Public Reel

The Mystery of Mr. Wong (1939)

No renewal found Free in the US since 1 January 1968, on the registry's reading: registration LP8686 of 1939 by Monogram Pictures Corp was not renewed in the volumes searched. Record.

Poster for The Mystery of Mr. Wong
Copy
The_Mystery_of_Mr._Wong on the Internet Archive; released 1939
Read
219 shots over 1:10:23 · 127 beats in 66 sequences · 1040 transcript lines · JSON
Record
The Mystery of Mr. Wong No renewal found
Poster
Wikimedia Commons, public domain
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Lands on the beat covering that second.
66 sequences; each is also a heading below.
Check before citing the shot count. A 5:03 shot at 38:57 (shot 135): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made

219 shots over 1:10:23, read from the Internet Archive copy The_Mystery_of_Mr._Wong (The_Mystery_of_Mr._Wong.mp4, 624×480, 24.03 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: The Mystery of Mr. Wong No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 219 shots judged colour), average shot 19.3s long, a frontal face detected in 35% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1939 (Internet Archive). Credited cast, film-level, from archive description: Boris Karloff. A cast credit does not place an actor in any particular beat.

127 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Sequence 2 from 1:03

Frame at 1:04, shot 11:04
1 of 1 shots sampled

2. Beat 2

1:03–1:05 Not yet checked

Model synopsis: A single frame at 65 seconds shows a completely black screen with no visible content. No events, people, or objects are depicted in this beat.

Evidence, details and a link to share

Sequence 3 from 1:05

Sequence 4 from 1:36

Frame at 1:42, shot 31:42
1 of 1 shots sampled

4. Dock

1:36–1:48 Not yet checked

Model synopsis: A man in a fedora and overcoat stands near a vehicle with a large ship in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 5 from 1:48

Sequence 6 from 2:12

Sequence 7 from 2:57

Frame at 2:59, shot 62:59
1 of 1 shots sampled

7. Living room

2:57–3:00 Not yet checked

Model synopsis: A man in a dark suit sits on a stool in a room with a window, a lamp, and a table with flowers. The scene is static and lit by interior lighting.

1 person observed.

Evidence, details and a link to share

Sequence 8 from 3:00

Sequence 9 from 3:19

Frame at 3:55, shot 83:55
1 of 1 shots sampled

9. Private office

3:19–4:31 Not yet checked

Model synopsis: A woman in a maid's uniform holds a tea tray while facing a man in a trench coat inside a room; dialogue suggests intimidation and fear. The man is accused of being afraid, and references are made to someone returning to the Orient.

  • A woman in a maid's uniform stands holding a tea tray while facing a man in a trench coat. [frame:1]

Named: Valerie (t:4:18), Peter (t:4:18). 2 people observed.

“Adrena?” 3:29 · “Peter, stop it, please.” 4:18

Evidence, details and a link to share

Sequence 10 from 4:31

Frame at 4:36, shot 94:36
1 of 1 shots sampled

10. Private office

4:31–4:40 Not yet checked

Model synopsis: A man in a trench coat stands indoors, looking down at a cloth he holds. The room has paneled walls and wall sconces.

  • A man in a trench coat holds a cloth and looks down at it. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 11 from 4:40

Frame at 4:43, shot 104:43
1 of 1 shots sampled

11. Private office

4:40–4:46 Not yet checked

Model synopsis: A woman in a dress walks through a curtained doorway into a room where a man sits at a desk. The room is formally decorated with a chandelier and floral arrangements.

  • A woman walks through a doorway into a room. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 4:54, shot 114:54Frame at 5:10, shot 125:10
2 of 2 shots sampled

12. Living room

4:46–5:18 Not yet checked

Model synopsis: A man sits at a piano while a woman stands nearby; they argue about his lack of interest in work and his feelings for Mrs. Edwards. The setting is an interior room with curtains and a lamp, and the dialogue suggests a personal conflict tied to a professional mission.

  • A man sits at a piano while a woman stands nearby. [frame:1]
  • The woman leans toward the man, who is now standing. [frame:2]

2 people observed.

“He was out all night and he brought something home with him.” 4:50 · “You're not interested in your work anymore. You're not interested in me.” 5:05

Evidence, details and a link to share

Sequence 12 from 5:18

Frame at 5:20, shot 135:20
1 of 1 shots sampled

13. Living room

5:18–5:21 Not yet checked

Model synopsis: A man in a dark suit stands in profile near a column and a floral arrangement. The setting appears to be an interior room with patterned curtains and a doorway in the background.

1 person observed.

Evidence, details and a link to share

Sequence 13 from 5:21

Frame at 5:23, shot 145:23
1 of 1 shots sampled

14. Living room

5:21–5:24 Not yet checked

Model synopsis: A woman in a maid's uniform stands beside a man in a suit who is holding a cigarette. The setting appears to be an interior room with curtains and a lamp visible.

2 people observed.

Evidence, details and a link to share

Frame at 5:53, shot 155:53
1 of 1 shots sampled

15. Living room

5:24–6:22 Not yet checked

Model synopsis: A woman and two men argue in a room; one man threatens violence while another enters and discusses a party guest list. The transcript mentions a Chinese detective named Mr. Wong.

Named: Valerie (t:5:24), Peter (t:5:26). 3 people observed.

“Valerie, don't you see where you're heading?” 5:24 · “Do you want the same fate as his first wife? A suicide? Peter, please! He drove her to it with one refined cruelty after another.” 5:26

Evidence, details and a link to share

Frame at 6:24, shot 166:24Frame at 7:03, shot 177:03
2 of 2 shots sampled

16. Living room

6:22–7:40 Not yet checked

Model synopsis: A man in a suit stands alone in a room; later, a woman and another man converse in the same room. The transcript reveals a tense dialogue about a musician named Michael, his talent, and romantic tensions.

  • A man in a suit stands alone in a room. [frame:1]
  • A woman and a man in a patterned jacket face each other in conversation. [frame:2]

3 people observed.

“on ancient art and literature in the Orient. He's also a graduate of Heidelberg and Oxford.” 6:22 · “*Mockingbird noises* Valerie, how long is this, uh, mockingbird going to continue?” 6:28

Evidence, details and a link to share

Frame at 7:41, shot 187:41Frame at 8:08, shot 198:08Frame at 8:41, shot 208:41
3 of 3 shots sampled

17. Living room

7:40–8:49 Not yet checked

Model synopsis: A man and a woman argue in a room about a jewel's curse, then a man in a suit stands at the front door with a delivery person. The transcript reveals the jewel is linked to an Emperor's wife and a superstition about leaving China.

  • A man in a robe stands in a room, looking at a table lamp. [frame:1]
  • A woman confronts the man in the robe. [frame:2]
  • A man in a suit stands at the front door with a delivery person. [frame:3]

Named: Valerie (t:7:57). 4 people observed.

“I was receiving the eye of the daughter of the moon.” 7:45 · “You didn't bring that jewel into this house.” 7:51

Evidence, details and a link to share

Frame at 9:19, shot 229:19Frame at 9:48, shot 239:48Frame at 9:53, shot 249:53
3 of 3 shots sampled

19. Living room

8:53–9:54 Not yet checked

Model synopsis: At a formal gathering, a man introduces Mr. Wong to his wife and another guest; the group exchanges pleasantries and references a past event. The setting is an indoor room with heavy drapery and formal attire, suggesting a high-society event.

  • Mr. Wong shakes hands with Cliff while Valerie stands beside them. [frame:1]
  • Cliff and Valerie stand together, looking toward someone off-screen. [frame:2]
  • Cliff and Valerie face each other and speak. [frame:3]

Named: Cliff (t:9:06), Valerie (t:9:05), Mr. Wong (t:8:54). 5 people observed.

“May I present Mr. Wong, my wife, and Mrs. Edward.” 9:06 · “I'm delighted you could come, Mr. Wong. My dear Wong, this is such a pleasure. Well journey.” 9:11

Evidence, details and a link to share

Sequence 14 from 9:54

Frame at 9:56, shot 259:56
1 of 1 shots sampled

20. Private office

9:54–9:58 Not yet checked

Model synopsis: A man in a dark suit leans over a small cabinet in a dimly lit room with ornate decor. He appears to be opening or inspecting the cabinet while standing beside a patterned tablecloth and a statue.

1 person observed.

Evidence, details and a link to share

Frame at 10:00, shot 2610:00Frame at 10:03, shot 2710:03Frame at 10:12, shot 2910:12Frame at 10:16, shot 3010:16
4 of 5 shots sampled

21. Private office

9:58–10:18 Not yet checked

Model synopsis: A man in formal evening wear examines small objects in a room filled with collectibles; another man in a tuxedo speaks about a collection becoming a monument. The setting is an interior room with ornate furniture and display cases.

  • A man holds a small object and looks at it. [frame:3]

2 people observed.

“Oh, a matched pair. You found the mate.” 9:59 · “You know, my dear Edwards,” 10:05

Evidence, details and a link to share

Frame at 10:20, shot 3110:20Frame at 10:35, shot 3210:35
2 of 2 shots sampled

22. Private office

10:18–10:48 Not yet checked

Model synopsis: Two men in tuxedos examine a large, luminous orb in a velvet-lined box; dialogue reveals it is a stolen artifact from Nan King, sought by the Chinese government. The object is described as beautiful but dangerous.

  • A large, luminous orb rests in a velvet-lined box. [frame:1]
  • Two men in tuxedos stand in a room, one holding a small object while the other looks on. [frame:2]

2 people observed.

“I, the Daughter of the Moon.” 10:19 · “the most beautiful thing in the world.” 10:27

Evidence, details and a link to share

Sequence 15 from 10:48

Sequence 16 from 11:07

Frame at 11:11, shot 3411:11
1 of 1 shots sampled

24. Beat 24

11:07–11:16 Not yet checked

Model synopsis: A close-up of a handwritten note is shown. The note contains a cryptic message about the possessor of the eye of the Daughter of the Moon meeting death.

Evidence, details and a link to share

Sequence 17 from 11:16

Frame at 11:19, shot 3511:19Frame at 11:40, shot 3611:40Frame at 12:04, shot 3712:04
3 of 3 shots sampled

25. Private office

11:16–12:10 Not yet checked

Model synopsis: Two men in tuxedos converse in a formal room; one hands over a document and mentions consulting a criminologist named Jack. The setting includes framed art and a fireplace, and one man states he has made a statement contained in an envelope.

  • One man hands a document to the other. [frame:2]
  • One man gestures toward a desk while holding the document. [frame:3]

Named: Jack (t:11:31). 2 people observed.

“When did this come?” 11:16 · “Why don't you consult our friend Jack?” 11:31

Evidence, details and a link to share

Frame at 12:27, shot 3812:27
1 of 1 shots sampled

26. Private office

12:10–12:44 Not yet checked

Model synopsis: A man in a dark suit stands near a door while another man gestures toward a cabinet; dialogue suggests a sealed document naming a suspect. The setting is an interior room with wood paneling and a map cabinet.

  • A man gestures toward a cabinet while another stands near a door. [frame:1]

Named: Singh (t:12:32). 3 people observed.

“It is to be open if anything should happen to me.” 12:10 · “the name of the person I suspect...” 12:14

Evidence, details and a link to share

Frame at 12:47, shot 3912:47
1 of 1 shots sampled

27. Living room

12:44–12:50 Not yet checked

Model synopsis: A man in a dark suit stands in a dimly lit, paneled room with furniture and wall sconces. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 13:06, shot 4013:06Frame at 13:35, shot 4113:35
2 of 2 shots sampled

28. Living room

12:50–13:47 Not yet checked

Model synopsis: Two men in formal attire speak near a door in a paneled room; a woman addresses a seated audience from a raised platform, announcing a game called 'Indications' involving acting out a song, a mystery book, and a popular movie for a champagne prize.

  • Two men stand facing each other near a paneled door. [frame:1]
  • A woman stands on a raised platform addressing a seated audience. [frame:2]

4 people observed.

“Oh, Mrs. Edwards is going to play some sort of game downstairs.” 12:52 · “We're going to play Indications. Good!” 13:17

Evidence, details and a link to share

Frame at 13:53, shot 4213:53Frame at 14:04, shot 4314:04
2 of 2 shots sampled

29. Living room

13:47–14:09 Not yet checked

Model synopsis: Three men in tuxedos converse in a formal interior while a woman stands nearby; one man asks if another has seen a manuscript from China. The transcript includes a line about a first performance and a reference to a treasure trove from China.

  • Three men in tuxedos stand in conversation in a formal room. [frame:1]
  • Two men face each other closely in conversation; a woman stands in the background. [frame:2]

5 people observed.

“my first appearance as a performer. Oh. And never mind the laugh.” 13:51 · “I expect to be very good.” 13:56

Evidence, details and a link to share

Frame at 14:40, shot 4414:40
1 of 1 shots sampled

30. Living room

14:09–15:11 Not yet checked

Model synopsis: Three men in tuxedos are in a room with formal furniture; one seated at a table reads lines while the others stand and discuss a dramatic scenario involving a wife, her lover, and a husband who shoots. The dialogue suggests they are rehearsing or planning a scene, with one man claiming authorship of the idea.

3 people observed.

“Oh, you play the part of your wife's lover.” 14:11 · “and shoots you.” 14:24

Evidence, details and a link to share

Frame at 15:12, shot 4515:12Frame at 15:15, shot 4615:15Frame at 15:19, shot 4715:19Frame at 15:22, shot 4815:22
4 of 4 shots sampled

31. Living room

15:11–15:24 Not yet checked

Model synopsis: A group of formally dressed people are gathered in a room with a small band playing; a woman sings while others watch. The transcript includes fragmented lines suggesting a guessing game or song, with no clear reference to the film's plot or characters.

  • A woman in a satin dress stands next to a man in a tuxedo. [frame:1]
  • A band of three men in tuxedos plays string instruments while a woman in a dark gown watches. [frame:2]
  • Two women in evening gowns sing while others watch. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“Four men on the boat.” 15:11 · “Oh, no, no, no. Come on now, try again. Oh, this is easy. Come on.” 15:13

Evidence, details and a link to share

Frame at 15:25, shot 4915:25Frame at 15:41, shot 5015:41Frame at 15:58, shot 5115:58Frame at 16:03, shot 5216:03
4 of 4 shots sampled

32. Living room

15:24–16:06 Not yet checked

Model synopsis: A woman in evening wear sits on a sofa while others stand in a formal room; later, a group on a raised platform is applauded, and a woman in a strapless dress speaks. The transcript includes lines about champagne, popularity, and playing roles in a mystery.

  • A woman sits on a sofa while others stand in the background. [frame:1]
  • A group on a raised platform is applauded by others in the room. [frame:2]
  • A woman in a strapless dress speaks while holding her hands together. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. Borton (t:15:35). 6 people observed.

“Mrs. Borton wins the first bottle of champagne. Good champagne.” 15:35 · “Why, I've never been so popular in my life.” 15:50

Evidence, details and a link to share

Frame at 16:22, shot 5516:22
1 of 1 shots sampled

34. Living room

16:19–16:25 Not yet checked

Model synopsis: A woman in a dark dress stands at a table with flowers while a man in a suit stands in the background holding papers. The scene is dimly lit with heavy curtains and appears to be indoors.

2 people observed.

Evidence, details and a link to share

Frame at 16:32, shot 5616:32
1 of 1 shots sampled

35. Living room

16:25–16:39 Not yet checked

Model synopsis: A man in a tuxedo stands holding a paper while a woman in an evening gown sits beside him; the setting appears to be an interior room with curtains and flowers. No names, time of day, or period are established in this beat.

  • The man in the tuxedo stands holding a paper while looking at the seated woman. [frame:1]
  • The woman in the evening gown sits and looks toward the man. [frame:1]

2 people observed.

“What?” 16:31

Evidence, details and a link to share

Sequence 18 from 18:44

Sequence 19 from 19:11

Sequence 20 from 19:19

Sequence 21 from 19:26

Sequence 22 from 21:33

Sequence 23 from 22:57

Sequence 24 from 23:01

Sequence 25 from 23:16

Sequence 26 from 23:18

Sequence 27 from 23:33

Sequence 28 from 23:36

Sequence 29 from 23:40

Sequence 30 from 23:52

Sequence 31 from 26:18

Sequence 32 from 26:33

Sequence 33 from 29:31

Sequence 34 from 30:53

Sequence 35 from 34:06

Sequence 36 from 35:03

Sequence 37 from 36:27

Sequence 38 from 37:23

Sequence 39 from 38:48

Sequence 40 from 38:57

Sequence 41 from 44:00

Sequence 42 from 44:03

Sequence 43 from 45:16

Sequence 44 from 45:37

Sequence 45 from 45:57

Sequence 46 from 46:21

Sequence 47 from 46:57

Sequence 48 from 47:18

Sequence 49 from 47:26

Sequence 50 from 47:44

Sequence 51 from 50:16

Sequence 52 from 53:40

Sequence 53 from 54:32

Sequence 54 from 55:02

Sequence 55 from 55:04

Sequence 56 from 55:06

Sequence 57 from 55:14

Sequence 58 from 55:28

Sequence 59 from 55:38

Sequence 60 from 56:22

Sequence 61 from 56:28

Sequence 62 from 56:49

Sequence 63 from 1:00:37

Sequence 64 from 1:00:40

Sequence 65 from 1:01:11

Sequence 66 from 1:01:56

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1040 segments kept, 307 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. 0:00 I'm going to go.
  2. 1:09 I'm sorry.
  3. 1:57 I'm going to go.
  4. 2:18 I'm going to go.
  5. 2:30 I'm going to go.
  6. 2:33 Mm-hmm.
  7. 2:46 *Humming*
  8. 3:04 Good morning, sir. Good morning.
  9. 3:06 Never mind.
  10. 3:08 Your mistress up yet? Yes, she upstairs, sitting room.
  11. 3:11 - With the secretary, ma'am. - Very good.
  12. 3:29 Adrena?
  13. 3:30 My secretary's working with Mrs. Edwards?
  14. 3:35 Yes.
  15. 3:39 Another boat has arrived from the Orient.
  16. 3:42 One who knows too much can very easily be sent back to the Orient.
  17. 3:45 I'm not afraid.
  18. 3:47 And then...
  19. 3:49 One might never see the Orient again.
  20. 3:53 You know who got you this position?
1020 more segments
  1. 3:55 You wanted to come to America, didn't you?
  2. 4:10 He's home.
  3. 4:16 You're scared, aren't you?
  4. 4:18 You're trembling.
  5. 4:18 Peter, stop it, please.
  6. 4:21 Valerie, how long are you going to stand for this sort of thing?
  7. 4:23 Peter, you're forgetting yourself.
  8. 4:25 You're afraid of him, aren't you?
  9. 4:26 You try to hide it, but you can't.
  10. 4:28 is becoming more apparent every day.
  11. 4:47 The boat came in last night.
  12. 4:50 He was out all night and he brought something home with him.
  13. 4:53 - It ain't it.
  14. 4:54 It might be what we're after. I hope so.
  15. 5:00 What's the matter with you? You're not even listening.
  16. 5:03 Have you forgotten why we're here?
  17. 5:05 You're not interested in your work anymore. You're not interested in me.
  18. 5:08 All you think about is Mrs. Edwards.
  19. 5:10 Mrs. Edwards has nothing to do with it.
  20. 5:12 Oh, I'm interested in the musical career she offered me. Career? Career?
  21. 5:16 You're in love with her.
  22. 5:24 Valerie, don't you see where you're heading?
  23. 5:26 Do you want the same fate as his first wife? A suicide? Peter, please! He drove her to it with one refined cruelty after another.
  24. 5:32 He's doing the same thing to you.
  25. 5:34 Peter, stop it, please. Stop it, Valerie. Can't you see I love you? I won't live it.
  26. 5:39 Yes, you will. I won't stand by and see the woman I love thrown to pieces.
  27. 5:43 I can't stand much more. Someday I'm going to kill him.
  28. 5:48 Peter!
  29. 5:51 Good morning, my dear.
  30. 5:59 Good morning.
  31. 6:00 Have you finished the guest list for our party? We're just, just making it up. Did you invite Ed Janney? I want to show him something.
  32. 6:06 Yes, I... I don't want him at the university, but he was giving a lecture. I...
  33. 6:10 Told his secretary.
  34. 6:12 I'd like to invite Mr. Wong too. The Chinese detective?
  35. 6:17 for your information.
  36. 6:19 He's probably one of the five foremost living authorities.
  37. 6:22 on ancient art and literature in the Orient. He's also a graduate of Heidelberg and Oxford.
  38. 6:28 *Mockingbird noises* Valerie, how long is this, uh, mockingbird going to continue?
  39. 6:37 Peter, would you ask Michael, please, if he'd mind practicing a little later?
  40. 6:42 - Tell him he's annoying, Mr. Edwards. - Yes.
  41. 6:52 It was your idea that we bring strong enough to America?
  42. 6:55 You said he was wasting his marvelous talent, didn't you? Yes. Well, he has to keep up with his practicing.
  43. 7:01 Is that why he moved in with us?
  44. 7:03 Or was it so he could feast his eyes on you?
  45. 7:06 That's not true.
  46. 7:08 I'm not blind.
  47. 7:11 He has a great attraction for women, hasn't he?
  48. 7:15 I hadn't noticed.
  49. 7:16 No?
  50. 7:18 No.
  51. 7:19 And I don't like your insinuations.
  52. 7:21 You know I'm only interested in his voice.
  53. 7:23 So?
  54. 7:25 Then what might your interest in young Harrison be?
  55. 7:29 You're insane.
  56. 7:30 What are you trying to do to me?
  57. 7:32 You throw this together constantly, both fear and stroganoff.
  58. 7:36 What?
  59. 7:37 Miss Beto.
  60. 7:38 Send Struggle off away.
  61. 7:41 In case you were worrying about my absence last night,
  62. 7:45 I was receiving the eye of the daughter of the moon.
  63. 7:49 Brandon.
  64. 7:50 What?
  65. 7:51 You didn't bring that jewel into this house.
  66. 7:53 Why not?
  67. 7:55 We'll all be murdered.
  68. 7:57 Don't be silly, Valerie.
  69. 7:58 Don't you remember what they told you in Shanghai?
  70. 8:01 What would happen if that jewel ever left China?
  71. 8:03 An oriental superstition.
  72. 8:05 They said to carry the curse of Emperor Hong Chong Chu.
  73. 8:07 And they said the Emperor was very jealous of his wife.
  74. 8:12 When he buried her...
  75. 8:13 He placed the gem in her heart.
  76. 8:27 *Loud noise*
  77. 8:36 I'm sorry.
  78. 8:54 Oh, Mr. Wong.
  79. 8:56 Oh.
  80. 8:58 Well, Mr. Wong, glad to see.
  81. 9:00 I'm afraid I'm inexcusably late. Not at all. Pleasure to have you at any time, I'm sure.
  82. 9:04 What?
  83. 9:05 Valerie, dear.
  84. 9:06 May I present Mr. Wong, my wife, and Mrs. Edward.
  85. 9:09 It's so nice of you, Cliff.
  86. 9:10 God.
  87. 9:11 I'm delighted you could come, Mr. Wong. My dear Wong, this is such a pleasure. Well journey.
  88. 9:16 I haven't seen you since the Dayton affair. You will know that very interesting.
  89. 9:20 Yes.
  90. 9:21 Do you remember that old?
  91. 9:22 night in the open craft.
  92. 9:23 Raining cats and dogs. Almost a year ago. Oh, stop it, stop it. Oh no, please, it's so exciting. Let them go on, please.
  93. 9:30 Don't encourage them, my dear. They'll be over in a corner. We'll lose them for the entire night. Now, pardon me for a moment. I must see Mr. Wong.
  94. 9:37 If you'll accept.
  95. 9:37 Cheers, baby.
  96. 9:39 - Be with you, Link. - I'll see you later, dear.
  97. 9:44 You've never met Wang before.
  98. 9:46 Fine scholar.
  99. 9:47 A brilliant man.
  100. 9:51 and a very good friend to have.
  101. 9:53 Like you.
  102. 9:59 Oh, a matched pair. You found the mate.
  103. 10:03 Yes.
  104. 10:05 You know, my dear Edwards,
  105. 10:07 Someday this collection...
  106. 10:09 will be your monument.
  107. 10:11 Perhaps...
  108. 10:12 Now that I have found this,
  109. 10:19 I, the Daughter of the Moon.
  110. 10:22 Do you recognize it?
  111. 10:23 Of course.
  112. 10:27 the most beautiful thing in the world.
  113. 10:31 Exquisite.
  114. 10:32 Gorgeous.
  115. 10:36 but very dangerous.
  116. 10:39 Does the Chinese government know it's in this country?
  117. 10:42 I don't think so.
  118. 10:43 They're searching for it.
  119. 10:45 It was missing from the museum after the looting of Nan King.
  120. 10:50 I suppose you realize your life may be in danger.
  121. 10:54 is in danger.
  122. 11:16 When did this come?
  123. 11:18 The day before I obtained possession of the stone. The day before?
  124. 11:22 That's the real reason I was so anxious to have you come here tonight.
  125. 11:28 Have you consulted the police?
  126. 11:30 No one.
  127. 11:31 Why don't you consult our friend Jack?
  128. 11:34 As you know, he's a noted criminologist. Ed Jani's in and out of here all the time.
  129. 11:38 practically one of the household.
  130. 11:41 I prefer to consult someone...
  131. 11:43 who has a clearer perspective.
  132. 11:46 That's why I sent for you.
  133. 11:49 I'll keep this.
  134. 11:52 Odd.
  135. 11:53 Arriving the day before.
  136. 11:57 And you suspect no one?
  137. 12:07 I have made a statement.
  138. 12:08 which is contained in this envelope.
  139. 12:10 It is to be open if anything should happen to me.
  140. 12:14 the name of the person I suspect...
  141. 12:17 is in here.
  142. 12:26 I'm going to go.
  143. 12:30 Missy, while you...
  144. 12:32 Very well, Singh.
  145. 12:40 Absolutely trustworthy.
  146. 12:42 He's devoted to me.
  147. 12:52 Oh, Mrs. Edwards is going to play some sort of game downstairs.
  148. 12:55 I think it's called "indications" now.
  149. 12:58 Do you know you act out some sort of song, play or picture? Oh, yes, I remember.
  150. 13:04 In England we used to call them charades. That's the idea.
  151. 13:08 I've been roped in to assist.
  152. 13:12 Attention, please!
  153. 13:14 Ladies and gentlemen,
  154. 13:17 We're going to play Indications. Good!
  155. 13:23 We'll act out three titles.
  156. 13:25 One, a song.
  157. 13:26 A well-known song.
  158. 13:28 Two.
  159. 13:29 A book.
  160. 13:30 A mystery book.
  161. 13:32 I don't know.
  162. 13:34 And the third, a movie.
  163. 13:35 An extremely popular movie, I assure you.
  164. 13:38 And?
  165. 13:39 There'll be a bottle of our very best champagne.
  166. 13:42 For the very clever person who guesses each one first...
  167. 13:45 - Good day! - Good day!
  168. 13:51 my first appearance as a performer. Oh. And never mind the laugh.
  169. 13:56 I expect to be very good.
  170. 13:59 Has Brandon been showing you some of the treasure trove he brought back from China?
  171. 14:03 Did he show you the beautiful manuscript he has of the legend of Wu Wang? No, I didn't know he had it.
  172. 14:09 Well, what do I do?
  173. 14:11 Oh, you play the part of your wife's lover.
  174. 14:13 My wife loves her.
  175. 14:16 That's a novel twist. Well, Arthur.
  176. 14:19 What happened?
  177. 14:20 Her husband comes in.
  178. 14:22 He finds you two together.
  179. 14:24 and shoots you.
  180. 14:27 You know, I think you've got something there.
  181. 14:30 Well, do I say anything? Oh, yes. Here are your lines.
  182. 14:35 Valeska, I love you.
  183. 14:37 Who's the husband?
  184. 14:39 I am.
  185. 14:42 Well, that's kind of love it.
  186. 14:44 Valeska.
  187. 14:46 I bet you thought of that.
  188. 14:48 I did.
  189. 14:50 Hmm.
  190. 14:53 What ho, thespians? Ertor!
  191. 14:55 Oh, boy.
  192. 15:08 Well,
  193. 15:10 Well, what is it?
  194. 15:11 Four men on the boat.
  195. 15:13 Oh, no, no, no. Come on now, try again. Oh, this is easy. Come on.
  196. 15:18 Sailing, sailing over the ocean wave.
  197. 15:21 Well, you're getting warm.
  198. 15:22 Someone else?
  199. 15:24 Oh, I know.
  200. 15:25 The vulgar boatman.
  201. 15:27 Good night.
  202. 15:35 Mrs. Borton wins the first bottle of champagne. Good champagne.
  203. 15:46 What?
  204. 15:49 - Peach.
  205. 15:50 Why, I've never been so popular in my life.
  206. 15:54 Well, put it on ice.
  207. 15:56 And now...
  208. 15:58 Number two.
  209. 15:59 The mystery.
  210. 16:01 No less persons...
  211. 16:02 Then your host and hostess
  212. 16:04 We'll play the leading roles in this one.
  213. 16:07 Our play begins...
  214. 16:08 On the stroke of midnight.
  215. 16:31 What?
  216. 16:40 You shouldn't have come.
  217. 16:42 Why?
  218. 16:46 I have to see you.
  219. 16:49 Valerie.
  220. 16:50 I love you.
  221. 16:51 Let's go.
  222. 16:53 Valeska, I love you.
  223. 16:56 John, you mustn't...
  224. 16:57 My husband may be awake.
  225. 17:00 Your husband is awake.
  226. 17:07 I'm not sure.
  227. 17:08 What are you doing in my wife's arms? I mean, what's my wife doing in your arms?
  228. 17:15 We've been in love with each other for months.
  229. 17:17 Months and months.
  230. 17:20 It'll be fun to let you live and suffer, but...
  231. 17:22 As for him...
  232. 17:23 Die like a dog.
  233. 17:26 I'm not going to be able to do that.
  234. 17:28 *Cow*
  235. 17:30 I'm going to go.
  236. 17:38 Now!
  237. 17:39 Guess.
  238. 17:42 The eternal triangle!
  239. 17:44 Not this time.
  240. 17:45 You lose. Oh, no, no, no.
  241. 17:49 Come.
  242. 17:50 Come.
  243. 17:51 Put your thinking caps on.
  244. 17:53 Dead men tell no tales. No, you're not even warm.
  245. 17:57 I've got it. Let's play murder.
  246. 18:00 No, no, that's us.
  247. 18:02 Oh, my God.
  248. 18:06 I call on the eminent criminologist
  249. 18:08 Professor Janney.
  250. 18:10 Oh.
  251. 18:12 Well, uh...
  252. 18:14 I should say it's the...
  253. 18:17 What?
  254. 18:18 What? A terrible professor! Oh, as a last resort.
  255. 18:25 Will you make an effort, Mr. Wong?
  256. 18:26 Oh, uh...
  257. 18:28 Heh.
  258. 18:29 I would suggest... Yes, yes.
  259. 18:31 Murder comes at midnight?
  260. 18:33 That's it!
  261. 18:38 Try it!
  262. 18:40 Come and get your champagne.
  263. 18:42 and a bottle of soda pop for the professor.
  264. 18:50 Yeah.
  265. 18:51 There's the wall.
  266. 18:53 And you. I drink my first toast to your excellent performance.
  267. 19:01 and particularly that of our friend Edwards. Did you hear that, Brandon? Get up and take a bow.
  268. 19:12 Brandon, it's all over.
  269. 19:18 Brandon.
  270. 19:35 His first appearance...
  271. 19:39 And his last.
  272. 19:42 Let me have her.
  273. 19:45 I'll take her to her room.
  274. 19:46 Then I'll call the police.
  275. 19:49 Oh.
  276. 19:54 I'm going to go.
  277. 19:57 I'm afraid there has been an unfortunate accident.
  278. 20:01 Your host.
  279. 20:02 He's dead.
  280. 20:04 Please do not disturb any...
  281. 20:17 I would like to have a word with you two gentlemen.
  282. 20:19 Please.
  283. 20:26 Where's the telephone?
  284. 20:28 It's in on the table, sir.
  285. 20:29 - You'd better get a mistress at last of water. - Yes, sir.
  286. 20:36 Who suggested this particular playlet?
  287. 20:40 I did, Mr. Wong.
  288. 20:42 I scribbled the dialogue...
  289. 20:44 and I was to play the husband's part.
  290. 20:47 Why didn't you?
  291. 20:48 They needed me for another sketch, so I suggested Harrison.
  292. 20:54 Who loaded the gun?
  293. 20:56 Edwards.
  294. 20:57 He loaded it with blanks. I sat right here and watched him.
  295. 21:01 And was the guard ever out of your possession after it was loaded? Well, I don't think so. I... Edward's loaded it and examined it, then I examined it and put it in my pocket. Yeah.
  296. 21:22 Open up.
  297. 21:34 What happened? Boss, up there.
  298. 21:37 Wait for the corner.
  299. 21:46 Oh, Wong.
  300. 21:48 I didn't expect to find you here. I expected you but not so soon. Somebody phoned us about 20 minutes ago. Said it was a homicide. Who phoned did they say?
  301. 21:56 No.
  302. 21:56 Why is it important?
  303. 21:58 Twenty minutes ago...
  304. 22:00 The victim was still alive.
  305. 22:03 Alive?
  306. 22:05 - What's going on here? - I hoped it was an accident.
  307. 22:08 Now, I wonder...
  308. 22:14 How are you?
  309. 22:16 Really smelling sauce?
  310. 22:18 Yes, sir.
  311. 22:20 Well...
  312. 22:22 Well...
  313. 22:24 - You all right? - Well, there's a party as you see.
  314. 22:27 And Mr. and Mrs. Edwards were giving a little playlet.
  315. 22:30 which this young man was supposed to shoot Edwards with this gun.
  316. 22:38 These are blanks.
  317. 22:40 He assures me that he saw Edwards load the gun himself with those blanks.
  318. 22:46 And so far as he knows, the gun has not been out of his possession. But someone tampered with the gun.
  319. 22:52 For the man is dead.
  320. 23:40 Was anybody else with you when this gun was loaded?
  321. 23:43 I was there.
  322. 23:44 I don't know.
  323. 23:45 - Did you handle the gun? - No.
  324. 23:53 Maybe we better start this thing at the beginning.
  325. 23:55 Were all these people here when this gun was fired?
  326. 23:57 Yes, we were all here.
  327. 24:01 - What keeps you so low? - I'm sorry, sir.
  328. 24:10 And we all thought it was just an amusing play.
  329. 24:12 until Mrs. Edwards told her husband to get up.
  330. 24:15 And he didn't move.
  331. 24:17 Where's Ms. Edwards?
  332. 24:18 She was taken to her room by Professor Jamy.
  333. 24:21 - Is he here? - Yes, he too is a guest.
  334. 24:23 party.
  335. 24:24 Well, the gathering of the clan.
  336. 24:26 - We three have worked together before. - That's right.
  337. 24:29 Let's talk to Ms. Edwards.
  338. 24:30 You two stick around.
  339. 24:32 You ladies and gentlemen may go home. Leave your names and addresses with the officer at the door.
  340. 24:37 All right, folks.
  341. 24:40 Line up out here and give me your name.
  342. 24:43 Make her more comfortable.
  343. 24:45 Yes, ma'am.
  344. 24:54 Hello, Street. How did you get here so soon? Somebody phoned us. As far as I can gather before the shooting occurred. Amazing.
  345. 25:02 We'd like to talk to Mrs. Edwards. Oh, please don't.
  346. 25:04 Don't disturb her for a little while. She's half out of her mind.
  347. 25:07 Utterly prostrate.
  348. 25:09 I'm sure she knows nothing of this.
  349. 25:11 Well, maybe you can help us out. Where can we talk? In here.
  350. 25:17 What's this? Edward's Den.
  351. 25:19 Oh.
  352. 25:21 Well, all we have to do is actually find out whether that young secretary knew there was a real bullet in that gun when he fired it.
  353. 25:26 Not quite as simple as that streak.
  354. 25:28 There are some very curious angles in this case.
  355. 25:31 It's important to get the report from the Ballistics Department.
  356. 25:34 Why?
  357. 25:35 I just want to be sure that the bullet in Edward's body really came from Harrison's gun.
  358. 25:40 Well, that's your usual routine. Drop down early in the morning. I will.
  359. 25:43 It's all very puzzling.
  360. 25:45 Edwards and Harrison always seem to be on the best of terms.
  361. 25:52 Sing.
  362. 25:53 Yes, sir.
  363. 25:55 It's true, isn't it, that Mr. Edwards and Mr. Harrison were good friends?
  364. 25:59 Big fright yesterday.
  365. 26:01 You mean they had a fist fight?
  366. 26:03 No.
  367. 26:05 Big top.
  368. 26:06 - Loud talk. - Have you really idea what the Quantle was about?
  369. 26:10 No, sir.
  370. 26:12 Tell that policeman to bring Harrison in.
  371. 26:14 All right.
  372. 26:16 Oh, fight, huh?
  373. 26:20 Hey.
  374. 26:22 Where are you going?
  375. 26:23 I'm going to Mrs. Edwards' room. Oh, are you?
  376. 26:26 They want to see you inside, Mr. Harrison.
  377. 26:28 Who? A policeman.
  378. 26:30 All right, come on.
  379. 26:36 Sit down, Mr. Harrison.
  380. 26:39 You had a call yesterday with Edwards.
  381. 26:41 How did you know that? Is it true?
  382. 26:44 Yes.
  383. 26:45 What did you call about?
  384. 26:47 I can't tell you.
  385. 26:48 You mean you refuse?
  386. 26:50 Yes.
  387. 26:51 I'll have to hold you as a material witness.
  388. 26:54 Which is the same as being under arrest, isn't it? Practically.
  389. 26:57 That's all.
  390. 27:06 A knight in jail will loosen his tongue.
  391. 27:08 I hope it will be solved as easily as that.
  392. 27:12 I think I'll grill that bird myself.
  393. 27:15 If I don't get anywhere, I'll turn him over to the two foremost criminologists on the Pacific coast.
  394. 27:32 You don't believe it was an accident?
  395. 27:34 Do you?
  396. 27:35 Well, so far I have no reason to suspect otherwise. I have.
  397. 27:39 I've a very definite reason for suspecting foul play.
  398. 27:43 Really?
  399. 27:44 I didn't mention it to Street.
  400. 27:47 But Edward showed me a sealed letter in his safe... which was reopened in case of his death by violence.
  401. 27:53 You mean to say he had anticipated that an attempt would be made on his life?
  402. 27:57 And he suspected someone? Of course. That's what's in the letter.
  403. 28:02 You know of course that Edward was unreasonably jealous of Valerie.
  404. 28:05 The singer of...
  405. 28:07 Stroganoff, Harrison, half a dozen men in San Francisco.
  406. 28:11 Valerie had many admirers.
  407. 28:16 how do you propose to open the safe?
  408. 28:20 That may not be so easy a matter.
  409. 28:27 Why, it's opened.
  410. 28:30 And the letter's gone.
  411. 28:34 The eye of the daughter of the moon.
  412. 28:38 The eye of the daughter of the moon?
  413. 28:42 do you mean of the true dynasty? yes.
  414. 28:46 But that's in the Imperial collection in Nanking.
  415. 28:49 No.
  416. 28:50 It was lost in the looting of Nanking.
  417. 28:53 Somehow or other Edwards got possession of it.
  418. 28:56 He showed it to me earlier this evening.
  419. 28:57 Heavens, what that thing's worth.
  420. 29:00 - Oh, fabulous son. - Yes.
  421. 29:03 Our friend had a taste for that sort of thing.
  422. 29:06 Then presumably...
  423. 29:08 The person who stole the letter took the sapphire.
  424. 29:11 - We'd better tell the police. - By no means.
  425. 29:13 We'd better not give our friends treat.
  426. 29:16 too much to think about at once. No, no. I think you and I better stay the night here.
  427. 29:23 Good.
  428. 29:28 Let's have a look round before we turn in.
  429. 29:35 I'm going to go.
  430. 29:49 I'm sorry.
  431. 30:03 Amen.
  432. 30:04 Hmm?
  433. 30:24 What's the matter, Mr. Wong? Nothing at all.
  434. 30:29 Aren't you up rather late?
  435. 30:30 Is she light downstairs?
  436. 30:31 We come up, look, see.
  437. 30:33 White rights.
  438. 30:35 Quite right.
  439. 32:12 I want you to go to the house of the Seven Brothers on Grand Street.
  440. 32:17 Talk to Sun Yat.
  441. 32:18 ask him who in Chinatown sells this kind of paper
  442. 32:22 and to whom.
  443. 32:24 Very fine paper.
  444. 32:25 yes it's not the ordinary paper made from straw it's from the rice paper trees
  445. 32:30 It may have come from Honan province. This may not be easy. Well, do the best you can.
  446. 33:10 This is a micro photograph of the fatal bullet
  447. 33:14 taken from Edward's body.
  448. 33:16 I'll now fire a test shot with Harrison, sir.
  449. 33:55 And isn't it?
  450. 33:57 They all match.
  451. 34:00 Fatal bullet was never fired with Harrison's gun.
  452. 34:02 I didn't think it was.
  453. 34:05 You'll notice the test bullet has none of the peculiar markings of the fatal bullet.
  454. 34:11 Could...
  455. 34:13 These peculiar markings.
  456. 34:16 Could they have been caused by a silencer? Yes, perhaps.
  457. 34:19 That's what happened in the Anderson case, if you remember, Johnny.
  458. 34:22 I had a hunch that it would turn out this way when I got the coroner's report.
  459. 34:26 By the way, does it say that the bullet travelled in a downward direction?
  460. 34:30 that it was fired
  461. 34:32 from a height
  462. 34:34 Yeah.
  463. 34:35 How do you know?
  464. 34:36 But I found this last night...
  465. 34:39 and a balcony overlooking the stage.
  466. 34:44 That's a 38.
  467. 34:45 That's the right caliber.
  468. 34:46 Then it was deliberate murder.
  469. 34:49 Yeah, and that's not all.
  470. 34:50 Carls Lake, that's Edward's attorneys waiting in my outer office with a fine load of news.
  471. 34:55 It seems that Edwards changed his will.
  472. 34:58 And Carl's Lake was on the way to Edward's house this morning to get his signature.
  473. 35:03 Hello, Mr. Danny. This is Mr. Wong.
  474. 35:07 We're helping the police in the investigation.
  475. 35:09 - Mr. Wong. - How do you do?
  476. 35:10 Cars Lake?
  477. 35:11 It's been definitely proven that your client was not killed with a bullet that came from Harrison's gun.
  478. 35:16 This is murder.
  479. 35:17 I'm not entirely surprised.
  480. 35:20 What do you mean by that?
  481. 35:21 There was something wrong in that house.
  482. 35:23 An atmosphere of approaching doom.
  483. 35:25 I've felt it ever since Mr. Edwards returned from his recent trip to China.
  484. 35:29 Just how did the terms of the new will differ from the old ones?
  485. 35:33 Ordinarily, I'd consider this information as confidential.
  486. 35:36 But Mr. Edwards altered his will.
  487. 35:38 practically eliminating Mrs. Edwards from every benefit possible.
  488. 35:41 disinherited Mrs. Edwards?
  489. 35:43 Practically, as much as was possible.
  490. 35:45 How about seeing the butler?
  491. 35:48 Just to what extent was he benefited by the new will?
  492. 35:51 Well, he'd been with Edwards for years. He had the largest legacy of all.
  493. 35:55 I wonder how much that Chinaman really knows.
  494. 35:58 The ways that are dark and tricks that are vain. You know what I mean, Wong.
  495. 36:03 I think the sooner we get out to Edward's house and question everybody, the better. Well, I think you should know that Edward's left a letter in his safe.
  496. 36:09 to be opened in the event of his death. He did?
  497. 36:12 And when Jannie and I looked for it last night, it was gone.
  498. 36:16 How do you know Edwards didn't take it himself?
  499. 36:18 Edward showed it to me just before we went downstairs.
  500. 36:22 And as you know, he never came up again.
  501. 36:25 I think we'd better get out there right now. Of course you realize that this definitely eliminates young Harrison.
  502. 36:31 Yeah, I'll release him.
  503. 36:32 But I'm going to take him along for further questioning.
  504. 36:34 It might be useful.
  505. 36:46 - Oh.
  506. 36:47 What is it, Singh? Please, downstairs.
  507. 36:50 They want to see me?
  508. 36:52 I want to see everybody.
  509. 36:55 I'm going to go.
  510. 36:55 Peter.
  511. 36:56 Valeria.
  512. 36:58 Tell the police we'll both be down shortly.
  513. 37:03 Who do they?
  514. 37:04 They released you? Yes.
  515. 37:06 They found that the bullet that...
  516. 37:08 Killed your husband. Wasn't fired from my gun.
  517. 37:12 I knew you couldn't have done it, Peter.
  518. 37:15 Well...
  519. 37:16 They're waiting.
  520. 37:17 Let's go.
  521. 37:24 In other words, no one went up that stairway outside of Stroganoff.
  522. 37:27 That's right. He went in the playroom.
  523. 37:29 ...poured himself out a drink.
  524. 37:40 - Mr. Kovlick. - How are you, Mrs. Edwards?
  525. 37:42 Sit down, please.
  526. 37:46 Mrs. Edwards, in as much as it's been definitely established that your husband was murdered,
  527. 37:51 It opens up a new line of investigation.
  528. 37:54 Have you any personal suspicions?
  529. 37:58 No.
  530. 38:00 There's no one I suspect.
  531. 38:02 Have you any idea why your husband quarreled with your secretary, Mrs. Edwards?
  532. 38:08 I wasn't aware they had quarreled.
  533. 38:10 I think I can explain that possibly.
  534. 38:12 Harrison bitterly objected to the terms of the new will which disinherited Mrs. Edwards.
  535. 38:18 Oh.
  536. 38:20 So that's where you're coiled, eh?
  537. 38:23 Yes.
  538. 38:24 I didn't like the idea of him changing the will.
  539. 38:27 You know about it.
  540. 38:29 You knew about it.
  541. 38:31 Do you know anything about it?
  542. 38:32 No.
  543. 38:34 And you, Mrs. Edwards?
  544. 38:36 No.
  545. 38:38 But I'm not surprised.
  546. 38:40 Seems to me that it's a pretty good motive for murder.
  547. 38:44 Getting rid of that man before he had a chance to sign it?
  548. 38:48 That's all.
  549. 38:56 If you don't mind, Sergeant, I'd like to return to my office.
  550. 38:59 Thanks for coming.
  551. 39:02 One moment, please.
  552. 39:04 How did you feel about the changing of this will?
  553. 39:07 Well, naturally, I was indignant.
  554. 39:08 Mrs. Edwards is a lovely and charming lady.
  555. 39:11 I thought Edwards was insane and I didn't hesitate to tell him so.
  556. 39:15 I quarrel with him as bitterly as anyone.
  557. 39:18 In fact, I told him to get someone else to look after his legal affairs.
  558. 39:22 I didn't see you at the party last night.
  559. 39:24 Oh, I was invited but at the last moment I decided not to come.
  560. 39:27 I took a ride in my car alone.
  561. 39:30 And you live only a few hours from here.
  562. 39:32 Oh, yes.
  563. 39:33 Why? I mean we can get in touch with you easily if we need you.
  564. 39:37 Oh, yes indeed.
  565. 39:43 If I were you Street I'd have a few officers on duty here tonight.
  566. 39:47 I think you're right.
  567. 39:49 Professor Janny and I have decided to spend the night here again.
  568. 40:02 Too much smoke.
  569. 40:10 Mm-hmm.
  570. 40:12 On this felicitous occasion, the clouds of heaven congealed.
  571. 40:17 the trees on the mountain top
  572. 40:21 Treasures of who way?
  573. 40:23 Yes, and a forgery.
  574. 40:25 Could be.
  575. 40:26 Boss, he thought he had original stolen from Temple of Ancestor.
  576. 40:31 Those who profane their dwelling places
  577. 40:33 The gods destroyed.
  578. 40:36 You know something, don't you?
  579. 40:41 But you hold your tongue in more languages than one, my friend.
  580. 40:56 - Michael, darling. - Audrina.
  581. 40:59 I was so afraid you wouldn't come.
  582. 41:01 It wasn't so easy.
  583. 41:02 We must be very careful.
  584. 41:05 I've been so worried about you.
  585. 41:07 Don't. Soon it will be all over.
  586. 41:09 I hope so.
  587. 41:12 Where did you hide it?
  588. 41:14 What do you mean?
  589. 41:15 The jewel, of course.
  590. 41:16 But I haven't got it.
  591. 41:18 You were upstairs. There were many who were upstairs.
  592. 41:22 Are you lying?
  593. 41:23 You mustn't see such things.
  594. 41:24 You have no reason to doubt me.
  595. 41:27 Haven't I?
  596. 41:28 We were to be married as soon as you reached America. That was three months ago.
  597. 41:32 But I explained to you that it would be detrimental to my career.
  598. 41:36 You know very well your career was only a blind.
  599. 41:38 But I didn't realize then the great possibilities this country offers.
  600. 41:44 Hello, Arthur. Thought you'd gone to bed. I was just going to have a little drink before I do. You join me? Why not?
  601. 41:53 I think I'm beginning to understand.
  602. 41:55 You took the stone and you're trying to hold out on me.
  603. 41:58 You are crazy.
  604. 41:59 Not as crazy as you think.
  605. 42:01 And I'd advise you to be careful.
  606. 42:04 Are you threatening me?
  607. 42:06 I found the letter in the safe that you overlooked.
  608. 42:09 What better?
  609. 42:10 The letter that Edwards wrote, naming the one he suspected.
  610. 42:12 Who is it?
  611. 42:13 Wouldn't you like to know?
  612. 42:15 What are you going to do with it?
  613. 42:17 I'm going to spoil your plans and everyone else's in that house.
  614. 42:20 I want you to give it to the police.
  615. 42:22 and tell them that you stole it in the safe.
  616. 42:25 Don't be silly.
  617. 42:28 All right, then.
  618. 42:29 I'll mail it to Wong.
  619. 42:31 You are bluffing.
  620. 42:34 One way to find that out.
  621. 42:46 Why you come in front door?
  622. 42:49 You go meet him, huh?
  623. 42:53 I'm going to go.
  624. 43:54 Amen.
  625. 44:47 Hey, George.
  626. 44:48 Come on up here.
  627. 44:49 Come on, quick, make a snap. Come on.
  628. 44:52 Morning.
  629. 44:54 Come on, come with me. Come on.
  630. 44:58 Take a look at that.
  631. 45:03 What do you think of that?
  632. 45:05 The door is open. There's someone in the house.
  633. 45:07 Who can tell? Maybe they made their getaway. Well, come on. Let's count noses and find out. Yeah.
  634. 45:16 *BEEP*
  635. 45:20 *shrie*
  636. 45:23 But what's wrong? There's a ladder by an open window in that room. I think we'd better take a look, Charlie.
  637. 45:29 Cover the back door, stretch the grounds. Knock on some doors. Get everybody up.
  638. 45:40 I don't understand that at all.
  639. 45:42 What?
  640. 45:43 that our Mr X should have to force an entrance into the house?
  641. 45:47 or Mrs. X or Miss X...
  642. 45:53 Oh.
  643. 45:57 What's happened? Have you seen any stranger in the house? No. Is something the matter? Somebody either came in or went out.
  644. 46:06 Is everybody here?
  645. 46:08 My maid really isn't here.
  646. 46:10 Made.
  647. 46:12 - Where's her room? - This way.
  648. 46:27 Miss!
  649. 46:28 Come on, break it in.
  650. 46:32 All right.
  651. 46:42 She's dead.
  652. 46:43 Oh!
  653. 46:48 Hello. Place is all upset.
  654. 46:50 Looks as if it's been searched.
  655. 46:53 All right.
  656. 47:05 Aren't you going to Gold Street?
  657. 47:07 Yeah, get him over here right away. Right. All right, folks, let's clear the room.
  658. 47:12 You stay here, don't let anyone in or out until the street gets here.
  659. 47:18 I'm going to go.
  660. 48:00 Oh, Hanson, I was just having a drink. Won't you join me? Yes, I think I could stand one. Uh, Sane.
  661. 48:07 - Are we on his couch? - Yes, sir.
  662. 48:18 Oh, won't you join us for a drink, Mr. Wong? Thank you, no.
  663. 48:23 I would like a cigarette.
  664. 48:25 Yes.
  665. 48:28 I'll take another if I may. I'm all out.
  666. 48:32 All right.
  667. 48:52 Have you found something wrong?
  668. 48:55 The envelope of the letter which Edwards left in his safe. The letter?
  669. 48:59 No letter.
  670. 49:00 Where did you find it?
  671. 49:02 In the waste paper basket in Drina's bedroom.
  672. 49:05 I've always assumed that the murderer stole the letter from the safe.
  673. 49:09 but somehow or other it fell into dreamers' hands.
  674. 49:12 so that she knew who killed Edwards.
  675. 49:15 And she, in turn, poor girl, was killed herself.
  676. 49:18 Hardwood.
  677. 49:20 I wonder if the murderer has the letter now.
  678. 49:22 We'd all feel safer if we knew.
  679. 49:25 But in any event, whoever has it or finds it later is obviously in great danger.
  680. 49:30 Don't you think so, Johnny?
  681. 49:32 Indeed, yes.
  682. 49:34 Oh, there's our friend Streep now.
  683. 49:43 I'm plenty sore about the whole thing.
  684. 49:46 I take every possible precaution. What happens?
  685. 49:49 Somebody gets in the house and...
  686. 49:50 He killed that girl under our nose.
  687. 49:53 When the newspapers get a hold of this, they'll tear the police department apart.
  688. 49:58 I left strict instructions for every door and one in this house to be locked.
  689. 50:01 How about when it get open?
  690. 50:02 I was going through some of Edward's Chinese manuscripts in the den.
  691. 50:07 I'd smoked a good deal.
  692. 50:09 Singh came in and opened the window.
  693. 50:12 Why didn't you close it afterwards?
  694. 50:14 Let me forget.
  695. 50:15 Oh, you did, eh?
  696. 50:16 You sure you didn't arrange to leave that open for someone?
  697. 50:19 A room full of bad air.
  698. 50:20 Me open window, me forget to close him.
  699. 50:23 Does anybody know what this girl was doing all evening?
  700. 50:26 She go outside. She come in front door.
  701. 50:29 Me see her.
  702. 50:30 Are the servants in the habit of coming in through the front door? That's what I asked her.
  703. 50:34 What was she doing outside?
  704. 50:37 She go meet him.
  705. 50:38 Mmm.
  706. 50:41 Did she?
  707. 50:43 Yes.
  708. 50:45 She was on her way to mail a letter when we met her.
  709. 50:47 Oh. Just an accident, eh?
  710. 50:49 No.
  711. 50:50 It was prearranged.
  712. 50:52 She wanted to see me.
  713. 50:53 What did you talk about?
  714. 50:56 a purely personal matter.
  715. 50:58 Discussing personal matters and other servants, eh?
  716. 51:01 How well do you know this girl?
  717. 51:04 We were friends in Shanghai.
  718. 51:05 Just friends.
  719. 51:07 When she learned that I'm coming to the States...
  720. 51:10 With Mrs. Edwards, she persuaded her to take her also.
  721. 51:13 Was she a maid in China?
  722. 51:16 She was a dancer in a cafe in a foreign settlement.
  723. 51:19 Did Mrs. Edwards know that her maid was your sweetheart?
  724. 51:23 No.
  725. 51:25 But what has that to do with the investigation? Might have a lot to do with it.
  726. 51:29 Now, what was the personal matter you were discussing last night?
  727. 51:34 She was insisting on us getting married.
  728. 51:36 And if you refuse?
  729. 51:39 She was threatening to cause a terrific scandal.
  730. 51:41 Oh.
  731. 51:42 Did you believe that she'd actually do this thing?
  732. 51:45 I did not and I told her so.
  733. 51:47 Then what happened?
  734. 51:49 She got very angry and she left.
  735. 51:51 You say she was on her way to mail a letter, Mr. Stokinop.
  736. 51:54 Yes.
  737. 51:55 And did she mail the letter?
  738. 51:57 I don't know.
  739. 51:58 Do you happen to know to whom the letter was addressed?
  740. 52:01 No, I haven't seen the address.
  741. 52:03 How did you get back in the house?
  742. 52:06 Through that French window I left it purposely open.
  743. 52:09 You sure you didn't climb a ladder and get back in the house that way?
  744. 52:12 quite sure.
  745. 52:14 All right.
  746. 52:16 You may all go to your rooms. That is all except Mr. Strogonoff.
  747. 52:25 He's telling the truth.
  748. 52:26 The next step is to find out how much he forgot to tell us. - You really think he knows something? - Sure.
  749. 52:31 And I know something.
  750. 52:32 Whoever killed Edwards and that girl is on these premises right now. Well, I'm quite sure of it.
  751. 52:37 Why? Well, somebody took a shot at me.
  752. 52:39 A shot?
  753. 52:40 Well, earlier in the evening I was outside. I was trying to make a cast of the footprint, the base of the ladder. We never heard of his shot. Of course not. He was the silencer.
  754. 52:49 and that's why we didn't hear the shot that killed Edwards.
  755. 52:53 Yeah, but you shouldn't take those chances, Juan. No, it's perfectly all right. He missed.
  756. 52:58 The more I think of it, the more I think he knows more than he's telling us.
  757. 53:02 You think he killed his sweetheart to shut her up, eh? Sure. When she threatened to talk.
  758. 53:08 I think I'll take Strogan off down to headquarters.
  759. 53:11 Get them ready, George.
  760. 53:19 You know, he claims to be a singer.
  761. 53:22 Alright?
  762. 53:23 I'll make 'em sing.
  763. 53:50 Okay.
  764. 53:57 Hello?
  765. 53:58 I'll find the phone number.
  766. 54:01 All right, all right.
  767. 54:08 You say you came in through the French windows.
  768. 54:10 That's correct. Where'd you go?
  769. 54:12 Upstairs to my room. And how do you account for the fact that the policeman on duty in the hallway didn't see you go up the stairs?
  770. 54:17 I went up the back stairs.
  771. 54:19 Oh, to talk to the maid, huh?
  772. 54:21 Yes.
  773. 54:22 Did you see him?
  774. 54:23 No. I knocked at the door and there was no answer. Then where'd you go?
  775. 54:28 to my room and to bed.
  776. 54:29 Oh.
  777. 54:36 Sen Yud Say, paper bought from China by Kong Li Company.
  778. 54:40 This old paper of very few people.
  779. 54:42 Here, let's up there and hope I something.
  780. 54:49 I...
  781. 54:50 A sutter. 0661.
  782. 54:53 *throwing*
  783. 54:56 Yes?
  784. 54:57 Mr. Wai?
  785. 54:59 About the letter. Mr. Mr.
  786. 55:29 *Bell rings*
  787. 55:32 *Bell rings*
  788. 55:34 Okay.
  789. 55:35 *Bell rings*
  790. 55:43 My hat and umbrella.
  791. 55:58 Straight, Sarvis.
  792. 56:01 Yeah, right here.
  793. 56:05 Hello.
  794. 56:06 Wong speaking.
  795. 56:08 I'm afraid something's happened at the Edwards house. I'll be in front of your house with a squad car in 10 minutes.
  796. 56:13 Come on, Devo.
  797. 56:32 Open up!
  798. 56:38 Bring it in.
  799. 56:40 *thud*
  800. 56:43 I'm sorry.
  801. 56:54 Not like a light.
  802. 56:55 Somebody hit him on the head.
  803. 56:56 Look around and see what you can find.
  804. 56:57 Phone the ambulance.
  805. 57:05 You said you were talking to him on the phone. Did you hear any other voices? No, I just heard a commotion.
  806. 57:10 and what might have been the sound of a falling body.
  807. 57:12 So I called you immediately.
  808. 57:15 The wagon's on this way.
  809. 57:16 There's not a sign of anyone down here, Chief. Nobody out there.
  810. 57:19 Check the upstairs.
  811. 57:20 Look around the grounds.
  812. 57:23 Well...
  813. 57:30 Save!
  814. 57:31 See.
  815. 57:35 Street.
  816. 57:36 Quang, what is this?
  817. 57:38 What's happened? Have they killed him? No, he's only knocked out.
  818. 57:41 Why?
  819. 57:42 What does it all mean?
  820. 57:43 Oh!
  821. 57:44 Where have you three been?
  822. 57:45 ...in the grounds walking in the rose garden.
  823. 57:48 I insisted that Valerie go out and get some fresh air and we took Harrison along with us.
  824. 57:52 It was my suggestion.
  825. 57:54 But when did this happen?
  826. 57:55 We haven't been out of the house.
  827. 57:58 - Half an hour? - Oh, much less than half an hour. That's right, isn't it, Hatch? - Yes.
  828. 58:02 Have you been together all the time? Why, yes, of course.
  829. 58:05 Well, there's one thing I'm sure of.
  830. 58:07 Strogonoff didn't do this.
  831. 58:09 Because he's been with me.
  832. 58:12 The letter.
  833. 58:14 That's the one thing I got out of Stroganoff.
  834. 58:16 That letter was intended for you.
  835. 58:18 Yes, it was.
  836. 58:20 Singh was speaking of it when he was struck down.
  837. 58:22 - Leather?
  838. 58:23 please please what letter?
  839. 58:26 It's a letter written by your late husband.
  840. 58:28 containing the name of the person he suspected.
  841. 58:32 to be opened after his death in the event of foul play.
  842. 58:37 Then he did know.
  843. 58:40 Evidently the assailant thought Singh had the letter with him.
  844. 58:44 See if it's on him boys, it's not necessary. I talked to Singh earlier in the day.
  845. 58:50 And the letter is in the mail.
  846. 58:52 It'll be in my hands in a very few hours.
  847. 59:02 I'm going to go.
  848. 59:06 You expect a visitor?
  849. 59:07 I'm expecting a visitor or two.
  850. 59:10 You'd better stand by the door. Admit anyone who comes.
  851. 59:27 I'm going to go.
  852. 59:31 Why, good evening Mrs. Edward. The letter.
  853. 59:34 - Have you received it? - Do sit down.
  854. 59:37 Have you opened it?
  855. 59:39 Allow me to offer you some tea.
  856. 59:41 I'm not sure.
  857. 59:41 Who was it?
  858. 59:42 Whom do my husband suspect?
  859. 59:45 He suspected the one who hated him.
  860. 59:48 My husband had many enemies.
  861. 59:51 Is it possible that that could include young Harrison?
  862. 59:55 No.
  863. 59:56 - No, no. - Do sit down.
  864. 59:59 Okay.
  865. 1:00:09 - Good evening. - Good evening.
  866. 1:00:11 - Mr. Wong here? - Yes.
  867. 1:00:13 then the real reason for your being here
  868. 1:00:16 is that you're afraid his name might be in your husband's letter.
  869. 1:00:20 Is that it?
  870. 1:00:23 Why, Harrison.
  871. 1:00:25 We were just speaking of you. Val.
  872. 1:00:27 Peter.
  873. 1:00:28 Why did you come here?
  874. 1:00:31 But for the same reason you did.
  875. 1:00:33 Is it possible you both have an identical interest in the contents of this letter?
  876. 1:00:45 I'm going to go.
  877. 1:00:51 Mr. Wong, two more men come. I told you to admit anyone who came.
  878. 1:01:04 Excuse me a moment.
  879. 1:01:10 Sorry to be so late but I met Stroganoff. He wanted to know where you live so I brought him along.
  880. 1:01:17 Hello, Belle.
  881. 1:01:18 Harrison.
  882. 1:01:20 I came to ask you, Mr. Wong, not to open that letter.
  883. 1:01:23 until I have a chance to tell you certain things. that your name is not Stroganov or Petrovich?
  884. 1:01:29 That you knew that Edwards had obtained possession of the eye of the daughter of the moon? That you and the maid Drina won his confidence and came to America with him to get the stone?
  885. 1:01:38 even if you had to kill him?
  886. 1:01:40 Aren't you assuming too much, Mr. Wong?
  887. 1:01:43 That remains to be seen.
  888. 1:01:46 In the meantime...
  889. 1:01:48 Please be comfortable.
  890. 1:01:56 What am I indebted for this? I couldn't help thinking of what you said.
  891. 1:02:00 about my living so near the Edwards.
  892. 1:02:03 Now, if you think for one moment that I had anything to do with this...
  893. 1:02:07 Why, Mrs. Edwards.
  894. 1:02:10 If you contemplate making this statement of any sort, I must insist as your attorney that you first consult me.
  895. 1:02:15 Well surely you don't think that Mrs. Edwards might incriminate herself.
  896. 1:02:21 Now, I submit
  897. 1:02:23 that we are all here for one purpose,
  898. 1:02:25 to identify the murderer of Brandon Edwards.
  899. 1:02:31 Now this letter...
  900. 1:02:33 stolen from his safe and subsequently mailed to me.
  901. 1:02:36 contains the name of the suspect...
  902. 1:02:39 May I see the letter?
  903. 1:02:42 - Why not open it? - I'm afraid it's not quite as easy as that.
  904. 1:02:46 As we all know, Edwards had a great many enemies.
  905. 1:02:49 and it'd be grossly unfair to cast suspicion on a possibly innocent person.
  906. 1:02:54 until we have sifted all the facts.
  907. 1:02:57 But what are your deductions to this point?
  908. 1:03:00 Edwards could have been murdered for two widely different things.
  909. 1:03:04 The first and most obvious one of course is the theft of the eye of the daughter of the moon.
  910. 1:03:09 My first thought was that possibly...
  911. 1:03:12 Far East.
  912. 1:03:13 Friends of China had struck to recover what was rightfully theirs.
  913. 1:03:17 But my countrymen here who are in a position to know...
  914. 1:03:21 Assure me that that is not true.
  915. 1:03:24 So then we come to Mr. Stropanov.
  916. 1:03:27 whose sole purpose in coming to America was to steal the stones.
  917. 1:03:33 But Mr. Wong,
  918. 1:03:34 How possibly could the murder of Edwards
  919. 1:03:37 Help me to gain possession of this stone
  920. 1:03:39 which was locked in the safe in an entirely different part of the house.
  921. 1:03:43 My dear Mr. Stroganoff.
  922. 1:03:46 We have arrived at exactly the same conclusion.
  923. 1:03:50 So I'm afraid we must discard the theory of the stone altogether.
  924. 1:03:54 Then you don't think the murder was committed to obtain possession of this stone? That was not the parable purpose.
  925. 1:03:59 You remember of course Street uncovered the fact.
  926. 1:04:02 that the will was changed and Edwards was killed before he signed it.
  927. 1:04:06 There we come to the second of perhaps the stronger motive.
  928. 1:04:11 In that event,
  929. 1:04:12 Who would be the interested party?
  930. 1:04:17 Of course, it would be Mrs. Edwards.
  931. 1:04:20 and young Harrison whose devotion to his employer's wife was obvious.
  932. 1:04:25 But the report of the Department of Ballistics proves that the bullet was not fired from Harrison's gun.
  933. 1:04:31 and Mrs. Edwards was standing alongside of her husband at the moment that the shot was fired from the balcony overlooking the stage.
  934. 1:04:39 So...
  935. 1:04:41 Could they have had an accomplice?
  936. 1:04:45 Carslake has admitted to quarreling violently with Edwards... ...over the terms of the new will.
  937. 1:04:51 But then again Street's investigation corroborates his story that he did go for a drive that night.
  938. 1:04:56 and was nowhere near the house at the time of the murder.
  939. 1:05:01 Well...
  940. 1:05:03 I confess that I am completely at a loss.
  941. 1:05:06 and at no small cost to my professional pride
  942. 1:05:11 I shall have to seek the solution in this letter.
  943. 1:05:14 Unless you will come to my rescue, Janny.
  944. 1:05:17 and tell me why you killed Edwards.
  945. 1:05:23 Why, dear, I won't.
  946. 1:05:25 - Sure you're not serious. - I'm sorry, Jeremy.
  947. 1:05:29 I was never more serious in my life.
  948. 1:05:31 But my dear Wong, you made so many mistakes.
  949. 1:05:35 Mistakes.
  950. 1:05:36 The theft of the jewel misled me for a while.
  951. 1:05:40 But why the warning note?
  952. 1:05:42 ...or the very paper on which it was written.
  953. 1:05:44 the type of rice paper rarely found in this country.
  954. 1:05:48 was easily traced to your university.
  955. 1:05:50 where it's used in the repairing of ancient manuscripts.
  956. 1:05:55 Yes.
  957. 1:05:58 That was a mistake.
  958. 1:05:59 Then you went out of your way to draw my attention to the manuscript of Wu Wang. An obvious forgery.
  959. 1:06:06 which you had encouraged Edwards to buy so I felt sure you weren't his friend.
  960. 1:06:11 Then came the question of motives.
  961. 1:06:13 And when I discovered that Edward's first wife was your sister...
  962. 1:06:17 And you had watched him drive her to a suicide's grave.
  963. 1:06:21 I was certain that you had every reason to hate him.
  964. 1:06:25 Yes, that's true.
  965. 1:06:28 He drove my sister Mary to her death.
  966. 1:06:31 I was sure of it.
  967. 1:06:34 He knew of my conviction because I warned him at the time of his marriage to Valerie.
  968. 1:06:39 That was my great mistake.
  969. 1:06:43 You know, of course, Valerie married him to save her father from going to prison.
  970. 1:06:48 For three years I stood quietly by and watched him pursuing the same tactics.
  971. 1:06:53 Using the same insidious cruelt as against her that he'd used against my sister.
  972. 1:07:01 When I heard he was going to disinherit her...
  973. 1:07:05 Then...
  974. 1:07:07 I made up my mind to remove him.
  975. 1:07:09 I see.
  976. 1:07:11 And poor Greta.
  977. 1:07:13 The autopsy showed she died of poisoned smoke inhaled into her lungs.
  978. 1:07:18 I can't believe it. Believe me my dear Wong, I would have saved her if I could.
  979. 1:07:23 Her death.
  980. 1:07:25 There's the one thing in all this sorry business that I regret.
  981. 1:07:28 No, Johnny.
  982. 1:07:30 They're both the same, aren't they?
  983. 1:07:36 Water.
  984. 1:07:42 I've traced the source of that poison.
  985. 1:07:45 But I can't find the man that bought it.
  986. 1:07:48 Here's your man.
  987. 1:07:51 Janney?
  988. 1:07:57 Goodbye, Wong.
  989. 1:08:00 Congratulations.
  990. 1:08:02 I'm sorry, Johnny.
  991. 1:08:05 Shall we go straight?
  992. 1:08:07 It's getting late and I haven't slept for a week.
  993. 1:08:23 Kind of breaks up a nice combination, doesn't it?
  994. 1:08:28 All right, folks, that's all.
  995. 1:08:31 Good night, Mr. Wong.
  996. 1:08:35 The letter?
  997. 1:08:36 Oh, yes.
  998. 1:08:38 Why, it hasn't even been opened.
  999. 1:08:43 It's blank paper.
  1000. 1:08:45 Well, I was in rather an embarrassing position when the real letter-mailed by Singh failed to arrive.
  1001. 1:08:50 However, that served its purpose.
  1002. 1:08:53 How did you tie Jannie into that Edwards shooting?
  1003. 1:08:55 I happen to remember that when the lights were out he left me for a few moments.
  1004. 1:08:59 I then found he'd have had time to get to the balcony and back.
  1005. 1:09:03 So when I was fired at later on in the garden by a gun also equipped with a silencer.
  1006. 1:09:08 It wasn't difficult to put the two together.
  1007. 1:09:10 providing we could find a motive for Janny.
  1008. 1:09:14 which unfortunately we did.
  1009. 1:09:17 But once again Street I must say that but for your valuable assistance I couldn't have solved the case.
  1010. 1:09:23 Thanks, Wong. I'll put that in the report.
  1011. 1:09:25 Good night. Good night.
  1012. 1:09:35 Messenger just bring weather.
  1013. 1:09:40 Important?
  1014. 1:09:42 Not now.
  1015. 1:09:47 I'll get you some fresh tea. So...
  1016. 1:09:49 I don't want any tea tonight.
  1017. 1:09:54 You're going on a very important errand for me.
  1018. 1:09:57 Yes.
  1019. 1:09:58 You're taking back to China...
  1020. 1:10:01 Something that belongs there.

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