- 2 giorni fa
film horror in italiano
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00:00:26Musica
00:00:57Musica
00:01:28Musica
00:01:30Musica
00:01:30Musica
00:01:30Musica
00:01:32Musica
00:01:34Musica
00:01:56Merritt,
00:01:59Sì, sì, sì.
00:01:59Lari, prima di farci vedere,
00:02:01sei che hai visto il tuo shock?
00:02:03Oh, sì, sì.
00:02:04I know, con i fang di i tui non puoi parlare,
00:02:07ma faccio un po' e io guardo un po' e io guardo.
00:02:11Guarda.
00:02:16Sì, cosa dice?
00:02:17Sì, sì.
00:02:21Ok, io lascio i fang di i tui.
00:02:22Puoi rimanere il tempo per andare a fare il set.
00:02:27No, no, no, no, no, no.
00:03:14No, no, no, no, no, no, no, no.
00:03:26Well, thanks for trying to cheer me up, but just the same.
00:03:29This scares me.
00:03:30Now, remember, my boy, I created you so that you could scare others.
00:03:33As an actor, as an artist, that's your mission.
00:03:37Live up to it.
00:03:38Well, it's time for us to be on the set.
00:03:40We mustn't keep the director waiting.
00:03:43There we are.
00:03:46Fine.
00:03:47Well, come on.
00:04:03Grazie a tutti.
00:04:26Grazie a tutti.
00:04:51Grazie a tutti.
00:04:53Grazie a tutti.
00:05:30Grazie a tutti.
00:05:31Pete makes them up.
00:05:32It's for real.
00:05:40Well, at least we look normal.
00:05:42Don't we, though?
00:05:57Well, here he is, Martin.
00:06:02Great, Pete.
00:06:04Just great.
00:06:06Exactly what I wanted.
00:06:10This is as good and ferocious as your Frankenstein, Munster.
00:06:13Thank you.
00:06:14Get Tony out here.
00:06:15I want to see how these two beauties look together.
00:06:28werewolf?
00:06:28Meet Frankenstein.
00:06:30Shake hands and come out snarling.
00:06:35Well, Pete, all I can say is you gave birth to a fine pair of sons.
00:06:39You can be really proud of your creation.
00:06:41Would you be needing me?
00:06:42No.
00:06:42You can rest on your laurels.
00:06:43If I need you, I'll send for you.
00:06:44I'll be in my makeup room.
00:06:45I'll be in my makeup room.
00:06:48Now, boys, listen carefully.
00:06:51Remember, this is the big scene of the picture.
00:06:54The audience is waiting for this, where, finally, werewolf meets Frankenstein.
00:06:59They hate each other.
00:07:00It's a fight to their death.
00:07:02It's the battle of the monsters, and it must be the high spot of the picture.
00:07:06It's got to be the greatest fight we've ever had on the screen, and I've got to get it
00:07:11in one take.
00:07:12So, listen to directions carefully.
00:07:14You'll come in from out there.
00:07:17Now, you'll come in from here.
00:07:20Very stealthily.
00:07:22Very cunning.
00:07:24With animal instinct, you will feel that there's an enemy around.
00:07:29You hear something, you stop.
00:07:31You look around.
00:07:33I want this to be really creepy.
00:07:35You haven't seen anything yet, but you know that you're in danger.
00:07:39Suddenly, from over there, big as life and twice as frightening, comes the Frankenstein
00:07:45monster.
00:07:46Come in, son.
00:07:48As you move towards each other...
00:07:55I want to take home some pictures of these boys.
00:07:59I like to study them.
00:08:02I might decide to make masks for my collection.
00:08:04You should, Pete.
00:08:05I think this teenage werewolf and teenage Frankenstein are easily among the best things you've ever
00:08:10done.
00:08:11You know, another reason I want to keep a souvenir of this picture is that I enjoy working with
00:08:15these teenagers.
00:08:16They've got spirit, and they cooperate.
00:08:19They don't sour on you like some of the older actors.
00:08:22I remember the trouble I had with that old Barry Horton when I disfigured him.
00:08:26Yeah, the picture in which he had the car crash.
00:08:28He was afraid he'd lose his women admirers.
00:08:31A truck was going to run over him, and he wanted to come up without a scratch.
00:08:36Oh, but these teenagers, they've got spirit and confidence.
00:08:40They plunge into a role.
00:08:41They put themselves in your hands.
00:08:44I enjoy working with them.
00:08:48But, gentlemen, it's customary to knock.
00:08:50Well, we don't have to.
00:08:53We are the group that have taken over this studio, NBN Associates.
00:08:57We've personally taken over this lot, and we're going to run it our way.
00:09:00My name is John Nixon.
00:09:01This is Mr. Jeff Clayton.
00:09:02Yes, of course. I read about it in the trade papers.
00:09:05It's certainly nice to meet you, gentlemen.
00:09:07Mr. Dumont, we're going to make some changes around here.
00:09:10Well, you'll have my best wishes.
00:09:12Oh, won't you sit down?
00:09:14Well, I'm afraid these aren't too comfortable,
00:09:16but perhaps the new regime will provide better chairs for my workshop.
00:09:20Your workshop?
00:09:22That sort of brings us to the point.
00:09:23What point?
00:09:25Mr. Dumont, we won't be needing you after you finish this picture,
00:09:29the one you're on now.
00:09:31Not need me?
00:09:32Yes.
00:09:33Monsters are finished.
00:09:35They're coming out of your ears.
00:09:36Saturation.
00:09:37A horror cycle is over.
00:09:39People want to hear music.
00:09:40They want to laugh.
00:09:41They want to see pretty girls.
00:09:42There's no doubt about it.
00:09:43Monsters are finny.
00:09:45I heard that 25 years ago when I created my first werewolf.
00:09:48It saved the studio from bankruptcy.
00:09:51Now, look.
00:09:51I didn't come here to discuss this thing or to argue it with you.
00:09:55That is the decision of the big brass.
00:09:58It's mine, too.
00:09:58Yes, but, well, it's a wrong one, if I may disagree.
00:10:05Why, even psychiatrists say that in all these monster pictures,
00:10:09there's not only entertainment, but for some people, therapy.
00:10:12Well, you know we never get over our childhood fears of the sinister,
00:10:15the terrifying faces we see in nightmares.
00:10:18Well, through these pictures, we can live out our hidden fears.
00:10:21It helps.
00:10:23You live them out, but not on our payroll.
00:10:26Like Mr. Nixon says, people want to see escape pictures nowadays.
00:10:31Musicals, jokes, pretty girls.
00:10:33Yes, but our decision is final.
00:10:36Now, instead of giving you a cold pink slip, I came to tell you in person.
00:10:42It's the human way.
00:10:44It certainly is.
00:10:45And we'll allow you a week's severance pay.
00:10:47No, thank you.
00:10:48Keep your severance pay.
00:10:49I don't want your charity.
00:10:51This lot, this room, has been my home for 25 years.
00:10:55Now that you throw me out,
00:10:56don't try to soften the blow with a few cheap dollars.
00:11:00I'll leave when this picture is finished shooting.
00:11:03Okay.
00:11:04That's the way you feel?
00:11:07Turn down money.
00:11:09Maybe you've been living too long with monsters.
00:11:12Sometimes I find them better company than humans.
00:11:18Pete, what are we going to do?
00:11:21I don't know yet.
00:11:24But one thing I do know for sure,
00:11:26they're wrong and I'm right.
00:11:27I'd stake my very life on that.
00:11:30And before I leave this lot,
00:11:31I intend to prove that I'm right.
00:11:36I'm right.
00:11:51I'll leave this lot.
00:11:55If you're not, please.
00:11:57Just read the book.
00:11:57And before I leave this list,
00:12:12Let me show you where you can find it.
00:12:14Where you can find it?
00:12:17I said, let me see you.
00:12:24No, no, no, no.
00:12:57No, no, I'll destroy them first.
00:13:01And I'll use the very monsters they mock to bring them to an end.
00:13:06Pete.
00:13:06I heard voices.
00:13:11Only mine.
00:13:13You were talking to yourself?
00:13:15Not entirely.
00:13:17I was reassuring my children that I won't let them perish.
00:13:21Then I'm going to stop these men from destroying us.
00:13:24But how?
00:13:27I'll show you.
00:13:33Those fools.
00:13:34They think a monster is just put together with glue, hair, putty, foam rubber.
00:13:39They don't realize that a monster, even on the screen, is human
00:13:42and must be infused with a spirit by his creator.
00:13:45Well, if I didn't believe in my creations, they wouldn't believe in themselves.
00:13:49That's why they can throw fear into the hearts of spectators.
00:13:56Pete, what are you putting into that?
00:13:58I'm blending a new ingredient for the foundation cream.
00:14:00It's my own discovery.
00:14:03If they knew how many long hours I experimented with different chemical agents to get better results.
00:14:09Do you remember the time I accidentally added Novocaine?
00:14:12Of course.
00:14:13James Duncan.
00:14:14A prehistoric man.
00:14:15Couldn't remember his lines.
00:14:17No.
00:14:18Not until I released him.
00:14:20When I ordered him under hypnosis to remember, he did.
00:14:23Well, I'll do the same with these young men.
00:14:25As I see fit, I'll order them what to remember and what to forget.
00:14:29You mustn't try that.
00:14:31Why not?
00:14:32Why, it's dangerous.
00:14:33Dangerous?
00:14:34Why, we are fighting for our lives.
00:14:42Now, this enters into the pores and paralyzes the will.
00:14:46It'll have the same effect chemically as a surgical prefrontal lobotomy.
00:14:50It blocks the nerve synapses.
00:14:52It makes the subject passive.
00:14:55Obedient to my will.
00:15:11Well, all quiet.
00:15:13Except for a light in old Pete's makeup room.
00:15:15When he's on a job, he frankly lives here.
00:15:18Yeah, I know.
00:15:19He's married to his career.
00:15:21That's the way I feel about my work.
00:15:23But what chances do I get?
00:15:25Now, don't knock it.
00:15:26You've got a nice, easy job.
00:15:28The only hoodlums you run into are the bit players.
00:15:31We're strictly law and order men.
00:15:33Nothing ever happens on the lobster shift.
00:15:35That's what I mean.
00:15:37Just high class what?
00:15:39Look, Monaghan, you want action?
00:15:41Join the commandos.
00:15:42Yeah.
00:16:12I'll put you in a massage, Pete.
00:16:14I'm glad to see you're in a cheerful mood.
00:16:17Boy, you're not.
00:16:19You look bugged.
00:16:20How would you feel if someone pronounced a death sentence?
00:16:24Are you serious?
00:16:25You should be, too.
00:16:28It's no longer any secret.
00:16:30The new owners of the studio have decreed no more monsters.
00:16:34My job is done.
00:16:36My career is over.
00:16:38Well, actually, that's not too bad for me.
00:16:41I've had my days of glory and triumph.
00:16:44I suppose I'm an old man who should be able to face the end.
00:16:52But this also means that your career is over, too.
00:16:56I thought that was just a rumor.
00:16:58It's an order.
00:17:00One order can destroy both of us.
00:17:03Tough.
00:17:05But I guess my agent can get me another part.
00:17:07I don't want to discourage you, my boy, but I know this town, this industry.
00:17:11I've given my life to it.
00:17:23I can hear the casting director as if he were in this very room.
00:17:29Sorry.
00:17:30Nothing in this picture.
00:17:32Oh, I begin to read you.
00:17:35Don't forget, Larry.
00:17:36The people who've seen you, your fans, don't know your real face.
00:17:40The only hope you have for a future is here.
00:17:45I guess you're right, Pete.
00:17:47Oh, I know I'm right.
00:17:49Well, what can we do?
00:17:52I like that question.
00:17:54At least you're interested in saving your career.
00:17:57I am.
00:18:00Well, if you'll sort of place yourself in my hands, perhaps we can make them change their minds.
00:18:07Go ahead, Pete.
00:18:08I'm with you.
00:18:20Larry, this foundation cream has a new firming agent in it.
00:18:26Something that I perfected.
00:18:29So don't worry if you feel your skin tightening.
00:18:33Don't worry if it makes you feel...
00:18:35Yeah, it does feel kind of cool.
00:18:37Remember, my boy.
00:18:38It's in your best interests.
00:18:41Do exactly as I instruct you.
00:18:48You will play your sea well today.
00:18:52But after you've completed it,
00:18:56instead of coming back here,
00:19:00this is what I want you to do.
00:19:14Well, congratulations, Banks.
00:19:16The rushes are fine.
00:19:17You were right.
00:19:18This musical is going to be a big hit.
00:19:20I like the way you're handling this production.
00:19:22Thanks, John.
00:19:23Every end of the set's coming along just great.
00:19:25I'll see you in the morning.
00:19:26Good night.
00:19:26Good night.
00:19:28Well, I might as well see yesterday's rushes on the werewolf and Frankenstein picture.
00:19:32Without me, if you don't mind, John.
00:19:34Maybe you've got a secret yen for monsters, but not me.
00:19:37I think they scare you and you're too chicken to admit it.
00:19:40So you guessed my secret, huh?
00:19:41Well, it's part of my responsibility, so I'm going to see them.
00:19:44Well, have yourself a night, Mayor.
00:19:47All right, I'm ready.
00:19:48You can run the rushes on production 204.
00:19:54Scene 136, take two.
00:19:56Action.
00:19:57Action.
00:20:01Action.
00:20:03Action.
00:20:05Action.
00:20:05Action.
00:20:08Action.
00:20:14Action.
00:20:17Action.
00:20:18Action.
00:20:19Action.
00:20:22Action.
00:20:24Action.
00:20:25Action.
00:20:25Action.
00:20:27Action.
00:20:30Action.
00:20:31Action.
00:20:33Action.
00:20:34Action.
00:20:39Now, you're sure, my boy, nobody saw you.
00:20:46And you did exactly as I told you?
00:20:51And you came back exactly as I said?
00:20:56Good.
00:20:59You'll forget this after I wake you up.
00:21:02You won't remember a thing afterwards.
00:21:06You...
00:21:18Pete, are you sure there's no danger of us getting caught?
00:21:21Just wash these.
00:21:30Now wake up, my boy.
00:21:34Wake up.
00:21:42Now here he is, Doc. See what you can get.
00:21:45Now tell me what you know about all this. Don't leave anything out.
00:21:48I already told you I ran the rushes for him on three pictures.
00:21:50What time?
00:21:52Beginning about eight. That's when he reserved the room.
00:21:54Did you see anything? Hear anything?
00:21:56All I could see was on the screen.
00:21:58All I could hear came from the soundtrack.
00:22:02Especially the last one. Two monsters beating each other's brains in.
00:22:07And then?
00:22:08When the picture was finished, I put the house lights up.
00:22:11Then I put the film back in the can and I went home.
00:22:14My work was done.
00:22:16The cop on the gate, Richards, he checked me out.
00:22:19Okay, you can go.
00:22:22Peter, did you see this?
00:22:26Glassner's wristwatch is cracked.
00:22:28Stopped at 8.34.
00:22:29And that fixes the time of the murder.
00:22:31What do you make of it?
00:22:33Well, pending autopsy findings, I would say that he was attacked from behind
00:22:37by someone with fiendish strength.
00:22:40Neck is broken.
00:22:41And that the attacker, like an animal, inflicted sharp wounds on the neck.
00:22:46Looks like fangs to me.
00:22:48I'd say that the time of death is fixed by the time the watch stopped is reasonably accurate.
00:22:53So what do we have to do?
00:22:54Look for a monster?
00:22:56You don't have to go very far.
00:22:58I think that they make them to order right in the studio.
00:23:01We're not talking about actors.
00:23:02We mean a real monster.
00:23:14We're not talking about actors.
00:23:15The news hounds will have a field day.
00:23:17What a way to start off the new regime.
00:23:19You've got to move fast.
00:23:21We'll do the best we can.
00:23:22The PM didn't help us very much.
00:23:24All it established is he was strangled and his neck was broken.
00:23:27That could have been done by a human.
00:23:28But he was also clawed and bitten.
00:23:30That part is inhuman.
00:23:31I'm not interested in your speculations.
00:23:33I just want results.
00:23:35Nixon was my friend.
00:23:38You know it's one thing when an eastern hoodlum comes out here to cut in on
00:23:41juicy California territory and the local mob turns him off.
00:23:45But when an eastern executive is killed in the west, not out here, how could he?
00:23:50And certainly not enemies.
00:23:52He may have had rivals for his job.
00:23:54But they wouldn't resort to murder.
00:23:56In the entertainment business, the mortality rate is fast and high enough.
00:24:01You have your eye on a certain spot, all you need is patience.
00:24:05Wait a little bit.
00:24:06You're bound to get your turn.
00:24:06Well, did he antagonize anybody out here?
00:24:09No, not in that lethal way.
00:24:12Naturally, we pink slipped about a hundred at the studio.
00:24:15We had to.
00:24:16Still cameramen, flax, maintenance men, secretaries, makeup department.
00:24:21But that's not unusual when a new regime moves in and takes over.
00:24:24And yet it throws an awful lot of people out of work.
00:24:27Some of them may not like the joke.
00:24:30It's just one of the hazards of the industry.
00:24:32Besides, they'll all get jobs immediately.
00:24:34They'll be absorbed by TV.
00:24:36Then you don't know of any enemies he had out here?
00:24:39I'd say he had none.
00:24:42Well, we'll put every man we can in the case.
00:24:44Just bear in mind that we want this cleared up as badly as you do.
00:24:47A Hollywood murder is okay on the screen, but not in the studio.
00:25:04What is it, Larry?
00:25:06Don't you feel well?
00:25:08I kind of black out.
00:25:11I don't understand.
00:25:13I start to weave and then I black out.
00:25:16This is something new.
00:25:19No, I just feel this way.
00:25:21So maybe you gave your all to the part of the werewolf.
00:25:24Now you don't have any strength.
00:25:26You may have something there.
00:25:29In the last scene I was in, I had to try to escape to get away from the police.
00:25:33I, Arlene, I still feel as if I'm running.
00:25:38I don't know what I'm running from, but, but I am running away.
00:25:41Maybe the reporters and police upset you.
00:25:44No, no.
00:25:46He just looked around, took a few pictures.
00:25:49He barely spoke to me.
00:25:51Asked me how it feels to be a monster.
00:25:53Then he turned away.
00:25:55I heard him laughing at the makeup, like, like it was something to scare kids.
00:26:02It's the same.
00:26:03Still running, running, running.
00:26:05Come on, Larry, relax.
00:26:07Calm yourself.
00:26:10I guess it's only natural if you work hard that you're going to have a letdown.
00:26:15Yeah, I guess so.
00:26:18Better get back in, Arlene, before they chip in and buy me a wheelchair.
00:26:41I guess I'm going to get back in, Arlene.
00:26:42Working late again, huh?
00:26:43Oh, well, I have no hours.
00:26:45No creator has.
00:26:47Besides, I get more joy and satisfaction out of my work than watching the clock.
00:26:51I know you're a beaver for work, but it's only human to call her today once in a while.
00:26:56Not me.
00:26:57There's no rest for me.
00:26:58You should, though.
00:26:59Take it easy, I mean.
00:27:01It puzzles me why you knock yourself out, especially when you're through here.
00:27:05This is your last job.
00:27:07So you know, too, huh?
00:27:09It's all over the lot.
00:27:12But it's no disgrace.
00:27:14Believe me, you're in good company.
00:27:15Half the old termers get pink slips.
00:27:18Did you?
00:27:19Uh, a cop doesn't make enough money to be a drag on a payroll.
00:27:22But I might just fire myself up.
00:27:25Oh?
00:27:26I never kidded myself that walking a watchman's rounds would move me to the top.
00:27:31Oh, no, I guess not.
00:27:32Take most of these studio cops.
00:27:34They're retired policemen, looking for a soft touch.
00:27:38But not me, though.
00:27:39I've got different ideas.
00:27:41If I were chief of police of this studio, I'd run it real strict.
00:27:44No one would get on this lot without a pass.
00:27:48And I'd put on two night patrols.
00:27:50That new boss, Nixon, might not have been killed if my system had been in force.
00:27:56Too bad it wasn't.
00:27:57But now, I'm heft to something that might just put me in line for promotion.
00:28:07Really?
00:28:08I'll take that Nixon killing, for instance.
00:28:11A man gets strangled just watching the rushes.
00:28:14I wasn't satisfied with the way the big brass handled it, so I put some pointers of my own down.
00:28:20Got them right here in my little black book.
00:28:23Like a real detective, huh?
00:28:25Exactly.
00:28:26Like I think it was an inside job.
00:28:29Someone who knew his way around the lot.
00:28:31Do you suspect anyone?
00:28:33No.
00:28:34But I can give you another for instance.
00:28:37Like you and your stews didn't leave the studio the night before the killing.
00:28:40Well, I often spend the night here, especially when I have a heavy makeup job.
00:28:44Do you realize I've got to be here at six o'clock in the morning to get the actor ready
00:28:48for his first scene of the day?
00:28:50Also, why bother to go home?
00:28:51Well, you don't have to explain anything to me.
00:28:53You can tell it all to Captain Hancock of Homicide.
00:28:57And you can tell him, for instance, that on the night of the killing, you and Rivera left the lot
00:29:03at 9.12.
00:29:05Got it all down here in my little black book.
00:29:09Then I figure Captain Hancock tells the new setup, and maybe I get promoted.
00:29:15Yeah, I've got a few other little things written down for him, too.
00:29:21Yes, but why bother?
00:29:22After all, you've already done all they expect of you.
00:29:25Why stick your neck out beyond the call of duty?
00:29:27The security of this lot means a great deal to me.
00:29:30This duty will be here a long time.
00:29:34And someday I expect to be its chief of police.
00:29:36Well, I like a show of ambition, and you've really got it.
00:29:41I'll see you downtown.
00:29:49Quick.
00:30:10Quick.
00:30:13Quick.
00:30:18Quick.
00:30:20Quick.
00:30:21Quick.
00:30:23Quick.
00:30:23Quick.
00:30:24Quick.
00:30:24Quick.
00:30:26Quick.
00:30:27Quick.
00:30:28Quick.
00:30:28Quick.
00:30:30Quick.
00:30:31Quick.
00:30:32Quick.
00:30:34Quick.
00:30:52Grazie a tutti
00:31:24Grazie a tutti
00:32:00Grazie a tutti
00:32:06Grazie a tutti
00:32:36Grazie a tutti
00:33:46Hey Monaghan
00:33:58Monaghan
00:35:29No, sir
00:35:30You see I was here all the time
00:35:31Right at this table
00:35:33Preparing the foundation cream
00:35:34I use in makeup
00:35:35And you heard nothing
00:35:36Saw nothing
00:35:37If I had
00:35:37I would have done something about it
00:35:39He was a nice young fellow
00:35:40That Monaghan
00:35:41Polite and neighborly
00:35:42It's a shame
00:35:47Monsters
00:35:47Is that all you do?
00:35:50Well I
00:35:50Sort of specialize in them
00:35:52Half for 25 years
00:35:55Look Pete
00:35:55My kid's having a Halloween party
00:35:57I think he'd get a big bang
00:35:59Out of scaring his friends
00:36:00Oh well
00:36:01Bring him over
00:36:02I'll be glad to make him up
00:36:03As a monster
00:36:04In the meantime
00:36:05Don't make any sudden trips
00:36:06The captain might want to see you downtown
00:36:08Oh I won't
00:36:09Believe me
00:36:09I won't budge until this picture
00:36:10Has finished shooting
00:36:12Now if you'll excuse me
00:36:13I have some work to do
00:36:28Okay let's get ready to do the numbers
00:36:29Starring John Ashley
00:36:32This will be a take
00:36:37Quiet
00:36:39Bell please
00:36:42Roll them
00:36:45Lay back
00:36:53Hello baby
00:36:55I'm glad to see you
00:36:56Might like to see you more
00:36:58But someone gave you the wrong idea
00:37:01About what your charms are for
00:37:04You gotta have me here
00:37:06To go with your smile
00:37:09You'll find if you play up your figure
00:37:11Fellas will dig your style
00:37:14Well you gotta have V-Hoo
00:37:17And plenty of V-Hoo
00:37:20A guy will end up in your arms
00:37:22If you keep your charms in view
00:37:25Well some call it glamour
00:37:28And some call it class
00:37:31But when they call it E-Hoo
00:37:35Baby you're cooking with gas
00:37:37You gotta have V-Hoo
00:37:39You gotta have wow
00:37:42Unless you are dressed up to catch him
00:37:45Someone will snatch him
00:37:46What a difference it makes
00:37:48But if you got E-Hoo
00:37:50Well you got what it takes
00:37:53Ho
00:38:13Well some call it glamour
00:38:16And some call it class
00:38:20But when they call it E-Hoo
00:38:23But when they call it E-Hoo
00:38:24Baby you're cooking with gas
00:38:25You gotta have V-Hoo
00:38:28You gotta have wow
00:38:31Unless you are dressed up to catch him
00:38:33Someone will snatch him
00:38:35What a difference it makes
00:38:37But if you got E-Hoo
00:38:39Well you got what it takes
00:38:45Cut
00:38:46Print
00:38:47Very good kids
00:38:48Lunch one hour
00:38:54Hey you see what I mean Pete
00:38:59I certainly do
00:39:00This is what the people want
00:39:02Instead of the old stuff
00:39:04Fright wigs and monsters
00:39:06They go for gorgeous gals
00:39:07Singing, dancing
00:39:08You know escapism
00:39:10And that's what you'll give them
00:39:12Got to
00:39:13It's the wheels of progress
00:39:15The automobile kills off the horse and buggy
00:39:17The freezer puts the old fashioned icebox out of business
00:39:20And so it goes
00:39:21You're right Mr. Clayton
00:39:22The wheels of progress
00:39:24No matter whom they run over
00:39:26That's the way the footage cuts
00:39:43Yes girls anything I can do
00:39:45We're from Oakmont High
00:39:46We're the editors of our school paper
00:39:48We're writing a story a day at the studio
00:39:50You know one of the girls is in a musical they're shooting
00:39:53Oh yeah Betty Davenport
00:39:55You know her?
00:39:56Well I met her
00:39:58I played football with her brother last year
00:40:00Well that's what we mean
00:40:01In our story we want to get the teenage slant
00:40:03And you just finish school
00:40:04No no no girls
00:40:05I know you have a lot to write about
00:40:06But we really don't have too much time
00:40:08Well we just want to ask one question
00:40:10Ask me
00:40:11How does it feel to be the last of the Frankensteins?
00:40:15Well who told you he was the last?
00:40:17Mr. Clayton
00:40:19Oh?
00:40:20Well we had to get permission from him first
00:40:22And then we described what we wanted
00:40:23And he suggested that as a good question
00:40:25I know the question
00:40:27Well go ahead Tony
00:40:28Answer it so we can get on with our work
00:40:29Well first or last
00:40:31I'm going to do my best
00:40:32That's a big opportunity for me
00:40:35Thank you very much
00:40:36We'll get pictures from publicity
00:40:38Thanks again and good luck Tony
00:40:40Goodbye Tony
00:40:41Bye
00:40:42Uh you see
00:40:45I was right when I told you
00:40:46They were cutting the ground from under us
00:40:50Now remember my boy
00:40:51This new ingredient that I put into the foundation cream
00:40:54May tighten your skin
00:40:56But as I told you leave everything to me
00:41:00Now you'll be great in your last scene
00:41:03When your enemies come upon you
00:41:04You'll have maniacal strength to fight them off
00:41:07And also remember
00:41:10This maniacal strength
00:41:11With a lingering in your arms and hands
00:41:14And with it you'll destroy your real enemies
00:41:18Exactly as I instruct you
00:41:27You're going home pretty late tonight Mr. Clayton
00:41:29Yes and it gets later every night
00:41:30The work just seems to pile up
00:41:32Good night Regents
00:41:33Good night sir
00:41:37Good night sir
00:41:38Good night sir
00:41:52Good night sir
00:41:52Good night sir
00:41:52Good night sir
00:41:53Good night sir
00:41:53Good night sir
00:41:53Good night sir
00:41:56Good night sir
00:42:06No, no, no.
00:42:32No, no, no.
00:43:06The boy's late.
00:43:07Do you think anything's happened?
00:43:09You're always ready to think the worst.
00:43:11You'll do exactly as I told him and come back here to your house.
00:43:16There, you see?
00:43:17Well, go ahead, open it.
00:43:28You did well, my boy.
00:43:31And as I cautioned you, you won't remember a thing about what happened tonight.
00:43:35Help me get him out of this.
00:43:41Third studio murder shocks Hollywood.
00:43:44Following the morbid Hollywood tradition of death in threes,
00:43:48the third brutal slaying within the space of one week took place last night
00:43:52in the darkened garage of the Hollywood home of Jeffrey Clayton,
00:43:56American international studio executive, who was the victim.
00:44:01To check this reign of terror, it is reported that officials are considering closing the studio
00:44:07until the mad murderer is apprehended by police.
00:44:11You've read it three times.
00:44:13So the press will have a field day.
00:44:16But Pete, how about us?
00:44:18Our work here is done.
00:44:20Well done, I'd say.
00:44:21But according to the paper, the studio is closing.
00:44:24And the other studio is...
00:44:25Oh, quiet, you fool.
00:44:27A little gust of wind and you begin to shiver.
00:44:30I've taken care of you for 25 years.
00:44:32You won't starve.
00:44:35I'll see to that.
00:44:39Provided you keep your mouth shut.
00:44:41Shut at all times, do you understand?
00:44:44Yes, Pete, of course I do.
00:44:46I never give you any trouble, you know that, Pete.
00:44:49I've always considered you the master and I was the assistant.
00:44:53And let's keep it that way.
00:44:55A silent assistant.
00:44:59Rivero, you and I have been invited downtown to police headquarters.
00:45:02Police headquarters?
00:45:04For routine questioning.
00:45:05Merely a ride down and back.
00:45:07When we get there, don't open your mouth.
00:45:10I'll provide the answers.
00:45:12Yes, Pete.
00:45:12All right, let's go.
00:45:14Get your hat and coat.
00:45:16Police are very peculiar.
00:45:17They insist on punctuality.
00:45:21I was just going to barge in on you.
00:45:23Me?
00:45:24Yes, you.
00:45:25You're Pete, all right.
00:45:26I don't believe we've met.
00:45:27Well, you're meeting me now.
00:45:29Gary Droves, that's my name.
00:45:31I'm Larry's agent.
00:45:32Larry, your teenage werewolf.
00:45:34I sent him from the park with the producer,
00:45:36but that doesn't mean I quit worrying about him.
00:45:38I never forget a client, even though I get them work.
00:45:41Gary Droves is not a flesh peddler.
00:45:43Get it?
00:45:44I don't quite understand.
00:45:45I'm like a father to my kids.
00:45:47Sometimes I don't even take the 10%
00:45:49until I get them a term contract.
00:45:50Now, how do you like that?
00:45:51Very admirable, but I don't see how it concerns me.
00:45:54All right, I'll throw you the connection.
00:45:56You leave my boy alone.
00:45:58Don't you tell him that after this picture he's finished,
00:46:00that he'll never get another job.
00:46:01Getting him work is my department,
00:46:03and Larry's got a great future as an actor
00:46:06and I'm going to help him build it.
00:46:07And for your information,
00:46:08I've got three jobs lined up for him right now
00:46:11and I don't need to have a truck run over his face
00:46:13to get him more work.
00:46:14Do you understand?
00:46:16Yes, of course, Mr. Droves,
00:46:17but you see, I only suggested that...
00:46:19Don't suggest.
00:46:20In my book, you're a negative character.
00:46:21I can get Larry a job anytime I want to.
00:46:24Well, I can even get you a job,
00:46:25as a heavy, if you're joking.
00:46:27And don't forget what I've been telling you.
00:46:28You leave my client alone.
00:46:40I tell you, Pete,
00:46:41since that maniac's been on the kill,
00:46:42I've had no sleep.
00:46:44Nights on the studio gate,
00:46:45days over here.
00:46:47I know what you mean, Richards.
00:46:49It's been a hardship on all of us.
00:46:51Somebody sure had a grudge
00:46:52against those new executives.
00:46:54Well, it would seem that way.
00:46:56But as you pointed out,
00:46:58a maniac,
00:46:59well, a maniac really needs
00:47:00no reason for killing.
00:47:03Millie, we appreciate you
00:47:04coming down here to help us.
00:47:06Now, if you'll try to give us
00:47:08some kind of description
00:47:09of this monster.
00:47:10Well, Captain,
00:47:11that's as close as I can get to it.
00:47:13A monster.
00:47:14It looked like he walked
00:47:16right off the screen.
00:47:17Big, huge man
00:47:19with one eye out of his socket.
00:47:22Oh, it sure was a nightmare.
00:47:24He hit me and knocked me down.
00:47:26Must have had something in his hand.
00:47:27The blow was that heavy.
00:47:29About what time was it?
00:47:30Well, I don't know to the minute,
00:47:32but I was coming from a picture show,
00:47:33and I took the last bus home
00:47:35to where I work,
00:47:37and that would make it,
00:47:38we'd walk in three blocks
00:47:39about half past 12.
00:47:41Thank you, Millie.
00:47:42We'll probably want you
00:47:43to try to identify this monster
00:47:46from any suspects we pick up.
00:47:47What do you mean
00:47:48I have to come down here again?
00:47:50Well, I'm afraid so.
00:47:52Well, you call me,
00:47:54and I'll come.
00:47:55No man like that
00:47:56should be roaming the streets.
00:47:57Here, I'll come.
00:48:08You can come in now, Richards.
00:48:15Sit down.
00:48:19Now, last night, as you know,
00:48:20Mr. Clayton was killed.
00:48:21But right now,
00:48:22we want to take you back
00:48:23to the Monaghan Killett.
00:48:24Yes, sir.
00:48:25Are you sure you're not
00:48:26holding out anything on us?
00:48:28Why, no.
00:48:29Well, you yourself said it was strange
00:48:31that you didn't hear anything.
00:48:32Now, we've been chewing that over.
00:48:34Exactly where were you
00:48:35when it happened?
00:48:36Well, in my booth at the gate.
00:48:38How far is that from the commissary?
00:48:40About the same distance
00:48:41as two city blocks.
00:48:42And you mean to say
00:48:43with all that crockery
00:48:43tossed around and smashed
00:48:45in the dead of nights
00:48:45you didn't hear a thing?
00:48:46You think if I had,
00:48:47I wouldn't have run
00:48:47to help Monaghan?
00:48:48He was my partner.
00:48:49For years, we teamed together.
00:48:52He was younger than me,
00:48:53but we got along swell.
00:48:55Now, we're not accusing you
00:48:56of any dereliction of duty.
00:48:57We're just trying
00:48:58to get a clear picture,
00:48:59that's all.
00:48:59Well, I didn't have
00:49:00the radio on.
00:49:01Loud?
00:49:02Yes, quite loud.
00:49:04It isn't that I'm deaf
00:49:05or anything.
00:49:05I just happen to like loud music.
00:49:07Well, it's no crime
00:49:07to listen to the radio.
00:49:09No, no, I guess not.
00:49:11But think of the maintenance men,
00:49:12their grips,
00:49:13their gaffers,
00:49:14even the secretaries.
00:49:15Think hard about everybody
00:49:16at the passenger booth
00:49:17in and out.
00:49:17Among all those,
00:49:18any sore heads,
00:49:19anybody with a grudge?
00:49:20No.
00:49:21A lot was run
00:49:22like a happy family.
00:49:24Why, in my ten years there,
00:49:25not a beef,
00:49:26not a gripe,
00:49:27just friendly hellos
00:49:28and goodbyes.
00:49:29Why, even at the parties
00:49:31on the set,
00:49:32you know,
00:49:32the usual shindig
00:49:33after a picture's finished shooting.
00:49:34There's a few drinks,
00:49:35some eats, laughs,
00:49:37a lot of laughs.
00:49:39Just one happy family.
00:49:40Yeah, well,
00:49:40it's not happy now.
00:49:41Now, you go back to the lot.
00:49:43Turn the radio off.
00:49:45Keep up.
00:49:45If you suddenly remember anything,
00:49:47any suspicious characters
00:49:48you see hanging around the gate,
00:49:49anyone who tries
00:49:50to sneak past you,
00:49:51call us.
00:49:52I will.
00:49:53You bet I will.
00:49:54Thank you.
00:49:59Thank you.
00:50:02All right, gentlemen.
00:50:12I'm Captain Hancock.
00:50:14How do you do?
00:50:15I think you've met
00:50:16Detective Jones.
00:50:17This is Detective Thompson.
00:50:19Hello.
00:50:22Pete, I'll tell you
00:50:24why we asked you
00:50:25and your assistant
00:50:25to come down here.
00:50:27A little while ago,
00:50:28we questioned the maid
00:50:29who was knocked down
00:50:30by a man
00:50:30who might have murdered Clayton.
00:50:32Time in the street,
00:50:33she'd check out.
00:50:34Oh, then you have a clue.
00:50:36A suspect.
00:50:37No, no, only this.
00:50:39She claimed her assailant
00:50:40was a monster.
00:50:42Well, I suppose
00:50:43any victim of any assault
00:50:44would get delusions
00:50:45about an attacker.
00:50:47No, she was quite specific.
00:50:49She had a good look at him.
00:50:51She claimed he was huge.
00:50:52Big arms and shoulders
00:50:53had one eye out of its socket.
00:50:56Well, sounds rather
00:50:56as if she had hallucinations.
00:50:58Of course,
00:50:59since she was hysterical,
00:51:00I can understand.
00:51:01No, she was quite sure
00:51:03of her description.
00:51:04I buy her story.
00:51:05She made sense to me.
00:51:06Well, gentlemen,
00:51:07what's expected of me?
00:51:09Of us?
00:51:10We want your views on it.
00:51:11You're supposed to be an expert.
00:51:13Well, I am an expert.
00:51:14Well, in that case,
00:51:15do you think that
00:51:17some crackpot,
00:51:18after seeing some of your monsters
00:51:20in a picture, I mean?
00:51:21They're playing all over town.
00:51:22Now, do you think
00:51:23a weirdy like that
00:51:24could have tricked himself out
00:51:26in imitation
00:51:27and got carried away?
00:51:29Now, how can I put myself
00:51:30in the position
00:51:31of what you call a weirdy?
00:51:33Well, anything is possible.
00:51:34But in an amateur,
00:51:35the results would be crude.
00:51:37It doesn't take the finished product
00:51:38to commit a murder.
00:51:40I'm no authority on murder.
00:51:42That's your department.
00:51:44As for me,
00:51:44my job is to take an actor
00:51:46and transform him
00:51:47into whatever offbeat appearance
00:51:48the part calls for.
00:51:50Yes, I create a monster,
00:51:52but I don't build in violence.
00:51:55What do you know about all this?
00:51:57Why, nothing.
00:51:58I didn't do anything.
00:51:59You have an opinion, don't you?
00:52:00Rivera wouldn't know anything about it.
00:52:02Let him speak for himself.
00:52:03How long you worked for Pete?
00:52:05About 25 years.
00:52:06Well, you certainly
00:52:07should have learned
00:52:08the tricks of the trade
00:52:09by now, then.
00:52:10All I know is
00:52:11I've been a good assistant.
00:52:12But if you wanted,
00:52:13couldn't you make somebody
00:52:13up to frighten people?
00:52:15He told you
00:52:16he was only my assistant.
00:52:17You shut up
00:52:18and let him talk for himself.
00:52:18sure he's your assistant.
00:52:19We know that.
00:52:20How far does his assistants go?
00:52:21Now, who do you live with?
00:52:22I live alone.
00:52:23Where?
00:52:25Off Crenshaw.
00:52:271564 Sorrento Street.
00:52:28You ever been married?
00:52:29No, sir.
00:52:29Haven't you got any nephews, cousins?
00:52:31Or maybe some of the neighbor's kids
00:52:32asked you to make them up
00:52:33just for a prank.
00:52:34And maybe you didn't tell your boss,
00:52:35but on your own
00:52:36because maybe you think
00:52:36you're just as good an artist
00:52:37as he is,
00:52:38you turned loose a monster.
00:52:39Well?
00:52:40Well, tell me, did you?
00:52:41No!
00:52:42I only do what Pete tells me.
00:52:44I'm a good assistant.
00:52:45Ask him.
00:52:45Ask him!
00:52:46Why don't you stop all this?
00:52:47You've gone far enough.
00:52:50Just because you have no suspect
00:52:51is no reason to bully him.
00:52:52Then why aren't you
00:52:53to make believe?
00:52:54All right.
00:52:55Come out of it.
00:52:56Look what we're up against.
00:52:58Three shocking murders committed.
00:53:00Two of them at your studio
00:53:01while you were there.
00:53:02Well, we weren't the only ones.
00:53:03We're questioning everybody.
00:53:04I'm sure you gentlemen
00:53:05can solve those murders
00:53:06without us.
00:53:07I wish it was possible
00:53:08to really help you.
00:53:08Well, there is something
00:53:09you can do.
00:53:10Think back.
00:53:10All the actors you've made up
00:53:11in other pictures.
00:53:12Think of how they talk,
00:53:13what they said to you.
00:53:14After all, you were close to them.
00:53:15Do you believe that any of these
00:53:16for one reason or another
00:53:17might go berserk?
00:53:19I'm sorry.
00:53:20Offhand, I can't recall
00:53:21a single one.
00:53:23Thanks to our makeup job,
00:53:25they may have looked like killers,
00:53:27but under the grease paint
00:53:28and putty,
00:53:29they were only actors
00:53:30performing a role.
00:53:32Now, are we excused?
00:53:34Yeah, I believe so.
00:53:35I can go, too.
00:53:37We'll get back to you later.
00:53:38As I said,
00:53:39any way we can,
00:53:40we'll be pleased to cooperate.
00:53:50Something weird
00:53:51about that old kate.
00:53:52And his assistant, Rivero.
00:53:54Maybe that's what comes
00:53:55from spending all your life
00:53:56with monsters.
00:53:57I don't like the ways
00:53:58under the thumb of his boss.
00:54:00You certainly tried
00:54:01to shake him loose.
00:54:03Were you really aiming
00:54:03or something?
00:54:04Pot shots.
00:54:05Pot shots.
00:54:07I'd hoped that they'd give us
00:54:08something tangible to go on,
00:54:10but I doubt it.
00:54:12They know more about
00:54:14make-believe monsters
00:54:15than they do about killers.
00:54:16Get a grip on yourself.
00:54:18You collapse like a sick calf.
00:54:19The interview is over.
00:54:21We've been questioned.
00:54:22The police are through with us.
00:54:23I'm not so sure of that.
00:54:24I didn't like the way
00:54:25they looked at us
00:54:26or the way they dig at you
00:54:27and the way that big fella said,
00:54:29I'll get back to you later.
00:54:30That's routine stuff
00:54:31with all police
00:54:32until the murder is solved,
00:54:33until the case is closed.
00:54:34Well?
00:54:35Well, what?
00:54:36I'm in no mood for riddles.
00:54:37What?
00:54:38Do you think this case
00:54:39will be solved?
00:54:40Well, it nearly was
00:54:41with your help.
00:54:42If I hadn't stopped
00:54:43the detective
00:54:44from questioning you,
00:54:44you would have told him everything.
00:54:46You certainly were
00:54:47on the verge.
00:54:49You should have seen your face.
00:54:50You were ready to crack,
00:54:52spit wide open,
00:54:52and spill everything,
00:54:53weren't you?
00:54:53No, no.
00:54:54I'd never give you away,
00:54:55only...
00:54:55Only what?
00:54:56Well, when they press me
00:54:58to the wall...
00:54:58Is the time
00:54:59to keep your mouth shut?
00:55:03Why did you say
00:55:03I do only what Pete tells me?
00:55:05Why?
00:55:06Well, it's true, isn't it?
00:55:07I do what you tell me.
00:55:08Well, not when you say it
00:55:09in that sniveling voice,
00:55:10and definitely not
00:55:11when you tell it to the police.
00:55:13It's as if you already
00:55:14had it in the back of your mind
00:55:15to betray me
00:55:16and save yourself.
00:55:16No, no, Pete.
00:55:17I'd never do that.
00:55:18I'd never betray you.
00:55:19I swear I'd never do that.
00:55:21Well, you stay that way,
00:55:23and I'll protect you.
00:55:25Anyway, time's on our side.
00:55:27The picture's finished,
00:55:28and our work is done.
00:55:30It's done all right.
00:55:31But there's still the two boys,
00:55:33Larry and Tony.
00:55:34What about them?
00:55:35Well, don't you think
00:55:36the police will get to them?
00:55:37And if they're questioned...
00:55:38Rivero, those boys
00:55:39are still under my control.
00:55:41You'll see they'll be
00:55:42waiting for me at the studio.
00:55:44Now calm yourself.
00:55:45Take after me.
00:55:46See, I'm not the least bit worried.
00:55:48I know I can trust you.
00:55:51and I'll make sure
00:55:52the boys remain
00:55:52under my control.
00:55:54Hmm?
00:55:56Now get in there.
00:55:57I know I can trust you.
00:55:59I know I can trust you.
00:56:00I know I can trust you.
00:56:01I know I can trust you.
00:56:02I know I can trust you.
00:56:08I know I can trust you.
00:56:09I know I can trust you.
00:56:13I know I can trust you.
00:56:15I know I can trust you.
00:56:15I know I can trust you.
00:56:16I know I can trust you.
00:56:16I know I can trust you.
00:56:16I know I can trust you.
00:56:16I know I can trust you.
00:56:18I know I can trust you.
00:56:27I think we've got something in the Clayton case
00:56:28Yeah, what?
00:56:29Well, we analyzed the scrapings from under Clayton's fingernails
00:56:32What'd you find?
00:56:33Grease paint
00:56:33Putty
00:56:34You mean the killer wore makeup?
00:56:35Well, he must have
00:56:36We've already checked this against a trade product put out by makeup companies
00:56:39And our first findings are that the pigment and cosmetic base used in the sample we analyzed was special
00:56:44Like, homemade
00:56:46Instead of linseed oil, a blend
00:56:48Anyway, we'll have to check suppliers for beauty parlors and studios
00:56:51That can wait
00:56:52All right, there's one studio we're going to check on now and you're coming along with us
00:56:55Get your equipment ready, we may want to make a spot analysis
00:57:07You see, Rivero, they didn't even give me the courtesy of letting me pack my own things
00:57:15Oh, sorry, boys, we were a little delayed
00:57:17I hope you haven't been waiting long
00:57:18Well, no, Pete
00:57:20You asked us to meet you and, well, we did want to say goodbye
00:57:24Of course, but not here
00:57:27I'd like you boys to come to my house
00:57:29We'll have a little food, a little celebration
00:57:31After all, this is no way to end a friendship
00:57:34Well, sure, Pete
00:57:35But look, you don't mind if we don't stay too long, huh?
00:57:38We both have dates
00:57:40Fine
00:57:41Now, how about you boys helping Rivero load the car
00:57:43Oh, sure, Pete, we'll help
00:57:46But you go ahead, wait for me in the car
00:57:48I'll just gather up the last of my stuff and we'll be off in a jiffy
00:57:51Okay
00:58:20Thank you
00:58:33No, no, no, no.
00:58:53No, no, no, no, no, no.
00:59:30No, no, no, no, no, no.
00:59:34No, no, no, no, no, no.
00:59:41No, no, no, no, no, no.
01:00:18No, no, no, no, no, no, no, no, no.
01:00:51Well, here we are, boys.
01:01:11We'll leave the boxes there, boys.
01:01:43We'll leave the boxes there.
01:01:54What are these?
01:01:58My family.
01:02:00My children.
01:02:06I'm devoted to them.
01:02:10I've arranged them here with great care, as you see.
01:02:13I see.
01:02:15You called them your children?
01:02:19Why, yes.
01:02:22Later, I'll tell you their history, how each one came about.
01:02:26But now let's just look at them.
01:02:43This room is like a cathedral to me.
01:02:48This is where I come when I need help from a source stronger than myself.
01:03:03Don't you think we should be getting some refreshments?
01:03:07Hmm?
01:03:09Oh, yes, yes, of course.
01:03:11I lose myself here.
01:03:13After all, I'm your host.
01:03:15Make yourselves at home, boys.
01:03:16This is the first time he's had guests here.
01:03:18You young men should feel honored.
01:03:20We do.
01:03:21Brown boys.
01:03:22Study these heads.
01:03:23You'll recognize some great names among them.
01:03:26Artists who even behind the mask of horror achieved eternal fame.
01:03:35Study them closely.
01:03:36They'll be an inspiration to you.
01:03:46Larry, I say we cut out.
01:03:49Oh, man, you saw, you heard.
01:03:51If you don't dig the old man's collection, we'll hurt his feelings.
01:03:54It gives me the creeps.
01:03:55Yeah, he does, too.
01:03:57I wouldn't have come.
01:03:58Only he said it was some kind of celebration.
01:04:01A party.
01:04:02Yeah.
01:04:03It's a party, all right.
01:04:04All the guests are stuffed heads.
01:04:06We shouldn't have come.
01:04:07No matter how much you pressured.
01:04:09He makes it tough to refuse.
01:04:11I know.
01:04:13You know, Pete's got ways about him.
01:04:16I don't know, strange ways.
01:04:18Like when he was making you up for the picture.
01:04:20Putting on that foundation cream.
01:04:23Did he give you a lot of stuff about how this would be your last job
01:04:25and that enemies would drive you out of the business
01:04:28and that only he could protect you?
01:04:31Yeah.
01:04:31Yeah, he did.
01:04:32Yeah, I meant to check with you about that.
01:04:34Only I forgot.
01:04:35I don't mean I forgot in a careless way.
01:04:37I just forgot.
01:04:39Like when he finished, everything kind of left me.
01:04:42You know, like, went out of my head.
01:04:43Yeah, me too.
01:04:45It's only since the last scene was shot that I...
01:04:47Hey, Tony, tell me.
01:04:48Look, when he finished, did he take off?
01:04:52Pete, I never criticize you.
01:04:55But I believe you made a mistake in bringing Larry and Tony here.
01:04:59Why?
01:04:59I don't think they can be trusted.
01:05:01Nonsense.
01:05:02Now, trust these boys.
01:05:03They've already demonstrated quite favorably that they obey my orders.
01:05:07You know I have them under control.
01:05:08But you won't.
01:05:09Now that the picture's finished and you haven't helped their careers,
01:05:12your control will wear off.
01:05:14And the police are sure to talk to them.
01:05:16It's quite possible.
01:05:17And when the police begin to pressure them, they're bound to crack.
01:05:21That's why I want to leave.
01:05:23To visit my brother on his ranch in Arizona.
01:05:28Rivero, my old friend.
01:05:31I see your point.
01:05:32You want to leave me to face whatever comes alone.
01:05:35Oh, no.
01:05:35And you do this not because of disloyalty to me,
01:05:38but because you don't trust Larry and Tony.
01:05:40Now, isn't that why you want to leave?
01:05:42Yes, that's it.
01:05:43These young men are not strong the way you are.
01:05:46No, of course not.
01:05:48If only they had your devotion to me.
01:05:51Your iron nerves.
01:05:52But they haven't.
01:05:54What a source of strength and comfort it is to me that I can be sure of you.
01:05:59Of course you can, Pete.
01:06:00And should the police speak to you alone, you wouldn't reveal a thing.
01:06:04No, not a thing.
01:06:05Even if they gave you a third degree, they couldn't squeeze the tiniest bit of confession from you, could they?
01:06:09Of course not.
01:06:11But these boys, they'll crack.
01:06:15Yes.
01:06:16Yes, Pete.
01:06:17And I tell you now, if anything happens to you, after I leave, they'll be the ones to blame.
01:06:24The boys.
01:06:28Not you.
01:06:30Not me.
01:06:39I'll remember that.
01:06:42Old Fred!
01:06:44Is your boy, Neil?
01:06:46Nope, no.
01:06:53No.
01:06:55No.
01:07:00Yes.
01:07:13And oh, I don't getamed to you fact.
01:07:14Wow.
01:07:29Grazie a tutti.
01:07:51Grazie a tutti.
01:08:16Grazie a tutti.
01:08:48Grazie a tutti.
01:09:56Grazie a tutti.
01:10:19Grazie a tutti.
01:10:32Grazie a tutti.
01:11:07Grazie a tutti.
01:11:12Grazie a tutti.
01:11:31Grazie a tutti.
01:11:46Grazie a tutti.
01:11:49Grazie a tutti.
01:11:57Grazie a tutti.
01:12:00Grazie a tutti.
01:12:28Grazie a tutti.
01:12:31Grazie a tutti.
01:13:04Grazie a tutti.
01:13:07Grazie a tutti.
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