The Front Page (1931)

No renewal found Free in the US since 1 January 1960, on the registry's reading: registration LP2188 of 1931 by The Caddo Co., Inc was not renewed in the volumes searched. Record.

A reporter tries to leave the newspaper business, while his editor treats the departure as a story that must be stopped.

Before Pat O’Brien played Hildy Johnson, the reporter trying to escape his editor in The Front Page, he had played the editor himself on stage.⁴ That reversal is a useful way into the film. Hildy and Walter Burns understand each other rather too well for their argument about leaving the newspaper business to be straightforward. O’Brien gives Hildy the impatience of a man whose next life is already waiting. Adolphe Menjou makes Burns’s determination to keep him seem less like an employer’s calculation than a refusal to recognise that anyone could want another life.

Ben Hecht and Charles MacArthur’s play brought their experience of newspaper life to Broadway in 1928.⁵ Its version of the profession helped shape the newspaperman’s idea of himself.⁵ The 1931 film was the first of four screen versions.⁴ Lewis Milestone directed it.¹ It preserves the theatre’s central pressure chamber: a courthouse pressroom where men who are paid to report events spend much of their time waiting for something to happen. The setting brings the machinery of law and the machinery of publicity into close quarters. With an execution approaching, the reporters have a deadline in more than the ordinary sense.

Hildy wants to leave journalism to marry Peggy, played by Mary Brian. Earl Williams’s escape from custody gives him the kind of exclusive that makes a departure suddenly negotiable. Beneath the plot’s elaborate efforts to detain him lies a simpler joke: Hildy scarcely needs to be forced back to work. He knows what a story is worth before he has decided what to do about it. Peggy offers a future outside the pressroom. Burns knows how to make that future feel remote beside the immediate demands of a scoop.

The film’s comedy depends on a disturbing mismatch between the gravity of events and the uses the newspapermen make of them. The reporters treat Williams’s possible death chiefly as an opportunity to beat one another to the story. Their professional detachment can look like courage or like a failure of feeling, sometimes within the same exchange. Milestone makes the crowded room an arena of competing attention, where an interruption can displace whatever had seemed most urgent. The pleasure lies not simply in fast talk but in watching control of a situation pass from one speaker to another. The farce does not suspend the cruelty of the premise. It feeds on it.

Howard Hawks remade the film as His Girl Friday in 1940.⁴ Cary Grant and Rosalind Russell starred in a version whose gender switch altered the original story.⁴ The editor is also Hildy’s former husband. Returning to the earlier film makes its different emotional arrangement more apparent: Burns behaves with the possessiveness of someone being abandoned despite having no marital claim on Hildy. Journalism supplies its own bond, one that the film makes difficult to distinguish from appetite.

For later viewers, the condition of the available copy has also mattered. A restored DVD improved the viewing experience after years of circulation in poorer copies.¹¹ The 2016 restoration began with a 35mm nitrate duplicate negative loaned by the Library of Congress.⁷ The condition of surviving material is a separate question from the copyright finding. An expired term cannot ensure that a film’s images and voices reach viewers intact.

The record: Registration LP2188 by The Caddo Co., Inc is dated 6 April 1931. The registry found no renewal in the renewal volumes for 1958 to 1960, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1959 and the film has been free in the US since 1 January 1960. The record does not settle the completeness or fidelity of any particular circulating copy.

Written 6 September 2026 by gpt-6-astra from the registry record and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

catalog.afi.com https://catalog.afi.com/Catalog/moviedetails/5766
en.wikipedia.org https://en.wikipedia.org/wiki/The_Front_Page_(1931_film)
moma.org https://www.moma.org/calendar/events/2498
tcm.com https://www.tcm.com/articles/64127/the-front-page-1931
britannica.com https://www.britannica.com/topic/The-Front-Page-play-by-Hecht-and-MacArthur
britannica.com https://www.britannica.com/topic/The-Front-Page-film-1931
oscars.org https://www.oscars.org/sites/oscars/files/01092024_academy_film_archive_national_film_r...
film-foundation.org https://www.film-foundation.org/contents/reports/2019/2019.pdf
chicagofilmsociety.org https://www.chicagofilmsociety.org/2017/01/23/front-page-interview/
paristheaternyc.com https://www.paristheaternyc.com/film/the-front-page-1931-paris
artsfuse.org https://artsfuse.org/135168/fuse-dvd-review-1931s-the-front-page-restored/
artofthetitle.com https://www.artofthetitle.com/title/the-front-page/

Inside the film

38 shots over 1:39:56 · 524 transcript lines · JSON

Check before citing the shot count. Few shot boundaries: 38 shots in 1:39:56 is under one a minute. The detector misses cuts on dark, faded or damaged prints and treats dissolves as continuous; the count is a floor, not a measurement. A 13:54 shot at 14:00 (shot 8): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 38 frames with timestamps and on-screen text

How this page was made

38 shots over 1:39:56, read from the Internet Archive copy TheFrontPage1931AdolpheMenjouPatOBrienLewismiles (TheFrontPage1931AdolpheMenjouPatOBrienLewismiles.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: The Front Page No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 38 shots judged colour), average shot 157.8s long, a frontal face detected in 26% 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. 524 segments kept, 39 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.

1:42 We're all ready to shoot it, Mr. Clovey. Ready whenever you are.
2:08 Come on.
2:11 Hey, Henry!
2:13 The rope you gave us to that last day, and that's that guy up and down like he's on a rubber band. We didn't really wait, 134. And a couple of pounds for breakfast the way those guys always eat, that brings it up to 136. Even if you get the spring out of it, we want this one's next rope.
2:29 All right.
2:48 Hey, what's the idea of throwing things out of the window? We play with that gallus. Are they expecting us to do any work? Good answer, gallus.
2:58 I'll get the sheriff after you, tramp.
3:01 They must respect for the press around here. How's the wife, Anthony? Better? Worse. We had to hang around all day and all night waiting for him to hang that kooko. Hard work, all right. Crank it for a dime. Hey, Schwartz, what do you do? Why me? What time is it, anyway? 4.30.
3:19 Hey, me too. These cars are like wash bags. Let's chip in and get a new deck. These are good enough for me. I'm 80 cents out already.
3:30 Faber, 105-9.
3:33 Hey, take this phone.
3:36 Ernie, you ain't doing anything.
3:39 Uh, you guys crippled or something? Criminal court building, press room. Uh, just a minute, please. Hello, Sarge.
3:48 McHugh. Yeah, I phoned. Anything to him? All right. Thank you, sir. Do you hear me? Say, Ernie, why don't you take your instrument into the library and play it?
4:07 Hello. Is this the home of Mrs. F.D. Margoli? This is Mr. McHugh of the City News Bureau. Is it true, madam, that you were the victim of a peeping song?
4:18 She says she's worth keeping it. Oh, now, madam, that ain't the right attitude to take.
4:22 All we want is a fact. Tell her I can run up for an hour. Tell her to come over here. We'd like to reenact the crime. Just a minute, madam. Is it true, Mrs. Margolis, that you took the part of Lady Godiva for charity seven years ago? Hello!
4:38 She cut off. What, her hair? Tell her I'll be right over.
4:45 Yeah? Now, Hilly, just a... Oh. Oh, hello, Mr. Byrne. No, Hilly hasn't shown up yet.
4:52 Yes, you're Mr. Mercer. Hello, Mansinger. I've just had an interview with Williams. Over in that death house. That jail, that jail is reeking with germs. Oh, believe me, the Board of Health is going to hear about the conditions over there through my paper. It's amazing to me that those prisoners can live long enough to get home. What's the idea, Matt? Say, is that the only telephone in this place?

504 more segments

5:22 How many times have I got to tell you fellas to let my phone alone? You want to talk to a mouse, please? Go and buy one. - I want my guy. - Whitney, 9,000. The germs of the mouse are the most contained... Oh, shut up, Mr. Reed. Whitney, 9,000. What is this, a hospital? Yeah, Roy, how's your simple coming for? Hello, Sarge. McHugh. Anything, George?
5:44 Say, you don't have to use my desk for a garbage can either.
5:51 Say, how would you like to stop stinking up this place with those antiseptics? Anything new on the hanging, Benzell? My deal, ain't it? Hey, it's 09. What is it? Question before the house. The gentleman wants to know if there's anything new on the hanging. Oh, nothing special. Did you talk to the sheriff? Why don't you get your own view?
6:14 the owner sees the sheriff. Criminal court press room. No, Hildy comes to me. Oh, yes, Mr. Burns. What? I know, Mr. Burns. Yes, Mr. Burns. Goodbye, Mr. Burns. Wall of Burns to Hildy again. Something must have happened. I'll tell you what's happened. Hildy's quit. Oh, nurse. You know, Hildy's a fixture on the morning post. Yeah, he goes with the woodwork. He told me he was going to quit. Say,
6:44 He'll find a way to keep him here somehow. Remember what he did to Fenton when he wanted to go to Hollywood? Got him into a fight and had him thrown into jail for assaulting battery. Give me a rewrite. Well, if he ain't quit, why ain't he here covering the hangar? I wish I could quit. Ready? Mercy for Bell's elbow. Z for zebra, O for onion, B for bat, Tye, Z for anything else for, uh... L for, uh... Oh, don't tell him anybody.
7:11 L for Listerine.
7:14 Swedish masseuse with rooms at 608 Inverness Avenue. Well this gang was arrested tonight on complaint of a lot of angry wives. They claim she's been treating their husbands with electricity at a dollar a time. Well this Swedish kid is in again. I understand she massages him too.
7:44 All right. Main 6800. Say Ernie, why don't you take up electricity instead of that noise? Oh, it's got no filter. Press. No, Mr. Burns. Willie Johnson is. I'm not lying, Mr. Burns. What was it acting like he's supposed to blood vessel?
8:19 - You fine, Johnson, sir? - No. Then I'll have to put another man on the job. In your hat, Duffy. I'm after that bunch of bloody-libered, pockmarked, peanut politicians who think they're running this town. And he'll be Johnson, the only man on the staff I can trust tonight. - We've got to have... - We've got to have Johnson!
8:37 But you haven't got it.
8:42 A bunch!
8:44 I won't hear you, gentlemen. Tell the boys on the down front of the river to find them and find them fast. $50 and send the rings a minute. Where's Diamond Lloyd? Right there. Hey, I want this to be in here. What was it? Hey, Lloyd.
9:08 Hey, Lloyd.
9:11 All right, boy.
9:14 I want him. Get going.
9:36 Is Tony Johnson here? He's on the wagon. I ain't. You remember me? I was here last night with Mr. Benchley. Mr. Benchley's still here. Great.
9:46 Hi, baby. Oh, he's not. Can't see the music, John. I haven't seen that music in a while.
9:53 Hello, baby.
10:12 Hello, you mean? I'm looking for, uh, you only gentlemen. Why? All the birds want the paint. And I want to keep all the birds. Of course. Two dollars. Two dollars, please. Two dollars, please. Oh, I'm sorry.
10:37 They're almost mine.
10:43 Honey, I'd write the society notes to get a look at Walter Byrne's face when he hears it. Oh, I'd write it for a year to see when he hears I'm getting married.
10:51 I've had it for two years to get along with what he says when I'm leaving this town of New York.
10:58 What's the matter? Oh, so that's why you got that. Walter Byrne. That's why you're going to marry me. Walter Byrne.
11:07 That's why you're going to New York. To fight for all the birds. Oh, honey, you're crazy. Now listen. Listen, did you ever come up out of a sewer?
11:27 Honey, did you ever come up...
11:36 Cool, fresh air hit you? Well, I did. And honey, you're the cool, fresh air. You've made a fresh air thing out of me, dear. And I'm not going back there unless you send me. Then he'll leave you go right up the water and go into his eye. What, and have him get his hands on me? That's why I've been hiding out at your place, to keep away from that double-crossing maniac. Tell you what I'll do. I'll resign by phone and get a look at that snake's face. Oh, no, you don't. Here.
12:06 What, $500 and then one bill? Uncle sent it to me for a wedding wedding. I wasn't going to give it to you until we got there. But you take it. After you take me home, you get the ticket. Instead of getting married tonight, we'll get married tomorrow. Instead of going to New York tomorrow, we'll go to New York tonight.
12:36 All we have to do is throw the oil in the wine that cost 24 hours earlier, that's all. What is it, Mother? Do you know what I think? What? I think you must be a sort of irresponsible type, or you wouldn't do things this way. Now, Mother, you stop thinking on my hill. He didn't do a one blessed thing to help out getting away. You better get busy.
13:29 Oh, that's the dress you had on the first night I'm there.
13:36 Yes.
13:39 Wait a minute.
13:41 Can't you let you head on the night you said no?
13:49 Come in.
14:06 Movie house.
14:41 Hello, Henry.
14:43 I'd like to have a little talk with you for about 15 minutes. No, no, chance. Water on 15.
14:48 You're not too busy to be playing around the neighborhood, turning in false fire alarms. What? Hello, Max.
14:56 Hello, Mr. Burns.
15:01 All right, Walter.
15:09 Boy, I wish I could find the guy that did this. I take that box is too strong. Aren't you going to ask me how I found out where you were? Yeah, great scoop. Everybody in the county bill are working for it. I was just one of the huts.
15:26 Set him up. None for me. Here, Victor, standing.
15:32 So you're leaving me for marriage? Why? Standing here, Cliff.
15:39 How did that happen?
15:41 It was a move. Well, I guess that lets me out. I'll give you a farewell party.
15:51 But it hurts, Sheldon. You're not telling the fellow after all I've done for you. You mean after all you've done to me? By the time you sent me down to the lake to test that trick diving suit. That suit was about as waterproof as your straw hat. It felt so fast it took me half an hour to pull me up.
16:08 Did I go to the expense of hiring an airplane to take you up so you could get your hearing back? And at the further expense of driving the pilot to a man in the middle of a strike massacre at Heron on the noise? You scooped the whole world up the story, you made yourself the enemy of every newspaper man alive.
16:23 Oh, that was worth it a sec.
16:26 Even if I did get ridden out of town in the room. Were they pulling holes in a hat that cost me six dollars? And charged on the expense of God at fifteen? And got away with it?
16:38 Those are the days.
16:40 You certainly have a lot to tell the kids. Yeah. What kids? You're getting married.
16:51 Well, why not?
16:54 A guy's got to settle down sometimes.
16:57 Get a home and wife.
17:00 And see if kids would hold it all together. That's right.
17:08 nice girl before me so I could stay in a two-room love nest at night with the wife and kids while the fellas were out having a lot of fun. Oh, dear. Now, it does make a respectable citizen out of a man. It must be grand. Not a dissidiotic jumping around at all hours and having to be on the inside of all the crazy excitement in this town. Ah, the 5.15 out to some quiet suburb. A home-cooked dinner every
17:38 Unless, after the tapioca, the wife has a few friends in for a neighborly chat.
17:43 I don't blame you, Hildy. It sounds great.
17:53 Excuse me a minute, will you?
18:17 Come on, Air Forcey, deal them out, boy. Don't let that deck get cold. You can deal me a decent hand, will you? Well, what's the shoes? Any news? I've just been over to the death house. Did you hear what Williams said to the police? Oh, forget it. Yeah, I know, I know. The paper's full of the hangers. We ain't got room for the ads. What did Williams say?
18:38 Come on, boys. Ante up. Ante up. I've ante quite already. He said to the priest that he was innocent. He'll start crying in a minute. Why don't you send the poor nuts and roses like that girl of his, Molly Malloy? Oh, now there you are. There's an idea. She thinks she's innocent, too. Oh, you fellas don't understand. Now, I... Before you go on, wouldn't you? Would you mind running down to the corner and getting me a hamburger sandwich?
19:03 Personally, my feeling is... Is there two hamburgers right, a good fellow?
19:08 Now, my feeling is that Williams is of the doomed personality type. Yeah, yeah, I know, I know. Like the dolly sister. Yeah, tell it to the Tribune. Please. All right. That's, uh... It's on account of the way his head is shaped. It's a typical case. Oh, ask him to put a lot of ketchup on them sandwiches. I thought you fellows might be interested in the psychologically...
19:38 I'll be here, Simon.
19:41 I'll be here.
20:02 I'm blooping. Uh... Well, oh, hello, Mr. Burns. Why, no, we haven't seen Hildy. Hi, Antoine! What do you think? He's gonna shake! It's Walter Burns on the wire. I'll talk to him, will you, Hildy? That's a little less paranoid to take a sweet kiss for himself. Come on, Ernie, sound your rage. Good-bye! All right, Bert. Mr. Hildy, will you do me a personal favor and talk to Walter? He's been calling up about nine million times. What's the matter, Hildy? Are you afraid of him?
20:29 I'm not talking about maniac, but pleasure.
20:33 Hello, Mr. Burns.
20:35 What's that, Mr. Burns? Why, your language is shocking, Mr. Burns.
20:40 Now listen you crazy baboon, get a pencil and paper and take this down and get it straight because it's important.
20:45 This is the Hildy Jansen Currant.
20:47 The next time I see you, no matter where I am or what I'm doing, I'm going to walk right up to you and hammer on that monkey skull of yours till it rings like a Chinese gong. Oh, boy. That's terrible. Listen. I'm just trying to see you everywhere, everywhere.
21:00 No, I ain't gonna cover the hanging.
21:02 I wouldn't cover Washington Cross to Delaware for you if he did it all over again. Never mind the Vaseline, Jocko. I won't do you any good this time because I'm going to New York. I didn't tell you that, did I? And if you know what's good for you, you'll stay west of Gary, Indiana, because the Johnson never forgets. And that voice is what is known to telling the managing editor. Well, why'd you quit? Get married. See those three to New York tonight. Tonight? Yes, sir. What do you mean, three? Me and my girl and her darling ma. Oh, look. He's in love.
21:32 Is she a pricester? Has she got a good shape? Does Walter know you're getting married? Does he know? He took hands like a pal over to throw me a farewell dinner. That's his favorite joke. Farewell dinner. He poisons people out of me.
21:47 Meet Tucker 2164, will ya? Yeah, he got me in the pool lock, Mike. He sold me full of cheap booze. I'd have been there, yeah, but I haven't been for the window. You imagine that guy trying to break up my marriage after shaking hands? Well, hello, Peggy. How are ya, darlin'?
22:02 Hmm? Well, I know, but... Oh, you bet I resigned right in his face. Didn't I? Yes. What? 11.18 tonight. The press room. Just dropped in to take a bite of the boys. Yeah. No, not a chance, honey. I got a taxi waiting. Yeah. Ten minutes. Bye-bye, honey.
22:24 Hey. Where's the wedding? In the room. So you guys ain't gonna have any fun with it?
22:32 Everybody's getting a New York parade. I think it's a stinking village. You want to call it, Hilly? They tell me all the reporters in New York use lipsticks. Remember that one last summer? With a topper? Really? Oh, what the hell is the man? Could any of you gentlemen tell me what the Telegraph office is? You want to call it, Hilly? You'll be talking like that. Which one of those New York papers are you going to work for? None of them. Who wants to work in a newspaper? I had a hobo full of damn different bad gin. They wheedled off of all of them. What are you going in for the morning? The advertising business. $150 a week.
23:02 A hundred and fifty watts? There's the contract.
23:10 Have you guys got anything better to do down there? It is a hundred and fifty. You're gonna miss a sweet hangin'. Not if he's going to write poetry about the lady's panties. Can you imagine? Punching a time black, sitting around with a lot of stuffed shirts, talking statistics? Why, you'll be like a fire horse tied to a milk wagon. Listen to who's talking. Journalists. Picking through keyholes.
23:32 Running after fire engines like a lot of coach dogs. Waking people up in the middle of the night to ask them what they think of you at the least. Stealing pictures off of old ladies with their daughters that get attacked at Grove Park. A lot of dandy buddies keep swirling around with hoes in their pants. Following nickels from office boys. And for what? So a million hired girls and motormen's wives will know what's going on. Yeah, your girl must have handed you that line. I don't have to have anybody tell me about a newspaper. I've been a newspaper man for 15 years. Crossed between a bootlegger and a galooper. If you want to know something, you'll all end up on a copy desk.
24:02 You'll be out on the streets a minute your contract's up. Not me. My girl's uncle owns the business. Has he got a lot of jack? Choking on him. What do you think he'd give us for a wedding present? A dozen doily.
24:13 $500 in cash. There ain't $500 in cash. There it is. Except for the court to get those tickets to New York. Let me tell them. Oh, no, you don't. Just a minute. Just a minute, boys. What about a little bite? Garam.
24:28 Getty.
24:32 Oh, there we go. Can I wash up now, please? Yes. The place is beginning to smell like an owl's foot. Oh, you don't want to wash up on a night like this, Jenny. This is a holiday. Come on, give us a kiss. He really doesn't. He's right for me. What's the matter? Ain't I your fellow anymore? Tell me what we'll do, Jenny. You and I will go around and say goodbye to everybody in the building. Oh, but we can't carry this all over. Come on, Jenny. Come on. Hey!
24:58 Look!
25:32 Oh, fellas, now.
25:35 Who took that out of this window? We promised not to care. Who threw it? Judge Mankiewicz threw it.
25:43 He was in here with his robes on, playing fireman.
25:48 Come on now, fellas. I know who it was. It was Tilda Johnson, wasn't it? Where is he? Out with the lady. I swear I don't know what to do with you fellas.
26:02 That's room away from you.
26:11 Wouldn't that be too bad? Well, the place is so full of cockroaches you can't walk. Personally, I don't give two hoops. But how do you suppose it looks to have a lot of hoodlums yelling and throwing things out of the window?
26:25 There's someone in that setup. How do you suppose he feels listening to all this revenge?
26:32 how he feels. We're doing everything possible to get your whole ticket re-elected next week. Yes, when Earl Williams drops through that trap tomorrow, it means a million votes. Can we help it if the people rise to support this administration's stand against the red menace? Personified by Mr. Earl Williams, the guy who loses the job he's held for 14 years, joins the parade of the unemployed, and because he's goofy from lack of food, waves a red undershirt. Williams is a dangerous radical, and he killed a policeman. Williams is a poor bird who has a tough luck to kill a colored
27:02 And they'll hang your daddy deeper in the morning. You! Keep your shirt on, Pinky. And I don't want to hear any more of that Pinky stuff. I got a name, see? Peter B. Hartman.
27:30 Like I had sore eyes or...
27:32 Come.
27:34 Just a minute, fellas. Just a minute. Now, Pete, how about the favor that certain party is asking? Once and for all, will you hang this person at 5 a.m. instead of 7? We can't hurt you, and we can make the city edition.
27:50 Roy, we can't have a man in the street just to please the news day. No, but you can keep postponing the hanging so it'll come just before the election. Yes. With this new alien that's coming in, how do we know there'll be a hanging? Yes. What if this professor finds he's insane or something?
28:04 Well, they won't find he's insane. No? No. Because he ain't. Williams is as sane as I am. Sainer.
28:16 Yes.
28:21 Now, here's the resuming of the situation. The newspapers have got to put their shoulders to the wheel. They've got to impress when he's brought to me that a death warrant for Earl Williams
28:34 and forever bomb-throwing on American Red in this town. This hanging means more to the people of our fair city today.
28:50 That's a statement, Jimmy. Why don't you go home?
28:55 All right, you'll just get scooped. Oh.
29:01 Missles reform the reds with a rope. That's our slogan. You can poke me if you want to. Sheriff Hartman pledged. Oh, be order. We've been printing this chestnut for weeks. Ain't you going to use that? Sure.
29:15 Give me the desk. This is Fensinger.
29:19 The sheriff refuses to move for hanging up a minute. No, I won't. That thing is coming off exactly as per schedule. Seven o'clock in the morning and not a minute sooner. There's such a thing as being humane, you know. All right. All right. Which way do you want a favor? Give me a rewrite. Never know how in the morning.
29:43 Jake, you lead on the hanging.
29:49 name in this at all. Just say "The Sheriff." Why can't it jerk these guys in a reasonable hour? So we can get some sleep. This, uh, this new alienist, Dr. Max J. Eggelhofer. That's right, from Vienna. He's going to examine Williams at the request of the, uh, United Federation for World Sentiments. Oh my, one of the biggest. Author of that book, The Personality Glam. And where to put it? Better dime. Just autograph it.
30:19 copy for me. Did he buy his initials in your pants too? Wait. There's more. That doctor's the 14th pair of whiskers they've sent in on this case. Say, those alienists make me sick. All they do is cruise it and send your bill for 500 bucks. Give me the desk. Okay. Here's the situation on the eve of the hanging. Hello, Mrs. Murphy. More slop on the hanging. The jail, the municipal buildings, the railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution.
30:49 There are more relatives on the payroll to protect the city against the red menace which is leaving Moscow in a couple of minutes.
30:56 Upper Diane, Sheriff Hartman, the sheriff, has just received four more letters threatening his life, which he's going to answer by a series of raids. Prove to the voters that the Red Menace is on the square. Sheriff Hartman has just written himself four more letters threatening his life.
31:11 Yes, yes, I know he wrote him on account of the Miss Felling.
31:19 Except the condemned man ate a hearty dinner. Oh, uh...
31:24 Mock-curdle soup, chicken pot pie, hash brown potatoes, combination salad and pie, a la mode. The doomed man ate a hearty meal as follows.
31:33 Doodle soup, roasted beef, sweet potato, cranberry sauce, strawberry pie, and a great big hunk of pastrami. Edmund from who?
31:40 Sheriff?
31:42 Oh, call him for anything you want. He can't read. Ruger calling.
31:46 Nothing new on the hanging.
31:49 And say, James, get this in as a big favor for me, will you? The whole meal was furnished by Charlie Apfel and, uh, Apfel, uh, Ap, A for adenoids, P for psychology, F for phenomins, E for epilepsy, and L for, uh, and L for, uh, um, L for, um, lay an egg.
32:19 Certainly this is Benzinger talking. Well, the proprietor of Atzo wants to see you restaurant. That's it, yes. Thank you. Ahhhh. Hey, hey, hey. Uh, Vicky Benzinger's going in for Petty Grant again. That means a new hat for somebody. I understand that's how Benzinger gets all his clothes. Sure, the greasy spoon gave him that overcoat when George Kibb Q-Core swung. If they ever stop hanging people, they'll probably go naked. Why don't you make a poem out of it, Roy? Hello, Mike.
32:49 Uh-oh, there's a gleam in her eye. Don't look at me, sweetheart. I never said a word. Well, kid, how's the old Selina again? Good, and how are you, Smiley? Been looking for you, Tramp. Kid, those are swell owners you sent, Earl. What do you want done with them tomorrow morning? A lot of wise guys, ain't you? What do you want in here? I'll tell you what I think of you.
33:09 All of you. Keep your skirts on. It was worth breaking my fingernails on. I'd tear your face wide open. What's the matter, sweetheart? What you saw about? Now, wasn't that a swell story we gave you? Yeah. You've come to have been making a fool out of me long enough. She oughtn't to be allowed in here. Yesterday I caught her using the drinking cup.
33:29 I never said I loved Daryl Williams and was willing to marry him on the gala. You made that up. About my being his soul mate and having a love nest with him. You've been sucking around that cuckoo ever since he's been in the death house. Everybody knows you're his affinity. That's a rotten lie.
33:43 I met Mr. Williams just once in my life.
33:46 He was wandering around in the rain without his hat and coat on like a sick dog. The day before the shooting. I went up to him like any human being would and asked him what was the matter. He told me about being fired after working at the same place for 14 years. I took him up to my room because it was warm there. Oh. Put that on your controller. Just because you want to fill your lying papers with a lot of dirty scammer, you gotta torture him. Make a trap out of me. Got a match?
34:12 I tell you, he just sat there talking to me all night. Never once laid a hand on me. Uh-oh. In the morning, he went away. And I never saw him again until that day at the trial. Tell us what you told the jury.
34:25 Come on, laugh. I'd like to know some curses bad enough for your greedy souls. Sure I was his witness. The only one he had. Where's this? Yes, me. Molly Malloy, a common streetwalker. The only one with nerve enough to stand up for him. That's why you're persecuting me.
34:42 'Cause he treated me decent, not like an animal, when I said so. Go into your dance, kid. This is the press room. We're busy. Why don't you go and see your boy, Fred? Better hurry. He's left a call for 7:00 a.m.
34:53 I wonder if a bowl of lightning don't come down and strike you all dead.
34:59 I'm going to go.
35:06 What was that? They're fixing up a pain in the neck for your boyfriend.
35:11 Oh, what's the idea?
35:15 Oh, now, now. Don't get hysterical. Oh, you're strange. Why do you? Why, I didn't pay anything.
35:24 A poor, crazy little guy.
35:27 It never did anybody anymore.
35:30 sitting out there alone this minute with the angel of death beside him. And you crack it, Joe. Say, listen, if you don't shut up, I'll give you something to cry about. Oh, keep your dirty hands up with me. Come on, outside. Oh, Gene, let me go. Come on, get out of here. Get out of here. Take it on the lambs. You're a dirty bastard, you're a dirty son.
35:54 Yes!
36:06 Well, you guys want to play some more poker?
36:10 Oh...
36:14 Come on.
36:21 Here now, tickets for the hangin'. Two for each paper. What do you mean, two? What do you want to do, take your family? Ah, the boss wants a couple for the advertising department. I come with the pay. This ain't the folly, you know. Pink hearted pinky. I'm getting tired of your editors using these tickets to get advertising accounts. You've got a lot of nerve. Everybody knows you use them to get in socially. Yeah, you had the whole Union League club over at the last hangin'. Trying to suck in with the swells, huh? I suppose you'll wear a monocle tomorrow morning. Now, boys, that ain't the way to talk.
36:51 Many of you want a couple of extra tickets.
36:56 I'll be more than glad to take care of you.
36:59 But for goodness sake...
37:01 Don't ship.
37:07 Hiya, boys. We cleaned up. Here, here, here. Get that copy of the morning post out of here. Look here, Johnson. What do you mean by throwing things out of the window?
37:20 Johnson, what do you mean by throwing things out of the window? Who do you think you are? Who wants to know? You think that you and Walter Burns are on this town? Well, I'm going to send a bill to the post tomorrow for all the wreckings that's committed around here in the last year. Now, how do you like that? That's swell. You know what else you can do? What? Yes.
37:37 You stick your own nose in this building tomorrow, I'll have your exit. Well, that's almost worth staying for. And I'll tell you something else, and you can pass it on to Walter Barnes. The post's getting out tickets for this hanging on account of the lies that they've been friends. Well, listen, you pot roast, if I want to go to your hanging out, go, see, and I'll sit in a box. Oh, no, you won't. Oh, you have to tell half of what I know. You don't know anything. I have to know who occupied room 602 at a certain hotel the night before the last hanging.
38:00 Oh, that hotel crack is double the market. Say, Sheriff, just what hotel was that? For you, Sheriff.
38:15 Terrence Hartman talking.
38:18 Oh, hello, dear. It must be Irma. No, I can't come home. I got too many things to do. Getting ready for the hanging. Why don't you take him out to your house and hang? I'll call you up later, Irma. It is Irma. I got to see an alieness. No, alieness.
38:37 Not for me. For William!
38:45 Restroom. Who? Hey, Hildy. Your girl.
38:53 Hello. Hild? Hello, Peggy. How are you, darling? Yay! Stay in with him! How about my plate, Senator? I ordered one, didn't I? You did not! That's why it wasn't, Sheldon!
39:06 My darling, what's the matter? I distinctly said gluten.
39:10 Listen, darling, I just dropped in to say goodbye to the fellas. Do you remember I told you? Say, will you guys talk or something? All right. Yes, I've got a taxi waiting.
39:20 Hey!
39:21 Go easy on that catcher.
39:23 I'm responsible for it. We got the tickets right in my pocket.
39:27 Now listen, Jerry, if you talk like that, I'm going to go right out and jump in the lake. I swear I will, because I can't stand it. Listen. We're listening. I love you. I said I love you. Oh, give him a break, Ernie. Well, that's more like it.
39:41 You feel better now?
39:42 Well, smile.
39:44 Say something.
39:45 You know what I want to hear. Tell me you love me. Come on, tell me you love me. Tell them you love me and we'll all go to sleep. That's the stuff. Yeah. Listen, honey, will you wear that little blue straw hat? Wait a minute, I'll see. Well, are you happy now? Well, I bet you're not as happy as I'm.
40:00 I am.
40:01 Well, I'll bet you anything you want. All right, dear. Yeah. Five minutes.
40:05 Bye-bye.
40:07 Hildy, here's Warner again. Have him to give us a rest, will you? No.
40:14 Now, you're not breaking a nocance out of yourself. What's the idea of calling up on a...
40:17 What?
40:18 No, that's true with newspapers. I'm going to New York tonight, right now, this minute.
40:49 Please, Sherry. Please. Oh, excuse me, Professor.
40:54 I ain't afraid to die. I ain't afraid.
40:59 Don't work too much the first day, kid. Goodbye, Anson. I'll drop you a line, Hildy, and let you know what Walter says. So long, Hildy. Be careful of that treacherous New York weather, Hildy. So long, Grant, don't forget to send us a postal card. Don't forget to drop in and see us if you ever come back, kid. Well, we'll see you again, Hildy.
41:15 Rolls Royce, giving out interviews on successy.
41:23 Hmm.
41:26 Now we shall re-enact the crime.
41:30 Give you a gun, Jack.
41:32 Gun!
41:41 Now imagine that I am the policeman.
41:44 You understand? I have the policeman.
41:47 Now where exactly did you stand?
41:52 Sure.
41:58 Come on.
42:00 Come on.
42:03 Come on.
42:05 Hey, Hildy, I hope you got a return trip ticket. You'll get back next week.
42:12 And then what did you do?
42:14 Dementia Frecox!
42:21 Goodbye, you wage slaves. When you're calling up fire escapes, getting kicked out of front doors, eating Christmas dinners and one-armed joints, don't forget your old pal, Hildy Johnson. I'm the old beyond I'm full.
42:40 Where else you go? It's a jet weight. Hey, it's a coffee. What's the matter? What's happening?
42:49 Coffee, you're aiming, will you?
42:51 I don't know.
43:21 Hello, Walter. Hildy. Hit me. Earl Williams just ran out of the carnet jail. Yes.
43:28 Don't worry. Roll around on the job right.
43:49 Hey, you're copying.
43:52 Five minutes, talk with me. I'll get you 260 bucks.
44:12 And it's cut.
44:13 No, no one knows where he got the gun.
44:15 He ran up eight flights of stairs the infirmary got out through the skylight. He must have slid down the rainpike to the street. Murphy, give me the dead. No, I tell you no one knows where he got it. Call you back. No clue yet to Earl Williams' whereabouts. The crime commissioner is offering a $10,000 reward to the capture of Earl Williams. Call you back. Hello? Hello, here's a feature for you. Tear bomb. Yes, yes, tear bomb.
44:38 Criminals cry for it. If the mayor wants me, he knows where I am. This bomb went off accidentally in the hands of Sheriff Hartman's bombing squad.
44:46 What went off? The following deputy sheriffs have taken to the emergency hospital. The fine fair-weather friend you are. Tony J. Glazer. After all I've done for you. Herman Wallstein. Oh, things right back in the paper. Sidney Matberg. That's crap. Is you for ya? And Danny Koo. Kruger calling. McGill, give me the death.
45:03 A man answering William's description was seen boarding a southbound Cottage Grove Avenue car by Molderman Julius A. Lindbergh.
45:10 Side lights on the manhunt. Yeah, Lindbergh, I thought it would make a swell feature on a car with a name.
45:15 Mrs. Richard West, Jr., age 55, squirt lady.
45:19 While at work scrubbing the eighth floor of the Commerce Building, we're shot from the left leg by one of Sheriff Hartman's special deputies. I'll run right after you.
45:30 I'll run right after you.
45:31 That was another scum, Eddie. Did he go get the helicopter out? All I could get the sheriff let him out since he got boat burned. Where's boat? Where do we got that gun?
45:39 Give me water for us, quick. Quick.
45:47 Hello, Walter? Hildy!
45:49 I just got the whole story from Jacobi.
45:51 Exclusive? Right, that's a pep.
45:53 Only gut sets that cost me 260 bucks, see? Don't waste time. Give me the story. I'm telling you. First I had to give Jacoby all the money I had on me, and it wasn't exactly mine, and I won it back. How'd he get the gun? You'll hear what I said about the money? Yes, go on. All right, then.
46:05 Boys, this is the jailbreak of your dreams. This profound figure from Vienna decided to make Williams re-enact the crime. Well, well, well. Well, I'm coming, you'll win it. Shut up.
46:15 Of course, they had to have a gun to reenact it with. And who do you suppose supplied it? Who? Peter B. Hartman. B for brains. B for brains.
46:23 No, I'm not kidding!
46:24 The sheriff gave his gun to the professor, the professor gave an earl, an earl shot, the professor right from the belly.
46:29 The professor's in the hospital. Williams has evaporated and the sheriff's gone. That's it. It's perfect.
46:33 Fine work, Gildy. Save the pilot. I want that money. Two hundred and sixty bucks.
46:39 No, I tell you, I'm not going to cover anything else. I'm going away.
46:43 If it's a testimony, I'm going to get married on it.
46:46 I just did it as a personal favor.
46:48 I'm gonna leave town tonight.
46:51 Listen, I gave Jacoby every 10 I had at...
46:54 What?
46:56 Well, all right, when will you send it over?
47:00 Right away. Well, tell him to hurry. I'll wait from here. Here.
47:03 OK.
47:07 Oh, hello, Peggy.
47:09 All right, you darling.
47:11 What was that?
47:12 Oh, I was just telling Walter I was through this, all.
47:16 You haven't done something foolish with our mother. Oh, no, no.
47:19 Then I think I'd better take care of it from now on. Oh, now listen, sweetheart. Everything's going to be perfectly all right.
47:24 Then you haven't got it.
47:26 Well, no, not right now, but he's going to send it over. Walter, I mean. The boy will be here any minute. Yeah.
47:31 You killed me.
47:32 Listen, honey, I wouldn't have had this happen for the world.
47:34 Look, if this is what happened, I was... I know.
47:37 Come on.
47:38 Well, I can't tell you if you won't listen. I had to give Jacoby the money so I wouldn't give the story to the other papers.
47:44 Every time I wanted you for something,
47:47 My birthday.
47:48 New Year's Eve when I waited up to five in the morning. Oh, I know, but a big story broke.
47:53 It's always a big story.
47:56 The biggest story in the world.
47:58 And the next day everybody's forgotten it, even you. What do you mean, forgotten? That was the Clara Hammond murder on your birthday. Well, for heaven's sake, Peggy, it won't hurt to wait just a few minutes, and the boy's on his way with the money now.
48:08 Mother downstairs in a taxi.
48:10 I'm just ashamed to face her.
48:12 If she knew about that money...
48:14 It's all we've got in the world, Hilly.
48:17 We haven't even got a place to sleep except the train.
48:20 I'll tell you what we'll do.
48:22 You and Mother go and have the baggage checked. There are the tickets.
48:26 You mean you're not coming? Sure, I'm coming. I'll meet to the information booth.
48:30 It's all that water burns.
48:33 You simply can't resist it. Tim, I wouldn't raise a finger if he was dying. The cue talking.
48:38 Oh, hello, Mac. Dear, this is Mr. McCue. Mac!
48:41 This is my girl.
48:42 Pleased to meet you.
48:44 Here's a feature of the manhunt that'll knock you right on ya. Excuse me, Matt.
48:50 Wait a second, honey. Mrs. Phoebe DeWolf, 861 1/2 South Euclid Street, colored.
48:56 Well, she became the mother of a pickin' in a patrol wagon, with Sheriff Hartman's rifle squad acting as nurses. Oh, you should have seen her, miss.
49:05 Come on, dear. We'll put our things in the cab.
49:10 Well, Phoebe was walking along the street when all of a sudden she began...
49:15 Right.
49:16 So they coaxed right at the patrol wagon and started a race with the store.
49:20 When the Pickaninny was born, the rifle squad examined him carefully to see if it was Earl Williams who they knew was hiding somewhere.
49:30 They named the kid Peter Hartman DeWolf in honor of the sheriff.
49:36 And they all pitched in a dollar apiece on account of it being the first baby ever born on a manhunt.
49:43 Wait a minute. Here's the mayor himself. Maybe there's a statement. Don't fester me out, please. I have a lot on my mind. His daughter won't say anything.
49:50 - No. - What affects this deal break gonna have on the colored voters? - Not an iota. In what way can an unavoidable miswatching of this store influence the duty of every citizen, colored or otherwise?
50:04 - Ah, Your Honor, tell me, is there a red menace or ain't there? - Hartley, I've been looking for you. - So have we. - What's it all, Pinky? - Who engineered this getaway? - Just a minute, fellas. We got it located. - Williams? - Where? - Where do you still live?
50:20 We can catch him if you're hurrying. Hey! I want to talk to you. I ain't got time for it, honest. I'll see you after. Hey!
50:29 Did you actually give Williams that gun?
50:33 Then the professor asked me for it.
50:35 I thought it was for something scientific. Peter!
50:39 Come on.
50:41 Kruger calling.
50:44 Here's the Red Hot statement from the governor.
50:47 The governor says the mayor and the sheriff have shown themselves to be a couple of eight-year-olds playing with fire.
50:53 Port them as follows.
50:55 It's a good thing for the city that next Tuesday is Election Day.
50:58 as the citizens will thus be saved the expense of impeaching the mayor and the sheriff.
51:03 That's all.
51:05 Hi, Your Honor.
51:10 Hey!
51:11 I've got a mighty unpleasant task to perform. You're just going to get me rattled, Fred. Born in 400 deputies. Do you want to beg Rutledge's administration? But I'm getting them for only $12 a night. $12 for those romantic countless of yours. Out there shooting up everybody they can see for the fun of his back. Fred!
51:31 See, you're true.
51:33 Now don't appear to my set of metal, sir. I don't know what to say, Fred.
51:41 nature. And our family's friends. I've always looked on Vicki as my own sister. If there was any way out. If there is a way out. Just give me a couple hours, will you? Hello. For a hundred covers, nothing doing. This is a man, not a banquet. That twelve dollars covers everything. That gives you an idea what I'm up against. We're up against a lot more than that with that nutty slogan you invented. Reform the rest with a rope.
52:11 It's for me.
52:14 I'm Sheriff Hartman. You looking for me? You certainly are a hard man to find. I've been... What do you want?
52:23 I'm a messenger at the Statehouse. This is from the governor. What's from the governor? The reprieve for Earl Williams. For whom? Earl Williams, the reprieve.
52:35 And the governor gave me his word of honor that he wouldn't end up here two days ago.
52:41 See? It frightens me what I'd like to do to you. He's gone.
52:55 Wasn't sure. Was there anybody here for me? No, Mr. Johnson. Oh, that double-crossing louse. Everything will be all right. Now, don't worry. All we want to do is answer you a couple of questions. The couple is nobody using the right psychology of... You got $460? No, sir.
53:11 way of baking it and more. Search your hands of them. What? Who is it that's been defending William? Hanging around. Oh, I ain't got time for that trip. I gotta get 260 bucks in the next five minutes. It'll take longer than five minutes to get it. I know where William's there. Sure, he's out getting his head bar off with a rifle squad, but that'll get me my dough. He's with that girl, Marlon, already. That's where I am. Oh, shut up. Remember, you'll never deliver this. You got caught in the traffic jam or something. Don't let
53:41 Come and see me at my office tomorrow. What is your name?
53:48 Pintus. All right, Mr. Pintus. All you've got to do is to lay low and keep your mansion. Here. You go to this address. It's a nice, homey little place, and you can get anything you want. Get them. Fred sent you.
54:06 Okay, Fred.
54:11 You imagine wooden shoes this time tomorrow I'm the better gentleman. The last move is you got the dough. Huh? He said I'm a lot of roses, didn't he? Yeah. Stick your roses. Come on, little Leanne, in a hurry. I'll bet you I'm right. Oh, you. No, not you.
54:31 Hey, look what you're talking about. The demoralist sent you over here. The shoe ain't catch you. You need an email. Yeah, I know. It's $260. What's the $260? The money.
54:41 I want to promise to send it over, but I can't wait, sir. So what? Listen, Louie, you almost got a lot of dough on you. Oh, so you want the from me, huh? Yeah. Well, I don't know. It's a lot of money, you know what I mean? Oh, Louie, my whole future depends on this. My girl's waiting for the table. I've only got 15 minutes. If you'd help me out, miss, I swear that I'll... Look, look. Walter is going to give it to me, the works. He'll leave. I'll help you turn out on him. Oh, no, he knows I'm going. I just did him a 12-favor and we're past again. Oh, yeah? Yeah. Well, I'll tell you what I'll do with you. I'm going to take him a chance. Oh, that's such stuff.
55:11 the water if you get the money from them. You're a white man, Louie. Hey, you what I do. I give you 150 bucks for the dead. Hey, wait a minute. That's taking advantage. Well, it's the best of what I can do. That was almost 100 bucks that way. That's a 110, you loser. Hey, Louie, give me 200, will you? 150. All right, give me the dough. There you is.
55:41 Look, what he says on here. Well, you read what he says on there.
55:47 Oh, sure, that's right.
55:49 Well, goodbye and good luck.
55:56 Oh. I'm going to look you up in New York if there's anything wrong with this. You know what I mean?
56:11 Ten, twenty, twenty-five, thirty, thirty... Ten. Oh, well, anyway, I get out of this place. Thanks.
56:20 Excuse me. Put search money. Put down the gun! It ain't loaded. I've fired all the bullets already.
56:32 I surrender. I couldn't have hung off of the roof any longer.
56:41 waking me up in the middle of the night, talking to me about things they don't understand, calling me a Bolshevik. I'm an anarchist. It's got nothing to do with bombs. It's the philosophy that guarantees every man freedom. All those poor people being crushed by the system, and the boys, the boys that were killed in the war, and in the slums, all of those slaves to a crust of bread. I can hear them crying.
57:11 Go on. Go on. Take me back. Hang me. I've done my best.
57:33 Give me one of the burns, quick. Yeah, right.
57:41 terrific has happened. Don't start to phone me out now. Wait a minute, will you? Hello, Warner? Listen, Helmy, come over here right away. Hold the line a minute. Listen, Peggy, please, now. I'm in an office here. Don't start to phone me out now, please, honey. Wait a minute, will you? Warner, catch this. I can only say this once. I just captured Earl Williams here in the restroom. Yeah, honestly, hurry over here. I need you. Right. Hello, Peggy, please. Listen to you. This is the greatest thing that's ever happened. Wait till I tell you. I just captured Earl Williams, the murderer. Yeah, right. Wait a minute. Please don't tell anybody, honey. I know. But listen, something terrific has happened. It's the greatest thing of my life, honey. Hold the line. Nevermore. Wait a minute,
58:11 I got them surrounded someplace. Gonna shoot them like a dog. Get out of here, Ma. They're looking for you two of your smarts. So get out of here. Tell me where they're going. I ain't afraid of them, the yelling murderers. Lincoln. Lincoln in first. Oh.
58:24 Who is it? Me. I thought it could. I'll be right with you, wouldn't you? Get back in there. What is it? Double front. I'm trying to save them. This is very important. Keep them quiet. Now that's a cop and I'll get rid of them.
58:41 Hello, Wooden Shows. You're for the roses, Molly. How'd you get here? I came down the rainpipe. I didn't mean to shoot him. I don't know what happened. But you can't stay here. He'll get you. I don't care anymore. You gotta hide.
58:59 Rex. No, don't do anything. I'm ready to go. I don't care.
59:06 It's better to die for a cause. And the way most people die, for no reason.
59:11 Oh, you won't die. They'll never get you.
59:17 I ain't important. It's humanity that's important. Like I told you, Molly, humanity's a wonderful thing. No, it ain't. They're just dating murderers. What have they done to you? And to me? That's because they don't know any better. You're too good for them, that's why.
59:37 You're good, too.
59:41 Me? Yeah. I think you're wonderful. I wrote out a statement that they elected with the warden. So that when I was dead, people would understand what I meant. There was a lot about you in it. I said you were the most beautiful character.
1:00:00 I have earned that.
1:00:03 Yeah? So this is a time for you to prick my theory of crime prevention.
1:00:10 Okay, you run along and ride out for me. Hurry up, will you?
1:00:14 The fellas are coming. There's no place else.
1:00:18 We'll have to know. Coming, Mike. We've got to get back in there. I've got an idea.
1:00:28 What's going on in there?
1:00:30 What could I do? Get the other step.
1:00:33 Open up in there, will you? All right, all right. Come on. Please. You'll find me anyway.
1:00:40 Keep quiet. Do you really, please? I'll be right back. I'll be right back.
1:00:49 Hey! What were you trying to do? Kick down the building? Kind of an exclusive, ain't you? Molly! Oh, I beg your pardon. City desk. What's the idea of locking the door? Well, I was interviewing.
1:01:00 What was he doing there? With the boys, though. Oh, you fellas going to strange him still here? Boy, some Halloween going on. We got the whole police department standing on the rear. Murphy calling. Give me the desk. Any news? I was never so tired in my life. They surrounded the house, but Williams wasn't there. No, no, no, when you get caught, you're back. Oh, no, no, what a chase. You make your train? Come here, Paul. I'm out with Sheriff Hartman's deputies.
1:01:22 Yeah, I'm at a drugstore.
1:01:26 Come on.
1:01:26 Well, call me back if you don't believe me.
1:01:30 Come on, come on, operator. Fitzroy, two-five hundred.
1:01:36 Molly, can't you flop somewhere else? Mmm, smell. Mmm, lords it, lords it.
1:01:45 Makes me passionate. Look out, she'll start bothering you. Why don't you let her alone? Say, when did you two get so chummy? Told us he was interviewing her. You back on the job again? Hi. Hello, Sarge. McHugh, anything doing?
1:02:00 - Are you still here? - Trying to hang something on him, if you ask me. I'm waiting for Walter. He promised to send a guy over with some dough.
1:02:06 Hey, this looks good. An old lady just phoned the detective viewer and claims Earl Williams is hiding under her piazza.
1:02:13 Tell her to stand up.
1:02:16 Just a thing, fellas. That sounds like a pretty good tip. Shall we go out on it? I'll cover this then for you. Don't let's do any more going out.
1:02:26 Who pulled the shades down? Molly likes it that way.
1:02:29 Hey, I got a hunch Williams in any place he's been looking through. He might be right here in this building. Sure, hang around like a duck in a shooting gallery I suppose. Bright guys. Now there's the skylight he got out of. But how could he get from there to the ground? I'm pretending the rain in the air, Williams. Look, he'd have jumped over to this roof that's only about four feet. Yeah, once he got on this roof he could slide down the rain pipe and come in any of the windows on this side.
1:02:52 Well, if the story's gonna walk right in the window... Well, the mastermind's at work. Why don't you guys go home? Williams will probably call on ya. Well, there must be something of what Ed says. Or they'd certainly have knabed Williams by now.
1:03:04 The whole city's inside out looking for him. Well, if he came in this building, it's a sense he's still here. There hasn't been a chance for a plea to get some of those cots downstairs. Unless it's one that fell off at the sheriff's.
1:03:15 What's happened?
1:03:22 Oh, you're still here, Johnson. You thought you were going to New York.
1:03:28 Is this the only place you can find to sit in? This chair and this desk are my property, and I won't have anybody using it. Anybody? What are you looking for, Roy? I forgot my answer. Oh, we don't want to get answer. It's bad for your heart. It is, really? Yes. I've noticed palpitations every time I've taken some. What's the matter, Roy? You're sick? Sick. Say, if I haven't got the grip coming out, I miss my guest.
1:03:49 Aunt Celine? Yep.
1:03:51 Never heard of it. Oh, it's great. It broke up my core in five minutes. Five minutes? Yep. What was the name? Tonsoline. P for tapiole for oxen and for nuts. Get the tonsoline. I know how to spell it. Any drugstore? Any drugstore. I'll get me some.
1:04:07 What? That drinking cup.
1:04:19 All right. Which father's getting here?
1:04:22 My dough. Hey, speaking about dough, there's a ten grand reward for that guy, William. Let's get the cops and set the building. What do you say? Wouldn't it be funny if we found him right here in the building? Supposing he is here in the building. If the cops would grab the reward, we wouldn't get a smell.
1:04:37 Go grab a floor. Whoever finds them, we'll fit the reward. I'll stay here. I don't know about that. Get my sunset blown off. What else is it good for? Besides, he can't hurt anybody. Oh, come on, Mac. Now listen, Mother. Don't you love me. If you've got anything to say for yourself, after keeping us at that station, all this time, you come downstairs and save the family. I'll be there in five minutes. No, sir. I don't move out of here without you.
1:05:07 I know a lot of gibberish about a murder. No, I don't care if you did catch it. You come with me this moment. I'm fine. You're something stuck around here. Who said he caught it? What do you mean you caught a murder? I don't know what she's talking about. I didn't say anything of the kind. Yes, you did. Never told her that. I was trying to catch him. It seemed like you got it all balled up. What do you know about it? How do you know we did it? Let's go. You and she were here together. Yes.
1:05:31 He's the one that knows. What do you mean? Touché le frime. Where is Daryl Williams? How should I know? Where is he? Will you hold him out of him? Come to me before we knock it out of you. What is it, Jimmy? Who are you trying to call? Wait!
1:05:45 You spell pigeon!
1:05:47 He doesn't know where Williams is.
1:05:50 I'm the one that knows. What do you mean you know? Go find out, you heels.
1:05:55 You don't think I'm going to tell? We'll make you. Let her alone, she's goofy.
1:06:00 She ain't too goofy to know where Williams is.
1:06:04 - - No, no, you ain't gettin' out of here.
1:06:09 Now, what is...
1:06:11 Where are you hiding? I ain't gonna squeal. I ain't gonna. Yeah, stop it. Tell her we'll shake it out of you. Want to have us call the cops and give you the boots? Come on, wouldn't you? Slap it out of her. Where is he? Before I hurt you. Don't you come near me, you kidney butt. Keep away. Keep away from me. I'll knock your heads off. Put down that kid. Get out. Get on the side of her. No, you don't. You'll never hear that of me. I'll never tell. Never. Drop her.
1:06:38 I'm sorry.
1:06:39 Come on.
1:06:40 Carl, Carl, get a spectra! Take me out, fool!
1:06:46 He's moving! He's alive! Stand back there! Don't touch her! Get the cops, wouldn't you? Come on, bud.
1:06:56 Oh, gee, the poor kid.
1:07:00 What? Did you see that? Yes. Where is he? She jumped out the window. I know. Where is he, I said? Anyway, she ain't dead. Come to, Hildy. Where do you got William?
1:07:10 I'm in the desk. Oh, the poor kid.
1:07:14 Let me out. I can't stand it. Keep quiet. You're sitting pretty. What's the matter? Who's that? That's my girl's mother. What are you doing? Shut up. I won't shut up. That girl killed herself. Oh, you're doing something wrong. What's in there? Louie, take this lady over to pull out Mike's and lock her up. And see that she doesn't talk to anyone on the way. What's that? What's that? Take her out the back way. Tell Mike it's the case of delineum treatment. Oh, this is going to get me in a terrible dam. Oh, shoot. Anything you say, boss. Now, don't worry, mother. This is only temporary.
1:07:40 You think you're going? I'm going out and get my girl. Your girl? What are you, some killing college boy? Well, in time of war, you could be cut to what you're doing now for less. Oh, there's your story. Spare it all over the front page. Earl Williams caught by the morning folks and take all the credit. My son was just doing the covenant right. Now I'm getting out of here. Why, you drooling fathead, what do you mean a story? You've got the whole city by the seat of the pants. I know, but... You know, you've got the brain of a pancake. Listen, Hildy, if I didn't have your interest at heart, would I be wasting time arguing with you now? You've done something big. You've set in a new plan. What? Why, we'll make such monkeys out of those war dealers.
1:08:10 for him, not even their wives. Exposure, man. Crucify him. We're going to keep with you as undercover in the morning so the Post can break the story exclusive. Then we'll let the governor and the captain share the glory with him. I see, I see. Kicked over the whole city hall like an apple cart. We've got the mayor and Hartman back against the wall. You've put one administration out and another one in. Well, this isn't a newspaper story, it's a career. And you stand there very aching about some girl. Well, yeah, I wasn't thinking about it that way, I guess. We've been the white-haired boys, don't we? By the name of the streets after you, Johnson Street. You and I and the governor are going to run this town. Yeah, but Jesse Williams, here's one of the fellows.
1:08:40 Where's our telephone? That one. Right over there. Why are you going to take him out there and see him? Not if he didn't find the death of Cali at all. Can't do that. War of a cop's outside. We'll lure it out of the way. We'll pull it. Henry. Watch that into it. Got the machine stuck running out of the way. How much do you want? Follow the words you got. Where's the papers? Hello. Give me Duffy. Hello. Can I call the married animal with me? Call him with us, John, if you want. Duffy. How about the family at his house, John? Give him the fireman. Give him the work. Hello, Duffy. Get set. We've got the biggest story in the world. Earl Williams caught for the post exclusive. Then word down to Butch McGurk. I want ten huskies to land right over here.
1:09:10 What's building? What's going to get that desk up? Nothing's ever stopped those boys. What are they doing? Fine. Now listen, Duffy. I want you to tear out the whole front page. That's what I said. The whole front page. Out. Junkie's running the lead. Hilly. What the devil do you want?
1:09:29 Hilly. Miss, you can't come in here. Take the Chinese earthquake. Wait a minute, Duffy. Now look here, little girl. You're doing this to him. He was going and you stopped him.
1:09:40 I was going to catch, but I couldn't. Tell her nothing. She's a woman, you fool. I'm not going to let you do it. You're coming right now. Holy jumping. Charlie, this is the biggest chance of my life. Keep quiet. You don't want to marry me, that's all. That is the truth. Just because you won't listen to me, you're saying I don't love you. When you know I cut off my hands, boy, I'd do anything for you. Anything in the world. What, Justin? What? Jump the League of Nations. Fight it. You never intended to be decent and live like a human being. You are lying all the time. Well, all right, Sarah, that's what you say. Take some bats and jumping. Try to concentrate. Oh, I see what you are now.
1:10:10 Just a rotter. Right here. Sure, that's where I am. Oh, leave the roof to throw you along. That's too dangerous. You're just a heartless, selfish animal without any feeling. It's all your fault. And if you think I'm going to put up... Shut up, will you? Let me talk to Bush. Sure, that's why I'm a rotter and that's all I ever want to be. Well, then get a hold of Bush. It's fast that you can. You never have loved it. You can talk to me like that.
1:10:34 You want me to have to take what I am instead of trying to make a stupid out of me? I'm no stuck shirt-riding keynote ads. I'm a new clever man.
1:10:40 Get back in there, you marked colonel! You didn't want in yet? Well done. Never mind the mail train. You're not working for the advertising department. Keep on this wire.
1:11:10 I told him that they are gone.
1:11:24 And now they're moving now.
1:11:32 Fine. Reach out to me. Don't forget. You're sitting in front of me now. Got enough air? That's it.
1:11:40 Every punch will all the better. Hello. Duffy, where have you been? Never mind your diabetes. Keep on this phone. Listen, did you impress her up with you to take a taxi? Did everybody come? You did? All right. Duffy's getting old. Where is Duffy? He's out of the way. Better hurry the phone or they come back the phone.
1:12:05 How is she? Don't know yet.
1:12:10 What's your lead, Hildy? While hundreds of Sheriff Hartman's paid gunmen stalked through the city, shooting innocent bystanders, spreading their reign of terror, Earl Williams was lurking less than 20 yards from the sheriff's... No, that stinks. Aren't you going to mention the Post? Don't we take any credit? I got that in the second paragraph. Who's going to read the second paragraph? Fifteen years I've been telling you how to write a newspaper story. Have I got to do everything? Get the story, write the story?
1:12:40 We're good at that. Are you ungrateful, Wynne-Bag? Who wrote the Fitzgerald Confection? Who wrote the Ruth Randall's Diary? How about the Dayton Flood? Even the telegram operating was crying. Make me cry now. Duffy, what's the name of that religious editor of ours? The fellow with the dirty collar. Sipper what? Well, tell Sipperty I want to see him right away. You know what I'm going to do? Yeah. Talk yourself to death. Yeah.
1:13:01 I'm going to get Sipperty to make up a prayer for our fair city in eight-column old English boldface right across the top of the paper. Oh, Father.
1:13:10 isn't this our fair city last year? Oh, then, wouldn't you just ring those, eh? Our father. What a prayer. What an idea. Uh-huh. You better pray that death go float over to your office. Wait. Wait, wait. I've got an inspiration.
1:13:26 Now, here's your lead. Take this down just as I say it. Come to you. You're going to do that. They're going to belt you right in the jaw. The post again roped to the rescue of the city last night in the darkest hour of history. Earl Williams. Earl Williams, the post of Victoria, the snorning from the gathers on the flank of the city.
1:13:40 Go on from there.
1:13:43 Who's that? Who's that? What's the idea of unlocking this door? Benfinger. At his desk. What's his name? Benfinger. I'll handle him. Come on, come on, come on. Watch.
1:13:57 The idea of locking that door. Haven't you any better sense at all? This is in the private room, and you ought to know better. Oh, Mr. Burns. Oh, my. It's quite an honor having you over here. Hello, Benfinger. Yes. If you'll excuse me, please. I just want to get my...
1:14:10 Incident is my running into you tonight. Isn't it, Elliot? Yeah. Well, how do you mean? I was just having a little chat about you this afternoon. That's right. Oh, with our Mr. Duffy. Oh, really? Nothing detrimental, I hope. Well, I should say not. Say, that was one swell story you had in the paper this morning. Oh, you liked that, did you? Did you like the poem? The poem? Oh, the poem was great. Oh, wasn't it? Especially that ending. And all is well outside his cell, but in his heart he hears the hangman calling and the gallows falling in his white-haired mother's tears.
1:14:40 heartbreaking, isn't it? How would you like to work for me? Well, what? We need somebody like you. All we've got over there now are not a low-brows and legman like Johnson here.
1:14:50 You serious, Mr. Burns? My dear, Ben Singer.
1:14:54 Uh, Duffy, I'm sending Ben Singer over to see you. Uh, Mervin, isn't it? Roy. Roy B. Uh, Roy Ben Singer's a fool. Uh, put him right on the staff. What are you getting in the Tribune, Roy? 75. I'll give you 100 and a byline. Give him everything he wants. Now, hustle.
1:15:11 And much to your story from the point of view of the escaped man. The hides, cowlings, afraid of every light, of every sound, his footsteps. His heart going like that and all the time they're closing in. Get the sense of an animal at bay.
1:15:24 A sort of a Jack London style. Exactly, yes, sir. I wonder if you'll excuse me. I just want to get my rhyming dictionary. It doesn't have to rhyme. Oh, no, no. I can't tell you, Mr. Burns, how terribly grateful I am. Yes, sir.
1:15:48 Au revoir, mon capitaine. Bon joe. Oh, joe. Oh.
1:15:57 Whitehead, mother, cheers.
1:16:00 Nuffy, get this. The Tribune Sneak is coming over to get a job. Basically, the fellow I told you about. Tell him to get busy writing poetry. No, we don't want him.
1:16:10 and kick him downstairs.
1:16:13 You double-crossing rat. That will teach him not to quit his job without giving notice.
1:16:25 Back then! Back then!
1:16:29 The morning post building, quickly!
1:16:33 Well, I... I've made your part.
1:16:38 Back then! Back then!
1:16:40 Yes, I'll be sick on this wire.
1:16:43 Get it, everybody. Don't sound like a frozen Robin. Oh, you've just jazzed up my whole life. That's what she's done. You got a little time set when Butch gets here. Butch. He'd go through fire for me. Mine horse's bustle I turned out to do. Now, the window's out. You'll have to carry it out of the building. Gee, she was the most wonderful girl I'll ever know.
1:17:02 She had looks, brains, spirits, and everything. Who are you talking about? My girl. What do you think? Bumbling about your girl now?
1:17:10 I can't be chased her out like she was some sicker. You acted like a man for the first time in your life. I'll never love anybody else. They don't come twice like that in a man's life. And you sleep at all. See, when she was sick in the hospital and you send me on that wild goose chase all over Kentucky, she never even complained.
1:17:28 Sick in the heart. Well, she was. She never died. I see. She never complained. She just nearly died. Gee, this time the more I'd have on the train. I'd have been on my way to New York. I'd have been Miss Helding.
1:17:40 I was in love once.
1:17:43 With my third wife. I treated her white. Let her have a maid and everything. I was sleeping. Oh, who wants to hear about your wife? I trusted her. Then I later let her meet a certain party in the Tribune and what happened? One night I came home unexpectedly. I left myself in through the bedroom window.
1:18:01 End of story. I don't want to hear about your troubles. And the very next morning, what do I read in the Tribune? All over the front page.
1:18:10 My wife, you know a lot about women you do. You and that stable you keep. You never met a decent woman. You wouldn't know what to do with a pure girl. Oh, yes, I would. You take that back! What do you think women are? Flowers? Now, take that dame that shot the dentist. And Mrs. Vermilion. Husband comes home all worn out, hungry. It's a spoonful of soup and falls over dead. Arsenic. And Mrs. Peekless burning her husband up in the furnace. Oh, Hildy. When you've been in this business as long as I have, you'll know what women are. Murderers. Borgias.
1:18:42 Boy, I'm a stamp for you, Liner.
1:18:50 Johnson Street. You've had a good rest. Get back on the story. Here, you're just nervous. Sure, I'll take that. I'll get stooped tonight and I'll stay stooped for the rest of my life. I'll be a newspaper man right in your class. On my buckle and a monkey cage. I'll get that head. Who is it? Hello. Boom. Who is it? What's the matter? What'd you do with it? What happened?
1:19:10 fight down west and avenue 35th street we have a score 65 miles an hour you know what i mean get that butt out of you where's the old lady i'm a daddy you we ran a smack into a police patrol you know what i mean we cut to him in half oh she hurt tell me where is she i am again you can you imagine bumping into a lot of cops they come around like a daughter oh search me when i come to i was one down 35th street but you are whether you want to kill up with them would you yeah what's i the taxi
1:19:40 You know, Lady, to take somewhere and you hand her over to the cops. What do you mean, I hand? The police patrol was under the room, decided to seek the name of Rana. Now everything's fine. She's probably squawking her head out in some police station. I don't think she's poking much. You know what I mean? Don't tell me, was she killed? Was she?
1:20:00 Say, with that rock of what I got against to me, and the bank job, and the big blow right here, I should stick around asking a question from a lot of cops. Oh, shoo.
1:20:12 There.
1:20:15 Well, that finishes me. That's fate, Hilde. What will be, will be. Oh, shoo.
1:20:23 What am I going to tell Peggy? What am I going to say to her? You'll never see her again. Now snap out of it.
1:20:30 police force in here. But I killed her, right? What am I going to do? How am I ever going to break her? Look at you. Look at me. I'm looking at you, you murderer. If it was my own mother, I'd carry on. You know I would. For the paper. Wait, wait, wait. What did it happen? Because I've gone out. You stay here. I'll find out about everything. Wait until the 24th. Hello, hello.
1:20:50 Give me Weston, 4557. Who? Oh, hello, what? Where are you? Mission Hospital. What are you doing there? Haven't you even started? Was there no lady going there for an honest smash-up? Oh, for a
1:21:00 a vacuum but listen it's a matter of life and death listen nobody i can't hear you got who speak up a what oh you can't stop for a day now this is the community hat room which i don't care if you've been trying for six years our whole lives are at stake are you gonna let some round heel blonde ruin everything hello ready tell me john what's money on fire for you up to here now you can't
1:21:30 Put her on. I'll talk to her. Hello. Oh, hello, madam. Now listen, client. You can't keep foot away from Miss Judy. What kind of language is that? Hello. Hello.
1:21:44 I'll kill them. I'll kill both of them.
1:21:50 Daddy. Mousing around with some big blonde anyone like them. That's cooperation. Daddy, shut up, will you? You sure, nobody? Daddy.
1:22:00 Oh, you're a pianist. I don't know better than to hire anybody with a disease. Louie, huh? It's up to you. Anything you want, Wontz. Beat it up and get a hold of the gas. Will you? Who do you want this to get? Anybody with hair in their chest. Get off the streets anywhere. Hold for a minute. They're going to get it. We've got to get that desk out of here. Wontz, they're short off of my back. You know what I mean? Don't bump into anything. I'll be after 100. Some of you flop on me. I know it. Can you imagine boots falling down on me at a time like this?
1:22:27 Hold on. Let's go back to the press room.
1:22:30 Yeah, Ed, tell him to give us a ring there. Yeah, tell him to bring us to the press room. Bring us to the press room.
1:22:44 Louie, don't get back in five minutes. We'll get it out alone. That's millions away. But it's not a fire. That's a fireman carrying it out. It's confusion. Bring that number, will you? You may have seen if we can move it. Hello, is this the lying-in hospital?
1:22:58 Did you have it all that smash-ups in the lab?
1:23:00 Will you come here? Oh, I see. Well, I think you're fine. When I'm surrounded, my back against the wall, you're not going to lay down on me. I'm going to lay down on you and spit in your eye, you murderer. Yeah, uh-huh. I don't care what you think I am. I'm going to find my girl's mother. Your girl. You and Butch McGurk. Woman lovers. I'm going out and find her. Don't open that.
1:23:21 Here we are. Here we are. All right, just a minute. Let go of me. What's the idea? What's the hurt? Wait a minute. We want to see you. Get your paws off of me, will you? Hold it, Mike.
1:23:30 minute, Hartman. Wait a minute. Who do you think you are, breaking in here like this? You can't bluff me, Burns. I don't care who you are or what paper you're editor of. Let me go. Someone's something's happened to my girl's mother. Hang on to him, boys. We know what you're up to. I'll literally go out to get William. The door was locked. He and Monica Clarkson. There's an amazing, I tell you, it's been an accident. Johnson, there's something very, very secure going on here. Well, you can start coming out with me, if you don't believe me. I wasn't born yesterday. Now, the boys tell me that you'll win this Molly
1:24:00 Oh, nobody's trying to put anything over on you. I'd better get out of here or you can't stop it. Hey, you ain't going to get anywhere. Sheriff, he's got the whole story stored up and that's why Bernie... That's why... That's why Bernie's here. We're nowhere near, Harry. Let us out. If you've any accusations to make, Hartman, make them in the proper manner. Otherwise, I'll have to ask you to get out.
1:24:20 You ask me to what?
1:24:24 Get out.
1:24:30 Close that door. Don't let anybody in or out. Come on, Peaky, get my little third degree. Take a call, Peaky, you've got Williams. Johnson, I ain't going to the bottom, will you? Tell me. What do you know about Williams? Are you going to the top or ain't you? I don't know what I know about Williams. All right, boys, take them along. I ain't got ways of making them talk. Why not, Joe? Oh, what do you have to fight, and tell me? They're not going to kill the gun. Hey, mother! Give me that.
1:25:06 Where'd you get this? I'd rather carry a gun if I want. Not this gun. I can explain that, Hartman. He was having some trouble on the spray kids. I gave him to defend himself. Oh, you did, eh? Well, that's very, very interesting. This happened to be the gun that Earl Williams shot his way out with. Oh, getting married, huh? Maybe Williams is going to be a deaf man. That's pretty. He'll be crossing your own path. What do you know about that, eh? Are you trying to make me out a liar?
1:25:30 I know my own gun, don't I?
1:25:33 Oh, we might have known who'd give Williams a gun. Whoever make a mistake. Oh, now we're getting the story. Then here we got that gun to learn Williams. Where is he? Where you got him? You're barking up the wrong tree, Hartman.
1:25:50 I'll give you three minutes to tell me where he is. You know, the hospital, the corner, Professor Eggelhopper. What? The bank of merch, Mother.
1:26:00 Take a magazine along.
1:26:14 He ain't there. Say, what about Mr. Burns? Ask the mastermind what he's doing here.
1:26:21 Peter Burns, what do you know about this? My dear Hoffman. Oh, can that. Come on now, where is he? The warning post is not expecting justice.
1:26:30 Or eating criminals. You ought to know that. No. Well... Johnson, you're under arrest. You too, Burns. Who's under arrest, you insignificant, simple-headed, square-toed spy? You know that's what you're doing? You'll see about that. Carl, get the mayor on the phone. Ask him to come over here.
1:26:56 That man there.
1:27:00 Tell me, Mother, are you all right? What's the idea here? Just made a claim she was kidnapped. What? They dragged me all the way down the trail. Just a minute, ladies. What's this man to do with it? He was the one in charge of everything. He told them to kidnap me.
1:27:19 Are you referring to me, madam? You know you do. What about this, Vernon? Kidnapping me. Well, it's beyond me. Who is this woman?
1:27:30 What a thing to say. I was standing right there when the girl jumped out of the window. Did you get the man on the phone, Carl? Yeah. Coming right over. Now, madam, be honest. If you were joyriding, drunk, or got into some script, why don't you admit it? Instead of accusing Mrs. Hill. Oh, you're not yet. You unscripted man. You, you, how dare you say a thing like that? Oh, mother, he's just crazy. I'll tell you something more. I'll tell you why they did it. Come on, sir. We've got to get fed. I'll tell you, sir.
1:28:00 I'm the murderer. Hiding him. Hiding him? In here? Hiding him where? Oh, Mother. Where was he? What happened? Madam, you're a car-tied liar.
1:28:11 He's in the desk. Holy crap. For the love of nothing. What a break. I thought so. Stand back, everybody. Out. You may have a gun. Get your guns out. No, he's harmless. Don't take any chances. Shoot right through the desk. He can't hurt anybody. You've got his gun. Oh, dear.
1:28:30 Great-haired old weasel. City desk, quick. Close that door. Give me the desk. Guard that window. City desk, hurry. You, stand over there. Hey, but now where you're pointing that gun? Give me ammo. Billy, call it up here. Stop it. No, you don't. Let me have the desk, quick. You want to get it scooped? Now, everybody. Hold the wire, I've got a flashpoint. A, right at the center. That's murder. When I say three... Hold on for a second. Oh, Frank. Hold it. When do you stand each side of the desk? Something coming up.
1:29:00 with a cover. Hold the phone. We've got you covered, William. I'll have it in a minute. Ready for an emergency. Right away now. When I count three. Something hot. One. Two. Up, Winner. Go on. Excuse me. Uh, William. We've just jumped in the front room in the criminal court building hiding in the desk. Just you, William. We just found an old cop. That was fine.
1:29:30 How will you have a place when you put up a desperate struggle with the police overpowered? He offered no resistance. That's true now. Top. And more so. Right. The break. The police. They'll be there. No. It's just a little bit of the sheriff. Or a minute. With the cops almost no. Anonymous note received with the sheriff's letter. Williams kept him more later. Well, that's fine. A woman. Get some job. Oh, it's a little bit of a problem. Following a well defined trail of blood. The sheriff. He didn't take away his whereabouts when he sent out the phone. There's no waiting material.
1:30:00 Call the team, William's Hiding Place. Call you back. Where's the old lady? Hey, madam! Where'd she go? Where's the old lady?
1:30:13 Hello, darling. Give me your call, be quick. Hartman, you're going to wish you'd never been born.
1:30:20 Fine work, Pete. You certainly delivered the goods. I am proud of you.
1:30:27 They look kind of natural, don't they, eh, Fred?
1:30:30 Sight for sore eyes. Well, it looks like you boys stepped into something up to your neck. Anything in the escaped criminal. And the little charge of kidnapping that I'm looking into. That's the jail. There must be somebody there. Hey, there's the old lady now. Well, it looks like about ten years apiece for you, Birch. Does it? You forget the power that always watches over the morning post.
1:31:00 Jacobi. I, Clary. William. Yes. Single-handed. I'm bringing him right over. We'll proceed with a hanging first schedule. You'll be in office exactly two days more. And we're pulling your noses out of the state bank. Give me the district attorney's office. I'll tell you what you'll be doing. You'll be making brooms in the state penitentiary. Hello. There I am. This is Hartman talking. Come over to my office right away, will you? I just arrested a couple of important birds. And I want you to take their confession.
1:31:30 Jussie, get times down! All the lawyers in the world aren't going to help you. This is the morning post. You're talking to? The power of the press, huh?
1:31:43 I think a minute you have found out what the power of the press means. President. Yes, and King. Fred, whenever you think you've got the post licked, that's a good time to get out of town. On a hand-card. Whistly in the dark, eh? Well, it isn't going to help you this time. You're through. The last man that told me that was Eddie Kane.
1:32:00 And I've got the same feeling right now that I had five minutes before that happened. Here's your reprieve. Get out of here. You can't bribe me. What's all this? Get out of here, you. I won't. Here's your reprieve. What? I don't want to be your steady stealer. Who is this man? Who is bribing you? They wouldn't take it. You're insane. What did I tell you? The unseen power. What's your name? Irving Pinkett. You drugged idiot.
1:32:30 Arrest him. The idea of coming here with a cop and bull story like that. It's a frame-up. Some imposter. Hey, wait a minute. Murder, eh? Hanging an innocent man to get an election, huh? Why? I never saw him before. Why, Fred, when did you deliver this the first time? They started right in bribing me. Who's they? Them. That's absurd in the face of it, Mr. Byrne. He's talking like a child. Ha, ha, ha, ha.
1:32:56 The unseen power.
1:33:00 He's insane or drunk or something. Since this unfortunate man, Williams, has really been reprieved, I personally am tickled to death. Aren't you, Pete? Well, I'll get hang your mother to win an election. That's a horrible thing to say, Johnson, about anybody. Now, look here, Walter. You're an intelligent man. Wait a minute. All right, Mr. Pickus, let's have your story. Well, I've been married 19 years. Let's skip all that. Take those handcuffs off the boy's feet. That wasn't at all necessary. I was just going to.
1:33:30 waiting for her. Why don't you take the cuffs off the boys? Walter, I can't tell you how badly I feel about this. There was no excuse for Pete to fly off the handle. I was only doing my duty. There wasn't anything personal. Why don't you guys quit politics and take in Washington? What did you say your name was? Binkus? That's right. Here's a picture of my wife. Fine little woman. Watch if she's good enough for me. Boy, I'll bet you.
1:34:00 What a heaven. Oh, Peggy, don't start to blow me out now. Nobody's going to do anything to anybody. Of course not. My old friend Walter Burns and I understand each other perfectly, I trust. And so do I. So do you what, you hoodoo? And now, Mr. Pickens, if you'll come with us, we'll take you over to the warden's office and deliver this refrain. But, Heldy, they said they arrested you.
1:34:21 We were going to have a little feed, Walter, after the hanging. A sort of a buffet breakfast. Awesome. I'm coming, Fred.
1:34:30 What do you say if we eat it now? Delicious ham and some of Mrs. Hartman's own preserves.
1:34:38 Hartman!
1:34:41 Oh, dear.
1:34:46 Wait till those two weeks of books in the morning. Give me get that guy's fingers over the office tomorrow. Nothing doing. I'm all washed up. What's that? I mean it this time, Walter. Oh, Hildy, if I only thought you did.
1:35:00 I'm not telling the absolute truth. May I fall dead? I'm going to New York tonight with you if you give me this one last chance. I'm going to cut out drinking and swearing and everything connected with that crazy newspaper business. Honey, I'll never even read a newspaper. I've got an idea. No, sir. Nothing you can say will ever change my mind. This time I'm through and I mean it.
1:35:30 If you'll take me, here I am. Darling, don't tell us that way. I want you just the way you are. Gosh, Hildy, I didn't know it was anything like this. Why didn't you say something? I'm the last person in the world to want to sit between you and your happiness. You ought to know that. I love you, you crazy mug. You're getting a great guy, Peggy. Yeah, well, never mind a valentine. Goodbye, you turkey. You're a great newspaper man, Hildy. And I'm sorry to see you go. Well, if I ever come back to the business, which I won't,
1:36:01 There's only one guy I'd work for. You know that, don't you? I'd kill you if you ever worked for anybody else. You hear that, Peggy? That's my diploma.
1:36:13 Gee, Walter.
1:36:15 I don't know what to say except...
1:36:18 I'm gonna miss you. Same here, son. Fifteen years we've been laughing around together. That's before you were born, honey. And what jams we've been in. And what excitement we've had.
1:36:30 Hey, do you remember the time we hid the missing airs from the sauerkraut factory? Do I? Say, Peggy, get him to tell you about the time that we stole over the Hagrid's stomach in the coroner's position. We proved she'd been poisoned. We had a hide for a week.
1:36:42 Sorry. What? You don't want to go to New York. Down deep.
1:36:50 Well, I was just talking. I'd feel worse if I stayed, I guess.
1:37:00 I mean, if you really want it, you... No. This is your chance to have a home and be a human being. And I'm going to make you take it. I wouldn't let her stay. Go on before I meet your city editor. Hurry up, Peggy. You mean to? Any objections to my kissing the bride? No, it's okay with me. Go ahead. Mrs. Johnson.
1:37:31 Thanks. What time is your train going? It's another 12.40. New York Central, eh? Gee, I wish I had time to buy you a little wedding present. Wait a minute.
1:37:41 I've got it.
1:37:44 Now, Walter. Gee, it makes me feel like I'm the brightest. Shut up. It's a present from the big chief himself. And if you look inside, you'll find a little inscription.
1:37:55 The best newspaper man I know.
1:38:00 out my name and put yours in his place if you want to. You know I wouldn't do that. Thank you, Hildy. Mr. Burns wants you to. You don't want to hurt his feelings. Well, this is the first to last thing I ever got from a newspaper. Goodbye. I've always had a queer opinion of you, Mr. Burns. In fact, I still think you're a little peculiar, but you're all right under
1:38:30 I mean, I think you're a piece. So are you. You look just like a little flower. Goodbye, you big baboon. Goodbye. Goodbye, Johnson. Be good to yourself and a little girl. Same to you and many others.
1:39:08 Duffy. Listen, Duffy. What's the first stop of the 1240 to New York? That's right. I want you to send a wire to the chief of police there. Tell them to stop that train and arrest Hildy Johnson. Bring them back here. Wire them of full description. The son of a... stole my watch.