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  • 7 hours ago
The Death Kiss 1932
Transcript
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00:04:16Come on. And all you fellas that might jump, stand over there.
00:04:19Hey, Bill. Come on.
00:04:23Keep that door closed.
00:04:24And see that no one leaves the stage and no one comes in.
00:04:27Yes, sir.
00:04:31My dear Mr. Little,
00:04:34since I read your scenario,
00:04:37I've come to the absolute conclusion
00:04:40that 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. He'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 Brent was killed.
00:05:23Shut.
00:05:23What a calamity.
00:05:24What a calamity.
00:05:31I'll give it to you.
00:05:32Thanks.
00:05:34Yes?
00:05:35Miles Brent was shot on the set.
00:05:37Killed.
00:05:38Mr. Grossman has gone to the stage.
00:05:41I'll be right there.
00:05:45Miles Brennan.
00:05:48Killed.
00:05:49On general principles, not a bad idea.
00:05:52Except that he happens to be one of our stars.
00:05:54Get back to your office and do what you can to keep the papers off this until you hear what
00:05:58happened.
00:05:59Don't give out any story until you hear from me.
00:06:01Sure, but rescue me as quickly as possible.
00:06:03They'll be on my neck just as soon as the police get the joyful news.
00:06:05Miss Manning.
00:06:06Yeah?
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.
00:06:30Well, now there's a job that should have been done years ago.
00:06:34Oh.
00:06:36You won't have to rewrite any stuff for the death kiss now.
00:06:39No.
00:06:40Say, 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?
00:07:00Miles 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.
00:07:14Shot.
00:07:14Soundstage number three, Tone Arc Studio.
00:07:16You sure don't need just a minute.
00:07:18Tone Arc Studio.
00:07:19Operator.
00:07:20Operator.
00:07:20Hey, that's the evening stalk.
00:07:22You're telling me?
00:07:23Hey, Storm, give 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 it.
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?
00:07:42Yes, Morris, I know.
00:07:43But can I help him 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.
00:08:19Get out of that door.
00:08:21Get out of that door.
00:08:22Look, look out.
00:08:23That's it.
00:08:24Watch the man's ass.
00:08:26Watch the man's ass.
00:08:26Watch the man's ass.
00:08:27Ambulance, come on.
00:08:28Yeah.
00:08:29Get out.
00:08:29Take your foot out of that door.
00:08:37Detective Lieutenant Sheehan, homicide squad.
00:08:40Who'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.
00:08:46What happened?
00:08:47Well, the company was shooting a 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, loosen up.
00:09:13Was 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.
00:09:17I can't let anyone on the lot.
00:09:19Marsha Lane was with him in the picture, wasn't she?
00:09:20Sure, she 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?
00:09:28She what a tie-up.
00:09:29Pardon me.
00:09:30Haze-off is 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...
00:09:44Frank, 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.
00:10:10Yours.
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, what'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.
00:11:13Mr. Grossmith means to convey that this regrettable accident need not be converted into a Roman holiday for the rabble.
00:11:21Now, I assure you that Mr. Grossmith feels deeply, very deeply, the tragedy of this affair.
00:11:26And his point is, naturally, not to throw consternation into that great and 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.
00:11:40Pardon 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 telling 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, but 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 him.
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.
00:12:00Yes.
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.
00:12:08Oh.
00:12:09Here's all you had on him.
00:12:11Oh.
00:12:21Keep that.
00:12:33Here's all you had on him.
00:13:00Well, I'm sorry to gum up the works, but it wasn't an accident.
00:13:04It's murder.
00:13:05Murder?
00:13:06Oi.
00:13:07What a calamity.
00:13:09How do you know?
00:13:10This is the bullet that killed him.
00:13:12It's a .38 caliber center 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.
00:13:31I didn't mean to meddle.
00:13:32I just wanted to help.
00:13:33You see, uh, 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.
00:13:46Writes detective stories, I suppose.
00:13:48Yes.
00:13:48How did 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.
00:14:07Who's Marsha Lane?
00:14:08What?
00:14:10You don't know who is Marsha Lane?
00:14:12Over a million dollars we spend advertising her.
00:14:15I 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.
00:14:19I'll ask Miss Lane to come here.
00:14:21Yes, sir.
00:14:25Now, Steiner and the detective want to see Miss Lane immediately.
00:14:29Well, 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.
00:14:47Oh, come 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
00:15:08to give the guilty ones plenty of time to make up good 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.
00:15:29But 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.
00:15:42Divorce 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.
00:16:08Besides 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,
00:16:27she 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?
00:16:35Oh, good.
00:16:36I 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.
00:16:56I...
00:16:56Yeah.
00:16:57We'll see about that.
00:16:58Hold this some...
00:16:59Ah, wait a minute.
00:16:59Wait a minute.
00:17:00No, you don't.
00:17:02Yeah.
00:17:03Oh, yeah.
00:17:05This letter, already the 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.
00:17:30Doesn't it?
00:17:30No funny business now.
00:17:31Come on now.
00:17:32Come on.
00:17:32Keep 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.
00:17:42It'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.
00:17:55I says to my...
00:17:57I says to myself, that's the man.
00:18:00I guess I used uncanny skill.
00:18:0438 caliber and loaded.
00:18:06It's the gun, all right.
00:18:06Who is this fellow?
00:18:08Name's...
00:18:08He was an extra on the set.
00:18:10Why did you kill Brent?
00:18:11Oh, I never killed nobody.
00:18:13You can't alibi yourself out of this.
00:18:14That's the only 38 gun on the place.
00:18:16You killed him.
00:18:17Why?
00:18:18I'll tell you, I didn't.
00:18:18Now, you've got to listen to me.
00:18:20Shut up.
00:18:21You'll have plenty of time to talk later on.
00:18:25Do you know this man?
00:18:29Why, 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 murderer 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.
00:19:05So 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.
00:19:45Well, will you get them going?
00:19:46Certainly.
00:19:47Come, Mr. Crosmith.
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,
00:20:05does the detective ever sock the novelist on the nose?
00:20:10No.
00:20:11Write it in sometime.
00:20:14Seems to me like a good idea.
00:20:19Bill, George?
00:20:20Yes, sir.
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. Crosmith.
00:20:54Mr. Steiner's in a projection booth.
00:20:56He'll be right in.
00:20:57All right.
00:20:57Here he is now.
00:21:01You ready, Mr. Crosmith?
00:21:03Yes.
00:21:04Mr. Crosmith'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.
00:21:33It will be right here.
00:21:34It 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.
00:21:58A ruddy shame, sir.
00:22:00Most annoying.
00:22:01Right under my dirty nose.
00:22:03Your nose?
00:22:05Oh, I'll get the car, sir.
00:22:06Meanwhile, Sono W.
00:22:13Lights!
00:22:14Lights!
00:22:15Turn on those lights!
00:22:16I wonder what they're doing.
00:22:17Wait.
00:22:17Did you see that?
00:22:20What's supposed to happen?
00:22:26Oops.
00:22:28I don't know.
00:22:30I don't know.
00:22:31I don't know.
00:22:33I don't know.
00:22:34I don't know.
00:22:34I don't know.
00:22:48He's not hurt badly, but he must have received a shot blue.
00:22:52Yeah, it looks like it was done with a blunt instrument.
00:22:54You know, I had an uncle once, was knocked out the same way,
00:22:57only he got hit with a shovel.
00:22:59Whoever rocked your cradle overdid it.
00:23:02A rouge-tipped cigarette butt started it off.
00:23:05Can you tell me, is that studio make-up?
00:23:08Hard to see.
00:23:09Perhaps which is our make-up man who tells you.
00:23:11Thanks.
00:23:14How did it happen?
00:23:16I swear I don't know.
00:23:18I was leaning over the machine, chugging the focus.
00:23:24I thought the building came down on me.
00:23:26How about another print?
00:23:27Yes, and we'll take care of it this time.
00:23:29There was something on it, and whoever touched it off didn't want it to be seen.
00:23:32We can have the laboratory run one off right away.
00:23:35Could we, Mr. Gordon Smith?
00:23:37Why, yes.
00:23:37There's no reason why we couldn't.
00:23:39Will you come with me?
00:23:40No, Hillock will go with you.
00:23:42I have another angle.
00:23:44Where will I find this make-up man?
00:23:46Make-up department.
00:23:47Clear around the other end of the lot, just the end of S Street.
00:23:49Sounds like a sleeper jump.
00:23:51Thanks.
00:23:58It's a special panchromatic rouge of my own made.
00:24:01Only two people on the lot are in the habit of using it.
00:24:03Who are they?
00:24:04Miss Collins and Miss Lane.
00:24:06Who's Miss Collins?
00:24:07She's one of our players.
00:24:08Is she in this picture you're photographing?
00:24:09No, I believe she's working in the Knight Riders.
00:24:11They're out in location.
00:24:13And the only other person on the lot that uses this rouge is Marsha Lane?
00:24:17As far as I know.
00:24:18Oh, I see.
00:24:22Thanks.
00:24:23You're welcome.
00:24:24Now, wait a minute.
00:24:25You have quite a stock of this rouge on hand, haven't you?
00:24:28A few tubes of it.
00:24:29Just as I thought.
00:24:30Anybody could get at it.
00:24:32Not very well.
00:24:33All the make-up that is not in use is kept in the cabinets.
00:24:35And the cabinets are locked?
00:24:36Yes.
00:24:37Excuse me.
00:24:40Hello.
00:24:41Just a minute.
00:24:42It's for you.
00:24:45Hello.
00:24:47Yes, Hillocker.
00:24:50How?
00:24:52All right.
00:24:53You stick around there and see what you can find out.
00:24:55Tell Steiner I'll see it at his office.
00:24:58The negative of that last scene has been ruined.
00:25:00Someone poured acid in the container.
00:25:01This thing gets more muddled every minute.
00:25:03You telling me?
00:25:05How do I get to Steiner's office?
00:25:06I'll show you.
00:25:07Thanks.
00:25:07And you're not going with me.
00:25:13Right at the head of the street.
00:25:14Thanks.
00:25:15I want to have a map of this place.
00:25:16Oh, Lieutenant.
00:25:18Of course you know that anybody could have taken the rouge from Miss Lane's dressing room.
00:25:21I'm sure.
00:25:23A very interesting detail.
00:25:30What do you make of it, Drew?
00:25:31It's got me.
00:25:33It'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?
00:25:49Yes.
00:25:50Why not?
00:25:51It'd be fun.
00:25:52Besides...
00:25:53Marsha?
00:25:54Yes.
00:25:55Oh, say, Tom.
00:25:56If you see her, don't say anything about that cigarette business.
00:25:58It's only upset her.
00:25:58No, no, no, no.
00:25:59Of course not.
00:26:00If I can help you, let me know.
00:26:02Thanks.
00:26:03Has anything been moved on the set?
00:26:05No.
00:26:05Police instructions were to leave everything undisturbed.
00:26:08Well, I'm going to have another look around.
00:26:10I want to find out just how he was murdered.
00:26:12And with what gun.
00:26:16See, I got an idea of how Brent was killed.
00:26:19You want to hear it?
00:26:20Some other time.
00:26:21Better go home and sleep it off, Chalmers.
00:26:23No, that's what you think.
00:26:24Chalmers don't know anything, huh?
00:26:26Well, listen.
00:26:27I'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.
00:26:33Be smart, huh?
00:26:34Be smart.
00:26:36Now, listen.
00:26:36You're going to come to me later.
00:26:38Oh, I'll see you in the morning.
00:26:39Go on home.
00:26:40Oh, the 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.
00:26:54Thanks.
00:27:13All right.
00:28:42Go find Sheehan.
00:28:43He's someplace on the lot.
00:28:44Bring him here.
00:28:47Mr. Drew.
00:28:48Mr. Drew, what happened?
00:28:50What happened?
00:28:52Here.
00:28:52Here.
00:28:55It's swell, ain't it?
00:28:57I made it myself.
00:29:01Who's in there?
00:29:02It's all right, Sheehan.
00:29:07What's going on now?
00:29:08Plenty.
00:29:09I found the gun that killed Brent.
00:29:11Where?
00:29:11Right here in this lamp.
00:29:14Why, it's gone.
00:29:18So 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, attached to an electromagnet.
00:29:36There's the wire it was connected to.
00:29:37Then 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, the first thing I ask myself when I investigate the murder is,
00:30:20whodunit?
00:30:20Well, that sounds logical.
00:30:22And the next thing I ask myself is, who could do it?
00:30:25And then?
00:30:26And then I ask myself again, who wanted to do it?
00:30:30And how do you answer yourself?
00:30:32Well, I ain't come to that yet.
00:30:35You 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 in account that Brent had him fired.
00:30:42When was this?
00:30:43A couple months ago, when Chalmers was head gaffer, they 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, and him and Brent had an argument.
00:30:53Say, Gully, you are a first-class gumshoe.
00:30:58Investigator.
00:30:58All right, investigator.
00:31:00Right now, will you run up to the casting office and investigate, and find out where Chalmers lives?
00:31:04Sure, what are you going to do, put the finger, I mean, apprehend them?
00:31:07Maybe.
00:31:08Do you 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, and my...
00:31:14Well, 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 cannon man really sets the lights.
00:31:22You mean, he 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, so they wouldn't hold the company up when they
00:31:32called the extras.
00:31:33Do you remember anything particular about that one light?
00:31:36To be truthful with you, we had a lot of arguments on that set.
00:31:41Mr. Steiner didn't like the photography, and he wanted more light.
00:31:45Steiner?
00:31:46Was he there when it was rehearsed?
00:31:47Yes.
00:31:48Who else?
00:31:49Well, they're all there, with the exception of the extra people.
00:31:52There were no extras there, huh?
00:31:54No, only Chalmers.
00:31:56You know, he's a sort of a privileged character around 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, and made Mr. Avery give him a bit in her picture.
00:32:08Oh, Miss Lane got him the job.
00:32:10Yes.
00:32:11Could you give me the address of the cameraman and Chalmers?
00:32:16Sure.
00:32:18And, by the way, if a writer by the name of Drew asks you anything, don'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.
00:32:34This is it.
00:32:34This is it.
00:33:00Look, that Chalmers is in trouble again.
00:33:10Do you wish to see Mr. Chalmers?
00:33:12Yes.
00:33:12Is he in Mrs. uh...
00:33:14Miss Potts?
00:33:15And 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.
00:33:23I suppose he's lying stiff and the place all cluttered up with gin bottles.
00:33:27Let's go in and have a look around, Captain.
00:33:29As the tenants, guests I mean go, he wasn't so bad until he lost his job.
00:33:34Then he started acting queer-like.
00:33:37See?
00:33:38I told you.
00:33:41I laid down the law to him.
00:33:43I 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 carrying's on.
00:33:58The fellow's dead.
00:34:00Dead?
00:34:01Well, he didn't think of me.
00:34:03No, not him.
00:34:04I suppose my 2850 back wind has gone up the flue.
00:34:10Did I have Chalmers spotted?
00:34:13All I did was ask myself, who done it?
00:34:16Poison, all right.
00:34:17Familiar smelling stuff, too.
00:34:21Boy, that guy had to 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.
00:34:59I gotta wear it.
00:35:00Why 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.
00:35:31Jenna?
00:35:32Yeah.
00:35:39Yeah.
00:36:01I'm sorry.
00:36:01I'm sorry.
00:36:01I'm sorry.
00:36:07say gully come here take a look in here
00:36:16now what do you see a bottle of gin and a piece of ice
00:36:20what else use your powers of observation
00:36:25oh you mean that piece of walled lettuce in there
00:36:27don't you notice that little service door on the back has been left open
00:36:31whatever the 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
00:37:05look someone must have stood here a long time
00:37:07them are fresh prints ain't they
00:37:10step up there a minute
00:37:13look out for those tracks
00:37:15now what
00:37:16look through the window
00:37:21you see chalmers sitting there
00:37:22yeah the door's open
00:37:29supposing someone stood here
00:37:31and dr chalmers gin through the icebox from this side
00:37:37and then stood here
00:37:40and 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
00:37:47yeah only there's where he made his mistake
00:37:49put the pencil in the wrong hand
00:37:52that's just what I was thinking
00:37:57gully
00:37:59you know if a car was parked here
00:38:01would 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 she and
00:38:20I'm any good as a guesser he ought to be here by now
00:38:28he's fucked over on the table
00:38:29there huh
00:38:31don't let shere know what we found out
00:38:33I gotcha
00:38:33the captain got here fifteen minutes ago
00:38:36captain
00:38:40what are you and that keystone cop doing here
00:38:43now looky here shere and you can't talk that way about me
00:38:45remember I'm chief of the studio police and I got rights
00:38:48I I 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 about police matters than the police
00:38:57that's noble of you to admit it
00:38:59did you two loosens as touch anything around here
00:39:01nothing important
00:39:01good then clear up
00:39:03and take that uniform 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 right from the start
00:39:20now he's the keystone cop
00:39:22he don't even know chalmers was left handed
00:39:26left handed
00:39:35sure
00:39:37that started all over again
00:39:39I can remember when murders were nice clean simple things
00:39:43done with machine guns and meat axes
00:39:46but this case
00:39:53right
00:39:53right straight back
00:39:57all right
00:40:06seems to be the trouble
00:40:07battery's dead
00:40:08but 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
00:40:13liquids all gone
00:40:26just as I thought
00:40:32you were right
00:40:33poison
00:40:40electrolytic liquid
00:40:41sulfuretic acid base
00:40:42great alcohol
00:40:4338% distilled water
00:40:4433%
00:40:47electrolytic liquid
00:40:4827% by volume
00:40:49the man said a teaspoon full of a glass of water will kill a man dead
00:40:53electrolytic acid
00:40:54I'll say anything else
00:40:56no that was all
00:41:09what's all
00:41:11hey
00:41:12think on the same time to trade the
00:41:14the drop to marks under trauma's window
00:41:16Oh, there's probably a thousand cars in Hollywood
00:41:18that have that sort of make-up tire.
00:41:20Yeah, I never thought of that.
00:41:24Say, golly.
00:41:25Hmm?
00:41:26I want you to get me the key to Brent's dressing room,
00:41:28but don't let anybody know it's for me, see?
00:41:30Say, I'll get you the key to the city if you want it.
00:41:33Now, I have a couple of things to do.
00:41:34I'll meet you here in half an hour.
00:41:36Okay?
00:41:42Who is it?
00:41:43Frank, man. Come in.
00:41:45Just a minute.
00:41:54Well, why all the locks?
00:41:56I was just going through some 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 all afternoon for you.
00:42:02Oh, I've just been doing a little sleuthing.
00:42:05Marcia, you trust me, don't you?
00:42:08Why, yes, of course.
00:42:11You know I'd do anything in the world for you, don't you?
00:42:13I believe you would, dear.
00:42:16Then, is there anything you know about the murder of Brent that you haven't told me?
00:42:22No.
00:42:24I've just come from Chalmers' place.
00:42:27He's dead.
00:42:29Chalmers?
00:42:29Poisoned.
00:42:30You mean murdered?
00:42:32If it isn't that, it's a good imitation of it.
00:42:35Oh, how awful.
00:42:37Whoever did it used electrolytic acid.
00:42:39Acid out of a battery.
00:42:41The unfortunate part of the whole thing is that
00:42:44they used your car
00:42:45and the acid out of your battery.
00:42:48My car?
00:42:53That's why my car wouldn't start.
00:42:54Yes.
00:42:55I only told you this because I'm afraid Sheehan will find out
00:42:58and arrest you on suspicion.
00:42:59That would mean headlines and scandal.
00:43:03What do you want me to do?
00:43:05I want you to get out of here.
00:43:06Anyplace.
00:43:07Just so Sheehan can't find you.
00:43:08But that's...
00:43:09That'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 at 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 how close Sheehan's behind me.
00:43:21I'll telephone you when I get it all worked out.
00:43:22You may have a long beard by then,
00:43:24but I'll try and hurry.
00:43:26Bye-bye, sweet.
00:43:54Come in.
00:43:56Come in.
00:43:58Leon.
00:43:59Because you're surprised that I'm here, huh?
00:44:00Frankly, yes.
00:44:02You haven't come to see me since...
00:44:05since Brent's accident.
00:44:07I should think you'd know why.
00:44:09I don't.
00:44:11I only know that I...
00:44:12that I want to help you.
00:44:14I have all the help I need.
00:44:17Marcia, you mustn't treat me like this.
00:44:19I never said anything to you while Brent was alive.
00:44:23But you should know how I feel.
00:44:26You've succeeded in making your feelings quite plain enough.
00:44:30Marcia, 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.
00:44:53Marcia, maybe someday you will come to me and ask for help.
00:44:57Maybe you will apologize to me for laughing about how I feel for you.
00:45:24No matter how smart they are, they 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?
00:45:53Uh, Mr. Wheatcroft.
00:45:55Mr. Todd, please.
00:45:57Mr. Wheatcroft calling to see you.
00:46:00All right.
00:46:05Pull 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 didn't miss looking in here.
00:46:34You'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, uh, she can't live without them.
00:46:53Married, too.
00:46:55Says her husband don't understand her.
00:46:58Well, that's that old, old story.
00:47:00Two 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.
00:47:13How far is the ocean view from here?
00:47:15Why?
00:47:15I'm beginning to think there's a woman in the case.
00:47:18No.
00:47:20Mr. 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 gotta 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.
00:48:07Well, with all your dabbling, you didn't throw us off.
00:48:11You've thrown yourself off if you think Miss Lane
00:48:13had 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.
00:48:33I ordered some flowers for Miles.
00:48:35Uh, Mr. 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.
00:48:44And have little boy Blue over there take him down.
00:48:46Now keep quiet, Drew.
00:48:48You're trying to get at the bottom of this.
00:48:49Oh, no, you're not.
00:48:51Sheehan's 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?
00:49:01It's as simple as ABC.
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, thinking that he would get drunk and give it
00:49:12away.
00:49:13Every piece of evidence we've got points to her.
00:49:15It was her cigarette that blew up the film.
00:49:18Her 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.
00:49:28Miss Tyna, you can't sit there and let them arrest Marcia.
00:49:31Well, she has nothing more to do with these murders than that Lincoln had to do with the
00:49:35burning 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.
00:49:43So let us hear what he has to say.
00:49:44If you're not paying you to quarrel with the police.
00:49:46Oh, I don't care if you pay me a dime.
00:49:48Sheehan, 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.
00:49:54In 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.
00:50:01Maybe 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 arrested?
00:50:08Now, Mr. Grossmith.
00:50:10If you want to accept the responsibility, you can.
00:50:13But remember, this is a murder case.
00:50:17Two people are dead.
00:50:19And how do you know someone else won't be killed?
00:50:22For my part, I believe that the police should not be interfered with.
00:50:27Well, all I got to say is that it'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.
00:50:57I'm not worried, really.
00:50:58Come on.
00:51:05I'm sorry.
00:51:06I'm special electric.
00:51:08I read all my ballot here.
00:51:11I'm extra.
00:51:12Marcia Lane accused the studio murder.
00:51:15I'm extra.
00:51:18Thanks.
00:51:20I'm claiming.
00:51:22Read all my ballot.
00:51:23Marcia Lane accused the studio murder here.
00:51:27I'm claiming.
00:51:30Hey, let me know about it.
00:51:34I get it, but you like me now.
00:52:06How do you do, sir? How do you do? I'm from the publicity office of the Tone Art Studios.
00:52:10Yes? I'd like to see a list of the people who sent flowers to the Brent funeral.
00:52:14Oh, I think I have a list. Thanks.
00:52:23Terrible thing, that Brent murder, wasn't it? I hear they have listed the Marshall Lane.
00:52:27Yes, I guess she'll be one who won't send flowers.
00:52:30Oh, yes, she will. She was in here early this afternoon and ordered a big wreath.
00:52:34Oh, is that so? They are mostly women.
00:52:37It's surprising so many of them gave their names.
00:52:39Oh, some of them didn't. There was a lady near just now who signed the cheque, then thought better of
00:52:45it and tore it up.
00:52:47Didn't want the husband to see the cancelled cheque.
00:52:50Perhaps. Oh, pardon me. Yes, madame?
00:52:52Are there any gardenias? Well, certainly.
00:53:01Uh-huh.
00:53:03Yes, I'm sorry.
00:53:03Uh-hum.
00:53:07Unh.
00:53:07Unh.
00:53:08Unh.
00:53:08Unh.
00:53:09Unh.
00:53:09Punch.
00:53:11Unh.
00:53:25Oh, my god.
00:53:27Unh.
00:53:30Oh, good evening.
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's Drew. I'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.
00:53:51You see, if the papers get hold of a story like this, they play it up and it's bad for
00:53:54the picture business.
00:53:55Well, 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. They 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 and they left in such a hurry I didn't see them
00:54:12go out.
00:54:13In a hurry? Why?
00:54:14Well, a fellow came in here and started a row and 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.
00:54:33Thanks.
00:54:36This gentleman wants to ask you a few questions.
00:54:39Shoot.
00:54:41Say, do you remember seeing the man who 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 when she saw the guy come out of the booth.
00:54:58Then the guy steps up to Mr. Brent and says, Brent, I want to see you.
00:55:02I thought it sounded kind of silly because 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?
00:55:21It 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?
00:55:43Yeah.
00:55:45That'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.
00:56:16I 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 my shelf?
00:56:52I'm not asking you to lose anything.
00:56:54But how can we finish the picture without Brent?
00:56:55I've told you 17 times that we can use a double.
00:56:58And play the whole kissing scene in a long shot?
00:57:00Why not?
00:57:01Because it's all wrong.
00:57:02It's terrible.
00:57:03I've got my reputation to think of.
00:57:04And I've got my money to think of.
00:57:06Money, money.
00:57:07What's money?
00:57:10Now just a minute.
00:57:12Now let's take it calmly.
00:57:14New York offices have the opinion that the murder of Brent won't hurt the picture if we can release it
00:57:20soon 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.
00:57:33We can get the company together and shoot it tonight.
00:57:35Oh, wait a minute.
00:57:36What about Marcia?
00:57:37Oh, we can arrange with she and use her for that one scene.
00:57:40She can come over with the whole police department if he likes.
00:57:43Everybody's on call and everything on the 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?
00:57:53Seven-thirty.
00:57:54Say nine-thirty.
00:57:55Make it nine o'clock.
00:57:56We'll save a half hour.
00:57:59Todd, we're going to shoot the last scene of the death kiss tonight.
00:58:03Round up the company for a nine 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 Stublin' call, haven't you?
00:58:16Yes, I'll have him all right.
00:58:18But say, what about Miss Lane?
00:58:21I take care of her.
00:58:25Silk on that thirty-six.
00:58:27Hey, Mac, let me put that light over here.
00:58:29Screen 80, will you?
00:58:30Screen 80, Joe.
00:58:32Look, screen 80.
00:58:34Say, it's twenty-seven and forty-two.
00:58:36Joe, they'll check with my camera.
00:58:39How about those of them there?
00:58:40I think everything is all right.
00:58:42Good evening.
00:58:43You know Mrs. Avery?
00:58:45Oh, yes, 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.
00:58:57He's very good with the ladies.
00:58:58Wake up.
00:58:59Wake up.
00:59:01Wake up.
00:59:02Wake up.
00:59:03Wake up.
00:59:05Wake up.
00:59:06Wake up.
00:59:06Wake up.
00:59:07Wake up.
00:59:08Wake up.
00:59:09Wake up.
00:59:10Wake up.
00:59:10Wake up.
00:59:13Wake up.
00:59:13Wake up.
00:59:13Wake up.
00:59:14Wake up.
00:59:14Wake up.
00:59:14Wake up.
00:59:15Wake up.
00:59:16Wake up.
00:59:17Wake up.
00:59:17Wake up.
00:59:17Wake up.
00:59:18Wake up.
00:59:18Wake up.
00:59:18Wake up.
00:59:20Wake up.
00:59:23Wake up.
00:59:54We'll do it the same way.
00:59:55You two guards in the back, on the left.
00:59:59Watch out.
01:00:00I'll put a scrim out of there.
01:00:02Shoot the hosting over.
01:00:03Kill those two over there, 16th and 12th.
01:00:05Hey, we'll take the hosting over again.
01:00:07All right.
01:00:08Huh?
01:00:08How much of these?
01:00:12Do 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.
01:00:27He'll turn up.
01:00:28You can't lose that guy.
01:00:30We're ready for a rehearsal, Miss Lane.
01:00:32All right.
01:00:34Go ahead.
01:00:35We'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 Miss Johnson?
01:01:04Yes.
01:01:04How 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.
01:01:19Get them all!
01:01:20You sound ready for rehearsal?
01:01:22Okay.
01:01:23Come on.
01:01:24This business gives me a funny feeling.
01:01:26What do you mean?
01:01:27I don't know.
01:01:28It just gives me a funny feeling, that's all.
01:01:30Supposing it should happen to somebody else's shot.
01:01:33It's 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.
01:01:56I've already ashamed, sir.
01:01:58Most annoying.
01:01:59Right under me very now.
01:02:01Wait a minute.
01:02:01What's the matter now?
01:02:04I 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.
01:02:17Is that in your picture?
01:02:18No, you're safe there.
01:02:19Okay, test it.
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?
01:02:52Well, 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.
01:03:18But the husband of the woman that was with him waited for Brent in the telephone booth in the lobby.
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.
01:03:39Now, 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, found out that Chalmers had discovered his contraption in the lamp.
01:03:53Stole Marsha's car, took acid again, Dr. Chalmers' gin, and 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.
01:04:19Well, 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.
01:04:26The scribblings a man makes on a piece of paper are as identifying as his signature.
01:04:30Oh.
01:04:31Now 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, before 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.
01:05:26All right.
01:05:37Sure the gun isn't loaded?
01:05:39You bet not.
01:05:40I just look at it.
01:05:42Mind if I look?
01:05:43Not at all.
01:05:48A clear deal?
01:05:50All right, we'll take it.
01:05:51Is everybody ready?
01:05:52Let's make it.
01:05:53Johnson, powder up, will you please?
01:05:55Sure.
01:06:01Thanks.
01:06:04Frank, I've been so worried about you.
01:06:09Darling, I'm hot on the trail.
01:06:11I'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.
01:06:29It isn't loaded, is it?
01:06:31What do you think, I'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, I couldn't get 38s before, so I slipped in the 45s.
01:06:52Nobody knew the difference.
01:06:53You 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
01:07:0938 caliber guns.
01:07:11Yeah?
01:07:11Did 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.
01:07:22Well, 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.
01:07:33Everybody stand on their arm!
01:07:38Lights, give me a light for your chips!
01:07:41Come on!
01:07:54Get out of here, Mr. Blake!
01:07:56Come on!
01:07:57There he is!
01:07:58Come on!
01:08:00No!
01:08:03Get out of here!
01:08:07He's going to get out of here!
01:08:10Get out of here!
01:08:11You're not half the mic!
01:08:12Come on, he went this way!
01:08:16Oh, there he is! Come out!
01:08:25There he goes!
01:08:28Where is he?
01:08:31Look at those stands!
01:08:32Right here!
01:08:33Come on!
01:08:40Stand where you are, I'll shoot!
01:08:57There he goes!
01:09:03Come on!
01:09:09Avery!
01:09:10Mr. Avery!
01:09:11So he's the one that ordered the guns?
01:09:13Yes, 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!
01:09:41I 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!
01:09:57You despicable cad!
01:09:59So you're a policeman, huh?
01:10:01You're a man!
01:10:15I think I owe apologies to Miss Lane, and to you too.
01:10:18I'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!
01:10:30I'm sorry!
01:10:32We'll talk about that later.
01:10:37Oh, uh, lieutenant, would 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.
01:10:53Do you mind if I write it in right now?
01:11:03Do you mind if I write it in right now?
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