So’s Your Aunt Emma (1942)

No renewal found Free in the US since 1 January 1971, on the registry's reading: registration LP11272 of 1942 by Monogram Pictures Corp was not renewed in the volumes searched. Record.

Copy: sos_your_aunt_emma_1942 on the Internet Archive; registered 1942
Read: 508 shots over 1:02:19 · 1118 transcript lines · JSON
Record: So’s Your Aunt Emma No renewal found
Wrong?: Report a problem

Check before citing the shot count. A 3:43 shot at 55:19 (shot 472): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

508 shots over 1:02:19, read from the Internet Archive copy sos_your_aunt_emma_1942 (sos_your_aunt_emma.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: So’s Your Aunt Emma No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 508 shots judged colour), average shot 7.4s long, a frontal face detected in 51% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1118 segments kept, 206 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

1:47 and other.
1:48 Do you realize that there's a meeting at the AIDS Society today?
1:51 Oh, I know.
1:51 Must have fallen.
1:53 sleep.
1:54 You'd better go along without me.
1:57 go along without you.
1:58 Why, you haven't missed a meeting in the past 10 years.
2:01 Aren't you feeling well?
2:03 She's been acting pretty skitterish of late.
2:06 You don't suppose it could be those pink pills we've been giving her?
2:09 There's nothing the matter with me.
2:12 I just didn't realize how late it was.
2:15 Well, at least you can start getting ready and...
2:17 Not sit there talking.
2:20 Oh.
2:23 I might have known.
2:25 It's that.
2:26 surprise, my dear person.
2:28 His son is following in his footsteps and will come to the same end.

1098 more segments

2:31 Jim O'Banion was a gentleman, even though he was a prize fighter.
2:35 M of 8.
2:36 Do you mean to tell us?
2:38 that you're still mooning over that rowdy after all these years?
2:42 And to think of what we went through to keep her from marrying that.
2:46 Brute.
2:47 Jim was always sweet and kind to me.
2:50 Maybe it's just as well if she doesn't go to the AIDS Society with us.
2:54 There's no telling what she might do to disgrace us.
2:57 Come along, guys.
3:18 And you fight fans who remember Gentleman Jim O'Banion in his prime.
3:22 will feel as I do when we see his kids step into the ring tonight to meet Tiger Wilson.
3:26 When we think what a stickler gentleman Jim was for keeping in condition...
3:30 and then sees kid doing most of his training in night spots,
3:33 Well, your guess is as good as mine.
3:36 There's no denying the kid could be a great fighter like his dad.
3:39 if someone would only pound some sense into him.
3:41 Yes, it is.
3:42 We definitely take him to last four rounds at the most tonight.
3:45 And that's giving him the benefit of our doubt.
3:48 Now, a word of advice to men over 40 suffering from...
4:05 Hello.
4:05 Is that you, Clam?
4:07 What time is the 3.15 due?
4:10 Hairpest?
4:11 the good.
4:12 I'll be wanting a ticket to the city.
4:15 No, guess what? I'm going alone.
4:26 I'm sorry, lady, but there isn't a ticket left for the night's ballot.
4:29 Home.
4:30 Dear, I've come over a hundred miles just to see Gentleman Jim's boy fight tonight.
4:36 Couldn't you do something about it?
4:38 You might come back later. We may have a couple of cancellations.
4:41 I'll save one for you if you want me to.
5:04 Hello, Maris.
5:05 Listen honey I'm all washed up for the day and ready to take off the city hall see you there about 4th inning we grab the license.
5:10 Knowing you, I'll settle if you get there by closing time.
5:12 which is five o'clock.
5:14 Oh, now, don't talk that way, baby. Marriage is a serious thing.
5:18 Yeah, I'll see you there about 4.30. I won't be late.
5:20 Bye, sweet.
5:29 Harry!
5:30 Help.
5:35 Hop over to Rex Crenshaw's office right away, Terry.
5:37 I just got a tip he's going to blow that off the rackets tomorrow and put Gus Hammond on the spot.
5:41 when he appears before the grand jury.
5:43 It's almost 4 o'clock.
5:44 Well, what other? Crenshaw still be in his office.
5:47 Probably take all night preparing the case.
5:49 so that he won't involve Flower Henderson as well.
5:51 But I got a date to meet my girl at the city hall to get a marriage license. You told me I could get off a couple hours early today, remember? And don't argue.
5:58 Unless you want to start your honeymoon out of a job.
6:02 What are you doing?
6:03 I'll call McGill. Tell her I'll be late.
6:05 But give me the number. I'll call it. It'll save time.
6:08 Okay.
6:09 The number is Axminster 1007. Axminster 1007. Explain the whole thing to her, will you? Tell her I'll get there as soon as I can. Sure, sure, I'll tell her.
6:18 Put around this.
6:20 Yeah.
6:31 Mr. Crenshaw, I'll see you in just a few minutes. Thank you.
6:38 Yeah, I know, Mr. Crenshaw, but why don't you break down and give me just enough of what you're going to say to the grand jury to hang a story on?
6:44 Look, Connors.
6:45 My entire law business is wrapped up in criminal practice.
6:49 What makes you think I'd sing to the grand jury and ruin myself?
6:53 Flower Henderson is one of your most important clients, isn't he?
6:56 What has that to do with him? Only this.
6:57 Henderson wouldn't mind eliminating Hammond if he could do it in a nice legal way.
7:02 Now, if you spill just enough to the grand jury to get Hammond out of the picture without involving Henderson...
7:06 You guys will be sitting pretty, won't you?
7:09 You should be writing fiction instead of news stories.
7:12 Now, you're all wet, Cronus.
7:15 You said something about having an appointment before five.
7:20 Yeah, yeah I did.
7:21 I hope it's not too far away. It's far enough.
7:25 So long, Crenshaw. See you in jail sometime.
7:32 Amen.
7:33 I'll announce you to Mr. Cranetower now.
7:35 Never mind, sister.
7:37 We'll do our honor, Nazi.
7:39 Hello, Perry. What's Rush?
7:41 Oh, I've got a date. Very important. Meeting McGow. See you later. Wait a minute, pal.
7:46 What did Quinchel spill?
7:47 I've got an addition to make, too.
7:49 Come on, give.
7:50 I've covered for you many times. I've burned here. I've got to fly. Crenshaw wouldn't talk. I pumped up for 20 minutes. Didn't get a thing.
7:55 I'm alive to you.
7:57 about three or four thousand times,
8:00 I think I'll drop in on Chris Shaw myself.
8:02 You might like my personality better than yours. Could be. You're the personality kid.
8:28 Looks like you're just about one minute away from the stand-up, miss.
8:31 It looks that way.
8:33 Now, I don't suppose you ever work overtime.
8:35 Not me.
8:37 Us city employees have a union.
8:40 Are you sure you had your young man completely convinced?
8:44 Oh, no offense.
8:46 Only they generally pretty proud shown up here.
8:49 Sometimes they backslide between here and the Ministers.
8:53 Or was it mostly...
8:54 His idea to get married.
8:56 or yours.
8:57 It was his.
8:59 And if he does finally show up, will you tell him the idea was an awful bust?
9:02 Sorry.
9:03 You'll have to tell him yourself.
9:05 This office is closing through the day.
9:22 Well...
9:24 Certainly come things up when you gave me that assignment so I dumped it up. Yeah. Crenshaw would
9:29 talk. I got to the license bureau too late.
9:32 And if I know my girl, she's going to pack me in ice a minute, she lays eyes on me.
9:35 So Rex Crenshaw wouldn't call.
9:37 Shut up like a clam. Oh, he did, did he?
9:40 I took you out of second string sports and gave you a crack of general assignments because I thought you had a nose for news.
9:46 What are you talking about?
9:57 Cool.
9:57 Yeah, why, you were skipping over City Hall with a heart full of love. How do you like that? I do, and that's the reason you're back in sports.
10:05 As of now.
10:15 Hello, honey.
10:16 Now before you start throwing things let me tell you what happened. I'm not interested in what happened. All I know is we were supposed to be married and now we're not. Well explain the whole thing on the way to the fight. Come on get your coat. Fight.
10:24 Yeah, I have to cover him. You see how to run him with the boss?
10:26 I'm not that Crenshaw story because I was trying to get to the City Hall on time.
10:29 Back riding sports again.
10:30 At the old salary, I suppose. Yeah, but not for long. I'll show Evans he was wrong. You just wait.
10:34 Sorry, I'm through waiting. I can think of better ways to spend my life.
10:40 What are you going to do?
10:41 I'm going to call Flower Henderson and see if that singing job is still open.
10:44 You can't do that. He's a gangster not only that is a wolf.
10:48 A wolf is a cinch to handle compared to a reporter.
10:53 All right.
10:54 Well, if that's the way you want it, there isn't anything I can do.
10:57 There isn't.
10:59 I'd like to speak to Flower Henderson, please.
11:03 Hello, Flower.
11:05 Mrs. Marist.
11:06 Well, hello there.
11:11 Yeah, surely.
11:16 I guess you're out of luck, sister. Looks like a sellout tonight.
11:19 I don't suppose if I spoke to Mickey.
11:21 You know, he's Gentleman Jim's boy.
11:24 He might have an extra ticket.
11:26 Lady.
11:27 If he don't snap out of it pretty quick, he'll be lucky if they let him in here again.
11:32 Well, there's nothing wrong with Mickey.
11:34 All he needs is someone to look after him.
11:36 Well, maybe you could handle him. Why don't you talk to Gus Hammond about it?
11:40 Gus Hammond? As manager.
11:42 Maybe he'll sell you a piece of his fighter. You never can tell. Hiya, Terry.
11:46 I kind of thought you'd be back covering the fights again. You know, you're positively psychic, Mike. Why don't you get yourself a crystal ball and change your name to Madam Knows All? Okay.
11:55 Say, if you're stag tonight, this lady will buy one of your ducats.
11:59 It's a gag. It's on the up and up. She's come a hundred miles to see the fights and we ain't got a ticket left.
12:04 I'd be willing to pay for it if you have an extra ticket. Forget it. You've come a long way to see the fights. You're going to see them. Come on. Well, I'm sorry.
12:11 against my principal to
12:12 go off with strange men, but to
12:15 You look like an honest person.
12:17 You are one, aren't you?
12:23 I hope you don't consider me rash for doing this. Those things happen to the best of us.
12:27 And you don't think I'm a gatecrasher? Some of my best friends are gatecrashers.
12:31 I guess we better introduce ourselves. I'm Terry Connors of the Globe Tribune.
12:34 Oh, really?
12:35 You're awful.
12:36 sober to be a reporter, aren't you?
12:38 You go to the movies too, huh?
12:40 Oh, indeed. We have a theater back home in Fairport. It's called the Bite of Weed.
12:45 Oh, my name is Emma Bates, but...
12:47 Back home they call me Aunt Emma.
12:49 Well, that's good enough for me. I'm glad to know you, Emma.
12:52 Oh, excuse me a minute, will I?
12:56 Well, if it isn't Gus Hammond...
12:58 Aye.
12:59 I didn't expect to see you here tonight.
13:00 Why not?
13:01 Come on Gus give me the load down. You know this whole thing's a
13:04 Frame up.
13:05 Listen, you, I had enough trouble with the cops today without you. Snoop is insinuating I had anything to do with the Crenshaw deal. Crenshaw? Who said anything about Crenshaw?
13:12 Well, what did you mean?
13:13 talking about the scrap tonight.
13:15 I understand you got a fix for making it one by a knockout. I was just wondering which round, that's all.
13:19 Mickey O'Banion's a level kid. He only fights one way to win clean.
13:22 Get that straight.
13:24 Sure.
13:25 Anything you
13:27 Glad to hear it.
13:31 the guy you were just talking to.
13:32 He's a reporter. Why?
13:34 Cranjah's office.
13:35 this afternoon, just before we pull that job.
13:37 Yeah.
13:39 Did he get a good look at you?
13:40 No, he never gave us a tumble.
13:42 just tore out of the office like it was hurrying someone.
13:44 the old battle axes, Gavin.
13:46 So you knew gentleman Jim O'Banion?
13:49 Well, he proposed to me once.
13:51 But you didn't marry him.
13:52 No, my family sent me abroad to prevent it, and...
13:55 When I got back, he was married to a burlesque queen.
13:59 I never saw him again.
14:01 died four years ago. Yeah, I know it.
14:03 You made a special trip here just to see his son fight tonight?
14:06 And I mean, you're OK. You got romance in your soul.
14:09 Thank you Terry don't thank me you're a tonic you restore my faith in women.
14:13 You see...
14:14 Romance kind of gave me a kick in the pants today.
14:17 Poor boy.
14:18 Maybe if I could talk to your girl, I could straighten things out. I doubt it.
14:22 Come on, let's go on in.
14:23 I'm sorry.
14:30 Something about that old lady looks familiar.
14:33 Maybe it's her umbrella.
14:35 You're right.
14:36 Do you know who that is?
14:39 Parker.
14:40 You mean the old lady of the Parker Boys?
14:42 and she carries her out around in that umbrella.
14:45 Can she use it?
14:46 Yeah.
14:46 Remember once you went in that jail in Missouri, stuck up the sheriff and got our boys out? Sure, I remember.
14:51 I think you guys are crazy. What would Mark Parker be doing here?
14:54 You imported us to handle the job, didn't you?
14:57 Okay.
14:57 Maybe Flower Henderson imported her.
15:00 It all adds up.
15:01 Her being with that reporter that was in Crenshaw's office this afternoon.
15:04 I don't like the set-up.
15:05 Listen, you guys scared of an old dame?
15:07 Why, if she ever sticks her nose in my business, I'll pull her apart like a rag doll.
15:11 Not if she gets that persuader out of her umbrella first.
15:14 Say she shoots silver dollars right out of the air.
15:17 Maybe that reporter was putting a finger on you when he was talking to you.
15:20 seen Mark Parker sizing you up.
15:23 Yeah? Well, I still think you guys are crazy.
15:27 But you better keep your eye on the old dame just in case.
15:29 I get it.
15:32 It's going to cost him an extra grand if he wants my pocketbook to offer.
15:36 No.
15:36 She's a sweet-looking old lady. Reminds me of my mother.
15:41 Duke and Joe who smashed Crenshaw.
15:44 Yeah, and I made a neat job of it, too.
15:47 Well I'm leaving it to you and Steve to make a neat job of them.
15:51 I want Gus Hammer to know I don't like the idea of him grabbing my mouthpiece understand.
15:57 I've got a little job for you too, Zelda.
16:00 Make a date with that fighter of Gus's and bring him to the club tonight.
16:02 Oh, gee, flower, do I have to go out with that palooka again?
16:05 Look, baby, it's for me.
16:07 You want to help, don't you?
16:10 Did I ever turn you down?
16:11 That's better.
16:13 The only way we'll ever get to Crenshaw...
16:16 for Hammond to lead us to it.
16:17 I suppose you're going to run in a lot of nasty money please take us there.
16:21 No, I'm going to make Gus think his fighter is crossing him up.
16:24 When he takes Mickey out of here tonight, we'll tail him.
16:27 He may take him to the place where he's hiding Crenshaw.
16:30 It's alright but...
16:32 I'm going to make Gus think that Nicky's giving him the double cross.
16:36 The kid's in some kind of a jam, isn't he?
16:39 Rubber checks.
16:40 Gus is holding him.
16:42 How much?
16:43 500 would square.
16:44 And it is a set.
16:47 Come in.
16:52 Hello, flower.
16:53 Oh, Mary, say, you're just what the doctor ordered.
16:56 Are you going to the doctors now?
16:58 quiet.
16:59 You look like you're all ready to go to work.
17:01 Why yes, if you like my audition.
17:03 Oh, I wouldn't worry about the audition.
17:05 - The flower has dotted lines
17:07 And that means a contract.
17:09 You better be getting over to the stadium. You might miss Mickey.
17:14 I could take a hint.
17:16 Might as well come along, boys.
17:17 I'll only be asking you to leave in a minute anyhow.
17:31 - Okay.
17:34 Open slowly with both boys appearing tired.
17:38 crowd pulled their waltzing.
17:48 Keep your guard up, Mickey.
17:51 That boy wouldn't be tired if he was in shape.
17:54 But he needs this.
17:55 Fresh country air and road work.
17:57 can't get fresh country air and road work and nightclubs.
18:05 What a fight!
18:06 Hey! The crowd booed loudly and the referee urged them to action.
18:10 Yeah.
18:13 Get in there and fight, Mickey!
18:15 Your father would never fight like that.
18:19 Look out for that right.
18:24 Mr. Stark, come to the floor.
18:27 A fight, Mickey!
18:29 Mike!
18:29 - It's like you got a fan out there. - Yeah.
18:32 I'll know where she came from.
18:34 Come on, quit your talking and break it up.
18:43 Both of them landed light lefts at the bell, round even.
18:46 Where are you going?
18:47 I'm gonna tell my boy a thing or two.
18:50 Mickey O'Banion?
18:52 You're a disgrace to your dead father. Why don't you get in there and fight?
18:55 Okay, Andy.
18:56 I'll take him this round.
18:57 Now you're talking.
18:58 Give him that old one-two.
19:00 Yeah, yeah, sure.
19:01 He'll take him this round. That'll be a relief.
19:09 Round six.
19:15 The boys came out of the corners and both landed hard rights.
19:21 Come on, boys.
19:27 Keep your heart up, Vicki!
19:29 Nathaniel sent Wilson staggering to the rope for the joling left hook then followed by a right cross.
19:34 Now you're fighting, Mickey. Give it to him good.
19:42 That's the way his father used to fight.
19:44 Now you got it! Come on, Mickey!
19:50 Stop the floor!
19:53 Take it. Make it look good. Okay. Bye. Bye.
19:57 Mmmmm.
20:00 One, two, three.
20:04 Feeding.
20:05 Whoa!
20:08 Good boy, Mickey. You did it.
20:11 case.
20:14 Then.
20:18 Knockout came after two minutes and 13 seconds of the sixth round.
20:22 I'll phone them a little bit in a half hour, Charlie.
20:28 Ladies and gentlemen...
20:29 The eighth round semifinal will follow immediately.
20:32 I'm glad your boy won.
20:35 It's Max.
20:37 I missed this.
20:38 silly old mate. I was just...
20:41 If things had been different, he might have been my boy.
20:44 Well, bless your heart. But I wouldn't worry about that.
20:47 He probably wouldn't have been a fighter if you'd been his mother.
20:49 And why not? His father was a fighter.
20:53 Aunt Emma, you're all right.
20:55 - Harry. - What?
20:57 I wonder if you could take me back to his dressing room. To his dressing room?
21:01 Well, sure, I guess so. Come on.
21:07 Better wait, let's see if he's decent.
21:10 Bye Mickey.
21:11 Hiya, Terry. Hey, what you think of me tonight? Not bad, huh?
21:14 Terrific after you stopped Walsam.
21:15 Oh, I had a feeling not for.
21:17 Sure, I know.
21:18 I got an admirer of yours outside. Yeah? Yeah, a lady from your hometown wants to meet you.
21:22 A lady, huh?
21:23 Oh, sure, bring her in. Jay, give me my robe.
21:25 I don't mind about the role. She's been around quite as well.
21:28 She knew your product.
21:29 Oh, no, Damon. Come on in, Emma.
21:33 Mickey, this is Miss Emma Bates.
21:35 She's the fan you heard yelling tonight.
21:36 Oh, so you're the one.
21:38 I'm glad to know you, Aunt Emma.
21:40 How do you do, Nicky?
21:41 You don't mind if I finish giving the kid his rub down, do you? Oh, no, go right ahead.
21:46 So you knew the old man?
21:47 He was quite a guy, huh?
21:48 - Ah, they are.
21:50 And every time you crossed your right hand tonight, I could see him all over again. No kidding.
21:54 Ain't she told the old lady too?
21:56 No, we never met.
21:57 Ah, say Mickey.
21:59 What about Gus Hammond? I didn't see him in your corner tonight. Gus, oh Gus, he couldn't make it tonight.
22:05 - Yeah, he's a man, I think he's a big shot.
22:07 Yes, he must be.
22:09 when he wasn't even in your corner.
22:11 You know how your father won the championship?
22:14 with his fists and his manager's brains, that's how.
22:17 If I had a charger, you know I know what I would do.
22:20 I would see that you had plenty of wholesome living
22:22 No dates, no nightlife, and lots of good food, like milk and eggs.
22:27 A nice country ham.
22:29 Sounds swell.
22:30 Gee, give them all that, ain't I, mate?
22:32 He'd be champ.
22:34 Ouch!
22:35 Jake, will you watch my neck? It's got a crick in it.
22:37 sorry to
22:40 I'll take that kink right out. What's the idea?
22:44 Relax.
22:46 That's it.
22:50 Say, that's not bad. That's all right.
22:53 Jake.
22:54 You ought to take lessons from her.
22:56 Yeah, just there ain't nothing sacred no more.
23:03 Well,
23:05 Don't you know how to knock?
23:06 Since when did you get so fuzzy?
23:08 What's this, a lady trainer?
23:10 Long time meet and have a big.
23:12 Oh, rod, huh?
23:13 No, I'm just a friend. She knew my old man.
23:16 Well, far be it from me to barge in on old home night.
23:19 See you around.
23:20 Hold everything, baby. Oh, now, just let me take that king.
23:23 It's all gone at him and no kidding.
23:25 Stick around, Zelda. We're stepping up.
23:26 You don't mind excusing us, do you folks? That's okay, we understand. Come on, Aunt Emma.
23:30 I think the kiddies want to be by themselves. Awful glad I met you, Aunt Emma. And I'm glad to have met you, Mr.
23:35 And remember what I told you.
23:36 Your father was a great fighter, and you can be too.
23:39 just take care of yourself.
23:42 Oh, I wouldn't worry about that, Andy. Any guy who keeps company with me has to take care of him.
23:46 What she means is...
23:48 Amen.
23:50 Come, Carrie.
23:51 So long, Mickey.
23:52 Watch yourself in the clenches.
23:55 Well, I guess I'll mooch along. Say, Jake, you haven't got a tent spot you can spare.
23:59 Sorry, chair.
24:01 Uh...
24:01 I guess the whole night on the air,
24:03 Yes.
24:05 I know where you can pick up 500 easy.
24:09 Wow, with that kind of dough, I could go for that milk and eggs
24:13 talking about?
24:16 Would you excuse me, Emma? I've got to make a telephone call. Go right ahead and I'll wait.
24:34 All right, Ma. No funny business now.
24:37 Come on.
24:43 What does this mean?
24:45 Don't get excited, Ma.
24:46 We just want to ask you a couple of questions.
24:48 I picked up this way, then.
24:49 Take the guy out of the bumper, Joe. OK.
24:51 You all pay for this, you...
24:53 Flippity gibbet.
24:54 Gee, that's a swell work.
24:56 Put that mean I've watched.
24:57 Smart me up, will you, Ma? I'm gonna pull it on the wall. I'll mob you.
25:02 Stop it!
25:02 Don't you know it's unlucky to open up a number, Ellen, indoors?
25:06 And believe me, it'll be unlucky for you.
25:08 Both of you.
25:09 Oh, now take it easy, Ma.
25:11 I was just looking for your gun.
25:12 It ain't no rod in this parasol. So you ain't healed, eh, Mom?
25:16 Heels.
25:16 What are you
25:17 talking about.
25:18 And don't call me more. I'm not a mother.
25:21 Oh, no? I suppose you found out two Parker boys under a book.
25:24 Parker?
25:24 Yeah, Parker.
25:25 You're my pocket.
25:27 - You think?
25:27 don't know it, you're a batty.
25:29 that
25:30 famous woman outlaw.
25:32 I've read about her in the paper.
25:33 I bet you have.
25:35 You sure got some swell notices on them jobs, you full mark.
25:39 What's so funny, Ma?
25:41 face in the fact that you recognize me as Ma Parker.
25:45 Maybe you wouldn't think it was so funny if we started pushing you around.
25:48 We're very serious citizens.
25:51 Where I come from, if anybody pushes us around, we push right back.
25:56 - What?
25:57 as tough as you are.
25:58 And give me that umbrella. I'm getting out of here. Now hold everything, Ma.
26:02 We don't want no trouble with you.
26:04 You'll get funnier, but if you try to keep
26:06 here.
26:07 All we want to know is whether you're in town to pull a job for Flower Henderson.
26:11 flower handed.
26:13 Okay, clam up if you want.
26:15 I just got this to you.
26:17 We're playing along with Gus Hammond.
26:18 So if you want to stay healthy,
26:20 Keep your nose clean.
26:21 Young man, my nose is always
26:25 Okay, okay.
26:26 Keep it that way.
26:28 You don't want to wind up in a slab of concrete on the bottom of the East River.
26:32 We don't want to hurt no females.
26:34 kind of weird gentleman.
26:36 and on Icona you remind me of my money.
26:38 If you were my son, I'd turn you over my knee and wail the daylights out of you.
26:43 Now I'm leaving and I dare you to stop me.
26:51 Happy old dame, ain't she?
26:54 just like me, Martha.
27:14 Hello, boss.
27:15 Paul, I tell you, I saw Guess Hammond at the place tonight.
27:18 Now what do you want me to do, run it on the society page?
27:20 Now, wait a minute. He knows something about that Crenshaw case. I'm going to follow it up on my own time and bring you the story.
27:26 You do, and I'll eat it.
27:27 Okay, so you'll eat it, including the carbon copies.
27:33 All the hard-boiled, ungrateful Simon Legrees.
27:37 That's the editor of mine.
27:38 I offered to dig up a swell kidnapping story and is he grateful.
27:41 No.
27:42 Has somebody been kidnapped? Yeah, Henderson.
27:45 I mean,
27:46 lawyer
27:47 I know what nasty.
27:49 I read the Broadway columns and my sisters are looking you're right on a beam, aren't you?
27:54 Well, I guess you can take care of yourself now, huh? Well, where are you going? Over to Henderson's Nightville.
27:58 I got a hunch things are gonna break wide open over there any day now. Well, is there any law against me going with you?
28:03 No, but it's a hot spot. I don't want to mix you up in any trouble.
28:06 Well, do you think I want to go back home?
28:09 tell them I haven't visited a hot spot?
28:11 Let's go. I guess there's no harm in taking you along. Hot diggity.
28:16 Scoop twice in one day.
28:19 What?
28:27 Has Connors come in yet? No. But when he does come in, don't say a word to it.
28:31 Just send him in to me.
28:32 I have a few choice phrases I want to deliver just before I fire them.
28:50 Hello, boys. Hiya, boys.
28:52 All right, Pa.
28:55 I see by the paper you're stored all right.
28:57 Oh, that was
28:58 Here. No trouble at all.
29:01 This stuff about the cops looking for an old lady with a rain stick.
29:06 What are you talking about?
29:07 Give me that paper.
29:11 Ma, how do you like that?
29:13 We do a job and the cops give some old dame credit for it.
29:18 You sure this old lady didn't see you?
29:20 Oh, not a chance.
29:21 Nobody saw us, did this team? Not a show.
29:25 It's all right for him to be looking.
29:26 someone else.
29:29 stay in town for a while.
29:46 Thanks Benita we might as well go to bed. We'll catch our death a cold waking up for that.
29:50 that moonstruck sister of ours.
29:52 I just don't know.
29:53 Want to be here when she gets back, that's all.
29:56 We've been entirely too lenient with her.
29:59 I kind of dread to think of her all alone in the city, yes.
30:03 knows what mischief she'll get into.
30:05 Well, notifying the police will only cause a lot of scandal.
30:08 Besides, Clem says she bought a round flip ticket.
30:11 so she must be planning to return.
30:14 Thank to goodness that she does stay overnight in town, she'll have sense enough to stop at some nice respectable boarding house and not try to make a fool of herself.
30:32 Here you are. Keep a change.
30:36 You gave him a whole dollar. Yeah.
30:38 Well, the bill was only 75 cents.
30:40 Young man, somebody ought to teach you nuts.
30:43 squander your money. Forget it, sweetheart.
30:46 When I turn this story we're going to get I'll have my old job back and probably a bonus.
30:49 Come on.
30:55 Good evening, Mr. Connors.
30:57 Hello, Gracie.
30:58 How are you tonight?
31:00 Young lady, aren't you afraid of catching cold in that outfit?
31:06 Is she kidding?
31:15 Well, if it isn't battling McCloskey,
31:17 How are all the gory little fights tonight?
31:19 They were nothing compared to the battles we've had but I did have charming company.
31:23 May I present Miss Emma Bates?
31:25 It's Marathon, Emma.
31:26 How do you do? I've heard a lot about you. Really?
31:29 Well, yes, he told me that... You can tell me later. It's almost time for me to sing.
31:33 Oh, do you see?
31:34 So they say.
31:35 I'm sorry, but I have to go now.
31:36 Really?
31:38 My petite.
31:40 Yeah.
31:40 So is the persimmon.
31:42 Well, how about a snifter?
31:43 A snifter? Yeah, let's sit at the bar and duck the cover charge.
31:51 Clean water please what happened in.
31:55 Well, I...
31:56 It's been known to take a sip of pork before going to bed,
31:59 I'm not going to bed yet.
32:01 Oh, what's a zombie?
32:03 A zombie is not for you.
32:04 Now bring her a horse's neck.
32:08 What's a horse's neck? Uh...
32:09 Never mind.
32:24 I'm feeling low, I need you so.
32:29 Sweetheart, don't treat me unkind.
32:34 It's you I crave
32:37 I'm just your slave.
32:39 I can't get you out of my mind
32:45 That wolf she's smiling at is Flower Henderson.
32:48 Can't you see? She's just trying to make you jealous. Jealous, my eye. The thing she's trying to make is a contract.
32:53 life.
32:55 Though that may be
32:59 Still I can see
33:00 I can't get you out of my mind
33:05 Amen.
33:06 When you said goodbye
33:10 I didn't cry, I didn't care
33:17 She has a lovely voice.
33:19 I guess you'd call her a talk singer, wouldn't you?
33:22 That's not what I'll call her if she goes on working here.
33:25 Well, dear, you're meant for me
33:30 I meant for you.
33:33 That is what fate has designed
33:37 No use to try
33:41 to alibi.
33:43 I can't get you out of my mind.
33:59 You see that?
34:01 She went right back to his table.
34:03 Give me another drink.
34:04 Now don't try to drown your sorrows in spirits, Harry.
34:08 What about that story we were going to get? We'll get it.
34:11 Oh, now you're talking.
34:12 If you take my advice, you won't even look at her again tonight.
34:16 Just act like she wasn't here.
34:18 That always gets them. How do you know?
34:21 silly. I've read advice to the love lord for 30
34:24 Cheers.
34:28 Mine.
34:30 This certainly makes me feel foolish. What's in it?
34:32 Grenadine, lime juice, ginger ale, charred water.
34:35 All that?
34:38 Certainly, it's exhilarating.
34:42 Me or mine.
34:51 There's Mickey.
35:06 I think I'll pat on my nose.
35:08 Okay.
35:09 Hurry back.
35:11 The idea of gallivanting around like that when you ought to be in bed.
35:18 He's right in. He's waiting for you.
35:20 Okay.
35:24 something
35:25 Probably not going. No, he got that way from running into too many left jabs.
35:31 Hello, Mickey.
35:32 Hello.
35:34 I'm a friend of Flower Henderson.
35:36 I do a little business for him now and then.
35:39 Zelda said that...
35:41 You might be.
35:43 What's the deal?
35:45 Here's one for the books.
35:47 Flower Henderson's trigger man getting chummy with Mickey.
35:50 Is that bad? Dang good, any way you look at it.
35:53 Cut everything straight.
35:54 Sure, and I do a swan dive in the third round.
35:58 Hey, why can't I take a flop in the first?
36:01 Because we want it in the third.
36:04 as you check.
36:06 Hey, wait a minute. I can't take a check. I got a half cash. Oh, sure I know.
36:11 I was thought of that.
36:13 You just endorse it?
36:14 I don't cash it.
36:15 Why have I got an endorsement?
36:17 We've got to have a receipt, don't we?
36:19 Yeah, I...
36:22 Hello, Gus.
36:23 This is Zelda.
36:24 What's the matter? Is Flower giving you the brush off?
36:27 Look, I gotta make it snappy.
36:29 I'm over to Savoy with Mickey.
36:31 I just overheard something.
36:33 kids gonna give you the double cross.
36:35 Yeah.
36:36 on the level.
36:38 You better get over here right away.
36:55 - Well, everything under control? - Sure.
36:59 Well, let's have a little drink to celebrate.
37:03 See you later.
37:04 So long, Mickey.
37:15 Hold the fort on, Emma.
37:16 Where are you going? You can't leave me here at the bar alone. You'll be safe. I won't be long. Got some work to do.
37:20 Another horse's neck for the lady?
37:23 And heavy on the grenadine.
37:26 Mm-hmm.
37:32 We gotta shove off.
37:33 for I'm just beginning to enjoy myself
37:35 I know, but I gotta get going.
37:38 Oh, now that you're flush again, I suppose you've got another date, huh?
37:41 This is business.
37:43 Well, we can have another drink anyway, can't we?
37:47 I suppose.
37:50 You know Gus Hammond?
37:51 Who doesn't?
37:52 that he gets us.
37:54 I don't want him to know where it came from.
37:56 Understand?
37:57 I get it.
38:05 Hello, sweetheart. Back again.
38:07 I'm leaving so soon, Mr. Connors. Never mind the hat.
38:10 What you got there? Anything interesting?
38:11 It's none of your business.
38:13 Oh, come on now.
38:16 Well...
38:18 I didn't know Blackie Hale was on riding terms with Gus Hammond.
38:21 Hey, give me that. What do you think you're doing? Hello, Terry.
38:24 Well, if it isn't detective...
38:26 Lieutenant Miller.
38:27 You know, Gracie.
38:29 Nice girl, smart too.
38:31 See you again, sweetheart.
38:35 Check your hat, Lieutenant.
38:37 No, I don't think so.
38:40 I just want to look around.
38:46 Hold your breath and I think I'm on to something.
38:52 How do you like that?
38:54 What is it for some reason or other flower Hendersons trying to find Mickey O'Banion.
38:57 What do you mean, Nicky? Yeah, look, Aunt Emma. Look.
38:59 You hang on to this like grim death. If anything happens to me, give it to the police.
39:02 Or better yet, give it evidence.
39:04 He's the city editor of my paper.
39:05 But what in the world? I know it's all very confusing, but I'm on the trail of something funny hot. And you stay here, I'll get back as quick as I can, but...
39:15 Framing Mickey, huh?
39:20 - Wow.
39:22 Oh.
39:26 Good evening, Mickey. Good evening, Miss Lafonte. Hello, Aunt Emma.
39:30 - Why isn't it?
39:31 small world when I say goodbye to you in the dressing room, I didn't expect to
39:35 see you again and here we are together. Do you mind if I sit down?
39:39 Sure.
39:42 You know I'm getting the biggest
39:43 real out of this the first time I've ever been in a nightclub no foolin
39:47 You know, back in Fairport, we go to bed always at 9 o'clock. 9 o'clock? Yeah. That ain't living, Aunt Emma.
40:23 Good evening, Mr. Hammond.
40:30 Having a little party? Oh, hello, Gus. Sit down. You don't have to stand up for me.
40:37 Just get that check.
40:38 No.
40:39 Why not why he didn't?
41:01 You're Gus Hammond.
41:02 Mickey's manager.
41:03 I've been dying to meet you ever since he told me about you in the dressing room tonight.
41:07 That's swell, bud. I've got a great idea.
41:10 Why don't you let me take Mickey up to the country where he gets plenty of fresh air, exercise, and good food?
41:15 And he'd be a champion, just like his father.
41:18 I'd like to.
41:19 sure sure I know look do girls mind finding something else to do I want to talk to Mickey alone
41:25 Let's powder our noses in. Oh, but I don't want to powder my nose. I want to ask Mr. Hammond some more questions.
41:30 some juice
41:40 You can have it now, buddy.
41:42 I ran out of nickels.
41:50 Normandy 9, 4000.
41:55 City desk.
41:58 Hello, boss.
41:59 This is Terry.
42:00 I'm over at the club Savoy and I'm on the trail of a story that's going to pin your ears back.
42:03 So you're at the club, Savoye.
42:05 And you're on the trail of a big story.
42:07 Listen, you blundering idiot. Where were you when those two thugs were murdered at the stadium tonight? Two thugs murdered at the stadium? Every other people in town had it, not a lie from you.
42:17 You wouldn't know a new story if you woke up and found one in bed with you.
42:21 You're fired, Mr. Carvers!
42:22 And don't bother to come in the office for your check.
42:25 I'll mail it to you.
42:26 My blood pressure couldn't stand the sight of you.
42:29 Boss, are you there?
42:37 We'd like to see you in the office, mister.
42:39 We want to have a little talk with you.
42:41 Okay.
42:44 Suppose, Mr. Hammond, I wanted to buy Mickey's contract.
42:49 How much would you ask for it?
42:51 It ain't for sale.
42:52 Oh, but you must know what you take for it.
42:55 Listen.
42:55 I said it ain't for sale.
42:57 I also said I wanted to talk to the kid privately.
43:00 And that's just what I'm gonna do.
43:01 On your feet.
43:02 Let's find a place where there ain't so much noise.
43:04 See you later, animal. This way.
43:09 Yeah.
43:13 Ready to talk?
43:14 If you listen very carefully, you won't hear a thing.
43:18 If you're smart, you'll tell us where that envelope is.
43:20 What envelope?
43:25 Have you any idea where Terry is?
43:27 Why ask me? You're liable to be anywhere.
43:30 Young lady, you're taking entirely the wrong attitude about Terry.
43:33 Besides, I know something terrible is happening.
43:36 You've got to help me find him.
43:37 All right, so have a look around.
43:42 Don't tell me you're not up to some kind of a double cross hanging around Flower Henderson's joint.
43:46 Come on, spill it. I'm telling you, Dutch, you got this all wrong.
43:49 - Oh yeah.
43:50 Suppose you explain why you were sitting at the table with Flowers Girl and Ma Parker.
43:55 I'll be out playing along with the old girl.
43:57 Trying to put me on the spot, is that it?
43:59 You mean you think that little old lady is ballparker?
44:02 I don't think I know. She knocked off Duke and Joe tonight at the stadium.
44:06 You're crazy.
44:07 Her name's Emma Bates, and she's from my old hometown.
44:09 She used to know my old man.
44:11 So...
44:12 Covering up for her, huh?
44:14 That proves you are giving me the business. Well, let me tell you something.
44:17 You and that old dame ain't gonna get away with us.
44:20 Even if she was your old man, sweetie.
44:25 Okay.
44:34 Mickey! I'll take the gun, Gus. OK.
44:37 Get an ambulance, call the doctor.
44:39 Call on ambulance.
44:41 Oh, he's still beating.
44:42 But not very much. Yeah, two sluggies.
44:46 I thought you were too smart to put a stunt like this. Save that shadow. Look at my face.
44:50 You slugged me twice. I shot him in self-defense.
44:53 I'll be free in the morning.
44:55 with a nice fresh hideous compass.
44:57 Well you have to make a shooting gallery out of my place.
45:01 You ought to know. Come on.
45:04 Oh, I wish...
45:05 Harry was here.
45:07 He knew Mickey was in danger. He told me so.
45:09 And now he's missing the story that he was after.
45:12 Terry's never where he ought to be.
45:14 Young lady, when we get Mickey to the hospital, you and I are going to have a talk, man to man.
45:46 I certainly made a mess of things.
45:48 My three stories lost my girl and got fired all in one day.
45:52 And M, I'm a complete washout without any reservations.
45:55 Oh, just a little one.
45:57 Can't think what it would be. I'll show you.
46:06 Now, don't say a word.
46:08 Aunt Emma gave me a little
46:09 talking to and
46:11 Terry, let's start all over again.
46:13 scratch.
46:14 Will you? Will I? Oh, that's enough sentinel.
46:16 Don't forget that Mickey's in the hospital.
46:19 And if we can get him out and up to my place in the country, I can nurse him back to health.
46:24 And then maybe, well, just
46:25 Maybe.
46:27 He might tell me that story you've been wanting to write about.
46:31 Of course, if you're not able to get up. Get up? Annie, you're a genius. I'm getting up right now. Oh, just a minute.
46:37 Turn there.
46:43 Could you identify these men if you saw them?
46:45 No, they grabbed me while my back was turned.
46:48 Where's Nicky?
46:51 He's not dead.
46:52 What happened, Miller?
46:53 Three months overpowered the nurse and grads.
46:56 Kidnap.
46:56 You mean they snatched them right out of this room?
46:58 That's it.
46:59 Well, what are you doing here? You know, Gus Hammond did it to keep Mickey from talking. Why don't you go pick him up?
47:04 Maybe you ought to see the commissioner now that you're out of a job.
47:07 He might make you chief of police.
47:09 like that.
47:10 Then you have picked up Hammond?
47:12 No, but I've had a man tailing him from the minute he walked away from the jail.
47:16 He wasn't near this hospital when Mickey was smashed.
47:19 I thought I had something.
47:21 Well, Adam, it doesn't look like Mickey's going to take that trip to the country, does it?
47:25 Well, isn't there something we can do?
47:27 Maybe.
47:28 Let's get out of here.
47:31 Oh, if I find Mickey, I'll let you know.
47:35 Now let's reconstruct this scramble. Crenshaw was snatched.
47:37 Presumably like Gus Hammond.
47:39 Why?
47:40 because Crenshaw is Flower Henderson's attorney
47:42 and was about to spill damaging evidence to the grand jury about Hammond.
47:45 Then things began to happen.
47:47 Two of Hammond's men were killed at the stadium.
47:48 Well, those are the men I'm...
47:50 I'm not expecting to kill him.
47:51 Yeah.
47:53 What do you mean?
47:54 Well, it's right there in the headlines that the police are hunting for a woman with an umbrella who was seen coming out of the dressing room
48:01 where they were murdered. Well, that's me.
48:05 Would I be too fresh if I offered a suggestion?
48:10 gang people.
48:11 think I'm that famous gun woman, Ma Parker.
48:14 Why can't I be more partner?
48:16 Are you serious?
48:17 Certainly.
48:18 Why can't I join up with Flower and sort of be his mom?
48:22 End it.
48:23 Maris here could help. He likes her and she could get me in. But I won't have her being nice to that heel. Be quiet and leave this to Aunt Emma.
48:31 Where do I come in?
48:32 Well,
48:33 You can teach me some of those awful gangster words like...
48:37 and Mug.
48:39 And get me a pistol.
48:42 pistols?
48:43 Yes, to carry in Mom Varela like Ma Parker does.
48:46 And then tonight you'll get a car and park outside of Flower Henderson's
48:50 club.
48:51 and then things will happen.
48:54 It's all very simple.
48:56 Three guys, grab a man and carry him out of a hospital
48:59 Broad daylight.
49:00 And nobody sees them.
49:02 We know who wins in there at the job, but Gus Hammond was miles away at the time.
49:07 Fascinating business being a detective, isn't it?
49:10 Yeah, maybe we ought to turn in our shields and let that reporter
49:15 Yeah.
49:17 Wait a minute.
49:18 Then who'll be?
49:19 The one that was with Terry.
49:21 There was something familiar about her. Did it strike you that way?
49:25 No, she didn't look.
49:26 Millard, just...
49:27 Kind of silly carrying the number of the sun shining right outside.
49:31 Well, that's it, the umbrella.
49:32 There's an alarm out for no lady with an umbrella.
49:35 She's wanted for bumping off those gorillas at the stadium last night.
49:39 But what would she be doing with Terry Connors?
49:41 That's when I'm going to find out.
49:49 Now you stay here and remember to keep your eyes open.
49:52 Okay, but don't be too nice to that wolf, honey. I'll be out here dreaming up all sorts of things. Will you stop worrying?
49:57 Harry Connors, won't you ever learn?
50:00 that when a woman loves a man, he doesn't have to worry about anyone else.
50:03 Come dear, we have work.
50:07 Gus snatching Mickey was a smart trick.
50:09 Too bad I didn't think of it first.
50:11 Yeah.
50:12 He's probably got Mickey stored away in the same place he's got Crenshaw.
50:17 Come in.
50:21 Hello, sir.
50:22 Hello, honey.
50:25 What's on your mind?
50:27 What would you say if I told you I could locate Crenshaw for you?
50:31 Where is he?
50:32 I don't know.
50:33 But I've got a friend outside who might be able to find him for you.
50:36 Shall I bring her in?
50:38 - Sure.
50:42 Ma, come on in and meet the foe.
50:47 Laura, I want you to meet a friend from my hometown of Missouri.
50:51 Mall Parker.
50:52 Maybe you've heard of her.
50:53 Hiya chump.
50:56 Hello.
50:57 Ma Parker, my old hat. This dame's name's Aunt Emmy Bates.
51:00 Then the upper are all flat and
51:03 You heard me.
51:05 Sit down.
51:09 I get it on the grapevine that you're Mr. Big and the racket's around this
51:14 So?
51:15 So I'm ready to cook up a paper with you.
51:18 It has to do with a citizen named Gus Hammond.
51:22 Ever heard of him?
51:23 Yes, and maybe no.
51:25 Why?
51:26 I don't blame you for playing clam flower.
51:30 You're smart.
51:31 I like the way you operate.
51:33 Only I was burned up when I found out that you and your boys had knocked over Duke and Joe at the stadium last night.
51:39 When I walked in that dressing room and found out you'd rubbed out those two gorillas before giving me a chance at them,
51:45 I blew my top.
51:49 Well, I wanted to give the business to those two jerks
51:52 personally.
51:52 on account of what they and Gus Hammond did to me on their last trip out west.
51:58 Yeah?
51:58 Yeah.
52:00 and Hammond
52:01 still left.
52:03 Yes.
52:04 saving him for any reason.
52:07 Why should I?
52:08 I'm just asking. I'm a stranger here and I wanted to find out what the
52:12 or was before I give Hammond the business.
52:16 I just--
52:17 - I want one minute long with that double-crosser.
52:20 And I'll empty this heater into him before he can wipe off that surprise look.
52:29 Listen.
52:29 You're not Ma Parker. You're just a sweet dame pulling a knack.
52:33 Mickey knows her.
52:35 She was trying to get Nick to go upstate to her place last night for a lot of fresh air and milk and honey and stuff.
52:40 I told you.
52:41 to pipe down once.
52:43 Now one more crack out of you and I'll pin your ears back. Yeah?
52:46 Well, if you were so anxious to knock over Gus Hammond, why didn't you do it last night when you were sitting at the table with him?
52:53 How can you say?
52:53 having a dame that dove around you.
52:57 Do you think I'd be chump enough
52:59 Give a guy that business
53:00 Is John Law standing out the door casing the joint?
53:05 Why don't you toss her out so we can talk some business?
53:08 We want to know where Crenshaw is, though.
53:12 Take a powder.
53:13 Are you going to be sad enough to listen to this old doll? I said take a powder.
53:18 Okay, it's your funeral.
53:24 All right, Maul. Let's hear how you're gonna find Crenshaw.
53:27 And it had better be good.
53:29 Don't get yourself in a nut grower, cousin. It'll be good.
53:32 Gus Hammond will make it good.
53:35 Hey!
53:36 Did you do that on purpose?
53:38 What do you think, pal?
53:40 Every time I mention Gus Hammond's name, I...
53:43 Trigger finger starts to itch.
53:48 Hello, Gus.
53:49 Zelda.
53:50 I want to tip you off to something.
53:52 One again.
53:53 Ma Parker's cooking up a deal with flour to put you on the spot.
53:57 I thought you'd like to know.
54:02 Your idea's all wet, Ma.
54:04 Even if you did get Gus over here, he'd never take you to the hideout where he's holding Crenshaw.
54:08 He would if I gave him the once-over lightly.
54:11 With what?
54:12 With my umbrella, of course.
54:14 You'd be surprised what a lump this umbrella could raise in a man's head.
54:19 No dice, Ma.
54:20 - It looks like a shooting film.
54:21 Sure you could.
54:23 But a stiff can't be the
54:24 Grunge off.
54:38 I don't want to get...
54:40 Wow.
54:40 But you're going to do this my way.
54:43 Or a certain...
54:44 person will go to the DA's office
54:46 With that check you used to frame Mickey O'Banion.
54:50 You got that check from that reporter. Yeah. Do you want to make something of it?
54:56 Oh, look, honey.
54:58 Where's the old lady with the umbrella?
55:00 Hello, Lieutenant.
55:01 A lovely evening, isn't it?
55:02 Yeah, swell evening for a lot of questions I want to ask you.
55:06 Hop out of the current. Oh, no, I'm staying right here.
55:11 Forget her!
55:16 Okay.
55:17 Pepper pennies?
55:18 Frank!
55:20 Are you going to get out of that car or do I have to pull you out? Now, listen, Lieutenant, I'm waiting for my girl. She'll be out in a few minutes.
55:33 I can't all know you're coming in.
55:38 I'm going to go.
55:44 What's the idea? Pull over the curb. Nothing doing. We're following Gus Hammond.
55:48 He may lead us to Crenshaw and Mickey O'Banion.
55:50 Crenshaw?
55:56 Listen, Mr. Hammond. Shut up.
55:59 Haven't you got a sense of humor? Can't you take a joke?
56:02 I'm taking one now.
56:04 On the last ride. You'll never get away with it. Shut up. Oh, dear.
56:10 Pour on the gas.
56:19 Where are we? Will you button your lips?
56:23 Look at him.
56:35 Come on.
56:50 Well, they've gone. What are you stopping for?
56:52 They must have ducked into this warehouse. They couldn't have made the next corner.
56:55 Well, I doubt it, but we'll have a look around.
57:06 That's locked.
57:07 We've got to get in some way.
57:09 We'll get in.
57:12 Hey.
57:14 I'm gonna drink a water.
57:15 What, another one?
57:17 You sure do interfere with a guy that's trying to improve his mind.
57:31 - Hi, Chick. Everything okay? - Yeah, except the fire of yours. He sure drinks an awful lot of water.
57:37 All right, Bill, bring them in.
57:40 - Mickey. - Hello Aunt Emma.
57:42 Are you all right?
57:43 I don't know. I feel kind of hot.
57:45 All over.
57:47 You have to see.
57:49 Amen.
57:52 You've got to get that boy back to the hospital. He's running a temperature.
57:55 That's too bad.
57:56 Now you look at me. Shut up.
57:58 Sit down.
58:00 How about a crunch?
58:02 Ready to talk.
58:03 You know the answer to that one.
58:05 Maybe you'll change your mind.
58:06 When I tell you, Flora Henderson won't be needing a mouthpiece anymore.
58:11 Stand on the level.
58:19 Oh, oh.
58:22 You're acting pretty silly, Trenshaw.
58:25 If you'll just tell me where that stuff is you were going to show to the grand jury.
58:28 You can walk away from this place in five minutes.
58:32 What about...
58:33 these people.
58:35 They won't be around to talk.
58:57 Get 'em up.
59:04 Hey, Gus!
59:09 Good.
59:10 - Gracious.
59:24 Oh, my God.
59:38 Drop that gun.
59:43 Scooped again.
59:45 Kitty, so I'm afraid to pick up rival paper.
59:48 Holy smoke.
59:53 Maybe Terry was right when he said he's on the trail of something at the Savoy.
59:57 probably fired him too soon.
1:00:00 Now!
1:00:01 Hello, boss.
1:00:02 Don't call me Bosch!
1:00:04 And don't be bothering me this time of night. Okay, if that's the way you feel about it, I guess I'll have to give the story to the Star-Telegram. And what a story.
1:00:10 I got Quinshaw I got Gus Hammond I found out where Mickey O'Banion is.
1:00:14 You have?
1:00:15 Well, now, wait a minute, Terry.
1:00:17 Oh, now let's not act hastily about this.
1:00:19 All right I'm listening.
1:00:23 My old job back?
1:00:27 Array?
1:00:29 A bonus.
1:00:32 Haven't you forgotten something?
1:00:34 What are you leaving the paper?
1:00:36 Two weeks off for honeymoon, you slave.
1:00:39 Okay, it's a deal.
1:00:56 Well, it's about time.
1:00:59 Who's that?
1:01:00 Mickey O'Banion, Gentleman Jim's son. A prize fighter. Gentleman Jim's son.
1:01:06 You get that uncoolstown out of here immediately.
1:01:09 You're not going to sully the name of Beats, but dummy up, you silly jerks.
1:01:14 Mickey's moving in.
1:01:16 And I don't want to hear a beef out of either one of you.
1:01:18 See?
1:01:20 Now,
1:01:20 Scram to the kitchen and rustle up some chow and wing it. And get a load of this.
1:01:25 From now on, I'm the big cheese in this rat trap, and you're taking orders from me.
1:01:30 Now get going before I hang one in your noggin with this bumper shoe. Oh!