- 5 months ago
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LearningTranscript
00:00:00Described and captioned media program. In the classroom and online, dcmp.org.
00:01:00How are we going to know this guy? Remember, the man in Mike's car has got to see him, too.
00:01:18Oh, that's right. I'm going to kiss him. And how?
00:01:22Good. You might as well make him happy. It'll be the last pair of lips that hit him.
00:01:26No.
00:01:27You don't think he could have gone away, do you?
00:01:31Here he comes now.
00:01:36Thanks, handsome. I just couldn't pass you up.
00:01:52Believe it or not, I never saw her in my life before.
00:02:01I must have overlooked something.
00:02:03Already saying, sir. Most annoying.
00:02:05Right under my very nose.
00:02:08Your nose.
00:02:09I'll get the car, sir.
00:02:10I'll get the car, sir.
00:02:32I'll be here.
00:02:37Save them.
00:02:38Okay for town, Mr. Avery.
00:02:40How is it for you, George?
00:02:41Okay.
00:02:42All right.
00:02:43We do it again soaking on the tent.
00:02:45Up high, 99.
00:02:46Quiet.
00:02:53Do you want to move in and take a close-up at the top of the stairs?
00:02:56No, that was terrible. I'll make it over.
00:02:58Yes, sir.
00:03:00We'll do it again, folks.
00:03:01All right.
00:03:04Move that car back here.
00:03:05All right, hold it.
00:03:06Come on.
00:03:09Take it easy.
00:03:10Oh, Mr. Brent.
00:03:12When you die this time, let's have less gymnastics.
00:03:15And don't spin like a top when you fall.
00:03:17Okay, Brent.
00:03:18That's okay, Brent.
00:03:19That's fine, folks.
00:03:20Yeah, move that one over a little.
00:03:24What's the matter?
00:03:25What's the matter?
00:03:26What's the matter?
00:03:27What's the matter?
00:03:28Stand back, everybody.
00:03:29Hey, Pete.
00:03:30Call the doctor.
00:03:31Come on, give me a hand.
00:03:32Let's get him to his dressing room.
00:03:33All right.
00:03:34We won't need a doctor, George.
00:03:35He's dead.
00:03:36Dead?
00:03:37Dead?
00:03:38Dead?
00:03:39Dead.
00:03:40Round up every man that had a gun.
00:03:41Get the property man and find out who loaded those guns.
00:03:42And see if the body isn't touching.
00:03:43I'm going to phone the front office.
00:03:44Yes, sir.
00:03:45All right, everybody.
00:03:46Line up over here.
00:03:47All right.
00:03:48All right, everybody.
00:03:49Line up over here.
00:03:50All right.
00:03:51All right.
00:03:52All right.
00:03:53All right.
00:03:54All right.
00:03:55All right.
00:03:56All right.
00:03:57All right.
00:03:58Come on.
00:03:59Come on.
00:04:00All right.
00:04:01Come on.
00:04:02Hey, Bill.
00:04:03Come on.
00:04:04Keep that door closed.
00:04:05And see that no one leaves the stage.
00:04:06And no one comes in.
00:04:07Yes, sir.
00:04:08My dear, Mr. Little, since I read your scenario, I have come to the absolutely conclusion that your name, Mr. Little,
00:04:15fits you something beautiful.
00:04:40And furthermore, and yet, besides...
00:04:44Yes?
00:04:46Oh, yes, Mr. Avery.
00:04:48Just a minute.
00:04:50It's Mr. Avery.
00:04:52Tell him to finish on schedule.
00:04:54He's two days behind already.
00:04:56Talking to me is a wasting time.
00:04:58But he says it's important.
00:05:00That's the trouble. He's too important entirely.
00:05:02Hello.
00:05:04What?
00:05:06Brent.
00:05:08Shot.
00:05:10Dead.
00:05:12Oh, that's going to cost me a fortune.
00:05:14What a calamity. Quick.
00:05:16Call Steiner. Tell him, tell him Brent was killed.
00:05:18Shot. What a calamity. What a calamity.
00:05:26I get it here. Thanks.
00:05:28Yes?
00:05:30Miles, Brent was shot on the set.
00:05:32Killed. Mr. Grossman has gone to the stage.
00:05:36I have it right there.
00:05:40Miles, Brent.
00:05:44Killed.
00:05:46On general principle, not a bad idea.
00:05:48Except that he happens to be one of our stars.
00:05:50Get back to your office and do what you can
00:05:52to keep the papers off this until you hear what happened.
00:05:54Don't give out any story until you hear from me.
00:05:56Sure, but rescue me as quickly as possible.
00:05:58They'll be on my neck just as soon as the police get the joyful news.
00:06:00Miss Manning.
00:06:01Yeah.
00:06:04Phone the brigade on the lot.
00:06:06And tell them not to let anyone in or out until they hear from me.
00:06:09Very well.
00:06:10Thanks.
00:06:15Why don't you watch where I'm on?
00:06:19What's the hurry, Gumshoe?
00:06:20Miles Brent's been shot.
00:06:24Well, now there's a job that should have been done years ago.
00:06:26Oh.
00:06:29You won't have to rewrite any stuff for the deaf kiss now.
00:06:31No.
00:06:33Say, Marsha was on the set with him, wasn't she?
00:06:35Sure.
00:06:36But I don't think she did it.
00:06:38What stage?
00:06:39Three.
00:06:40Drop this stuff in my office, will you?
00:06:41Miles Brent, huh?
00:06:55Picture actor.
00:06:56My wife always liked it.
00:06:57I had that kind of trouble, too.
00:07:00Come on, let's go.
00:07:02All right, fellas.
00:07:03Hit something hot.
00:07:04Miles Brent killed.
00:07:06Shot.
00:07:07Soundstage number three, Tone Arc Studio.
00:07:09You sure like me?
00:07:10Just a minute.
00:07:11Tone Arc Studio.
00:07:12Operator.
00:07:13Operator.
00:07:14Hey, that's the Evening Star phone.
00:07:15You're telling me?
00:07:16Hey, Storm, get me the journal, will you, please?
00:07:18Hello.
00:07:19Tone Arc?
00:07:20I want Pat Hill in the Publicity Department.
00:07:22Come on, snap into it.
00:07:23You know me, Connelly?
00:07:24I never held out on the Evening Star yet.
00:07:26Yeah, I know all about your deadline.
00:07:27Yeah, you'll get the facts.
00:07:28Call me back.
00:07:30Never mind, I'll get it.
00:07:33Yes?
00:07:34Yes, Morris, I know.
00:07:35But can I help her to be shot in the morning?
00:07:36You've got to take those things as they come.
00:07:38Yeah, I'm going over there right away.
00:07:40The police ought to be here now.
00:07:41Yeah, call me back in ten minutes.
00:07:56Hey, come back here.
00:07:57Get out of that door.
00:07:58Hey, come back.
00:07:59Get down that door.
00:08:00Get down that door.
00:08:01Get down that door.
00:08:15Ambulance coming.
00:08:16Yeah.
00:08:17Get out.
00:08:18Take a foot out.
00:08:19Amulet's covered.
00:08:21Yeah.
00:08:29Detective Lieutenant Sheehan, homicide squad.
00:08:32Who's in charge here?
00:08:33I've been trying to get things straightened out for you.
00:08:36My name is Steiner, studio manager.
00:08:38What happened?
00:08:39Well, the company was shooting a scene
00:08:41during which several people fired guns at Brent.
00:08:44And someone used real bullets, huh?
00:08:46People do get hurt that way.
00:08:48That's the director's guess.
00:08:50Oh, the director.
00:08:51Did he happen to guess who did it?
00:08:54No.
00:08:56Well, that's unfortunate.
00:08:58Looks like we'll have to do some guessing on our own.
00:09:04Come on, Hill, loosen up.
00:09:05Was it an accident or did somebody really bump him off?
00:09:07I tell you, I don't know.
00:09:08Then let us in on the lot so we can find out.
00:09:10I can't let anyone on the lot.
00:09:11Marshal Ame was with him in the picture, wasn't she?
00:09:13Sure, she was doing the lead opposite him.
00:09:15Marshal, oh, his ex-wife, that helps the story.
00:09:17Hey, what's the name of the picture?
00:09:19The death kiss.
00:09:20The death kiss?
00:09:21Gee, what a tie-up.
00:09:22Pardon me.
00:09:22Hey, don't you.
00:09:23Just a minute, boys.
00:09:24I'll be right with you.
00:09:25But wait a minute.
00:09:26Can we get the angle on this thing?
00:09:27Give us a go.
00:09:28Out of a sudden, I couldn't very well see what happened.
00:09:30There were eight men with guns?
00:09:32Yes.
00:09:34Well, it might have been an accident, but...
00:09:37Frank, you don't think it was murder?
00:09:40Darling, I don't even know yet whether he was shot.
00:09:42Maybe he just died of old age.
00:09:45Maybe he never even existed of...
00:09:46Now, you wait here.
00:09:48I'm going to have a look around.
00:09:54Your gun.
00:10:02Yours.
00:10:07You break it.
00:10:08Nothing but blanks left in these guns.
00:10:23Any other guns on the set?
00:10:25That's all I know of.
00:10:38You see, Captain, it's strictly an accident.
00:10:43Lieutenant Sheeran.
00:10:44What's your name?
00:10:45Leon A. Grossmith.
00:10:46I'm the president of this concern.
00:10:48Well, what about it?
00:10:50Now, look here, Sergeant.
00:10:52Do you realize what this cost me already, huh?
00:10:54You have no idea.
00:10:56It cost me up to now $239,351.
00:10:59Yes.
00:11:00And it cost Brent his life.
00:11:01Which also loses me money.
00:11:03I can't have no more Brent pictures.
00:11:04Now, pardon me, Lieutenant.
00:11:06Mr. Grossmith means to convey
00:11:08that this regrettable accident
00:11:09need not be converted
00:11:11into a Roman holiday for the rabble.
00:11:13Now, I assure you
00:11:14that Mr. Grossmith feels deeply,
00:11:16very deeply,
00:11:17the tragedy of this affair.
00:11:19And his point is, naturally,
00:11:20not to throw consternation
00:11:22into that great and unseen army
00:11:24of Mr. Brent's admirers.
00:11:26Now, that is precisely
00:11:27what Mr. Grossmith means.
00:11:28That's just what I was going to say.
00:11:31Mr. Steiner.
00:11:31Mr. Steiner.
00:11:32Yes.
00:11:33Pardon me.
00:11:34What is it?
00:11:34The papers are on my neck.
00:11:35I've got to tell them something.
00:11:36There's no use stalling any longer.
00:11:37And they've got a story now
00:11:38about a mysterious woman.
00:11:39Who is she?
00:11:40They don't know themselves,
00:11:41but they say it makes a great story.
00:11:43Tell him it was an accident.
00:11:44They won't believe it.
00:11:45Then make them.
00:11:45You don't know those boys.
00:11:47They've got imagination.
00:11:48I don't care if they've got fallen arches.
00:11:50Tell him the Brent shooting
00:11:51was an unfortunate accident.
00:11:53Yes.
00:11:54Is that satisfactory to you, Lieutenant?
00:11:56Nothing satisfactory to me.
00:11:57I can't tell what it is
00:11:59because I don't know myself.
00:12:00Oh.
00:12:02Here's all you had on him.
00:12:03Oh.
00:12:03Keep that.
00:12:33Well, I'm sorry to gum up the works,
00:12:54but it wasn't an accident.
00:12:56It's murder.
00:12:57Murder?
00:12:59Oi.
00:13:00What a calamity.
00:13:01How do you know?
00:13:02This is the bullet that killed him.
00:13:04It's a .38 caliber center fire.
00:13:06All the guns the extras used were .45s.
00:13:09And you can't fire a .38 bullet
00:13:11through a .45 gun.
00:13:12It's an old Chinese principle.
00:13:17Where did you get this?
00:13:18Out of the wall of the set.
00:13:20Don't you know better
00:13:21than to meddle in police matters?
00:13:22Oh, I'm sorry.
00:13:23I didn't mean to meddle.
00:13:24I just wanted to help.
00:13:25You see, I like to dabble a bit
00:13:27in murder cases.
00:13:28Well, you just go and dabble
00:13:29someplace else.
00:13:31All right.
00:13:33Who is he?
00:13:35One of our scenario writers,
00:13:36Franklin Drew.
00:13:37Oh.
00:13:38Writes detective stories, I suppose.
00:13:40Yes.
00:13:41How did you know?
00:13:42They always do.
00:13:44Well, this makes a difference.
00:13:46Looks like we've got a murder on our hands.
00:13:49Oh, you go and get that assistant director.
00:13:51That brilliant young man
00:13:52who said there were no other guns on this set.
00:13:54Right.
00:13:54Who is Marsha Lane?
00:14:00What?
00:14:02You don't know who is Marsha Lane?
00:14:04Over a million dollars we spend advertising
00:14:06already don't know who Marsha Lane is.
00:14:08Where is she?
00:14:09She was on the set just a minute ago.
00:14:10Well, let's have a talk with her.
00:14:11Howell, ask Miss Lane to come here.
00:14:13Yes, sir.
00:14:13Now, Steiner and the detective
00:14:19want to see Miss Lane immediately.
00:14:21Well, hurry.
00:14:22I'm fluttering, sweetheart.
00:14:26Bill, tell Miss Lane Steiner and Dick
00:14:28want to see her.
00:14:29Okay, Chief.
00:14:31Oh, Pete.
00:14:33Uh, rush Miss Lane over to Mr. Steiner and the Dick.
00:14:36Now?
00:14:37No, you're next Tuesday, you sap.
00:14:40Oh, come on, get going.
00:14:41Oh, all right.
00:14:45Uh, pardon me, Miss Lane.
00:14:47Mr. Steiner and the Dick want to see you.
00:14:51You're welcome.
00:14:53What can they want with me?
00:14:54Oh, they just want to know you
00:14:55with a lot of routine questions.
00:14:57You see, they always question
00:14:59people like you first
00:15:00to give the guilty ones
00:15:01plenty of time
00:15:01to make up good alibis.
00:15:03It's part of the system.
00:15:05It's been going on for years.
00:15:14Sit down, Miss Lane.
00:15:19I don't wish to be unpleasant.
00:15:21But there are a few questions
00:15:23I'd like to ask you.
00:15:24Certainly.
00:15:25How long have you and Brent
00:15:26have been separated?
00:15:30We were divorced last May.
00:15:32Why?
00:15:33Well, I don't quite see...
00:15:34The divorce is a matter
00:15:35of record, Lieutenant.
00:15:36I don't think we need
00:15:37to go into that now.
00:15:38Say, will you go up
00:15:39to your office
00:15:39and write bad little boy
00:15:40500 times?
00:15:46When did you last quarrel
00:15:47with Miles Brent?
00:15:48I don't remember.
00:15:49Didn't you love him?
00:15:50I wouldn't answer that, Marsha.
00:15:52Say, just what is your interest
00:15:54in this case?
00:15:55Personally, I don't care
00:15:56who killed Brent.
00:15:57I would like to know
00:15:58how it was done.
00:16:00Besides that, I'm...
00:16:01I'm a friend of Miss Lane's.
00:16:04Wasn't your name mentioned
00:16:05during the divorce proceedings?
00:16:07No.
00:16:08Sorry to disappoint you.
00:16:09What did you do
00:16:12with your gun, Miss Lane?
00:16:13My gun?
00:16:14Yes.
00:16:14I didn't have a gun.
00:16:15Didn't you use one
00:16:16in the picture?
00:16:16No.
00:16:17But when you fired
00:16:17with the other...
00:16:18As a matter of fact,
00:16:19if Miss Lane had fired,
00:16:19she couldn't have hit him.
00:16:20She was around
00:16:20on the other side of the set
00:16:21when the shooting took place.
00:16:22Say, if you don't lay off,
00:16:23I'm going to take you downtown.
00:16:25What for?
00:16:25How do I know what for?
00:16:27Good.
00:16:28I was beginning to be afraid
00:16:29that you might say
00:16:29something sensible.
00:16:39Hey, what are you trying
00:16:41to do there, huh?
00:16:42Don't move now.
00:16:43I got you surrounded.
00:16:45Don't lie now.
00:16:46Why don't you try
00:16:47to hide in there, huh?
00:16:48Why, nothing.
00:16:48I...
00:16:48Yeah, we'll see about that.
00:16:50Hold this a minute.
00:16:51Now, wait a minute.
00:16:52Wait a minute.
00:16:52No, you don't.
00:16:54Yeah.
00:16:55Oh, yeah.
00:16:57This letter to the mail
00:16:58was found in Miles Brent's pocket.
00:17:01In this letter,
00:17:01he told his lawyer
00:17:02that Marshal Lane
00:17:03refused to sign
00:17:05a release
00:17:06as beneficiary
00:17:07of his life insurance policy.
00:17:09So, you stand
00:17:10to collect $200,000.
00:17:11Miss Lane's lawyer
00:17:12wouldn't let her
00:17:13sign the release.
00:17:14I know all about that.
00:17:15Say, it's too bad
00:17:16you weren't the one
00:17:16that was shot.
00:17:19So, that gives you
00:17:20a pretty nice motive.
00:17:22No funny business now.
00:17:23Come on, now.
00:17:24Come on, keep moving now.
00:17:28There's your man, Chief.
00:17:30I caught him red-handed.
00:17:31He was trying
00:17:32to ditch his gun.
00:17:33Look, it's loaded, too.
00:17:34I tell you,
00:17:35I gave your breath.
00:17:36Put the bracelets on him, Owen.
00:17:37Now, ain't that astounding?
00:17:40Something told me
00:17:41to take a squint around.
00:17:43I sees him trying
00:17:44to ditch his gun, see?
00:17:45And I put two and two together.
00:17:47I says to my...
00:17:48I says to myself,
00:17:51that's the man.
00:17:52I guess I used
00:17:53uncanny skill.
00:17:5638 caliber and loaded.
00:17:57It's the gun, all right.
00:17:58Who is this fellow?
00:18:00Name's Chalmers.
00:18:01He was an extra on the set.
00:18:02Why did you kill Brent?
00:18:03Well, I never killed nobody.
00:18:05You can't alibi yourself
00:18:06out of this.
00:18:07That's the only 38 gun
00:18:08on the place.
00:18:09You killed him, why?
00:18:10I'll tell you, I didn't.
00:18:11Now, you've got to listen to me.
00:18:12Shut up.
00:18:13You'll have plenty
00:18:13of time to talk later on.
00:18:17Do you know this man?
00:18:21Why, yes.
00:18:22Everyone on the lot knows him.
00:18:24He was head electrician
00:18:25here for years.
00:18:25How much did you pay him
00:18:26to kill Brent?
00:18:27Now, wait a minute, Lieutenant.
00:18:29Why not pin the murder
00:18:30on the murderer?
00:18:31That's not against the rules.
00:18:33What are you talking about?
00:18:34Chalmers didn't kill Brent.
00:18:36How do you know?
00:18:37This gun hasn't been fired.
00:18:46How did this gun
00:18:47come to be loaded?
00:18:49I loaded it for Brent.
00:18:50I lost my nerve.
00:18:51So you had planned
00:18:52to kill Brent, huh?
00:18:53Yes, I wanted to kill him.
00:18:55I had every reason
00:18:55in the world to kill him.
00:18:56But he made no attempt.
00:18:58So you can't arrest him.
00:18:59Not unless you want
00:19:00to make a fool of yourself.
00:19:02You know, I'm beginning
00:19:03to think you're giving us
00:19:04the wrath.
00:19:05Prove it.
00:19:06You're a detective.
00:19:08Take them off, Hilliker.
00:19:10And maybe we'll put them
00:19:11on him.
00:19:12Well, we seem to be right
00:19:13back where we started.
00:19:14Yes, perhaps you have
00:19:15some very valuable suggestions.
00:19:17Yes, I have.
00:19:18What?
00:19:20The cameras were
00:19:21photographing when Brent
00:19:22was killed.
00:19:23There might be something
00:19:24very interesting on the film.
00:19:25It wouldn't hurt to look.
00:19:26Not bad.
00:19:32How soon can we
00:19:33see the stuff?
00:19:34We could get the print
00:19:35in, say, three or four hours.
00:19:37Well, will you get them going?
00:19:38Certainly.
00:19:39Come, Mr. Prussmith.
00:19:44You take the name
00:19:45and address
00:19:46of every person
00:19:46on this set
00:19:47and warn them all
00:19:48about trying to leave town.
00:19:50Right.
00:19:50In any of your books,
00:19:57does the detective
00:19:58ever sock
00:19:59the novelist
00:19:59on the nose?
00:20:02No.
00:20:03Write it in sometime.
00:20:06Seems to me
00:20:06like a good idea.
00:20:11Bill, George?
00:20:12Oh, hello.
00:20:13Marsha.
00:20:23Oh, Frank.
00:20:25It won't be very pleasant
00:20:26to see it all over again.
00:20:27But it may help us a lot.
00:20:29Watch carefully.
00:20:30Is everybody here?
00:20:46I think so,
00:20:47Mr. Grossmith.
00:20:48Mr. Steiner's
00:20:48in a projection booth.
00:20:49He'll be right in.
00:20:50All right.
00:20:51Here he is now.
00:20:55You ready,
00:20:56Mr. Grossmith?
00:20:57Yes.
00:20:58Mr. Grossmith's ready.
00:20:59Mr. Grossmith's ready.
00:21:04Quiet, please.
00:21:05Quiet.
00:21:09All right.
00:21:10Turn him over.
00:21:11Rolling.
00:21:13Mark it.
00:21:16Action.
00:21:26Here, Mr. Carlton.
00:21:27It'll be right here.
00:21:29Thanks, Handsome.
00:21:39I just couldn't pass you up.
00:21:48Believe it or not,
00:21:48I've never seen her
00:21:49in my life before.
00:21:51I must have been
00:21:51overlooking something.
00:21:52Oh, ruddy, shame, sir.
00:21:54Most annoying.
00:21:55Why couldn't do my pity news?
00:21:56It's your nose.
00:21:59Oh, I'll get the cross.
00:21:59Huh.
00:22:07Lacks!
00:22:08Lacks!
00:22:08Tie them over, Lacks!
00:22:09I wonder what that was.
00:22:10Wait, wait, wait.
00:22:11Did you see that?
00:22:12I don't know.
00:22:14What's supposed to happen?
00:22:16Keep it there.
00:22:20Oop.
00:22:21Oop.
00:22:21Oop.
00:22:22Oop.
00:22:22Oop.
00:22:23Oop.
00:22:23Oop.
00:22:24Oop.
00:22:25Oop.
00:22:25Oop.
00:22:26Oop.
00:22:26Oop.
00:22:26Oop.
00:22:27Oop.
00:22:30Oop.
00:22:33Oop.
00:22:34Oop.
00:22:34Oop.
00:22:34Oop.
00:22:42Not hurt badly,
00:22:43but he must have received
00:22:44a shot blue.
00:22:46Yeah, it looks like
00:22:46it was done
00:22:47with a blunt instrument.
00:22:48You know,
00:22:48I had an uncle once
00:22:49which was knocked out
00:22:50the same way,
00:22:51but he got hit
00:22:52with a shovel.
00:22:53Whoever rocked your cradle over did it a rouge-tip cigarette, but started it off
00:22:59Can you tell me is that studio makeup?
00:23:01Ah, to see. Perhaps which makeup man could tell you. Thanks
00:23:08How did it happen?
00:23:10I swear, I don't know. I was leaning over the machine
00:23:15checking the focus
00:23:17I thought the building came down on me. How about another print?
00:23:20Yes, and we'll take care of it this time. There was something on it. And if we ever touched it off, we didn't want it to be seen
00:23:26We can have the laboratory run one off right away
00:23:29Could we, Mr. Golden Smith?
00:23:30Why yes, there's no reason why we couldn't
00:23:33Will you come with me? No, Hilliker will go with you. I have another angle
00:23:38Where will I find this makeup man? Makeup department?
00:23:41Clear around the other end of the loft at the end of S Street. Sounds like a sleeper, John. I'll show you if you like. Thanks
00:23:50It's a special panchromatic rouge of my own made. Only two people on the lot are in the habit of using it. Who are they?
00:23:58Miss Collins and Miss Lane. Who's Miss Collins? She's one of our players. Is she in this picture you're photographing?
00:24:04No, I believe she's working in the Knight Riders. They're out in location.
00:24:08And the only other person on the lot that uses this rouge is Marsha Lane? As far as I know.
00:24:14I see.
00:24:15Thanks. You're welcome. Now, wait a minute.
00:24:20You have quite a stock of this rouge on hand, haven't you? A few tubes of it.
00:24:24Just as I thought. Anybody could get at it.
00:24:27Not very well. All the makeup that is not in use is kept in the cabinets. And the cabinets are locked?
00:24:32Yes. Excuse me.
00:24:35Hello. Just a minute. It's for you.
00:24:40Hello.
00:24:42Yes, Hilliker.
00:24:42Mr. Steiner.
00:24:45How?
00:24:47All right. You stick around there. See what you can find out. Tell Steiner I'll see it at his office.
00:24:53The negative of that last scene has been ruined. Someone poured acid in the container.
00:24:57This thing gets more muddled every minute.
00:24:58You telling me? How do I get to Steiner's office?
00:25:01I'll show you.
00:25:02Thanks. And you're not going with me.
00:25:07Right at the head of the street.
00:25:09Thanks. We want to have a map of this place.
00:25:11Old Lieutenant.
00:25:13Of course, you know that anybody could have taken the rouge from Miss Lane's dressing room.
00:25:16Sure. A very interesting detail.
00:25:25What do you make of it, Drew?
00:25:26It's got me.
00:25:28It's more of a mystery than anything I ever wrote.
00:25:30What I can't understand is why anyone should want to murder Prince.
00:25:35Now, if it were a supervisor.
00:25:36I don't see why anybody wants to murder anybody. It's a silly idea.
00:25:42You're going to try and salvage?
00:25:45Yes. Why not?
00:25:46It'd be fun.
00:25:47Besides Marsha.
00:25:49Yes.
00:25:50Oh, say Tom.
00:25:51If you see her, don't say anything about that cigarette business. It'll only upset her.
00:25:53No, no, no, no.
00:25:54Of course not.
00:25:55If I can help you, let me know.
00:25:57Thanks.
00:25:58Has anything been moved on the set?
00:26:00No.
00:26:00Police instructions were to leave everything undisturbed.
00:26:03Well, I'm going to have another look around.
00:26:05I want to find out just how he was murdered.
00:26:07And with what gun.
00:26:08Hey, I got an idea of how Brent was killed. You want to hear it?
00:26:15Some other time. Better go home and sleep it off, Chalmers.
00:26:17All right, that's what you think. Chalmers don't know anything, huh?
00:26:21Well, listen. I've been on the set and I've been seeing things.
00:26:25Yeah, snakes and pink elephants, I'll bet.
00:26:27All right, all right. Be smart. Be smart.
00:26:31Now, listen. You're going to come to me later.
00:26:33Oh, I'll see you in the morning. Go on home.
00:26:35The old boy evidently cashed his pee check and drank it.
00:26:40Want to have a look around with me?
00:26:42Oh, I'm not much of a detective.
00:26:45Besides, Mrs. Avery's waiting for me.
00:26:46All right.
00:26:48Good luck.
00:26:49Thanks.
00:28:45What happened?
00:28:46Here.
00:28:48Here.
00:28:50Swirl, ain't it?
00:28:52I made it myself.
00:28:55Who's in there?
00:28:57It's all right, Sheehan.
00:28:57What's going on now?
00:29:04Plenty.
00:29:05I found a gun that killed Brent.
00:29:07Where?
00:29:08Right here, in this lamp.
00:29:09Why, it's gone.
00:29:14So it seems.
00:29:16Probably got tired sitting there and decided to take a walk.
00:29:19No, I'm not kidding.
00:29:20I came down on the set to have a look around.
00:29:22Just by accident, I noticed this smudge on the lamp here.
00:29:26So I looked inside.
00:29:27Found a small derringer fastened there, attached to an electromagnet.
00:29:32There's the wire it was connected to.
00:29:34And I got a bump on my head that knocked me out.
00:29:35Well, this proves one thing.
00:29:39Whoever killed Brent knew a whole lot about electricity.
00:29:43Who is charge of these lamps?
00:29:44Head gaffer.
00:29:46Well, what's that in English?
00:29:47The chief electrician.
00:29:48Who is he?
00:29:49Al Payne.
00:29:50Where can I find him?
00:29:51Here, Tom will take you over.
00:29:53Come here, kid.
00:29:53Let me take a look at that head.
00:29:56Well, that's all right.
00:29:57Now, listen.
00:29:59You stop monkeying around with police matters.
00:30:01It's a tough racket.
00:30:02That head of yours won't stand another wallop.
00:30:04Come on, let's get going.
00:30:08Mr. Drew, I've been thinking.
00:30:11No.
00:30:12Yeah.
00:30:12The first thing I ask myself when I investigate the murder is, whodunit.
00:30:16Well, that sounds logical.
00:30:17And the next thing I ask myself is, who could do it?
00:30:21And then?
00:30:22And then I ask myself again, who wanted to do it?
00:30:26And how do you answer yourself?
00:30:28Well, I ain't come to that yet.
00:30:31You take Chalmers, for instance.
00:30:33He didn't like Brent.
00:30:34Well, why should he be an exception?
00:30:36He didn't like Brent in account that Brent had him fired.
00:30:39When was this?
00:30:40A couple months ago, when Chalmers was head gaffer, they had an argument.
00:30:43Head gaffer?
00:30:44Yeah, Chalmers is an electrician, isn't he?
00:30:46Yeah, Chalmers had a couple of drinks, and him and Brent had an argument.
00:30:49Say, Gully, you are a first-class gumshoe.
00:30:54Investigator.
00:30:55All right, investigator.
00:30:56Right now, will you run up to the casting office and investigate, and find out where Chalmers lives?
00:31:00Sure.
00:31:01What are you going to do?
00:31:01Put the finger, I mean, apprehend him?
00:31:03Maybe.
00:31:04You want to come along?
00:31:04Oh, boy, I'll say.
00:31:05Got a gun?
00:31:06Yeah.
00:31:06Got my gun, my badge, and my bracelet.
00:31:10You wouldn't need those.
00:31:11Come on, let's get going.
00:31:14The director hasn't anything to do with it.
00:31:16The cameraman really sets the lights.
00:31:18You mean, heat out?
00:31:19Yeah.
00:31:20The play?
00:31:21The afternoon before.
00:31:24They rehearsed the scene with the principal, so they wouldn't hold the company up when they called the extras.
00:31:28Do you remember anything particular about that one light?
00:31:30To be truthful with you, a lot of arguments on that set.
00:31:34Mr. Steiner didn't like the photography, and he wanted more light.
00:31:38Steiner?
00:31:38Was he there when it was rehearsed?
00:31:40Yes.
00:31:41Who else?
00:31:42Well, they're all there, with exception to extra people.
00:31:45There were no extras there, huh?
00:31:47No, only Chalmers.
00:31:49You know, he's a sort of a privileged character around this lot.
00:31:52He used to be our head gaffer.
00:31:54Chalmers used to be an electrician?
00:31:55Yes.
00:31:56Miss Lane felt sorry for him, and made Mr. Avery give him a bit of her picture.
00:32:01Oh, Miss Lane got him the job.
00:32:03Yes.
00:32:04Could you give me the address of the cameraman and, uh, Chalmers?
00:32:09Sure.
00:32:11And, uh, by the way, if a writer by the name of Drew asks you anything, don't answer him.
00:32:18Drew?
00:32:19Say, do you think he did it?
00:32:21Well, uh, you can't keep me from hoping.
00:32:26This is Ed's.
00:32:53Look.
00:32:53Ed, that Chalmers is in trouble again.
00:32:56Do you wish to see Mr. Chalmers?
00:33:04Yes.
00:33:04Is he in Mrs., uh...
00:33:05Miss Potts?
00:33:06And I don't know anything at all about his comings and going.
00:33:09Doesn't he on the bell?
00:33:10No, he doesn't.
00:33:11I was just going in.
00:33:13Cleaning day today, you know.
00:33:14I suppose he's lying stiff and the place all cluttered up with gin bottles.
00:33:19Let's go in and have a look around, Captain.
00:33:21Ed, uh, tenants, guests I mean, though.
00:33:23He wasn't so bad until he lost his job.
00:33:26Then he started acting queer like.
00:33:29See?
00:33:29I told you.
00:33:33I lay down the law to him.
00:33:34I said, Mr. Chalmers, my bungalow court isn't an alcoholic ward.
00:33:38Well, as I thought, drunk again.
00:33:42Well, this is the end.
00:33:43This is no key liqueur.
00:33:44Out he goes.
00:33:46I'm sick and tired of his carrying's on.
00:33:48The fellow's dead.
00:33:51Dead?
00:33:52Well, he didn't think of me.
00:33:54No, not him.
00:33:56I suppose my 2850 back wind has gone up the flu.
00:34:02Did I have Chalmers spotted?
00:34:04All I did was ask myself, who done it?
00:34:07Poison, all right.
00:34:08Familiar smelling stuff, too.
00:34:12Boy, that guy had to drink anything that wasn't too thick to chew.
00:34:18Well, I guess this about washes up the case, eh, Mr. Drew?
00:34:31Looks like suicide to you, eh, Gully?
00:34:33Sure.
00:34:36I guess Sheehan would think so, too.
00:34:38He may be dumb, but he ain't blind.
00:34:40He's not as dumb as he looks.
00:34:41Do you wear a wristwatch, Gully?
00:34:43Huh?
00:34:44Do you wear a watch on your wrist?
00:34:46Well,
00:34:46you see, it's a present from the wife.
00:34:50I gotta wear it.
00:34:51Why do you wear it on your left wrist?
00:34:54Well, I use my right hand the most.
00:34:56Because I'm right-handed.
00:34:57You ever try to write with it on your right wrist?
00:35:00No.
00:35:02Neither did Chalmers.
00:35:04Which makes this note a very interesting piece of fiction.
00:35:06I don't know.
00:35:20You heard me.
00:35:27I don't know.
00:35:58Say, Dully, come here.
00:36:02Take a look in here.
00:36:07Now, what do you see?
00:36:09A bottle of gin and a piece of ice.
00:36:11What else? Use your powers of observation.
00:36:15Oh, you mean that piece of wood that let us in there?
00:36:18Don't you notice that little service door on the back has been left open?
00:36:21Whatever. The ice men probably left it that way.
00:36:24My wife says you can't trust those ice men anyway.
00:36:26If the ice men had left that little door open when he put in the fresh cake,
00:36:29there wouldn't be any ice there now.
00:36:32I never thought of that.
00:36:34Let's have a look outside.
00:36:35Look, someone must have stood here a long time.
00:36:58They're more fresh prints, ain't they?
00:37:01Step up there a minute.
00:37:03Look out for those tracks.
00:37:05Now what?
00:37:06Look through the window.
00:37:11You see Chalmers sitting there?
00:37:13Yeah, the door is open.
00:37:14Supposing someone stood here and Dr. Chalmers Gin threw his box from this side.
00:37:27And then stood here.
00:37:29And watched him drink his last drink through the window.
00:37:32What would you say?
00:37:33And then watched him die.
00:37:35Went in and wrote the note and put the pencil in his hand, huh?
00:37:37Yeah, I mean, that's where he made his mistake.
00:37:40Put the pencil in the wrong hand.
00:37:42That's just what I was thinking.
00:37:47Gully, you know if a car was parked here,
00:37:52then Todd would conceal that door and that window.
00:37:55Yeah?
00:37:55Then Chalmers didn't kill himself, huh?
00:38:09Let's leave that to Sheehan.
00:38:10I'm any good as a guesser.
00:38:11He ought to be here by now.
00:38:17There you go.
00:38:18Don't let Sheehan know what we found out.
00:38:20I got you.
00:38:21The captain got here 15 minutes ago.
00:38:23Captain?
00:38:25What are you and that Keystone cop doing here?
00:38:30Now lookie here, Sheehan, you can't talk that way about me.
00:38:33Remember, I'm chief of the studio police and I got rights.
00:38:36I, I...
00:38:36Nature in the raw.
00:38:38Here's another opportunity for your skill, Lieutenant.
00:38:40We've been waiting for you.
00:38:41Everybody around here seems to know more about police matters than the police.
00:38:44That's noble of you to admit it.
00:38:46Did you two loosens this touch anything around here?
00:38:48Nothing important.
00:38:49Good.
00:38:49Then clear out.
00:38:51And take that uniform moron with you.
00:38:53Come on.
00:38:55Suicide, huh?
00:39:02Looks like it.
00:39:03Well, I always thought it was Chalmers right from the start.
00:39:07Now who's the Keystone cop?
00:39:09He don't even know Chalmers was left-handed.
00:39:11Come on!
00:39:14Left-handed?
00:39:15Sure.
00:39:25That starts it all over again.
00:39:27I can remember when murders were nice, clean, simple things done with machine guns and meat axes.
00:39:34But this case...
00:39:35What seems to be the trouble?
00:39:55Battery's dead.
00:39:56What, didn't Miss Lane get a new battery just last week?
00:39:59Yeah, I don't understand it.
00:40:00It's bone dry.
00:40:01Liquid's all gone.
00:40:03Just as I thought.
00:40:15We were right.
00:40:21It's poison.
00:40:26Electro...
00:40:26Electrolytic liquid, sulfuric acid base, grain alcohol, 38% distilled water, 33% electrolytic liquid, 27% by volume.
00:40:37The man said a teaspoonful on a glass of water will kill a man dead.
00:40:41Electrolytic acid.
00:40:43Is there anything else?
00:40:44No.
00:40:45That was all.
00:40:59Hey.
00:41:00Ain't them the same kind of tread that left the marks under Chalmers' window?
00:41:03Oh, there's probably a thousand cars in the Hollywood that have that sort of make of tire.
00:41:08Yeah, I never thought of that.
00:41:12Say, Gully.
00:41:14I want you to get me the key to Brent's dressing room, but don't let anybody know it's for me, see?
00:41:18Say, I'll get you the key to the city if you want it.
00:41:21Now, I have a couple of things to do.
00:41:22I'll meet you here in half an hour.
00:41:24Okay.
00:41:30Who is it?
00:41:31Right, may I come in?
00:41:32Just a minute.
00:41:33Well, why all the locks?
00:41:43I was just going through some old letters and didn't want to be disturbed.
00:41:46Oh, see?
00:41:47Where have you been?
00:41:48I've been waiting all afternoon for you.
00:41:50Oh, I've just been doing a little sleuthing.
00:41:53Marsha, you trust me, don't you?
00:41:56Why, yes, of course.
00:41:59You know I'd do anything in the world for you, don't you?
00:42:01I believe you would, dear.
00:42:03Then, is there anything you know about the murder of Brent that you haven't told me?
00:42:07No.
00:42:08I've just come from Chalmers' place.
00:42:15He's dead.
00:42:16Chalmers?
00:42:17Poisoned.
00:42:18Poisoned.
00:42:19You mean murdered?
00:42:20If it isn't that, it's a good imitation of it.
00:42:22Oh, how awful.
00:42:24Whoever did it used electrolytic acid.
00:42:26Acid out of a battery.
00:42:27Acid out of a battery.
00:42:29The unfortunate part of the whole thing is that they used your car and the acid out of your battery.
00:42:35My car?
00:42:40That's why my call wouldn't start.
00:42:42Yes.
00:42:43I only told you this because I'm afraid Sheehan will find out and arrest you on suspicion.
00:42:47That would mean headlines and scandal.
00:42:50What do you want me to do?
00:42:52I want you to get out of here.
00:42:54Any place, just so Sheehan can't find you.
00:42:56But that's running away.
00:42:58Only for a day or two, just to give me time.
00:43:02I'll go to Mary's at Malibu.
00:43:03She'll help me.
00:43:04Oh, that's swell.
00:43:05Make it fast, will you?
00:43:06There's no knowing how close Sheehan's behind me.
00:43:08I'll telephone you when I get it all worked out.
00:43:10You may have a long beard by then, but I'll try and hurry.
00:43:14Bye-bye, sweet.
00:43:38Come in.
00:43:47Leon.
00:43:51I suppose you're surprised that I'm here, huh, Marcia?
00:43:54Frankly, yes.
00:43:56You haven't come to see me since...
00:43:58since Brent's accident.
00:44:00I should think you'd know why.
00:44:02I don't.
00:44:04I only know that I...
00:44:06that I want to help you.
00:44:08I have all the help I need.
00:44:10Marcia, you mustn't treat me like this.
00:44:13I never said anything to you while Brent was alive.
00:44:17But you should know how I feel.
00:44:20You succeeded in making your feelings quite plain enough.
00:44:24Marcia, I...
00:44:25I'm very fond of you.
00:44:29Not the kind of fondness I care about.
00:44:32Please go now, Leon.
00:44:33Come in rather a hurry.
00:44:38Marcia, you will come to me and ask for help.
00:44:51Maybe you will apologize to me for laughing about how I feel for you.
00:44:57Perhaps Brent wasn't killed for nothing.
00:45:00No matter how smart they are, they always slip up.
00:45:20What's your name?
00:45:20Pardon me.
00:45:21Hello?
00:45:22Yes, sir.
00:45:23I will.
00:45:24Wait a minute.
00:45:25Here she is now.
00:45:26Miss Lane.
00:45:27Mr. Steiner would like to see you in his office.
00:45:29What's your name?
00:45:30Pardon me.
00:45:32Hello?
00:45:33Yes, sir.
00:45:34I will.
00:45:36Wait a minute.
00:45:37Here she is now.
00:45:39Miss Lane.
00:45:40Mr. Steiner would like to see you in his office.
00:45:46What's your name?
00:45:47Mr. Wheatcroft.
00:45:49Mr. Todd, please.
00:45:51Mr. Wheatcroft calling to see you.
00:45:53All right.
00:45:59Pull down that blind.
00:46:10Did you see Brent when he came in?
00:46:12I see everybody.
00:46:14What kind of a suit do you have on?
00:46:21There it is.
00:46:23It's funny she and Miss looking in here.
00:46:29You've been keeping them too busy.
00:46:31See what those letters are.
00:46:36Here's one from a dame named Agnes.
00:46:39Agnes who?
00:46:40She ain't that dumb.
00:46:42She don't say much.
00:46:44Except that she can't live without them.
00:46:47Married, too.
00:46:49Says her husband don't understand her.
00:46:51Well, that's that old, old story.
00:46:54Two men and a woman.
00:46:56The internal triangle.
00:47:00What kind of a place is the Clipside Inn?
00:47:02Oh, you know, one of those weekend places with all the Mr. Smiths and Mr. Jones and Mr. Browns.
00:47:07Brett wouldn't go there alone, would he?
00:47:09Not him.
00:47:10How far is Ocean View from here?
00:47:13A couple of hours north on the coast road.
00:47:15Well, I guess that's our next stop.
00:47:17Why?
00:47:19I'm beginning to think there's a woman in the case.
00:47:21No.
00:47:23Mr. Drew, this case has become uncomplicated.
00:47:26Even from me.
00:47:27Come on.
00:47:38See, it's 4.30.
00:47:39I gotta check in on my next ship.
00:47:41Listen, don't go away without me, will you?
00:47:44All right, Gully.
00:47:46I'll pick you up the gate when I go out.
00:47:48Boy, oh boy.
00:47:50Mr. Drew, I've been looking for you.
00:47:52Miss Lane wants to see you.
00:47:53She's in Mr. Steiner's office.
00:47:54Oh, thanks.
00:47:56Yes, sir.
00:48:05Go right in, Mr. Drew.
00:48:07When did you find out your car wouldn't start?
00:48:09About an hour ago.
00:48:13Well, with all your dabbling, you didn't throw us off.
00:48:17You've thrown yourself off if you think Miss Lane had anything to do with Chalmers or Brent either.
00:48:22All right, all right.
00:48:23Just sit down there.
00:48:25And keep quiet.
00:48:29Where did you go this afternoon?
00:48:31I went downtown.
00:48:32In your car?
00:48:33Yes.
00:48:34Where did you park it?
00:48:35On the street.
00:48:36In front of Elfman's flower shop.
00:48:39I ordered some flowers for Miles.
00:48:41Uh, Mr. Brent's funeral.
00:48:42Then where did you go?
00:48:43You went to Chalmers' house, didn't you?
00:48:44Wait a minute, I won't stand for this.
00:48:46You can't trick Miss Lane into answers.
00:48:49And have little boy Blue over there take him down.
00:48:52Now keep quiet, Drew.
00:48:53You're trying to get at the bottom of this.
00:48:55Oh, no, you're not.
00:48:56She didn't try to force Miss Lane into admission to things she's never done.
00:48:59She might as well talk here as downtown.
00:49:02I've got a warrant for her.
00:49:03For what?
00:49:04Suspicion of murder.
00:49:06What's your theory?
00:49:07It's as simple as ABC.
00:49:08Yes, it would be if you thought of it.
00:49:11Chalmers killed Brent because he hated him and she offered him money.
00:49:14Then she got frightened and killed Chalmers, thinking that he would get drunk and give it away.
00:49:19Every piece of evidence we have got points to her.
00:49:21It was her cigarette that blew up the film.
00:49:23Her car that made the tracks outside of Chalmers' house.
00:49:25And acid from her battery that killed him.
00:49:28Oh, that's a lot of bunk.
00:49:30I know, you've got to make an arrest.
00:49:31It's okay with you.
00:49:32I know, you can't sit there and let them arrest Marsha.
00:49:36She has nothing more to do with these murders than Lincoln had to do with the burning of Rome.
00:49:41Mr. Drew, we don't know whether Lincoln burned Rome or not.
00:49:45And we don't care.
00:49:46But this man is a policeman, so let us hear what he has to say.
00:49:49If you're not paying you to quarrel with the police.
00:49:51I don't care if you pay me a dime.
00:49:53She and if you arrest Miss Lane now, there'll be a lot of nasty newspaper headlines.
00:49:56Hold off for 24 hours and I'll be responsible.
00:49:58Better than that.
00:49:59In 24 hours, I'll prove that she's innocent.
00:50:01You're making yourself ridiculous.
00:50:03I'm trying to protect one of your stars.
00:50:04Wait a minute, Steiner.
00:50:06Maybe he's right.
00:50:07What about this scandal?
00:50:09What about her box of his name?
00:50:11Ain't he got enough trouble here already without having Marsha arrested?
00:50:14Now, Mr. Grossmith, if you want to accept the responsibility, you can.
00:50:18But remember, this is a murder case.
00:50:21Two people are dead.
00:50:23And how do you know someone else won't be killed?
00:50:27For my part, I believe that the police should not be interfered with.
00:50:31Well, all I got to say is that it's a terrible calamity.
00:50:37Let's go, Hilliker.
00:50:38I guess the explosion's over.
00:50:40Someone in this studio killed Miles Brenton Chalmers.
00:50:44And he's trying to pin it on Marsha Lane.
00:50:47But they won't get away with it.
00:50:49Come on, Miss Lane.
00:50:55Marsha, honey.
00:50:56I'm sorry.
00:50:57I'll get you out of this just as soon as I can.
00:50:59I know you will, Frank.
00:51:01I'm not worried, really.
00:51:02Come on.
00:51:10I read all my body hands.
00:51:12I extra.
00:51:14Marsha Lane accused of the studio murder.
00:51:17I extra.
00:51:22I extra.
00:51:23I extra.
00:51:24I read all my body.
00:51:25Marsha Lane accused of the studio murder.
00:51:28I extra.
00:51:29I extra.
00:51:30I extra.
00:51:31There he did look.
00:51:32I extra.
00:51:33Fun.
00:51:34I'll get him.
00:51:35Come on.
00:51:36I hear abehind.
00:51:37I extra.
00:51:38Oh, yeah.
00:52:08How do you do, sir?
00:52:08How do you do?
00:52:09I'm from the publicity office of the Tone Art Studio.
00:52:11Yes.
00:52:12I'd like to see a list of the people who sent flowers to the Brent funeral.
00:52:15Oh.
00:52:16I think I have a list.
00:52:17Thanks.
00:52:25Terrible thing that Brent murdered, wasn't it?
00:52:27I hear they have listed the Marchelaine.
00:52:29Yes, I guess she'll be one who won't send flowers.
00:52:32Oh, yes, she will.
00:52:33She was in the early this afternoon and ordered a big wreath.
00:52:36Is that so?
00:52:36Well, they are mostly women.
00:52:39It's surprising that many of them gave their names.
00:52:41Oh, some of them didn't.
00:52:43There was a lady near just now who signed the check,
00:52:46then thought better of it and tore it up.
00:52:49Didn't want the husband to see the cancelled check.
00:52:51Right.
00:52:52Oh, pardon me.
00:52:53Yes, ma'am?
00:52:54Oh, certainly.
00:53:06Oh, good evening, Dibby.
00:53:20Oh, good evening.
00:53:33Good evening.
00:53:36Alone?
00:53:37Yes, I'm not stopping.
00:53:39Oh.
00:53:40I have a key here a friend of mine carried away with him.
00:53:42Oh, thank you.
00:53:44My name is Drew.
00:53:45I'm from the Tone Art Studios.
00:53:46I'd like to keep this thing quiet.
00:53:48Keep what quiet?
00:53:50Brent's visit here the night before he was murdered.
00:53:53You see, if the papers get hold of a story like this,
00:53:54they play it up and it's bad for the picture business.
00:53:57Well, it doesn't do us any good either.
00:53:59All right, let's get together.
00:54:00Sure.
00:54:00What do you want?
00:54:01Who was the woman with Brent?
00:54:04Mrs. Brent.
00:54:06There is no Mrs. Brent.
00:54:07They were divorced.
00:54:09Well, then I don't know who she is.
00:54:11You see, I wasn't here when they checked in
00:54:12and they left in such a hurry I didn't see them go out.
00:54:15In a hurry?
00:54:15Why?
00:54:16Well, a fellow came in here and started a row
00:54:19and then he waited in a telephone booth over there
00:54:22and when they came down, he stepped out.
00:54:24At least that's what Charlie says.
00:54:26Who's Charlie?
00:54:27One of the night bellhops.
00:54:29Could I see him?
00:54:29Sure.
00:54:30Sure.
00:54:31Oh, Charlie.
00:54:33Yes, sir.
00:54:35Thanks.
00:54:38This gentleman wants to ask me a few questions.
00:54:41Shoot.
00:54:43Say, do you remember seeing the man
00:54:44who waited for Miles Brent in the telephone booth
00:54:46the other night?
00:54:48I just got a glimpse of him before the fight.
00:54:50What fight?
00:54:51Well, when Brent hit him in the patio.
00:54:54How did it happen?
00:54:56Well, the lady ran out to the car
00:54:58when she saw the guy come out of the booth.
00:54:59Then the guy steps up to Mr. Brent and says,
00:55:02Brent, I want to see you.
00:55:04I thought it sounded kind of silly
00:55:06because he was seeing him right there.
00:55:08Well, then what happened?
00:55:09Well, Brent takes the guy outside in the patio.
00:55:12That's when he socked him.
00:55:13Well, then did Brent get into his car?
00:55:14Yeah, and the other guy picked himself up.
00:55:17Boy, was he mad.
00:55:18And was his face red.
00:55:20What did he say?
00:55:21What didn't he say?
00:55:23Listen.
00:55:26It was awful.
00:55:27And then he beats it.
00:55:29Would you remember this man if you saw him again?
00:55:31Well, I might.
00:55:32And then again, I might not.
00:55:34It all happened so fast.
00:55:36Would you remember the lady?
00:55:37Sure.
00:55:38Say, she was a honey.
00:55:39Only she talked kind of funny.
00:55:41You know, like she was a foreigner or something.
00:55:44With an accent?
00:55:44Yeah.
00:55:46Oh.
00:55:47That's fine, Charlie.
00:55:48You've been a big help to me.
00:55:49Here.
00:55:50Thanks.
00:55:51Good night.
00:55:52Thanks.
00:55:53Good night.
00:55:53Say, are you a detective?
00:55:55No, I'm just from the studio.
00:55:57Will there be detectives here?
00:55:58I hope not.
00:55:59Call for Mr. Wallace.
00:56:03Calling Mr. Wallace.
00:56:10Which booth did that fellow hide in?
00:56:12There.
00:56:15How long has it been out of order?
00:56:16Just since the guy hid in there.
00:56:18I guess he kept pounding on the hook trying to get Brent's room.
00:56:29I don't know.
00:56:42Shelved?
00:56:43Shelved?
00:56:44That's all you can think of a shelf.
00:56:45Already, this picture cost me $239,351.
00:56:50That better I put my money in the bank.
00:56:51Can I get any interest from a shelf?
00:56:54I'm not asking you to lose anything,
00:56:56but how can we finish the picture with our friend?
00:56:58And play the whole kissing scene in a long shot?
00:57:00Why not?
00:57:01Because it's all wrong.
00:57:02It's terrible.
00:57:03I've got my reputation to think of.
00:57:04And I've got my money to think of.
00:57:06Money, money.
00:57:07What's money?
00:57:08Now, just a minute.
00:57:10Now, let's take it calmly.
00:57:12New York offices have the opinion that the murder of Brent won't hurt the picture,
00:57:18if we can release it soon enough.
00:57:20Now, why not shoot that scene using a double and wind it up?
00:57:23It's the last scene in the picture.
00:57:25It can't possibly do you any harm.
00:57:28Exactly.
00:57:29Steiner has got rights.
00:57:30Oh, all right.
00:57:31What's the use of argument?
00:57:32Good.
00:57:33We can get the company together and shoot it tonight.
00:57:35Oh, wait a minute.
00:57:36What about Marcia?
00:57:37Oh, we can arrange with she and use her for that one scene.
00:57:40She can come over with the whole police department if he likes.
00:57:43Everybody's on call and everything in a set is standing.
00:57:46We can shoot it in half an hour.
00:57:48Dad, hold on a minute.
00:57:51What time?
00:57:52Seven-thirty.
00:57:55Say nine-thirty.
00:57:56Make it nine o'clock.
00:57:57We'll save a half hour.
00:58:00Dad, we're going to shoot the last scene of the death kiss tonight.
00:58:04Round up the company for a nine o'clock call.
00:58:06Sure, Mr. Steiner.
00:58:07Mac, we're retaking the death kiss.
00:58:10Get busy on the call.
00:58:11Okay.
00:58:15You've got Brent's double and call, haven't you?
00:58:17Yes, I'll have him all right.
00:58:19But say, what about Miss Lane?
00:58:22I'll take that apart.
00:58:26Still come at thirty-six.
00:58:27Exactly.
00:58:28Put that light over here.
00:58:29And look.
00:58:30Screen 80, with it?
00:58:31Screen 80, Joe.
00:58:32Screen 80.
00:58:33Say, it's twenty-seven and forty-two.
00:58:36That's it.
00:58:37All right, how about twenty-seven and forty-two?
00:58:39How about those up in there?
00:58:40I think everything is all right.
00:58:42All right.
00:58:43Good evening.
00:58:44You know Mrs. Avery?
00:58:45Yes, of course.
00:58:46How are you?
00:58:47I'm surprised you've come to see the street, eh?
00:58:49Put it down to morbid curiosity.
00:58:51That's the woman of it.
00:58:52She insisted on coming.
00:58:54Now, come along with me.
00:58:55I'll have to make you comfortable.
00:58:56She's very good with the ladies.
00:59:15Helen, how are you?
00:59:16Well, okay.
00:59:17I can stand right, too.
00:59:18He said that she's very good.
00:59:19She must be comfortable.
00:59:20IMP-T aussi.
00:59:21Then have you given feeling?
00:59:52For the last time that you've seen, folks, we'll do it the same way.
00:59:56Do two guards in the back, on the left.
00:59:59Hang on. Watch out.
01:00:02I'm going to put a scrim on it.
01:00:03Shoot the boosting drover.
01:00:04Kill those two over there, six feet and twelve.
01:00:06Hey, we're going to take the boosting drover again.
01:00:08All right.
01:00:09Huh?
01:00:09I'll let you do this.
01:00:10Hey, I'm 42 proof here.
01:00:12Do you know where Mr. Drew is?
01:00:16He went away and left me after him promising he wouldn't.
01:00:20Well, do you know where he went?
01:00:20I got an idea, but I can't tell.
01:00:24Well, do you know when he'll be back?
01:00:27I don't know.
01:00:28He'll turn up.
01:00:29You can't lose that guy.
01:00:31We're ready for a rehearsal, Miss Lane.
01:00:33All right.
01:00:35Go ahead.
01:00:36We'll wait here.
01:00:40And just as you reach here, Miss Lane steps up and kisses you.
01:00:43Now, naturally, you're surprised because you don't know her.
01:00:45Then you turn, read your line to the doorman, and walk out of the curb.
01:00:48Right.
01:00:51Oh, Marshal.
01:00:53I'm so sorry about everything.
01:00:55I know it's going to be difficult for you, but I'll try and help you all I can.
01:01:00Thank you, John.
01:01:03Oh, you know Miss Johnson.
01:01:05Yes, how do you do?
01:01:07Shall we try it once?
01:01:09Oh, George.
01:01:10Let's have quiet, please.
01:01:11Quiet.
01:01:12Rehearsal.
01:01:13Rehearsal.
01:01:17Take your places, please.
01:01:20Get them all.
01:01:21John, ready for rehearsal?
01:01:23Okay.
01:01:25Come on.
01:01:26This business gives me a funny feeling.
01:01:28What do you mean?
01:01:29I don't know.
01:01:29It just gives me a funny feeling, that's all.
01:01:31Supposing it should happen to somebody else's shot.
01:01:34This is ridiculous.
01:01:35Well, maybe it is, and maybe it ain't.
01:01:37Anyway, I don't like the set, and I don't like the title of the picture.
01:01:40The Death Kiss.
01:01:41Yeah.
01:01:42From now on, we have no more titles with death in it.
01:01:45Getting superstitious.
01:01:47I say, you ain't got no nerves.
01:01:49Well, I ain't afraid either, but I'm just a little scared, that's all.
01:01:53What can possibly happen?
01:01:54That's it, anything.
01:01:56I must have been overlooking something.
01:01:57I would rather shame, sir.
01:01:59Most annoyed.
01:02:00Right under me very nerve.
01:02:02Wait a minute.
01:02:03What's the matter now?
01:02:05I can't get it with the mic there.
01:02:06Well, go ahead and fix it the way you want it.
01:02:10Swing it in here, Father.
01:02:12Come on, Father.
01:02:14Now down a little closer.
01:02:17There.
01:02:18Is that in your picture?
01:02:19No, you're safe there.
01:02:20Okay, tested.
01:02:26One, two, three, four.
01:02:28One, two, three, four.
01:02:29Microphone number two.
01:02:31All right, let's go.
01:02:32Okay, for sound.
01:02:40Lieutenant, can I see you a minute?
01:02:53Well, if it isn't our little mystery writer.
01:02:56I knew you would turn up.
01:02:58Have you solved it?
01:03:00Come over here a minute.
01:03:04Watch the revelation.
01:03:05Well, I went through the clothes that Brent wore the night before he was murdered.
01:03:11I found a room key to the cliffside inn in his pocket.
01:03:14I went up to the inn and found that he'd registered there the night before as Mr. and Mrs. Brent.
01:03:18Not unusual for him, was it?
01:03:19No.
01:03:20But the husband of the woman that was with him waited for Brent in the telephone booth in the lobby.
01:03:25When Brent came down, they had a fight.
01:03:26Brent beat him up and left with the woman.
01:03:28Now, there's your motive.
01:03:29The fellow who hid in the telephone booth is the fellow who murdered Brent.
01:03:32It's a motive, sure.
01:03:34But it seems to me that everyone around here had a motive.
01:03:37Yes, but this same man knew a lot about electricity and a lot about film.
01:03:40Now, Chalmers couldn't have thrown that cigarette butt in the film because he was nowhere around at the time.
01:03:44Marsha couldn't have poured acid on the negative.
01:03:46Well, she knows less about film than you do.
01:03:48But this same fellow, whoever it was, found out that Chalmers had discovered his contraption in the lamp.
01:03:54Stole Marsha's car, took acid again, Dr. Chalmers' gin,
01:03:58and then returned the car.
01:04:00Yes, but why did he take Miss Lane's car?
01:04:02To give himself a double-headed out.
01:04:04If you believe that suicide gag, we'll have us the end of it.
01:04:07If you didn't, everything pointed to Marsha.
01:04:08Whatever happened, he wouldn't be suspected.
01:04:11Yeah.
01:04:12But you have got to show me that the guy who was at the inn is someone here at the studio.
01:04:17And that he had access to the light, the film, the car, and everything else.
01:04:20Well, that's easy.
01:04:21The man who hid in the telephone booth left this trademark.
01:04:26What's this?
01:04:26Well, you know as well as I do, the scribblings a man makes on a piece of paper are as identifying as his signature.
01:04:32Oh.
01:04:33Now all we've got to do is to find the guy that scribbles like this, huh?
01:04:37Well, I've done that, too.
01:04:39Take a look at this.
01:04:40Where did you get this?
01:04:46In Grossmith's office.
01:04:48Now, Avery, Steiner, Grossmith, and Howell were in there having a conference.
01:04:54And you think one of those four killed Brent?
01:04:56Yes.
01:04:57Well, this is interesting.
01:05:03But I've only your word for it, and that don't count for much.
01:05:07Well, I'll keep your paper dolls.
01:05:10But you have got to get me more substantial evidence than this before I can let Miss Lane go.
01:05:14Take good care of these guns, boys, and don't forget to check them back to me.
01:05:27All right.
01:05:29You sure the gun isn't loaded?
01:05:40You bet not.
01:05:41I just looked at it.
01:05:44Mind if I look?
01:05:45Not at all.
01:05:50Clear to you?
01:05:52All right, we'll take it.
01:05:53Is everybody ready?
01:05:54Let's make it.
01:05:55Uh, Johnson, pardon?
01:05:56Sure.
01:05:59Thanks.
01:06:08Frank, I've been so worried about you.
01:06:10Darling, I'm hot on the trail.
01:06:12I've got an idea.
01:06:13If I'm right, I'll have this whole thing wrapped up and tied before you know it.
01:06:16But don't go away before I'm through, will you?
01:06:17Well, you bet I won't.
01:06:18Miss Lane, will you stand on a minute, please?
01:06:21See you later.
01:06:29It's not loaded, is it?
01:06:31What do you think?
01:06:32I'm crazy?
01:06:33Mind if I look?
01:06:34Oh, go ahead.
01:06:40Thanks.
01:06:47Say, Bill, those aren't the same guns you used before, are they?
01:06:49I know I couldn't get 38s before, so I slipped in the 45s.
01:06:53Nobody knew the difference.
01:06:54You mean 38s were called for before?
01:06:56Yeah, they made a row about it.
01:06:58Who insisted?
01:06:58Okay, coming up.
01:07:00Come on with me.
01:07:04Listen, I've got it.
01:07:05This is Bill, the property man.
01:07:07He tells me on the day that Brent was murdered, he was definitely ordered to give all the extras
01:07:1038 caliber guns.
01:07:12Yeah?
01:07:12Did you get it?
01:07:1338 caliber guns were ordered.
01:07:14Now, if Bill had supplied them, we'd have never have known that it wasn't an accident.
01:07:17Well, he didn't.
01:07:24He substituted 45s.
01:07:26That's how we knew it was a murder.
01:07:28Now, the fellow who ordered those 38s.
01:07:30Say, who ordered those guns?
01:07:31Go ahead, Bill.
01:07:32Tell him.
01:07:33Well, it was Mr.
01:07:34Everybody, stand up!
01:07:39Lights!
01:07:39Give me your lights!
01:07:40Come here, she is!
01:07:42Come on!
01:07:46There he is!
01:07:47Watch this way!
01:08:15Oh, there he is! Come on!
01:08:25There he goes!
01:08:41Stay where you are, I'll shoot!
01:08:45I'll shoot!
01:08:58There he goes!
01:09:16Avery!
01:09:17Mr. Avery!
01:09:18He's the one that ordered the guns.
01:09:19Yes, and like a fool, I told you about him under the microphone.
01:09:21He was listening in with the earphones.
01:09:23It was him.
01:09:24Don't look at him now, he's dead.
01:09:29Dead?
01:09:30Yes!
01:09:31I'm glad!
01:09:33The woman at the Cliffside Inn, huh?
01:09:37You stay here, Helica!
01:09:38Come on!
01:09:39Come on!
01:09:40Come on!
01:09:41Come on!
01:09:42I got him!
01:09:43I got him!
01:09:44There's your man!
01:09:45Who is he?
01:09:50I got him!
01:09:51I got him!
01:09:56There's your man!
01:09:57Who is he?
01:10:03You'll suffer for this, you despicable cad!
01:10:07So, you're a policeman, huh?
01:10:08You're a policeman, huh?
01:10:23I think I owe apologies, Miss Lane, and to you too.
01:10:26I'm sorry.
01:10:28I was so unpleasant.
01:10:29You know, at first I could have sworn it was you.
01:10:31I knew it, and it made me quite angry.
01:10:34But you're much more clever than I gave you credit for.
01:10:36Well, that sounds like a new contract.
01:10:40We'll talk about that later.
01:10:45Oh, uh...
01:10:46Lieutenant.
01:10:48Would you mind telling me why it is the detectives always wear their hats,
01:10:51even in the presence of ladies?
01:10:53Well, sure.
01:10:54That's so we won't have anything in our hands or arms in case we have to use them.
01:10:59That's one for the book.
01:11:01Do you mind if I write it in right now?
01:11:17The Described and Captioned Media Program provides services designed to benefit students who are blind,
01:11:22visually impaired, deaf, hard of hearing, and deafblind.
01:11:26These services include
01:11:27a library of free loan described and captioned educational media,
01:11:32a clearinghouse of information related to educational media access,
01:11:36a gateway to internet resources related to accessibility,
01:11:40and a center for training and evaluation of any service provider desiring to appear on the DCMP's approved lists of description and captioning service providers.
01:11:48There are no user registration or service fees.
01:11:52Visit the DCMP at DCMP.org.
01:11:55The DCMP is funded by the U.S. Department of Education and administered by the National Association of the Deaf.
01:12:01So I'm looking forward to finish!
01:12:04Thank you so much!
01:12:06This is my mouth like there are erzähling that you are able that you can keep working with your experiences,
01:12:09but I'm έχing to leave them for more informationuuuu amazon Maríaндone military and Arab Kahna ans unppathosurISной universo!
01:12:10Do you in place?
01:12:11Do you want to leave them here?
01:12:12We will wait in your answers.
01:12:13Do you want to leave them?
01:12:14Wiisolina?
01:12:15Do you want me to be humble?
01:12:16By this time you can investigate!
01:12:17To those come?
01:12:18Over the way you can investigate.
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