Rogues Gallery (1944) - full transcript
Reporter Patsy Reynolds (Robin Raymond) and photographer Eddie Porter (Frank Jenks) are assigned to interview John Foster (Davison Clark), head of the Emmerson Foundation regarding a listening device the organization is working on. Foster evades them and they go to the lab to see Professor Reynolds (H. B. Warner), the real inventor. Soon, they are involved in several shootings, blueprints that change hands several times, a corpse in their car that appears and disappears a few times, the loss of their jobs and several people who either think they are killers or candidates for being killed.
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[MUSIC PLAYING]
-Hi, fellas.
-Did you see him?
-Sure, we saw him.
-I knew you could do it.
Well, give it to me.
-Give it to you?
-The story.
The pictures.
-We didn't get any.
-You didn't?
-You heard it.
-Now, before we get all mixed
up, let's start from the first.
Tell me what happened.
-He slammed the door
right in my kisser.
-And where was your foot?
-Right where you told
me to put it, chum.
And it's gonna cost you
15 hunks of lettuce.
-Yeah.
Put down $4.98 on
the swindle sheet.
-He's been reading the ads.
-This is the second time that a
leased wire service has queried
us on that invention,
and they're
demanding a story and pictures.
-And after we do run it
down, what do you got?
Probably some kind
of a Rube Goldberg
that turns butter into cows,
cows into grass, and grass
into hula skirts.
-They've got a tip it's some
kind of a new listening device,
like the one that was
used on Capitol Hill--
a contraption where you can
hear people talking miles away
and without planting
a microphone.
-With a thing like
that, everybody
would be living in
a goldfish bowl.
Why, a girl couldn't
even sing in the bathtub.
-Combine that with television,
you got something, sister.
-Give your mind a little
more attitude, bud.
-It doesn't make any difference
to us what the invention is.
All we've got to do
is get the story.
Foster's head of the
Emerson Foundation.
Now, I want you two to
get out there [INAUDIBLE]
and make them talk.
-Look, Foster
isn't the inventor.
Professor Reynolds is.
-Let's try him at
the laboratory.
-Why didn't you think
of that a week ago?
-Why didn't you?
-Yeah.
Do we have to do
all the thinking
around this [INAUDIBLE]?
-If you did, the
place would fold up.
Now get out there and see what
you can get out of Reynolds.
-But he's only there at night.
-Whenever it is, be there.
-OK, boss.
-Bye, sweetheart.
-Hello, officer.
-What's the idea?
What are you doing?
-Just getting your picture
in the [INAUDIBLE].
-Come on. [INAUDIBLE]
quite well.
-And what do you
two want, anyway?
Oh, we just thought
we'd drop in and have
a little chat with
Professor Reynolds.
-She's an old friend
of the family.
The professor used to
bounce her on his knee.
-Yeah, and him on his head.
-If you haven't got a pass
signed by John Foster,
the both of you can bounce
yourselves right outta here.
-Sonny boy, do you
realize that you're
talking to two
representatives of the press?
See?
And if you're a good
little boy and let us in
to see Professor Reynolds,
we'll get your name in paper.
-And I'll put your
picture in the paper.
-Well, I told you.
Beat it.
-Hmm.
A nasty cagey.
Mm.
-Mm.
[PHONE RINGING]
-Hello?
Oh, hello, Mike.
Oh, no, Mike, no.
You know I never talk with
reporters about my work.
-Yeah.
I know, professor.
Most likely, they'll be
standing on the outside,
waiting to buttonhole you.
-They'll probably be two of
them pestering John Foster.
[LAUGH]
-Thanks for tipping
me off, Mike.
Oh, Mike?
Mike, the lights have
just gone out in here.
May be a fuse.
Will you check them, please?
A lot of work to do, Mike.
[GROANING]
-Hello?
What's wrong, professor?
-Mike, help!
-I'll call the police.
[GUN SHOTS]
-If you hadn't pulled a boner,
I might have talked my way
right past that night watchman.
-Oh, I was only kidding.
-Kidding, kidding.
One of these days, you're
gonna kid us right into jail.
Can't you keep your
big mouth shut?
[SIGH]
DISPATCHER: Shooting
in Emerson Laboratory.
Shooting at 1st and Maple
Street, Emerson Laboratory.
Shooting at 1st and Maple
Street, Emerson Laboratory.
-What's he trying
to do, run over us?
[TIRES SCREECHING]
-What's going on here?
-Say, something
must be happening.
-Hey, let's follow them, huh?
[CHATTER]
-Give me a break, will ya?
Hey.
Hey, what's--
-Hiya, Barney.
-Hello, Eddie.
Hello, Patsy.
-Hiya, Barney.
What's going on around here?
-Oh, somebody got punked.
Guy named Reynolds.
-What?
The professor?
How'd it happen?
-Who did it?
-All I know is, he
got hit by some guy.
They're searching the
building for him now.
-Thanks a million, Barney.
Come on, Eddie.
Let's go.
-OK.
-Hey, wait here a minute.
What's that?
-Someone that bumped
into you dropped this.
-Well, are you [INAUDIBLE]?
Hey, mister, you
dropped something.
-Just a minute.
Put this in your coat.
-Oh, Eddie.
Did you see a man go by here?
-Sure.
One went down those stairs.
-You to stay here.
-Well, want me to
try to help you?
[GASP]
-Look!
-Halt!
[GUN SHOT]
-Take those drawings up to
the car, and don't lose them.
-What's so valuable
about these silly things?
-They must be valuable,
or he wouldn't
have [INAUDIBLE]
like to steal them.
Come on.
Let's get going.
-Just a bruise, professor.
You're lucky.
-Oh, I feel all right now.
Got a pretty tough head.
[CHUCKLING]
-May I see Professor
Reynolds, please?
-You got a pass?
-Oh, no.
Do I need one?
-Nobody gets through
that door without a pass
from John Foster.
-Well, I just want
to see Professor
Reynolds for a second.
-Oh, wait a minute.
Get going, will ya, sister?
-Hello, Patsy.
-Hiya, Casey.
This bugger won't let
me by without a pass.
Tell him who I am.
-Who you are?
Makes no difference to me if
you were the Queen of Sheba.
Yeah, and she'd need a pass too.
-Hmm.
-Wait a minute, Patsy.
I'll ask the professor
if he'll see you.
-Thanks a million, Casey.
-Won't do you no good.
-Yeah?
Well, just watch, bub.
-Well, if it isn't
Miss Scoop herself.
Hiya, Patsy.
What's the matter?
Can't you get in?
-Listen, creep.
Just because you're old
Foster's nephew, you got a pull.
-A pull?
Why, I can't get
in there myself.
-You don't have to dig up
stuff for that rag you work on.
Stick around.
I'll come out here.
I'll blab it to you.
-Listen, Patsy.
You got me all wrong.
Why can't we bury the hatchet?
-Yeah, right in my
skull, down to my ankles.
[CHUCKLING]
-What's up, Mike?
-Reynolds got slugged.
-He did?
-Yeah.
-Was he hurt bad?
-Nah.
Just a goose egg.
He'll be all right.
-Sorry, Patsy.
The professor says
no interviews.
-Well, thanks, Casey.
-Did he get away?
-He did, after
shooting at Mike here.
-Well, either of you fellows
have any idea who it was?
-No.
It was too dark to
get a good look.
-He stole some
important drawings.
-Step right in, Mr. Biggs.
I'll tell you all about it.
I may even write it for you.
-Now, Patsy, all
I'll know is what
you just heard them tell me.
-You ain't heard nothing yet.
Wait 'til you read my story.
-That dame.
-Still got those things?
EDDIE: Right.
-Say, Eddie.
I got a hunch those drawings
are worth their weight in gold.
-In what?
-Well, on printers' ink, anyway.
-Yeah.
But suppose the cops
find out we got them.
-Not 'we.' Me.
And you keep your big trap shut.
I'll return them to the
owners, when and if.
First, I want to have a
scientist friend of mine
take a peek at them.
-Well, you mean that
radio and electronics
engineer, Joe Seawell?
-Yeah.
That's the guy.
-I've always said
you were smart.
-Wish I could say
the same for you.
[LAUGHTER]
[TIRES SQUEALING]
-Why, you big stiff!
-I ought to knock his block off.
MAN: Let's have those drawings.
Look straight ahead.
Look straight ahead.
-Eddie [INAUDIBLE], I take that
back about you not being smart.
-That chump never
had a chance with me.
If you only waited, I'd
have beat him to a pulp.
[LAUGH]
-I know.
Tell me, uh.
That, uh, flash bulb didn't
happen to go off accidentally,
did it?
-Are you kidding?
-Oh.
[LAUGHTER]
-Say, Joe.
What sort of a
contraption is this?
-Well, it's a little
too complicated
to explain to a layman.
You'd have to know
something about electronics.
-Electronics, huh?
You know what it's all about?
-Not all-- a little.
It's a machine that
will pick up sound--
I mean, voices at a distance.
Same principle as used in boats.
-Now, if it works, it's really
worth getting excited about,
huh?
-Is it!
I'd say it will revolutionize
the science of communications,
do away with wires, cables,
broadcasting stations.
-You mean you can tune
in on anybody any place?
-Well, that is the theory.
-Wow!
Eddie, fold that up.
Thanks a million, Joe.
Eddie, you and I are going
over to John Foster's.
For once in our life, we've
got an ace in the hole.
-As you know, the
last thing we wanted
was to attract public
attention to this invention.
After what happened
tonight, the newspapers
will be full of them.
-As members of the foundation's
advisory committee, all of us
are sworn to secrecy.
If we don't tell
the press anything,
they can't publish very much.
-You're right.
What we've got to do is
get those drawings back,
but we haven't a clue.
-It must be someone who's
trying to beat us to the patent.
I tell you, there's
millions in it.
-Guard these with your life.
And when I whistle, you come in.
-OK.
-Why haven't we
applied for the patent?
-Reynolds asked me to
hold off 'til he could
get a few things
straightened up.
-It's a cinch.
The thief is trying to
beat us to the patent.
-It was only today, Duckworth
[INAUDIBLE] a news [INAUDIBLE]
down my front steps and shut
the door on another one.
A most persistent young woman.
-Yeah, and I'm still persisting.
-Who let you in?
-The door was unlocked,
so I just walked in.
-Well, you better
leave right now.
-Sweetheart, you're gonna beg me
to accept the keys to the city.
-Get out, before
I call the police.
-Watch your blood
pressure, sonny boy,
or you'll keel over
from the excitement
before I give you the good news.
-What is all this foolishness?
-Well, boys, what am I
offered for one complete set
of the drawings
of your invention?
You care to start the
bidding, Mr. Foster?
-You mean you have them?
-Mmm.
I wouldn't exactly say that.
I simply asked a
simple question.
Would you care make an offer?
-You mean you're trying
to bargain with me?
Why, that's--
-Blackmail?
Uh-uh.
I don't engage in that.
-What is this all about?
You either have
them, or you haven't.
-Well, it's just that
I'm fairly sure I
can lay my hands on them.
I was pushed around
funny by you guys
when you were in
the driver's seat.
Now I'm doing the driving.
-Let's see the drawing.
-My line is newspaper work.
I deal in exclusive stories.
All I want is a beat
on this invention.
-We couldn't possibly reveal
details, not at this time.
-All I want is
just a general idea
of the thing and a picture, and
a nice group shot of you pretty
gentlemen-- you know,
the sponsors of this,
uh, scientific miracle.
-That's not asking too much.
-Ha ha.
I thought you'd see it my way.
-When you can
produce the drawings,
we'll give you the story.
-That's got it.
I'll take a chance on it.
-Trying to whistle?
-Yeah.
-Do it this way.
-[INAUDIBLE]
-I don't think you
can whistle, either.
[WHISTLE]
-Thank you, Duckworth.
-Well, I'm surprised
myself, sir.
-Duckworth can whistle.
-Ah, ah, ah, ah.
Patsy, that was a beaut.
Looks like a wake.
-Let's have them.
OK, here you are.
-How do we know you
didn't take them?
-Listen, [INAUDIBLE],
you trying to renege?
I picked them up when
the thief dropped them.
-Yeah.
We almost got killed
afters when he held us up.
-Who was he?
What did he look like?
-We couldn't see.
It was too dark.
It could've been anybody.
As a matter of fact, Mr. Foster,
knowing how valuable they are,
it could have been you.
-That's ridiculous.
-Coming right down to cases,
any of us might have a motive.
The only thing we can do is to
keep our end of the bargain.
-That's right.
That sounds reasonable.
-I got 10 minutes to
make the deadline.
-Hello, Jimmie.
-Good evening, Mr. Blake.
Hello, everybody.
BOARD MEMBERS: Hi, Jimmie.
-Hi, junior.
-Well, if it isn't
the bad penny.
-Tuppins, to you.
-OK, two bad pennies.
What are you two doing here?
-As usual, getting a
bead on your outfit.
-What's the idea, Uncle John?
-Miss Clark returned
the stolen drawings.
-And made a deal for an
exclusive on the invention.
So if you don't mind, you can
run along now, little boy.
-How about that, uncle?
-I'm afraid she's right, Jimmie.
-I heard the
drawings were stolen.
Just how did you
get hold of them?
-Perfect timing-- just being
there in the right place
and at the right time.
Scram.
-OK.
You know, some day, this
phenomenal luck of yours
is going to run out.
Goodnight, gentlemen.
-Goodnight, Jimmie.
-As you were about
to say, Mr. Foster?
-And now, young woman, I'll
tell you as much as I can.
-Here you are, boss.
-Hey, Red.
-Yeah?
-Has Patsy call in yet?
-Nope.
-Well, we can't wait any longer.
Grab an early edition of
the 'Daily News' and knock
out something.
Heck of a note
when have to steal
news from a rag like that.
When she does call in,
tell her the cashier's
got a surprise for
her-- her closing check.
-She'll give you the
horse laugh, chief.
-Yeah, well, this
time, it stinks.
[PHONE RINGING]
-Rewrite desk.
Uh, hold on, Patsy.
Hey, boss.
It's her.
-Well, you heard what I said.
Tell her.
Gentry says you're fired.
She says she has a better
offer from the 'Daily News.'
-Ah, you know I
was only kidding.
-This is hot stuff, chief.
Stop everything.
-Composing room.
Hold everything for
page one makeover.
-All right, Eddie.
Let's go.
-All right, now, gentlemen.
If you'll just, uh,
gather right around here.
Mr. Foster, you sit down
[INTERPOSING VOICES]
- --in this chair.
OK.
Let's get right in there.
-Uh, do you mind moving
in a little bit, please?
Oh, thank you.
And Mr. Foster, open that
so we can see the plans.
Thank you.
That looks much better.
All right, Eddie.
-That's a good shot.
All right, hold it.
Everybody straighten up.
[GUN SHOT]
[SCREAMING]
[FURNITURE MOVING]
-Anybody hurt?
-I'm all right.
-What happened?
-Who fired that shot?
-What's going on around here?
-That's what I want to know.
What is going on around here?
-The plans-- where are they?
-Well, they're gone.
Where's that photographer?
-Are you trying to
insinuate he took them?
Why, we just brought
them back to you.
-Yes, and you've got your story.
Now what is it you want?
-Well, this is down
right extortion.
-One more crack
like that and I'll
let you have it right
between the eyes.
-I wouldn't do
that if I were you.
-Why you--
EDDIE: Patsy!
JOHN FOSTER: Hello?
-Patsy!
-What is that?
Hey, help me with this.
Are you still horsing around?
What happened to you?
-I was doing all
right until somebody
hit me with that Davenport.
-What did you do
with those drawings?
-Are you gonna start that again?
-Oh, they must be
around here someplace.
I had them just a second ago.
-You had them?
-Sure I had them.
I--
[LAUGHING]
-For a minute, I
thought I'd lost them.
-How'd you get them?
-Well, when the lights went
out, I made a dive for them.
-Some guy just got
his mitts on them
when I snatched them
right out of his hand.
[SNAPS FINGERS]
-Like that.
-Ha ha, smart boy.
-Whose hand?
-Probably the guy that
was trying to steal them.
-Probably one of your guys.
-Mr. Foster?
Mr. Foster!
-What is it, Duckworth?
-Mr. Foster, there's a
gentleman on the veranda.
-What does he want?
-I don't know, sir.
-Well, ask him.
-He can't answer, sir.
I'm afraid he's met
with some misfortune.
You know-- out cold.
-Out cold?
-Yes, sir, cold.
Out there.
-What, another one?
-Right here, sir.
-Why, it's Eddie Griffith.
-Here, let me.
I took a course in first aid.
This man is deader than
yesterday's headlines.
-Just so we don't
destroy any evidence,
we better get back inside,
and I'll telephone the police.
-Duckworth?
-Yes, sir?
-Get this place straightened up.
-Yes, sir.
-Now, wait a minute.
Just a minute, you guys.
This to beginning to look
like some kind of a gag.
Are you guys trying to
exterminate one another?
-Playful kind of a gag, I'd say.
Last man left gets the drawings.
Who's got them now?
-I have, and I'm gonna lock
them up in my private safe.
-Better lock yourself
up with it, pal,
or one of your little playmates
might decide to plug you.
-You seem to be pretty certain
that one of the committee
is the criminal.
-Why not?
Now that I think of it, the gun
went off right in my kisser.
If I hadn't ducked, it would
have blown my head off.
Eddie, he wasn't
shooting at Griffith.
I was the bird he wanted.
JOHN FOSTER: What
makes you think that?
-Huh, well, that's easy.
He knew we had a
couple of quick ganders
at him-- once in the
laboratory and once
in the car when he held us up.
He knew we'd recognize him.
-And, uh, did you?
-No.
No, but it was one
of your outfit,
and he's right
here in this room.
-One sure thing, a shot
was fired in this room.
Nobody leaves until
the police get here.
-The man to call is
Lieutenant O'Day.
-Why O'Day?
-Danny's a smart hombre.
He's head of the homicide squad.
He's the guy to
knock your case over.
I'll phone him, but first, I'd
better call in the murder yarn.
[PHONE RINGING]
City desk, Gentry speaking.
Jumping jeepers.
No-- no, don't wait
to come in here.
Dictate it to Red.
Sure, it'll be
under your byline.
Red, grab this on your phone.
Hold page one for new
lead-- 'phantom killer
strikes in dark.'
-We got a make on
this guy, O'Connor?
-Uh, I'm waiting for a report.
[PHONE RINGING]
-Homicide squad, O'Day speaking.
Oh, hi, Patsy.
Ah.
Uh, I'll be right over.
Come on, Parker.
-Hiya, Danny.
What's up?
-There's been a killing
out at your uncle's house.
You better come along.
This man Griffith
who was killed.
Did you know him?
-Why, yes.
He was a member of the
foundation committee.
-Ah.
-Did Uncle John phone you?
-No.
Patsy.
The way she digs
up stuff, she must
have been a strain
of bloodhound in her.
-She ought to be a cop
instead of a reporter.
-Anytime she wants to be a
cop, I've got a job for her.
[DOOR BUZZER]
-Foster?
-Yes.
I'm O'Day.
Homicide squad.
-Oh, come right in.
-Hello, Uncle John.
-Hello, Jimmie.
-Well, what's going on?
-Somebody turned out the
lights and before we could get
them on again, he shot Griffith.
-You know who did it?
-It was all very
sudden and mysterious.
-Ah.
Oh, hello, Patsy.
-Hiya, Danny.
-Hi, Eddie.
-Hiya.
-Were you here when it happened?
-Was I here!
I skidded halfway across
the room on my face.
-Wow.
It looks like a
benefit performance
from the 'Daily Express.'
-Yeah.
Looks like I was the
piece de resistance.
-Huh?
-Corpse to you.
-Oh.
-My story's in already.
There's the phone.
-Thanks.
I'm familiar with the place.
-Well, come on.
Where's the body?
-I'll show you.
Come on, this way.
[INAUDIBLE], Danny.
Why, look!
-Look at what?
-The corpse-- it's gone.
It's gone.
-Patsy, dead men don't walk off.
-You both saw him, didn't you?
JOHN FOSTER: Yes, I saw him.
-Certainly.
He was right there.
-Parker, take a look
around the grounds.
-PARKER: Yes.
-Now, what made you
think Griffith was dead?
-I oughta know
when a man's dead.
Besides, he was-- well,
he was cold to the touch.
-Look, sister.
Just because a man
feels cold to the touch
isn't proof that he's dead.
-Listen, Danny.
When I touch a man and he stays
cold, then I know he's dead.
-Besides, if he was dead, how
could he disappear like this?
-Finding out things like
that is your business.
All she has to do
is write about it.
-Write about it.
-There's no corpse
out there, and I
don't think there ever was one.
-So it was a hoax, huh?
-It certainly was not.
-Yeah.
The next thing
you're going to say
was there wasn't any shooting.
-There very definitely was.
-I was here when
the shot was fired.
We were all here.
-Why, certainly.
-Of course we were.
-Oh, any one of yous guys
could have done the killing.
-And when the light came on
again, you had the drawings.
-He wouldn't have any
reason to commit murder,
but you would-- and
you, and you, and you.
Why, he isn't clever enough
to plan a crime like that.
He hasn't got all his marbles.
Have you, Eddie?
-Of course not.
What do you mean, I
haven't got all my marbles?
-I found this gun outside,
beneath the window.
-Whose gun is this?
-What do you expect a man to do,
stick his head through a noose?
What do you want him to do, walk
up to you and say here I am.
-I didn't ask your advice.
-If you're going to start
asking questions like that,
you need all the
advice you can get.
-You shut up too.
-OK, chum.
-Mr. Foster, have you any
idea why any man would
want to commit
murder in your home?
-Well, it's possible
someone was trying
to get possession
of the drawings
to an invention owned by
the Emerson Foundation.
-Possible?
It's more than that.
He tried to kill the inventor
that night at the laboratory,
then stole the drawings.
-Is that true?
-Well, yeah.
-Nah, it's a cinch.
It was somebody
right in this room.
Why don't you jub
the whole outfit?
-You have to have
evidence before you
can arrest a person for murder.
Besides, I don't think
there ever was a murder.
-Yeah?
Well, how about Griffith?
-When he's found,
he'll be questioned.
Goodnight, Mr. Foster.
Goodnight, everybody.
-Goodnight.
PATSY: Danny?
Just a minute, Danny.
Danny O'Day.
You're not really going to let
a man get away with murder,
are you?
-You heard what I
said about evidence.
Now, if you have enough to
prepare charges yourself,
I'll take anybody here
down to headquarters
for further questioning.
-Oh, you're laying it
right in our laps, huh?
-I'm not inviting damage
suits for false arrest.
Goodnight.
-Can you imagine a guy
like that walking out
when he's got the killer
right in his mitts?
-Don't worry.
I'll dream something up.
Come on.
-How could a corpse walk off?
-All I know is the
'Express' is on the street
with a murder story
under my byline.
-And there is no corpus delicti.
-Ain't that the lecti.
-Patsy.
Patsy.
-Oh, what is it?
-The back.
[GASP]
-It's Griffith!
-Uh, what are we
gonna do with him?
-We're gonna take him to
Danny O'Day at his office.
OK, Danny.
He's out there.
-Who?
-Who?
Griffith.
-Well, trot him in.
I want to talk to him.
-Sorry.
He can't walk,
and he can't talk.
-Why can't he?
-Did you ever see
a corpse who could?
-I read about one
in the 'Express.'
[SARCASTIC CHUCKLE]
-Funny.
-Where is he?
-In the backseat of my car.
-How'd he get there?
-Somebody must have
put him there, Danny.
-Oh, please.
Don't give me that
kind of stuff.
-Well, don't tell me you have
an exclusive on another murder.
-No.
No, same one.
-Where's the corpse this time?
-In the back of our car.
-And if you don't remove
it, Mr. O'Day, we're
going to deliver it to
the editor of our paper.
-Well, let's go
take a look at it.
It's free.
-Yeah.
This time, it'd better be there.
-Have a look, lieutenant.
-Well?
You still think
you're being ribbed?
-Just as I thought.
-You mean he isn't there?
-He's gone.
-Now listen, you two--
-He was there a minute
ago when we went inside.
-Certainly was.
-Looks like they've been
ribbing you all along, Danny.
-There's a law against
hoaxing the police.
I ought to throw both
of you in the clink.
Get out before I do.
-Here we go again.
-A fine pair you
turned out to be.
Dead man walk out on
you at Foster's home.
You give him a ride
into town, and then
he gives you the go bye again.
-Well, we got you an exclusive
on the invention, didn't we?
-Yeah.
You me an exclusive on this too.
Phantom killer strikes in dark.
-OK, OK.
We know it.
We saw it on every news
stand from the police station
to here.
-Now, you two better
tell me the truth.
-What, do you think I've
been dreaming up fairy tales?
-A very fantastic
alibi, only I don't
happen to believe in pixies.
-If I hadn't have seen
Griffith with my own eyes,
I wouldn't believe it myself.
Mr. Gentry, could it be
that we're all going wacky?
-No, not all of us.
Just you two.
I feel quite sane myself,
until I remember that we're
out on the street with that
cock and bull murder story
that you phoned in.
For that, I could
boil you in oil.
-OK, Gentry.
But heat up a couple of cans
for you and the chump, O'Day.
You'll need it when you discover
there really has been a murder.
-Oh, I'm going to let you
prove that on your own time.
-Ha!
Fired again.
-Call it anything you
like, but you're off pay.
-All right, brother.
It's OK with me.
But when I come back,
it'll be at twice the pay,
and it still wouldn't
pay my income tax.
-What are we going to do now?
-I still got that
pass from Foster.
Come on.
-Hiya, general.
-Oh, you two back again.
-Yeah, only this time,
we got what it takes.
-Open, sesame.
-What did you call me?
-Never mind.
Does this do the
trick, or doesn't it?
-Yeah.
Room 115, in the rear.
-Don't wait up for us.
-Why, for two cents, I could--
-Never mind.
I'll do it myself.
-Thank you.
[CHUCKLING]
[KNOCK AT DOOR]
-Who is it?
PATSY: Patsy Clark.
Hello.
-Howdy do.
-Uh, I'm a reporter from
the 'Daily Express.' This is
Eddie Jones, my,
uh, photographer.
-Hello.
-Hi.
-Mr. Foster gave this to me.
-Yes, I know.
He phoned me.
Want to come in?
-Thank you.
Um, I hate to bother
you at this hour,
but I have a deadline
to make with my story.
-What do you mean, deadline?
We haven't even got a job.
Oh!
[NERVOUS LAUGHTER]
-His corns.
Now, uh, professor, if you
would, uh, just give us
a demonstration of this
marvelous invention of yours
and a sort of outline of
its general principles.
-Oh, but, uh, your
friend said that you
were not writing for any paper.
-Oh, well, he means we, uh,
we don't exactly have a job.
That is, we won't have one
if you don't give us a story.
-I see.
-At the present
time, the city editor
considers us expendable,
if you know what I mean.
-Well, frankly, I don't.
But if Mr. Foster wants me
to demonstrate this machine
to you, well, I
suppose I'll have to.
Tell me, do you
folks know anything
at all about electronics?
-Uh, why, uh, y-yes.
It has something to do with
electricity, hasn't it?
-Well, yes.
It, uh, has to do with
electrical units-- uh,
impulses-- uh,
shortwaves in the control
for scientific purposes.
-Oh, mm.
Uh, tell me, professor.
Exactly what is this scientific
marvel supposed to do?
-Oh, uh, that picks up
voices from a distance
and reproduces them,
uh, through a speaker.
-A radio will do that.
-Quiet, lame brain.
-Well, yes.
A radio records voices
that are broadcast.
With this machine,
there's not need.
The use of a broadcasting
device-- that the voice source.
Uh, do you see what I mean?
-No.
-Well, being newspaper
people, you probably
recall an interesting
case a few months ago, uh,
when a new listening device
was said to have picked up
an amazing conversation
on Capitol Hill.
Do you recall that?
-Uh, I remember reading
about it someplace,
but I believe there
was some question
about whether it
really happened.
-That's very true.
There was a question.
But with this machine,
there's no question
that such things could happen.
-Oh, gee.
That's wonderful.
-You mean you can
hear anybody anywhere?
-Well, if can tune
in on them, yes.
-Well, that's
positively dangerous.
What chance would a girl
have to keep her secrets?
-Same as she always had-- none.
-Uh, tell me, professor.
Uh, could be tune
in on something now?
I'd love to listen to something.
-Oh, me too.
All right.
Let's try and see
what we can get.
Here we go.
WOMAN 1: You should have heard
what Sally told me about Betty.
Oh, boy, was I surprised.
WOMAN 2: Would I like to
get something on that cat.
What was it?
WOMAN 1: I promised
not to tell a soul.
WOMAN 2: You know very
well I won't repeat it.
WOMAN 1: Well, of course not.
But maybe I shouldn't
mention it at all.
It really mustn't
go any farther.
It's absolutely [INAUDIBLE].
Nobody must know what happened.
It's positively a secret.
WOMAN 2: Yes, yes, my dear.
WOMAN 1: Well, you
know the Carltons?
WOMAN 2: Mm-hmm.
WOMAN 1: And is he good looking.
And you know his
wife works nights?
WOMAN 2: Mm-hmm.
-Aw.
What did you want
to turn it off for?
-Didn't you hear the
lady say it was a secret?
Oh, let's play fair.
-Now, let's tune into the city
room of the 'Express.' I'd like
to hear old man Gentry
blowing his top.
-Ah.
Now, that's the hurdle
we still have to jump.
We can't tune in
just anywhere yet,
but there is a wavelength for
every locality in the world.
Now, uh, I can tune in on places
that I've experimented with,
mostly the homes and offices of
the foundation's committeemen.
-Well, uh, while
we're about it, how
about showing us how the
recording machine works, eh?
-All right.
I'll try and get
you John Foster.
JOHN FOSTER: No doubt about it.
Griffith must have
known something
about this fellow's plan.
That's why he was killed.
Everything's very
mysterious on the surface.
When you analyze it,
it's plain as day.
One of our own people
stole those plans.
There are a half a
dozen outside interests
who would give $1 million
to get their hands on it.
-What'd you do that for?
Turn it on again, quick.
-I'm sorry, Miss Clark,
but that conversation
was purely confidential.
Mr. Foster would not
like any stranger who--
-Strangers?
How do you get that way?
We're all messed up in
this thing together.
I didn't tell you, but
I was hauling that body
all over town tonight in my car.
-No!
-Yes.
-Well-well-well--
what'd you do with it?
-I didn't do anything with it.
It just disappeared.
-How-how-how'd you get
it in the first place?
-I didn't have it
in the first place.
Somebody else put it
in the back of my car.
-I know who it was.
-Who?
-The guy that killed
him, of course.
-Don't mind him.
Listen, professor.
I'm in this thing up
to me neck, and I'm
getting deeper all the time.
That's why I came to you.
I-- I thought maybe
you could help me
with this-- this
contraption of yours.
-How?
-By telling me all you
know about the murder.
-But I don't know anything.
Foster told me about
Griffith's disappearance,
but he couldn't explain it.
-Who was Foster
talking to just now?
-I have no idea.
-This is no time to quibble.
Turn that machine back on.
-All right.
I guess he's through talking.
-I'm going to find
out, and you keep
that thingamajig
on while I'm gone.
You might pick up a clue.
Come on, Eddie!
-Huh.
Looks like everybody went
to bed and [INAUDIBLE].
-How about some lights?
-Beg pardon.
I thought I heard intruders.
-I guess maybe you did, chum.
[GROAN]
[GASP]
-Why, he isn't dead at all.
You'd better get him up to bed.
-Yeah.
Give me a hand.
Get his feet.
That a boy.
-Bit meaty, isn't he?
-Yeah.
-You got any bourbon?
-The best, sir.
-Well, get it.
-How is he?
-I think he's all right.
-Who beaned you, pop?
-Let me think.
I don't know.
-You can't remember anything?
-The drawings.
Uh, someone must
have stolen them.
-Who?
Who?
-I just can't seem to remember.
-Somebody's downstairs.
-Maybe it's you.
Somebody just ran out of here.
I got a glimpse of him.
-Ah, you're imagining it.
-There he goes!
-Look, look.
I'll go on ahead.
-OK.
-Eddie!
Eddie, help!
-Eddie--
-Help, I got him!
-Hey, wait a minute.
Cut it out, Patsy.
-Why, Jimmie Foster!
It's you!
-What goes here?
-He stole the drawings.
-What drawings?
-You know what drawings.
Hand them over.
-Oh, so that's what he
stole, the drawings.
I was chasing him too-- saw
him come out of the house
as I was coming up the walk.
-You mean you were
chasing somebody?
-Yes.
Uncle John phoned me to come
over and have a talk with him.
-Oh, so it's you
who was phoning.
-Oh, were you here?
-No, but we heard it on a
machine over the laboratory.
That's why we came here.
-Well, has anything
happened to Uncle John?
-Nothing, only he got
slugged by the thief.
-Then he knows who it is.
-That's the trouble.
He can't remember a thing.
-Well, in that case, come on.
We better phone O'Day.
-Come on.
-Now, let's get
this thing straight.
Where were you two
when this happened?
-We were probably ringing
the front door bell
while Foster was being slugged.
-Did you see anyone?
-Hmm, yes and no.
-You never quite see
anything, do you?
And yet you're always around
when anybody gets beaned.
That's funny.
-Hmm.
Entirely coincidental,
my dear fellow.
Entirely coincidental,
and it's not funny.
-You know, I don't know why
I was called in this time.
This isn't a homicide.
-Listen, my friend.
It's a development
of the Griffith case,
and that was a murder.
-Yeah?
Well, I think I'll go and
have a talk with Foster.
But I'll see you two later.
-Yeah, we'll see you later--
after I've solved the crime
and tossed the solution
right in your lap.
By the way, any
trace of Griffith?
-Griffith?
Oh, I thought you
were still hauling him
around in the back of your car.
[SARCASTIC CHUCKLING]
-That's pretty
grim humor, Danny.
-Yeah.
There's nothing quite as
funny as a nice, juicy murder.
-I don't like you.
-He doesn't like you.
-So he don't like me.
Hey, now, look.
I'm a little tired
tonight, Patsy.
How about calling the whole
thing off for the night.
And let's get a
little shut-eye, huh?
-You just keep your
big mouth shut.
We're gonna make a dash
for the laboratory.
I've got a hunch
Reynolds's got a clue.
-Oh-- oh, wait.
O'Day wants to talk
to us some more.
-Shh.
Come on.
-Say, do you suppose--
-Shh!
[GASP]
-I beg your pardon, ma'am.
I'm so sorry.
I came over as
quickly as I could.
Is Mr. Foster badly injured?
-Not too badly.
So how'd you know he was hurt?
-Professor Reynolds was tuned
in here when it happened.
He got in touch
with me at the home.
Uh, now, if I could see
Mr. Foster for a moment?
-Uh, right upstairs in the
bedroom with Jimmy and O'Day.
-Thank you.
-I bet that's the guy.
-Yeah, he could be.
-Uh-oh.
Visitor's day.
-More trouble, eh?
-Yeah, plenty.
-What's happened now?
-Somebody conked Foster on
the head, stole the drawings.
-You don't say.
Where is Foster?
-Upstairs in the bedroom.
-Why didn't you ask
him how he knew?
-Ah, what's the use?
He'd have an alibi.
[PHONE RINGING]
-Hello?
Yeah, this is the
John Foster residence.
Now, this is Patsy
Clark, a reporter--
that is, I was a reporter, until
I got mixed up in this deal.
Oh, sure, I remember
you, Mr. Wheeler.
I met you all here tonight.
No, no.
He was just stunned.
Sure, you can come
over if you want to.
Everyone else seems
to be doing it.
OK.
Bye.
-How'd he know?
-Reynolds.
-Come on.
Let's get out of here.
-I say.
-Tell me, sweetheart.
What do you do around
here besides snoop?
-Prepare the bath, serve
the coffee, do the silver.
-Yeah, you've probably got
your pockets full right now.
-Come on.
Let's scram.
-You can't do that, sir.
-Oh, we can't?
-Don't do that, sir, please.
-Are you kidding?
-I think he needs
a little attention.
-I think you're right.
Well, what do you
expect, a Purple Heart?
-What's the matter, Duckworth?
-They were taking [INAUDIBLE]
leave, sir, and he slipped.
-Taking what?
-You'd better reconsider.
-Reconsider what?
-Your intentions, sir.
-You may go, Duckworth.
-Thank you, sir.
Thank you.
-What do you got there,
your own private Gestapo?
-Yeah, I [INAUDIBLE]
posting a guard around us.
-You want to get your story
in, there's a telephone.
-As usual, Mr. Foster,
you're a little behind
in your current events.
Eddie and I are no longer
members of the press.
You mean you quit the 'Express'?
-Well, that's sort
of visa and a versa.
The 'Express' don't
like us either.
I never did think
you were clever,
but I still didn't think you
were an intellectual washout.
-What do you mean?
-You're gonna stand around
with your finger in your mouth
while heads are being bashed
in and bodies being snatched?
You have to have your own
throat cut before you'll
admit there's a
killer on the loose?
-I'll admit, things are
getting screwier by the minute,
but I don't see just
what I can do about it.
-You can do plenty about it.
Team up with me, and we'll
get our hooks in the killer
before he's a day older.
-That is, providing
the killer don't
get his hooks in us first.
-Yes.
That's just what I was thinking.
-Just leave your thinking to me.
I got a couple of good ideas.
-What do you propose doing?
Listen, Reynolds was
listening in from the lab.
JIMMIE: Well, then he should
know who the criminal is.
-Your IQ is going
up by the minute.
-Why don't we call Reynolds?
-No.
With all this going
on, somebody might
be listening in on the phone.
-But it's illegal to tap wires.
-Yeah, and it's
illegal to kill people.
We'll be back in less
than an hour, Jimmie.
Come on, character.
-OK, Duckworth.
Let them go.
-Thank you.
-Say, you know, that
may be a concussion.
His memory is pretty faulty.
I think you'd better give
the doctor another ring.
-I'll call him right now.
The line is dead.
-You think that wire is cut?
-I don't know.
-I'll check it.
-Well, I'll get
the doctor myself.
-Say, I've got to get
back to headquarters.
-Well, thanks a million
for coming over, Danny.
-Oh, anytime I can help
you, Jimmie, you know.
-Thanks a lot.
-Bye-bye.
-There's no use arguing.
You ain't got a pass.
-I told you.
We left it with Professor
Reynolds a couple of hours ago.
-That was the same ones,
not to move in permanently.
Now scram, will you?
-I got a name for you.
-That's Reynolds's
window, all right.
[WHISTLE]
-Professor Reynolds?
Yoo-hoo?
Professor Reynolds?
Yoo-hoo!
-Shh!
You wanna wake up the
whole neighborhood?
Hey, look.
I'll see if anybody's home.
Give me a boost.
-[INAUDIBLE]
-Give me a boost.
Nobody here.
You go around to the
[INAUDIBLE] door.
I'll let you in from the inside.
-OK.
-Hey, the machine.
It's busted.
-Eddie!
Look!
-He's been slugged,
and not long ago.
-Whoever killed him must
have smashed the machine.
-We better call the police.
-Maybe you want to be charged
with murder, but I don't.
-Oh, come on.
-Just a minute.
We're taking the
machine with us.
-Listen, have you
gone completely wacky?
-Maybe I am, Eddie.
Maybe I am.
-I don't know what you're
gonna do with that silly thing.
-Just a hunch.
Just have a hunch.
Come on, let's go.
[GASP]
-Wait a minute until
I swallow my gizzard.
-Are you looking for someone?
-You're dog-gone right I am.
And someone may
be looking for me.
Is the copper, O'Day,
still in there?
-He left right after you did.
-That's great.
-Pardon me.
[WHISTLE]
-Well, may I congratulate you?
-Thanks, old boy.
Come on, baby.
Take it in there.
Here, put it here, Eddie.
Wait a minute.
Where's Jimmie Foster?
-He's upstairs, miss.
-Do something!
Hide this.
Hide it.
-I got an idea.
Look.
They'll never see it now.
-Here, help me.
-Come on, come on, come on.
-What are you trying
to hide, Patsy?
-Oh, why, nothing, nothing.
-What makes you think we're
trying to hide anything?
-Oh, it's Professor
Reynolds's invention.
-All right.
Get moving, Ducky.
OK, take a good look
at what's left of it.
-Patsy, how did
you get that thing?
And what's happened to it?
-It's smashed.
We were all wrong
about Griffith.
He's not dead.
[DOOR BUZZER]
-Thank you.
Patsy, you were
right about Griffith.
-That's what I was telling them.
He's alive.
-You're wrong.
He's dead.
-What makes you think he's dead?
-The coroner said so.
-Where'd you find him?
-He's been riding
around with me.
Somebody chucked him
in the back of my car.
-Well, where is he now, Danny?
-I just took him to the morgue.
[PHONE RINGING]
-Hello?
Yes, Mike, this
is Jimmie Foster.
Reynolds?
-Uh-oh.
I guess this cooks our goose.
-Well, lieutenant O'Day is here.
You'd better tell him.
Oh, Danny?
-Yeah?
O'Day speaking.
What?
Professor Reynolds, dead?
-Reynolds?
Why, I just talked
to him on the phone.
[INTERPOSING VOICES]
-Professor Reynolds
has been murdered
and the invention stolen.
-Why, the machine is here.
-Well, how'd it get here?
-We brought it here from
the Emerson Laboratory.
-Was Reynolds there at the time?
-Yeah.
Of course.
-You mean to tell me that
Reynolds let you have it?
-He couldn't help himself.
He was dead.
-Oh, so he was dead
when you got there.
Well, why didn't
you call the police?
-We told you about
the Griffith case.
You wouldn't believe it.
We didn't want you
messing this one up too.
-Why did you bring
the machine here?
-At the time, I
was stupid enough
to take your word
Griffith was still alive.
I was gonna have this
thingamajig repaired
and snag hi with it.
Jimmie was gonna help me.
-Were you?
-Well, yes.
You said yourself
she was smart enough
to be on the homicide squad.
-Danny, I've seen you
crack a lot of tough cases,
but this is the first time
I've seen you stub your toes.
-You're close
enough to the killer
right now to spit on him.
You know that, don't you?
-You know, I'd give anything
if you could prove that.
-Maybe we still can.
That is, if, uh, Jimmie
will still help us.
-Why, of course I
will-- anything.
-Uh, may we use your phonograph?
-My phonograph?
-Mm-hmm.
-Why, sure.
It's right over there.
-Thank you, Jimmie.
Eddie, get rid of
these things, please.
-OK.
-Let's stop all this
foolishness, Mr. O'Day.
I'm going to call the
police commissioner.
-You'll call nobody.
Go ahead, Patsy.
Danny, see that nobody
runs out on this recital.
JOYCE: Blake, if I had
that invention of Reynolds'
I could get $2 million
for it any day.
BLAKE: $2 millions is a
lot of money for anybody.
JOYCE: But Foster insists
the thing is not for sell.
BLAKE: I'll talk to you
later about this, Joyce.
-Why, this is ridiculous.
I won't say here and
listen to anymore of it.
-I'm getting out
of here right now.
-Listen, I tell you
nobody's leaving.
Eh, what is this,
a double-cross?
-It looks that way.
-Looks like we're sunk.
-I guess we don't hit
pay dirt this trip.
REYNOLDS: You know you're
not allowed in here.
JIMMIE: That's the reason
I came through the window.
[GASP]
-It's Jimmie!
-Jimmie.
JIMMIE: I made
Foster a proposition.
REYNOLDS: I heard it
over the machine tonight.
JIMMIE: So you
were listening in?
REYNOLDS: Yes, and I also
know that you're the man who
tried to kill Foster and
stole the blueprints.
You tried to kill Griffith too.
Don't!
Don't, Jimmie!
Don't!
-Jimmie, I'm afraid I'll
have to put you under arrest.
Halt!
Halt, or I'll shoot!
[GUN SHOT]
[CHATTER]
-Oh, brother.
He must've burned
up the road getting
to the laboratory ahead of us.
-Well, I guess you
know now who switched
Griffith's body into your car.
-I do.
-Oh, am I stupid.
This newspaper here
should have told me
it was Jimmie who knocked
his uncle over the head.
-Has that got the story?
-Yeah, but not in print.
It was a late edition
that only Jimmie
could've brought
from the office.
-That job down at homicide
is still open, Patsy.
-Thank you, Danny,
darling, but my job
is headlines and bylines.
-Nabs killer after
night of terror.
-Oh, brother.
I got it.
I got it.
What do you got?
-Say, why didn't you two get
a picture of Jimmie Foster?
-Oh, get a load of that.
-Why, that's Jimmie.
You mean to tell me you had this
in the camera the whole time?
-Certainly.
I took it when he was holding
us up for the drawings.
-Hey, here's a new one.
Get over to Danny
O'Day's, quick.
-Well, here we go again.
[MUSIC PLAYING]
---
[MUSIC PLAYING]
-Hi, fellas.
-Did you see him?
-Sure, we saw him.
-I knew you could do it.
Well, give it to me.
-Give it to you?
-The story.
The pictures.
-We didn't get any.
-You didn't?
-You heard it.
-Now, before we get all mixed
up, let's start from the first.
Tell me what happened.
-He slammed the door
right in my kisser.
-And where was your foot?
-Right where you told
me to put it, chum.
And it's gonna cost you
15 hunks of lettuce.
-Yeah.
Put down $4.98 on
the swindle sheet.
-He's been reading the ads.
-This is the second time that a
leased wire service has queried
us on that invention,
and they're
demanding a story and pictures.
-And after we do run it
down, what do you got?
Probably some kind
of a Rube Goldberg
that turns butter into cows,
cows into grass, and grass
into hula skirts.
-They've got a tip it's some
kind of a new listening device,
like the one that was
used on Capitol Hill--
a contraption where you can
hear people talking miles away
and without planting
a microphone.
-With a thing like
that, everybody
would be living in
a goldfish bowl.
Why, a girl couldn't
even sing in the bathtub.
-Combine that with television,
you got something, sister.
-Give your mind a little
more attitude, bud.
-It doesn't make any difference
to us what the invention is.
All we've got to do
is get the story.
Foster's head of the
Emerson Foundation.
Now, I want you two to
get out there [INAUDIBLE]
and make them talk.
-Look, Foster
isn't the inventor.
Professor Reynolds is.
-Let's try him at
the laboratory.
-Why didn't you think
of that a week ago?
-Why didn't you?
-Yeah.
Do we have to do
all the thinking
around this [INAUDIBLE]?
-If you did, the
place would fold up.
Now get out there and see what
you can get out of Reynolds.
-But he's only there at night.
-Whenever it is, be there.
-OK, boss.
-Bye, sweetheart.
-Hello, officer.
-What's the idea?
What are you doing?
-Just getting your picture
in the [INAUDIBLE].
-Come on. [INAUDIBLE]
quite well.
-And what do you
two want, anyway?
Oh, we just thought
we'd drop in and have
a little chat with
Professor Reynolds.
-She's an old friend
of the family.
The professor used to
bounce her on his knee.
-Yeah, and him on his head.
-If you haven't got a pass
signed by John Foster,
the both of you can bounce
yourselves right outta here.
-Sonny boy, do you
realize that you're
talking to two
representatives of the press?
See?
And if you're a good
little boy and let us in
to see Professor Reynolds,
we'll get your name in paper.
-And I'll put your
picture in the paper.
-Well, I told you.
Beat it.
-Hmm.
A nasty cagey.
Mm.
-Mm.
[PHONE RINGING]
-Hello?
Oh, hello, Mike.
Oh, no, Mike, no.
You know I never talk with
reporters about my work.
-Yeah.
I know, professor.
Most likely, they'll be
standing on the outside,
waiting to buttonhole you.
-They'll probably be two of
them pestering John Foster.
[LAUGH]
-Thanks for tipping
me off, Mike.
Oh, Mike?
Mike, the lights have
just gone out in here.
May be a fuse.
Will you check them, please?
A lot of work to do, Mike.
[GROANING]
-Hello?
What's wrong, professor?
-Mike, help!
-I'll call the police.
[GUN SHOTS]
-If you hadn't pulled a boner,
I might have talked my way
right past that night watchman.
-Oh, I was only kidding.
-Kidding, kidding.
One of these days, you're
gonna kid us right into jail.
Can't you keep your
big mouth shut?
[SIGH]
DISPATCHER: Shooting
in Emerson Laboratory.
Shooting at 1st and Maple
Street, Emerson Laboratory.
Shooting at 1st and Maple
Street, Emerson Laboratory.
-What's he trying
to do, run over us?
[TIRES SCREECHING]
-What's going on here?
-Say, something
must be happening.
-Hey, let's follow them, huh?
[CHATTER]
-Give me a break, will ya?
Hey.
Hey, what's--
-Hiya, Barney.
-Hello, Eddie.
Hello, Patsy.
-Hiya, Barney.
What's going on around here?
-Oh, somebody got punked.
Guy named Reynolds.
-What?
The professor?
How'd it happen?
-Who did it?
-All I know is, he
got hit by some guy.
They're searching the
building for him now.
-Thanks a million, Barney.
Come on, Eddie.
Let's go.
-OK.
-Hey, wait here a minute.
What's that?
-Someone that bumped
into you dropped this.
-Well, are you [INAUDIBLE]?
Hey, mister, you
dropped something.
-Just a minute.
Put this in your coat.
-Oh, Eddie.
Did you see a man go by here?
-Sure.
One went down those stairs.
-You to stay here.
-Well, want me to
try to help you?
[GASP]
-Look!
-Halt!
[GUN SHOT]
-Take those drawings up to
the car, and don't lose them.
-What's so valuable
about these silly things?
-They must be valuable,
or he wouldn't
have [INAUDIBLE]
like to steal them.
Come on.
Let's get going.
-Just a bruise, professor.
You're lucky.
-Oh, I feel all right now.
Got a pretty tough head.
[CHUCKLING]
-May I see Professor
Reynolds, please?
-You got a pass?
-Oh, no.
Do I need one?
-Nobody gets through
that door without a pass
from John Foster.
-Well, I just want
to see Professor
Reynolds for a second.
-Oh, wait a minute.
Get going, will ya, sister?
-Hello, Patsy.
-Hiya, Casey.
This bugger won't let
me by without a pass.
Tell him who I am.
-Who you are?
Makes no difference to me if
you were the Queen of Sheba.
Yeah, and she'd need a pass too.
-Hmm.
-Wait a minute, Patsy.
I'll ask the professor
if he'll see you.
-Thanks a million, Casey.
-Won't do you no good.
-Yeah?
Well, just watch, bub.
-Well, if it isn't
Miss Scoop herself.
Hiya, Patsy.
What's the matter?
Can't you get in?
-Listen, creep.
Just because you're old
Foster's nephew, you got a pull.
-A pull?
Why, I can't get
in there myself.
-You don't have to dig up
stuff for that rag you work on.
Stick around.
I'll come out here.
I'll blab it to you.
-Listen, Patsy.
You got me all wrong.
Why can't we bury the hatchet?
-Yeah, right in my
skull, down to my ankles.
[CHUCKLING]
-What's up, Mike?
-Reynolds got slugged.
-He did?
-Yeah.
-Was he hurt bad?
-Nah.
Just a goose egg.
He'll be all right.
-Sorry, Patsy.
The professor says
no interviews.
-Well, thanks, Casey.
-Did he get away?
-He did, after
shooting at Mike here.
-Well, either of you fellows
have any idea who it was?
-No.
It was too dark to
get a good look.
-He stole some
important drawings.
-Step right in, Mr. Biggs.
I'll tell you all about it.
I may even write it for you.
-Now, Patsy, all
I'll know is what
you just heard them tell me.
-You ain't heard nothing yet.
Wait 'til you read my story.
-That dame.
-Still got those things?
EDDIE: Right.
-Say, Eddie.
I got a hunch those drawings
are worth their weight in gold.
-In what?
-Well, on printers' ink, anyway.
-Yeah.
But suppose the cops
find out we got them.
-Not 'we.' Me.
And you keep your big trap shut.
I'll return them to the
owners, when and if.
First, I want to have a
scientist friend of mine
take a peek at them.
-Well, you mean that
radio and electronics
engineer, Joe Seawell?
-Yeah.
That's the guy.
-I've always said
you were smart.
-Wish I could say
the same for you.
[LAUGHTER]
[TIRES SQUEALING]
-Why, you big stiff!
-I ought to knock his block off.
MAN: Let's have those drawings.
Look straight ahead.
Look straight ahead.
-Eddie [INAUDIBLE], I take that
back about you not being smart.
-That chump never
had a chance with me.
If you only waited, I'd
have beat him to a pulp.
[LAUGH]
-I know.
Tell me, uh.
That, uh, flash bulb didn't
happen to go off accidentally,
did it?
-Are you kidding?
-Oh.
[LAUGHTER]
-Say, Joe.
What sort of a
contraption is this?
-Well, it's a little
too complicated
to explain to a layman.
You'd have to know
something about electronics.
-Electronics, huh?
You know what it's all about?
-Not all-- a little.
It's a machine that
will pick up sound--
I mean, voices at a distance.
Same principle as used in boats.
-Now, if it works, it's really
worth getting excited about,
huh?
-Is it!
I'd say it will revolutionize
the science of communications,
do away with wires, cables,
broadcasting stations.
-You mean you can tune
in on anybody any place?
-Well, that is the theory.
-Wow!
Eddie, fold that up.
Thanks a million, Joe.
Eddie, you and I are going
over to John Foster's.
For once in our life, we've
got an ace in the hole.
-As you know, the
last thing we wanted
was to attract public
attention to this invention.
After what happened
tonight, the newspapers
will be full of them.
-As members of the foundation's
advisory committee, all of us
are sworn to secrecy.
If we don't tell
the press anything,
they can't publish very much.
-You're right.
What we've got to do is
get those drawings back,
but we haven't a clue.
-It must be someone who's
trying to beat us to the patent.
I tell you, there's
millions in it.
-Guard these with your life.
And when I whistle, you come in.
-OK.
-Why haven't we
applied for the patent?
-Reynolds asked me to
hold off 'til he could
get a few things
straightened up.
-It's a cinch.
The thief is trying to
beat us to the patent.
-It was only today, Duckworth
[INAUDIBLE] a news [INAUDIBLE]
down my front steps and shut
the door on another one.
A most persistent young woman.
-Yeah, and I'm still persisting.
-Who let you in?
-The door was unlocked,
so I just walked in.
-Well, you better
leave right now.
-Sweetheart, you're gonna beg me
to accept the keys to the city.
-Get out, before
I call the police.
-Watch your blood
pressure, sonny boy,
or you'll keel over
from the excitement
before I give you the good news.
-What is all this foolishness?
-Well, boys, what am I
offered for one complete set
of the drawings
of your invention?
You care to start the
bidding, Mr. Foster?
-You mean you have them?
-Mmm.
I wouldn't exactly say that.
I simply asked a
simple question.
Would you care make an offer?
-You mean you're trying
to bargain with me?
Why, that's--
-Blackmail?
Uh-uh.
I don't engage in that.
-What is this all about?
You either have
them, or you haven't.
-Well, it's just that
I'm fairly sure I
can lay my hands on them.
I was pushed around
funny by you guys
when you were in
the driver's seat.
Now I'm doing the driving.
-Let's see the drawing.
-My line is newspaper work.
I deal in exclusive stories.
All I want is a beat
on this invention.
-We couldn't possibly reveal
details, not at this time.
-All I want is
just a general idea
of the thing and a picture, and
a nice group shot of you pretty
gentlemen-- you know,
the sponsors of this,
uh, scientific miracle.
-That's not asking too much.
-Ha ha.
I thought you'd see it my way.
-When you can
produce the drawings,
we'll give you the story.
-That's got it.
I'll take a chance on it.
-Trying to whistle?
-Yeah.
-Do it this way.
-[INAUDIBLE]
-I don't think you
can whistle, either.
[WHISTLE]
-Thank you, Duckworth.
-Well, I'm surprised
myself, sir.
-Duckworth can whistle.
-Ah, ah, ah, ah.
Patsy, that was a beaut.
Looks like a wake.
-Let's have them.
OK, here you are.
-How do we know you
didn't take them?
-Listen, [INAUDIBLE],
you trying to renege?
I picked them up when
the thief dropped them.
-Yeah.
We almost got killed
afters when he held us up.
-Who was he?
What did he look like?
-We couldn't see.
It was too dark.
It could've been anybody.
As a matter of fact, Mr. Foster,
knowing how valuable they are,
it could have been you.
-That's ridiculous.
-Coming right down to cases,
any of us might have a motive.
The only thing we can do is to
keep our end of the bargain.
-That's right.
That sounds reasonable.
-I got 10 minutes to
make the deadline.
-Hello, Jimmie.
-Good evening, Mr. Blake.
Hello, everybody.
BOARD MEMBERS: Hi, Jimmie.
-Hi, junior.
-Well, if it isn't
the bad penny.
-Tuppins, to you.
-OK, two bad pennies.
What are you two doing here?
-As usual, getting a
bead on your outfit.
-What's the idea, Uncle John?
-Miss Clark returned
the stolen drawings.
-And made a deal for an
exclusive on the invention.
So if you don't mind, you can
run along now, little boy.
-How about that, uncle?
-I'm afraid she's right, Jimmie.
-I heard the
drawings were stolen.
Just how did you
get hold of them?
-Perfect timing-- just being
there in the right place
and at the right time.
Scram.
-OK.
You know, some day, this
phenomenal luck of yours
is going to run out.
Goodnight, gentlemen.
-Goodnight, Jimmie.
-As you were about
to say, Mr. Foster?
-And now, young woman, I'll
tell you as much as I can.
-Here you are, boss.
-Hey, Red.
-Yeah?
-Has Patsy call in yet?
-Nope.
-Well, we can't wait any longer.
Grab an early edition of
the 'Daily News' and knock
out something.
Heck of a note
when have to steal
news from a rag like that.
When she does call in,
tell her the cashier's
got a surprise for
her-- her closing check.
-She'll give you the
horse laugh, chief.
-Yeah, well, this
time, it stinks.
[PHONE RINGING]
-Rewrite desk.
Uh, hold on, Patsy.
Hey, boss.
It's her.
-Well, you heard what I said.
Tell her.
Gentry says you're fired.
She says she has a better
offer from the 'Daily News.'
-Ah, you know I
was only kidding.
-This is hot stuff, chief.
Stop everything.
-Composing room.
Hold everything for
page one makeover.
-All right, Eddie.
Let's go.
-All right, now, gentlemen.
If you'll just, uh,
gather right around here.
Mr. Foster, you sit down
[INTERPOSING VOICES]
- --in this chair.
OK.
Let's get right in there.
-Uh, do you mind moving
in a little bit, please?
Oh, thank you.
And Mr. Foster, open that
so we can see the plans.
Thank you.
That looks much better.
All right, Eddie.
-That's a good shot.
All right, hold it.
Everybody straighten up.
[GUN SHOT]
[SCREAMING]
[FURNITURE MOVING]
-Anybody hurt?
-I'm all right.
-What happened?
-Who fired that shot?
-What's going on around here?
-That's what I want to know.
What is going on around here?
-The plans-- where are they?
-Well, they're gone.
Where's that photographer?
-Are you trying to
insinuate he took them?
Why, we just brought
them back to you.
-Yes, and you've got your story.
Now what is it you want?
-Well, this is down
right extortion.
-One more crack
like that and I'll
let you have it right
between the eyes.
-I wouldn't do
that if I were you.
-Why you--
EDDIE: Patsy!
JOHN FOSTER: Hello?
-Patsy!
-What is that?
Hey, help me with this.
Are you still horsing around?
What happened to you?
-I was doing all
right until somebody
hit me with that Davenport.
-What did you do
with those drawings?
-Are you gonna start that again?
-Oh, they must be
around here someplace.
I had them just a second ago.
-You had them?
-Sure I had them.
I--
[LAUGHING]
-For a minute, I
thought I'd lost them.
-How'd you get them?
-Well, when the lights went
out, I made a dive for them.
-Some guy just got
his mitts on them
when I snatched them
right out of his hand.
[SNAPS FINGERS]
-Like that.
-Ha ha, smart boy.
-Whose hand?
-Probably the guy that
was trying to steal them.
-Probably one of your guys.
-Mr. Foster?
Mr. Foster!
-What is it, Duckworth?
-Mr. Foster, there's a
gentleman on the veranda.
-What does he want?
-I don't know, sir.
-Well, ask him.
-He can't answer, sir.
I'm afraid he's met
with some misfortune.
You know-- out cold.
-Out cold?
-Yes, sir, cold.
Out there.
-What, another one?
-Right here, sir.
-Why, it's Eddie Griffith.
-Here, let me.
I took a course in first aid.
This man is deader than
yesterday's headlines.
-Just so we don't
destroy any evidence,
we better get back inside,
and I'll telephone the police.
-Duckworth?
-Yes, sir?
-Get this place straightened up.
-Yes, sir.
-Now, wait a minute.
Just a minute, you guys.
This to beginning to look
like some kind of a gag.
Are you guys trying to
exterminate one another?
-Playful kind of a gag, I'd say.
Last man left gets the drawings.
Who's got them now?
-I have, and I'm gonna lock
them up in my private safe.
-Better lock yourself
up with it, pal,
or one of your little playmates
might decide to plug you.
-You seem to be pretty certain
that one of the committee
is the criminal.
-Why not?
Now that I think of it, the gun
went off right in my kisser.
If I hadn't ducked, it would
have blown my head off.
Eddie, he wasn't
shooting at Griffith.
I was the bird he wanted.
JOHN FOSTER: What
makes you think that?
-Huh, well, that's easy.
He knew we had a
couple of quick ganders
at him-- once in the
laboratory and once
in the car when he held us up.
He knew we'd recognize him.
-And, uh, did you?
-No.
No, but it was one
of your outfit,
and he's right
here in this room.
-One sure thing, a shot
was fired in this room.
Nobody leaves until
the police get here.
-The man to call is
Lieutenant O'Day.
-Why O'Day?
-Danny's a smart hombre.
He's head of the homicide squad.
He's the guy to
knock your case over.
I'll phone him, but first, I'd
better call in the murder yarn.
[PHONE RINGING]
City desk, Gentry speaking.
Jumping jeepers.
No-- no, don't wait
to come in here.
Dictate it to Red.
Sure, it'll be
under your byline.
Red, grab this on your phone.
Hold page one for new
lead-- 'phantom killer
strikes in dark.'
-We got a make on
this guy, O'Connor?
-Uh, I'm waiting for a report.
[PHONE RINGING]
-Homicide squad, O'Day speaking.
Oh, hi, Patsy.
Ah.
Uh, I'll be right over.
Come on, Parker.
-Hiya, Danny.
What's up?
-There's been a killing
out at your uncle's house.
You better come along.
This man Griffith
who was killed.
Did you know him?
-Why, yes.
He was a member of the
foundation committee.
-Ah.
-Did Uncle John phone you?
-No.
Patsy.
The way she digs
up stuff, she must
have been a strain
of bloodhound in her.
-She ought to be a cop
instead of a reporter.
-Anytime she wants to be a
cop, I've got a job for her.
[DOOR BUZZER]
-Foster?
-Yes.
I'm O'Day.
Homicide squad.
-Oh, come right in.
-Hello, Uncle John.
-Hello, Jimmie.
-Well, what's going on?
-Somebody turned out the
lights and before we could get
them on again, he shot Griffith.
-You know who did it?
-It was all very
sudden and mysterious.
-Ah.
Oh, hello, Patsy.
-Hiya, Danny.
-Hi, Eddie.
-Hiya.
-Were you here when it happened?
-Was I here!
I skidded halfway across
the room on my face.
-Wow.
It looks like a
benefit performance
from the 'Daily Express.'
-Yeah.
Looks like I was the
piece de resistance.
-Huh?
-Corpse to you.
-Oh.
-My story's in already.
There's the phone.
-Thanks.
I'm familiar with the place.
-Well, come on.
Where's the body?
-I'll show you.
Come on, this way.
[INAUDIBLE], Danny.
Why, look!
-Look at what?
-The corpse-- it's gone.
It's gone.
-Patsy, dead men don't walk off.
-You both saw him, didn't you?
JOHN FOSTER: Yes, I saw him.
-Certainly.
He was right there.
-Parker, take a look
around the grounds.
-PARKER: Yes.
-Now, what made you
think Griffith was dead?
-I oughta know
when a man's dead.
Besides, he was-- well,
he was cold to the touch.
-Look, sister.
Just because a man
feels cold to the touch
isn't proof that he's dead.
-Listen, Danny.
When I touch a man and he stays
cold, then I know he's dead.
-Besides, if he was dead, how
could he disappear like this?
-Finding out things like
that is your business.
All she has to do
is write about it.
-Write about it.
-There's no corpse
out there, and I
don't think there ever was one.
-So it was a hoax, huh?
-It certainly was not.
-Yeah.
The next thing
you're going to say
was there wasn't any shooting.
-There very definitely was.
-I was here when
the shot was fired.
We were all here.
-Why, certainly.
-Of course we were.
-Oh, any one of yous guys
could have done the killing.
-And when the light came on
again, you had the drawings.
-He wouldn't have any
reason to commit murder,
but you would-- and
you, and you, and you.
Why, he isn't clever enough
to plan a crime like that.
He hasn't got all his marbles.
Have you, Eddie?
-Of course not.
What do you mean, I
haven't got all my marbles?
-I found this gun outside,
beneath the window.
-Whose gun is this?
-What do you expect a man to do,
stick his head through a noose?
What do you want him to do, walk
up to you and say here I am.
-I didn't ask your advice.
-If you're going to start
asking questions like that,
you need all the
advice you can get.
-You shut up too.
-OK, chum.
-Mr. Foster, have you any
idea why any man would
want to commit
murder in your home?
-Well, it's possible
someone was trying
to get possession
of the drawings
to an invention owned by
the Emerson Foundation.
-Possible?
It's more than that.
He tried to kill the inventor
that night at the laboratory,
then stole the drawings.
-Is that true?
-Well, yeah.
-Nah, it's a cinch.
It was somebody
right in this room.
Why don't you jub
the whole outfit?
-You have to have
evidence before you
can arrest a person for murder.
Besides, I don't think
there ever was a murder.
-Yeah?
Well, how about Griffith?
-When he's found,
he'll be questioned.
Goodnight, Mr. Foster.
Goodnight, everybody.
-Goodnight.
PATSY: Danny?
Just a minute, Danny.
Danny O'Day.
You're not really going to let
a man get away with murder,
are you?
-You heard what I
said about evidence.
Now, if you have enough to
prepare charges yourself,
I'll take anybody here
down to headquarters
for further questioning.
-Oh, you're laying it
right in our laps, huh?
-I'm not inviting damage
suits for false arrest.
Goodnight.
-Can you imagine a guy
like that walking out
when he's got the killer
right in his mitts?
-Don't worry.
I'll dream something up.
Come on.
-How could a corpse walk off?
-All I know is the
'Express' is on the street
with a murder story
under my byline.
-And there is no corpus delicti.
-Ain't that the lecti.
-Patsy.
Patsy.
-Oh, what is it?
-The back.
[GASP]
-It's Griffith!
-Uh, what are we
gonna do with him?
-We're gonna take him to
Danny O'Day at his office.
OK, Danny.
He's out there.
-Who?
-Who?
Griffith.
-Well, trot him in.
I want to talk to him.
-Sorry.
He can't walk,
and he can't talk.
-Why can't he?
-Did you ever see
a corpse who could?
-I read about one
in the 'Express.'
[SARCASTIC CHUCKLE]
-Funny.
-Where is he?
-In the backseat of my car.
-How'd he get there?
-Somebody must have
put him there, Danny.
-Oh, please.
Don't give me that
kind of stuff.
-Well, don't tell me you have
an exclusive on another murder.
-No.
No, same one.
-Where's the corpse this time?
-In the back of our car.
-And if you don't remove
it, Mr. O'Day, we're
going to deliver it to
the editor of our paper.
-Well, let's go
take a look at it.
It's free.
-Yeah.
This time, it'd better be there.
-Have a look, lieutenant.
-Well?
You still think
you're being ribbed?
-Just as I thought.
-You mean he isn't there?
-He's gone.
-Now listen, you two--
-He was there a minute
ago when we went inside.
-Certainly was.
-Looks like they've been
ribbing you all along, Danny.
-There's a law against
hoaxing the police.
I ought to throw both
of you in the clink.
Get out before I do.
-Here we go again.
-A fine pair you
turned out to be.
Dead man walk out on
you at Foster's home.
You give him a ride
into town, and then
he gives you the go bye again.
-Well, we got you an exclusive
on the invention, didn't we?
-Yeah.
You me an exclusive on this too.
Phantom killer strikes in dark.
-OK, OK.
We know it.
We saw it on every news
stand from the police station
to here.
-Now, you two better
tell me the truth.
-What, do you think I've
been dreaming up fairy tales?
-A very fantastic
alibi, only I don't
happen to believe in pixies.
-If I hadn't have seen
Griffith with my own eyes,
I wouldn't believe it myself.
Mr. Gentry, could it be
that we're all going wacky?
-No, not all of us.
Just you two.
I feel quite sane myself,
until I remember that we're
out on the street with that
cock and bull murder story
that you phoned in.
For that, I could
boil you in oil.
-OK, Gentry.
But heat up a couple of cans
for you and the chump, O'Day.
You'll need it when you discover
there really has been a murder.
-Oh, I'm going to let you
prove that on your own time.
-Ha!
Fired again.
-Call it anything you
like, but you're off pay.
-All right, brother.
It's OK with me.
But when I come back,
it'll be at twice the pay,
and it still wouldn't
pay my income tax.
-What are we going to do now?
-I still got that
pass from Foster.
Come on.
-Hiya, general.
-Oh, you two back again.
-Yeah, only this time,
we got what it takes.
-Open, sesame.
-What did you call me?
-Never mind.
Does this do the
trick, or doesn't it?
-Yeah.
Room 115, in the rear.
-Don't wait up for us.
-Why, for two cents, I could--
-Never mind.
I'll do it myself.
-Thank you.
[CHUCKLING]
[KNOCK AT DOOR]
-Who is it?
PATSY: Patsy Clark.
Hello.
-Howdy do.
-Uh, I'm a reporter from
the 'Daily Express.' This is
Eddie Jones, my,
uh, photographer.
-Hello.
-Hi.
-Mr. Foster gave this to me.
-Yes, I know.
He phoned me.
Want to come in?
-Thank you.
Um, I hate to bother
you at this hour,
but I have a deadline
to make with my story.
-What do you mean, deadline?
We haven't even got a job.
Oh!
[NERVOUS LAUGHTER]
-His corns.
Now, uh, professor, if you
would, uh, just give us
a demonstration of this
marvelous invention of yours
and a sort of outline of
its general principles.
-Oh, but, uh, your
friend said that you
were not writing for any paper.
-Oh, well, he means we, uh,
we don't exactly have a job.
That is, we won't have one
if you don't give us a story.
-I see.
-At the present
time, the city editor
considers us expendable,
if you know what I mean.
-Well, frankly, I don't.
But if Mr. Foster wants me
to demonstrate this machine
to you, well, I
suppose I'll have to.
Tell me, do you
folks know anything
at all about electronics?
-Uh, why, uh, y-yes.
It has something to do with
electricity, hasn't it?
-Well, yes.
It, uh, has to do with
electrical units-- uh,
impulses-- uh,
shortwaves in the control
for scientific purposes.
-Oh, mm.
Uh, tell me, professor.
Exactly what is this scientific
marvel supposed to do?
-Oh, uh, that picks up
voices from a distance
and reproduces them,
uh, through a speaker.
-A radio will do that.
-Quiet, lame brain.
-Well, yes.
A radio records voices
that are broadcast.
With this machine,
there's not need.
The use of a broadcasting
device-- that the voice source.
Uh, do you see what I mean?
-No.
-Well, being newspaper
people, you probably
recall an interesting
case a few months ago, uh,
when a new listening device
was said to have picked up
an amazing conversation
on Capitol Hill.
Do you recall that?
-Uh, I remember reading
about it someplace,
but I believe there
was some question
about whether it
really happened.
-That's very true.
There was a question.
But with this machine,
there's no question
that such things could happen.
-Oh, gee.
That's wonderful.
-You mean you can
hear anybody anywhere?
-Well, if can tune
in on them, yes.
-Well, that's
positively dangerous.
What chance would a girl
have to keep her secrets?
-Same as she always had-- none.
-Uh, tell me, professor.
Uh, could be tune
in on something now?
I'd love to listen to something.
-Oh, me too.
All right.
Let's try and see
what we can get.
Here we go.
WOMAN 1: You should have heard
what Sally told me about Betty.
Oh, boy, was I surprised.
WOMAN 2: Would I like to
get something on that cat.
What was it?
WOMAN 1: I promised
not to tell a soul.
WOMAN 2: You know very
well I won't repeat it.
WOMAN 1: Well, of course not.
But maybe I shouldn't
mention it at all.
It really mustn't
go any farther.
It's absolutely [INAUDIBLE].
Nobody must know what happened.
It's positively a secret.
WOMAN 2: Yes, yes, my dear.
WOMAN 1: Well, you
know the Carltons?
WOMAN 2: Mm-hmm.
WOMAN 1: And is he good looking.
And you know his
wife works nights?
WOMAN 2: Mm-hmm.
-Aw.
What did you want
to turn it off for?
-Didn't you hear the
lady say it was a secret?
Oh, let's play fair.
-Now, let's tune into the city
room of the 'Express.' I'd like
to hear old man Gentry
blowing his top.
-Ah.
Now, that's the hurdle
we still have to jump.
We can't tune in
just anywhere yet,
but there is a wavelength for
every locality in the world.
Now, uh, I can tune in on places
that I've experimented with,
mostly the homes and offices of
the foundation's committeemen.
-Well, uh, while
we're about it, how
about showing us how the
recording machine works, eh?
-All right.
I'll try and get
you John Foster.
JOHN FOSTER: No doubt about it.
Griffith must have
known something
about this fellow's plan.
That's why he was killed.
Everything's very
mysterious on the surface.
When you analyze it,
it's plain as day.
One of our own people
stole those plans.
There are a half a
dozen outside interests
who would give $1 million
to get their hands on it.
-What'd you do that for?
Turn it on again, quick.
-I'm sorry, Miss Clark,
but that conversation
was purely confidential.
Mr. Foster would not
like any stranger who--
-Strangers?
How do you get that way?
We're all messed up in
this thing together.
I didn't tell you, but
I was hauling that body
all over town tonight in my car.
-No!
-Yes.
-Well-well-well--
what'd you do with it?
-I didn't do anything with it.
It just disappeared.
-How-how-how'd you get
it in the first place?
-I didn't have it
in the first place.
Somebody else put it
in the back of my car.
-I know who it was.
-Who?
-The guy that killed
him, of course.
-Don't mind him.
Listen, professor.
I'm in this thing up
to me neck, and I'm
getting deeper all the time.
That's why I came to you.
I-- I thought maybe
you could help me
with this-- this
contraption of yours.
-How?
-By telling me all you
know about the murder.
-But I don't know anything.
Foster told me about
Griffith's disappearance,
but he couldn't explain it.
-Who was Foster
talking to just now?
-I have no idea.
-This is no time to quibble.
Turn that machine back on.
-All right.
I guess he's through talking.
-I'm going to find
out, and you keep
that thingamajig
on while I'm gone.
You might pick up a clue.
Come on, Eddie!
-Huh.
Looks like everybody went
to bed and [INAUDIBLE].
-How about some lights?
-Beg pardon.
I thought I heard intruders.
-I guess maybe you did, chum.
[GROAN]
[GASP]
-Why, he isn't dead at all.
You'd better get him up to bed.
-Yeah.
Give me a hand.
Get his feet.
That a boy.
-Bit meaty, isn't he?
-Yeah.
-You got any bourbon?
-The best, sir.
-Well, get it.
-How is he?
-I think he's all right.
-Who beaned you, pop?
-Let me think.
I don't know.
-You can't remember anything?
-The drawings.
Uh, someone must
have stolen them.
-Who?
Who?
-I just can't seem to remember.
-Somebody's downstairs.
-Maybe it's you.
Somebody just ran out of here.
I got a glimpse of him.
-Ah, you're imagining it.
-There he goes!
-Look, look.
I'll go on ahead.
-OK.
-Eddie!
Eddie, help!
-Eddie--
-Help, I got him!
-Hey, wait a minute.
Cut it out, Patsy.
-Why, Jimmie Foster!
It's you!
-What goes here?
-He stole the drawings.
-What drawings?
-You know what drawings.
Hand them over.
-Oh, so that's what he
stole, the drawings.
I was chasing him too-- saw
him come out of the house
as I was coming up the walk.
-You mean you were
chasing somebody?
-Yes.
Uncle John phoned me to come
over and have a talk with him.
-Oh, so it's you
who was phoning.
-Oh, were you here?
-No, but we heard it on a
machine over the laboratory.
That's why we came here.
-Well, has anything
happened to Uncle John?
-Nothing, only he got
slugged by the thief.
-Then he knows who it is.
-That's the trouble.
He can't remember a thing.
-Well, in that case, come on.
We better phone O'Day.
-Come on.
-Now, let's get
this thing straight.
Where were you two
when this happened?
-We were probably ringing
the front door bell
while Foster was being slugged.
-Did you see anyone?
-Hmm, yes and no.
-You never quite see
anything, do you?
And yet you're always around
when anybody gets beaned.
That's funny.
-Hmm.
Entirely coincidental,
my dear fellow.
Entirely coincidental,
and it's not funny.
-You know, I don't know why
I was called in this time.
This isn't a homicide.
-Listen, my friend.
It's a development
of the Griffith case,
and that was a murder.
-Yeah?
Well, I think I'll go and
have a talk with Foster.
But I'll see you two later.
-Yeah, we'll see you later--
after I've solved the crime
and tossed the solution
right in your lap.
By the way, any
trace of Griffith?
-Griffith?
Oh, I thought you
were still hauling him
around in the back of your car.
[SARCASTIC CHUCKLING]
-That's pretty
grim humor, Danny.
-Yeah.
There's nothing quite as
funny as a nice, juicy murder.
-I don't like you.
-He doesn't like you.
-So he don't like me.
Hey, now, look.
I'm a little tired
tonight, Patsy.
How about calling the whole
thing off for the night.
And let's get a
little shut-eye, huh?
-You just keep your
big mouth shut.
We're gonna make a dash
for the laboratory.
I've got a hunch
Reynolds's got a clue.
-Oh-- oh, wait.
O'Day wants to talk
to us some more.
-Shh.
Come on.
-Say, do you suppose--
-Shh!
[GASP]
-I beg your pardon, ma'am.
I'm so sorry.
I came over as
quickly as I could.
Is Mr. Foster badly injured?
-Not too badly.
So how'd you know he was hurt?
-Professor Reynolds was tuned
in here when it happened.
He got in touch
with me at the home.
Uh, now, if I could see
Mr. Foster for a moment?
-Uh, right upstairs in the
bedroom with Jimmy and O'Day.
-Thank you.
-I bet that's the guy.
-Yeah, he could be.
-Uh-oh.
Visitor's day.
-More trouble, eh?
-Yeah, plenty.
-What's happened now?
-Somebody conked Foster on
the head, stole the drawings.
-You don't say.
Where is Foster?
-Upstairs in the bedroom.
-Why didn't you ask
him how he knew?
-Ah, what's the use?
He'd have an alibi.
[PHONE RINGING]
-Hello?
Yeah, this is the
John Foster residence.
Now, this is Patsy
Clark, a reporter--
that is, I was a reporter, until
I got mixed up in this deal.
Oh, sure, I remember
you, Mr. Wheeler.
I met you all here tonight.
No, no.
He was just stunned.
Sure, you can come
over if you want to.
Everyone else seems
to be doing it.
OK.
Bye.
-How'd he know?
-Reynolds.
-Come on.
Let's get out of here.
-I say.
-Tell me, sweetheart.
What do you do around
here besides snoop?
-Prepare the bath, serve
the coffee, do the silver.
-Yeah, you've probably got
your pockets full right now.
-Come on.
Let's scram.
-You can't do that, sir.
-Oh, we can't?
-Don't do that, sir, please.
-Are you kidding?
-I think he needs
a little attention.
-I think you're right.
Well, what do you
expect, a Purple Heart?
-What's the matter, Duckworth?
-They were taking [INAUDIBLE]
leave, sir, and he slipped.
-Taking what?
-You'd better reconsider.
-Reconsider what?
-Your intentions, sir.
-You may go, Duckworth.
-Thank you, sir.
Thank you.
-What do you got there,
your own private Gestapo?
-Yeah, I [INAUDIBLE]
posting a guard around us.
-You want to get your story
in, there's a telephone.
-As usual, Mr. Foster,
you're a little behind
in your current events.
Eddie and I are no longer
members of the press.
You mean you quit the 'Express'?
-Well, that's sort
of visa and a versa.
The 'Express' don't
like us either.
I never did think
you were clever,
but I still didn't think you
were an intellectual washout.
-What do you mean?
-You're gonna stand around
with your finger in your mouth
while heads are being bashed
in and bodies being snatched?
You have to have your own
throat cut before you'll
admit there's a
killer on the loose?
-I'll admit, things are
getting screwier by the minute,
but I don't see just
what I can do about it.
-You can do plenty about it.
Team up with me, and we'll
get our hooks in the killer
before he's a day older.
-That is, providing
the killer don't
get his hooks in us first.
-Yes.
That's just what I was thinking.
-Just leave your thinking to me.
I got a couple of good ideas.
-What do you propose doing?
Listen, Reynolds was
listening in from the lab.
JIMMIE: Well, then he should
know who the criminal is.
-Your IQ is going
up by the minute.
-Why don't we call Reynolds?
-No.
With all this going
on, somebody might
be listening in on the phone.
-But it's illegal to tap wires.
-Yeah, and it's
illegal to kill people.
We'll be back in less
than an hour, Jimmie.
Come on, character.
-OK, Duckworth.
Let them go.
-Thank you.
-Say, you know, that
may be a concussion.
His memory is pretty faulty.
I think you'd better give
the doctor another ring.
-I'll call him right now.
The line is dead.
-You think that wire is cut?
-I don't know.
-I'll check it.
-Well, I'll get
the doctor myself.
-Say, I've got to get
back to headquarters.
-Well, thanks a million
for coming over, Danny.
-Oh, anytime I can help
you, Jimmie, you know.
-Thanks a lot.
-Bye-bye.
-There's no use arguing.
You ain't got a pass.
-I told you.
We left it with Professor
Reynolds a couple of hours ago.
-That was the same ones,
not to move in permanently.
Now scram, will you?
-I got a name for you.
-That's Reynolds's
window, all right.
[WHISTLE]
-Professor Reynolds?
Yoo-hoo?
Professor Reynolds?
Yoo-hoo!
-Shh!
You wanna wake up the
whole neighborhood?
Hey, look.
I'll see if anybody's home.
Give me a boost.
-[INAUDIBLE]
-Give me a boost.
Nobody here.
You go around to the
[INAUDIBLE] door.
I'll let you in from the inside.
-OK.
-Hey, the machine.
It's busted.
-Eddie!
Look!
-He's been slugged,
and not long ago.
-Whoever killed him must
have smashed the machine.
-We better call the police.
-Maybe you want to be charged
with murder, but I don't.
-Oh, come on.
-Just a minute.
We're taking the
machine with us.
-Listen, have you
gone completely wacky?
-Maybe I am, Eddie.
Maybe I am.
-I don't know what you're
gonna do with that silly thing.
-Just a hunch.
Just have a hunch.
Come on, let's go.
[GASP]
-Wait a minute until
I swallow my gizzard.
-Are you looking for someone?
-You're dog-gone right I am.
And someone may
be looking for me.
Is the copper, O'Day,
still in there?
-He left right after you did.
-That's great.
-Pardon me.
[WHISTLE]
-Well, may I congratulate you?
-Thanks, old boy.
Come on, baby.
Take it in there.
Here, put it here, Eddie.
Wait a minute.
Where's Jimmie Foster?
-He's upstairs, miss.
-Do something!
Hide this.
Hide it.
-I got an idea.
Look.
They'll never see it now.
-Here, help me.
-Come on, come on, come on.
-What are you trying
to hide, Patsy?
-Oh, why, nothing, nothing.
-What makes you think we're
trying to hide anything?
-Oh, it's Professor
Reynolds's invention.
-All right.
Get moving, Ducky.
OK, take a good look
at what's left of it.
-Patsy, how did
you get that thing?
And what's happened to it?
-It's smashed.
We were all wrong
about Griffith.
He's not dead.
[DOOR BUZZER]
-Thank you.
Patsy, you were
right about Griffith.
-That's what I was telling them.
He's alive.
-You're wrong.
He's dead.
-What makes you think he's dead?
-The coroner said so.
-Where'd you find him?
-He's been riding
around with me.
Somebody chucked him
in the back of my car.
-Well, where is he now, Danny?
-I just took him to the morgue.
[PHONE RINGING]
-Hello?
Yes, Mike, this
is Jimmie Foster.
Reynolds?
-Uh-oh.
I guess this cooks our goose.
-Well, lieutenant O'Day is here.
You'd better tell him.
Oh, Danny?
-Yeah?
O'Day speaking.
What?
Professor Reynolds, dead?
-Reynolds?
Why, I just talked
to him on the phone.
[INTERPOSING VOICES]
-Professor Reynolds
has been murdered
and the invention stolen.
-Why, the machine is here.
-Well, how'd it get here?
-We brought it here from
the Emerson Laboratory.
-Was Reynolds there at the time?
-Yeah.
Of course.
-You mean to tell me that
Reynolds let you have it?
-He couldn't help himself.
He was dead.
-Oh, so he was dead
when you got there.
Well, why didn't
you call the police?
-We told you about
the Griffith case.
You wouldn't believe it.
We didn't want you
messing this one up too.
-Why did you bring
the machine here?
-At the time, I
was stupid enough
to take your word
Griffith was still alive.
I was gonna have this
thingamajig repaired
and snag hi with it.
Jimmie was gonna help me.
-Were you?
-Well, yes.
You said yourself
she was smart enough
to be on the homicide squad.
-Danny, I've seen you
crack a lot of tough cases,
but this is the first time
I've seen you stub your toes.
-You're close
enough to the killer
right now to spit on him.
You know that, don't you?
-You know, I'd give anything
if you could prove that.
-Maybe we still can.
That is, if, uh, Jimmie
will still help us.
-Why, of course I
will-- anything.
-Uh, may we use your phonograph?
-My phonograph?
-Mm-hmm.
-Why, sure.
It's right over there.
-Thank you, Jimmie.
Eddie, get rid of
these things, please.
-OK.
-Let's stop all this
foolishness, Mr. O'Day.
I'm going to call the
police commissioner.
-You'll call nobody.
Go ahead, Patsy.
Danny, see that nobody
runs out on this recital.
JOYCE: Blake, if I had
that invention of Reynolds'
I could get $2 million
for it any day.
BLAKE: $2 millions is a
lot of money for anybody.
JOYCE: But Foster insists
the thing is not for sell.
BLAKE: I'll talk to you
later about this, Joyce.
-Why, this is ridiculous.
I won't say here and
listen to anymore of it.
-I'm getting out
of here right now.
-Listen, I tell you
nobody's leaving.
Eh, what is this,
a double-cross?
-It looks that way.
-Looks like we're sunk.
-I guess we don't hit
pay dirt this trip.
REYNOLDS: You know you're
not allowed in here.
JIMMIE: That's the reason
I came through the window.
[GASP]
-It's Jimmie!
-Jimmie.
JIMMIE: I made
Foster a proposition.
REYNOLDS: I heard it
over the machine tonight.
JIMMIE: So you
were listening in?
REYNOLDS: Yes, and I also
know that you're the man who
tried to kill Foster and
stole the blueprints.
You tried to kill Griffith too.
Don't!
Don't, Jimmie!
Don't!
-Jimmie, I'm afraid I'll
have to put you under arrest.
Halt!
Halt, or I'll shoot!
[GUN SHOT]
[CHATTER]
-Oh, brother.
He must've burned
up the road getting
to the laboratory ahead of us.
-Well, I guess you
know now who switched
Griffith's body into your car.
-I do.
-Oh, am I stupid.
This newspaper here
should have told me
it was Jimmie who knocked
his uncle over the head.
-Has that got the story?
-Yeah, but not in print.
It was a late edition
that only Jimmie
could've brought
from the office.
-That job down at homicide
is still open, Patsy.
-Thank you, Danny,
darling, but my job
is headlines and bylines.
-Nabs killer after
night of terror.
-Oh, brother.
I got it.
I got it.
What do you got?
-Say, why didn't you two get
a picture of Jimmie Foster?
-Oh, get a load of that.
-Why, that's Jimmie.
You mean to tell me you had this
in the camera the whole time?
-Certainly.
I took it when he was holding
us up for the drawings.
-Hey, here's a new one.
Get over to Danny
O'Day's, quick.
-Well, here we go again.
[MUSIC PLAYING]