- 10 hours ago
Prepare for a captivating cinematic voyage in this stylish "film-about-film" noir. This high-quality, full movie serves as both a gripping mystery and a poignant tribute to the early days of Tinseltown, featuring cameos from actual silent-era stars. Brimming with atmospheric nostalgia, behind-the-scenes Hollywood lore, and a twist-filled investigation into a cold case, this moody drama is now free to watch for all fans of classic cinema fascinated by the secrets buried beneath the glitz and glamour.
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Short filmTranscript
00:00:00The End
00:00:36The End
00:01:05The End
00:01:35A deserted motion picture studio, a shot and a corpse, the year 1929.
00:01:45Little did I realize 21 years later, this unsolved murder would become part of my life.
00:01:51Oh, before I forget, that's me, Mitch Davis. I'm an agent, and that's my son.
00:01:58Everything was progressing normally that morning, and I was happy as a lark as I drove to the airport to
00:02:03pick up Larry O'Brien.
00:02:05This was his first trip to California after a very successful picture-making career in New York.
00:02:11Larry and I went to school together, and after graduation, we went our separate ways.
00:02:15But eventually, we both wound up in the picture business, Larry as a producer and me an agent for movie
00:02:22talent.
00:02:24As I waited for Larry, I couldn't help but think how successful a producer he had become.
00:02:30But that was no surprise to me.
00:02:32Lawrence O'Brien was already a success at the age of 17, when we did Romeo and Juliet together as
00:02:38a Civil War play in high school.
00:02:41He played Romeo, and I married Juliet.
00:02:47Larry, my boy, nice to see you. How are you?
00:02:50Fine, Mitch. How are you?
00:02:51Look at that tan. How do you do it?
00:02:53Sun lamp.
00:02:55How's my Juliet and your children?
00:02:56Oh, great, great, Larry. California's a great place for kids.
00:03:00What made you decide to finally come?
00:03:01Sam Collier wants me to make a picture out here.
00:03:03Yeah, well, I kind of thought so. Sam finances your pictures.
00:03:06Sam likes it out here in California.
00:03:07You make pictures in California.
00:03:10Everybody's happy, including me.
00:03:11I'm glad we're together, Mitch. It's like old times.
00:03:13Oh, it's a pleasure.
00:03:15I got everything all set up.
00:03:16I got your house. I got your small motion picture studio.
00:03:19Now, what do you want to see first?
00:03:20First where I work. Then where I live. Let's see the studio.
00:03:24The place I had in mind for Larry was an old motion picture studio over on La Brea, which had
00:03:29been closed for years.
00:03:30In the old days, they had made some of the real big pictures there.
00:03:34They only made silent pictures here.
00:03:36The first ones and the best ones ever since 1915, Mr. O'Brien.
00:03:40Why, this street has been everything from Klondike Gulch to the canal in Venice.
00:03:46It's been Chinatown, Park Avenue, and the Barbary Coast.
00:03:51Do you see that corner there?
00:03:52Well, that's where Lee surrendered to Grant.
00:03:54Custer made his last stand right in the middle of that square.
00:03:58Now, if you follow me right through here.
00:04:03What's this, Mr. Miller?
00:04:08Oh, that was the great silent picture director, Franklin Ferrara.
00:04:12You remember. He was murdered.
00:04:15I think I do.
00:04:16He was killed right on this lot.
00:04:18Down there in that bungalow.
00:04:20Would you like to see it?
00:04:22Some other time, Mr. Miller.
00:04:23Why not? Let's take a look at it.
00:04:26Used to be the time I'd take a hundred, maybe a hundred and fifty people through this bungalow every day.
00:04:31All of them waiting to see the place where Mr. Ferrara was killed.
00:04:35All of them asking the same question, who did it?
00:04:45Probably have burned that bulb.
00:04:48Might not even be connected up.
00:04:50I don't think anyone's been here for years.
00:04:56This is where they found the body.
00:05:00January 5th, 1929.
00:05:041929.
00:05:04That's the year we started in high school.
00:05:07Yeah, that's the year my father finished in Wall Street.
00:05:12Mr. Miller, they never found out who killed Ferrara, huh?
00:05:15No.
00:05:16Too many people involved.
00:05:18They tried to pin it on all of them.
00:05:20To this day, no one knows who really did it.
00:05:24Someone knows.
00:05:26Yeah?
00:05:27Who?
00:05:27Whoever did it.
00:05:31Hey, Mitch, look at this.
00:05:32An old player piano, just like a Nickelodeon.
00:05:34I haven't seen one in years.
00:05:36Put another nickel in.
00:05:52Mitch, do you remember the old Atlantic movie theater on 116th Street?
00:05:56They had one of these.
00:05:57Man, you're really going back.
00:05:59Hey, you remember Tom Mixon, Texas Bad Man?
00:06:01Sure, I remember, and I remember this music.
00:06:04They played it with a picture called something about the Sahara Desert.
00:06:08There were tents and sheiks and beautiful girls, wild horses.
00:06:12I'll bet that was Sands of Sahara.
00:06:15That's right.
00:06:16Directed by Franklin Ferrar.
00:06:19You don't see pictures like that anymore.
00:06:21Yes, you do, Pop.
00:06:22Every night on television.
00:06:40That was Thea Brent, one of the original vamps.
00:06:44She was in the Song of the Gods, one of Farrar's greatest.
00:06:50Hey, here's a picture of Valentino.
00:06:54Oh, yes.
00:06:55He was a great friend of Ferrara's.
00:06:59Who's this heartthrob?
00:07:00Haven't I seen him around?
00:07:02That's Roland Paul.
00:07:04He drove the flappers wild.
00:07:06You may have seen him around.
00:07:08He's doing small parts now.
00:07:10Handsome man.
00:07:12Yeah.
00:07:13He was involved in the Ferrara case, too.
00:07:16It's a pity.
00:07:18The scandal ruined him.
00:07:20Some people thought he did it.
00:07:21Some people still think so.
00:07:23Do people still remember it?
00:07:25Oh, I guess not.
00:07:27Except maybe a few old-timers like myself.
00:07:43Beautiful.
00:07:43That was Amanda Rousseau in 1925.
00:07:48I'll sign her up right now.
00:07:49In 1950.
00:07:51She's not around anymore.
00:07:53She was involved in the case, too.
00:07:56Ferrara was quite a guy, huh?
00:07:58The best.
00:07:59He could do anything.
00:08:00He lived hard and worked hard.
00:08:03Mr. O'Brien, I could talk about him for hours.
00:08:08You know, Mitch, there's a good story here.
00:08:11I agree with you, Larry, and that's where we should leave it.
00:08:13Right here.
00:08:15But he didn't leave it there.
00:08:17He had walked in on an old hunk of Hollywood history,
00:08:20and already he could almost hear the cameras grinding in his head.
00:08:24That evening we had dinner at my house,
00:08:25but part of him was still back there in that old bungalow.
00:08:29After dinner, he wooed his old high school Juliet
00:08:31for the benefit of the kids and me.
00:08:33They were still doing Shakespeare in the Civil War.
00:08:36Oh, brother.
00:08:38Hey, bravo!
00:08:41Bravo! Bravo! Bravo! Bravo!
00:08:45Author! Author!
00:08:47Encore! Encore!
00:08:48Come on, children.
00:08:50Up to bed, both of you.
00:08:53You were really very good, Mr. O'Brien.
00:08:56I bet you say that to all your daddy's clients.
00:08:58Yes, I do. How did you know?
00:09:00I know your daddy.
00:09:03Come on, dear.
00:09:04Do you make a lot of money, Mr. O'Brien?
00:09:07Jimmy, come on.
00:09:09You know something, Larry?
00:09:11I don't know what's with that kid.
00:09:13Right now, he's got more money in the bank than I have.
00:09:15You're a pretty lucky boy, Mitch.
00:09:16They're wonderful kids.
00:09:18Julie gets prettier every day.
00:09:20What was her name before we did the school play?
00:09:22You know something? I don't remember.
00:09:23I've never called her anything but Juliet.
00:09:25Oh, let me get you a brandy, Larry.
00:09:28Sure.
00:09:28Thank you, Mitch.
00:09:34You know, it was wonderful to talk to that old man this morning.
00:09:36Yeah.
00:09:37What's the decision on the studio?
00:09:39I like it. I'm going to take a lease on it.
00:09:42He's fantastic about that Ferrara fellow.
00:09:44Oh, sure, Hollywood's full of stories like that.
00:09:47Someday, somebody's going to make a picture about him.
00:09:49Yes, but nobody in their right mind would make it.
00:09:50It's too dusty.
00:09:51Backstage stories are okay.
00:09:53Back cameras' stories are absolutely no good.
00:09:55I don't agree with you, Mitch.
00:09:57There's a great story connected with Franklin Ferrara.
00:10:00The colorful days of silent pictures, wonderful background.
00:10:04Now, look, Larry, don't go off the deep end of your first picture out here.
00:10:08Stay out of the quicksand.
00:10:09Do a Western, but make it the best Western that was ever done.
00:10:13Look, we'll leave it up up to Juliet.
00:10:15Level head.
00:10:16Sit down, darling.
00:10:17Knows all the answers.
00:10:18Good, average audience.
00:10:20Can't I have a drink?
00:10:21Yes, later, darling.
00:10:22Now, first, I want an honest answer from you.
00:10:25Here's a story.
00:10:26An old silent picture director was murdered, and to this day, no one knows who did it.
00:10:29Do his life story and all the characters that surround him.
00:10:32Lots of old-timers, sticky, nostalgic stuff about the 20s, about the days of silent pictures.
00:10:37Now, give Larry and me an honest answer.
00:10:40What do you think about it for a picture?
00:10:42I like it.
00:10:48Well, I didn't see Larry for a few days after that, but it wasn't hard to figure out what he
00:10:52was doing.
00:10:53He was doing Los Angeles from the Franklin Ferrara point of view.
00:10:57First, he went to the newspaper morgue at the Los Angeles Times.
00:11:01Then he went to the police department and looked through the old files they had on the case and did
00:11:05a lot of talking.
00:11:07He ran all of the Franklin Ferrara pictures he could get a hold of,
00:11:10some of the most successful silent pictures at the time.
00:11:13Among them, The Phantom of the Opera, starring Lon James.
00:11:26Ferrara's old house in the Hollywood Hills was next on the list.
00:11:29It had been vacant for years, and the statues wouldn't talk.
00:11:33He spent an afternoon at the motion picture home,
00:11:36and the old-timers who had known Ferrara did nothing but talk.
00:11:42The last stop on the line was down the coast at San Juan Capistrano,
00:11:47the famous old California mission.
00:11:52One of the oldest California families, the Ferrara's.
00:11:56The first one sailed into Santiago Bay with the Cabrillo.
00:12:00I remember old Pedro Ferrara.
00:12:04He was a silversmith, a real artist.
00:12:08And his daughter, Isabel, she was a beauty.
00:12:11She became a Carmelite nun.
00:12:13Then there was also two sons.
00:12:16The youngest went abroad a few years ago, and I understand he died there.
00:12:21The other one was Franklin Ferrara, the famous movie director.
00:12:25He had a very tragic end.
00:12:27I suppose you know about that.
00:12:30Yes, I know about it.
00:12:33It's a fine piece of work.
00:12:34I think the father cut that himself.
00:12:37It's the patron saint of the family.
00:12:40You seem to be very interested in the Ferrara family.
00:12:44You writing a book about California?
00:12:46Not exactly, no.
00:12:49Aren't they the famous swallows of Capistrano?
00:12:52Sparrows.
00:12:53Our swallows aren't due for several months yet.
00:12:56March 19th, to be exact.
00:12:59It's quite a sight.
00:13:00You ought to come back and see it.
00:13:02Maybe I will.
00:13:04You never know.
00:13:08There was nothing for me to do while Larry went around for the full circle, but wait.
00:13:13So I waited until O'Brien got good and ready.
00:13:23Mr. O'Brien is on his way in.
00:13:24He was good and ready.
00:13:30Larry, my boy!
00:13:32Hi, Mitch.
00:13:33Where have you been?
00:13:34Well, I've been seeing some interesting places and some interesting people.
00:13:38Now I'm going to do an interesting story.
00:13:39The one I told you not to do?
00:13:41That's the one.
00:13:41Well, even though I haven't been exactly for the project, I haven't been dogging it.
00:13:45Now, first you'll need some writers.
00:13:48Here's my list.
00:13:49Any one of them will give you a top-notch script.
00:13:52Well, thank you, Mitch.
00:13:52I've already got a writer.
00:13:54One of my clients?
00:13:56I don't know.
00:13:57His name's Vincent St. Clair.
00:13:58Never heard of him.
00:13:59What are his credits?
00:14:01Well, he wrote most of Franklin Ferrara's pictures.
00:14:04Say, he's a real old-timer.
00:14:05You think you can find him?
00:14:06Oh, sure, sure.
00:14:09Honey, get me the Screenwriters Guild.
00:14:11Yes, sir.
00:14:14The search for Vincent St. Clair led Larry to a foggy, desolate section of Zuma Beach,
00:14:19miles beyond the Malibu movie colony.
00:14:22The Screenwriters Guild had no record of St. Clair for the past 18 years.
00:14:26But that didn't stop Larry.
00:14:28He played hounds and hares over a trail of bad checks, unpaid bills, and no forwarding addresses
00:14:34until he finally reached the house where St. Clair lived.
00:14:38You really couldn't call it a house.
00:14:40It was more of a lean-to, but then again, it wasn't exactly a lean-to either.
00:14:46It was more of a cave-in.
00:14:54I've got aاب of a-
00:15:06It's more of a chainsaw over a seat.
00:15:06That's why she wanted to be in here.
00:15:06You want to be in here?
00:15:08You have to be in here.
00:15:09You've got to be in here.
00:15:14You've got to be in here?
00:15:17do you always do that when you come into a strange house
00:15:21oh i'm sorry i didn't know anyone was here
00:15:24are you vincent st clare the writer i'm vincent st clare
00:15:27there's some doubt about the latter who are you sir what do you want
00:15:31my name is o'brien that's fair enough i'm a producer
00:15:37go on you wrote a couple of pictures for franklin ferrara
00:15:42i'm going to do the story of his life
00:15:44i want you to work for me well that's very good of you
00:15:47but i'm afraid i won't be able to work your picture into my schedule
00:15:49oh why not well you see i'm doing a play
00:15:53yes i've been writing it now for 11 years
00:15:59you got your foot on my second act oh i'm sorry
00:16:03maybe a few months off would give you a fresh approach
00:16:07you can save the whimsy now why pick on me
00:16:11i saw your old pictures i like them
00:16:13but why a picture about franklin ferrara that's extremely old hat
00:16:17the old hat will be blocked and cleaned
00:16:19do you want to work
00:16:23what's your proposition
00:16:25what was your last salary
00:16:28$7,500 a picture
00:16:33when was that
00:16:371929
00:16:41okay it's a deal
00:16:43i'll pay you the same salary
00:16:45when can you start
00:16:48don't rush me let's have a drink
00:16:54here you are
00:16:58oh excuse me
00:17:04amanda rousseau
00:17:06that's right yes
00:17:08i saw her in a couple of pictures you wrote
00:17:10what happened to her
00:17:12what happened to all of us
00:17:15well
00:17:16here's to you
00:17:17o'brien
00:17:18i think you're absolutely crazy
00:17:20but i like the sound of your checkbook
00:17:22to the ferrara story
00:17:24let's start monday morning and let's keep it quiet
00:17:30this is hollywood
00:17:31exclusive
00:17:32it has just been confirmed that larry o'brien is going to make the franklin ferrara story his first hollywood
00:17:37picture
00:17:37this should be interesting if not a little dangerous
00:17:42i've got the real insight on this ferrara story if you're interested
00:17:45i heard o'brien's got some new evidence and he's going to spill it in the picture
00:17:48well everybody knows who the murderer was
00:17:50yeah who
00:17:53well i've got to get back to the set i'm in the first shot
00:17:59not a bad idea doing the ferrara picture
00:18:01you telling me i was going to do it myself as a musical
00:18:03personally if they spend over a million dollars on it they're crazy
00:18:17yes
00:18:20francis x bush hello john
00:18:23say where you been hiding
00:18:25why i've been right
00:18:26oh you're kidding aren't you
00:18:29my it's been a long time
00:18:32listen
00:18:33francis the last time you were on this lot was to star in mr ferrara's first picture with beverly bain
00:18:40that's right boy what a memory
00:18:42say john i'm your casting office
00:18:44oh right this way
00:18:45well john it's good
00:18:47well if there isn't betty blythe and bill farnham
00:18:49no
00:18:50hello betty
00:18:51hello francis how are you
00:18:52thanks
00:18:53hello bill
00:18:54john glad to see you
00:18:55it's the old days the good old days have come back to hollywood
00:19:00am i intruding
00:19:01helen gibson
00:19:02well you're all in mr o'brien's picture
00:19:05that's right john
00:19:06of course it wouldn't be the ferrara story if all you people weren't in it
00:19:09oh you're a flatterer i don't believe a word but still i like it
00:19:15let's go back to the night of the murder
00:19:16would you read the notes from there mary
00:19:18on the night of january the 5th 1929
00:19:22franklin ferrara had dinner in his bungalow
00:19:25alone
00:19:25it was ascertained that during the evening ferrara had two visitors amanda rousseau and roland paul
00:19:33and possibly a visit from a man named charles rodale as personal secretary who had been dismissed a few days
00:19:39previously
00:19:40many believe that rodale was actually a younger brother of ferrara's
00:19:45rodale disappeared that week and has never been found
00:19:49ferrara was found next morning fatally shot on the floor of
00:19:54right here i guess
00:20:00this was how they found it
00:20:03i was up at arrowhead working on the script
00:20:05i had a date here that morning for story conference
00:20:07when i got here this room was swarming with people
00:20:10actors producers directors
00:20:12uh...
00:20:14manda rousseau
00:20:15everybody you could think of
00:20:17go on mary
00:20:19the murder weapon was never found
00:20:21and neither was the bullet that killed ferrara
00:20:23it was first believed that the motive for the murder was robbery because of some missing items
00:20:28but the conclusion drawn by the police
00:20:31someone mention the police
00:20:36may i help you
00:20:37could be
00:20:38i'm lieutenant lennox
00:20:43yes lieutenant
00:20:43we read about your idea to do the ferrara story
00:20:46so i just thought i'd drop around
00:20:49may i ask
00:20:50why
00:20:51oh i don't know
00:20:52maybe comic relief
00:20:53you know
00:20:54the blundering flatfoot
00:20:56i was under the impression that as far as the police department was concerned
00:20:59the ferrara case was closed
00:21:01an unsolved murder case is never closed mr o'brien
00:21:05what gave you the idea to do this story
00:21:07i produce motion pictures
00:21:10i produce motion pictures about interesting subjects
00:21:13this story should make an interesting motion picture
00:21:15okay
00:21:16but in case you run into any interesting trouble
00:21:18just call the department
00:21:20ask for lennox
00:21:23bud lennox
00:21:24larry
00:21:25sam
00:21:26you got out of your mind
00:21:27i thought you were in mexico city
00:21:29i was in mexico city then i got your telegram now i'm here
00:21:33who's this
00:21:34who's this
00:21:34sam collier my partner lieutenant lennox
00:21:36lieutenant
00:21:38police department
00:21:38oh fine
00:21:40hello sam
00:21:41hello
00:21:42what are you doing here saint claire
00:22:13i'm writing the ferrara picture for o'brien
00:22:14the screenplays being written by an old geek
00:22:44but once i get into something i like to do it right
00:22:45i'm sorry larry my mind's made up if you insist on going ahead with this
00:22:48now sam
00:22:49now will you listen to me
00:22:51this story is hot
00:22:53and if we don't make this picture someone else will
00:22:54i'm sorry
00:22:55if you make this picture you'll do it without me
00:22:58just like that
00:22:59just like that
00:23:01all right sam
00:23:03it won't be with you
00:23:04i guess there's not much more to say
00:23:07i suppose not except that i'm gonna miss you sam
00:23:11and i'm very sorry
00:23:12yeah
00:23:17maybe it was that bungalow
00:23:18from the minute larry first walked into it it started to play tricks with his imagination
00:23:24couldn't stay away from it
00:23:25that night he was still there
00:23:28all he could think about was the ferrara story
00:23:30how to find the missing pieces
00:23:32how to put them together
00:23:47well
00:24:09hey pop
00:24:11You see anybody, goodbye.
00:24:13How's that?
00:24:13Never mind, go back to sleep.
00:24:48Police department, Lieutenant Lennox, please.
00:24:52Oh.
00:24:54But when he comes in, will you tell him to call Lawrence O'Brien?
00:24:58The number is Granite 1466.
00:25:02Yes, thank you.
00:25:19You're Lawrence O'Brien.
00:25:22I'm Sally Rousseau.
00:25:25Amanda Rousseau's daughter.
00:25:28I thought you and your mother lived in the East.
00:25:30We do.
00:25:31I came out here to ask you to drop the Ferrara picture.
00:25:34Why should I?
00:25:35Because it's not just another picture.
00:25:37It has to do with real people.
00:25:38Well, I don't intend to use anybody's name except Franklin Ferrara's.
00:25:42But everyone will know who you're talking about without mentioning names.
00:25:47These pictures of my mother appeared in the papers only a few days ago.
00:25:51That's what the mere announcement of your film has done.
00:25:54I don't intend to see her dragged through a rehash of a 20-year-old scandal.
00:25:57She's happily married, and her past life in Hollywood is dead and buried.
00:26:04I understand your concern, but why don't you look at it this way?
00:26:07A picture telling the true story will clear the innocent once and for all.
00:26:11You will serve the innocent better by not making the picture.
00:26:16That's very good advice.
00:26:19Do you mind if I pay no attention to it?
00:26:23Hello?
00:26:25Sam?
00:26:25Larry, I'm sorry about this afternoon.
00:26:28I was upset about a lot of things, but, well, you were right about the picture and I was wrong.
00:26:33I've been talking to a few of the boys who ought to know they loved it.
00:26:36And if we don't do the picture, somebody else will.
00:26:39So, look.
00:26:40Well, let's forget about this afternoon, huh?
00:26:42We're still in business.
00:26:43Count me in.
00:26:44You were never out, Sam.
00:26:46Come down to the studio tomorrow morning.
00:26:49There are some things I want to talk to you about.
00:26:51Yeah.
00:26:53Goodbye.
00:27:24Good night.
00:27:33Good night.
00:27:47Look here!
00:27:51Good night.
00:28:06The Christmas parade passing in front of the Hollywood Roosevelt Hotel
00:28:10couldn't have been nearly as interesting to Larry
00:28:11as the face of Roland Paul.
00:28:15Another member of the old cast had made his entrance.
00:28:19This gave O'Brien a very good reason for having breakfast
00:28:22at the Hollywood Roosevelt Hotel the next morning.
00:28:26Is there anything else, sir?
00:28:28No, thanks.
00:28:39Well, Miss Rousseau, won't you sit down?
00:28:43Please.
00:28:49Do you always have breakfast here?
00:28:51No, this is the first time.
00:28:53Isn't it amazing we ran into each other?
00:28:56Amazing.
00:28:58Would you like to order, Miss?
00:29:00Orange juice, black coffee, and Melba toast.
00:29:04So that's how you do it.
00:29:06How I do what, Mr. O'Brien?
00:29:08Keep in shape.
00:29:10You were pretty fast in getting away last night.
00:29:13It was hardly a social call.
00:29:15My logic made no impression on you, so I left.
00:29:18Of course, you didn't know that someone had just taken a shot at me.
00:29:22No, I didn't.
00:29:25Is that the reason you're here, Mr. O'Brien?
00:29:27To tell me you've changed your mind and you're not going to do the picture?
00:29:31I like the way you keep trying.
00:29:33I don't care to see a lot of innocent people dragged through the mud.
00:29:36You're repeating yourself.
00:29:38Then let me add that before it's over, you won't be very clean either.
00:29:41Suppose my picture tells the truth.
00:29:43How can it?
00:29:45Do you know who killed Franklin Ferrara?
00:29:47Then why do you ask that?
00:29:49Stop playing games, Mr. O'Brien.
00:29:52Without knowing the murderer, you don't have a story.
00:29:55You're right.
00:29:57In order to make the picture, I need the answer to who killed Ferrara.
00:30:01And I think I can find it.
00:30:03But I need your help.
00:30:05Your mother must have told you a lot about this case.
00:30:08They didn't solve it then, and you're not going to solve it now.
00:30:11I don't give up that easily.
00:30:14That's entirely up to you, Mr. O'Brien.
00:30:16But remember, the next shot at you might not miss.
00:30:23I'm sorry.
00:30:24All calls go through the casting office.
00:30:26Damn call you and Mitch Davis are in your office.
00:30:28It was a case of do or die, see?
00:30:30So I took the seminar and I swung the club.
00:30:32Died.
00:30:34Sorry I'm late, fellas.
00:30:35That's all right, Larry.
00:30:37Big night?
00:30:38Interesting.
00:30:39Had a feeling when you called me this morning that something was wrong.
00:30:42You had the right feeling, Mitch.
00:30:44Tell St. Clair to come into my office.
00:30:46I think he better be here, too.
00:30:48Do we have to have that character around?
00:30:49He gives me the creeps.
00:30:50What's wrong with him?
00:30:51I just signed him up as a writer.
00:30:52He can't write, that's all.
00:30:54Now you tell me.
00:30:55I don't go along with that, Sam.
00:30:56I saw a couple of pictures he wrote.
00:30:58The titles, you mean?
00:30:59Before 1929.
00:31:00Did you happen to see that first talkie he did?
00:31:03I didn't know he wrote one.
00:31:04You ought to run it sometime.
00:31:08You sent for me?
00:31:17How are you, Vince?
00:31:19They treating you all right?
00:31:21Are you happy?
00:31:22I'm fine, thank you.
00:31:23They're treating me all right, yes.
00:31:24I'm happy.
00:31:27Vince, you know Sam Collier.
00:31:29A lot of water's passed under the bridge, hasn't it, Vincent?
00:31:32Where have you been hiding?
00:31:33I haven't been hiding, Sam.
00:31:35I've been out of work for 20 years.
00:31:36Sam, that's something I can't understand.
00:31:39A good writer like Vince...
00:31:40That shouldn't be difficult to understand.
00:31:42Sam could explain it if he wanted to do.
00:31:45Couldn't you, Sam?
00:31:46Well, that's the way it goes in this town, Benny.
00:31:48That's the way it goes.
00:31:49Nice to see you back.
00:31:51You look as though you'd hardly been away.
00:31:54As a matter of fact, you look just the same as you did that last night we had dinner together.
00:31:58Up at Ferrara's house.
00:32:00I haven't got much time, Larry.
00:32:02What's on your mind?
00:32:04Well, I'll give it to you straight.
00:32:06Last night in the bungalow, somebody took a shot at me.
00:32:08With a gun?
00:32:10It wasn't a slingshot.
00:32:11Well, this is nothing to joke about.
00:32:12You know what this means?
00:32:13Somebody doesn't want him to make the picture.
00:32:15Did you speak to the police?
00:32:16Not yet.
00:32:17I told you in the first place to leave it alone.
00:32:19I begged him.
00:32:20I said, Larry, make a Western.
00:32:21You can't go wrong with a Western.
00:32:23Make a Western.
00:32:24Shut up.
00:32:26What are you going to do?
00:32:28I'm going on with the picture.
00:32:31If any of you would like to take off, I'll not only understand, I'll give you the car fare.
00:32:34This is my first job in almost 20 years.
00:32:37No one's going to scare me out of it.
00:32:39I mean, if you want to do is all right with me, I'll back you up all the way.
00:32:42Who'd want to shoot an agent?
00:32:45Okay, so now we know where we stand or fall.
00:32:48All right, Larry.
00:32:49Just watch out for yourself.
00:32:50Don't worry, Mitch.
00:32:51Sam, I want to see you a second.
00:32:52Oh, sure.
00:32:55I didn't know you knew Ferrara personally.
00:32:57I was his business manager.
00:32:58Oh.
00:32:59Funny I didn't tell you.
00:33:00I guess I thought you knew.
00:33:02No, no, I didn't.
00:33:03Well, I got to run.
00:33:04I'll keep in touch, huh?
00:33:06Yes, Sam, sure.
00:33:07Come on.
00:33:12Come on.
00:33:13It was your nickel, O'Brien.
00:33:15Why'd you call me last night?
00:33:17Oh, that.
00:33:18Nothing important.
00:33:19We might need a technical advisor on the picture, and I thought of you.
00:33:22Well, thanks.
00:33:23But are you sure I'm qualified?
00:33:26Not completely, no.
00:33:27Well, why'd you try me out?
00:33:29For instance, you might ask me the caliber of that bullet that missed you last night.
00:33:34What about it?
00:33:36.32 caliber.
00:33:37Fired from a distance of about 30 feet.
00:33:40And judging from where it hit that picture, it couldn't have missed your head by more than two inches.
00:33:45Anything else?
00:33:47Yeah.
00:33:48That chick you had breakfast with this morning at the Hollywood Roosevelt did a very strange thing after she left
00:33:53you.
00:33:54She took a taxi to the Las Palmas Apartments on North Sycamore
00:33:57and visited an apartment on the second floor rear, number 205.
00:34:06How do you know all this?
00:34:08That's what they pay me for, to know all this.
00:34:11And who do you think she visited in apartment 205?
00:34:18Roland Paul.
00:34:21Do you want to go on playing games, or shall we stop?
00:34:23Well, let's keep on playing.
00:34:25Have you any idea who might have fired that shot at you last night?
00:34:29I have an idea.
00:34:30Me too.
00:34:32Let's get together sometime and compare ideas.
00:34:46Mary, will you send a couple of dozen roses to Miss Sally Rousseau at the Hollywood Roosevelt?
00:34:50Yes, sir.
00:34:51With this message.
00:34:52Will you have dinner with me tonight?
00:34:54I have a pleasant surprise for you.
00:34:58Larry O'Brien.
00:35:01What shall I do?
00:35:07I think you should go.
00:35:20How do you like it?
00:35:22I don't know, really.
00:35:23It's so strange seeing Mother on the screen.
00:35:26This is the first time.
00:35:28She's very beautiful.
00:35:31Roland Paul was pretty handsome in those days, too.
00:35:34I think he still is.
00:35:36I am sure you do.
00:35:38How old did you say he was?
00:35:41I didn't say.
00:35:42It's that fictional mind of yours, hearing things.
00:35:45Maybe the police have fictional minds, too.
00:35:47Or is it a twin brother that you have been seeing?
00:35:50He was an old friend of my mother's.
00:35:52She asked me to look him up.
00:35:54Real sentimental, huh?
00:35:56Yes.
00:35:57Genuine emotion sentiment.
00:35:58Look it up in the dictionary.
00:36:00I doubt if you'll find it in one of your scripts.
00:36:03Excuse me, but I have a peculiar version of the people who take pot shots at me.
00:36:07How ridiculous.
00:36:08Roland Paul is a kind, decent man who never harmed anybody.
00:36:11What was he doing here last night?
00:36:12Why don't you ask him?
00:36:13I intend to.
00:36:13You do no such thing.
00:36:15That's two people you're trying to protect.
00:36:18I can understand about your mother.
00:36:20But why Roland Paul?
00:36:21He suffered just as much as my mother did.
00:36:23Even more.
00:36:23He was hurt terribly.
00:36:26I can't tell you anymore.
00:36:28Don't ask me, please.
00:36:32I'm sorry.
00:36:35Let's go have a drink.
00:36:37You can use one.
00:36:50Hello?
00:36:51Yeah?
00:36:52Mr. O'Brien?
00:36:53Just a minute, please.
00:36:57Mr. O'Brien, telephone call for you in the booth.
00:37:00Excuse me.
00:37:05Hello?
00:37:06Mr. O'Brien?
00:37:07Yes.
00:37:08My name is Charles Rodale.
00:37:19I'm going to do the same with you and disappear.
00:37:24Only I won't steal it.
00:37:26You're going to give it to me.
00:37:27How would you like it in large or small bills?
00:37:29Cut the comedy, O'Brien, I can break the Ferrara case wide open.
00:37:33I don't think I'm going to buy anything from you, Rodale.
00:37:36How are you fixed for brothers?
00:37:38Ferrara has one.
00:37:39Oh, there's a lot of doubt about that.
00:37:40Oh, there's a lot of doubt about that.
00:37:41Oh, there's a lot of doubt about that.
00:37:41Rumor has it he died in China, if there was a brother.
00:37:44Fact has it that he didn't die in China and there was a brother.
00:37:48Still is very much alive, very much kicking.
00:37:51Well, you may have something there.
00:37:54Come around to the studio tomorrow.
00:37:55It's no good.
00:37:56You meet me tonight.
00:37:58I'm busy tonight.
00:37:59We'll do it my way or not at all.
00:38:00I think you'd better listen to me, O'Brien.
00:38:14I'm sorry I kept you waiting.
00:38:16Larry, who's that?
00:38:19St. Clair.
00:38:21St. Clair?
00:38:22Vincent St. Clair.
00:38:24Your mother must have spoken about him.
00:38:26He wrote many of her pictures.
00:38:28Oh, yes.
00:38:29Mother did talk about him.
00:38:31What a sad face he has.
00:38:33He'll brighten up on Wednesday.
00:38:35That's the day he gets paid.
00:38:36Are you really as hard as you sound?
00:38:40Are you?
00:38:44From Hollywood to Ocean Park is 10 miles.
00:38:48Pretty far to go just for a drink.
00:38:51But after talking to Charles Rodale,
00:38:53Larry's plans were changed considerably.
00:38:56Distance didn't mean a thing
00:38:57when you figure Larry was on his way to meet a man
00:39:00who had been missing 22 years.
00:39:03Things were kind of quiet on the pier that night.
00:39:06It was the off-season.
00:39:07But inside Jack's, things were really jumping-like.
00:39:11Well, sort of like the way O'Brien's nerves were jumping.
00:39:18Madison 7911.
00:39:19That's right.
00:39:21I'm going to see a man named Charles Rodale
00:39:23at the Ajax Hotel a few blocks up.
00:39:26If I'm not back in half an hour,
00:39:27call this number,
00:39:28ask for Bud Lennox,
00:39:31tell him where to look for me.
00:39:33Then take my car and go home.
00:39:35Here's the parking ticket.
00:39:36You sure you know what you're doing?
00:39:38I'll know better in half an hour.
00:40:06I'll know better in half an hour.
00:40:07207.
00:40:09Which way?
00:41:34Sally.
00:41:39What happened? Are you all right?
00:41:41Yeah, I'm all right.
00:41:44Must be Charles Rodale.
00:41:47I saw him today, Larry, somewhere. I know it.
00:41:50Where?
00:41:52I don't know. Somewhere.
00:41:53I'll try to remember. At the studio? The hotel? Roland Paul's apartment?
00:41:59No, I can't seem to remember. Maybe I'm just dreaming it up.
00:42:04Did you call Lennox?
00:42:05Yes, but he wasn't there. They'll get in touch with him.
00:42:08Well, then you'd better go.
00:42:09Do you have the car?
00:42:10No, I walked. Larry...
00:42:12Look, I don't want to get you involved.
00:42:13You go out the back entrance, take a taxi, and I'll see you tomorrow.
00:42:38Which one is it?
00:42:39This one right here.
00:42:46Call Homicide in Santa Monica. Tell him to send a team.
00:42:48Okay. Where's the phone?
00:42:49Down the hall.
00:42:51Who is he?
00:42:52Never saw him before.
00:42:54He registered, didn't he?
00:42:54I never look up.
00:42:55Very funny.
00:42:56You'd be surprised how much time I save not going to court.
00:42:59Can I go back downstairs now?
00:43:01Yeah.
00:43:04His name's Charles Rodale.
00:43:06He was Franklin Farrar's secretary.
00:43:08Who killed him, Mr. O'Brien?
00:43:09Well, how will I know?
00:43:10I walked in here, the lights were out, somebody slugged me, and when I came to...
00:43:15For a man with a nice, soft job, you sure take a lot of chances.
00:43:19Now, before I ask you why you walked into this room,
00:43:21who was that girl to call the department?
00:43:23Oh, I use a private telephone service.
00:43:26It was the operator.
00:43:28If I didn't reach her at a certain time, she was to call you.
00:43:31I see.
00:43:34This gentleman seems to have made an observation.
00:43:38What did you say your name was?
00:43:39Sylvester.
00:43:40201.
00:43:42Oh, never mind the uh-oh.
00:43:43Just tell the lieutenant what you saw.
00:43:45Well, like I was telling this man here.
00:43:47About an hour and a half ago, I heard the cat knocking at the door.
00:43:50The cat?
00:43:52Nicholas, the hotel cat.
00:43:54He always comes at that time.
00:43:55We have a dream together.
00:43:57All right, so the cat was knocking at your door.
00:43:59Well, I went to the door to let him in, and just then a man walked down the hall,
00:44:03and Nicholas got scared and jumped right in front of him.
00:44:06You know what the man did?
00:44:07He kicked Nicholas.
00:44:08He kicked him right out of his way.
00:44:10Then what happened?
00:44:11Well, he ran away.
00:44:12The man?
00:44:14Nicholas!
00:44:15Let's stick with the man.
00:44:16Oh, well, he knocked on this door right here and then walked right in.
00:44:20What did he look like?
00:44:21Well, it was kind of dark.
00:44:22I couldn't really tell.
00:44:24I know he wasn't tall, and he wasn't short.
00:44:27He was kind of...
00:44:28Oh, I don't know.
00:44:29I didn't see him too good.
00:44:31Did you hear the shot?
00:44:32Oh, I heard the shot all right.
00:44:35Great.
00:44:36Shooting gallery next door, but this guy heard the shot.
00:44:39It's getting better, though.
00:44:41This is the first killing we've had this year.
00:44:44Well, goodbye.
00:44:47All right, Mr. O'Brien, let's fade into this evening.
00:44:50What brought on this clandestine coffee clutch?
00:44:53Well, just as I was leaving the studio, I got a phone call.
00:44:56From him, I imagine.
00:44:59He said his name was Rodale,
00:45:00and that he had some vital information about the Ferrara story.
00:45:04So I made a date to meet him here.
00:45:07That's all?
00:45:08That's all.
00:45:09We'll talk some more about it tomorrow.
00:45:11You better leave.
00:45:15Oh, uh...
00:45:18I found this on the floor.
00:45:21Nice of you to cooperate.
00:45:40I thought you were going home.
00:45:41I was worried about you.
00:45:43Are you all right?
00:45:44Yeah.
00:45:46Yeah.
00:46:01Nice of you to wait for me, Sally.
00:46:03It was nice of you to get me out of a jam that you got me into.
00:46:07The question is, how long can I keep you out?
00:46:11The dead man on your hands, you're in pretty deep now.
00:46:14Yeah, it's going to get deeper.
00:46:17You want to help?
00:46:19The answer is still no.
00:46:40It's okay, Dan.
00:46:42Oh, Bill.
00:46:42First of all, and Paul.
00:46:44He's over there with the makeup man.
00:46:46Thanks.
00:46:47You can speak to him in one of the dressing rooms that you'd care to, Mr. O'Brien.
00:46:50Oh, don't bother.
00:46:51Any quiet corner will do.
00:46:53How long does he have in the picture?
00:46:54Oh, it's just a bit.
00:46:55He'll be through today.
00:46:58Mr. Paul.
00:46:59This is Mr. Lawrence O'Brien.
00:47:00He'd like to speak to you for a few minutes.
00:47:02Very well.
00:47:03Thank you, Bill.
00:47:04Shall we sit down?
00:47:06Yes.
00:47:14I'd like to ask you a few questions, Mr. Paul.
00:47:18If they have anything to do with the Ferrara case, I answered all the questions 22 years ago.
00:47:23There's nothing I can add now.
00:47:25Ah, but there is.
00:47:28I'm not as much interested in Ferrara as I am in a man named Charles Rodale.
00:47:32You saw him yesterday.
00:47:35I see no reason to deny it.
00:47:37He visited you at your apartment?
00:47:39That's right.
00:47:41May I ask what the reason was for this visit?
00:47:43The reason was you.
00:47:45Why did he come to see you?
00:47:47He considered me an old friend.
00:47:50I didn't share his consideration.
00:47:52I told him where he could get in touch with you.
00:47:54I imagine he did.
00:47:56I was probably the next to the last person to speak to him.
00:47:59The next to the last?
00:48:00Hmm.
00:48:01The last person to speak to him killed him.
00:48:04He was murdered last night.
00:48:08Who killed him?
00:48:10Why?
00:48:12I didn't have any affection for Rodale, but who would want to kill him?
00:48:17Probably the same person who killed Ferrara, if Rodale knew anything.
00:48:21That's possible.
00:48:24What do you think of the theory that Rodale was Ferrara's brother?
00:48:28I doubt that very much.
00:48:30Roland Paul, on the set, please.
00:48:31If you'd excuse me, Mr. O'Brien.
00:48:33Yes.
00:48:34Mr. Paul.
00:48:35Yes?
00:48:37The Chief would like to talk to you about the murder of Charles Rodale.
00:48:40I've just been talking to Mr. O'Brien about that very same subject.
00:48:43Well, the Chief's questions will be a little more official.
00:48:46Mr. Paul, please.
00:48:47We're waiting for you.
00:48:49Go ahead.
00:48:51I won't be long.
00:48:53Matter of fact, my pot's finished after this shot.
00:48:58What's this all about, Lennox?
00:49:01It's a wrap-up.
00:49:03Rodale came to town.
00:49:05He saw Roland Paul.
00:49:06Rodale was out to shake down everybody.
00:49:08You, too.
00:49:09He had an argument with Paul.
00:49:11Neighbors verify.
00:49:13Paul went to see Rodale and killed him.
00:49:16Sylvester identified him.
00:49:17Sylvester?
00:49:18The guy with the cat?
00:49:19He couldn't identify himself in the mirror.
00:49:22I don't know why I bothered to explain all this to you, but here goes.
00:49:25In going over Roland Paul's apartment, we hit the jackpot.
00:49:28We found out that at the time Ferraro was killed, Roland Paul was secretly married to Amanda Rousseau.
00:49:35Well, then Paul is Sally's father.
00:49:36That's right.
00:49:37He had the perfect motive to kill Ferrara.
00:49:39Irate husband department.
00:49:42How does this tie in with Rodale?
00:49:44Well, Rodale evidently had enough information to apply some pressure, so Paul killed him, too.
00:49:50We get cases like this every day.
00:49:52Nothing to it.
00:49:56All ready, Joel.
00:50:00Hello, Larry.
00:50:01Hello, Joel.
00:50:02It's Lieutenant Lennox, Joel McRae.
00:50:04How do you do?
00:50:05How's the Ferrara story coming?
00:50:06Fine, Joel.
00:50:07Fine.
00:50:07Good.
00:50:08Excuse me.
00:50:18All right, let's try one.
00:50:21All right.
00:50:22Here we go.
00:50:23Settle down, everybody.
00:50:24Roll them, Andy.
00:50:29Action.
00:50:30Is it serious, Doctor?
00:50:32It's hard to tell right now.
00:50:34We're doing all we can.
00:50:35However, it's advisable.
00:50:36Cut.
00:50:37Sorry, Joel.
00:50:39Sorry, boy.
00:50:40Relax, Roland.
00:50:41Take it easy.
00:50:41You're pretty tense.
00:50:42Sure.
00:50:43All right, once again.
00:50:45All right.
00:50:47Roll them, Andy.
00:50:51Action.
00:50:53Is it serious, Doctor?
00:50:54It's hard to tell right now.
00:50:56It's hard to tell right now.
00:50:57We're doing all we can.
00:50:58However, it's advisable to transfer the patient to a hospital.
00:51:01A hospital?
00:51:02You can be sure she'll be very well taken care of.
00:51:04I'll attend to that personally.
00:51:19Cut.
00:51:19All right for you.
00:51:20Fine for me.
00:51:21Print it.
00:51:22All right.
00:51:22Get on lunch.
00:51:23Hit the rack, Lance.
00:51:24All right, boys.
00:51:25Let's get that back.
00:51:26Get ready for the first half.
00:51:28Right after lunch.
00:51:30Tie it off now.
00:51:32Tie it off now.
00:51:32Tie it off now.
00:51:36Okay, yeah.
00:51:38That's all right.
00:51:39Tie it around.
00:51:40Tie it off the line.
00:51:41All right.
00:51:42Tie it off.
00:51:44Yeah, the next set.
00:51:45Set up there.
00:51:47Where is it?
00:51:48Over there.
00:52:01Would you do me a favor, Mr. O'Brien?
00:52:03I was calling Miss Rousseau.
00:52:05She isn't in.
00:52:06We were to meet at La Rue's for lunch.
00:52:08I'm afraid I won't be able to make it.
00:52:10I'll take care of it.
00:52:11Thanks.
00:52:13Let's go.
00:52:23And so I told him, don't pick up my option.
00:52:25I want to go back east and watch the seasons change.
00:52:27Who needs seasons?
00:52:40Yes, sir.
00:52:55That's Mr. Collier's car, isn't it?
00:52:57Yes, sir.
00:52:57Mr. Collier's inside having lunch.
00:53:14Hello, Sally.
00:53:15How nice to meet you.
00:53:17And accidentally for a change.
00:53:18I'm sorry to disillusion you, but I knew you were here.
00:53:22Roland Paul sends his apologies.
00:53:23He can't have lunch with her.
00:53:25Why not?
00:53:31The police seem to think he had something to do with Rodale's death.
00:53:36No.
00:53:38No, that's impossible.
00:53:40No, thanks.
00:53:40We'll order lunch later.
00:53:41Yes, sir.
00:53:44Sally, the police know that Roland Paul is your father.
00:53:48How did they find out?
00:53:49I don't know.
00:53:50What amazes me is that it was kept a secret for so long.
00:53:53And why a secret in the first place?
00:53:56Well, the public had strange ideas in the silent days.
00:54:00They preferred their stars unmarried.
00:54:02And before the marriage became known, your mother fell in love with Franklin Ferrara.
00:54:07I suppose that's true.
00:54:11Sally, the police believe they have found the perfect motive to accuse your father for killing Ferrara.
00:54:17They're wrong.
00:54:17They're wrong.
00:54:18They'll never be able to prove it.
00:54:19I hope not.
00:54:22Can't you help him?
00:54:23I can try, Sally.
00:54:25So far, my batting average has been a big, fat nothing.
00:54:28But I'll keep swinging, I promise you.
00:54:30Excuse me, sir.
00:54:31Mr. Collier over there wants to know if you'd like to join him for lunch.
00:54:38Well, thank you, Mr. Collier, and tell him I'll take a rain check on it.
00:54:41Yes, sir.
00:54:43Is that man's name Sam Collier?
00:54:45That's right.
00:54:46I didn't know you knew Sam.
00:54:47I don't.
00:54:48I remember hearing his name, though.
00:54:51He was pretty close to Ferrara, wasn't he?
00:54:53Yes, he's pretty close to me, too.
00:54:55He's a good friend, Sam is.
00:54:57And a good businessman.
00:54:58You're lucky.
00:54:59He's the kind who'll always land on his feet.
00:55:02Sally, do you remember what you did with the parking ticket I gave you last night?
00:55:06Well, I gave it to the attendant when I went back to the car.
00:55:11Did it look anything like this?
00:55:12Yes, that's it.
00:55:14How did you get it?
00:55:16No, that's not it.
00:55:19You know something, Sally?
00:55:21I may have got my first hit in this league.
00:55:25Not bad, Larry.
00:55:26Not bad at all.
00:55:28What do you mean, not bad?
00:55:29It's an exact duplicate of this bungalow right down to the furniture.
00:55:33It's being set up on stage two right now.
00:55:35Good, I'm glad to hear it.
00:55:36I'm glad to hear that we're making such progress.
00:55:39Speaking about progress, how's the script coming along?
00:55:42Fine.
00:55:42It's all finished.
00:55:44All I got to do now is put in the words.
00:55:47Just the words.
00:55:50Oh, this is the fever chart over here.
00:55:52The rise and fall of pressures and emotions.
00:55:56Aristophanes called it the progress of dithyrambics.
00:55:58That's the way we did it in the old days, when movies rarely moved.
00:56:02Sounds very interesting.
00:56:03We must talk about it sometime.
00:56:05I imagine you read the morning papers.
00:56:06Oh, yes, indeed.
00:56:07It always saddens me to read about the passing of one of the old classmates.
00:56:12You don't seem to be too sad about it.
00:56:14But I am.
00:56:16I am.
00:56:18I cried all morning.
00:56:20What you haven't read yet is that the police have arrested Roland Paul.
00:56:23Dear me, the class of 29 is having a difficult day for itself.
00:56:27Charles Rodale gets a bullet through his skull.
00:56:29Roland Paul gets himself arrested.
00:56:31Now, I suppose they'll pick up Amanda Rousseau, Sam Collier, and a lot of others,
00:56:36dust off all the old clues, and then release everyone by Monday morning.
00:56:41Sam Collier?
00:56:42Nameless here forevermore.
00:56:44Oh, I'm sorry.
00:56:45For the moment, I was colorblind.
00:56:47I don't get it.
00:56:48How green was my money, man?
00:56:50After all, Sam Collier is the patron of our project.
00:56:54St. Clair, sometimes your sense of humor is as difficult to understand as your methods of writing.
00:56:59Sam Collier is a friend of mine.
00:57:01You mention him in connection with the Ferrara case.
00:57:03Well, how does he fit in?
00:57:04Well, he would fit in something like this.
00:57:07First, let me take an arrow.
00:57:09Don't tell me with arrows.
00:57:10Tell me with words.
00:57:12I've said too much already.
00:57:16Perhaps Amanda Rousseau could tell you.
00:57:18If she could talk, she would say,
00:57:21you don't mind my giving the full treatment, do you?
00:57:23No, go right ahead.
00:57:24Hammer up a little if you like.
00:57:30You would say, Amanda, 20 years ago, to know you was to love you.
00:57:36Brangton Ferrara, Roland Paul, Sam Collier.
00:57:38Oh, yes.
00:57:39Yes, even the usually cautious Sam was captivated by your loveliness.
00:57:44And you would also say, Amanda, that 20 years ago, you were the inspiration for violence.
00:57:50You might also say, Amanda, that 20 years ago, this music would have sounded a lot better.
00:58:12That's a strange note, all right.
00:58:15I've noticed it before.
00:58:27I'll see if I can find another roll around here anywhere.
00:58:35No, that seems to be the only one there is.
00:58:38I'll take this and have Mary Scott around for some replacements.
00:58:43Is there anything else I can get to add to your comfort?
00:58:45Oh, thank you, you're very kind.
00:58:47Oh, you don't mind my living here, do you?
00:58:49That is not all I can find a place in town.
00:58:50Not at all.
00:58:51Oh, you won't forget about the music rolls, will you?
00:58:53I could use a change of mood.
00:58:54Yes, of course.
00:58:56I could use some words in between those arrows.
00:59:04Unwinding that old music roll was like turning the hands of a clock back to yesterday.
00:59:08To a man like O'Brien, with an eye for the details of a detail,
00:59:12a slightly larger perforated hole had suggested that there was something behind it all.
00:59:18There was something behind it all.
00:59:21A bullet.
00:59:30Hello?
00:59:31Scotland Yard calling.
00:59:32Inspector Lennox at your service.
00:59:34How's the rewrite coming?
00:59:35Oh, just putting the paper in the typewriter.
00:59:38Better stick to my script.
00:59:39It's getting stronger by the minute.
00:59:41A.
00:59:41Roland Paul won't talk.
00:59:43B.
00:59:44He can't account for his time last night.
00:59:46C.
00:59:47Charles Rodale is nobody's brother, much less Franklin Ferraris.
00:59:51D.
00:59:51How about that telephone number I gave you?
00:59:53The one I found beside the body?
00:59:55I was hoping you'd ask me about that.
00:59:57When I called the number, what do you think it was?
00:59:59Now, get this.
01:00:00It was Mitchell's mortuary.
01:00:03Mitchell's mortuary?
01:00:06Maybe Rodale had a flash of premonition.
01:00:08What are you going to do now?
01:00:10Well, I think I'll work on a script a while.
01:00:12Why?
01:00:13The police are satisfied.
01:00:15Why don't you relax?
01:00:17What are you trying to do to me, anyhow?
01:00:19Lieutenant, I'm out to make you a sergeant.
01:00:34Good evening, sir.
01:00:37We are sorry for your loss.
01:00:40Oh, thank you.
01:00:42I was just browsing.
01:00:44Oh, of course.
01:00:45You are anticipating a blessed departure?
01:00:49No, not at this time.
01:00:52I would like to ask you, however, how long you've been in business.
01:00:56Barely four years, sir.
01:00:58Yet already some of the best people.
01:01:01Yes, yes, of course.
01:01:03Do you mind if I use your telephone?
01:01:05Oh, certainly.
01:01:07This way.
01:01:14What?
01:01:15Sure it's official.
01:01:16I told you that before.
01:01:17This is Lieutenant Lennox at the police department.
01:01:19That's right.
01:01:21Now quit stalling and give me the names of all the people who've had this number since 1929.
01:01:27All right.
01:01:28Go ahead.
01:01:29It was amazing how many people belonged to a little old telephone number.
01:01:34This one covered everything from a Chinese restaurant to a pool hall.
01:01:38It had belonged to a fortune teller and to a girl named Rose Parris.
01:01:43It was a shoe store and a WPA office.
01:01:46In 1932, it was a radio station.
01:01:49And in 1929, it had belonged to Sam Collier.
01:01:57What's the matter, Larry?
01:01:58Story got you down?
01:02:00Take it easy.
01:02:01Everything's going to be all right.
01:02:05Sam.
01:02:06Hmm?
01:02:07Do you own a gun?
01:02:08Do you feel that bad?
01:02:10You haven't answered my question.
01:02:12Of course I own a gun.
01:02:13Is it a .32 caliber?
01:02:15No, it's .38.
01:02:17Is it the only one you have?
01:02:19It's the only one I have now.
01:02:20I've had a lot of guns in my time.
01:02:22What are we playing?
01:02:23Cops and robbers?
01:02:25Did you ever have a .32?
01:02:2732.
01:02:29Probably did.
01:02:31Back in 1929?
01:02:32Could be.
01:02:35Sam.
01:02:38Where were you last night?
01:02:41This is getting a little silly, isn't it?
01:02:42It's going to be even sillier.
01:02:44Unless you can tell me where you were.
01:02:45Well, if it's absolutely essential to you, I drove down to Palm Springs.
01:02:51You drove to Ocean Park.
01:02:53I have the parking stub.
01:02:55Also, a telephone number.
01:02:57Congratulations.
01:02:58It was your number.
01:03:00Charles Rodale was trying to get in touch with you.
01:03:04The trouble is, he did.
01:03:05That's fine.
01:03:07A parking ticket.
01:03:09Telephone number.
01:03:11The state rests.
01:03:12Why'd you bother to come here?
01:03:14Why didn't you just go to the police?
01:03:15The police would make it tougher.
01:03:16And the setting wouldn't be as comfortable.
01:03:18It's darn nice of you.
01:03:20You want me to sign a confession on my own stationery?
01:03:23Why don't you just try explaining these things away?
01:03:25Why?
01:03:26Do you get to the bottom of the grab bag?
01:03:30Not quite.
01:03:33This is the bullet that killed Franklin Ferrara.
01:03:36I found it in the old piano music roll.
01:03:40Say, you've really come up with something.
01:03:43The old music roll.
01:03:46You know, the police have been looking for this hunk of metal for over 20 years.
01:03:50You can forget about the rest of it.
01:03:51This is big.
01:03:53You know, all you need is a gun that fired it.
01:03:55Yeah.
01:03:56That's what I thought.
01:04:24Well, this is my contribution to your story.
01:04:28This is the gun that killed Ferrara.
01:04:40Whose gun is it, Sam?
01:04:41Mine.
01:04:43All ties up neatly.
01:04:46There's just one hitch.
01:04:49I didn't fire the gun.
01:04:53Do you want to call the police or do you want to hear my version?
01:04:56Anything you say, Sam.
01:05:00Well, this all goes back to a little before your time, Larry.
01:05:04When movies first started to talk, sound was smashing careers overnight.
01:05:12I'd been on the go for weeks, trying to salvage the remains of a few of them.
01:05:18That night, I decided to take it easy and get to bed early when the phone rang.
01:05:22I wasn't expecting anybody, but I decided I'd better answer it.
01:05:26It was Ferrara.
01:05:28All I could make out were a few words.
01:05:30He was at his bungalow, wanted me to come there right away.
01:05:34Then his voice seemed to choke.
01:05:37The phone went dead.
01:05:45Ferrara, it sounded so strange, I decided to take my gun.
01:05:49I went to the night table drawer where I always kept it.
01:05:53The gun wasn't there.
01:05:55It seemed strange, but, well, I didn't have time to worry about it.
01:06:02I was at the studio in less than ten minutes.
01:06:04I thought it best not to be seen, so I used the side entrance.
01:06:08I didn't need a key because somebody had left the gate open.
01:06:12The bungalow was dark.
01:06:15I tried to look through the door.
01:06:17I couldn't see a thing.
01:06:19Then I remembered I had a key to the bungalow in the glove compartment of my car.
01:06:25In the compartment, I not only found the key, I also found my gun.
01:06:29I hadn't the slightest idea how it had gotten there.
01:06:32Then I pushed it into my pocket and hurried back to the bungalow.
01:06:36I opened the door, switched on the lights, and there he was.
01:06:44Whoever killed, he must have left in a hurry.
01:06:47Didn't notice that Ferrara was still alive.
01:06:50He'd come to just long enough to call me.
01:06:53And then, before I even looked at it, I knew he'd been murdered with my gun.
01:06:58There was one bullet missing.
01:06:59It had just been fired.
01:07:04Then I discovered the rest of the frame.
01:07:05The frame even had a motive.
01:07:07On the desk were personal letters I'd written to Amanda Rousseau.
01:07:10And a cigarette lighter with my initials on it.
01:07:14I started to call the police.
01:07:17And suppose they didn't believe me.
01:07:20So, I didn't call them.
01:07:24Instead, I decided to make it look like a cheap robbery.
01:07:27I took his wallet.
01:07:29In his hand was the gold medallion he'd always worn around his neck.
01:07:33He must have clutched at it when he died.
01:07:35I even took that.
01:07:37I wanted to make sure the police would call it a robbery.
01:07:41It didn't seem anything else I could do.
01:07:43So, I got out in a hurry.
01:07:49Well, that's the story, Larry.
01:07:51I didn't kill him.
01:07:53You should have gone to the police, Sam.
01:07:55I know I should have.
01:07:56I couldn't.
01:07:57There was another reason.
01:07:59I was sure then I knew who'd kill Ferrara.
01:08:03Somebody I loved very deeply.
01:08:05Who wasn't very fond of me.
01:08:08Amanda Rousseau?
01:08:10That's right.
01:08:12What about Rodale?
01:08:14Don't you spot the pattern?
01:08:16It's a retake.
01:08:18Someone wants to frame me again.
01:08:20The parking stuff.
01:08:21The phone number.
01:08:23If Rodale was found with a bullet in his chest,
01:08:25well, it's the identical setup.
01:08:27What makes you think he wasn't found with a bullet in his chest?
01:08:30I don't know.
01:08:32Papers didn't say how he was killed.
01:08:34Is that the medallion?
01:08:35Hmm.
01:08:41I'd like to take it with me.
01:08:43And the gun.
01:08:44I gather you're not buying my story.
01:08:48The police won't buy it.
01:08:49I'm not asking about the police.
01:08:50I'm asking you.
01:08:51You're supposed to be a friend of mine.
01:08:56I still am.
01:08:57Not in my book.
01:08:58Go ahead.
01:09:00Call the police.
01:09:01Give them all the evidence.
01:09:02Do anything you want.
01:09:02Just get out of here.
01:09:05All right, Sam.
01:09:07But I'm not going to the police.
01:09:09In the meantime, let's call off the picture.
01:09:13Good night, Sam.
01:09:23On the way back to the studio, Larry stopped off at the Church of the Good Shepherd.
01:09:28He talked with Father Murphy, and when they finished, he knew all about the gold medallion
01:09:33that Sam found in Franklin Ferraris' clenched hand.
01:09:45Larry, I've been trying to reach you all evening.
01:09:47I finally came here.
01:09:48What's the matter?
01:09:49Fast.
01:09:50I don't believe it.
01:09:51It's impossible.
01:09:52What are you talking about?
01:09:53My father gave a full confession.
01:09:55Larry, he couldn't kill anybody.
01:09:57Don't worry, Sally.
01:09:58Don't worry.
01:10:14Clinic speaking.
01:10:15Sergeant, this is Larry O'Brien.
01:10:18What do you mean, Sergeant?
01:10:19I've rewritten the script.
01:10:20Come on down to the studio and take a look at it.
01:10:22Are you kidding?
01:10:23Haven't you heard we got a full confession out of Roland Paul?
01:10:26Look, we made a deal with him.
01:10:28We keep the family out and keep him in.
01:10:30Like I told you, it's all routine.
01:10:32Happens every day.
01:10:33And don't call me Sergeant.
01:10:35If you're not here in a half an hour, Sergeant,
01:10:37you stand a very good chance of starting all over again as a patrolman.
01:10:41Wasn't it Lennox who arrested my father?
01:10:43Yes.
01:10:44He's on his way over.
01:10:46Oh, I'm sorry.
01:10:46I didn't mean to intrude.
01:10:47I was working late and saw your light.
01:10:50Well, that's quite all right, Vince.
01:10:52Here's a young lady you might be interested in meeting.
01:10:54Sally Rousseau, Vincent St. Clair.
01:10:56Amanda Rousseau's daughter.
01:10:58I thought I was dreaming when I saw you the other night.
01:11:02You're as lovely as your beautiful mother.
01:11:04That's very kind of you.
01:11:06Have you heard about Roland Paul?
01:11:09They got a full confession out of him.
01:11:11Really?
01:11:12Well, how does that fit into our story?
01:11:14Well, you're the writer, Vince.
01:11:16How do you think it fits in?
01:11:17I don't think it fits in at all.
01:11:20Neither do I.
01:11:22You know something, Vince?
01:11:24I think I found the key to the story.
01:11:26Really?
01:11:26I'm glad to hear it.
01:11:28I knew you would.
01:11:31Your dramatic design on the blackboard helped me a great deal.
01:11:35You know, the arrows.
01:11:36There were quite a lot of them.
01:11:38But there was one missing.
01:11:39Well, there's always room for one more, Larry.
01:11:41Hmm.
01:11:42That's what I thought.
01:11:44And that's the way the story should be told.
01:11:46From the point of view of the missing arrow.
01:11:48Oh, and this missing arrow, how does he see the story?
01:11:53Or is it a she?
01:11:54The missing arrow is the brother, Philip Ferrara.
01:11:57Oh, that's old hat, Larry.
01:11:59They had that theory years ago and abandoned it.
01:12:02Philip Ferrara's dead.
01:12:03That is, if there ever was a Philip Ferrara.
01:12:06Larry, my mother never mentioned a Philip Ferrara.
01:12:08That's because he changed his name, Sally.
01:12:12Philip Ferrara had a police record.
01:12:14He avoided arrest by going to China, where he was supposed to have died.
01:12:18But he didn't die.
01:12:20He came back to California.
01:12:21And in 1929, killed his brother.
01:12:24But who killed Rodale?
01:12:26The same Philip Ferrara.
01:12:28Rodale was the only man who could identify him.
01:12:30You have a very good case, O'Brien, except for two minor points.
01:12:33Point one, who is Philip Ferrara?
01:12:35You say you don't know.
01:12:37That's why you're mistaken, Vince.
01:12:40I do know.
01:12:41Oh, you have proof of his identity?
01:12:43Complete proof.
01:12:46Right here.
01:12:48Oh.
01:12:49And point two, why should Philip Ferrara kill his brother?
01:12:53It seems to me you have no motive.
01:12:54I have a motive.
01:12:56Jealousy.
01:12:57You were jealous of your brother's success, Philip.
01:12:59So you killed him.
01:13:03Still writing bad scenes, aren't you?
01:13:05You thought I wrote pretty good ones, when you hired me.
01:13:09They were.
01:13:11But you didn't write them.
01:13:12It was your brother who did.
01:13:13When Sam Carlyer found out you couldn't write, he fired you.
01:13:16You hated him for that.
01:13:17So you tried to frame him for the murder of your brother.
01:13:20You don't need me anymore, O'Brien.
01:13:22You've written your own ending to the Ferrara story.
01:13:26Hey.
01:13:27Hey.
01:13:29Hey.
01:13:30Hey.
01:13:31Hey.
01:13:31Hey.
01:13:32Hey.
01:13:34Hey.
01:13:35Hey.
01:13:44Sally, stay with her.
01:13:47Hey.
01:13:50Hey.
01:13:56Hey.
01:13:58Let's go.
01:14:26Let's go.
01:15:03Let's go.
01:15:06Let's go.
01:15:36Let's go.
01:15:38The assumed name used by Philip Ferrara, St. Clair.
01:15:44Well, Larry finally finished his picture, and he and Sally were on their way to be married.
01:15:49We all stopped off at Capistrano to pay our respects to a great director, Franklin Ferrara.
01:15:55Sam was with us.
01:15:57After all, he was going to be Larry's best man, so he couldn't stay mad at Larry for too long.
01:16:02Especially when you considered that he'd cleared up a 22-year-old nightmare.
01:16:06And me?
01:16:07Well, somebody had to give the bride away.
01:16:17The End
01:16:23THE END
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