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00:03:20and don't spin like a top when you fall.
00:03:24Okay, let's go.
00:03:25Come on, folks.
00:03:26Move up and open up.
00:03:29What's the matter?
00:03:31What's the matter?
00:03:32Stay back, everybody.
00:03:39Hey, Pete, call the doctor.
00:03:41Come on, give me a hand.
00:03:42Let's get him to his dressing room.
00:03:44All right.
00:03:51We won't need a doctor, George.
00:03:54He's dead.
00:03:55Dead?
00:04:04Round up every man that had a gun.
00:04:07Get the property man and find out who loaded those guns
00:04:09and see that the body isn't touched.
00:04:11I'm going to phone the front office.
00:04:12Yes, sir.
00:04:13All right, everybody, line up over there.
00:04:15All right, come on.
00:04:16And all you fellas in the right turn, stand over there.
00:04:19Hey, Bill.
00:04:20Come on.
00:04:23Keep that door closed
00:04:24and see that no one leaves the stage
00:04:26and no one comes in.
00:04:27Yes.
00:04:31And dear Mr. Little,
00:04:34since I read your scenario,
00:04:36I've come to the absolutely conclusion
00:04:39that your name, Mr. Little,
00:04:42fits you something beautiful.
00:04:48And furthermore, and yet besides.
00:04:53Yes.
00:04:55Oh, yes, Mr. Avery.
00:04:56Just a minute.
00:04:57It's Mr. Avery.
00:04:59Tell him to finish on schedule.
00:05:00He's two days behind already.
00:05:02Talking to me is a wasting time.
00:05:03But he says it's important.
00:05:05That's the trouble.
00:05:05He's too important entirely.
00:05:07Hello.
00:05:10What?
00:05:12Brent.
00:05:13Shut.
00:05:15Dead.
00:05:17Oh, that's going to cost me a fortune.
00:05:19What a calamity.
00:05:20Quick.
00:05:21Call Steiner.
00:05:21Tell him, tell him Brent was killed.
00:05:23Shut.
00:05:23What a calamity.
00:05:24What a calamity.
00:05:31I get it, Bill.
00:05:32Thanks.
00:05:34Yes?
00:05:34Miles Brent was shot on the set.
00:05:37Killed.
00:05:38Mr. Grossman has gone to the stage.
00:05:41I did add that.
00:05:45Miles Brent.
00:05:48Killed.
00:05:49On general principle, not a bad idea.
00:05:51Except that he happens to be one of our stars.
00:05:54Get back to your office and do what you can
00:05:56to keep the papers off this until you hear what happened.
00:05:59Don't give out any story until you hear from me.
00:06:01Sure, but rescue me as quickly as possible.
00:06:02They'll be on my neck just as soon as the police get the joyful news.
00:06:05Miss Manning.
00:06:06Yes?
00:06:09Phone the brigade on the lot.
00:06:10And tell them not to let anyone in or out until they hear from me.
00:06:14Very well.
00:06:14Thanks.
00:06:20Hey, why don't you watch where I'm going?
00:06:26What's the hurry, Gumshoe?
00:06:28Miles Brent's been shot.
00:06:29What?
00:06:30Well, now there's a job that should have been done years ago.
00:06:36You won't have to rewrite any stuff for the death kiss now.
00:06:39No.
00:06:41Say, Marsha was on the set with him, wasn't she?
00:06:43Sure.
00:06:44But I don't think she did it.
00:06:45What stage?
00:06:46Three.
00:06:47Drop this stuff in my office, will you?
00:07:01Miles Brent, huh?
00:07:02Picture actor.
00:07:03My wife always liked it.
00:07:05I have that kind of trouble, too.
00:07:07Come on, let's go.
00:07:09All right, fellas.
00:07:11Here's something hot.
00:07:12Miles Brent killed.
00:07:13Shot.
00:07:14Sound stage number three, Tone Arc Studio.
00:07:16You sure ought me.
00:07:17Just a minute.
00:07:18Tone Arc Studio.
00:07:19Operator.
00:07:20Operator.
00:07:20Hey, that's the evening star phone.
00:07:22You're telling me?
00:07:23Hey, Storm, get me the journal, will you please?
00:07:25Hello.
00:07:26Tone Arc?
00:07:27I want Pat Hill in the publicity department.
00:07:29Come on, snap into him.
00:07:30You know me, Connolly?
00:07:31I never held out on the evening star yet.
00:07:33Yeah, I know all about your deadline.
00:07:34Yeah, you'll get the facts.
00:07:35Call me back.
00:07:37Never mind, I'll get it.
00:07:40Yeah?
00:07:41Yes, Morris, I know.
00:07:43But can I help her to be shot in the morning?
00:07:44You've got to take those things as they come.
00:07:45Yeah, I'm going over there right away.
00:07:47The police ought to be here now.
00:07:48Yeah, call me back in ten minutes.
00:08:03Hey, come back here.
00:08:17Hey, come back here.
00:08:19Get down that door.
00:08:20Get down that door.
00:08:22Get down that door.
00:08:24Watch your hands, sir.
00:08:27Amulet's covered.
00:08:28Yeah.
00:08:37Detective Lieutenant Sheehan, Homicide Squad.
00:08:39Who's in charge here?
00:08:41I've been trying to get things straightened out for you.
00:08:43My name is Steiner, studio manager.
00:08:45What happened?
00:08:47Well, the company was shooting the scene
00:08:49during which several people fired guns at Brent.
00:08:52And someone used real bullets, huh?
00:08:54People do get hurt that way.
00:08:56That's the director's guess.
00:08:57Oh, the director.
00:08:59Did he happen to guess who did it?
00:09:02No.
00:09:03Well, that's unfortunate.
00:09:06Looks like we'll have to do some guessing on our own.
00:09:11Come on, Hill.
00:09:12Loosen up.
00:09:12Was it an accident or did somebody really bump him off?
00:09:14I tell you, I don't know.
00:09:15Then let us in on the lot so we can find out, will I?
00:09:17I can't let anyone on the lot.
00:09:19Marsha Lane was with him in the picture, wasn't she?
00:09:21She was doing the lead opposite him.
00:09:22Marsha?
00:09:23Oh, his ex-wife.
00:09:24That helps the story.
00:09:25Hey, what's the name of the picture?
00:09:26The Death Kiss.
00:09:27The Death Kiss.
00:09:28Gee, what a tie-up.
00:09:29Pardon me.
00:09:30Hey, golf's on the phone.
00:09:31Just a minute, boys.
00:09:32I'll be right with you.
00:09:33But wait a minute.
00:09:33Can we get the angle on this thing?
00:09:35Couldn't very well see what happened.
00:09:37And there were eight men with guns?
00:09:38Yes.
00:09:41Well, it might have been an accident, but...
00:09:43Frank, you don't think it was murder?
00:09:46Darling, I don't even know yet whether he was shot.
00:09:49Maybe he just died of old age.
00:09:51Maybe he never even existed at all.
00:09:54Now, you wait here.
00:09:55I'm going to have a look around.
00:10:01Your gun.
00:10:10Your gun.
00:10:15You break it.
00:10:25Nothing but blanks left in these guns.
00:10:31Any other guns on the set?
00:10:33That's all I know of.
00:10:48You see, Captain, it's strictly an accident.
00:10:51Lieutenant Sheehan.
00:10:52What's your name?
00:10:53Leon A. Grossmith.
00:10:54I'm the president of this concern.
00:10:56Well, what about it?
00:10:57Now, look here, Sergeant.
00:10:59Do you realize what this cost me already, huh?
00:11:02You have no idea.
00:11:03It cost me, up to now, $239,351.
00:11:07Yes.
00:11:08And it cost Brent his life.
00:11:09Which also loses me money.
00:11:10I can't have no more Brent pictures.
00:11:12Now, pardon me, Lieutenant.
00:11:14Mr. Grossmith means to convey
00:11:15that this regrettable accident need not be converted
00:11:18into a Roman holiday for the rabble.
00:11:21Now, I assure you that Mr. Grossmith feels deeply,
00:11:24very deeply, the tragedy of this affair.
00:11:26And his point is, naturally,
00:11:28not to throw consternation into that great
00:11:31and unseen army of Mr. Brent's admirers.
00:11:33Now, that is precisely what Mr. Grossmith means.
00:11:36That's just what I was going to say.
00:11:38Mr. Steiner.
00:11:39Mr. Steiner.
00:11:40Yes, Mr. Steiner.
00:11:40Pardon me.
00:11:41What is it?
00:11:42The papers are on my neck.
00:11:43I've got to tell them something.
00:11:44There's no use stalling any longer.
00:11:45They've got a story now about a mysterious woman.
00:11:47Who is she?
00:11:48They don't know themselves,
00:11:49but they say it makes a great story.
00:11:51Tell him it was an accident.
00:11:52They won't believe it.
00:11:52Then make them.
00:11:53You don't know those boys.
00:11:54They've got imagination.
00:11:56I don't care if they've got fallen arches.
00:11:58Tell him the Brent shooting was an unfortunate accident.
00:12:01Yes.
00:12:02Is that satisfactory to you, Lieutenant?
00:12:04Nothing satisfactory to me.
00:12:05I can't tell what it is because I don't know myself.
00:12:08No.
00:12:09Here's all you had on him.
00:12:21Keep that.
00:13:00I'm sorry to gum up the works, but it wasn't an accident.
00:13:04It's murder.
00:13:05Murder?
00:13:06Oy, what a calamity.
00:13:09How do you know?
00:13:10This is the bullet that killed him.
00:13:12The .38 caliber sent a fire.
00:13:14All the guns the extras used were .45s.
00:13:16And you can't fire a .38 bullet through a .45 gun.
00:13:20It's an old Chinese principle.
00:13:24Where did you get this?
00:13:26Out of the wall of the set.
00:13:27Don't you know better than to meddle in police matters?
00:13:30Oh, I'm sorry, I didn't mean to meddle.
00:13:31I just wanted to help.
00:13:32You see, I like to dabble a bit in murder cases.
00:13:36Well, you just go and dabble someplace else.
00:13:39All right.
00:13:41Who is he?
00:13:43One of our scenario writers, Franklin Drew.
00:13:45Oh, writes detective stories, I suppose.
00:13:48Yes.
00:13:48How do you know?
00:13:49They always do.
00:13:52Well, this makes a difference.
00:13:54Looks like we've got a murder on our hands.
00:13:57Oh, you go and get that assistant director.
00:13:59That brilliant young man who said there were no other guns on this set.
00:14:02Right.
00:14:06Who's Marsha Lane?
00:14:08What?
00:14:10You don't know who is Marsha Lane?
00:14:12Over a million dollars we spend that with her,
00:14:14and I don't know who Marsha Lane is.
00:14:16Where is she?
00:14:16She was on the set just a minute ago.
00:14:18Well, let's have a talk with her.
00:14:19Howell, ask Miss Lane to come here.
00:14:21Yes, sir.
00:14:25Now, Steiner and the detective want to see Miss Lane immediately.
00:14:28Well, hurry.
00:14:30I'm fluttering, sweetheart.
00:14:34Bill, tell Miss Lane Steiner and Dick want to see her.
00:14:37Okay, Chief.
00:14:39Oh, Pete.
00:14:41Uh, rush Miss Lane over to Mr. Steiner and Dick.
00:14:44Now?
00:14:45No, next Tuesday, you sap.
00:14:47What?
00:14:47Oh.
00:14:48Come on, get going.
00:14:49Oh, all right.
00:14:53Pardon me, Miss Lane.
00:14:54Mr. Steiner and the Dick want to see you.
00:14:59You're welcome.
00:15:01What can they want with me?
00:15:02Oh, they just want to annoy you with a lot of routine questions.
00:15:06You see, they always question people like you first to give the guilty ones plenty of time to make up
00:15:10good alibis.
00:15:11It's part of the system.
00:15:13It's been going on for years.
00:15:22Sit down, Miss Lane.
00:15:27I don't wish to be unpleasant, but there are a few questions I'd like to ask you.
00:15:32Certainly.
00:15:33How long have you and Brent been separated?
00:15:38We were divorced last May.
00:15:40Why?
00:15:41Well, I don't quite see.
00:15:42The divorce is a matter of record, Lieutenant.
00:15:44I don't think we need to go into that now.
00:15:46Say, will you go up to your office and write bad little boy 500 times?
00:15:54When did you last quarrel with Miles Brent?
00:15:56I don't remember.
00:15:57Didn't you love him?
00:15:58I wouldn't answer that, Marsha.
00:16:00Say, just what is your interest in this case?
00:16:03Personally, I don't care who killed Brent.
00:16:05But I would like to know how it was done.
00:16:07Besides that, I'm...
00:16:10I'm a friend of Miss Lane's.
00:16:12Wasn't your name mentioned during the divorce proceedings?
00:16:15No.
00:16:16Sorry to disappoint you.
00:16:19What did you do with your gun, Miss Lane?
00:16:21My gun?
00:16:22Yes.
00:16:22I didn't have a gun.
00:16:23Didn't you use one in the picture?
00:16:24No.
00:16:25But when you fired with the other...
00:16:26As a matter of fact, if Miss Lane had fired, she couldn't have hit him.
00:16:28She was around on the other side of the set when she took place.
00:16:30Say, if you don't lay off, I'm going to take you downtown.
00:16:33What for?
00:16:33How do I know what for?
00:16:35Good.
00:16:35I was beginning to be afraid that you might say something sensible.
00:16:47Hey.
00:16:48What are you trying to do there, huh?
00:16:50Don't move now.
00:16:51I've got you surrounded.
00:16:53Don't lie now.
00:16:54What did you try to hide in there, huh?
00:16:56Why nothing, I...
00:16:56Yeah.
00:16:57We'll see about that.
00:16:58Hold this a minute.
00:16:59Wait a minute.
00:16:59Wait a minute.
00:17:00No, you don't.
00:17:02Yeah.
00:17:03Oh, yeah.
00:17:05This letter, all ready to mail, was found in Miles Brent's pocket.
00:17:09In this letter, he told his lawyer that Marsha Lane refused to sign a release as beneficiary
00:17:15of his life insurance policy.
00:17:17So you stand to collect $200,000.
00:17:20Miss Lane's lawyer wouldn't let her sign the release.
00:17:22I know all about that.
00:17:23Say, it's too bad you weren't the one that was shot.
00:17:27So that gives you a pretty nice motive, doesn't it?
00:17:30No funny business now.
00:17:31Come on now.
00:17:32Come on, keep moving now.
00:17:37There's your man, Chief.
00:17:38I caught him red-handed.
00:17:39He was trying to ditch his gun.
00:17:41Look, it's loaded, too.
00:17:43I tell you, I didn't.
00:17:43Save your breath.
00:17:44Put the bracelets on him, Owen.
00:17:47Now, ain't that astounding?
00:17:49Something told me to take a squint around.
00:17:51I sees him trying to ditch his gun, see?
00:17:53And I puts two and two together, I says to my...
00:17:57I says to myself, that's the man.
00:18:00I guess I used uncanny skill.
00:18:04.38 caliber and loaded.
00:18:06It's the gun, all right.
00:18:07Who is this fellow?
00:18:08Name's Chuck.
00:18:09He was an extra on the set.
00:18:10Why did you kill Frank?
00:18:11Oh, I never killed nobody.
00:18:12You can't alibi yourself out of this.
00:18:14That's the only .38 gun in the place.
00:18:16You killed him, why?
00:18:17I'll tell you I didn't.
00:18:18Now, you've got to listen to me.
00:18:20Shut up.
00:18:20You'll have plenty of time to talk later on.
00:18:25Do you know this man?
00:18:28Why, yes.
00:18:30Everyone on the lot knows him.
00:18:31He was head electrician here for years.
00:18:33How much did you pay him to kill Brent?
00:18:35Now, wait a minute, Lieutenant.
00:18:37Why not pin the murder on the murderer?
00:18:39That's not against the rules.
00:18:40What are you talking about?
00:18:42Chalmers didn't kill Brent.
00:18:43How do you know?
00:18:45This gun hasn't been fired.
00:18:54How did this gun come to be loaded?
00:18:57I loaded it for Brent.
00:18:58I lost my nerve.
00:18:59So you had planned to kill Brent, huh?
00:19:01Yes, I wanted to kill him.
00:19:02I had every reason in the world to kill him.
00:19:04But he made no attempt.
00:19:06So you can't arrest him.
00:19:07Not unless you want to make a fool of yourself.
00:19:10You know, I'm beginning to think you're giving us the rats.
00:19:13Prove it.
00:19:13You're a detective.
00:19:16Take them off, Hilliker.
00:19:17And maybe we'll put them on him.
00:19:20Well, we seem to be right back where we started.
00:19:22Yes, perhaps you have some very valuable suggestions.
00:19:25Yes, I have.
00:19:26What?
00:19:28The cameras were photographing when Brent was killed.
00:19:31There might be something very interesting on the film.
00:19:33It wouldn't hurt to look.
00:19:37Not bad.
00:19:39How soon can we see the stuff?
00:19:41We could get a print in, say, three or four hours.
00:19:44Well, will you get them going?
00:19:46Oh, certainly.
00:19:47Come, Mr. Smith.
00:19:52You take the name and address of every person on this set.
00:19:55And warn them all about trying to leave town.
00:19:58Right.
00:20:03In any of your books, does the detective ever sock the novelist on the nose?
00:20:09No.
00:20:11Write it in sometime.
00:20:13Seems to me like a good idea.
00:20:19Bill, George?
00:20:20Oh, yes, sir.
00:20:30Marcia.
00:20:31Oh, Frank.
00:20:32It won't be very pleasant to see it all over again.
00:20:35But it may help us a lot.
00:20:37Watch carefully.
00:20:51Is everybody here?
00:20:52I think so, Mr. Grossman.
00:20:54Mr. Steiner's in a projection booth.
00:20:55He'll be right in.
00:20:56All right.
00:20:57Here he is now.
00:21:02You ready, Mr. Grossman?
00:21:03Yes.
00:21:04Mr. Grossman's ready.
00:21:10Quiet, please.
00:21:11Quiet.
00:21:15All right.
00:21:16Turn him over.
00:21:17Rolling.
00:21:19Mark it.
00:21:22Action.
00:21:32It will be right here.
00:21:44Thanks, handsome.
00:21:45I just couldn't pass you up.
00:21:54Believe it or not, I've never seen her in my life before.
00:21:57I must have been overlooking something.
00:21:58Oh, ruddy shame, sir.
00:22:00Most annoying.
00:22:01Right under my dirty nose.
00:22:03Your nose?
00:22:04Oh, I get to call her.
00:22:13Lights!
00:22:14Lights!
00:22:15Turn on those lights!
00:22:16I wonder what that was.
00:22:16Wait.
00:22:17Did you see that?
00:22:20What's supposed to happen?
00:22:22Oh, yeah.
00:22:25Oh, yeah.
00:22:26Oh, yeah.
00:22:27Oh, yeah.
00:22:27Oh, yeah.
00:22:28Oh, yeah.
00:22:29Oh, yeah.
00:22:30Oh, yeah.
00:22:31Oh, yeah.
00:22:51Oh, yeah.
00:22:54Oh, yeah.
00:22:55Oh, yeah.
00:22:55What's that?
00:22:58Look.
00:22:59rocked your cradle over a dinner. A rouge-tipped cigarette what started it off. Can you tell
00:23:05me, is that studio makeup? Ah, to see. Perhaps which is our makeup man who tells you. Thanks.
00:23:14How did it happen? I swear I don't know. I was leaning over the machine, checking the focus.
00:23:24I thought the building came down on me. How about another print? Yes, and we'll take care of it
00:23:28this time. There was something on it, and whoever touched it off didn't want it to be seen. We can
00:23:33have
00:23:33the laboratory run one off right away. Could we, Mr. Gordon Smith? Why, yes. There's no reason why we
00:23:38couldn't. Will you come with me? No, Hilliker will go with you. I have another angle. Where'll I find this
00:23:45makeup man? Makeup department. Clear around the other end of the lot, just the end of S Street. Sounds like
00:23:50a sleeper, John. Thanks. It's a special panchromatic rouge of my own made. Only two people on the
00:24:02lot are in the habit of using it. Who are they? Miss Collins and Miss Lane. Who's Miss Collins?
00:24:07She's one of our players. Is she in this picture you're photographing? No, I believe she's working
00:24:10in the Knight Riders. They're out in location. And the only other person on the lot that uses
00:24:15this rouge as Marshal Lane, as far as I know. I see. Thanks. You're welcome. Now, wait a minute.
00:24:25You have quite a stock of this rouge on hand, haven't you? A few tubes of it. Just as I
00:24:30thought.
00:24:30Anybody could get at it. Not very well. All the makeup that is not in use is kept in the
00:24:34cabinets.
00:24:35And the cabinets are locked? Yes. Excuse me. Hello. Just a minute. It's for you.
00:24:45Hello. Yes, Hilliker. How? All right. You stick around there and see what you can find out.
00:24:55Tell Steiner I'll see you at his office. The negative of that last scene has been ruined.
00:25:00Someone poured acid in the container. This thing gets more muddled every minute.
00:25:03You telling me? How do I get to Steiner's office? I'll show you. Thanks. And you're not going with me.
00:25:12Right at the head of the street. Thanks. You want to have a map of this place.
00:25:16Oh, Lieutenant. Of course you know that anybody could have taken the rouge from Miss Lane's dressing room.
00:25:22Sure. A very interesting detail.
00:25:30What do you make of it, Drew?
00:25:31It's got me. It's more of a mystery than anything I ever wrote.
00:25:35What I can't understand is why anyone should want it to murder Brent.
00:25:40Now, if it were a supervisor.
00:25:43I don't see why anybody wants to murder anybody. It's a silly idea.
00:25:47You're going to try and solve it?
00:25:50Yes. Why not?
00:25:51It'd be fun. Besides...
00:25:53Marsha?
00:25:54Yes. Oh, say, Tom.
00:25:56If you see her, don't say anything about that cigarette business. It'll only upset her.
00:25:58No, no, no, no. Of course not.
00:26:00If I can help you, let me know.
00:26:01Thanks. Has anything been moved on the set?
00:26:05No. Police instructions were to leave everything undisturbed.
00:26:08Well, I'm going to have another look around.
00:26:09I want to find out just how he was murdered and with what gun.
00:26:16Say, I got a... I got an idea of how Brent was killed. You want to hear it?
00:26:20Some other time. Better go home and sleep it off, Chalmers.
00:26:23Oh, that's what you think. Chalmers don't know anything, huh?
00:26:26Well, listen. I've been on the set and I've been seeing things.
00:26:30Yeah. Snakes and pink elephants, I'll bet.
00:26:32All right, all right. Be smart, huh? Be smart.
00:26:36Now, listen. You're going to come to me later.
00:26:38Oh, I'll see you in the morning. Go on home.
00:26:41The old boy evidently cashed his pee check and drank it.
00:26:45Want to have a look around with me?
00:26:47No. I'm not much of a detective.
00:26:50Besides, Mrs. Avery's waiting for me.
00:26:51All right.
00:26:53Good luck. Thanks.
00:27:23Good luck.
00:27:26Good luck.
00:28:00Good luck.
00:28:42Go find Sheehan. He's some place on the lot. Bring him here.
00:28:47Mr. Drew. Mr. Drew, what happened?
00:28:50What happened? What happened? Here. Here.
00:28:55Swell, ain't it? I made it myself.
00:29:00Who's in there?
00:29:02It's all right, Sheehan.
00:29:06What's going on now?
00:29:08Plenty. I found the gun that killed Brent.
00:29:11Where?
00:29:11Right here in this land.
00:29:14Why, it's gone.
00:29:17So it seems.
00:29:19Probably got tired sitting there and decided to take a walk.
00:29:22No, I'm not kidding.
00:29:24I came down on the set to have a look around.
00:29:26Just by accident, I noticed this smudge on the lamp here.
00:29:29So I looked inside.
00:29:31Found a small derringer fastened there.
00:29:33Attached to an electromagnet.
00:29:35There's the wire it was connected to.
00:29:37And I got a bump on the head that knocked me out.
00:29:41Well, this proves one thing.
00:29:43Whoever killed Brent knew a whole lot about electricity.
00:29:47Who has charge of these lamps?
00:29:48The head gaffer.
00:29:49Well, what's that in English?
00:29:51The chief electrician.
00:29:52Who is he?
00:29:53Al Payne.
00:29:54Where can I find him?
00:29:55Here, Tom will take you over.
00:29:57Come here, kid.
00:29:57Let me take a look at that head.
00:29:59Now, that's all right.
00:30:01Now, listen.
00:30:02You stop monkeying around with police matters.
00:30:04It's a tough racket.
00:30:06That head of yours won't stand another wallop.
00:30:08Come on, let's get going.
00:30:12Mr. Drew, I've been thinking.
00:30:15No.
00:30:15Yeah.
00:30:16The first thing I ask myself when I investigate the murder is,
00:30:19whodunit?
00:30:20Well, that sounds logical.
00:30:22And the next thing I ask myself is,
00:30:24who could do it?
00:30:25And then?
00:30:26And then I ask myself again,
00:30:27who wanted to do it?
00:30:30And how do you answer yourself?
00:30:32Well, I ain't come to that yet.
00:30:34You take Chalmers, for instance.
00:30:36He didn't like Brent.
00:30:38Well, why should he be an exception?
00:30:40He didn't like Brent,
00:30:41and the kind of Brent had him fired.
00:30:42When was this?
00:30:43A couple months ago,
00:30:44when Chalmers was head gaffer,
00:30:46they had an argument.
00:30:47Head gaffer?
00:30:48Yes, Chalmers is an electrician, isn't he?
00:30:50Yeah, Chalmers had a couple of drinks,
00:30:51and him and Brent had an argument.
00:30:53Say, gully,
00:30:54you are a first-class gumshoe.
00:30:58Investigator.
00:30:59All right, investigator.
00:31:00Right now,
00:31:00will you run up to the casting office
00:31:02and investigate
00:31:02and find out where Chalmers lives?
00:31:04Sure.
00:31:04What are you going to do?
00:31:05Put the finger...
00:31:05I mean, apprehend him?
00:31:07Maybe.
00:31:07You want to come along?
00:31:08Oh, boy, I'll say.
00:31:09Got a gun?
00:31:10Yeah.
00:31:11Oh.
00:31:12Got my gun, my badge,
00:31:13and my...
00:31:14And my bracelet.
00:31:15Well, you wouldn't need those.
00:31:15Come on, let's get going.
00:31:17The director hasn't anything to do with it.
00:31:20The cameraman really sets the lights.
00:31:22You mean,
00:31:23he tells you where to put the lights?
00:31:24Yeah.
00:31:25When was this set lit?
00:31:27The afternoon before.
00:31:29They rehearsed the scene with the principal
00:31:31so they wouldn't hold the company up
00:31:32when they called the extras.
00:31:33Do you remember anything particular
00:31:35about that one light?
00:31:36To be truthful with you,
00:31:38we had a lot of arguments on that set.
00:31:41Mr. Steiner didn't like the photography,
00:31:43and he wanted more light.
00:31:45Steiner?
00:31:45Was he there when it was rehearsed?
00:31:47Yes.
00:31:48Who else?
00:31:49Well, they're all there,
00:31:51with the exception of the extra people.
00:31:52Well, no extras there, huh?
00:31:54No, only Chalmers.
00:31:56You know, he's a sort of a privileged character
00:31:58around this lot.
00:31:59He used to be our head gaffer.
00:32:01Chalmers used to be an electrician?
00:32:02Yes.
00:32:03Miss Lane felt sorry for him
00:32:05and made Mr. Avery give him a bit of her picture.
00:32:08Oh, Miss Lane got him the job.
00:32:10Yes.
00:32:11Could you give me the address
00:32:13of the cameraman and Chalmers?
00:32:16Sure.
00:32:18And, by the way,
00:32:20if a writer by the name of Drew
00:32:22asks you anything,
00:32:24don't answer him.
00:32:25Drew?
00:32:26Say, do you think he did it?
00:32:28Well, you can't keep me from hoping.
00:32:33This is it.
00:33:00Look.
00:33:01Look.
00:33:01That Chalmers is in trouble again.
00:33:10Do you wish to see Mr. Chalmers?
00:33:12Yes, is he in Mrs.
00:33:14Miss Potts, and I don't know anything at all about his comings and goings.
00:33:17Doesn't he answer the bell?
00:33:19No, he doesn't.
00:33:20I was just going in, cleaning day today, you know.
00:33:22I suppose he's lying stiff in the place all cluttered up with gin bottles.
00:33:27Let's go in and have a look around, Captain.
00:33:29As tenants, guests I mean go.
00:33:32He wasn't so bad until he lost his job.
00:33:34Then he started acting queer like...
00:33:37See, I told you.
00:33:41I laid down the law to him.
00:33:42I said, Mr. Chalmers, my bungalow court isn't an alcoholic ward.
00:33:47As I thought, drunk again.
00:33:50Well, this is the end.
00:33:51This is no key liqueur.
00:33:53Out he goes.
00:33:54I'm sick and tired of his carryings on.
00:33:58The fellow's dead.
00:34:00Dead?
00:34:00Well, he didn't think of me.
00:34:03No, not him.
00:34:04I suppose my 2850 background has gone up the flue.
00:34:10Did I have Chalmers spotted?
00:34:12All I did was ask myself, who done it?
00:34:15Poison, all right.
00:34:17Familiar smelling stuff, too.
00:34:21Boy, that guy had drink anything that wasn't too thick to chew.
00:34:37Well, I guess this about washes up the case, eh, Mr. Drew?
00:34:40Looks like suicide to you, eh, Gully?
00:34:42Sure.
00:34:44I guess Sheehan would think so, too.
00:34:46Uh, he may be dumb, but he ain't blind.
00:34:48He's not as dumb as he looks.
00:34:50Do you wear a wristwatch, Gully?
00:34:51Huh?
00:34:52Do you wear a watch on your wrist?
00:34:56Well, you see, it's a present from the wife.
00:34:58I gotta wear it.
00:34:59Why do you wear it on your left wrist?
00:35:02Well, I use my right hand the most, because I'm right-handed.
00:35:05You ever try to write with it on your right wrist?
00:35:08No.
00:35:10Neither did Chalmers.
00:35:12Which makes this note a very interesting piece of fiction.
00:36:07Say, Gully, come here.
00:36:12Take a look in here.
00:36:16Now, what do you see?
00:36:18A bottle of gin and a piece of ice.
00:36:20What else?
00:36:21Use your powers of observation.
00:36:25Oh, you mean that piece of wooded lettuce in there?
00:36:27Don't you notice that little service door on the back has been left open?
00:36:30Whatever.
00:36:31The ice men probably left it that way.
00:36:33My wife says you can't trust those ice men anyway.
00:36:36If the ice men had left that little door open when he put in the fresh cake,
00:36:38there wouldn't be any ice there now.
00:36:41Oh, I never thought of that.
00:36:43Let's have a look outside.
00:37:05Oh, someone must have stood here a long time.
00:37:07Them are fresh prints, ain't they?
00:37:10Step up there a minute.
00:37:12Look out for those tracks.
00:37:15Now what?
00:37:16Look through the window.
00:37:21You see Chalmers sitting there?
00:37:23Yeah, the door is open.
00:37:29Supposing someone stood here
00:37:31and Dr. Chalmers ginned through the ice box from this side.
00:37:37He then stood here
00:37:39and watched him drink his last drink
00:37:41through the window, what would you say?
00:37:43And then watched him die.
00:37:45Went in and wrote the note and put the pencil in his hand, huh?
00:37:48Yeah, only there's where he made his mistake.
00:37:50Put the pencil in the wrong hand.
00:37:52That's just what I was thinking.
00:37:58Gully, you know, if a car was parked here,
00:38:01it would entirely conceal that door and that window.
00:38:05Yeah?
00:38:17Then Chalmers didn't kill himself, huh?
00:38:19Let's leave that to Sheehan.
00:38:20I'm any good as a guesser.
00:38:22He ought to be here by now.
00:38:28He's bumped over on the table.
00:38:30Yeah, huh?
00:38:31Don't let Sheehan know what we found out.
00:38:33I got you.
00:38:34The captain got here 15 minutes ago.
00:38:36Captain?
00:38:40What are you and that Keystone cop doing here?
00:38:43Now, looky here, Sheehan,
00:38:44you can't talk that way about me.
00:38:46Remember, I'm chief of the studio police
00:38:47and I got rights.
00:38:49Aye, aye, nature in the raw.
00:38:51Here's another opportunity for your skill, Lieutenant.
00:38:53We've been waiting for you.
00:38:54Everybody around here seems to know more
00:38:56about police matters than the police.
00:38:57That's noble of you to admit it.
00:38:59Did you two loosens this touch anything around here?
00:39:01Nothing important.
00:39:02Good.
00:39:02Then clear up.
00:39:03And take that uniformed moron with you.
00:39:06Come on.
00:39:12Suicide, huh?
00:39:15Looks like it.
00:39:16Well, I always thought it was Chalmers
00:39:18right from the start.
00:39:20Now he's the Keystone cop.
00:39:22He don't even know Chalmers was left-handed.
00:39:24Come on.
00:39:26Left-handed?
00:39:35Sure.
00:39:36That starts it all over again.
00:39:39I can remember when murders were nice,
00:39:41clean, simple things
00:39:43done with machine guns and meat axes.
00:39:45But this case...
00:40:06seems to be the trouble.
00:40:07The battery's dead.
00:40:09But didn't Miss Lane get a new battery just last week?
00:40:11Yeah, I don't understand it.
00:40:12It's bone dry.
00:40:14Uh, liquid's all gone.
00:40:26Just as I thought.
00:40:32You were right.
00:40:33Poison.
00:40:38Electro...
00:40:40Electrolytic liquid.
00:40:41Sulfuric acid-based.
00:40:42Green alcohol.
00:40:4338% distilled water.
00:40:4433% of...
00:40:47Electrolytic liquid.
00:40:4827% by volume.
00:40:49The man said a teaspoonful
00:40:51in a glass of water
00:40:51will kill a man dead.
00:40:54Electrolytic acid.
00:40:55Can you say anything else?
00:40:56No.
00:40:57That was all.
00:41:12Hey.
00:41:12Ain't that the same kind of trick
00:41:14that...
00:41:14that rough the marks
00:41:15under Chalmers' window?
00:41:16Oh, there's probably
00:41:16a thousand cars in the Hollywood
00:41:18that have that mix of make-up tire.
00:41:20Yeah, I never thought of that.
00:41:24Say, Gully.
00:41:25Hmm?
00:41:26I want you to get me the key
00:41:27to Brent's dressing room.
00:41:28But don't let anybody know
00:41:29it's for me, see?
00:41:30Say, I'll get you the key
00:41:31to the city if you want it.
00:41:33Now, I have a couple of things to do.
00:41:34I'll meet you here
00:41:35in half an hour.
00:41:36Okay?
00:41:42Who is it?
00:41:43Frank, man.
00:41:44Come in.
00:41:44Just a minute.
00:41:54Well, why all the marks?
00:41:56I was just going through
00:41:57some old letters
00:41:57and didn't want to be disturbed.
00:41:58Oh, I see.
00:41:59Where have you been?
00:42:01I've been waiting
00:42:01all afternoon for you.
00:42:02Oh, I've just been doing
00:42:03a little sleuthing.
00:42:05Marsha, you trust me,
00:42:06don't you?
00:42:08Why, yes, of course.
00:42:11Marsha, you know I'd do
00:42:12anything in the world
00:42:12for you, don't you?
00:42:13I believe you would, dear.
00:42:16Then, is there anything
00:42:17you know about the murder
00:42:18of Brent that you
00:42:19haven't told me?
00:42:22No.
00:42:24I've just come from
00:42:25Chalmers' place.
00:42:27He's dead.
00:42:29Chalmers?
00:42:29Poisoned.
00:42:30You mean murdered?
00:42:32If it isn't that,
00:42:33it's a good imitation of it.
00:42:35Oh, how awful.
00:42:37Whoever did it
00:42:38used electrolytic acid.
00:42:40Acid out of a battery.
00:42:41The unfortunate part
00:42:42of the whole thing
00:42:42is that they used your car
00:42:45and the acid
00:42:46out of your battery.
00:42:48My car?
00:42:53That's why my car
00:42:54wouldn't start.
00:42:55Yes.
00:42:55I only told you this
00:42:56because I'm afraid
00:42:57Sheehan will find out
00:42:58and arrest you on suspicion.
00:42:59That would mean
00:43:00headlines and scandal.
00:43:02What do you want me to do?
00:43:05I want you to get out of here.
00:43:06Anyplace, just so Sheehan
00:43:07can't find you.
00:43:08But that's running away.
00:43:10Only for a day or two.
00:43:11Just to give me time.
00:43:14I'll go to Mary's
00:43:15at Malibu.
00:43:15She'll help me.
00:43:16Oh, that's swell.
00:43:17Make it fast, will you?
00:43:19There's no knowing
00:43:19how close she ends behind me.
00:43:21I'll telephone you
00:43:21when I get it all worked out.
00:43:22You may have a long beard
00:43:24by then, but I'll try and hurry.
00:43:26Bye-bye, sweet.
00:43:28Bye-bye, sweet.
00:43:28Bye-bye, sweet.
00:43:33Bye-bye, sweet.
00:43:34Bye-bye, sweet.
00:43:37Bye-bye, sweet.
00:43:55Come in.
00:43:58Leon.
00:43:59You're surprised that I'm here, huh?
00:44:00Frankly, yes.
00:44:02You haven't come to see me
00:44:03since Brent's accident.
00:44:07I should think you'd know why.
00:44:09I don't.
00:44:10I only know that I...
00:44:12that I want to help you.
00:44:14I have all the help I need.
00:44:17Marsha, you mustn't treat me like this.
00:44:19I never said anything to you
00:44:21while Brent was alive.
00:44:23But you should know how I feel.
00:44:26You've succeeded in making your feelings
00:44:28quite plain enough.
00:44:30Marsha, I...
00:44:32I'm very fond of you.
00:44:35It's not the kind of fondness I care about.
00:44:38Please go now, Leon.
00:44:39I'm in rather a hurry.
00:44:52Marsha,
00:44:53maybe someday you will come to me
00:44:55and ask for help.
00:44:57Maybe you will apologize to me
00:44:59for laughing about how I feel for you.
00:45:03Perhaps Brent wasn't killed for nothing.
00:45:24No matter how smart they are,
00:45:26they always slip up.
00:45:34What's your name?
00:45:36Pardon me.
00:45:38Hello?
00:45:39Yes, sir.
00:45:40I will.
00:45:42Wait a minute.
00:45:43Here she is now.
00:45:45Miss Lane,
00:45:46Mr. Steiner would like to see you in his office.
00:45:52What's your name?
00:45:53Mr. Wheatcroft.
00:45:55Mr. Todd, please.
00:45:57Mr. Wheatcroft calling to see you.
00:46:00All right.
00:46:05Go down that blind.
00:46:16Did you see Brent when he came in?
00:46:18I see everybody.
00:46:20What kind of a suit do you have on?
00:46:27There it is.
00:46:33Funny she and Miss looking in here.
00:46:35You've been keeping them too busy.
00:46:37See what those letters are.
00:46:42Here's one from a dame named Agnes.
00:46:45Agnes who?
00:46:46She ain't that dumb.
00:46:48She don't say much.
00:46:50Except that she can't live without him.
00:46:53Married, too.
00:46:55Says her husband don't understand her.
00:46:58Well, that's an old, old story.
00:47:01Two men and a woman.
00:47:02The internal triangle.
00:47:06What kind of a place is the Cliffside Inn?
00:47:08Oh, you know, one of those weekend places
00:47:09with all the Mr. Smiths and Mr. Jones and Mr. Browns.
00:47:12How far is that from you from here?
00:47:15Why?
00:47:15I'm beginning to think there's a woman in the case.
00:47:18No.
00:47:19Mr. Drew, this case has become uncomplicated.
00:47:22Even from me.
00:47:24Come on.
00:47:32Gee, it's 4.30.
00:47:33I've got to check in on my next shift.
00:47:36Listen, don't go away without me, will you?
00:47:39All right, Gully.
00:47:40I'll pick you up the gate when I go out.
00:47:42Boy, oh boy.
00:47:44Mr. Drew, I've been looking for you.
00:47:46Miss Lane wants to see you.
00:47:47She's in Mr. Steiner's office.
00:47:49Oh, thanks.
00:47:50Yes, sir.
00:47:59Go right in, Mr. Drew.
00:48:01When did you find out your car wouldn't start?
00:48:03About an hour ago.
00:48:08Well, with all your dabbling, you didn't throw us off.
00:48:10You've thrown yourself off if you think Miss Lane had anything to do with Chalmers or Brent either.
00:48:16All right, all right.
00:48:17Just sit down there.
00:48:19And keep quiet.
00:48:23Where did you go this afternoon?
00:48:25I went downtown.
00:48:26In your car?
00:48:27Yes.
00:48:28Where did you park it?
00:48:29On the street.
00:48:30In front of Elfman's flower shop.
00:48:32I ordered some flowers for Miles.
00:48:35Mr. Brent's funeral.
00:48:37Then where did you go?
00:48:38You went to Chalmers' house, didn't you?
00:48:39Wait a minute.
00:48:39I won't stand for this.
00:48:41You can't trick Miss Lane into answers.
00:48:43And have little boy Blue over there take him down.
00:48:47Now keep quiet, Drew.
00:48:48You're trying to get at the bottom of this.
00:48:49Oh, no, you're not.
00:48:50She is trying to force Miss Lane into admissions of things she's never done.
00:48:53She might as well talk here as downtown.
00:48:56I've got a warrant for her.
00:48:58For what?
00:48:59Suspicion of murder.
00:49:00What's your theory?
00:49:00It's as simple as A, B, C.
00:49:02Yes, it would be if you thought of it.
00:49:05Chalmers killed Brent because he hated him and she offered him money.
00:49:08Then she got frightened and killed Chalmers,
00:49:10thinking that he would get drunk and give it away.
00:49:13Every piece of evidence we have got points to her.
00:49:15It was her cigarette that blew up the film,
00:49:17her car that made the tracks outside of Chalmers' house,
00:49:20and acid from her battery that killed him.
00:49:23Oh, that's a lot of bunk.
00:49:24I know.
00:49:25You've got to make an arrest.
00:49:26It's okay with you.
00:49:28Chalmers, you can't sit there and let them arrest Marcia.
00:49:31She has nothing more to do with these murders than Lincoln had to do with the burning of Rome.
00:49:36Mr. Drew, we don't know whether Lincoln burned Rome or not,
00:49:40and we don't care.
00:49:41But this man is a policeman, so let us hear what he has to say.
00:49:44We're not paying you to quarrel with the police.
00:49:46Oh, I don't care if you pay me a dime.
00:49:48She and if you arrest Miss Lane now, there'll be a lot of nasty newspaper headlines.
00:49:51Hold off for 24 hours and I'll be responsible.
00:49:53Better than that, in 24 hours I'll prove that she's innocent.
00:49:56You're making yourself ridiculous.
00:49:58I'm trying to protect one of your stars.
00:49:59Wait a minute, Steiner.
00:50:00Maybe he's right.
00:50:02What about this scandal?
00:50:04What about her box of his name?
00:50:06Ain't he got enough trouble here already without having Marcia arrest it?
00:50:08Now, Mr. Grossmith,
00:50:10if you want to accept the responsibility, you can.
00:50:13But remember,
00:50:14this is a murder case.
00:50:16Two people are dead.
00:50:18And how do you know someone else won't be killed?
00:50:22For my part,
00:50:23I believe that the police should not be interfered with.
00:50:26Well,
00:50:27all I got to say is that
00:50:28it's a terrible calamity.
00:50:32Let's go, Hilliker.
00:50:33I guess the explosion's over.
00:50:36Someone in this studio killed Miles Brenton Chalmers.
00:50:39And he's trying to pin it on Marcia Lane.
00:50:42But they won't get away with it.
00:50:44Come on, Miss Lane.
00:50:50Marcia, honey.
00:50:51I'm sorry.
00:50:53I'll get you out of this just as soon as I can.
00:50:55I know you will, Frank.
00:50:56I'm not worried, really.
00:50:58Come on.
00:51:05I expect you to let me.
00:51:08I read all my ballot here.
00:51:10I expect you to let me.
00:51:12Marcia Lane is here at the studio murder.
00:51:15Hi, expert.
00:51:19Thanks.
00:51:20Hi, baby.
00:51:22We know about it.
00:51:23Marcia Lane accused the studio murder here.
00:51:27Hi, baby.
00:51:30Hi, we know about it.
00:51:33Hi, dear.
00:51:35I expect you to let me in.
00:51:36Yeah.
00:52:06How do you do, sir?
00:52:06How do you do?
00:52:07I'm from the publicity office of the Tone Art Studios.
00:52:10Yes?
00:52:10I'd like to see a list of the people who sent flowers to the Brent funeral.
00:52:13Oh, I think I have a list.
00:52:15Thanks.
00:52:23Terrible thing, that Brent murdered, wasn't it?
00:52:25I hear they're listed in Marchelaine.
00:52:27Yes, I guess she'll be one who won't send flowers.
00:52:30Oh, yes, she will.
00:52:31She was in here early this afternoon and ordered a big wreath.
00:52:34Oh, is that so?
00:52:35They are mostly women.
00:52:37It's surprising so many of them gave their names.
00:52:39Oh, some of them didn't.
00:52:41There was a lady near Jost now who signed a check,
00:52:44then thought better of it and tore it up.
00:52:47Didn't want the husband to see the cancelled check.
00:52:50Perhaps.
00:52:51Oh, pardon me.
00:52:51Yes, madame?
00:52:52Are there any gardenias?
00:52:53Oh, certainly.
00:53:28Oh, good evening.
00:53:31Evening.
00:53:34Alone?
00:53:35Yes, I'm not stopping.
00:53:37Oh.
00:53:38I have a key here a friend of mine carried away with him.
00:53:41Oh, thank you.
00:53:42My name is Drew.
00:53:43I'm from the tone art studios.
00:53:45I'd like to keep this thing quiet.
00:53:46Keep what quiet?
00:53:48Brent's visit here the night before he was murdered.
00:53:50You see, if the papers get hold of a story like this,
00:53:52they play it up and it's bad for the picture business.
00:53:54Well, it doesn't do us any good either.
00:53:57All right, let's get together.
00:53:58Sure, what do you want?
00:54:00Who was the woman with Brent?
00:54:03Mrs. Brent.
00:54:04There is no Mrs. Brent.
00:54:05They were divorced.
00:54:07Well, then I don't know who she is.
00:54:09You see, I wasn't here when they checked in
00:54:10and they left in such a hurry I didn't see them go out.
00:54:13In a hurry?
00:54:13Why?
00:54:14Well, a fellow came in here and started a row
00:54:18and then he waited in that telephone booth over there
00:54:20and when they came down, he stepped out.
00:54:22At least that's what Charlie says.
00:54:24Who's Charlie?
00:54:25One of the night bellhops.
00:54:27Could I see him?
00:54:27Sure.
00:54:30Oh, Charlie.
00:54:31Yes, sir.
00:54:36This gentleman wants to ask you a few questions.
00:54:39Shoot.
00:54:41Say, do you remember seeing the man
00:54:43who waited for Miles Brent in the telephone booth the other night?
00:54:46I just got a glimpse of him before the fight.
00:54:48What fight?
00:54:49Well, when Brent hit him in the patio.
00:54:53How did it happen?
00:54:54Well, the lady ran out to the car
00:54:56when she saw the guy come out of the booth.
00:54:58Then the guy steps up to Mr. Brent and says,
00:55:00Brent, I want to see you.
00:55:02I thought it sounded kind of silly
00:55:04because he was seeing him right there.
00:55:06Well, then what happened?
00:55:07Well, Brent takes the guy outside in the patio.
00:55:10That's when he socked him.
00:55:11Well, then did Brent get into his car?
00:55:12Yeah.
00:55:13And the other guy picked himself up.
00:55:15Boy, was he mad.
00:55:16And was his face red?
00:55:18What did he say?
00:55:19What didn't he say?
00:55:21Listen.
00:55:24It was awful.
00:55:25And then he beats it.
00:55:27Would you remember this man if you saw him again?
00:55:29Well, I might.
00:55:30And then again, I might not.
00:55:32It all happened so fast.
00:55:34Would you remember the lady?
00:55:35Sure.
00:55:36Say, she was a honey.
00:55:37Only she talked kind of funny.
00:55:39You know, like she was a foreigner or something.
00:55:42With an accent?
00:55:42Yeah.
00:55:44Well, that's fine, Charlie.
00:55:46You've been a big help to me.
00:55:47Here.
00:55:48Thanks.
00:55:49Good night.
00:55:50Thanks.
00:55:51Good night.
00:55:51Say, are you a detective?
00:55:53No, I'm just from the studio.
00:55:55Will there be detectives here?
00:55:56I hope not.
00:55:57Call for Mr. Wallace.
00:56:01Calling Mr. Wallace.
00:56:09Which booth did that fellow hide in?
00:56:11There.
00:56:13How long has it been out of order?
00:56:15Just since the guy hid in there.
00:56:17I guess he kept pounding on the hook trying to get Brent's room.
00:56:40Shelf, shelf, that's all you can think of is shelf.
00:56:43Already this picture cost me $239,351.
00:56:48Where did I put my money in the bank?
00:56:50Can I get any interest from a shelf?
00:56:52I'm not asking you to lose anything.
00:56:54But how can we finish the picture without Brent?
00:56:56I have told you 17 times that we can use a double.
00:56:59And 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?
00:57:10Now just a minute.
00:57:12Now let's take it calmly.
00:57:14New York office is of the opinion that the murder of Brent won't hurt the picture if we can release
00:57:19it soon enough.
00:57:21Now why not shoot that scene using a double and wind it up?
00:57:24It's the last scene in the picture.
00:57:26It can't possibly do you any harm.
00:57:28Exactly.
00:57:29Steiner has got right.
00:57:30Oh, all right.
00:57:31What's the use of arguing?
00:57:32Good.
00:57:32We 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 on a set is standing.
00:57:45We can shoot it in half an hour.
00:57:48Dad.
00:57:50Hold on a minute.
00:57:51What time?
00:57:537.30.
00:57:54Say 9.30.
00:57:55Make it 9 o'clock.
00:57:56We'll save a half hour.
00:58:00Todd, we're going to shoot the last scene of the death kiss tonight.
00:58:03Round up the company for a 9 o'clock call.
00:58:05Sure, Mr. Steiner.
00:58:07Mac, we're retaking the death kiss.
00:58:09Get busy on the call.
00:58:10Okay.
00:58:14You've got Brent's double and call, haven't you?
00:58:16Yes, I'll have him all right.
00:58:18But say, what about Miss Lane?
00:58:21I think I'll have her.
00:58:25Silk on that 36.
00:58:27Hey, Mac, let me put that light over here.
00:58:29Screen 80, with her.
00:58:30Screen 80, Joe.
00:58:32Look, screen 80.
00:58:34Say 27 and 42.
00:58:36Joe, they'll check with my camera.
00:58:40I think everything is all right.
00:58:42Good evening.
00:58:43You know Mrs. Avery?
00:58:45Yes, of course.
00:58:45How are you?
00:58:47I'm surprised you've come to see this retake.
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 will make you comfortable.
00:58:56He's very good with the ladies.
01:00:12Yes, Miss Lane.
01:00:13Do you know where Mr. Drew is?
01:00:15He went away and left me after him promising he wouldn't.
01:00:18Well, do you know where he went?
01:00:20I got an idea, but I can't tell.
01:00:23Well, do you know when he'll be back?
01:00:26I don't know. He'll turn up. You can't lose that guy.
01:00:30We're ready for a rehearsal, Miss Lane.
01:00:32All right, thank you.
01:00:34Go ahead. We'll wait here.
01:00:39And just as you reach here, Miss Lane steps up and kisses you.
01:00:42Now, naturally, you're surprised because you don't know her.
01:00:44Then you turn, lead your line to the doorman, and walk out of the curb.
01:00:47Right.
01:00:50Oh, Marshal, I'm so sorry about everything.
01:00:54I know it's going to be difficult for you, but I'll try and help you all I can.
01:00:59Thank you, Tom.
01:01:02Oh, you know, Mr. Johnson.
01:01:04Yes, how do you do?
01:01:05Shall we try at once?
01:01:07Oh, George, let's have quiet, please.
01:01:10Quiet!
01:01:12Rehearsal!
01:01:16Take your places, please.
01:01:19Come on!
01:01:20Sound ready for rehearsal?
01:01:21Okay.
01:01:23Hammer.
01:01:24This business gives me a funny feeling.
01:01:26What do you mean?
01:01:27I don't know. It just gives me a funny feeling, that's all.
01:01:30Supposing it should happen, somebody else is shot.
01:01:32This is ridiculous.
01:01:34Well, maybe it is, and maybe it ain't.
01:01:36Anyway, I don't like the set, and I don't like the title of the picture.
01:01:39The Death Kiss.
01:01:40Yeah.
01:01:41From now on, we have no more titles with death in it.
01:01:44Getting superstitious.
01:01:46Ah, say, you ain't got no nerves.
01:01:48Well, I ain't afraid either, but I'm just a little scared, that's all.
01:01:52What can possibly happen?
01:01:53That's it, anything.
01:01:54I must have been overlooking something.
01:01:56About ruddy shame, sir.
01:01:58Most annoyed.
01:01:59Right, right under me very nil.
01:02:01Wait a minute.
01:02:01What's the matter now?
01:02:03I can't get it with the mic there.
01:02:05Well, go ahead and fix it the way you want it.
01:02:09Swing it in here, Father.
01:02:11Come on, Father.
01:02:13Now down a little closer.
01:02:16There.
01:02:16Is that in your picture?
01:02:18No, you're safe there.
01:02:19Okay, tested.
01:02:25One, two, three, four.
01:02:27One, two, three, four.
01:02:28Microphone number two.
01:02:30All right, let's go.
01:02:31Okay for sound.
01:02:50Well, Lieutenant, can I see you a minute?
01:02:51Well, if it isn't our little mystery writer.
01:02:54I knew you'd turn up.
01:02:56Have you solved it?
01:02:58Come over here a minute.
01:03:03What's the revelation?
01:03:06Well, I went through the clothes that Brent wore the night before he was murdered.
01:03:09I found a room key to the Cliffside Inn in his pocket.
01:03:12I went up to the inn and found that he'd registered there the night before as Mr. and Mrs. Brent.
01:03:16Not unusual for him, was it?
01:03:18No, but the husband of the woman that was with him waited for Brent in the telephone booth in the
01:03:22lobby.
01:03:23When Brent came down, they had a fight.
01:03:25Brent beat him up and left with the woman.
01:03:26Now, there's your motive.
01:03:28The fellow who hid in the telephone booth is the fellow who murdered Brent.
01:03:31It's a motive, sure.
01:03:32But it seems to me that everyone around here had a motive.
01:03:35Yes, but this same man knew a lot about electricity and a lot about film.
01:03:38Now, Chalmers couldn't have thrown that cigarette butt in the film because he was nowhere around at the time.
01:03:43Marsha couldn't have poured acid on the negative.
01:03:45Well, she knows less about film than you do.
01:03:47But this same fellow, whoever it was,
01:03:49found out that Chalmers had discovered his contraption in the lamp,
01:03:53stole Marsha's car,
01:03:55took acid again, Dr. Chalmers' gin,
01:03:57and then returned the car.
01:03:58Yes, but why did he take Miss Lane's car?
01:04:00Well, to give himself a double-headed out.
01:04:02If you believed that suicide gag, well, that was the end of it.
01:04:05If you didn't, everything pointed to Marsha.
01:04:07Whatever happened, he wouldn't be suspected.
01:04:09Yeah.
01:04:11But you have got to show me that the guy who was at the inn is someone here at the
01:04:14studio,
01:04:15and that he had access to the light, the film, the car, and everything else.
01:04:18Well, that's easy.
01:04:20The man who hid in the telephone booth left this trademark.
01:04:24What's this?
01:04:25Well, you know as well as I do that the scribblings a man makes on a piece of paper
01:04:28are as identifying as his signature.
01:04:30Oh, now all we've got to do is to find the guy that scribbles like this, huh?
01:04:35Well, I've done that, too.
01:04:37Take a look at this.
01:04:43Where did you get this?
01:04:44In Grossmith's office.
01:04:46Now, Avery, Steiner, Grossmith, and Howell were in there having a conference.
01:04:52And you think one of those four killed Brent?
01:04:55Yes.
01:04:58This is interesting.
01:05:01But I've only your word for it, and that don't count for much.
01:05:06Well, I'll keep your paper dolls.
01:05:08But you have got to get me more substantial evidence than this
01:05:10before I can let Miss Lane go.
01:05:22Take good care of these guns, boys, and don't forget to check them back to me.
01:05:25All right.
01:05:37Sure the gun isn't loaded?
01:05:38You bet not.
01:05:39I just looked at it.
01:05:42Do you mind if I look?
01:05:43I don't know.
01:05:48A clear deal?
01:05:50All right, we'll take it.
01:05:51Is everybody ready?
01:05:52Let's make it.
01:05:53Uh, Johnson, power up, will you please?
01:05:55Sure.
01:06:00Thanks.
01:06:01You're welcome.
01:06:07Frank, I've been so worried about you.
01:06:09Darling, I'm hot on the trail.
01:06:10I've got an idea.
01:06:11And if I'm right, I'll have this whole thing wrapped up and tied before you know it.
01:06:15But don't go away before I'm through, will you?
01:06:16You bet I won't.
01:06:17Miss Lane, will you stand on a minute, please?
01:06:20See you later.
01:06:29Isn't loaded, is it?
01:06:31What do you think?
01:06:31I'm crazy?
01:06:32Mind if I look?
01:06:33Oh, go ahead.
01:06:39Thanks.
01:06:46Say, Bill, those aren't the same guns you used before, are they?
01:06:48I know.
01:06:49I couldn't get 38s before, so I slipped in the 45s.
01:06:52Nobody knew the difference.
01:06:53Do you mean 38s were called for before?
01:06:55Yeah, they made a row about it.
01:06:57Who insisted on it?
01:06:58Okay, coming up.
01:06:59Come on with me.
01:07:03Listen, I've got it.
01:07:04This is Bill, the property man.
01:07:06He tells me on the day that Brent was murdered, he was definitely ordered to give all the extras 38
01:07:10caliber guns.
01:07:11Yeah?
01:07:11Do you get it?
01:07:1238 caliber guns were ordered.
01:07:13Now, if Bill had supplied them, we'd have never known that it wasn't an accident.
01:07:22But he didn't.
01:07:23He substituted 45s.
01:07:25That's how we knew it was a murder.
01:07:27Now, the fellow who ordered those 38s...
01:07:29Say, who ordered those guns?
01:07:30Go ahead, Bill, tell him.
01:07:32Well, it was Mr. T...
01:07:33Everybody stand on the arm!
01:07:38Lights!
01:07:38Give me a light!
01:07:39Be your chips!
01:07:41Come on!
01:07:45There he is!
01:07:46There he goes!
01:07:47Look out there!
01:07:49Look out there!
01:07:51Come on, Mike!
01:07:53Come on, Mike!
01:07:54Can't you get out of this place?
01:07:56Come on!
01:07:57Can't you get away?
01:07:59Right there!
01:08:03Get out of here!
01:08:05Get out of here!
01:08:07Come on!
01:08:09Get out of here!
01:08:10Come on!
01:08:12Come on, he went this way.
01:08:16Oh, there he is, come on!
01:08:25There he goes!
01:08:27Look at those dams!
01:08:32Come on, come on, come on, they're going to find you.
01:08:40Stand where you are, I'll shoot!
01:09:09Avery.
01:09:10Mr. Avery.
01:09:11So he's the one that ordered the guns?
01:09:12Yes, I told you about him under the microphone.
01:09:14He was listening in with the earphones.
01:09:16So it was him.
01:09:19Don't look at him now, he's dead.
01:09:22Dead?
01:09:24Yes!
01:09:24I am glad!
01:09:28The woman at the cliffside inn, huh?
01:09:35You stay here, Helica!
01:09:37Come on, come with me!
01:09:37Come on, come on!
01:09:41I got him!
01:09:43I got him!
01:09:48There's your man!
01:09:49Who is he?
01:09:55You'll suffer for this, you despicable cad!
01:09:59So, you're a policeman, huh?
01:10:15I think I owe apologies to Miss Lane and to you, too.
01:10:19I'm sorry that I was unpleasant.
01:10:21You know, at first I could have sworn it was you.
01:10:23I knew it, and it made me quite angry.
01:10:26But you're much more clever than I gave you credit for.
01:10:28Well, that sounds like a new contract.
01:10:32We'll talk about that later.
01:10:37Oh, uh, Lieutenant.
01:10:39Would you mind telling me why it is that detectives always wear their hats,
01:10:43even in the presence of ladies?
01:10:45Well, sure.
01:10:46That's so we won't have anything in our hands or arms in case we have to use them.
01:10:51That's one for the book.
01:10:52Do you mind if I write it in right now?
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