00:37:34You better, honey.
00:37:36Say, who told you to come rubbing my back?
00:37:39Two darned officials.
00:37:41Now, where's my pipe?
00:37:42Gotta get to work.
00:37:43Where's my pipe?
00:37:44Where's my pipe?
00:37:45How long is I done steed that old pipe?
00:37:49Stop scratching your head.
00:37:51You couldn't reach your brain with a steam shovel.
00:37:53Now, where have you gone and hid that pipe?
00:37:57Where's my pipe?
00:37:58Where's the pipe?
00:37:59Now, here it is.
00:38:00Right, right left it.
00:38:01It's a rotten old pipe.
00:38:09Smell a bit of a shameless skunk.
00:38:12Smoke it in the park and all the little birds going to drop dead.
00:38:18Let me sit.
00:38:19Stop mumbling.
00:38:20If you have anything to say, speak up like a man.
00:38:24Yes, sir.
00:38:25Don't shout at me, you squid.
00:38:28Come here.
00:38:29Come here.
00:38:32Great.
00:38:34Here.
00:38:35A little present.
00:38:37Got a cheek.
00:38:42How come you all knows I used Jockey Club, boy?
00:38:47I didn't.
00:38:48Don't care.
00:38:50That Joe is nice.
00:38:53Come here.
00:38:54Come here.
00:38:54Now, listen.
00:39:01The next time you let that gibbering, jabbering reporter in here,
00:39:06I'll wring your neck and put you in pickle.
00:39:10Like their specimen.
00:39:12Understand?
00:39:12Yes, sir.
00:39:13I understand.
00:39:14Yes, sir.
00:39:15I understand.
00:39:16Yes, sir.
00:39:17I understand.
00:39:20You're going to need a bigger jar than that to pickle me in.
00:39:24Well, let's get to work.
00:39:36Let's get to work.
00:39:37Where did we end that last chapter?
00:39:42Oh, the stenographer had just found the paper hidden under the carpet.
00:39:46Well, Mr. Clavering, whatever made you think of such a thing?
00:39:50I discovered that three tacks had been pulled out of the carpet in Morton's room,
00:39:54and the dust had noly disturbed.
00:39:55Something had been hidden there and taken out.
00:39:59Oh, but why a paper?
00:40:04They couldn't have hidden a limousine there, could they?
00:40:08Now we come to chapter 10.
00:40:15Headed.
00:40:16The murder.
00:40:17For one tense moment, they faced each other.
00:40:29You were sent here to spy on me, he said.
00:40:32Who sent you?
00:40:34Let's see you find out.
00:40:35She defied him.
00:40:37That's what I mean to do, he threatened.
00:40:38You'll talk, my lady, when the gang gets here.
00:40:45He caught up a telephone on the desk to summon...
00:40:48But it wasn't to summon.
00:40:51How do you know?
00:40:53Are you writing this story, or am I?
00:40:56Well, I get so interested.
00:40:58I keep trying to figure out the plot.
00:41:00I suppose so.
00:41:02He caught up a telephone on the desk to summon his henchman.
00:41:05Quick, he cried.
00:41:07Give me the Café Rossimano.
00:41:12Trapped and desperate, the girl looked about her.
00:41:16And there on a table, she saw the gleam of a stiletto.
00:41:25A look of murderous purpose came into her brown eyes.
00:41:29What makes you think their eyes were brown?
00:41:32They had to be brown.
00:41:34Black-eyed and gray-eyed people are nervous.
00:41:38This girl was as cool as a cucumber.
00:41:41Blue-eyed people are slow thinkers.
00:41:45This girl's mind was as smart as a trap.
00:41:50Yes, she had brown eyes.
00:41:55Eyes just like yours.
00:41:57Like mine?
00:41:59Yes.
00:42:00She looked very much like you.
00:42:02Same eyes.
00:42:06Stand up.
00:42:08Same height.
00:42:10Well, how did you ever figure that out?
00:42:12Why, she had to be the same height in order to strike the mortal blow from the angle she did.
00:42:17Now then.
00:42:20Morton was standing near the phone.
00:42:22He was stabbed in the left side.
00:42:26He must have been standing with his right side to the table.
00:42:29Like this.
00:42:31Now, uh...
00:42:32Oh, yes.
00:42:32Where were we?
00:42:34Oh, come here.
00:42:35Come here.
00:42:37Now, take this paper knife.
00:42:39Go on, take it.
00:42:43Now, you're the girl and I'm Morton.
00:42:46Now, where would you stab me?
00:42:48Go on, stab me.
00:42:50Why don't you stab me?
00:42:52Now, what is it?
00:42:53Now, what's the matter?
00:42:54Now, what, what?
00:42:54Well, will you make it all so real?
00:42:58Of course I do.
00:42:58That's why my books sell.
00:43:00Now, don't go fainting on me.
00:43:01I won't stand for it.
00:43:02Haven't got the time to waste.
00:43:04Now, get this down.
00:43:08Without a moment's hesitation,
00:43:11she seized the stiletto
00:43:13and plunged it into his villainous heart.
00:43:17Oh, thank heaven.
00:43:19Now, what's the matter?
00:43:20Oh, the doorbell rang.
00:43:22The doorbell rang.
00:43:22She plunged it deep
00:43:26into his villainous heart.
00:43:27Shall I go see who it is?
00:43:29Sit down.
00:43:30Shut up.
00:43:31How is it?
00:43:32I must be interrupted this way.
00:43:35She plunged it
00:43:36into his villainous heart.
00:43:38That's not his heart.
00:43:40Where was I?
00:43:42Ah.
00:43:44She plunged it
00:43:45into his villainous heart.
00:43:47Now, I can't dictate
00:43:49with this rowing.
00:43:50I can't even think.
00:43:52Who is it?
00:43:54Ain't nobody but me, sir.
00:43:56What is it you want,
00:43:58you saber-toothed chimpanzee?
00:44:01You squiggly-eyed,
00:44:02flat-nosed daughter of ham?
00:44:04You, you...
00:44:05Why can't I think of words
00:44:08when I need them?
00:44:10Well, you find them.
00:44:11I hope they choke you.
00:44:13What is it?
00:44:13What is it?
00:44:14There's a lady downstairs, sir.
00:44:16I said when you read this card,
00:44:18you'd see her for sure.
00:44:20Ah.
00:44:24Tell her I'll be down right away.
00:44:25Yes, sir.
00:44:26Yes.
00:44:28You go to your room and rest.
00:44:29I have a little chore to do.
00:44:32Maybe you can get 10 minutes sleep
00:44:34if you're quick about it.
00:44:34Well, when we come back,
00:44:37we'll do two more chapters, huh?
00:44:39Two little chapters.
00:44:41Run along.
00:44:44Cover up well.
00:44:45Open the window.
00:44:46Fresh air won't hurt you.
00:44:47Sweet.
00:45:01Very sweet.
00:45:06Relative of the late James Morton.
00:45:10I wonder what she wants.
00:45:13Some nuisance, I suppose.
00:45:17You are the great,
00:45:39the famous Mr. Clavering.
00:45:41You know I am.
00:45:43Well, well, sit down, sit down.
00:45:45No time to waste.
00:45:47No time to waste.
00:45:48No time to waste.
00:45:49No time to waste.
00:45:50No time to waste.
00:45:51No time to waste.
00:45:59Let's get down to brass tacks.
00:46:02It is a great honor
00:46:03that you receive me
00:46:04in your house, Mr. Clavering.
00:46:06Yeah, quite so.
00:46:09Now, tell me.
00:46:11What relation
00:46:11was the murdered man to you?
00:46:13No time to waste.
00:46:17My uncle.
00:46:20My uncle.
00:46:22My good, kind uncle.
00:46:26Oh, Mr. Clavering.
00:46:28I have read in the paper
00:46:29your story of the murder.
00:46:31You could not write like that
00:46:33unless you know something.
00:46:34You say so many things
00:46:36that are true.
00:46:38How do you know?
00:46:39Because I am the woman
00:46:41that called on Mr. Morton
00:46:42just before he is murdered.
00:46:45Oh, you're the foreign woman
00:46:46the police arrested, eh?
00:46:48They had to let me go.
00:46:50An outrage, was it not?
00:46:52When it was the stenographer.
00:46:54She killed him.
00:46:55She killed him.
00:46:56She killed him.
00:46:57She killed him.
00:46:58She killed him.
00:46:59She killed him.
00:47:00She killed him.
00:47:01Got any proofs?
00:47:02Listen.
00:47:07Listen.
00:47:08I leave my uncle
00:47:09a little before five
00:47:10that afternoon.
00:47:11And I leave
00:47:12that Hadfield girl
00:47:13alone with him.
00:47:14I come back
00:47:15to meet my uncle
00:47:16about 5.30.
00:47:17I am standing
00:47:18across the street
00:47:19from the hotel
00:47:20and I see that stenographer
00:47:21come down the fire escape.
00:47:22That's it.
00:47:23That's it.
00:47:24That's it.
00:47:25That's where I'm going
00:47:26to end my first chapter.
00:47:27What then?
00:47:28She jumped in a taxi.
00:47:29I jumped in another
00:47:30and followed.
00:47:31She get out
00:47:32at Cafe Rosamano.
00:47:33Of course.
00:47:34Of course.
00:47:35When she gets out
00:47:36she drop this purse.
00:47:38Yeah, let me see it.
00:47:46Outer box.
00:47:49A little money.
00:47:50Handkerchief.
00:47:53Keep these.
00:47:54May be useful.
00:47:55What then?
00:47:56Pretty soon
00:47:57I hear the newsboys
00:47:58calling about murder
00:47:59at the Beaumont.
00:48:00Then I know this girl.
00:48:02She has killed my uncle.
00:48:03Why come to old
00:48:05Grape Nuts with your story?
00:48:06You know so much.
00:48:09I am sure you'll find
00:48:11that stenographer very soon.
00:48:13And when you do,
00:48:15you tell us where she is.
00:48:17and we give you five thousand dollars.
00:48:23If I get some information
00:48:25where can I reach you?
00:48:27Call Gramercy.
00:48:28Nine, two, six, eight.
00:48:32Huh?
00:48:33Ask for Mr. Miller.
00:48:37If I get some information
00:48:38I may call you.
00:48:39In the meantime
00:48:40I haven't done a stroke of work today.
00:48:42Come, come.
00:48:47Eh, for so.
00:48:52It has been such a pleasure
00:48:54to meet such a man.
00:48:56Don't I know it?
00:48:57Don't I know it?
00:49:03I come again when you send.
00:49:06Then I thank you myself.
00:49:10Goodbye.
00:49:13Goodbye, my dear.
00:49:14You almost make me feel young again.
00:49:23Almost.
00:49:27Almost.
00:49:32Almost.
00:49:40Yeah.
00:49:45Yeah.
00:49:57Run, child.
00:49:58Run.
00:49:59Take your foot in your hand.
00:50:00Oh, devil.
00:50:01Go on.
00:50:02Get you just the same.
00:50:03Glad that young'un's a mess.
00:50:04That boy got run me crazy yet.
00:50:05Run, child.
00:50:06Run, child.
00:50:07Run.
00:50:08Take your foot in your hand.
00:50:09Oh, devil.
00:50:10Go on.
00:50:11Get you just the same.
00:50:12Glad that young'un's a mess.
00:50:13That boy got run me crazy yet.
00:50:27Blood hair.
00:50:31Brown eyes.
00:50:32Medium height.
00:50:34Yes?
00:50:35Ready for you now.
00:50:36All ready.
00:50:37So soon?
00:50:38Eh.
00:50:39Wasted a lot of time already.
00:50:40Sit down.
00:50:41Sit down.
00:50:42Take a new page.
00:50:43Write a new chapter.
00:50:44Head to chapter 11.
00:50:45Flight!
00:50:46Ready!
00:50:47Ready!
00:50:48Yes.
00:50:49Down the fire escape she fled.
00:50:50Breakneck speed.
00:50:51With no thought of.
00:50:52Danger to herself.
00:50:53With one purpose.
00:50:54To get to the cafe.
00:50:55Rossimano.
00:50:56I'm ready for you now.
00:50:57All ready.
00:50:58So soon?
00:50:59Eh.
00:51:00Wasted a lot of time already.
00:51:01Sit down.
00:51:02Sit down.
00:51:03Sit down.
00:51:04Take a new page.
00:51:05Write a new chapter.
00:51:06Head to chapter 11.
00:51:07Flight!
00:51:08Ready!
00:51:09Yes.
00:51:10Down the fire escape she fled.
00:51:12Breakneck speed.
00:51:13With no thought of.
00:51:14Danger to herself.
00:51:15With one purpose.
00:51:16To get to the cafe.
00:51:17Rossimano.
00:51:18A ready taxi.
00:51:20Presently the garish lights of the cafe.
00:51:22She had just missed him.
00:51:24Like a frightened animal she fled.
00:51:26Up one street.
00:51:27Down another.
00:51:28Into the subway at last.
00:51:30When she got out.
00:51:31Far downtown.
00:51:32The boys were already crying extra.
00:51:34All about the murder at the Beaumont.
00:51:37At that moment she saw a sign.
00:51:39A neighborhood house.
00:51:41Oh I can't go on.
00:51:42I won't go on.
00:51:43I won't.
00:51:44You can't leave here now.
00:51:46Oh you can't keep me here.
00:51:47I'm not your prisoner.
00:51:48Yes you are.
00:51:49Yes you are.
00:51:50I've got you.
00:51:51You're the girl who murdered James Morton.
00:51:54I've got you.
00:51:55I told him I'd get you.
00:51:57I'm gonna turn you over.
00:51:58The police.
00:51:59Oh wait.
00:52:01Yes.
00:52:02It's true.
00:52:03I did it.
00:52:04Of course you did it.
00:52:05Oh but you don't know why I did it.
00:52:06You don't know who I am.
00:52:07It doesn't matter.
00:52:08You put down that phone.
00:52:12Or there's gonna be another mystery.
00:52:15Do you think I'll let you give me up now?
00:52:17Ruin everything?
00:52:18Kill my brother?
00:52:19You sit down.
00:52:23Hang up that phone.
00:52:25Now you listen to me.
00:52:27It is the last thing you do.
00:52:29My name is Margaret Holt.
00:52:32I'm Victor Holt's sister.
00:52:34Victor Holt's sister?
00:52:36You mean you're the sister of the missing district attorney?
00:52:41Yes.
00:52:42We've been fighting that Marco gang.
00:52:44Quick Martha let me in for the love of Pete.
00:52:46Oh you go in here boy.
00:52:47I can't let you in no how.
00:52:48It's a matter of life and death.
00:52:49Oh that's just it.
00:52:50Old devil will kill me for sure if I let you in here again.
00:52:52Oh.
00:52:53Glory be to goodness woman.
00:52:54You've ruined my foot for life.
00:52:55Oh how could.
00:52:56Me in.
00:52:57Smash to a pulp.
00:52:59My right foot too.
00:53:00My best one.
00:53:01The one I always put forward.
00:53:03I'm a good one.
00:53:04I'm a good one.
00:53:05I'm a good one.
00:53:06My right foot too.
00:53:07My best one.
00:53:08The one I always put forward.
00:53:09I'm a good one.
00:53:10I'm a good one.
00:53:11I'm a good one.
00:53:12I'm a good one.
00:53:13I'm a good one.
00:53:14The one I always put forward.
00:53:17I'll have you jailed for this you jumping Jezebel.
00:53:20Look I can't stand and I can't walk.
00:53:25You fooling Master Howell.
00:53:27I'm wrecked for life.
00:53:29I can't walk and I can't work.
00:53:31I have to sit in the gutter and bang.
00:53:34It ain't that bad honey.
00:53:36I never did you any harm.
00:53:38Let old Martha see your whole foot.
00:53:42Good.
00:53:43Thanks Mr. Moore.
00:53:44Come back here.
00:53:45Trash.
00:53:46Fool old woman.
00:53:47I'll catch you on my bust your head.
00:53:49Not your foot.
00:53:50Devil limb you.
00:53:51Mr. Clavering.
00:53:52Now that you know the whole story.
00:53:54You'll help me won't you.
00:53:56You'll help me save my brother.
00:53:58No.
00:53:59I won't mix up in it.
00:54:01No I won't.
00:54:02I won't.
00:54:03Now fool in the.
00:54:05Oh that's Jack.
00:54:06Oh let him in please.
00:54:07Please.
00:54:08He may have news of Victor.
00:54:10Open the door.
00:54:11Open the door.
00:54:12Now who let you in?
00:54:14I gotta talk to this girl.
00:54:15Big bully.
00:54:16Oh it's all right.
00:54:17Mr. Clavering knows everything.
00:54:18He's going to help us.
00:54:19I never said I would.
00:54:21I won't help you.
00:54:23I'll turn you over to the police.
00:54:24Proper ending to my story.
00:54:26You seem to forget me and my story.
00:54:28Hey listen.
00:54:29We'll give you a better ending to your story.
00:54:31Ah.
00:54:32You'll leave the police out of this and stick with us.
00:54:34And you'll be the white haired boy that rescues Victor Holt.
00:54:36Oh have you found him?
00:54:37Have you found him?
00:54:38Yes.
00:54:39Your uncle and I got into that house as I told you we would.
00:54:41And Victor's there.
00:54:42We talked to him.
00:54:43Morse code tapping on those water pipes in the cellar.
00:54:46Is the poor dear boy in any immediate danger?
00:54:49Yes.
00:54:50There are three men and a woman on guard.
00:54:52If we can get rid of three of them.
00:54:53He can take care of himself.
00:54:54You're right.
00:54:55Got to lure him out of the house.
00:54:57I can lure him.
00:54:58Watch me.
00:54:59Watch me.
00:55:00I'll lure him.
00:55:01Where's my notebook?
00:55:02Where's my notebook?
00:55:03Martha!
00:55:04Where's my red?
00:55:05Here it is.
00:55:06There.
00:55:09Did you have brains enough to find out if I had a telephone in that house?
00:55:12Sure.
00:55:13It's Gramercy 9268.
00:55:14That's it.
00:55:15That's it.
00:55:16The very number she gave me.
00:55:17That mealy mouth foreign hussy.
00:55:19Now I got an excuse to call him.
00:55:21I lure him.
00:55:22All great not to lure him.
00:55:26How long will it take you to get back to that house?
00:55:28Five minutes, General.
00:55:29There.
00:55:30When you see three of them come out.
00:55:33Three of them, remember?
00:55:34You go in.
00:55:35You'll know what to do.
00:55:36Okay.
00:55:37Cut the slush.
00:55:38This is no love nest.
00:55:39Vamoose.
00:55:40Get out.
00:55:41Gedaddle.
00:55:42Call me Spring 3100.
00:55:43Ask for that dummy, Captain McCloud.
00:55:44Well, hell, don't stand there licking any.
00:55:45Oh, yes, sir.
00:55:46Uh, Spring 3100.
00:55:47Now remember, when you see three of them come out, you go in.
00:55:51Understand?
00:55:52Uh huh.
00:55:53Hand him a lamp, do I?
00:55:54I'll hand him a lamp, do I?
00:55:55I'll hand him a jolt.
00:55:56Make his eyes pop out, like grapes.
00:55:57So you can hang your head on him.
00:55:58Hello, Captain McCloud.
00:55:59Just a minute.
00:56:00Hello, you flat-footed baboon.
00:56:02This is your little playmate, old Grape Nuts.
00:56:04You're welcome.
00:56:05Oh, you're welcome.
00:56:07I'll be right back, Captain McCloud.
00:56:08If you're going to take a break, you're going to take a break.
00:56:09You're going to take a break.
00:56:10You're going to take a break.
00:56:11You're going to take a break.
00:56:12You're going to take a break.
00:56:13Don't take a break.
00:56:14Now remember, when you see three of them come out, you go in.
00:56:15Understand?
00:56:16Uh huh.
00:56:17Hand him a lamp, do I?
00:56:18I'll hand him a jolt.
00:56:19Make his eyes pop out like grapes, so you can hang your head on them.
00:56:20Hello, Captain McCloud.
00:56:21Just a minute.
00:56:23Hello, you flat-footed baboon.
00:56:27This is your little playmate, old Grape Nuts.
00:56:30mate, old grape nuts. Think you're clever, don't you? How would you like the Marco gang
00:56:36delivered to you, all wrapped up for mailing? Well, prop your ears open and listen. At exactly
00:56:44five minutes to nine, be at my house with four men. Now, understand, no sooner, no later.
00:56:53You'll spill the beans. You'll find my front door unlocked. Plant your men in the hall,
00:56:59and you keep watch from the street. When you're all set, throw some pebbles at the window second
00:57:04floor front. I mean pebbles, not rocks. When you see the lights go out, rush the room, and if you're
00:57:11late, you'll have the pleasure of attending my funeral. Goodbye, you baboon. Where's my notebook?
00:57:19Where's my notebook? Now, where's my notebook? Here it is, Mr. Lavery. What do you mean,
00:57:23hiding my notebook that way? Sit down now. Don't fuss me.
00:57:29Hello? Give me Gramercy. Nine, two, six, eight. Regular's clockwork. Trust little Nemo if the police
00:57:37don't gum it up. They will. Hello? Is this Gramercy? Nine, two, six, eight? This is Winthrop Clavering
00:57:46speaking. Uh-huh. I want to speak to Miller. Hello? Is that you, Miller? Well, now listen.
00:57:58It's exactly 8.40. Uh-huh. If you're here at my house in ten minutes, I'll hand this stenographer
00:58:03over to you. Listen. Bring me to Strong with you. I want her to identify the girl.
00:58:11And bring another man. This girl's a dangerous character. You'll have to take her by force.
00:58:18Can't risk any slip-up. If you're not here in seven minutes, the three of you, you don't
00:58:23get the girl and the police do. Uh-huh. That's all. Goodbye.
00:58:29What do you think of little Nemo now? Now, don't you worry, little fella. Old El Fidel
00:58:34won't let them get you. No, sir. Martha. Martha. Martha. Martha. Yeah, sir. Yeah, sir. I'm
00:58:42coming. Stop coming and come. Now, the shades on that window. Put them up. Way up. Way up.
00:58:54Here I am, sir. Now, get this into your cranium. My what? Your brain box, woman. This vacuum.
00:59:01Here I am. I'm expecting some visitors in just six minutes. When they come, show them
00:59:07right up here. And you go downstairs and unlock the front door. And if you forget it, I'm a
00:59:13dead man. Hallelujah. Yes, and I'll come back and hit you until your bones stick through
00:59:18your skin. Deed, I won't, Master Cleven. I won't forget. Deed, I won't.
00:59:22Help me all ready. All ready, help me. That lamp. Disconnected. This one, too. I think I'm
00:59:31everything. That's why I'm good. Well, now, what shall I do when they come? You go to
00:59:37your room and keep quiet. No matter what happens. Oh, Mr. Clavering, you will be
00:59:43careful, won't you? You know you're not young anymore. And you're up against a
00:59:46hard-boiled gang. Don't I know it? Don't I know it? All the more glory. Headlines. I can
00:59:53see them now. Winthrop Clavering. Crime detector. Sherlock Holmes. Poof. Just a boy scout. Watch
00:59:59me now. Watch. What's that? They couldn't get here so soon. They couldn't. Well, maybe
01:00:07they have. If they have, I'm a cooked goose. Don't get near that window. They mustn't see
01:00:13you. Let me look. It's them. They've come in a racing car. Well, they're way ahead of time.
01:00:23What'll we do? Shh, shh. I'll recite Gunga Din at them. It'll be all right. McLeod
01:00:29doesn't fail me. Now, you go in there. Oh, now, you will be careful, won't you? Yes, yes.
01:00:35Now, don't make any noise. I'll stay here and stall them till McLeod gets here. Of course,
01:00:46a cloud couldn't be ahead of time. No such luck. Come in. Sit down. Sit down. Be with you in a minute. Just looking for a book.
01:01:11Excuse me, Mr. Clavering. We have only a little time. Uh-huh. Oh, here it is. Johnson's Anatomy. Did you
01:01:23ever study anatomy, my dear? You should. You'd make a very handsome skeleton, my dear. You know,
01:01:29you have to know everything to be an author. All sorts of queer books. All kinds of queer people.
01:01:37Hello. This is Mr. Miller. How do you do? How do you do? I can see by your face what a good man you
01:01:49are. And this is Mr. Weinberg. Weinberg? Oh, I had a character by that name once in one of my stories.
01:01:57I had him hanged. I liked having him hanged. Mr. Clavering, we are in a very great hurry.
01:02:05Yes, where is the stenographer? Isn't she here? Oh, good gracious, no. But you said you'd have her.
01:02:11You don't suppose I'd keep her here, do you? Why, I'd as soon have a wildcat. She's a dangerous woman.
01:02:19Well, but you can take us to her. Of course. Of course.
01:02:22Now, what in the world is the matter with Mr. Weinberg? You know, you remind me of a character
01:02:30in one of my stories. He was a burglar. He had cracking knuckle bones, too. But they betrayed him
01:02:38in the end. He was hanged. Now, what did I do with that story? Let me see. It would interest you.
01:02:46Is he trying to fool you? Oh, he's an old fool. Patient, I tell you. Be patient, Mr. Clavering.
01:02:51Some other time we hear the story, yes? Yes, yes, of course. Now you take us to that woman,
01:02:56please. Oh, you know, I'd almost forgotten. I'm absent-minded. Yes, and be keen about it. Yes,
01:03:00yes. Will I need an overcoat? Is it cold outside? Where's my thermometer? What did I do with
01:03:06my thermometer? Not as young as I used to be. I seem to grow older. Every year.
01:03:16Now, what did I do with my galoshes? I should have my galoshes. You're such a clever man. It
01:03:27gives me pleasure to help you. Oh, thank you. Thank you, my dear. Good girl. Nice, good girl.
01:03:33Well, well. All ready now. Yes, yes. Go right along now. Oh, one minute. One minute. Something I forgot.
01:03:43What? What is it now, Lison? The money. The money. The money. Did you bring the money? I have it. Let me see it. Let me see it.
01:03:53Perhaps you want to count it. Right, boy. Right, boy. That's what I mean to do.
01:03:57One. Two. Three. Four. Five. Six. Seven. Eight. Nine. Oh, there are only nine here.
01:04:17Ten. Oh, it's all there. Six. Seven. Eight. Nine. Ten. You're right. You're right. Now, what you are waiting for?
01:04:33I want to be sure, my dear. There are no counterfeits. Oh, the money is all right. Look here. You.
01:04:39I have wasted all the time I'm going to waste. Get me? You take me to that girl? Or?
01:04:48You've got a gun in your pocket. You will find out what I have got. All right, boy. Go on. Shoot me. Shoot me.
01:04:54You can't find her without me. The police will get her first. Then what do you do?
01:04:58What's that? Test with poisonous street brat? Drawing beans against my window. Where's my cane? Where's my cane? Say, what's your racket?
01:05:13Got to go down and give them a good thrashing. Test bring the life out of me.
01:05:17Test bring the life out of me. Get away from me. Get away from me.
01:05:33Turn on, Mr. Briggs. Over by the door.
01:05:37Get away from me. Get away from me. Get away from me.
01:05:43Get away from me. We got you at last, Miller. You've got nothing from me.
01:05:50I ain't a nut you can't do nothing from me. Don't you bite me.
01:05:55Where's the old man? Where's the old car?
01:05:58Say, get busy and look for him. Look out there, will you?
01:06:00And you look over there and over there.
01:06:03No one in the hall, sir.
01:06:05Weinberg, what did you do with clippering?
01:06:08I don't know. I never touched him.
01:06:10Clippering. Clippering.
01:06:12I'm just somewhere. Where are you, little Nemo?
01:06:15Cock-a-doodle-doo!
01:06:26Well, well, little Nemo.
01:06:28Now that I've handed the gang over to you, Mr. McCloud,
01:06:31do you think you can hang on to them with your butterfingers?
01:06:35Know I could lure them?
01:06:37Oh, don't be too hard on me, little Nemo.
01:06:40Mr. Clippering, Mr. Clippering, are you hurt?
01:06:43That's the stenographer.
01:06:45Told you I'd find her.
01:06:46Told you I'd find her.
01:06:48Get that porn. I'll be out of my way.
01:06:52Come out, Margaret. Are you all right?
01:06:54Say, they didn't hurt you, did they?
01:06:56First old grape nuts.
01:06:57I told you I'd find her.
01:06:59I told you I'd find her.
01:07:00This is Margaret Holt.
01:07:02Ah, Miss Holt.
01:07:03Your dear brother, what do you think becomes of him now?
01:07:05Mr. Holt, as large as life.
01:07:09Why not?
01:07:10Oh, you say.
01:07:11Double cross, double cross.
01:07:13Oh, Victor, are you all right?
01:07:15Quite all right.
01:07:16And where's Uncle Mark?
01:07:17He took the other man at the police station.
01:07:18Oh, but Victor, you're all right.
01:07:19Oh, I'm so glad to see you.
01:07:21Well, how are you?
01:07:22Oh, Mr. Clippering, this is my brother, Mr. Holt.
01:07:24I can't help it.
01:07:25And I want to thank you, Mr. Clippering.
01:07:27Don't bother.
01:07:28I need your sister to finish my story.
01:07:30Come on.
01:07:30I'm so glad to see you.
01:07:30Get to work, get to work.
01:07:31This will be the biggest chapter I've ever written.
01:07:33McCloud, take your policeman and go home.
01:07:35Take those burglars with you.
01:07:36Murphy, turn on the lights in the hall.
01:07:38Get them down to headquarters.
01:07:39Come on, all of them.
01:07:40Drag him out.
01:07:41Drag him out if you can't, woman.
01:07:42Don't.
01:07:42Now, Mr. Weinberg, crack your knuckle bones now.
01:07:45Ah, shut up.
01:07:45I'll see you home.
01:07:46You'll meet the clippering.
01:07:47Come on.
01:07:48I'll see you out of here, too.
01:07:49Goodbye, little Nemo.
01:07:52See you tomorrow.
01:07:52Get out.
01:07:53Okay, Commissioner.
01:07:54Get out.
01:07:55Get out.
01:07:56Where are you going?
01:07:57You get out, too.
01:07:59No time to wait.
01:08:02Get a pad now.
01:08:02Take this down before I forget it.
01:08:05As the beaten gangsters were led away,
01:08:10as the beaten gangsters were led away,
01:08:13our heroine turned to the young reporter and said,
01:08:17I love you.
01:08:23Rubbish!
01:08:25Who's writing this story anyway?
01:08:27Who's writing this story anyway?
01:08:28Who's writing this story anyway?
01:08:29Who's writing this story anyway?
01:08:30Who's writing this story anyway?
01:08:31Who's writing this story anyway?
01:08:32Who's writing this story anyway?
01:08:33Who's writing this story anyway?
01:08:34Who's writing this story anyway?
01:08:35Who's writing this story anyway?
01:08:36Who's writing this story anyway?
01:08:37Who's writing this story anyway?
01:08:38Who's writing this story anyway?
01:08:39Who's writing this story anyway?
01:08:40Who's writing this story anyway?
01:08:41Who's writing this story anyway?
01:08:42Who's writing this story anyway?
01:08:43Who's writing this story anyway?
01:08:44Who's writing this story anyway?
01:08:45Who's writing this story anyway?
01:08:46Who's writing this story anyway?
01:08:47Who's writing this story anyway?
01:08:48Who's writing this story anyway?
01:08:49Who's writing this story anyway?
01:08:50Who's writing this story anyway?