"Believe It Or Not" is a 1935 black and white film that features a series of interconnected vignettes blending dark humor with physical comedy, reflecting societal norms and professional practices of the 1930s. This black-and-white historical film segment, set in the early 1930s, begins with a series of title cards on a dark background. The first card reads "BELIEVE IT OR NOT" by M.C.W. BANquet Pictures, followed by a second card stating that a man named Boylston is on a thirty-day vacation. The scene then transitions to an exterior shot of a stone building with a dark wooden door. A man in a suit and tie is seen exiting the building. The camera then focuses on a vintage black car with a "POLICE" emblem on its side, which drives slowly down a street lined with brick buildings and a fire hydrant. The setting shifts to an interior office where a man in a white shirt and tie is seated at a desk. He is seen writing on a document before standing up to reveal a black leather bag on a table. He proceeds to systematically unpack several mechanical tools, including a saw, a hand saw, and a circular saw, placing them on the table in front of the bag. The film is a black-and-white historical recording of a medical procedure, likely a surgical or medical intervention. The setting appears to be a dimly lit, enclosed room, possibly a hospital or a laboratory, with a brick wall visible in the background. A group of medical professionals, dressed in white lab coats, caps, and masks, are gathered around a patient lying on a gurney. The patient is partially covered by a white sheet and is restrained by a heavy metal chain around their waist. One medical worker is seen pouring a clear liquid from a large metal can labeled "ETYL" into a funnel held over a glass container. Another worker is shown carefully applying a liquid to the patient's lower back or hip area. The camera captures these actions through various close-up and medium shots, often with a shaky, handheld quality. The overall atmosphere is clinical and focused, emphasizing the coordinated efforts of the medical team as they prepare and administer the treatment to the restrained individual. The film is a black-and-white historical montage featuring several distinct settings and subjects. It begins with a medical scene where three individuals in white surgical attire are attending to a patient lying on a gurney, with one person using a surgical instrument. The scene then transitions to a nurse in a white uniform and cap sitting beside a patient in a bed, holding a small object. Following this, a title card introduces a purchasing agent, followed by a sign that reads "Doctor is IN." The setting shifts to a dimly lit office where a man sits with his feet propped up on a desk, holding a magazine titled "The New Science" in front of him. The final segment takes place outdoors in front of a large, weathered wooden building with a snow-covered roof. Two men are present: one in a dark suit and the other in a light suit and a straw boater hat. They are engaged in a conversation, with the man in the suit gesturing as he speaks. The camera captures these moments through a series of cuts and pans, often with a slightly unsteady, hand-held quality. This black and white historical footage captures a street scene in front of a large, multi-story building with stone and brick walls. The setting is a busy urban street during the day, featuring a man in a dark traffic officer's uniform with a star on his chest and a peaked cap. He is seen demonstrating traffic signals, holding a large circular sign that reads "STOP" and using hand gestures to indicate different directions. The street is populated with several pedestrians, including a woman in a light-colored dress and a man in a dark suit, who are walking along the sidewalk and across the street. A vintage truck with a wooden slat bed and a "ST" sign on its rear is also visible, driving through the scene. The camera work is dynamic, with pans and zooms that follow the action, and it includes a title card that reads "OUR TRAFFIC MANAGER DEMONSTRATES HOW TO PROPERLY DIRECT TRAFFIC". The overall atmosphere is that of a mid-20th-century newsreel or educational film. This black and white historical film sequence is set in a bustling urban environment during the early 20th century. The setting features a wide, paved street lined with multi-story brick buildings, some featuring prominent arched entryways and fire escapes. Several vintage automobiles, including a large flatbed truck and a classic sedan, are parked or moving along the road. The primary subjects are a man in a dark suit and fedora and another man in a light-colored suit. They are seen walking together down the street, passing a stone wall and a wooden utility pole. Later, a police officer in a long dark coat and a peaked cap appears, holding a circular stop sign and a baton. The scene transitions to a riverbank where a small wooden houseboat is docked next to a small rowboat. The atmosphere is that of a mid-20th-century urban drama, characterized by period-specific costumes and vehicles. This black and white archival footage captures a series of scenes from the 1910s, beginning with a shot of a small houseboat on a river. The film then transitions to a narrow alleyway where a man in a light-colored shirt and trousers walks toward the camera, followed by a man in a suit and straw hat. A sign on a brick wall provides a notice to truck drivers about noise and freight. The scene shifts to a street where three young boys, dressed in simple work clothes, walk together toward the camera. The footage then cuts to a series of close-up shots of the boys and an older man with a mustache, all standing near a stone building with a large, ornate door. The boys eventually walk toward the door and enter. The final segment shows a man in a white shirt and shorts working in a large, rectangular pit in a field, using a shovel to dig into the earth. This black and white archival footage captures a series of vignettes from a film titled " Lee Williams Bears Down on a Problem." The film begins with a man in a white shirt and hat working on a construction site, specifically digging into a large pile of rubble and debris. The scene then transitions to a man in a white shirt and tie standing in front of a massive pile of bricks, holding a small object and speaking. This is followed by a title card on a black background. Next, a man is shown sitting inside a large, circular wooden exercise wheel, reading a book. The film then cuts to a title card stating that two overworked directors sign checks in August. The final segment shows two men in suits walking down a brick-paved street towards the camera, with one man holding the other's arm. The clip concludes with a title card reading "ONE HOUR LATER" followed by a shot of a group of people playing croquet on a grassy field surrounded by trees. This black and white archival footage documents the history of a water wagon plant, beginning with a wide shot of a grassy field where a man in a hat and light-colored shirt is seen tending to a water wagon. The film then transitions through several title cards and static shots of various industrial structures. A weathered wooden outhouse stands near a body of water, followed by a close-up of a dark, open doorway. The scene shifts to a more industrial setting where a large, rusted water wagon sits amidst scrap metal and debris under a bridge. A brief shot of a white, modern-looking outhouse is shown before a wide view of a long, multi-story brick factory building. A man, identified as Charley Luck, is shown in a medium shot, smiling as he speaks. The footage also includes a shot of a cluttered workshop filled with old machinery and a horse-drawn water wagon being pulled through a park-like area with trees in the background. The film is a black-and-white historical film segment featuring a horse-drawn wagon. A man, dressed in a dark suit and a wide-brimmed hat, sits atop the wagon's wooden platform, which is positioned at the front of a large, horizontal cylindrical tank. The tank, labeled with the words "FARM PULP," is being pulled by a white horse, of which only the head and front legs are visible in the lower-left corner of the frame. The setting appears to be a rural or park-like area with several leafy trees in the background. The camera performs a smooth, continuous pan to the right, tracking the wagon as it moves across the frame. At approximately 7.5 seconds, the scene cuts to a static, close-up shot of a dark metal sign mounted on a building. The sign displays the text "MALLINCKRODRT CHEMICAL WORKS," "FOUNDED 1867," and various city locations including "ST. LOUIS - NEW YORK" and "PHILADELPHIA - MONTREAL." The film concludes with a fade to a solid white screen.