Rogues Gallery (1944)

[bunniefuu]

[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.

[g*n SHOTS]

-If you hadn't pulled a b*ner,

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: sh**ting

in Emerson Laboratory.

sh**ting at 1st and Maple

Street, Emerson Laboratory.

sh**ting 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!

[g*n 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

sh**ting 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 k*lled

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.

[g*n 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 g*n

went off right in my kisser.

If I hadn't ducked, it would

have blown my head off.

Eddie, he wasn't

sh**ting 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 m*rder 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 k*ller

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 k*lling

out at your uncle's house.

You better come along.

This man Griffith

who was k*lled.

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 sh**ting.

-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 k*lling.

-And when the light came on

again, you had the drawings.

-He wouldn't have any

reason to commit m*rder,

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 g*n outside,

beneath the window.

-Whose g*n 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

m*rder 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 k*ll 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 m*rder.

Besides, I don't think

there ever was a m*rder.

-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 m*rder,

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 k*ller

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 m*rder 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 m*rder.

-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 k*ller 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

c*ck and bull m*rder 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 m*rder.

-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 k*lled.

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 k*lled

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 m*rder.

-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 m*rder.

-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 m*rder.

-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

k*ller 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 k*ller

before he's a day older.

-That is, providing

the k*ller 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 ill*gal to tap wires.

-Yeah, and it's

ill*gal to k*ll 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 k*lled him must

have smashed the machine.

-We better call the police.

-Maybe you want to be charged

with m*rder, 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 m*rder*d

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 k*ller

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 k*ll Foster and

stole the blueprints.

You tried to k*ll 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 sh**t!

[g*n 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 k*ller 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]