Public Reel

The Sign of Four (1932)

No renewal found Free in the US since 1 January 1961, on the registry's reading: registration LP3512 of 1932 by Associated Talking Pictures, Ltd was not renewed in the volumes searched. Record.

Arthur Wontner’s Holmes follows a treasure whose promise of wealth keeps drawing new people into an old crime.

The treasure in The Sign of Four is less a prize than a means of passing a crime from one household to another. Mary Morstan comes to Sherlock Holmes seeking an explanation for her father’s disappearance, with anonymous gifts of pearls suggesting that someone knows more than she does. An invitation from an unknown benefactor offers a way into that concealed history. In Arthur Conan Doyle’s story, the people who possess the treasure cannot separate their good fortune from the circumstances in which it was acquired. Holmes must reconstruct that history before he can make sense of its consequences.

The 1932 film was made by Associated Talking Pictures.1 W. P. Lipscomb adapted Doyle’s novel for the screen.4 With Arthur Wontner as Holmes opposite Ian Hunter’s Watson, the investigation has its centre in the partnership between the two men.4 This was one of five Holmes films Wontner made between 1931 and 1937.6 Mary’s arrival brings another household’s unfinished business into the rooms where Holmes and Watson work.

The story gives those partners different kinds of work. Holmes treats Mary’s predicament as a problem whose scattered particulars must be brought into relation. Watson’s attention to Mary herself makes the treasure’s uncertain ownership a personal matter. Affection becomes entangled with the question of who stands to inherit. The romantic possibility is therefore part of the investigation’s stakes rather than a diversion from them. Jonathan Small, played by Graham Soutten, brings the buried history into the present.4 His account is necessary to understanding what the treasure means. The movement toward a confrontation depends on a return to the original theft.

That structure is a firmer basis for discussing this copy than unsupported claims about its visual style. The atlas has not yet supplied annotated beats from which to offer a close reading of a scene. Even the film’s catalogue identity needs some care. One director credit names Graham Cutts alone.1 Another pairs Cutts with Rowland V. Lee.2 Reported running times differ too, from 65 or 74 minutes in one entry to 75 minutes in the other.12 Those discrepancies do not establish that distinct versions survive. They are reasons to distinguish the work described by a catalogue from the particular print a viewer encounters. A duration in a reference entry cannot establish whether anything is missing from a copy.

Its later circulation has made that distinction especially relevant. A home-video survey in 2004 described the Wontner Holmes films, including The Sign of Four, as circulating in the public domain.8 The Internet Archive copy used here carries that designation too.7 These labels are evidence of how the film has been presented, not documentation of the legal steps behind the designation. The ready availability of a copy does not explain when protection ended. Nor do the gathered distribution sources supply the registration and renewal trail. That requires a different kind of record from the one that tells a viewer where to find the film.

The record: Registration LP3512 by Associated Talking Pictures, Ltd is dated 14 August 1932. The registry found no renewal in the renewal volumes for 1959 to 1961, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1960 and the film has been free in the US since 1 January 1961. That conclusion rests on the registry’s reported search rather than on the labels attached to circulating copies. The record does not settle the film’s status outside the United States. It also leaves open the provenance and completeness of any particular surviving copy.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence 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.

  1. en.wikipedia.org https://en.wikipedia.org/wiki/The_Sign_of_Four_(1932_film)
  2. catalog.afi.com https://catalog.afi.com/Film/7470-THE-SIGN-OF-FOUR?cxt=filmography
  3. catalog.afi.com https://catalog.afi.com/Search?searchField=ReleaseDate&searchText=14%20August%201932&so...
  4. arthur-conan-doyle.com https://www.arthur-conan-doyle.com/wiki/The_Sign_of_Four_(movie_1932)
  5. catalog.afi.com https://catalog.afi.com/Film/59161-WITHOUT-A-CLUE?cxt=filmography
  6. imdb.com https://www.imdb.com/title/tt0023469/
  7. archive.org https://archive.org/details/The_Sign_OF_Four
  8. archive.thedigitalbits.com https://archive.thedigitalbits.com/articles/barriemaxwell/maxwell021704.html
  9. astorlibrary.com https://astorlibrary.com/books/sign-of-four/

Inside the film

429 shots over 1:12:44 · 211 beats in 92 sequences · 1053 transcript lines · JSON

Lands on the beat covering that second.
92 sequences; each is also a heading below.
Check before citing the shot count. A 1:40 shot at 1:11:04 (shot 428): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 429 frames with timestamps and on-screen text

How this page was made

429 shots over 1:12:44, read from the Internet Archive copy The_Sign_OF_Four (The_Sign_Of_Four.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 Sign of Four No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 429 shots judged colour), average shot 10.2s long, a frontal face detected in 33% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1932 (Internet Archive).

211 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 0:01

Frame at 0:05, shot 10:05
1 of 1 shots sampled

2. Beat 2

0:01–0:09 Not yet checked

Model synopsis: The beat shows a title card for the 1932 film 'The Sign of Four,' adapted from Arthur Conan Doyle. No characters or actions are visible; only text is displayed.

Evidence, details and a link to share

Sequence 3 from 0:09

Frame at 0:37, shot 20:37
1 of 1 shots sampled

3. Beat 3

0:09–1:05 Not yet checked

Model synopsis: A title card from the 1932 film THE SIGN OF FOUR credits Graham Cutts as director. No people, actions, or settings are depicted beyond the text and background image.

Evidence, details and a link to share

Sequence 4 from 1:05

Frame at 1:29, shot 51:29Frame at 1:34, shot 61:34Frame at 1:45, shot 71:45
3 of 3 shots sampled

5. Private office

1:27–1:53 Not yet checked

Model synopsis: A man in trousers and shoes walks across a wooden floor; a close-up shows a man with a mustache speaking. A sound effect 'Tonk' is heard at 1:44.

  • A man walks across a wooden floor. [frame:2]
  • A man with a mustache speaks in profile. [frame:3]

2 people observed.

“*Tonk*” 1:44

Evidence, details and a link to share

Sequence 5 from 1:53

Frame at 2:09, shot 112:09Frame at 2:17, shot 122:17Frame at 2:25, shot 142:25Frame at 2:31, shot 152:31
4 of 5 shots sampled

8. Private office

2:05–2:34 Not yet checked

Model synopsis: Three men negotiate in a dim interior; one demands a quarter million and mentions pearls, while another agrees to let them escape before returning. No names are spoken that identify the individuals.

4 people observed.

“And I want a quarter of a million. Roger, but Tana's pearls alone are worth more.” 2:19 · “to find out the truth of your story. Before you come back,” 2:26

Evidence, details and a link to share

Frame at 2:35, shot 162:35Frame at 2:47, shot 172:47
2 of 2 shots sampled

9. Private office

2:34–2:57 Not yet checked

Model synopsis: Three men are gathered around a table in a dim interior, one pointing at a hand-drawn map while others listen. Dialogue suggests a tense negotiation over dividing stolen goods and references to a 'Major Salto' and 'Captain Morstan'.

  • A finger points at a hand-drawn map showing rooms and corridors. [frame:1]
  • Three men stand around a table, one gesturing while speaking to the others. [frame:2]

3 people observed.

“The sign of fall.” 2:34 · “There are four of us in this.” 2:36

Evidence, details and a link to share

Frame at 2:59, shot 182:59Frame at 3:03, shot 193:03Frame at 3:08, shot 203:08Frame at 3:13, shot 213:13
4 of 4 shots sampled

10. Private office

2:57–3:14 Not yet checked

Model synopsis: Three men examine a ground plan in an interior setting. One man points to locations on the plan while others listen, and dialogue refers to a fortress and a cornerstone.

  • A man points to a ground plan on a table. [frame:3]
  • A finger traces a path on the plan, indicating a cornerstone and a point to send something. [frame:4]

3 people observed.

“Where is this place?” 2:57 · “The fortress of Angra.” 3:00

Evidence, details and a link to share

Sequence 6 from 3:36

Frame at 3:42, shot 233:42
1 of 1 shots sampled

12. Private office

3:36–3:49 Not yet checked

Model synopsis: Two men are shown in close proximity, one seated and one leaning over him, in what appears to be an indoor setting. No names are spoken, and no objects or text are clearly identifiable beyond their clothing and posture.

  • Two men are positioned closely, one leaning toward the other who is seated. [frame:1]

2 people observed.

“Free brick.” 3:36 · “That is...” 3:39

Evidence, details and a link to share

Sequence 7 from 3:49

Frame at 4:04, shot 244:04
1 of 1 shots sampled

13. Other

3:49–4:18 Not yet checked

Model synopsis: Two figures in hats and coats are bent over near a brick wall in a dimly lit scene. No names are spoken, and no objects or text are visible beyond the wall and their clothing.

  • Two figures in hats and coats are bent over near a brick wall. [frame:1]

2 people observed.

“The one?” 3:51 · “Cool.” 3:53

Evidence, details and a link to share

Sequence 8 from 4:18

Frame at 4:27, shot 254:27
1 of 1 shots sampled

14. Other

4:18–4:36 Not yet checked

Model synopsis: A close-up shot shows a hand reaching toward a glittering object on a dark surface. No dialogue or other context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 9 from 4:36

Frame at 4:42, shot 264:42
1 of 1 shots sampled

15. Other

4:36–4:49 Not yet checked

Model synopsis: A person in a pith helmet and another person are visible near a brick wall, with one holding a tool. No spoken dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 10 from 4:49

Frame at 4:50, shot 274:50
1 of 1 shots sampled

16. Other

4:49–4:52 Not yet checked

Model synopsis: A close-up shows a person's legs and feet standing near a crumpled paper bag and a small object on the ground. No dialogue or identifiable location is visible in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 4:56, shot 284:56Frame at 5:01, shot 295:01Frame at 5:07, shot 315:07Frame at 5:11, shot 325:11
4 of 5 shots sampled

17. Other

4:52–5:14 Not yet checked

Model synopsis: A person is seen moving urgently in a dark, arched space with debris, while voices urge action and one exclaims 'No!'. The setting appears to be an underground or enclosed area with brick walls and low lighting.

  • A man runs through a debris-strewn arched space. [frame:1]
  • A dark, indistinct figure moves rapidly. [frame:2]
  • A man's face is shown in close-up, eyes closed, mouth open as if shouting or in pain. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Oh, my God.” 4:52 · “I'm going to go.” 5:03

Evidence, details and a link to share

Sequence 11 from 5:18

Frame at 5:25, shot 345:25
1 of 1 shots sampled

19. Other

5:18–5:31 Not yet checked

Model synopsis: A dark, shadowy interior scene shows a figure standing over a prone body on the ground. No dialogue or on-screen text is visible in the frame.

  • A standing figure looms over a body lying on the ground. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 12 from 5:31

Sequence 13 from 5:34

Frame at 5:48, shot 375:48
1 of 1 shots sampled

22. Newsroom

5:42–5:54 Not yet checked

Model synopsis: A newspaper headline about escaped convicts is shown. The transcript contains a single spoken word, 'Okay.'

  • A newspaper headline about escaped convicts is displayed. [frame:1]

1 person observed.

“Okay.” 5:46

Evidence, details and a link to share

Sequence 14 from 5:54

Sequence 15 from 6:03

Frame at 6:05, shot 396:05
1 of 1 shots sampled

24. Other

6:03–6:07 Not yet checked

Model synopsis: A hand holds a newspaper titled 'The Evening News' with a headline about car bandits in London. No people are visible or audible, and no events are described beyond the newspaper's content.

Evidence, details and a link to share

Sequence 16 from 6:12

Frame at 6:13, shot 416:13
1 of 1 shots sampled

26. Private office

6:12–6:15 Not yet checked

Model synopsis: A man is shown in close-up reading a newspaper with a headline about car bandits in London. No dialogue or additional context is provided in this beat.

  • A man reads a newspaper. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 6:18, shot 426:18
1 of 1 shots sampled

27. Other

6:15–6:21 Not yet checked

Model synopsis: A close-up shot shows a man's face in front of a newspaper headline. No dialogue or action is visible in the single frame provided for this beat.

1 person observed.

Evidence, details and a link to share

Sequence 17 from 6:21

Frame at 6:24, shot 436:24Frame at 6:30, shot 446:30Frame at 6:35, shot 456:35
3 of 3 shots sampled

28. Private office

6:21–6:39 Not yet checked

Model synopsis: A man in a wheelchair is shown in a dimly lit room with ornate decor; another figure moves near a doorway. A line of dialogue requests two sons be fetched. No names are spoken or visible.

  • A man in a wheelchair sits in a room with a fireplace and lamps. [frame:1]
  • A figure moves near a doorway beside a tall vase. [frame:2]
  • The man in the wheelchair raises his hand to his head. [frame:3]

2 people observed.

“That's what?” 6:26 · “fetch my two sons to me at once.” 6:27

Evidence, details and a link to share

Sequence 18 from 6:39

Sequence 19 from 6:41

Sequence 20 from 6:47

Sequence 21 from 8:31

Sequence 22 from 9:19

Sequence 23 from 9:28

Sequence 24 from 10:11

Sequence 25 from 10:34

Sequence 26 from 13:40

Sequence 27 from 13:59

Sequence 28 from 14:55

Sequence 29 from 15:18

Sequence 30 from 15:30

Sequence 31 from 15:49

Sequence 32 from 16:33

Sequence 33 from 16:52

Sequence 34 from 19:19

Sequence 35 from 19:38

Sequence 36 from 19:55

Sequence 37 from 20:31

Sequence 38 from 20:46

Sequence 39 from 20:58

Sequence 40 from 21:14

Sequence 41 from 21:30

Sequence 42 from 21:40

Sequence 43 from 21:47

Sequence 44 from 23:12

Sequence 45 from 24:33

Sequence 46 from 24:35

Sequence 47 from 25:46

Sequence 48 from 26:10

Sequence 49 from 27:16

Sequence 50 from 33:00

Sequence 51 from 33:14

Sequence 52 from 36:30

Sequence 53 from 36:36

Sequence 54 from 43:17

Sequence 55 from 48:23

Sequence 56 from 49:25

Sequence 57 from 49:32

Sequence 58 from 49:37

Sequence 59 from 49:41

Sequence 60 from 51:31

Sequence 61 from 52:34

Sequence 62 from 53:17

Sequence 63 from 54:02

Sequence 64 from 54:33

Sequence 65 from 55:18

Sequence 66 from 55:25

Sequence 67 from 58:44

Sequence 68 from 59:00

Sequence 69 from 59:14

Sequence 70 from 59:18

Sequence 71 from 1:00:09

Sequence 72 from 1:00:35

Sequence 73 from 1:00:40

Sequence 74 from 1:00:45

Sequence 75 from 1:00:47

Sequence 76 from 1:00:53

Sequence 77 from 1:00:58

Sequence 78 from 1:01:01

Sequence 79 from 1:01:06

Sequence 80 from 1:01:58

Sequence 81 from 1:02:06

Sequence 82 from 1:02:09

Sequence 83 from 1:02:12

Sequence 84 from 1:02:27

Sequence 85 from 1:03:44

Sequence 86 from 1:04:16

Sequence 87 from 1:07:32

Sequence 88 from 1:08:02

Sequence 89 from 1:08:08

Sequence 90 from 1:08:44

Sequence 91 from 1:09:47

Sequence 92 from 1:11:04

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1053 segments kept, 390 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. 1:44 *Tonk*
  2. 1:54 Come in.
  3. 2:04 Come in, come in.
  4. 2:13 How small?
  5. 2:15 You say the precious stones are all in this one place?
  6. 2:19 And I want a quarter of a million. Roger, but Tana's pearls alone are worth more. If we agree to go to this place of yours, wherever it is,
  7. 2:26 to find out the truth of your story. Before you come back,
  8. 2:29 Give me and my pals a chance to escape.
  9. 2:31 Yes.
  10. 2:33 Say it.
  11. 2:34 The sign of fall.
  12. 2:36 There are four of us in this.
  13. 2:39 You swear the swag will be divided?
  14. 2:41 - We all get our sheriff? - Yes, yes, yes. But... Listen to me, Major Salto.
  15. 2:45 On you too, Captain Morstan.
  16. 2:47 Get them across from me.
  17. 2:49 I'll break out of it anyway somehow.
  18. 2:51 If I don't know... If you don't trust us, you'd better go back to your solitary confinement.
  19. 2:57 Where is this place?
  20. 3:00 The fortress of Angra.
1033 more segments
  1. 3:03 That is the ground plan.
  2. 3:05 The 337 you see there...
  3. 3:07 means that from this cornerstone
  4. 3:08 The Count's free mix-up.
  5. 3:10 And send us some along to that point.
  6. 3:12 The spark is over there.
  7. 3:27 Mind you, don't forget.
  8. 3:30 A sign of fall.
  9. 3:36 Free brick.
  10. 3:39 That is...
  11. 3:40 seven aloft.
  12. 3:51 The one?
  13. 3:53 - Cool.
  14. 3:54 that is free.
  15. 3:57 perfect five
  16. 3:58 That is sick.
  17. 4:00 That'd be something.
  18. 4:14 Oh.
  19. 4:16 Come on.
  20. 4:52 Oh, my God.
  21. 4:58 Come on.
  22. 5:03 I'm going to go.
  23. 5:06 Go on.
  24. 5:08 Come on.
  25. 5:12 No!
  26. 5:46 Okay.
  27. 6:26 That's what?
  28. 6:27 fetch my two sons to me at once.
  29. 6:31 Oh.
  30. 6:58 I'm going to go.
  31. 7:05 What are you doing out of your chair? What's happened?
  32. 7:08 - Don't forget to beg. - Mother!
  33. 7:14 We'll get back to the fire.
  34. 7:17 For God's sake, keep him away.
  35. 7:20 Don't let him kill me. Don't let him kill me. Sarah.
  36. 7:23 No one's going to harm you.
  37. 7:25 We'll protect you.
  38. 7:26 Not from Jonathan Small.
  39. 7:28 He'll kill me. He said he would. He escaped a month ago from Andaman. Jonathan Small, who is he? He's only one leg.
  40. 7:36 The others would.
  41. 7:37 I robbed him of his treasure.
  42. 7:39 and killed Morstan in a fight over it.
  43. 7:42 Treasure?
  44. 7:43 Yes.
  45. 7:44 That's where our money comes from.
  46. 7:47 Moston had a daughter.
  47. 7:49 Mary, I think her name is...
  48. 7:51 Runs a florist shop in the West End. Look.
  49. 7:56 Open the top drawer of that desk.
  50. 8:03 Press the back.
  51. 8:04 Near the corner on the right side.
  52. 8:19 Yeah.
  53. 8:20 I have killed...
  54. 8:20 that would be
  55. 8:21 Be careful. Be careful. Oh, my sons, don't quarrel over them.
  56. 8:24 What suffering they've caused already.
  57. 8:27 Those are the rushes on the falls.
  58. 8:29 I want them to go to Morstan's daughter.
  59. 8:31 You must also give her one third of the rest...
  60. 8:35 Yes, Father, I promise. Where is the rest?
  61. 8:38 I've hidden it in Pondicherry Lodge. Where? Where?
  62. 8:41 Upstairs.
  63. 8:42 in the
  64. 8:48 That's good.
  65. 8:49 You hear?
  66. 8:52 Do you hear?
  67. 8:54 Stop!
  68. 8:55 Stroll!
  69. 8:57 That wooden leg!
  70. 9:00 No, of course you don't.
  71. 9:02 It's only in my head pounding there.
  72. 9:08 Thank you, dear.
  73. 9:10 I too.
  74. 9:22 Father.
  75. 9:42 Stop!
  76. 9:43 Stop!
  77. 9:44 Father, Eckba.
  78. 9:45 Redbach, go outside. There's a man. Stop him. Stop him.
  79. 9:49 He's dead.
  80. 9:55 No one here, sir.
  81. 9:56 Someone just gone in taxi.
  82. 10:07 He never told her.
  83. 10:08 where the treasure ends.
  84. 10:26 Couple more jab to the feet, matey.
  85. 10:28 and a beautiful spectacle of love wearing the raw smatana pearls will be finished.
  86. 10:35 One more...
  87. 10:36 stay heavy and I'd run out on you.
  88. 10:39 Well, that'll be done, isn't it?
  89. 10:41 No one will recognize you now with combat number 44730.
  90. 10:45 A drop of the ants.
  91. 10:46 shot, stranded and electrocuted, then go through this again?
  92. 10:52 We can arrange that too.
  93. 10:54 Oh, oh.
  94. 10:56 That's done it.
  95. 10:57 Oh...
  96. 10:58 Lash me.
  97. 11:00 Oh.
  98. 11:04 Keep it in the way. Leave it alone. Let it get dry.
  99. 11:06 You have a look at yourself.
  100. 11:09 You're our masterpiece, that's what you are.
  101. 11:12 I'll owe him with the professor what's done it.
  102. 11:14 Think of the money people pay to look at you.
  103. 11:16 Well, she looks a bit on the fat side to me. A little bit of fat over your kidneys will keep you warm.
  104. 11:23 I'll make you a fat and I'll get my hands on those sparklers again.
  105. 11:26 sitting in a sofa full of food to that nice little bit of lecture I did there
  106. 11:30 Spread out the spell.
  107. 11:32 God bless her.
  108. 11:34 All right.
  109. 11:34 I've been listening to you talk about them
  110. 11:37 for 10 years.
  111. 11:41 And I believe you.
  112. 11:42 Broke out of Andaman with you. With me, we've only three more months of a sentence to do.
  113. 11:47 They can stick a million holes in me eyes and make me look like a blooming zoo.
  114. 11:51 You've been lying.
  115. 11:52 And if you ain't?
  116. 11:53 Let's see the color of them sparkles. Quick or I'll break it. You're what?
  117. 11:58 You're what?
  118. 12:01 Oh!
  119. 12:06 Now, Aunt Alexander.
  120. 12:09 Be a good boy and do what Papa wants you to.
  121. 12:12 And don't make Papa have to cave your blooming ribs in.
  122. 12:21 Go on, lady.
  123. 12:23 You don't think I've spent in that stinking prison for 20 years without getting educated to you?
  124. 12:29 They said they sent me to court to learn me a lesson, and I learned it.
  125. 12:33 I've been through Oxford
  126. 12:35 in the first place
  127. 12:37 Most of the treasure is safe.
  128. 12:39 I'm all right, I don't...
  129. 12:41 Because I'll show you when you've got the nerve to give
  130. 12:43 is more than a day.
  131. 12:44 And how do I know you ain't got the nerve?
  132. 12:46 But I looked at him once
  133. 12:48 And he kicked the bucket.
  134. 12:50 Yeah.
  135. 12:52 Now why aren't those pretty shelter boys set the cops on me?
  136. 12:54 We don't want me to make no noise about the sparklers.
  137. 12:57 But fear the real owner...
  138. 12:58 We'll turn up and find them.
  139. 13:00 And for fear of losing them,
  140. 13:03 They'll only turn him in a cash one at the top.
  141. 13:05 but that I found many of the beauties.
  142. 13:08 So very.
  143. 13:10 There'll be plenty for us.
  144. 13:12 Then we'll get round to collecting.
  145. 13:16 No, matey.
  146. 13:18 There's one thing you'll never know.
  147. 13:22 And that is...
  148. 13:23 What a beautiful thing it is to be addicted to.
  149. 13:26 I know enough.
  150. 13:28 And not to keep your mouth shut, I hope.
  151. 13:31 I never did think it'd be stealthily government haircut.
  152. 13:35 But I can't wear these fucking dresses for long.
  153. 13:38 They make me aches.
  154. 13:41 I just put on me best Sunday go to meeting props.
  155. 13:44 and give the ladies an eyeful.
  156. 13:59 Now you stay right here in the funfair.
  157. 14:02 And keep your own fires burning.
  158. 14:04 And mind you keep an eye on Tonga too.
  159. 14:07 You don't go on exhibition until next week.
  160. 14:17 If all I was to say to you...
  161. 14:18 Now for the treasure of Monte Cristo and the world is mine.
  162. 14:23 You wouldn't know what I meant, would you?
  163. 14:26 Nah.
  164. 14:27 because you're not etiquette.
  165. 14:31 Okay.
  166. 14:33 Ten years of a pen and never learned
  167. 14:58 Good place, Miss Norton.
  168. 15:00 One piece.
  169. 15:04 Good morning.
  170. 16:13 That's all.
  171. 16:16 That's all!
  172. 16:20 There's somebody here.
  173. 16:22 I put on the light.
  174. 16:45 Once, quick out of your shelter.
  175. 16:48 You'll be having breakfast with your father in the morning.
  176. 16:56 I'm simply charmed to meet you, Mr. Shelter.
  177. 17:00 My name's Small.
  178. 17:03 Jonathan Small.
  179. 17:07 Heard my name before, huh?
  180. 17:10 Perhaps from your dear father.
  181. 17:13 Nice man, your father.
  182. 17:16 All right.
  183. 17:18 Yes. No life.
  184. 17:20 You was a dusty, rotten snake thief.
  185. 17:23 A worse cook than him never lived.
  186. 17:25 Did he tell you he was a murderer too?
  187. 17:28 -Felice!
  188. 17:29 What?
  189. 17:31 He confessed.
  190. 17:32 All those things.
  191. 17:34 Just before he died.
  192. 17:36 Did he kill you all about the treasure?
  193. 17:38 Eddie!
  194. 17:40 Yes.
  195. 17:44 Mary?
  196. 17:45 We've been wasting our energy up sitting in the gentleman's house.
  197. 17:49 All we got to do was to ask you where my pretty sparklers were...
  198. 17:52 Annie, tell her.
  199. 17:56 Where are they?
  200. 17:58 I don't know. Huh?
  201. 18:01 are the guides
  202. 18:02 before he could tell us.
  203. 18:05 I'm disappointed in your shelter.
  204. 18:07 I thought you too much sense for the play with me.
  205. 18:10 The treasure is hidden somewhere.
  206. 18:12 They've not been able to find out where.
  207. 18:14 All of it?
  208. 18:16 Yes.
  209. 18:17 Yes, yes, yes, yes, all of them.
  210. 18:19 Ha ha!
  211. 18:20 How are you?
  212. 18:22 That means your luck.
  213. 18:28 Let me get her right.
  214. 18:30 They're gonna get this stuff anyway.
  215. 18:31 Whether you turn us or not,
  216. 18:32 Now, whether you die or not.
  217. 18:34 Put it up.
  218. 18:40 Stop!
  219. 18:41 Stop! I'll travel! I'll travel!
  220. 18:49 Well...
  221. 18:51 I told you the truth.
  222. 18:53 The bulk of the treasure, we can't find it.
  223. 18:56 Only the pearls.
  224. 18:58 The Rajputana codes.
  225. 19:00 Why are they?
  226. 19:02 promise that my brother and myself won't be harmed.
  227. 19:05 Unless you get funny and tell the cops.
  228. 19:07 I promise, I promise we won't.
  229. 19:10 Captain Lawson's daughter, Hatchman. Am I right here, huh?
  230. 19:14 She keeps a flawless job.
  231. 19:20 There you are, sir.
  232. 19:33 Oh, my God.
  233. 19:41 Your change, sir. Two and six, five and five makes sense.
  234. 19:45 Yeah.
  235. 19:45 Thank you, sir.
  236. 19:46 Call again.
  237. 19:48 I will.
  238. 20:00 Oh
  239. 20:20 Come on.
  240. 20:21 Come on.
  241. 21:36 I'm sorry.
  242. 21:50 You certainly shot that tiger clean through the head.
  243. 21:54 And he was a beauty, too.
  244. 21:59 How on earth could you know?
  245. 22:01 You're a very remarkable man, Watson.
  246. 22:04 Me? The finest audience in the world.
  247. 22:07 I'd never cease explaining my message to you.
  248. 22:10 And apparently your amazement grows deeper every day.
  249. 22:13 How could you possibly know what I've been thinking?
  250. 22:18 You were looking at those tiger pictures in the paper until your eyes were nearly popping out of your head. Your expression then was unmistakable.
  251. 22:26 Yes, I suppose it was. Yes, you came down to Earth and realized that
  252. 22:29 Tiger shooting is no longer for you.
  253. 22:33 Very simple, really.
  254. 22:34 Like all great things Watson.
  255. 22:40 You know, I owe you an apology.
  256. 22:42 You come here for adventure?
  257. 22:43 And I've none to offer you. Very soon out of London's teeming millions, some distressed person will step up to the door and knock.
  258. 22:50 Ring, Watson, the knocker doesn't function. You should have noticed that.
  259. 22:53 Oh, very well ring then.
  260. 22:57 Ah.
  261. 22:58 May that have made.
  262. 22:59 What?
  263. 23:01 Who?
  264. 23:07 Evidently you find the young lady's case interesting already.
  265. 23:15 Miss Morseford to see you, sir. Miss Morseford?
  266. 23:18 Did you tell your visit?
  267. 23:19 No, sir.
  268. 23:20 But she seems terribly upset.
  269. 23:23 Oh.
  270. 23:24 Show her up.
  271. 23:26 It's one of your teeming millions, Watson.
  272. 23:30 Miss Moston.
  273. 23:34 Mr. Holmes!
  274. 23:35 mr sherlock holmes is that is my name
  275. 23:38 I'm terribly sorry.
  276. 23:40 I think...
  277. 23:42 I'm afraid I'm going to see.
  278. 23:51 And I'll get some brandy.
  279. 23:54 - It was a frightful shock of some kind. - Thank heaven you were here Watson.
  280. 23:57 In such embarrassing matters as fainting women, I must refer to you.
  281. 24:13 That's better. You'll feel all right again in a minute.
  282. 24:18 I feel terribly ashamed.
  283. 24:21 I apologize.
  284. 24:29 Perhaps I'd better go. And deprive it of the pleasure of offering the assistance you came to seek?
  285. 24:40 Miss Mawson, tell me.
  286. 24:42 Why were you so afraid of being followed here?
  287. 24:46 How did you know? Well, it's hardly a mystery. I simply observed it from the window.
  288. 24:51 Oh.
  289. 24:53 Now, Miss Morton.
  290. 24:56 It's a rather long story.
  291. 24:57 Shall I begin at the beginning? Yes, please do.
  292. 24:59 An amateur investigator like myself can't have too many facts of a case to work on.
  293. 25:04 A number of years ago, my father, Captain Mawson,
  294. 25:07 mysteriously disappeared.
  295. 25:09 whilst on his way home on leave from the Orient.
  296. 25:12 - It's mostly.
  297. 25:13 Uh...
  298. 25:14 Captain Moskowitz.
  299. 25:16 Something to do with a convict settlement that, um...
  300. 25:20 Uh, Andaman Islands, was it?
  301. 25:22 Yes, I remember.
  302. 25:23 Who would be that?
  303. 25:26 You'll learn to expect such amazing things from Mr. Holmes.
  304. 25:29 And I'm afraid that completes my knowledge of the first chapter.
  305. 25:34 This was found in my father's belongings.
  306. 25:41 It appears to be the diagram of a large building.
  307. 25:45 Forks, perhaps.
  308. 25:46 Yeah, what's this? Four names.
  309. 25:48 Look, here are four crosses.
  310. 25:49 Yes, four crosses.
  311. 25:51 When I first saw that paper as a child,
  312. 25:53 I wonder what those cross have missed.
  313. 25:55 And today when I saw it again on another paper... Again?
  314. 25:59 Yes.
  315. 26:00 That's the modern side of the story.
  316. 26:02 It's all very simple to me.
  317. 26:07 First, we dust.
  318. 26:08 both the shorter boys in with a nice little bit of cutting round the jugular vein.
  319. 26:16 And for the matter of that,
  320. 26:19 She sticks a knife into the Marston girl if she won't tell.
  321. 26:24 Then...
  322. 26:24 Off we go to South America with the Starkleys.
  323. 26:29 It's all very simple to me. When you're done with the three of them, I suppose you'll start a little bloody police war.
  324. 26:36 Now.
  325. 26:37 There'll be no murdering unless absolutely necessary.
  326. 26:41 Can't do much of it without leaving some clue. Eh?
  327. 26:45 Hello.
  328. 26:47 You know what Chloe is, don't you? Yes.
  329. 26:49 something you stick paper together with.
  330. 26:52 Lady
  331. 26:54 When we get to South America,
  332. 26:57 I'm sending you to nightfall.
  333. 26:59 Fuck!
  334. 27:02 You want the feel of my boot in your face?
  335. 27:04 It ain't my fault.
  336. 27:06 these years' safety races.
  337. 27:08 Here.
  338. 27:10 What about me having to go with a straight one?
  339. 27:13 Not on my neck.
  340. 27:16 With so many things happening in such quick succession,
  341. 27:19 First one note.
  342. 27:20 Then another.
  343. 27:21 Send a safe, Franklin.
  344. 27:22 I didn't know which way to turn.
  345. 27:25 I suppose I should have had more courage.
  346. 27:27 in spite of the warning of death and gone to the police.
  347. 27:29 I'm afraid I'm not afraid of as I should be.
  348. 27:32 What is most'n?
  349. 27:33 There's one thing you haven't told us.
  350. 27:35 Actually, where are the pearls? Miss Morstan was afraid to trust even their own safe with such valuable.
  351. 27:42 so she's been carrying them about on her person. That's true.
  352. 27:45 I have them here in my dress. Well, all this handwriting is...
  353. 27:48 Obviously disguised.
  354. 27:50 The person who sent you the pearls and the one who invites you to this questionable rendezvous in Acacia Road this evening
  355. 27:56 He's one and the same.
  356. 27:59 I should describe him as small,
  357. 28:01 Extremely nervous and timid.
  358. 28:03 A perfect example of the homo lapusculis or rabbit men.
  359. 28:08 But the one who threatens your life, he's quite the opposite.
  360. 28:11 A homel torah as powerful as a bull and with great cunning.
  361. 28:15 A killer.
  362. 28:18 An opponent to be reckoned with.
  363. 28:21 Okay.
  364. 28:22 And he's only one leg.
  365. 28:25 Sir Holmes takes such a delight
  366. 28:26 in provoking my curiosity.
  367. 28:28 that I swear I'll never ask him again how he makes deductions such as
  368. 28:32 Well, that by looking at a man's handwriting, he can tell he has but one leg.
  369. 28:38 Perhaps you can tell us, Mr. Holmes, if the color of his eyes
  370. 28:41 If he likes white mice dolls.
  371. 28:43 Or if he suffers abominably from arthritis.
  372. 28:49 I not only resent your making me appear ridiculous,
  373. 28:52 before Miss Morstan.
  374. 28:54 But it grieves me to think, Watson, that you've never read my treatise on the physical and mental reactions of the disabled.
  375. 29:00 For therein I described,
  376. 29:02 with my feeble prose, that the whole physical being of a man who has undergone...
  377. 29:06 Amputation.
  378. 29:08 goes through a complicated process of reorganization, as a result of which,
  379. 29:13 His functional characteristics are decidedly marked.
  380. 29:16 His subjective mind.
  381. 29:19 fully conscious of the loss of physical balance, tries to make good that loss,
  382. 29:24 by some such expressions as...
  383. 29:26 Well, increasing the pressure.
  384. 29:29 On the down stroke of a pig.
  385. 29:31 making it firm and straight so that the letters stand up.
  386. 29:34 as it were, on their own list.
  387. 29:42 Do I make that quite clear?
  388. 29:47 Perfectly.
  389. 29:50 Miss Morton.
  390. 29:52 I don't want to alarm you unduly.
  391. 29:54 But your homo-taurus friend is unreservedly dangerous.
  392. 29:58 For that reason, may I suggest...
  393. 30:00 that you accept my meagre hospitality.
  394. 30:02 until the time of your departure for Acacia Road.
  395. 30:05 Thank you so much.
  396. 30:07 Oh, but I don't want to go there alone.
  397. 30:09 Wait.
  398. 30:10 It states in your invitation
  399. 30:12 that you will be allowed to, Fred?
  400. 30:15 May I have the privilege of appearing as one of them?
  401. 30:17 Thank you very much.
  402. 30:23 Will you be my other friend?
  403. 30:26 May I?
  404. 30:28 You're not a bit like a doctor.
  405. 30:30 *knock knock*
  406. 30:32 Now, Miss Mauston.
  407. 30:34 I'm going to turn you over to my trusted housekeeper, Mrs. Hudson, who will see that you're made comfortable.
  408. 30:39 Miss Morstron will dine with me here tonight.
  409. 30:43 Eh.
  410. 30:43 If I may be permitted to... Oh, yes, certainly, yes.
  411. 30:48 Yes, we'll give Dr. Watson a chop as well.
  412. 30:51 Oh, yes.
  413. 30:56 i don't want to interrupt the violent flatterings of your heart doctor
  414. 30:59 But perhaps you'd be interested to know that never in my career have I encountered a more intricate
  415. 31:05 - Serious as that? - Uh-huh.
  416. 31:07 We need all our help and perhaps more before we're through.
  417. 31:10 Mm-hmm.
  418. 31:11 Under no circumstances must we allow her to go back to her shop.
  419. 31:14 shop.
  420. 31:15 She said nothing about a shop? No.
  421. 31:17 No, but I think you'll find that she runs a small florist shop in the west end of London.
  422. 31:21 How can you possibly deduce that?
  423. 31:23 neatly, but not...
  424. 31:25 smartly dressed
  425. 31:26 if she wears an expensive orcid.
  426. 31:28 Orchids are not a suburban trade.
  427. 31:31 perhaps given her by some ardent admirer. Well, if she had one, she'd have appealed to him and not to us.
  428. 31:36 Besides, fingers used for wiring up flowers become scored, you know, in an unusual way.
  429. 31:41 Peace, I...
  430. 31:42 I think the florist shop...
  431. 31:44 Amazing.
  432. 31:46 No, elementary, my dear Watson.
  433. 31:49 Elementary.
  434. 31:53 Good friends, Watson.
  435. 31:55 case of need.
  436. 31:58 No.
  437. 31:59 who'll take Miss Morse to her home.
  438. 32:02 George.
  439. 32:03 Have I changed quickly into clothes as opposed to warmer and a little less.
  440. 32:07 Conspicuous?
  441. 32:09 Amen.
  442. 32:09 My preparation's here. It'll take me about ten minutes, then I'll pick you up.
  443. 32:13 Don't you think we could keep the appointment and leave her out of it?
  444. 32:16 My dear Watson, if we're to catch our fishes,
  445. 32:18 and has used the bait they'd fight on them.
  446. 32:20 But there's no... No, no, no, he's getting late, Barton.
  447. 32:22 Getting late.
  448. 32:25 oh you'll probably enjoy hearing she does run a florist shop
  449. 32:28 Oh really, I'm surprised.
  450. 32:30 Treasurer?
  451. 32:31 Oh, Lord.
  452. 32:41 Here's George Belter, all right, Watson.
  453. 32:45 Good luck.
  454. 32:47 Good knocker.
  455. 32:47 - I'm a doll.
  456. 32:49 We'll be here.
  457. 32:50 Watch.
  458. 33:03 Yes.
  459. 33:05 Most of them?
  460. 33:06 Yeah.
  461. 33:08 No.
  462. 33:11 I have two friends.
  463. 33:15 Will you give me your worthy and not policeman?
  464. 33:18 So, you...
  465. 33:20 Come with me, please.
  466. 33:29 Miss Molson?
  467. 33:33 Mr. Holmes.
  468. 33:34 And Dr. Watson.
  469. 33:36 You've kept your tax free, I think.
  470. 33:38 Good, good. Your journey's not over yet.
  471. 33:41 Do you have news for Miss Morstan?
  472. 33:43 What?
  473. 33:44 We must visit Brother Bartholomew. Wait in his house.
  474. 33:48 Taxi!
  475. 33:49 If we go along now, I can tell you the whole thing as we go.
  476. 33:52 No.
  477. 33:59 And last night my brother found the remains of the wood treasure under the attic flooring in Pondicherry Lodge. Such magnificent jewels I'd never seen. I had once demanded that they should be divided according to my dying father's wish.
  478. 34:14 I told my brother that I should...
  479. 34:16 Add my share to yours.
  480. 34:18 It was the only way I could repay you for my callowary in divulging to Jonathan Small your name, and that I sent you to Pearl. Oh, my problem was white, we clearly. We quarrelled violently, and then I went home and wrote the note that you got this morning.
  481. 34:34 You see, I thought that if you were to come and demand your share in person, he damned refuse, in case we should hand the whole matter over to the police. You acted wisely, Mr. Sholto. I'm glad you think I've done one right thing. It took more courage than I thought I had to face the daughter of the man that my father murdered.
  482. 35:03 Wait.
  483. 35:06 Wait.
  484. 35:11 Mac Murdo!
  485. 35:13 Mr. Sadio.
  486. 35:14 All right, Mr. Thaddeus.
  487. 35:25 Yeah.
  488. 35:27 Come on.
  489. 35:28 That's all right, my mother. Good night.
  490. 35:34 You're not frightened?
  491. 35:36 Terribly.
  492. 35:37 but rather thrilled, too.
  493. 35:41 It's home.
  494. 35:45 Oh, my God.
  495. 35:50 Mrs. Adyed.
  496. 35:52 Come on, Samantha.
  497. 35:53 I can't get me off of them in the musty room.
  498. 35:56 He's there!
  499. 35:57 He's there!
  500. 36:01 Come on.
  501. 36:14 Oh, there's something devilish in there, Watson.
  502. 36:16 Look.
  503. 36:19 Mrs. Blumstone!
  504. 36:21 The lamp.
  505. 36:42 We did somehow, as I think.
  506. 36:44 Watson, that's your prayer.
  507. 36:47 He's been murdered. Please don't move about.
  508. 36:54 We're watching.
  509. 36:56 Not a natural death.
  510. 36:57 Settinous of some kind.
  511. 36:59 - Extreme contraction, far exceeding the usual ragamortis. - Precisely.
  512. 37:03 Some powerful alkaloid poison.
  513. 37:04 Like Strictly.
  514. 37:10 Where's the room?
  515. 37:12 Look!
  516. 37:12 for precious gold.
  517. 37:15 It was there on the table.
  518. 37:18 That's how we lord the truth.
  519. 37:20 We've been robbed.
  520. 37:21 And he's been murdered.
  521. 37:24 The police.
  522. 37:26 They'll be called in.
  523. 37:30 They'll find out about the treasure.
  524. 37:32 And say I did it to get the money.
  525. 37:36 You don't think I had a hand in it, do you?
  526. 37:40 Gentlemen, I...
  527. 37:41 I didn't...
  528. 37:43 Well, I didn't.
  529. 37:47 Mr. Shelter, go straight down to the police station and report the matter yourself.
  530. 37:52 Offer to assist them in every way. Like your wisest cause.
  531. 37:55 All right, Watson.
  532. 37:56 We have a few minutes before the representatives of the law arrive.
  533. 38:03 I picked this look here, do you see?
  534. 38:06 Just behind the ear.
  535. 38:14 Like a sword. Don't touch it, Watson.
  536. 38:16 It's deadly poisonous.
  537. 38:18 This is a dance.
  538. 38:19 that's been shot to such force from a...
  539. 38:21 A profile.
  540. 38:23 that before the victim can recover from the shock of the impact, the poison takes its
  541. 38:27 causing almost instantaneous death.
  542. 38:31 That weapons are used by the natives of the...
  543. 38:33 - Ley Peninsula.
  544. 38:37 and the end of an island.
  545. 38:39 Anteman?
  546. 38:41 Hmm.
  547. 38:42 It's pretty conclusive, isn't it?
  548. 38:46 Look here.
  549. 38:48 The same four crossing.
  550. 38:50 I'm a force.
  551. 38:52 Jonathan Smalls!
  552. 38:53 No, possibly not, Watson. Remember, Small's only one of four. But more significant still
  553. 38:59 These crosses have been made with a tattooing needle.
  554. 39:03 That's a dude man.
  555. 39:05 Oh, huh.
  556. 39:06 Well, it's might be simple, isn't it?
  557. 39:09 Is it?
  558. 39:10 Well, now we know who did it. All we have to do is to catch him. Is it all?
  559. 39:13 Will you go out and catch him? And I'll wait here till he'll come back.
  560. 39:17 Yes.
  561. 39:20 Uh...
  562. 39:20 But where'll I go?
  563. 39:23 Exactly.
  564. 39:24 Let's leave jumping the conclusions to the professional discussion.
  565. 39:27 I start to employ my usual methods.
  566. 39:30 I'll put it.
  567. 39:30 carefully reconstructing the crime.
  568. 39:33 in the hope of finding some clue that will lead us
  569. 39:35 We had a vaccine.
  570. 39:36 the criminal.
  571. 39:38 Let us stand on one side, will you Watson, so it's your...
  572. 39:40 Footmarks don't complicate matters.
  573. 39:44 No.
  574. 39:45 How did he come?
  575. 39:48 I'll have it.
  576. 39:48 Go.
  577. 39:54 The window fastened on the inside.
  578. 39:57 for the framework solace.
  579. 40:03 Your drainpipe, love it.
  580. 40:05 and he couldn't have come in that way.
  581. 40:09 Yes, but he did.
  582. 40:12 Here's a print of a foot in mould on the sill.
  583. 40:16 A curious circular muddy mark.
  584. 40:23 There it is again upon the floor.
  585. 40:29 And here again, by the table.
  586. 40:34 You see that, Watson?
  587. 40:36 A perfect demonstration
  588. 40:38 That's not a footmark. No, it's something much more valuable to us.
  589. 40:41 It's the impress of a wooden stub, my dear Watson.
  590. 40:44 I wouldn't make it, ma'am. - Yes, precisely.
  591. 40:49 Yes, and no one could scale that wall, much less a man without one with only one leg. No, but suppose he had a friend here.
  592. 40:55 who lowers a good stout rope.
  593. 40:59 How have you got in? Not the window.
  594. 41:03 Not the chimney.
  595. 41:05 - Too small. - Lend me a hand, Watson.
  596. 41:10 Now we'll have a look at the secret room where the treasure was found.
  597. 41:12 We can surmise that Homer thought it was
  598. 41:14 Here?
  599. 41:15 but the number one man.
  600. 41:17 the one who's skilled in the use of a blowpipe.
  601. 41:19 Who is he?
  602. 41:21 The tattooed man.
  603. 41:22 No, I think not what...
  604. 41:24 No one but a native could have such deadly aim as such a strange weapon.
  605. 41:31 The tattooed man is described by both Sholto and Miss Morstan as a giant.
  606. 41:36 We must look for someone small.
  607. 41:38 who could scale the side of a house without making a sound.
  608. 41:43 You are watching?
  609. 41:45 Disused trap door leading onto the roof.
  610. 41:48 Now if I can put you back to the lead.
  611. 41:51 Well, that's our number one, ain't it?
  612. 42:01 There you are.
  613. 42:03 What are you going to tell you?
  614. 42:05 of a child.
  615. 42:07 Not exactly.
  616. 42:09 something devilishly like it.
  617. 42:12 Now let's see where that curious foot went.
  618. 42:14 Put the impression down there.
  619. 42:16 We know that our toes are generally all cramped together.
  620. 42:19 if you try to
  621. 42:20 invited separately.
  622. 42:31 I'd had you better rejoin this morse from downstairs, Orson.
  623. 42:34 You might be frightened when the police arrive.
  624. 42:44 You'll turn the angles, please.
  625. 42:45 told Scott.
  626. 42:47 Yes, and it's been shot from the attic.
  627. 42:49 Oh, probably what?
  628. 42:51 Covered.
  629. 42:55 What's your theory about these footprints?
  630. 42:58 Well, apply my method, Watson.
  631. 43:00 And you'll probably find that they lead you in directly the opposite direction to that of my old friend, Detective Inspector Athelny Jones, whom I can hear blowing his way upstairs. Yes, sounds like him.
  632. 43:09 Yes, unmistakably. He'll begin by telling me that an ounce of practice is worth a ton of theory, and then proceed to arrest everybody on the spot.
  633. 43:19 The house seems as full as a rabbit, Warren.
  634. 43:22 You stay here.
  635. 43:23 Sergeant, never look at the other rooms.
  636. 43:24 Yes, sir.
  637. 43:26 Hello. Who are you?
  638. 43:29 Why, if it isn't Mr. Sherlock Holmes, the amateur.
  639. 43:34 How are you, sir? I'm all right, John. Thank you. How are you?
  640. 43:37 You know, Dr. Watson...
  641. 43:38 How are you, Doctor? How are you?
  642. 43:40 Ooh.
  643. 43:40 I'm not going to go.
  644. 43:44 And what brings you gentlemen here?
  645. 43:46 Oh, just a little private investigation?
  646. 43:49 Oh, yeah.
  647. 43:49 Thought you'd given up her line of business long ago.
  648. 43:52 Yeah.
  649. 43:53 No, I only take cases too difficult for the official police.
  650. 44:01 What do you make of this one?
  651. 44:04 and business.
  652. 44:05 Okay.
  653. 44:06 You'd hardly thank me for theorizing over it.
  654. 44:10 But it's thee, eh?
  655. 44:12 What I always says is,
  656. 44:14 at Elmst.
  657. 44:14 An ounce of practice?
  658. 44:16 He's worth a ton of theory. Yes, yes. I've heard you say it.
  659. 44:22 Sherlock Holmes will never rest until this mystery solved.
  660. 44:27 What do you think of this theory, Mr Holmes?
  661. 44:29 Yes?
  662. 44:29 The fellow Therese was with his brother-law.
  663. 44:32 The brother dies with her fits
  664. 44:34 On which Thaddeus makes all for the money. Eh, then on which the dead man very considerately gets up and locks the door on the inside.
  665. 44:42 Oh, well, uh...
  666. 44:43 There may be a flaw, but we can get over that.
  667. 44:46 Yes, well, Jones, before you actually hang the man,
  668. 44:50 I should like to point out
  669. 44:52 This printer of wood.
  670. 44:58 - Huh, nasty looking thorn. - Yes.
  671. 45:00 Be careful, Jones. It's poison.
  672. 45:03 found in the dead men's
  673. 45:05 Hey, dear.
  674. 45:08 Does that fit in with your theories?
  675. 45:10 Perfectly
  676. 45:12 The only question is... How did he depart?
  677. 45:16 Ah, of course.
  678. 45:18 They're over the ceiling.
  679. 45:20 He knows the house.
  680. 45:22 I suppose you noticed the hole in the ceiling.
  681. 45:25 Eh, yes.
  682. 45:26 Yes, I did notice it.
  683. 45:27 empathy.
  684. 45:28 There's a trap door.
  685. 45:30 to the roof.
  686. 45:30 There!
  687. 45:31 You proved my case.
  688. 45:33 Pretty quick, eh?
  689. 45:34 I can safely say, Jones, that I've never seen anything quite like it.
  690. 45:38 Oh, an ounce of practice? Well, well.
  691. 45:42 Constable!
  692. 45:43 Sure.
  693. 45:43 Ask Mr. Thaddeus Sholto to step up here. I know, my dear sir.
  694. 45:47 Now, Mr. Holmes,
  695. 45:49 I know you like poking your nose in these things, but you better leave this to me.
  696. 45:54 Mr. Thaddeus Sholto, I must ask you to accompany me to the station.
  697. 45:58 It is my duty to inform you anything you say may be used in evidence against you.
  698. 46:02 Don't be alarmed. I think I can engage to clear you of the charge.
  699. 46:05 Oh, you do, do you? Well, you'd better not promise too much.
  700. 46:09 All right, Sergeant. Take him away.
  701. 46:11 I shall want to question the others. They may all be in this.
  702. 46:17 I'm watching.
  703. 46:19 Miguel, all right? - Yes. - Good.
  704. 46:21 Can't add anything further?
  705. 46:23 Yes.
  706. 46:24 that I have to pay a visit to Mordecai Smith.
  707. 46:27 Is that the name of the murderer? No.
  708. 46:29 So it's the name of the man who's been engaged to help our little band of super criminals to escape.
  709. 46:34 But how did you find that out?
  710. 46:36 quite simply, Watson, this rope.
  711. 46:37 Tell me all about it.
  712. 46:39 I've heard of walls having ears but never of a rope that could talk.
  713. 46:42 I love this wine can
  714. 46:44 I found it on the roof.
  715. 46:46 was brought here by Smoor and used by number one to get him up...
  716. 46:49 the outside of the house.
  717. 46:51 You see...
  718. 46:52 John isn't small.
  719. 46:53 Like most master criminals.
  720. 46:56 and never commits a crime until he's perfected the method of his escape.
  721. 47:00 But with only one leg, this isn't easy.
  722. 47:03 can't leave by one of the channel ports because the authorities would immediately search all one-legged men.
  723. 47:08 He can't stay in this country.
  724. 47:10 but sooner or later he'd be hunted down.
  725. 47:12 So he arranges to be taken to sea in a fast,
  726. 47:15 small boats
  727. 47:16 and then transfer to some cramped steamer.
  728. 47:18 found for Africa or South America.
  729. 47:20 Perhaps she's already escaped.
  730. 47:22 Not small.
  731. 47:23 He's waited 20 years in prison planning his revenge, and he won't leave till he's completed
  732. 47:28 He won't leave without the Rajputana pearls.
  733. 47:30 the most valuable part of the treasure.
  734. 47:32 And pearls are easier to dispose of than diamonds and other jewelry.
  735. 47:36 where did the rope come in?
  736. 47:39 Mordecai Smith.
  737. 47:41 Is it Maymine? No, but it might as well be.
  738. 47:46 In the first place, it's been bleached and soaked by long immersion in salt water.
  739. 47:50 Yes, if you'd like to taste it, Watson.
  740. 47:52 Er, nothing.
  741. 47:53 You see, at this end, there's a spliced loop.
  742. 47:56 which bears the imprint of constant chafing caused by a small ship's brass capsule.
  743. 48:01 The rope is made of cotton.
  744. 48:03 It's not strong enough to hold a large boat.
  745. 48:05 And it's a so soft a texture.
  746. 48:08 that it has evidently been used to protect a highly varnished surface.
  747. 48:11 It suggests that...
  748. 48:12 Speedboat or a launch.
  749. 48:15 On the end of the rope used for tying the boat to a wharf, I found in visit a quantity of pounded malt.
  750. 48:20 It's led my thoughts to a warehouse where Malt is unloaded.
  751. 48:24 near such a warehouse
  752. 48:26 It's a man that I've known for years.
  753. 48:28 who runs a small pub at the sideline, but whose real underworld business is smuggish.
  754. 48:33 He smuggled contraband to and dropped boats at sea.
  755. 48:36 At that time, his contraband are criminals that the authorities are after.
  756. 48:41 So you see, I really must go to Mordecai Smith.
  757. 48:44 Positively amazing.
  758. 48:46 Shall I come, monsieur?
  759. 48:47 No, Watson, no.
  760. 48:49 You asked for the job of looking after Miss Morstan, so see that you'll do it.
  761. 48:54 Oh.
  762. 48:55 Request, Inspector...
  763. 48:56 Jones.
  764. 48:57 Very good.
  765. 48:59 to assign several of his men to guard Miss Morstan day and night.
  766. 49:05 Don't forget small still at large and so are his diabolical helpmates.
  767. 49:10 yes protecting miss morston's no small task
  768. 49:13 Good evening, Jennifer.
  769. 49:43 oh
  770. 50:13 my proud beauty that's not what the husband oh he don't either appreciate this right you are by the way where is old morty's gone well the idea is that you see for yourself that is if you can see he always down the river with that putt-putting saturday don't know i believe that the black one hey with the green light just where he is but she ain't a tub let me tell you this
  771. 50:50 nothing
  772. 50:52 named after me. Aurora. Aurora? You didn't like it. Oh, I like it. Oh, you like it? Oh, go on, you old gun. Oh, you're in it, but don't care. Back in the place. Oh, don't you take the old gun down the river to see that you, Aurora, what I want to call. Oh, no, well, we'll have no time for you. I'll pay the price, please? Yes, only the customer. Who is he? You a nosy old Parker, eh?
  773. 51:22 You wouldn't know him anyhow, 'cause he's a stranger. He's only got one leg. Well, if a stranger with one leg would pay the price, then an old friend would too. Oh, no, he won't. 'Cause if the old one leg, he just paid him to stand by to use when he wants it.
  774. 51:37 Why, he's paid him a week's money already and he ain't done the switch yet. Well, if he makes it a night, he'll be ready for me tomorrow. No, he wouldn't do that neither. He'd have been a minute to go. He told me you wouldn't want Lolly Clare not till tomorrow and perhaps not till the day after. Oh, well, never mind, Marnie. I'll have another boat.
  775. 51:53 See, I'll never know the one in a better one. Oh, will you? You'll find a better one, me lad. There ain't a better one. I'll let you mean the Florence Bee. You can't take it, sir. The Florence Bee? That's not. Well, come on, my no-waste-dunk. Give me this darn trick. Come on, go darn, come on, will you? You old old wrecker. Come away with your waste in my time. Now, what's in the last is reach? Nothing. No, don't.
  776. 52:19 No bust, so no veer.
  777. 52:25 Did you see that, Harold? He don't fancy himself, does he? One foot in the grave and still flirting.
  778. 52:40 Tonga!
  779. 52:41 Somebody left there!
  780. 52:44 Nice pretty diamonds in here, Tonga.
  781. 52:46 Some good boy.
  782. 52:48 He gets them. Come on, we'll fight.
  783. 52:50 Put that in a snake box.
  784. 52:52 No one will look quite that.
  785. 52:59 - I'll grab you. - Good, Donger.
  786. 53:01 Well...
  787. 53:02 Wrap a couple of your friends around yourself and keep your wall.
  788. 53:05 Gotta sleep again.
  789. 53:26 What do you think you're doing with them...
  790. 53:28 Fireworks.
  791. 53:29 I ain't taking no chances.
  792. 53:31 Now...
  793. 53:32 What's your matter, Goliath?
  794. 53:33 You know what the vecina is called?
  795. 53:34 It's worse than that.
  796. 53:36 The cops are after us.
  797. 53:40 - How do you know? - Went round by the girls flat over the florist shop.
  798. 53:43 Cops and plain clothes, we're all over the place.
  799. 53:45 No mistake about that at all, sir.
  800. 53:47 Why don't you lie?
  801. 53:48 Come on, please. Come on.
  802. 53:49 Let Morrison keep their pearls. Let's take what we've got to notice. Shut up! Crack them up!
  803. 53:54 I'm gonna have them all.
  804. 53:55 Fine.
  805. 53:56 Pearls are under the trace.
  806. 53:57 Therefore, it's easier to sell than diamonds and the other stuff. Well, give me mine now and I'll look it. You haven't got a chance to get away with your brain. Well, let's get out of here anyway. Listen to me!
  807. 54:04 I'm only trying to have a knock in the old block.
  808. 54:07 When you've done something the Lord says you shouldn't,
  809. 54:09 Don't start changing to new places.
  810. 54:11 It's been the check-in.
  811. 54:12 Okay.
  812. 54:14 Stick your business as usual.
  813. 54:15 And then I'll stand at an angel.
  814. 54:17 We stay right here in the fun fair.
  815. 54:20 I show tomorrow night the same way as we've always done.
  816. 54:22 Me?
  817. 54:23 You and Tonga.
  818. 54:24 I understand.
  819. 54:26 And tomorrow night...
  820. 54:29 Who is it?
  821. 54:31 I, Dr. Watson.
  822. 54:32 Oh, come in.
  823. 54:36 Just inspecting your guard.
  824. 54:38 We've got one officer outside the door here.
  825. 54:40 Two downstairs.
  826. 54:42 The one in the courtyard outside.
  827. 54:45 Does that give you a feeling of protection?
  828. 54:47 I suppose so.
  829. 54:48 It seems an eternity since this morning.
  830. 54:52 You must try and get some rest.
  831. 54:53 wiped today clean out of your memories.
  832. 54:56 I'll be all right.
  833. 54:58 I think I'll have a good cry.
  834. 55:00 That'll make you relax, yeah.
  835. 55:02 absolutely insists on weeping.
  836. 55:05 Can I help him my shoulder?
  837. 55:07 I fainted once today in front of you.
  838. 55:09 I think I'd better have my cry in privacy.
  839. 55:14 He's gone.
  840. 55:16 I don't care to be weeping.
  841. 55:27 Yeah, yeah, man.
  842. 55:28 That's what I'm going to do.
  843. 55:30 - Really? You let go, sir.
  844. 55:33 Mr. I'm going to see you now. I'm going to see you.
  845. 55:37 Well, I'll...
  846. 55:37 Oh boy.
  847. 55:38 What's your business?
  848. 55:40 What is...
  849. 55:41 None of yours anyway.
  850. 55:43 All right, my fine cockalore, and we'll see about that.
  851. 55:47 Mr. Holmes.
  852. 55:48 told me to come here.
  853. 55:51 What for?
  854. 55:52 Nice.
  855. 55:54 Because I know she's done the murders.
  856. 55:59 See?
  857. 56:00 Oh, do you? Yes.
  858. 56:02 I come here for the reward.
  859. 56:05 See?
  860. 56:08 Go, it's...
  861. 56:08 If we are here, we'll...
  862. 56:10 Get out.
  863. 56:11 God.
  864. 56:11 No, you won't. You stay here.
  865. 56:16 Good or you.
  866. 56:18 Detective Inspector Arseney Jones.
  867. 56:20 Scotland Yard. Well, why ain't you wearing your hat in the house?
  868. 56:28 Onions.
  869. 56:29 getting fresh are you?
  870. 56:30 If you know anything, you'll stay here until I get it out of you. It's a nice way to treat a person. I don't speak.
  871. 56:46 Try the other way, my dear Jones. The lock is reversed.
  872. 56:48 Ah!
  873. 56:50 Groove.
  874. 56:51 Oh.
  875. 56:51 No.
  876. 56:52 What the time you gave me?
  877. 56:54 Which gives soda, Mrs. Hudson?
  878. 56:58 Whatever have you been doing in that getup?
  879. 57:00 Attending a fancy dress ball.
  880. 57:03 Pleasure before business, eh?
  881. 57:04 i thought you took your detective work seriously well this case is so simple jones
  882. 57:08 It hasn't required much thought. That's right. I've got the murderer in custody now.
  883. 57:13 Oh, no doubt.
  884. 57:14 Uh, Jones, by the way.
  885. 57:16 I'm expecting some further developments tomorrow.
  886. 57:18 I may need a lot of help.
  887. 57:20 Wisconsin Yard, stand by. At your service, Mr. Holmes.
  888. 57:24 Always believe in encouraging you, Emmett.
  889. 57:26 Someday you really might find something.
  890. 57:28 Who knows? Flatter it.
  891. 57:30 Will you be at the examination of the prisoners tomorrow? No. The place couldn't be in better hands.
  892. 57:35 That's what I like about you, Mr. Holmes.
  893. 57:38 You appreciate me. Good night. Good night, John.
  894. 57:46 Oh, I do hope Mr. Holmes is there for this...
  895. 57:47 Test it.
  896. 57:49 It's been awful cooped up here all day.
  897. 57:51 Under guard like a prisoner.
  898. 57:53 Wait, is it something?
  899. 57:55 Heaven knows.
  900. 57:56 What's happening?
  901. 57:58 I've been doing a little detective work on my own.
  902. 58:01 Unbeknown to Holmes.
  903. 58:02 Of course.
  904. 58:05 Would you recognize that tattooed man again if you saw him?
  905. 58:08 Yes, I'm sure of it.
  906. 58:10 You know...
  907. 58:10 The whole idea of a tattooed man tattooing needles...
  908. 58:14 Native feet.
  909. 58:15 so forth.
  910. 58:16 Sounds to me like a circus.
  911. 58:19 Yes.
  912. 58:20 To me, too.
  913. 58:21 but there's one just behind King's Cross.
  914. 58:23 A fun fair, they call it.
  915. 58:24 My cook was telling me about it.
  916. 58:28 Would you risk going there with me?
  917. 58:29 I'd go anywhere with you.
  918. 58:31 Besides, I don't think I'm in danger anymore.
  919. 58:34 Well, we can leave the guard here in case they give us a visit.
  920. 58:36 It's just the chance we might find her.
  921. 58:40 and oh how i'd like to put it over on holmes
  922. 58:44 Shall we go?
  923. 58:45 Will you?
  924. 58:46 I'll get my coat.
  925. 58:51 Oh, yeah.
  926. 59:21 I'll bring into these marvelous pictures you see on me. The professor in spite and you'll get on you in a few minutes. So you wouldn't rather have a lovely view of Mount Masturvius in full eruption? Or later the diver on a white horse? No fear. It's only a sentimental bit of work. I want a broken heart, split in two and bleeding a little. And with the initial bee on one side of the birth, that's my name.
  927. 59:51 And on the other side, a S for Dolly. S for Dolly? You mean D for Dolly? No, S.
  928. 1:00:00 Her name's Dolly, but I always called her Shugda. That is her sweet name to be sure. Ladies and gentlemen, look how the deadly python blot the little Tumbler fondles and caresses him. But it ain't love, it's fear. Why? Oh, she bites off her head. They've seen it done hundreds of times. And so can you, for tappets. Look at him. I believe he's coming to the right place.
  929. 1:00:30 What do you mean? He looks like a murderer.
  930. 1:01:12 come on let's go home just a minute i'll give everything prepared for you
  931. 1:01:22 What's up?
  932. 1:01:25 Offload, doctor.
  933. 1:01:26 I'm going to go.
  934. 1:01:30 I let her off in the forest shop. I've just seen her with her friends. - You sure? - Yes. And she looks as if she knew me.
  935. 1:01:36 Yes, that was it. Yes.
  936. 1:01:40 Trolleybird.
  937. 1:01:42 Can't be shot today.
  938. 1:01:43 Call again tomorrow, I'll do a nice race for you, but after you.
  939. 1:01:46 Thank you, Professor. You did it anyway.
  940. 1:01:50 Hurry me a minute.
  941. 1:02:00 Look out! Slink, you're through!
  942. 1:02:16 You come along. I'll forget you. Come along. I'll buy you some more. Come on. Come on.
  943. 1:02:32 But Mr. Hudson, we simply must find him at once. Yes, yes, we've got his man.
  944. 1:02:38 - I'll see how he is. - Mrs. Watson! Mrs. Watson! Mary! Mary! You can't do that! I can't! You don't call no coppers round here! Don't worry Watson!
  945. 1:03:05 I don't want the police here yet.
  946. 1:03:07 - I tell you, come here. She's disappeared. She's gone. - What?
  947. 1:03:09 What you going to say you've been fool enough to bring her here? Yes. That Small's got... What?
  948. 1:03:14 They're on their way to Mordecai's face. If we need help, we have some yard. I'll take you quick to the ground.
  949. 1:03:19 I'll see what's happening. We've been a little closer around. Somebody's found out my last bit. Keep your hands off her. I was looking for the pearls. She's got them on her somewhere already.
  950. 1:03:30 We'll search her for them when we get to the bunker.
  951. 1:03:34 Well, she'll never see them again. That's soot. Go on, Fred. Faster!
  952. 1:03:42 Give up, guys. We're getting to the river. Goodbye. Hold me, go on. We'll get to the taxi.
  953. 1:03:49 Thousands of places in London. How do you know they've chosen Mordecai's middle? Certain of it.
  954. 1:03:53 What if they get away in a past boat before we can catch him? I've engaged the pastor one this morning, the Flores B. - How do you know it, Clark? - Well, I know it. Don't ask me how I know it, Watson. What a colossal mistake you've made. I had those fellows, all of them, right in my head.
  955. 1:04:05 I only had to discover where the jewels were.
  956. 1:04:06 and then I could have made my captain. I'd throw my brains out of a fella doing any good. I haven't been much use to you, old fella.
  957. 1:04:12 I'd keep your head you'll need it. And your fists still before we're through with this. 12-4, roll it down river. Come on, quick.
  958. 1:04:42 You keep your mouth up. Come on, baby. Your role is just down here. Come on.
  959. 1:04:50 - Commercial Street, two minutes more. - Come on, sir.
  960. 1:05:20 Bennett! Bennett!
  961. 1:05:24 Oh, my God.
  962. 1:05:54 I'm going to go.
  963. 1:06:24 I ain't gonna take a chance like that. You do it, I tell you. It's Crayley's warehouse. We'll dodge him there.
  964. 1:06:33 All right, they're out of sight. Get on with it.
  965. 1:06:53 I don't... I don't think it's a slip.
  966. 1:06:56 The porticoid knows this river like a book. So do I, Mr. Holmes. We'll follow him there. There are two trap doors underneath the warehouse floor.
  967. 1:07:17 I'm
  968. 1:07:25 Up there Tonga.
  969. 1:07:40 Come on.
  970. 1:07:41 Wear that pearl.
  971. 1:07:43 Come on, where are they?
  972. 1:07:50 There are a lot of people.
  973. 1:07:52 I've got a ton of a place where you can do the most good.
  974. 1:07:54 We're gonna fight for you, Rebinders.
  975. 1:07:56 They're hanging about catches anyway.
  976. 1:07:58 We've nothing to lose. Oh, but I have.
  977. 1:08:00 We don't need yoga.
  978. 1:09:23 I'm not.
  979. 1:09:36 What's this? Do you need help? No!
  980. 1:09:39 I'm a tattoo.
  981. 1:09:41 More solutions!
  982. 1:09:43 Put out him!
  983. 1:09:49 I'm going to go.
  984. 1:09:55 Don't shoot!
  985. 1:09:57 I'll give up.
  986. 1:09:58 Wise man, Mr. Ball.
  987. 1:10:25 Huh?
  988. 1:10:27 Where are you?
  989. 1:10:28 Oh.
  990. 1:10:30 Heh.
  991. 1:10:30 Yeah.
  992. 1:10:32 Where's Mary?
  993. 1:10:33 We'll find it.
  994. 1:10:41 Mary, Holmes in here!
  995. 1:10:43 I...
  996. 1:10:44 Oh, it's monster.
  997. 1:10:46 Believe me, I'm never so thankful to see anyone in my life.
  998. 1:10:49 Yeah.
  999. 1:10:51 Ah!
  1000. 1:10:52 - He'll be all right. - I'm not glad.
  1001. 1:10:55 Oh, Mr. Holmes.
  1002. 1:10:56 Yes? Small hit a satchel underneath that sack.
  1003. 1:11:00 Huh.
  1004. 1:11:03 Are you hurt?
  1005. 1:11:04 No, I'm all right.
  1006. 1:11:06 the treasure of a girl
  1007. 1:11:15 all hope I welcome girls welcome
  1008. 1:11:17 Listen, there's a one-legged man mixed up in this and a tattooed man, too. Oh, really? Really? Well, we've left them for you to have a look at.
  1009. 1:11:24 uh by the way they left this satchel behind probably of no value
  1010. 1:11:30 No value. What? Full of sparklers.
  1011. 1:11:33 You amateurs always overlook the important things.
  1012. 1:11:36 here's mordecai smith you want him what's he got to do with it
  1013. 1:11:40 I want to know where the pearls are. Yes, where are they?
  1014. 1:11:44 - Small taken them. - Then they're at the bottom of the river where we can find them.
  1015. 1:11:47 Because now you'll be so terribly rich, Mr.
  1016. 1:11:49 I can't even claim you as a friend.
  1017. 1:11:51 much less ask you...
  1018. 1:11:53 What?
  1019. 1:11:53 Sorry to do the distasteful to you, Miss Morstan, because I had the furl.
  1020. 1:11:57 I took them from Jonathan Small when we first came to grips.
  1021. 1:12:00 I didn't want them to get whipped.
  1022. 1:12:03 so I'm afraid you'll have to have them back.
  1023. 1:12:04 Um...
  1024. 1:12:05 - Elementary, my dear Watson.
  1025. 1:12:07 Elementary.
  1026. 1:12:09 Please.
  1027. 1:12:10 off me?
  1028. 1:12:11 Will...
  1029. 1:12:13 You, um...
  1030. 1:12:15 Yes.
  1031. 1:12:23 Amazing.
  1032. 1:12:27 Elementary, my dear Holmes.
  1033. 1:12:29 Elementary.

Also from 1932

White Zombie 1932The Most Dangerous Game 1932Mr. Robinson Crusoe 1932The Thirteenth Guest 1932

Every free film of 1932 with a copy

Similar frames

Slaves in Bondage 1937The Front Page 1931Brideless Groom 1947

By the average clip vector of the keyframes; a measurement, not a judgement