Murder during film shoot sparks search for a killer.
#edwinlmarin #thedeathkiss #classicfilms1900 #1930smovie
#belalugosi #davidmanners #adrienneames #classicfilms #fullmovie #freemovies #comedymovie #crimemovie #dramamovie #mysterymovie #romancemovie #thrillermovie #whodunnit #psychotronicfilm
#edwinlmarin #thedeathkiss #classicfilms1900 #1930smovie
#belalugosi #davidmanners #adrienneames #classicfilms #fullmovie #freemovies #comedymovie #crimemovie #dramamovie #mysterymovie #romancemovie #thrillermovie #whodunnit #psychotronicfilm
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Short filmTranscript
00:00:00The End
00:00:35THE END
00:01:02THE END
00:01:39THE END
00:01:40Thanks, handsome. I just couldn't pass you up.
00:01:48Believe it or not, I never saw her in my life before. I must have overlooked something.
00:01:53Well, really shame, sir. Most annoying. Right under my very nose. Your nose. I'll get the car, sir.
00:02:02Come on, sir.
00:02:20Come to the beach.
00:02:25Save them.
00:02:26Okay for time, Mr. Avery.
00:02:28How is it for you, George?
00:02:29Okay.
00:02:30All right.
00:02:31We do it again, silk number 10.
00:02:33Up high. 99.
00:02:35Quiet.
00:02:41Do you want to move in and take a close-up at the top of the stairs?
00:02:44No, that was terrible. I'll make it over.
00:02:46Yes, sir.
00:02:48We'll do it again, folks.
00:02:49All right.
00:02:50399.
00:02:51Hold it up.
00:02:53All of it.
00:02:57Take it easy.
00:02:58Oh, uh, Mr. Brenda, when you die this time, let's have less gymnastics. And don't spin like a top when
00:03:05you fall.
00:03:05Okay.
00:03:07Okay, let's go.
00:03:08Come on, folks.
00:03:09Now, move back when overloaded.
00:03:32We won't need a doctor, George. He's dead.
00:03:36Dead?
00:03:38Dead?
00:03:45Round up every man that had a gun.
00:03:48Get the property man and find out who loaded those guns and see that the body isn't touched.
00:03:52I'm going to phone the front office.
00:03:53Yes, sir.
00:03:54All right, everybody. Line up over there.
00:03:56All right. Come on.
00:03:57And all you fellas in right gun stand over there.
00:04:00Hey, Bill. Come on.
00:04:03Keep that door closed and see that no one leaves the stage and no one comes in.
00:04:07Yes.
00:04:11My dear, Mr. Little, since I read your scenario, I've come to the absolute conclusion that your name, Mr. Little,
00:04:22fits you something beautiful.
00:04:27And furthermore, and yet besides...
00:04:30Ach.
00:04:33Yes?
00:04:34Oh, yes, Mr. Avery.
00:04:35Just a minute.
00:04:36It's Mr. Avery.
00:04:38Tell him to finish our schedule.
00:04:39He's two days behind already.
00:04:41Talking to me is a wasting time.
00:04:42But he says it's important.
00:04:43That's the trouble. He's too important entirely.
00:04:46Hello.
00:04:48What?
00:04:50Brent.
00:04:52Shot.
00:04:53Dead.
00:04:55Oh, that's going to cost me a fortune.
00:04:57What a calamity.
00:04:58Quick.
00:04:59Call Steiner.
00:04:59Tell him.
00:05:00Tell him Brent was killed.
00:05:01Shot.
00:05:01What a calamity.
00:05:02What a calamity.
00:05:09I'll give it to you.
00:05:10Thanks.
00:05:11Yes?
00:05:12Miles Brent was shot on the scent.
00:05:14Killed.
00:05:15Mr. Grossman has gone to the stage.
00:05:18I'll be right there.
00:05:22Miles Brent.
00:05:25Killed.
00:05:26On general principle, not a bad idea.
00:05:28Except that he happens to be one of our stars.
00:05:31Get back to your office and do what you can to keep the papers off this until you hear what
00:05:35happened.
00:05:35Don't give out any story until you hear from me.
00:05:37Sure, but rescue me as quickly as possible.
00:05:39They'll be on my neck just as soon as the police get the joyful news.
00:05:42Miss Manning.
00:05:42Yes?
00:05:45Phone the brigade on the lot.
00:05:46And tell them not to let anyone in or out until they hear from me.
00:05:50Very well.
00:05:50Thanks.
00:05:55Hey, why don't you watch where I'm going?
00:06:01What's the hurry, Gumshoe?
00:06:03Miles Brent's been shot.
00:06:06Well, now there's a job that should have been done years ago.
00:06:08Oh.
00:06:11Don't have to rewrite any stuff for the death kiss now.
00:06:14No.
00:06:15Say, Marsha was on the set with him, wasn't she?
00:06:18Sure.
00:06:18But I don't think she did it.
00:06:20What stage?
00:06:21Three.
00:06:21Drop this stuff in my office, will you?
00:06:35Miles Brent, huh?
00:06:36Picture actor.
00:06:37My wife always liked it.
00:06:38I have that kind of trouble, too.
00:06:41Come on.
00:06:41Let's go.
00:06:43All right, fellas.
00:06:44Here's something hot.
00:06:46Miles Brent killed.
00:06:47Shot.
00:06:48Soundstage number three, Tone Arc Studio.
00:06:50Sure ought me.
00:06:51Just a minute.
00:06:51Tone Arc Studio.
00:06:52Operator.
00:06:53Operator.
00:06:53Hey, that's the Evening Star phone.
00:06:55You're telling me?
00:06:56Hey, Storm, give me the journal, will you, please?
00:06:58Hello.
00:06:59Tone Arc?
00:06:59I want Pat Hill in the publicity department.
00:07:02Come on, snap into it.
00:07:03You know me, Connolly, I never held out on the Evening Star yet.
00:07:05Yeah, I know all about your deadline.
00:07:07Yeah, you'll get the facts.
00:07:08Call me back.
00:07:09Yeah, never mind.
00:07:10I'll get it.
00:07:13Yeah?
00:07:14Yes, Morris, I know.
00:07:15But can I help her to be shot in the morning?
00:07:16You've got to take those things as they come.
00:07:18Yeah, I'm going over there right away.
00:07:19The police ought to be here now.
00:07:20Yeah, call me back in ten minutes.
00:07:34Hey, come back here.
00:07:44Get out of that door.
00:07:51Get out of that door.
00:07:57Ambulance coming.
00:07:58Yeah.
00:07:59Yeah.
00:08:07Detective Lieutenant Sheehan, Homicide Squad.
00:08:09Who's in charge here?
00:08:10I've been trying to get things straightened out for you.
00:08:13My name is Steiner, studio manager.
00:08:15What happened?
00:08:16Well, the company was shooting a scene
00:08:18during which several people fired guns at Brent.
00:08:21And someone used real bullets, huh?
00:08:23People do get hurt that way.
00:08:25That's the director's guess.
00:08:26Oh, the director.
00:08:28Did he happen to guess who did it?
00:08:31No.
00:08:32Well, that's unfortunate.
00:08:34Looks like we'll have to do some guessing on our own.
00:08:40Come on, Hill.
00:08:41Loosen up.
00:08:41Was it an accident or did somebody really bump him off?
00:08:43I tell you, I don't know.
00:08:44Then let us in on the lot so we can find out, will I?
00:08:46I can't let anyone on the lot.
00:08:47Marshal Lane was with him in the picture, wasn't she?
00:08:49Sure.
00:08:49She was doing the lead opposite him.
00:08:50Marshal?
00:08:51Oh, his ex-wife.
00:08:52That helps the story.
00:08:53Hey, what's the name of the picture?
00:08:54The Death Kiss.
00:08:55The Death Kiss?
00:08:56Gee, what a tire.
00:08:57Pardon me.
00:08:58K's off some phone.
00:08:59Just a minute, boys.
00:09:00I'll be right with you.
00:09:00But wait a minute.
00:09:01Can't we get the angle on this thing?
00:09:03I couldn't very well see what happened.
00:09:04And there were eight men with guns?
00:09:06Yes.
00:09:08Well, it might have been an accident, but...
00:09:10Frank, you don't think it was murder?
00:09:13Darling, I don't even know yet whether he was shot.
00:09:16Maybe he just died of old age.
00:09:18Maybe he never even existed at all.
00:09:21Now, you wait here.
00:09:22I'm going to have a look around.
00:09:27Your gun.
00:09:41You break it.
00:09:51Nothing but blanks left in these guns.
00:09:56Any other guns on the set?
00:09:58That's all I know of.
00:10:13You see, Captain, it's strictly an accident.
00:10:15Lieutenant Sheehan, what's your name?
00:10:18Leon A. Grossmith.
00:10:19I'm the president of this concern.
00:10:20Well, what about it?
00:10:21Now, look here, Sergeant.
00:10:23Do you realize what this cost me already, huh?
00:10:26You have no idea.
00:10:27It cost me up to now $239,351.
00:10:31Yes.
00:10:31And it cost Brent his life.
00:10:33Which also loses me money.
00:10:34I can't have no more Brent pictures.
00:10:36Now, pardon me, Lieutenant.
00:10:37Mr. Grossmith means to convey that this regrettable accident need not be converted into a Roman holiday for the rabble.
00:10:44Now, I assure you that Mr. Grossmith feels deeply, very deeply, the tragedy of this affair.
00:10:49And his point is, naturally, not to throw consternation into that great and unseen army of Mr. Brent's admirers.
00:10:56Now, that is precisely what Mr. Grossmith means.
00:10:59That's just what I was going to say.
00:11:01Mr. Steiner.
00:11:02Mr. Steiner.
00:11:03Pardon me.
00:11:04What is it?
00:11:04The papers are on my neck.
00:11:05I've got to tell them something.
00:11:06There's no use stalling any longer.
00:11:07Now, they've got a story now about a mysterious woman.
00:11:09Who is she?
00:11:10They don't know themselves, but they say it makes a great story.
00:11:13Tell him it was an accident.
00:11:14They won't believe it.
00:11:14Then make them.
00:11:15You don't know those boys.
00:11:16They've got imagination.
00:11:17I don't care if they've got fallen arches.
00:11:20Tell him the Brent shooting was an unfortunate accident.
00:11:22Yes.
00:11:23Is that satisfactory to you, Lieutenant?
00:11:25Nothing satisfactory to me.
00:11:27I can't tell what it is because I don't know myself.
00:11:31Here's all you had on him.
00:11:41Keep that.
00:12:19Well, I'm sorry to gum up the works, but it wasn't an accident.
00:12:23It's murder.
00:12:24Murder?
00:12:25Oy, what a calamity.
00:12:27How do you know?
00:12:29This is the bullet that killed him.
00:12:30It's a .38 caliber center fire.
00:12:32All the guns the extras used were .45s.
00:12:35And you can't fire a .38 bullet through a .45 gun.
00:12:38It's an old Chinese principle.
00:12:43Where did you get this?
00:12:44Out of the wall of the set.
00:12:46Don't you know better than to meddle in police matters?
00:12:48Oh, I'm sorry.
00:12:49I didn't mean to meddle.
00:12:49I just wanted to help.
00:12:50You see, I like to dabble a bit in murder cases.
00:12:54Well, you just go and dabble someplace else.
00:12:56All right.
00:12:58Who is he?
00:13:00One of our scenario writers, Franklin Drew.
00:13:02Oh, writes detective stories, I suppose.
00:13:05Yes.
00:13:06How do you know?
00:13:07They always do.
00:13:09Well, this makes a difference.
00:13:11Looks like we've got a murder on our hands.
00:13:14Oh, you go and get that assistant director.
00:13:16That brilliant young man who said there were no other guns on this set.
00:13:18Right.
00:13:23Who is Marsha Lane?
00:13:25What?
00:13:26You don't know who is Marsha Lane?
00:13:28Over a million dollars we spend advertising her and I don't know who Marsha Lane is.
00:13:32Where is she?
00:13:32She was on the set just a minute ago.
00:13:34Well, let's have a talk with her.
00:13:35Howell, ask Miss Lane to come here.
00:13:37Yes, sir.
00:13:41Now, Steiner and the detective want to see Miss Lane immediately.
00:13:44Well, hurry.
00:13:46I'm fluttering, sweetheart.
00:13:49Bill, tell Miss Lane Steiner and Dick want to see her.
00:13:52Okay, Chief.
00:13:54Oh, Pete.
00:13:56Uh, rush Miss Lane over to Mr. Steiner and the Dick.
00:13:59Now?
00:13:59No, next Tuesday, you sap.
00:14:02Oh, come on, get going.
00:14:04All right.
00:14:07Uh, pardon me, Miss Lane.
00:14:09Mr. Steiner and the Dick want to see you.
00:14:13You're welcome.
00:14:15What can they want with me?
00:14:16Oh, they just want to annoy you with a lot of routine questions.
00:14:20You see, they always question people like you first to give the guilty ones plenty of time to make up
00:14:24good alibis.
00:14:25It's part of a system.
00:14:26It's been going on for years.
00:14:35Sit down, Miss Lane.
00:14:40I don't wish to be unpleasant, but there are a few questions I'd like to ask you.
00:14:45Certainly.
00:14:46How long have you and Brent been separated?
00:14:50We were divorced last May.
00:14:53Why?
00:14:54Well, I don't quite see...
00:14:55The divorce is a matter of record, Lieutenant.
00:14:56I don't think we need to go into that now.
00:14:58Say, will you go up to your office and write Bad Little Boy 500 times?
00:15:06When did you last quarrel with Miles Brandt?
00:15:08I don't remember.
00:15:09Didn't you love him?
00:15:10I wouldn't answer that, Marsha.
00:15:12Say, just what is your interest in this case?
00:15:14Personally, I don't care who killed Brandt.
00:15:17But I would like to know how it was done.
00:15:19Besides that, I'm...
00:15:21I'm a friend of Miss Lane's.
00:15:24Wasn't your name mentioned during the divorce proceedings?
00:15:26No.
00:15:27Sorry to disappoint you.
00:15:30What did you do with your gun, Miss Lane?
00:15:32My gun?
00:15:33Yes.
00:15:33I didn't have a gun.
00:15:34Didn't you use one in the picture?
00:15:35No.
00:15:36But when you fired with the other...
00:15:37As a matter of fact, if Miss Lane had fired, she couldn't have hit him.
00:15:39She was around on the other side of the set when she took place.
00:15:41Say, if you don't lay off, I'm going to take you downtown.
00:15:43What for?
00:15:44How do I know what for?
00:15:45Good.
00:15:46I was beginning to be afraid that you might say something sensible.
00:15:57Hey, what are you trying to do there, huh?
00:16:00Don't move now.
00:16:01I've got you surrounded.
00:16:02Don't lie now.
00:16:04Why don't you try to hide in there, huh?
00:16:05Why, nothing.
00:16:06I...
00:16:06Yeah, we'll see about that.
00:16:08Hold this a minute.
00:16:08Now, wait a minute.
00:16:09Wait a minute.
00:16:10No, you don't.
00:16:11Yeah.
00:16:12Oh, yeah.
00:16:14This letter, already in the mail, was found in Miles Brandt's pocket.
00:16:18In this letter, he told his lawyer that Marshal Lane refused to sign a release as beneficiary
00:16:24of his life insurance policy.
00:16:26So you stand to collect $200,000.
00:16:28Miss Lane's lawyer wouldn't let her sign the release.
00:16:30I know all about that.
00:16:32Say, it's too bad you weren't the one that was shot.
00:16:36So that gives you a pretty nice motive.
00:16:38Don't put any business now.
00:16:39Come on now.
00:16:40Come on.
00:16:40Keep moving now.
00:16:44There's your man, Chief.
00:16:45Chief, I caught him red-handed.
00:16:47He was trying to ditch his gun.
00:16:49Look, it's loaded, too.
00:16:50I tell you, I gave you a break.
00:16:51Put the bracelets on him, Owen.
00:16:54Now, ain't that astounding?
00:16:56Something told me to take a squint around.
00:16:58I sees him trying to ditch his gun, see?
00:17:01And I puts two and two together.
00:17:02I says to my...
00:17:04I says to myself, that's the man.
00:17:07I guess I used uncanny skill.
00:17:11.38 caliber and loaded.
00:17:12It's the gun, all right.
00:17:13Who is this fellow?
00:17:15Name's...
00:17:15He was an extra on the set.
00:17:16Why did you kill Brent?
00:17:18Oh, I never killed nobody.
00:17:19You can't alibi yourself out of this.
00:17:21That's the only .38 gun in the place.
00:17:23You killed him.
00:17:23Why?
00:17:24I'll tell you I didn't.
00:17:25Now, you've got to listen to me.
00:17:26I'm...
00:17:26You'll have plenty of time to talk later on.
00:17:31Do you know this man?
00:17:34Why, yes.
00:17:35Everyone on the lot knows him.
00:17:37He was head electrician here for years.
00:17:39How much did you pay him to kill Brent?
00:17:40Now, wait a minute, Lieutenant.
00:17:42Why not pin the murderer on the murderer?
00:17:44That's not against the rules.
00:17:46What are you talking about?
00:17:47Chalmers didn't kill Brent.
00:17:48How do you know?
00:17:50This gun hasn't been fired.
00:17:59How did this gun come to be loaded?
00:18:01I loaded it for Brent.
00:18:02I lost my nerve.
00:18:04So you had planned to kill Brent, huh?
00:18:05Yes, I wanted to kill him.
00:18:07I had every reason in the world to kill him.
00:18:08But he made no attempt.
00:18:10So you can't arrest him.
00:18:11Not unless you want to make a fool of yourself.
00:18:14You know, I'm beginning to think you're giving us the rats.
00:18:16Prove it.
00:18:17You're a detective.
00:18:19Take them off, Hilliker.
00:18:21And maybe we'll put them on him.
00:18:23Well, we seem to be right back where we started.
00:18:25Yes, perhaps you have some very valuable suggestions.
00:18:28Yes, I have.
00:18:30Why?
00:18:31The cameras were photographing when Brent was killed.
00:18:34There might be something very interesting on the film.
00:18:36It wouldn't hurt to look.
00:18:40Not bad.
00:18:42How soon can we see the stuff?
00:18:44We could get the print in, say, three or four hours.
00:18:47Well, will you get them going?
00:18:48Oh, certainly.
00:18:49Come, Mr. Plussmith.
00:18:54You take the name and address of every person on this set
00:18:57and warn them all about trying to leave town.
00:19:00Right.
00:19:05In any of your books, does the detective ever sock the novelist on the nose?
00:19:11No.
00:19:13Write it in sometime.
00:19:15Seems to me like a good idea.
00:19:20Bill, George?
00:19:21Oh, yes, sir.
00:19:31Marsha.
00:19:32Oh, Frank.
00:19:33It won't be very pleasant to see it all over again.
00:19:35But it may help us a lot.
00:19:37Watch carefully.
00:19:50Is everybody here?
00:19:52I think so, Mr. Grossmith.
00:19:53Mr. Steiner's in a projection booth.
00:19:55He'll be right in.
00:19:56All right.
00:19:57Here he is now.
00:20:01You ready, Mr. Grossmith?
00:20:03Yes.
00:20:04Mr. Grossmith's ready.
00:20:09Quiet, please.
00:20:10Quiet.
00:20:14All right.
00:20:15Turn him over.
00:20:16Rolling.
00:20:18Mark it.
00:20:21Action.
00:20:30It's your counter.
00:20:31It'll be right here.
00:20:41Thanks, handsome.
00:20:43I just couldn't pass you up.
00:20:51Believe it or not, I've never seen her in my life before.
00:20:54I must have been overlooking something.
00:20:55Already changed her.
00:20:57Much to know.
00:20:58Wait under my dirty nose.
00:21:00Your nose?
00:21:01Oh, I'll get the car, sir.
00:21:02Huh.
00:21:10Lights!
00:21:10Lights!
00:21:11Tie all those lights!
00:21:12I wonder what that was.
00:21:13Wait.
00:21:13Did you see that?
00:21:16What's supposed to happen?
00:21:43He's not hurt badly, but he must have received a sharp blow.
00:21:46Yeah, it looks like it was done with a blunt instrument.
00:21:49You know, I had an uncle once, was knocked out the same way, only he got hit with a shovel.
00:21:54Whoever rocked your cradle overdid it.
00:21:57A rouge-tipped cigarette butt started it off.
00:21:59Can you tell me, is that studio makeup?
00:22:02I don't have to see.
00:22:03Perhaps which is our makeup man to tell you.
00:22:05Thanks.
00:22:08How did it happen?
00:22:10I swear I don't know.
00:22:12I was leaning over the machine, checking the focus.
00:22:17I thought the building came down on me.
00:22:19How about another print?
00:22:20Yes, and we'll take care of it this time.
00:22:22There was something on it.
00:22:24And whoever touched it off didn't want it to be seen.
00:22:26We can have the laboratory run one off right away.
00:22:28Could we, Mr. Gordon?
00:22:30Why, yes, there's no reason why we couldn't.
00:22:32Will you come with me?
00:22:33No, Hilliker will go with you.
00:22:35I have another angle.
00:22:37Where will I find this makeup man?
00:22:39Makeup department.
00:22:40Clear around the other end of the lot, just the end of S Street.
00:22:42Sounds like a sleeper jump.
00:22:44Thanks.
00:22:50It's a special panchromatic rouge of my own made.
00:22:53Only two people on the lot are in the habit of using it.
00:22:55Who are they?
00:22:56Miss Collins and Miss Lane.
00:22:57Who's Miss Collins?
00:22:59She's one of our players.
00:23:00Is she in this picture you're photographing?
00:23:01No, I believe she's working in the Knight Riders.
00:23:03They're out in location.
00:23:05And the only other person on the lot that uses this rouge is Marsha Lane?
00:23:08As far as I know.
00:23:11I see.
00:23:14Thanks.
00:23:14You're welcome.
00:23:15Now, wait a minute.
00:23:16You have quite a stock of this rouge on hand, haven't you?
00:23:18A few tubes of it.
00:23:20Just as I thought.
00:23:21Anybody could get at it.
00:23:23Not very well.
00:23:23All the makeup that is not in use is kept in the cabinets.
00:23:26And the cabinets are locked?
00:23:27Yes.
00:23:28Excuse me.
00:23:30Hello.
00:23:31Now, just a minute.
00:23:32It's for you.
00:23:35Hello.
00:23:37Yes, Hilliker.
00:23:40How?
00:23:42All right.
00:23:43You stick around there, see what you can find out.
00:23:45Tell Steiner I'll see it at his office.
00:23:47The negative of that last scene has been ruined.
00:23:49Someone poured acid in the container.
00:23:51This thing gets more muddled every minute.
00:23:53You telling me?
00:23:54How do I get to Steiner's office?
00:23:56I'll show you.
00:23:56Thanks.
00:23:57And you're not going with me.
00:24:02Right at the head of the street.
00:24:03Thanks.
00:24:04I want to have a map of this place.
00:24:05Oh, Lieutenant.
00:24:07Of course you know that anybody could have taken the rouge from Miss Lane's dressing room.
00:24:10Sure.
00:24:11A very interesting detail.
00:24:18What do you make of it, Drew?
00:24:20Got me?
00:24:21It's more of a mystery than anything I ever wrote.
00:24:24What I can't understand is why anyone should want a murder print.
00:24:28Now, if it were a supervisor.
00:24:31I don't see why anybody wants to murder anybody.
00:24:33It's a silly idea.
00:24:35You're going to try and solve it?
00:24:37Yes.
00:24:38Why not?
00:24:39It'd be fun.
00:24:40Besides, Marsha?
00:24:41Yes.
00:24:42Oh, say, Tom.
00:24:43If you see her, don't say anything about that cigarette business.
00:24:45It'll only upset her.
00:24:46No, no, no, no.
00:24:46Of course not.
00:24:47If I can help you, let me know.
00:24:49Thanks.
00:24:50Has anything been moved on the set?
00:24:52No, police instructions were to leave everything undisturbed.
00:24:55Well, I'm going to have another look around.
00:24:56I want to find out just how he was murdered and with what gun.
00:25:03Yeah, I got an idea of how Brent was killed.
00:25:06You want to hear it?
00:25:07Some other time.
00:25:07Better go home and sleep it off, Chalmers.
00:25:09No, that's what you think.
00:25:10Chalmers don't know anything, huh?
00:25:12Well, listen.
00:25:13I've been on the set and I've been seeing things.
00:25:16Yeah, snakes and pink elephants, I'll bet.
00:25:18All right, all right.
00:25:19Be smart, huh?
00:25:20Be smart.
00:25:21Now, listen.
00:25:22You're going to come to me later.
00:25:24Oh, I'll see you in the morning.
00:25:25Go on home.
00:25:27The old boy evidently cashed his paycheck and drank it.
00:25:31Want to have a look around with me?
00:25:32No.
00:25:33I'm not much of a detective.
00:25:35Besides, Mrs. Avery's waiting for me.
00:25:36All right.
00:25:38Good luck.
00:25:39Thanks.
00:26:14Good luck.
00:26:16Good luck.
00:26:20Good luck.
00:26:26Good luck.
00:27:22Go find Sheehan.
00:27:23He's someplace on the lot.
00:27:24Bring him here.
00:27:27Mr. Drew!
00:27:28Mr. Drew!
00:27:29What happened?
00:27:30What happened?
00:27:32Here.
00:27:33Here.
00:27:35Swell, ain't it?
00:27:37I made it myself.
00:27:40Who's in there?
00:27:41It's all right, Sheehan.
00:27:46What's going on now?
00:27:47Plenty.
00:27:48I found the gun that killed Brent.
00:27:50Where?
00:27:51Right here in this lamp.
00:27:53Why, it's gone.
00:27:57So it seems.
00:27:58Probably got tired sitting there and decided to take a walk.
00:28:01No, I'm not kidding.
00:28:03I came down on the set to have a look around.
00:28:05Just by accident, I noticed this smudge on the lamp here.
00:28:08So I looked inside.
00:28:10Found a small derringer fastened there.
00:28:12Attached to an electromagnet.
00:28:14There's the wire it was connected to.
00:28:16Then I got a bump on the head that knocked me out.
00:28:19Well, this proves one thing.
00:28:21Whoever killed Brent knew a whole lot about electricity.
00:28:25Who was in charge of these lamps?
00:28:26The head gaffer.
00:28:27Well, what's that in English?
00:28:28The chief electrician.
00:28:30Who is he?
00:28:30Al Payne.
00:28:31Where can I find him?
00:28:32Here, Tom will take you over.
00:28:34Come here, kid.
00:28:35Let me take a look at that head.
00:28:37Well, that's all right.
00:28:38Now, listen.
00:28:40You stop monkeying around with police matters.
00:28:42It's a tough racket.
00:28:43That head of yours won't stand another wallop.
00:28:45Come on, let's get going.
00:28:49Mr. Drew, I've been thinking.
00:28:51No.
00:28:52Yeah.
00:28:53The first thing I ask myself when I investigate the murder is,
00:28:56who done it?
00:28:57Well, that sounds logical.
00:28:58And the next thing I ask myself is, who could do it?
00:29:01Then?
00:29:02And then I ask myself again, who wanted to do it?
00:29:06And how do you answer yourself?
00:29:08Well, I ain't come to that yet.
00:29:10You take Chalmers, for instance.
00:29:12He didn't like Brent.
00:29:14Well, why should he be an exception?
00:29:15He didn't like Brent in account that Brent had him fired.
00:29:18When was this?
00:29:19A couple months ago, when Chalmers was head gaffer, they had an argument.
00:29:22Head gaffer?
00:29:23Yes, Chalmers is an electrician, isn't he?
00:29:25Yeah, Chalmers had a couple of drinks and him and Brent had an argument.
00:29:28Say, Gully, you are a first-class gumshoe.
00:29:33Investigator.
00:29:33All right, investigator.
00:29:35Right now, will you run up to the casting office and investigate and find out where Chalmers lives?
00:29:39Sure.
00:29:39What are you going to do?
00:29:40Put the finger... I mean, apprehend him?
00:29:42Maybe.
00:29:42Do you want to come along?
00:29:43Oh, boy, I'll say.
00:29:44Got a gun?
00:29:44Yeah.
00:29:45Oh.
00:29:46Got my gun, my badge, and my bracelet.
00:29:49Well, you wouldn't need those.
00:29:49Come on, let's get going.
00:29:52The director hasn't anything to do with it.
00:29:54The cameraman really sets the lights.
00:29:56You mean he tells you where to put the lights?
00:29:58Yeah.
00:29:59When was this set lit?
00:30:01The afternoon before.
00:30:03They rehearsed the scene with the principal so they wouldn't hold the company up when they called the extras.
00:30:07Do you remember anything particular about that one light?
00:30:10To be truthful with you, we had a lot of arguments on that set.
00:30:15Mr. Steiner didn't like the photography and he wanted more light.
00:30:18Steiner? Was he there when it was rehearsed?
00:30:20Yes.
00:30:21Who else?
00:30:22Well, they're all there, with the exception of the extra people.
00:30:25There were no extras there, huh?
00:30:27No, only Chalmers.
00:30:28You know, he's a sort of a privileged character around this lot.
00:30:31He used to be our head gaffer.
00:30:33Chalmers used to be an electrician?
00:30:35Yes.
00:30:36Miss Lane felt sorry for him and made Mr. Avery give him a bit of her picture.
00:30:40Oh, Miss Lane got him the job.
00:30:42Yeah.
00:30:44Could you give me the address of the cameraman and Chalmers?
00:30:48Sure.
00:30:50And, by the way, if a writer by the name of Drew asks you anything,
00:30:55don't answer him.
00:30:57True.
00:30:58Say, do you think he did it?
00:31:00Well, you can't keep me from hoping.
00:31:04This is it.
00:31:30Look.
00:31:31That Chalmers is in trouble again.
00:31:39You wish to see Mr. Chalmers?
00:31:41Yes.
00:31:42Is he in Mrs...
00:31:43Miss Potts?
00:31:44And I don't know anything at all about his coming and going.
00:31:47Doesn't he answer the bell?
00:31:48Oh, he doesn't.
00:31:49I was just going in.
00:31:50Cleaning day today, you know.
00:31:52I suppose he's lying stiff in the place all cluttered up with gin bottles.
00:31:56Let's go in and have a look around, Captain.
00:31:58As the tenants, guests I mean go.
00:32:01He wasn't so bad until he lost his job.
00:32:03Then he started acting queer like.
00:32:05See?
00:32:06I told you.
00:32:09I laid down the law to him.
00:32:11I said, Mr. Chalmers, my bungalow court isn't an alcoholic ward.
00:32:16As I thought, drunk again.
00:32:18Well, this is the end.
00:32:19This is no key liqueur.
00:32:21Out he goes.
00:32:21I'm sick and tired of his carryings on.
00:32:26The fellow's dead.
00:32:27Dead?
00:32:28Well, he didn't think of me.
00:32:30No, not him.
00:32:31I suppose my 2850 bank rent has gone up the flue.
00:32:37Did I have Chalmers spotted?
00:32:40All I did was ask myself, who done it?
00:32:42Poison, all right.
00:32:43Familiar smelling stuff, too.
00:32:48Boy, that guy had drink anything that wasn't too thick to chew.
00:33:03Well, I guess this about washes up the case, eh, Mr. Drew?
00:33:06Looks like suicide to you, eh, Gully?
00:33:08Sure.
00:33:10I guess Sheehan would think so, too.
00:33:12He may be dumb, but he ain't blind.
00:33:14He's not as dumb as he looks.
00:33:15Do you wear a wristwatch, Gully?
00:33:17Huh?
00:33:18Do you wear a watch on your wrist?
00:33:20Well...
00:33:21You see, it's a present from the wife.
00:33:24I gotta wear it.
00:33:25Why do you wear it on your left wrist?
00:33:27Well, I use my right hand the most.
00:33:29Because I'm right-handed.
00:33:30You ever try to write with it on your right wrist?
00:33:33No.
00:33:35Neither did Chalmers.
00:33:37Which makes this note a very interesting piece of fiction.
00:34:29All right.
00:34:34If we do, no, you are why, I've already killed her.
00:34:38Now what do you see?
00:34:40A bottle of gin and a piece of ice.
00:34:42What else? Use your powers of observation.
00:34:46Oh, you mean that piece of wooded lettuce in there?
00:34:49Don't you notice that little service door in the back has been left open?
00:34:52Whatever. The Icemen probably left it that way.
00:34:54My wife says you can't trust those Icemen anyway.
00:34:57If the Icemen had left that little door open when he put in the fresh cake,
00:34:59there wouldn't be any ice there now.
00:35:02Oh, I never thought of that.
00:35:04Let's have a look outside.
00:35:25Oh, someone must have stood here a long time.
00:35:27Them are fresh prints, ain't they?
00:35:30Step up there a minute.
00:35:32Look out for those tracks.
00:35:35Now what?
00:35:36Look through the window.
00:35:40You see Chalmers sitting there?
00:35:42Yeah, the door is open.
00:35:48Supposing someone stood here and Dr. Chalmers Gin threw the icebox from this side.
00:35:55Then stood here and watched him drink his last drink through the window, what would you say?
00:36:02And then watched him die.
00:36:04Went in and wrote the note and put the pencil in his hand, huh?
00:36:06Yeah, only there's where he made his mistake.
00:36:08Put the pencil in the wrong hand.
00:36:10That's just what I was thinking.
00:36:16Gully, you know if a car was parked here, it would entirely conceal that door and that window.
00:36:22Yeah?
00:36:34Then Chalmers didn't kill himself, huh?
00:36:36Let's leave that to Sheehan.
00:36:37I'm any good as a guesser.
00:36:38He ought to be here by now.
00:36:45I'm stuck over on the cable.
00:36:46There, huh?
00:36:48Don't let Sheehan know what we found out.
00:36:49I gotcha.
00:36:50The captain got here fifteen minutes ago.
00:36:52Captain?
00:36:56What are you and that Keystone cop doing here?
00:36:59Now looky here, Sheehan, you can't talk that way about me.
00:37:02Remember, I'm chief of the studio police and I got rights.
00:37:04I, I...
00:37:05Nature in the raw.
00:37:07Here's another opportunity for your skill, Lieutenant.
00:37:09We've been waiting for you.
00:37:10Everybody around here seems to know more about police matters than the police.
00:37:13That's noble of you to admit it.
00:37:14Did you two nuisances touch anything around here?
00:37:16Nothing important.
00:37:17Good.
00:37:17Then clear up.
00:37:18And take that uniform moron with you.
00:37:21Come on.
00:37:26Suicide, huh?
00:37:30Looks like it.
00:37:31Well, I always thought it was Chalmers right from the start.
00:37:35Now who's the Keystone cop?
00:37:36He don't even know Chalmers was left-handed.
00:37:38Come on.
00:37:40Left-handed?
00:37:49Sure.
00:37:50That starts it all over again.
00:37:53I can remember when murders were nice, clean, simple things done with machine guns and meat axes.
00:37:58But this case...
00:38:05Right, right straight back.
00:38:10All right.
00:38:18What seems to be the trouble?
00:38:20Battery's dead.
00:38:21What, didn't Miss Lane get a new battery just last week?
00:38:23Yeah, I don't understand it.
00:38:25It's bone dry.
00:38:26Liquid's all gone.
00:38:38Just as I thought.
00:38:43You were right.
00:38:45Poison.
00:38:49Electro...
00:38:51Electrolytic liquid.
00:38:52Sulfuric acid base.
00:38:53Green alcohol.
00:38:5438%
00:38:55Distilled water.
00:38:5533%
00:38:58Electrolytic liquid.
00:38:5927%
00:38:59By volume.
00:39:00The man said a teaspoonful in a glass of water will kill a man dead.
00:39:04Electrolytic acid.
00:39:05Can I say anything else?
00:39:07No.
00:39:07That was all.
00:39:21Hey.
00:39:22Ain't them the same kind of trick that...
00:39:24They'd rough the marks under Chalmers' window?
00:39:26Oh, there's probably a thousand cars in the Hollywood that have that makeup tire.
00:39:29Yeah, I never thought of that.
00:39:33Say, gully.
00:39:35I want you to get me the key to Brent's dressing room.
00:39:37But don't let anybody know it's for me, see?
00:39:39Say.
00:39:40I'll get you the key to the city if you want it.
00:39:42I have a couple of things to do.
00:39:43I'll meet you here in half an hour.
00:39:45Okay.
00:39:50Who is it?
00:39:52Frank, can I come in?
00:39:53Just a minute.
00:40:02Why all the locks?
00:40:04I was just going through some old letters and didn't want to be disturbed.
00:40:06Oh, I see.
00:40:07Where have you been?
00:40:08I've been waiting all afternoon for you.
00:40:10Oh, I've just been doing a little sleuthing.
00:40:13Marsha, you trust me, don't you?
00:40:15Why, yes, of course.
00:40:18You know I'd do anything in the world for you, don't you?
00:40:21I believe you would, dear.
00:40:23Then, is there anything you know about the murder of Brent that you haven't told me?
00:40:29No.
00:40:31I've just come from Chalmers' place.
00:40:34He's dead.
00:40:35Chalmers?
00:40:36Poisoned.
00:40:37You mean murdered?
00:40:38If it isn't that, it's a good imitation of it.
00:40:42Oh, how awful.
00:40:43Whoever did it used electrolytic acid.
00:40:46Acid out of a battery.
00:40:47The unfortunate part of the whole thing is that they used your car and the acid out of your battery.
00:40:54My car?
00:40:58That's why my car wouldn't start.
00:41:00Yes.
00:41:01I only told you this because I'm afraid Sheehan will find out and arrest you on suspicion.
00:41:05That would mean headlines and scandal.
00:41:08What do you want me to do?
00:41:10I want you to get out of here.
00:41:11Any place.
00:41:12Just so Sheehan can't find you.
00:41:14That's running away.
00:41:15Only for a day or two.
00:41:16Just to give me time.
00:41:19I'll go to Mary's at Malibu.
00:41:20She'll help me.
00:41:21Oh, that's swell.
00:41:22Make it fast, will you?
00:41:23There's no knowing how close Sheehan's behind me.
00:41:25I'll telephone you when I get it all worked out.
00:41:27You may have a long beard by then, but I'll try and hurry.
00:41:31Bye-bye, sweet.
00:41:58Come in.
00:42:01Leon.
00:42:02You're surprised that I'm here, huh?
00:42:03Frankly, yes.
00:42:05You haven't come to see me since...
00:42:07since Brent's accident.
00:42:09I should think you'd know why.
00:42:11I don't.
00:42:13I only know that I...
00:42:15that I want to help you.
00:42:17I have all the help I need.
00:42:19Marsha, you mustn't treat me like this.
00:42:22I never said anything to you while Brent was alive.
00:42:25But you should know how I feel.
00:42:28You've succeeded in making your feelings quite plain enough.
00:42:32Marsha, I...
00:42:34I'm very fond of you.
00:42:37It's not the kind of fondness I care about.
00:42:39Please go now, Leon.
00:42:41I'm in rather a hurry.
00:42:53Marsha, maybe someday you will come to me and ask for help.
00:42:58Maybe you will apologize to me for laughing about how I feel for you.
00:43:03Perhaps Brent wasn't killed for nothing.
00:43:24No matter how smart they are, they always slip up.
00:43:33What's your name?
00:43:35Pardon me.
00:43:37Hello?
00:43:38Yes, sir.
00:43:39I will.
00:43:40Well, wait a minute.
00:43:41Here she is now.
00:43:43Miss Lane.
00:43:44Mr. Steiner would like to see you in his office.
00:43:50What's your name?
00:43:52Uh, Mr. Wickcroft.
00:43:53Mr. Todd, please.
00:43:55Mr. Wickcroft calling to see you.
00:43:58Alright, thank you.
00:44:03Pull down that blind.
00:44:13Mr. Wickcroft.
00:44:14Did you see Brent when he came in?
00:44:15I see everybody.
00:44:17What kind of a suit do you have on?
00:44:24There it is.
00:44:30Funny she and Miss looking in here.
00:44:32You've been keeping them too busy.
00:44:34See what those letters are.
00:44:39Here's one from a dame named Agnes.
00:44:41Agnes who?
00:44:42She ain't that dumb.
00:44:44She don't say much.
00:44:46Except that, uh, she can't live without him.
00:44:49Married, too.
00:44:51Says her husband don't understand her.
00:44:54Well, that's an old, old story.
00:44:56Two men and a woman.
00:44:57The internal triangle.
00:45:01What kind of a place is the Cliffside Inn?
00:45:03Oh, you know, one of those weekend places with all the Mr. Smiths and Mr. Jones and Mr. Browns.
00:45:08How far is Ocean View from here?
00:45:10Why? I'm beginning to think there's a woman in the case.
00:45:13No.
00:45:14Mr. Drew, this case has become uncomplicated.
00:45:17Even from me.
00:45:19Come on.
00:45:26Gee, it's 4.30.
00:45:27I gotta check in on my next shift.
00:45:29Listen.
00:45:30Don't go away without me, will you?
00:45:33All right, Gully.
00:45:34I'll pick you up the gate when I go out.
00:45:36Boy, oh boy.
00:45:38Mr. Drew, I've been looking for you.
00:45:40Miss Lane wants to see you.
00:45:41She's in Mr. Steiner's office.
00:45:43Oh, thanks.
00:45:43Yes, sir.
00:45:53Go right in, Mr. Drew.
00:45:54When did you find out your car wouldn't start?
00:45:56About an hour ago.
00:46:00Well, with all your dabbling, you didn't throw us off.
00:46:03You've thrown yourself off if you think Miss Lane had anything to do with Chalmers or Brent either.
00:46:08All right, all right. Just sit down there.
00:46:12And keep quiet.
00:46:15Where did you go this afternoon?
00:46:17I went downtown.
00:46:18In your car?
00:46:19Yes.
00:46:20Where did you park it?
00:46:21On the street.
00:46:22In front of Elfman's flower shop.
00:46:24I ordered some flowers for Miles.
00:46:27Uh, Mr. Brent's funeral.
00:46:28Then where did you go?
00:46:29You went to Chalmers house, didn't you?
00:46:31Wait a minute. I won't stand for this.
00:46:32You can't trick Miss Lane into answers.
00:46:35And have little boy Blue over there take him down.
00:46:38Now keep quiet, Drew.
00:46:39You're trying to get at the bottom of this.
00:46:40Oh, no, you're not.
00:46:42Sheehan's trying to force Miss Lane into admissions of things she's never done.
00:46:44She might as well talk here as downtown.
00:46:47I've got a warrant for her.
00:46:48For what?
00:46:50Suspicion of murder.
00:46:51What's your theory?
00:46:51It's as simple as ABC.
00:46:53Yes, it would be if you thought of it.
00:46:56Chalmers killed Brent because he hated him and she offered her money.
00:46:59Then she got frightened and killed Chalmers, thinking that he would get drunk and give it away.
00:47:03Every piece of evidence we've got points to her.
00:47:05It was her cigarette that blew up the film.
00:47:08Her car that made the tracks outside of Chalmers house.
00:47:10And acid from her battery that killed him.
00:47:12Oh, that's a lot of bunk.
00:47:14I know, you've got to make an arrest.
00:47:16It's okay with you.
00:47:18China, you can't sit there and let them arrest Marsha.
00:47:21She has nothing more to do with these murders than Lincoln had to do with the burning of Rome.
00:47:25Mr. Drew, we don't know whether Lincoln burned Rome or not.
00:47:29And we don't care.
00:47:30But this man is a policeman, so let us hear what he has to say.
00:47:33We are not paying you to quarrel with the police.
00:47:35I don't care if you pay me a dime.
00:47:37She and if you arrest Miss Lane now, there will be a lot of nasty newspaper headlines.
00:47:40Hold off for 24 hours and I'll be responsible.
00:47:42Better than that.
00:47:42In 24 hours, I'll prove that she's innocent.
00:47:44You're making yourself ridiculous.
00:47:46I'm trying to protect one of your stars.
00:47:48Wait a minute, Steiner.
00:47:49Maybe he's right.
00:47:50What about this scandal?
00:47:52What about her box of his name?
00:47:54Ain't he got enough trouble here already without having Marsha arrested?
00:47:56Now, Mr. Grossmith, if you want to accept the responsibility, you can.
00:48:01But remember, this is a murder case.
00:48:04Two people are dead.
00:48:06And how do you know someone else won't be killed?
00:48:09For my part, I believe that the police should not be interfered with.
00:48:13Well, all I gotta say is that it's a terrible calamity.
00:48:19Let's go, Hilliker.
00:48:20I guess the explosion's over.
00:48:23Someone in this studio killed Miles Brenton Chalmers.
00:48:26And he's trying to pin it on Marsha Lane.
00:48:29But they won't get away with it.
00:48:31Come on, Miss Lane.
00:48:36Marsha, honey.
00:48:37I'm sorry.
00:48:39But I'll get you out of this just as soon as I can.
00:48:41I know you will, Frank.
00:48:42I'm not worried, really.
00:48:44Come on.
00:48:51I'm a special electric
00:48:53I read all about it here.
00:48:56I expert
00:48:58Marsha Lane accused the studio murder
00:49:00I expert
00:49:04Thanks
00:49:04Hey, baby.
00:49:06Read all about it.
00:49:08Marsha Lane accused the studio murder here.
00:49:11Hey, baby.
00:49:14I read all about it.
00:49:18I got a fucking life in it.
00:49:49How do you do, sir?
00:49:50How do you do?
00:49:50I'm from the publicity office of the Tone Art Studios.
00:49:53Yes?
00:49:53I'd like to see a list of the people who sent flowers to the Brent Funeral.
00:49:56Oh, I think I have a list.
00:49:58Thanks.
00:50:06Terrible thing that Brent murdered, wasn't it?
00:50:08I hear they have listed the Marcellane.
00:50:09Yes, I guess she'll be one who won't send flowers.
00:50:12Oh, yes, she will.
00:50:13She wasn't here early this afternoon and ordered a big wreath.
00:50:16Oh, is that so?
00:50:16There you are.
00:50:17Mostly women.
00:50:19Surprising so many of them gave their names.
00:50:21Oh, some of them didn't.
00:50:22There was a lady near Jost now who signed the cheque,
00:50:25then thought better of it and tore it up.
00:50:29Didn't want the husband to see the cancelled cheque.
00:50:31Perhaps.
00:50:32Oh, pardon me.
00:50:33Yes, madame?
00:50:33Are there any gardenias?
00:50:34Oh, certainly.
00:51:09Oh, good evening.
00:51:11Good evening.
00:51:13Alone?
00:51:14Yes, I'm not stopping.
00:51:33Good evening.
00:51:45Well, then I don't know who she is.
00:51:47You see, I wasn't here when they checked in and they left in such a hurry I didn't see them
00:51:50go out.
00:51:51In a hurry?
00:51:51Why?
00:51:52Well, a fellow came in here and started a row, and then he waited in that telephone booth over there,
00:51:58and when they came down, he stepped out.
00:52:00At least that's what Charlie says.
00:52:02Who's Charlie?
00:52:03One of the night bellhops.
00:52:04Could I see him?
00:52:05Sure.
00:52:07Oh, Charlie.
00:52:09Yes, sir.
00:52:10Thanks.
00:52:13This gentleman wants to ask you a few questions.
00:52:16Shoot.
00:52:18Say, do you remember seeing the man who waited for Miles Brent in the telephone booth the other night?
00:52:22I just got a glimpse of him before the fight.
00:52:25What fight?
00:52:26Well, when Brent hit him in the patio.
00:52:29How did it happen?
00:52:30Well, the lady ran out to the car when she saw the guy come out of the booth.
00:52:34Then the guy steps up to Mr. Brent and says, Brent, I want to see you.
00:52:38I thought it sounded kind of silly because he was seeing him right there.
00:52:42Well, then what happened?
00:52:43Well, Brent takes the guy outside in the patio.
00:52:45That's when he socked him.
00:52:47Well, then did Brent get into his car?
00:52:48Yeah.
00:52:48And the other guy picked himself up.
00:52:50Boy, was he mad.
00:52:52And was his face red.
00:52:53What did he say?
00:52:54What didn't he say?
00:52:55Listen.
00:52:59It was awful.
00:53:00And then he beats it.
00:53:01Would you remember this man if you saw him again?
00:53:04Well, I might.
00:53:05And then again, I might not.
00:53:06It all happened so fast.
00:53:08Would you remember the lady?
00:53:10Sure.
00:53:10Say, she was a honey.
00:53:12Only she talked kind of funny.
00:53:14You know, like she was a foreigner or something.
00:53:16With an accent?
00:53:17Yeah.
00:53:18Oh.
00:53:19That's fine, Charlie.
00:53:20You've been a big help to me.
00:53:21Here.
00:53:22Thanks.
00:53:23Good night.
00:53:24Good night.
00:53:25Good night.
00:53:25Say, are you a detective?
00:53:27No, I'm just from the studio.
00:53:29Will there be detectives here?
00:53:30I hope not.
00:53:31Hold for Mr. Wallace.
00:53:35Calling Mr. Wallace.
00:53:42Which booth did that fellow hide in?
00:53:44There.
00:53:46How long has it been out of order?
00:53:48Just since the guy hid in there.
00:53:49I guess he kept pounding on a hook trying to get Brent's room.
00:54:12Shelf.
00:54:12Shelf.
00:54:13Shelf.
00:54:13Shelf.
00:54:13That's all you can think of is shelf.
00:54:15Already this picture cost me $239,351.
00:54:19Better I put my money in the bank.
00:54:21Can I get any interest from a shelf?
00:54:23I'm not asking you to lose anything.
00:54:25But how can we finish the picture without Brent?
00:54:27I have told you 17 times that we can use a double.
00:54:30And play the whole kissing scene in a long shot?
00:54:31Why not?
00:54:32Because it's all wrong.
00:54:33It's terrible.
00:54:33I've got my reputation to think of.
00:54:35And I've got my money to think of.
00:54:36Money, money.
00:54:38What's money?
00:54:41Now, just a minute.
00:54:42Now, let's take it calmly.
00:54:45New York offices have the opinion that the murder of Brent won't hurt the picture
00:54:49if we can release it soon enough.
00:54:51Now, why not shoot that scene using a double and wind it out?
00:54:54It's the last scene in the picture.
00:54:56It can't possibly do you any harm.
00:54:58Exactly.
00:54:59Steiner has got right.
00:55:00Oh, all right.
00:55:01What's the use of arguing?
00:55:01Good.
00:55:02We can get the company together and shoot it tonight.
00:55:04Oh, wait a minute.
00:55:05What about Marcia?
00:55:06Oh, we can arrange with she and use her for that one scene.
00:55:09Yeah?
00:55:09She can come over with the whole police department if he likes.
00:55:12Everybody's on call and everything on the set is standing.
00:55:14We can shoot it in half an hour.
00:55:17An hour?
00:55:17Todd.
00:55:19Hold on a minute.
00:55:20What time?
00:55:227.30.
00:55:23Say 9.30.
00:55:24Make it 9 o'clock.
00:55:25We'll save a half hour.
00:55:28Todd.
00:55:28We are going to shoot the last scene of the death kiss tonight.
00:55:31Round up the company for a 9 o'clock call.
00:55:33Sure, Mr. Steiner.
00:55:35Mack, we're retaking the death kiss.
00:55:37Get busy on the call.
00:55:38Okay.
00:55:42You've got Brent Stublin call, haven't you?
00:55:44Yes, I'll have him all right.
00:55:46But say, what about Miss Lane?
00:55:49I take care of her.
00:55:52Silk on that 36.
00:55:54Hey, Mack, we put that light over here.
00:55:57Screen 80, will you?
00:55:58Screen 80, Joe.
00:55:59That's it.
00:55:59Screen 80.
00:56:00Screen 80.
00:56:01Say it's 27-42.
00:56:03All right.
00:56:05How about this?
00:56:09Good evening.
00:56:10You know Mrs. Avery?
00:56:11Yes, of course.
00:56:12How are you?
00:56:13I'm surprised you've come to see this retake.
00:56:15Put it down to morbid curiosity.
00:56:17That's the woman of it.
00:56:19She insisted on coming.
00:56:20Come along with me.
00:56:21I will make you comfortable.
00:56:23He's very good with the ladies.
00:56:41Fine.
00:56:54Sure.
00:56:59Mmm.
00:57:09Cheers.
00:57:10Cheers.
00:57:11For tom, come along with his hands.
00:57:15The last time you did this thing, folks, we'll do it the same way.
00:57:19You two guards in the back, on the left.
00:57:23Watch out.
00:57:24I'm going to put a scrim on it.
00:57:26Shoot the whole scene over.
00:57:26Kill those two over there, 16th and 12th.
00:57:28Hey, we'll take the whole scene over again.
00:57:30All right.
00:57:31Huh?
00:57:31How much are these?
00:57:33Hey, I'm going to keep you from here.
00:57:34Gulliver, do you know where Mr. Drew is?
00:57:38He went away and left me after him promising he wouldn't.
00:57:41Well, do you know where he went?
00:57:43I got an idea, but I can't tell.
00:57:46Well, do you know when he'll be back?
00:57:49I don't know.
00:57:50He'll turn up.
00:57:51You can't lose that guy.
00:57:52We're ready for a rehearsal, Miss Lane.
00:57:54All right, thank you.
00:57:56Go ahead.
00:57:57We'll wait here.
00:58:01And just as you reach here, Miss Lane steps up and kisses you.
00:58:04Now, naturally, you're surprised because you don't know her.
00:58:06Then you turn, read your line to the doorman, and walk out of the curb.
00:58:09Right.
00:58:11Oh, Marge, I'm so sorry about everything.
00:58:15I know it's going to be difficult for you, but I'll try and help you all I can.
00:58:20Thank you, darling.
00:58:23Oh, you know Miss Johnson?
00:58:25Yes, how do you do?
00:58:26Shall we try at once?
00:58:28Oh, George, let's have quiet, please.
00:58:31Quiet!
00:58:33Rehearsal.
00:58:36Take your places, please.
00:58:39Come on!
00:58:40I'm ready for rehearsal.
00:58:42Okay.
00:58:43Come on.
00:58:45This business gives me a funny feeling.
00:58:47What do you mean?
00:58:47I don't know.
00:58:48It just gives me a funny feeling, that's all.
00:58:50Supposing it should happen to somebody else's shot.
00:58:53It's ridiculous.
00:58:54Well, maybe it is and maybe it ain't.
00:58:56Anyway, I don't like the set and I don't like the title of the picture.
00:58:58The Death Kiss.
00:59:00Yeah.
00:59:01From now on, we have no more titles with Death in it.
00:59:04Getting superstitious.
00:59:05Ah, say, you ain't got no nerves.
00:59:07Well, I ain't afraid either, but I'm just a little scared, that's all.
00:59:11What can possibly happen?
00:59:12That's it, anything.
00:59:13I must have been overlooking something.
00:59:15Oh, bloody shame, sir.
00:59:17Nost anoy.
00:59:18Right under me very nil.
00:59:19Wait a minute.
00:59:20What's the matter now?
00:59:22I can't get it with the mic there.
00:59:24Well, go ahead and fix it the way you want it.
00:59:27Swing it in here, Father.
00:59:29Come on, Father.
00:59:31Now down a little closer.
00:59:34There.
00:59:35Is that in your picture?
00:59:36No, you're safe there.
00:59:37Okay, test it.
00:59:42One, two, three, four.
00:59:44One, two, three, four.
00:59:46Microphone number two.
00:59:47All right, let's go.
00:59:48Okay, for sound.
01:00:06Well, Lieutenant, can I see you a minute?
01:00:08Well, if it isn't our little mystery writer.
01:00:11I knew you would turn up.
01:00:13Have you solved it?
01:00:14Come over here a minute.
01:00:19What's the revelation?
01:00:22Well, I went through the clothes that Brent wore the night before he was murdered.
01:00:25I found a room key to the Cliffside Inn in his pocket.
01:00:28I went up to the inn and found that he'd registered there the night before as Mr. and Mrs. Brent.
01:00:32Not unusual for him, was it?
01:00:33No.
01:00:33But the husband of the woman that was with him waited for Brent in the telephone booth in the lobby.
01:00:38When Brent came down, they had a fight.
01:00:40Brent beat him up and left with the woman.
01:00:42Now, there's your motive.
01:00:43The fellow who hid in the telephone booth is the fellow who murdered Brent.
01:00:46It's a motive, sure.
01:00:47But it seems to me that everyone around here had a motive.
01:00:50Yes, but this same man knew a lot about electricity and a lot about film.
01:00:53Now, Chalmers couldn't have thrown that cigarette butt in the film because he was nowhere around at the time.
01:00:57Marsha couldn't have poured acid on the negative.
01:00:59Well, she knows less about film than you do.
01:01:01But this same fellow, whoever it was, found out that Chalmers had discovered his contraption in the lamp.
01:01:07Stole Marsha's car, took acid again, Dr. Chalmers' gin, and then returned the car.
01:01:12Yes, but why did he take Miss Lane's car?
01:01:14To give himself a double-headed out.
01:01:16If you believed that suicide gag, well, that was the end of it.
01:01:18If you didn't, everything pointed to Marsha.
01:01:20Whatever happened, he wouldn't be suspected.
01:01:23Yeah.
01:01:24But you have got to show me that the guy who was at the inn is someone here at the
01:01:27studio.
01:01:28And that he had access to the light, the film, the car, and everything else.
01:01:32Well, that's easy.
01:01:33The man who hid in the telephone booth left this trademark.
01:01:37What's this?
01:01:38Well, you know as well as I do.
01:01:39The scribblings a man makes on a piece of paper are as identifying as his signature.
01:01:43Oh.
01:01:44Now all we've got to do is to find the guy that scribbles like this, huh?
01:01:47Well, I've done that, too.
01:01:50Take a look at this.
01:01:55Where did you get this?
01:01:56In Grossmith's office.
01:01:58Now, Avery, Steiner, Grossmith, and Howell were in there having a conference.
01:02:04And you think one of those four killed Brent?
01:02:06Yes.
01:02:10This is interesting.
01:02:12But I've only your word for it, and that don't count for much.
01:02:17Well, I'll keep your paper, Dolls.
01:02:19But you have got to get me more substantial evidence than this before I can let Miss Lane go.
01:02:33Take good care of these guns, boys, and don't forget to chuck them back to me.
01:02:36All right.
01:02:58You're welcome.
01:03:01You ready?
01:03:02Let's make it.
01:03:03Johnson, powder up, will you please?
01:03:04Sure.
01:03:09Thanks.
01:03:10You're welcome.
01:03:16Frank, I've been so worried about you.
01:03:18Darling, I'm hot on the trail.
01:03:19I've got an idea.
01:03:20And if I'm right, I'll have this whole thing wrapped up and tied before you know it.
01:03:23But don't go away before I'm through, will you?
01:03:24Well, you bet I won't.
01:03:25Miss Lane, will you stand on a minute, please?
01:03:28See you later.
01:03:37It isn't loaded, is it?
01:03:38What do you think?
01:03:39I'm crazy?
01:03:40Mind if I look?
01:03:41Oh, go ahead.
01:03:53Say, Bill, those aren't the same guns you used before, are they?
01:03:55I know.
01:03:56I couldn't get .38s before, so I slipped in the .45s.
01:03:59Nobody knew the difference.
01:04:00Do you mean .38s were called for before?
01:04:02Yeah, they made a row about it.
01:04:03Who insisted on it?
01:04:04Okay, coming up.
01:04:05Come on with me.
01:04:09Listen, I've got it.
01:04:11This is Bill, the property man.
01:04:12He tells me on the day that Brent was murdered, he was definitely ordered to give all the extras
01:04:15.38 caliber guns.
01:04:17Yeah?
01:04:17Do you get it?
01:04:18.38 caliber guns were ordered.
01:04:19Now, if Bill had supplied them, we'd have never have known that it wasn't an accident.
01:04:28Well, he didn't.
01:04:29He substituted .45s.
01:04:30That's how we knew it was a murder.
01:04:32Now, the fellow who ordered those .38s...
01:04:34Say, who ordered those guns?
01:04:35Go ahead, Bill.
01:04:36Tell him.
01:04:37Well, it was Mr. .
01:04:39Everybody stand on the arm!
01:04:43Lights!
01:04:43Give me a light!
01:04:44Here you are, Jims!
01:04:46Come on!
01:04:49There he is!
01:05:16Come on, he went this way.
01:05:19Oh, there he is!
01:05:20Come on!
01:05:28There he goes!
01:05:30Look at those there!
01:05:35Come on, come on, come on, they're going to be right here!
01:05:42Stand where you are, or I'll shoot them!
01:05:44Come on, come on!
01:05:51Come on!
01:06:10Avery.
01:06:11Mr. Avery?
01:06:12So he's the one that ordered the guns?
01:06:14Yes, and I told you about him under the microphone.
01:06:15He was listening in with the earphones.
01:06:17So it was him.
01:06:20Don't look at him now. He's dead.
01:06:24Dead? Yes!
01:06:25I am glad!
01:06:29The woman at the Cliffside Inn, huh?
01:06:35You stay here, Helica.
01:06:37Come on, go with me.
01:06:41I got him. I got him.
01:06:47There's your man. Who is he?
01:06:54You'll suffer for this, you despicable cad.
01:06:58So you're a policeman, huh?
01:07:06You're a man.
01:07:11Pardon me.
01:07:13I think I owe apologies to Miss Lane, and to you, too.
01:07:17I'm sorry I was unpleasant.
01:07:19You know, at first I could have sworn it was you.
01:07:21I knew it, and it made me quite angry.
01:07:24But you're much more clever than I gave you credit for.
01:07:26Well, that sounds like a new contract.
01:07:29You'll talk about that later.
01:07:35Oh, uh...
01:07:36Lieutenant, would you mind telling me why it is that detectives always wear their hats,
01:07:40even in the presence of ladies?
01:07:42Well, sure.
01:07:43That's so we won't have anything in our hands or arms in case we have to use them.
01:07:48That's one for the book.
01:07:50Do you mind if I write it in right now?
01:07:51Well...
01:07:51Oh, my God.
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