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00:00:50Piper!
00:00:51Piper!
00:00:52Piper!
00:00:53Piper!
00:00:54Morning, Piper!
00:00:55Morning, Tribune, Piper!
00:00:57Piper!
00:00:58Be pretty, be pretty!
00:01:00How are we gonna know this guy?
00:01:02Remember, the men in Mike's car have got to see him, too.
00:01:05Oh, that's fine.
00:01:06I'm going to kiss him.
00:01:08And how.
00:01:09Good.
00:01:10You might as well make him happy.
00:01:11It'll be the last pair of lips that have him.
00:01:13No.
00:01:15You don't think he could have gone away, do you?
00:01:17Here he comes now.
00:01:19♪♪♪
00:01:35Thanks, handsome.
00:01:37I just couldn't pass you up.
00:01:39♪♪♪
00:01:44Believe it or not, I never saw her in my life before.
00:01:48I must have overlooked something.
00:01:50What a bloody shame, sir.
00:01:51Most annoying.
00:01:52Right under me very nose.
00:01:54Your nose?
00:01:56I'll get the car, sir.
00:01:58♪♪♪
00:02:03♪♪♪
00:02:08-♪♪♪
00:02:13-♪♪♪
00:02:18-♪♪♪
00:02:23Save him!
00:02:24Okay for time, Mr. Avery.
00:02:26How is it for you, George?
00:02:27Okay.
00:02:28All right.
00:02:29We do it again, soak number 10.
00:02:31Up high, 99.
00:02:33Quiet.
00:02:39Do you want to move in and take a close-up at the top of the stairs?
00:02:43No, that was terrible.
00:02:44I'll make it over.
00:02:45Yes, sir.
00:02:46We'll do it again, folks.
00:02:48All right.
00:02:49399, slow it down.
00:02:51All of it.
00:02:52Move that car back here.
00:02:53All right, hold it.
00:02:54Come on.
00:02:55Hit them all.
00:02:56Oh, Mr. Brent.
00:02:58When you die this time, let's have less gymnastics.
00:03:01And don't spin like a top when you fall.
00:03:04Okay.
00:03:05Okay, let's go.
00:03:06Come on, folks.
00:03:07Now, move that one over a little bit.
00:03:09What's the matter?
00:03:10What's the matter?
00:03:11What's the matter?
00:03:12What's the matter?
00:03:13What's the matter?
00:03:14Stay back, everybody.
00:03:20Hey, Pete, call a doctor.
00:03:22Come on, give me a hand.
00:03:23Let's get him to his dressing room.
00:03:25All right.
00:03:32We won't need a doctor, George.
00:03:35He's dead.
00:03:36Dead?
00:03:37Dead?
00:03:45Round up every man that had a gun.
00:03:48Get the property man and find out who loaded those guns.
00:03:50And see that the body isn't touched.
00:03:52I'm going to phone the front office.
00:03:53Yes, sir.
00:03:54All right, everybody.
00:03:55Line up over there.
00:03:56All right, come on.
00:03:57And all you fellas in the right turn, stand over there.
00:04:00Hey, Phil.
00:04:01Come on.
00:04:04Keep that door closed.
00:04:05And see that no one leaves the stage and no one comes in.
00:04:08Yes, sir.
00:04:12My dear Mr. Little, since I read your scenario,
00:04:17I've come to the absolutely conclusion
00:04:20that your name, Mr. Little, fits you something beautiful.
00:04:28And furthermore, and yet besides...
00:04:34Yes?
00:04:35Oh, yes, Mr. Avery.
00:04:36Just a minute.
00:04:38It's Mr. Avery.
00:04:39Tell him to finish on schedule.
00:04:41He's two days behind already.
00:04:42Talking to me is a waste of time.
00:04:44But he says it's important.
00:04:45That's the trouble.
00:04:46He's too important entirely.
00:04:48Hello.
00:04:51What?
00:04:53Brent?
00:04:54Shot?
00:04:56Dead?
00:04:58Oh, that's going to cost me a fortune.
00:05:00What a calamity.
00:05:01Quick.
00:05:02Call Steiner.
00:05:03Tell him Brent was killed.
00:05:04Shot.
00:05:05What a calamity.
00:05:06What a calamity.
00:05:12I'll get it, Phil.
00:05:13Thanks.
00:05:15Yes?
00:05:16Miles Brent was shot on the set.
00:05:18Killed.
00:05:19Mr. Grossman has gone to the stage.
00:05:22I'll be right there.
00:05:25Miles...
00:05:26Brent...
00:05:29Killed.
00:05:30On general principles, not a bad idea.
00:05:32Except that he happens to be one of our stars.
00:05:35Get back to your office and do what you can
00:05:37to keep the papers off this until you hear what happened.
00:05:40Don't give out any story until you hear from me.
00:05:42Sure, but rescue me as quickly as possible.
00:05:44They'll be on my neck
00:05:45just as soon as the police get the joyful news.
00:05:47Miss Manning?
00:05:48Yes?
00:05:50Phone the brigades on the lot
00:05:52and tell them not to let anyone in or out
00:05:54until they hear from me.
00:05:55Very well.
00:05:56Thanks.
00:06:01Hey, why don't you watch where I'm going?
00:06:07What's the hurry, gumshoe?
00:06:09Miles Brent's been shot.
00:06:10Well, now there's a job that should have been done years ago.
00:06:16Don't have to rewrite any stuff for the death kiss now.
00:06:20Say, Marsha was on the set with him, wasn't she?
00:06:23Sure, but I don't think she did it.
00:06:25What stage?
00:06:26Three.
00:06:27Drop this stuff in my office, will you?
00:06:40Miles Brent, huh?
00:06:42Picture actor.
00:06:43My wife always liked him.
00:06:45I have that kind of trouble, too.
00:06:47Come on, let's go.
00:06:50All right, fellas.
00:06:51Here's something hot.
00:06:52Miles Brent killed.
00:06:54Shot.
00:06:55Sound stage number three, Tonarch Studio.
00:06:57Just a minute.
00:06:58Tonarch Studio.
00:06:59Operator.
00:07:00Operator.
00:07:01Hey, that's the evening star phone.
00:07:02You're telling me?
00:07:03Hey, Star, give me the journal, will you please?
00:07:05Hello?
00:07:06Tonarch?
00:07:07I want Pascal in the publicity department.
00:07:09Come on, snap into it.
00:07:11You know me, Connolly.
00:07:12I never held out on the evening star yet.
00:07:14Yeah, I know all about your deadline.
00:07:15Yeah, you'll get the fax.
00:07:16Call me back.
00:07:17Never mind, I'll get it.
00:07:21Yeah?
00:07:22Yes, Morris, I know.
00:07:23But can I help it?
00:07:24If he's shot in the morning, you've got to take those things as they come.
00:07:26Yeah, I'm going over there right away.
00:07:28The police ought to be here now.
00:07:29Yeah, call me back in ten minutes.
00:07:39Hey, come back here!
00:07:58Get down that door!
00:07:59Get down that door!
00:08:05Thank you, Mr. Connolly.
00:08:07Ambulance coming.
00:08:08Yeah.
00:08:17Detective Lieutenant Sheehan, Homicide Squad.
00:08:20Who's in charge here?
00:08:21I've been trying to get things straightened out for you.
00:08:23My name is Steiner, studio manager.
00:08:26What happened?
00:08:27Well, the company was shooting a scene during which several people fired guns at Brent.
00:08:32And someone used real bullets, huh?
00:08:34People do get hurt that way.
00:08:36That's the director's guess.
00:08:38Oh, the director.
00:08:39Did he happen to guess who did it?
00:08:42No.
00:08:43Well, that's unfortunate.
00:08:46Looks like we'll have to do some guessing on our own.
00:08:52Come on, Hill, loosen up.
00:08:53Was it an accident or did somebody really bump him off?
00:08:55I tell you, I don't know.
00:08:56Then let us in on the lot so we can find out.
00:08:58I can't let anyone on the lot.
00:08:59Marsha Lane was with him in the picture, wasn't she?
00:09:01Sure, she was doing the lead opposite him.
00:09:03Marsha, oh, his ex-wife.
00:09:04That helps the story.
00:09:05Hey, what's the name of the picture?
00:09:07The Death Kiss.
00:09:08The Death Kiss.
00:09:09Gee, what a tie-up.
00:09:10Pardon me.
00:09:11Hazel's on the phone.
00:09:12Just a minute, boys.
00:09:13I'll be right with you.
00:09:14Wait a minute.
00:09:15Can't we get the angle on this thing?
00:09:16Eight men with guns?
00:09:17Yes.
00:09:19Well, it might have been an accident, but...
00:09:22Frank, you don't think it was murder?
00:09:24Darling, I don't even know.
00:09:26Maybe he just died of old age.
00:09:28Maybe he never even existed at all.
00:09:31Now, you wait here.
00:09:32I'm going to have a look around.
00:09:36Done.
00:09:45Yours.
00:09:50You break it.
00:10:01Nothing but blanks left in these guns.
00:10:06Any other guns on the set?
00:10:08That's all I know of.
00:10:23You see, Captain, it's strictly an accident.
00:10:26Lieutenant Sheehan.
00:10:27What's your name?
00:10:28Leon A. Grossmith.
00:10:30I'm the president of this concern.
00:10:31Well, what about it?
00:10:32Now, look here, Sergeant.
00:10:34Do you realize what this means already, huh?
00:10:37You have no idea.
00:10:38It cost me up to now $239,351.
00:10:42Yes.
00:10:43And it cost Brent his life.
00:10:44Which also loses me money.
00:10:45I can't have no more Brent pieces.
00:10:47Now, pardon me, Lieutenant.
00:10:48Mr. Grossmith means to convey
00:10:50that this regrettable accident
00:10:52need not be converted into a Roman holiday
00:10:54for the rabble.
00:10:55Now, I assure you that Mr. Grossmith
00:10:57feels deeply, very deeply
00:10:59the tragedy of this affair
00:11:01and his point is naturally
00:11:03not to throw consternation
00:11:05into that great and unseen army
00:11:07of Mr. Brent's admirers.
00:11:08Now, that is precisely what Mr. Grossmith means.
00:11:11That's just what I was going to say.
00:11:13Mr. Steiner.
00:11:14Mr. Steiner.
00:11:15Pardon me.
00:11:16What is it?
00:11:17The papers are on my neck.
00:11:18I've got to tell them something.
00:11:19There's no use stalling any longer.
00:11:20They've got a story now about a mysterious woman.
00:11:22They don't know themselves,
00:11:23but they say it makes a great story.
00:11:25Tell them it was an accident.
00:11:26They won't believe it.
00:11:27Then make them.
00:11:28You don't know those boys.
00:11:29They've got imagination.
00:11:30I don't care if they've got fallen arches.
00:11:32Tell them the Brent shooting
00:11:33was an unfortunate accident.
00:11:35Yes.
00:11:36Is that satisfactory to you, Lieutenant?
00:11:38Nothing satisfactory.
00:11:39I can't tell what it is
00:11:40because I don't know myself.
00:11:42Oh.
00:11:43Here's all you had on him.
00:11:44Oh.
00:11:55Keep that.
00:12:31Well, I'm sorry to gum up the works,
00:12:33but it wasn't an accident.
00:12:35It's murder.
00:12:36Murder?
00:12:37Oy.
00:12:38What a calamity.
00:12:39How do you know?
00:12:40This is the bullet that killed him.
00:12:42It's a .38 caliber center fire.
00:12:44All the guns the extras used were .45s.
00:12:47And you can't fire a .38 bullet through a .45 gun.
00:12:50It's an old Chinese principle.
00:12:55Where did you get this?
00:12:58Where did you get this?
00:13:00Out of the wall of a set.
00:13:02Don't you know better than to meddle in police matters?
00:13:04Oh, I'm sorry.
00:13:05I didn't mean to meddle.
00:13:06I just wanted to help.
00:13:07You see, uh,
00:13:08I like to dabble a bit in murder cases.
00:13:10Well, you just go and dabble someplace else.
00:13:13All right.
00:13:15Who is he?
00:13:17One of our scenario writers, Franklin Drew.
00:13:19Oh.
00:13:20Writes detective stories, I suppose.
00:13:22Yes.
00:13:23How did you know?
00:13:24They always do.
00:13:26Well, this makes a difference.
00:13:28Looks like we've got a murder on our hands.
00:13:31Oh, you go and get that assistant director,
00:13:33that brilliant young man who said there were no other guns on this set.
00:13:36Right.
00:13:40Who is Marsha Lane?
00:13:42What?
00:13:44You don't know who is Marsha Lane?
00:13:46Over a million dollars we spent that with her,
00:13:48Senor Adolf.
00:13:49Where is she?
00:13:50She was on the set just a minute ago.
00:13:51Well, let's have a talk with her.
00:13:52Howell, ask Miss Lane to come here.
00:13:54Yes, sir.
00:13:57Now, Steiner and the detective want to see Miss Lane immediately.
00:14:01Well, hurry.
00:14:02I'm fluttering, sweetheart.
00:14:06Bill, tell Miss Lane Steiner and Dick want to see her.
00:14:09Okay, Chief.
00:14:11Oh, Pete.
00:14:13Rush Miss Lane over to Mr. Steiner and Dick.
00:14:16Now?
00:14:17No, next Tuesday, you sap.
00:14:19Oh.
00:14:20Come on, get going.
00:14:22All right.
00:14:24Pardon me, Miss Lane.
00:14:26Mr. Steiner and the Dick want to see you.
00:14:31You're welcome.
00:14:33What can they want with me?
00:14:34Oh, they just want to annoy you with a lot of routine questions.
00:14:38You see, they always question people like you first
00:14:40to give you once plenty of time to make up good alibis.
00:14:43It's part of the system.
00:14:44It's been going on for years.
00:14:54Sit down, Miss Lane.
00:14:59I don't wish to be unpleasant.
00:15:02But there are a few questions I'd like to ask you.
00:15:04Certainly.
00:15:05How long have you and Brent been separated?
00:15:10We were divorced last May.
00:15:12Why?
00:15:13Well, I don't quite see...
00:15:14Divorce is a matter of record, Lieutenant.
00:15:16I don't think we need to go into that now.
00:15:18Say, will you go up to your office and write bad little boy 500 times?
00:15:22Ha, ha, ha.
00:15:26When did you last quarrel with Miles Brent?
00:15:29I don't remember.
00:15:30Didn't you love him?
00:15:31I wouldn't answer that, Marsha.
00:15:33Say, just what is your interest in this case?
00:15:35Personally, I don't care who killed Brent.
00:15:38But I would like to know how it was done.
00:15:40Besides that, I'm...
00:15:42I'm a friend of Miss Lane's.
00:15:45Wasn't your name mentioned during the divorce proceedings?
00:15:47No.
00:15:48Sorry to disappoint you.
00:15:51What did you do with your gun, Miss Lane?
00:15:53My gun?
00:15:54Yes.
00:15:55I didn't have a gun.
00:15:56Didn't you use one in the picture?
00:15:57No.
00:15:58But when you fired with the other...
00:15:59As a matter of fact, if Miss Lane had fired, she couldn't have hit him.
00:16:01She was around on the other side of the set when the shooting took place.
00:16:03Say, if you don't lay off, I'm going to take you downtown.
00:16:05What for?
00:16:06How do I know what for?
00:16:07Good.
00:16:08I was beginning to be afraid that you might say something sensible.
00:16:12Hey.
00:16:13What are you trying to do there, huh?
00:16:15Don't move now.
00:16:16I've got you surrounded.
00:16:18Don't lie now.
00:16:19What did you try to hide in there, huh?
00:16:21Why, nothing. I...
00:16:22Yeah?
00:16:23We'll see about that.
00:16:24Hold this for me.
00:16:25Now, wait a minute.
00:16:26Wait a minute.
00:16:27No, you don't.
00:16:28Yeah?
00:16:29Oh, yeah?
00:16:31This letter, all ready to mail, was found in Miles Brent's pocket.
00:16:35I'm sure you've seen it.
00:16:36I'm sure you've seen it.
00:16:37I'm sure you've seen it.
00:16:38I'm sure you've seen it.
00:16:39This letter, all ready to mail, was found in Miles Brent's pocket.
00:16:42In this letter, he told his lawyer that Marsha Lane refused to sign a release as beneficiary of his life insurance policy.
00:16:50So you stand to collect $200,000.
00:16:53Miss Lane's lawyer wouldn't let her sign the release.
00:16:55I know all about that.
00:16:56Say, it's too bad you weren't the one that was shot.
00:17:01So that gives you a pretty nice motive, doesn't it?
00:17:03No funny business now.
00:17:04Come on now.
00:17:05Come on.
00:17:06Keep moving now.
00:17:09There's your man, Chief.
00:17:10I caught him red-handed.
00:17:12He was trying to ditch his gun.
00:17:13Look.
00:17:14It's loaded, too.
00:17:15I tell you I did.
00:17:16Save your breath.
00:17:17Put the bracelets on him, Owen.
00:17:19Now, ain't that astounding?
00:17:21Something told me to take a squint around.
00:17:23I sees him trying to ditch his gun, see?
00:17:26And I puts two and two together, I says to my...
00:17:30I says to myself, that's the man.
00:17:33I guess I used uncanny skill.
00:17:3738 caliber and loaded.
00:17:38It's the gun, all right.
00:17:39Who is this fellow?
00:17:40Name's Chalmers.
00:17:41He was an extra on the set.
00:17:43Why did you kill Brant?
00:17:44Oh, I never kill nobody.
00:17:45You can't alibi yourself out of this.
00:17:47That's the only 38 gun in the place.
00:17:49You killed him.
00:17:50Why?
00:17:51I tell you I didn't.
00:17:52Now, you've got to listen to me.
00:17:53Shut up.
00:17:54You'll have plenty of time to talk later on.
00:17:58Do you know this man?
00:18:02Why, yes.
00:18:03Everyone on the lot knows him.
00:18:04He was head electrician here for years.
00:18:06How much did you pay him to kill Brant?
00:18:08Now, wait a minute, Lieutenant.
00:18:10Why not pin the murder on the murderer?
00:18:12That's not against the rules.
00:18:13What are you talking about?
00:18:15Chalmers didn't kill Brant.
00:18:16How do you know?
00:18:18This gun hasn't been fired.
00:18:27How did this gun come to be loaded?
00:18:30I loaded it for Brant.
00:18:31I lost my nerve.
00:18:32So you had planned to kill Brant, huh?
00:18:34Yes, I wanted to kill him.
00:18:35I had every reason in the world to kill him.
00:18:37But he made no attempt.
00:18:39So you can't arrest him.
00:18:41Not unless you want to make a fool of yourself.
00:18:43You know, I'm beginning to think you're giving us the razz.
00:18:46Prove it.
00:18:47You're a detective?
00:18:49Take them off, Hilliker.
00:18:51And maybe we'll put them on him.
00:18:53Well, we seem to be right back where we started.
00:18:55Yes, perhaps you have some very valuable suggestions.
00:18:58Yes, I have.
00:18:59What?
00:19:01The cameras were photographing when Brant was killed.
00:19:03There might be something very interesting on the film.
00:19:05It wouldn't hurt to look.
00:19:09Not bad.
00:19:11How soon can we see the stuff?
00:19:13We could get the print in, say, three or four hours.
00:19:16Will we get them going?
00:19:17Oh, certainly.
00:19:19Come, Super Smith.
00:19:22You take the name and address of every person on this set.
00:19:25And warn them all about trying to leave town.
00:19:28Right.
00:19:34In any of your books,
00:19:36does the detective ever sock the novelist on the nose?
00:19:40No.
00:19:42Write it in sometime.
00:19:44Seems to me like a good idea.
00:19:49Bill, George.
00:20:00Marsha.
00:20:01Oh, Frank.
00:20:03It won't be very pleasant to see it all over again.
00:20:06But it may help us a lot.
00:20:07Carefully.
00:20:21Is everybody here?
00:20:23I think so, Mr. Grossman.
00:20:25Mr. Steiner's in the projection booth.
00:20:26He'll be right in.
00:20:27All right.
00:20:28Here he is now.
00:20:33You ready, Mr. Grossman?
00:20:34Yes.
00:20:35Mr. Grossman's ready.
00:20:41Quiet, please.
00:20:42Quiet.
00:20:46All right, turn him over.
00:20:48Rolling.
00:20:50Mark it.
00:20:53Action.
00:21:03Take it to your counter.
00:21:04It'll be right here.
00:21:14Thanks, handsome.
00:21:16I just couldn't pass you up.
00:21:25Believe it or not, I've never seen her in my life before.
00:21:28I must have been overlooking something.
00:21:29What a shame, sir.
00:21:31Most annoying.
00:21:32Come to my petty news.
00:21:34Your nose.
00:21:35Oh, I'll get the car, sir.
00:21:44Lights!
00:21:45Lights!
00:21:46Turn on those lights!
00:21:47I wonder what that was.
00:21:48Wait, did you see that?
00:22:02He's not hurt badly, but he must have received a sharp blow.
00:22:23Yeah, it looks like it was done with a blunt instrument.
00:22:25You know, I had an uncle once, was knocked out the same way.
00:22:28Only he got hit with a shovel.
00:22:30Whoever rocked your cradle overdid it.
00:22:33A rouge-tipped cigarette butt started it off.
00:22:36Can you tell me, is that studio makeup?
00:22:38Hard to say.
00:22:40Perhaps Wichita makeup man could tell you.
00:22:42Thanks.
00:22:45How did it happen?
00:22:47I swear, I don't know.
00:22:49I was leaning over the machine, checking the focus.
00:22:54I thought the building came down on me.
00:22:56How about another print?
00:22:57Yes, and we'll take care of it this time.
00:22:59There was something off.
00:23:00And whoever touched it off didn't want it to be seen.
00:23:02We can have the laboratory run one off right away.
00:23:04Could we, Mr. Goldsmith?
00:23:06Why, yes.
00:23:07There's no reason why we couldn't.
00:23:09Will you come with me?
00:23:10No, Hilliker will go with you.
00:23:12I have another angle.
00:23:14Where will I find this makeup man?
00:23:16Makeup department.
00:23:17Clear around the other end of the lot, just the end of S Street.
00:23:19Sounds like a sleeper job.
00:23:21I'll show you if you like.
00:23:22Thanks.
00:23:24It's a special panchromatic rouge of my own make.
00:23:27Only two people on the lot are in the habit of using it.
00:23:29Who are they?
00:23:31Miss Collins and Miss Lane.
00:23:33Who's Miss Collins?
00:23:34She's one of our players.
00:23:36Is she in this picture you're photographing?
00:23:38No, I believe she's working in the Knight Riders.
00:23:40They're out in location.
00:23:42And the only other person on the lot
00:23:44that uses this rouge is Marsha Lane?
00:23:46As far as I know.
00:23:48I see.
00:23:49Thanks.
00:23:50You're welcome.
00:23:51Wait a minute.
00:23:53You have quite a stock of this rouge on hand, haven't you?
00:23:55A few tubes of it.
00:23:57Just as I thought.
00:23:58Anybody could get at it.
00:24:00Not very well.
00:24:01All the makeup that is not in use is kept in the cabinets.
00:24:03And the cabinets are locked?
00:24:05Yes.
00:24:06Excuse me.
00:24:08Hello.
00:24:09Just a minute.
00:24:10It's for you.
00:24:13Hello.
00:24:15Yes, Hilliker.
00:24:16How?
00:24:18All right.
00:24:19You stick around there and see what you can find out.
00:24:21Tell Steiner I'll see him at his office.
00:24:24The negative of that last scene has been ruined.
00:24:26Someone poured acid in the container.
00:24:28This thing gets more muddled every minute.
00:24:30Are you telling me?
00:24:31How do I get to Steiner's office?
00:24:33I'll show you.
00:24:34Thanks.
00:24:35And you're not going with me.
00:24:39Right at the head of the street.
00:24:41Thanks.
00:24:42You're welcome.
00:24:43Right at the head of the street.
00:24:45Thanks.
00:24:46You ought to have a map of this place.
00:24:47Oh, Lieutenant.
00:24:49Know that anybody could have taken the rouge from Miss Lane's dressing room.
00:24:52Sure.
00:24:53A very interesting detail.
00:25:00What do you make of it, Drew?
00:25:02It's got me.
00:25:04It's more of a mystery than anything I ever wrote.
00:25:06What I can't understand is why anyone should want a murder print.
00:25:10Now, if it were a supervisor...
00:25:11I don't see why anybody wants to murder anybody.
00:25:13It's a silly idea.
00:25:15You going to try and solve it?
00:25:17Yes.
00:25:18Why not?
00:25:19It'd be fun.
00:25:20Besides...
00:25:21Marsha?
00:25:22Yes.
00:25:23Oh, say, Tom.
00:25:24If you see her, don't say anything about that rat business.
00:25:26It'll only upset her.
00:25:27No, no, no, no.
00:25:28Of course not.
00:25:29If I can help you, let me know.
00:25:30Thanks.
00:25:31Has anything been moved on the set?
00:25:33No.
00:25:34Police instructions were to leave everything undisturbed.
00:25:36Well, I'm going to have another look around.
00:25:38I want to find out what's going on.
00:25:39I want to have another look around.
00:25:41I want to find out just how he was murdered.
00:25:43And with what gun.
00:25:47Say, I got an idea of how Brett was killed.
00:25:49You want to hear it?
00:25:51Some other time.
00:25:52Better go home and sleep it off, Chalmers.
00:25:54That's what you think.
00:25:55Chalmers don't know anything, huh?
00:25:57Well, listen.
00:25:58I've been on the set and I've been seeing things.
00:26:00Yeah, snakes and pink elephants, I'll bet.
00:26:02All right, all right.
00:26:04Be smart, huh?
00:26:05Be smart.
00:26:07Now, listen.
00:26:08You can hear me later.
00:26:09I'll see you in the morning.
00:26:10Go on home.
00:26:12The old boy evidently cashed his paycheck and drank it.
00:26:16Want to have a look around with me?
00:26:18No, I'm not much of a detective.
00:26:20Besides, Mrs. Avery's waiting for me.
00:26:22All right.
00:26:24Good luck.
00:26:25Thanks.
00:26:38Come on.
00:27:08Come on.
00:27:38Come on.
00:28:09Oh!
00:28:10Oh!
00:28:12Go find Sheehan.
00:28:13He's someplace on the lot.
00:28:14Bring him here.
00:28:18Mr. Drew!
00:28:19Mr. Drew, what happened?
00:28:21What happened?
00:28:22Here.
00:28:23Here.
00:28:26It's swell, ain't it?
00:28:28I made it myself.
00:28:31Who's in there?
00:28:32It's all right, Sheehan.
00:28:36Now.
00:28:37I found the gun that killed Brent.
00:28:39Where?
00:28:40Right here in this lamp.
00:28:42Why, it's gone.
00:28:46Probably got tired sitting there and decided to take a walk.
00:28:49No, I'm not kidding.
00:28:51I came down on the set to have a look around.
00:28:53Just by accident, I noticed this smudge on the lamp here.
00:28:56So I looked inside.
00:28:58Found a small derringer fastened there.
00:29:00Attached to an electromagnet.
00:29:02There's the wire it was connected to.
00:29:04And I got a bump on the head that knocked me out.
00:29:08Well, this proves one thing.
00:29:10Whoever killed Brent knows a whole lot about electricity.
00:29:13Who has charge of these lamps?
00:29:14Head gaffer?
00:29:16Or what's that in English?
00:29:17The chief electrician.
00:29:18Who is he?
00:29:19Al Payne.
00:29:20Where can I find him?
00:29:21Here. Tom will take you over.
00:29:23Come here, kid. Let me take a look at that head.
00:29:26Now, that's all right.
00:29:27Now, listen.
00:29:29You stop monkeying around with police matters.
00:29:30It's a tough racket.
00:29:32That head of yours won't stand another wallop.
00:29:34Come on. Let's get going.
00:29:38Mr. Drew, I've been thinking.
00:29:40No.
00:29:41Yeah. The first thing I ask myself when I investigate the murder is,
00:29:45who done it?
00:29:46Well, that sounds logical.
00:29:48And the next thing I ask myself is, who could do it?
00:29:51And then?
00:29:52And then I ask myself again, who wanted to do it?
00:29:56And how do you answer yourself?
00:29:58Well, I ain't come to that yet.
00:30:00You take Chalmers, for instance.
00:30:02He didn't like Brent.
00:30:04Well, why should he be an exception?
00:30:05He didn't like Brent, and the count of Brent had him fired.
00:30:08When was this?
00:30:09A couple of months ago, when Chalmers was head gaffer.
00:30:11They had an argument.
00:30:12Head gaffer?
00:30:14Yes. Chalmers is an electrician, isn't he?
00:30:16Yes. Chalmers had a couple of drinks, and him and Brent had an argument.
00:30:19Say, Gully.
00:30:20You are a first-class gumshoe.
00:30:23Investigator.
00:30:24All right. Investigator.
00:30:26Right now, will you run up to the casting office and investigate?
00:30:28And find out where Chalmers lives?
00:30:30Sure. What are you going to do? Put the finger...
00:30:31I mean, apprehend him?
00:30:33Maybe. You want to come along?
00:30:34Oh, boy. I'll say. Guns?
00:30:36Yeah.
00:30:38I've got my gun and my badge. I need those.
00:30:40Come on. Let's get going.
00:30:42The director hasn't anything to do with it.
00:30:45The cameraman really sets the lights.
00:30:47You mean, he tells you where to put the lights?
00:30:49Yeah.
00:30:50When was this set late?
00:30:52The afternoon before.
00:30:54They rehearsed the scene with the principals,
00:30:56so they wouldn't hope when they called the extras.
00:30:58Do you remember anything particular about that one light?
00:31:01To be truthful with you,
00:31:02we had a lot of arguments on that set.
00:31:05Mr. Steiner didn't like the photography,
00:31:07and he wanted more light.
00:31:09Steiner? Was he there when it was rehearsed?
00:31:11Yes.
00:31:12Who else?
00:31:13Well, they were all there,
00:31:15with the exception of the extra people.
00:31:17There were no extras there, huh?
00:31:19No. Only Chalmers.
00:31:21You know, he's a sort of a privileged character around this lot.
00:31:23He used to be our head gaffer.
00:31:25Chalmers used to be an electrician?
00:31:27Yes. Miss Lane felt sorry for him,
00:31:28and made Mr. Avery give him a bit of her picture.
00:31:30Oh, Miss Lane got him the job?
00:31:32Yes.
00:31:34Could you give me the address
00:31:36of the cameraman and Chalmers?
00:31:38Sure.
00:31:40And by the way,
00:31:42if a writer by the name of Drew
00:31:44asks you anything,
00:31:46don't answer him.
00:31:48See?
00:31:50Well, you can't keep me from hoping.
00:31:54This is it.
00:31:55This is it.
00:32:20Look,
00:32:22that Chalmers is in trouble again.
00:32:24Do you wish to see Mr. Chalmers?
00:32:26Yes. Is he in, Mrs...?
00:32:28Miss Potts.
00:32:30And I don't know anything at all
00:32:32about his comings and goings.
00:32:34Doesn't he answer the bell?
00:32:36No, he doesn't.
00:32:38I was just going in.
00:32:40Cleaning day today, you know.
00:32:42I suppose he's lying stiff
00:32:44and the place all cluttered up with gin bottles.
00:32:46Let's go in and have a look around, Captain.
00:32:48As tenants,
00:32:50guests, I mean.
00:32:51Oh, he wasn't so bad
00:32:53until he lost his job.
00:32:55Then he started acting queer like.
00:32:57See? I told you.
00:33:01I laid down the law to him.
00:33:03I said, Mr. Chalmers,
00:33:05my bungalow court
00:33:07isn't an alcoholic ward.
00:33:09As I thought, drunk again.
00:33:11Well, this is the end.
00:33:13This is no key to cure.
00:33:15Out he goes.
00:33:17I'm sick and tired of his carryings on.
00:33:19The fellow's dead.
00:33:21Dead?
00:33:23Well, he didn't think of me.
00:33:25No, not him.
00:33:27I suppose my 2850 bank rent has gone up the flue.
00:33:31Did I have Chalmers spotted?
00:33:33All I did was ask myself,
00:33:35who done it?
00:33:37Poison, all right.
00:33:39Familiar smelling stuff, too.
00:33:41Boy,
00:33:43that guy had drink anything
00:33:45that wasn't too thick to chew.
00:33:47Well,
00:33:49I guess this about washes up the case,
00:33:51eh, Mr. Drew?
00:33:53Looks like suicide to you, eh, Gulley?
00:33:55Sure.
00:33:57I guess Sheehan would think so, too.
00:33:59He may be dumb, but he ain't blind.
00:34:01He's not as dumb as he looks.
00:34:03Do you wear a wristwatch, Gulley?
00:34:05Huh?
00:34:07Do you wear a watch on your wrist?
00:34:09What watch?
00:34:11I don't know.
00:34:13A watch.
00:34:14Do you wear a watch on your wrist?
00:34:16Well,
00:34:18you see, it's a present from the wife.
00:34:20I gotta wear it.
00:34:22Why do you wear it on your left wrist?
00:34:24Well, I use my right hand the most
00:34:26because I'm right-handed.
00:34:28You ever try to write with it on your right?
00:34:30No.
00:34:32Neither did Chalmers.
00:34:34Which makes this note a very interesting piece of fiction.
00:34:44I'll get it.
00:35:15Huh.
00:35:27Say, Gulley,
00:35:29come here.
00:35:32Take a look in here.
00:35:36Now, what do you see?
00:35:38A bottle of gin and a piece of ice.
00:35:40What else?
00:35:42Use your powers of observation.
00:35:45Oh, you mean that piece of wilted lettuce in there.
00:35:48Don't you notice that little service door on the back has been left open?
00:35:51Whatever.
00:35:53The Iceman probably left it that way.
00:35:55My wife says you can't trust those Icemen anyway.
00:35:57If the Iceman had left that little door open
00:35:59when he put in the fresh cake,
00:36:01there wouldn't be any ice there now.
00:36:03Oh, I never thought of that.
00:36:05Let's have a look outside.
00:36:15Oh.
00:36:17Someone must have stood here a long time.
00:36:19Them are fresh prints, ain't they?
00:36:21Step up there a minute.
00:36:23Look out for those cracks.
00:36:25Now what?
00:36:27Look through the window.
00:36:31You see Chalmers sitting there?
00:36:33Yeah.
00:36:35He's got a bottle of gin and a piece of ice.
00:36:37He's got a bottle of gin and a piece of ice.
00:36:39He's got a bottle of gin and a piece of ice.
00:36:41He's got a bottle of gin and a piece of ice.
00:36:42You see Chalmers sitting there?
00:36:44Yeah, the door's open.
00:36:50Supposing someone stood here
00:36:52and Dr. Chalmers jammed this box from this side
00:36:57and then stood here
00:37:00and watched him drink his last drink
00:37:02through the window, what would you say?
00:37:04And then watched him die.
00:37:06Went in and wrote the note and put the pencil in his hand, huh?
00:37:08Yeah.
00:37:10Only there's where he made his mistake.
00:37:12Yeah.
00:37:14That's just what I was thinking.
00:37:18Gulley,
00:37:20you know if a car was parked here,
00:37:22it would entirely conceal that door and that window.
00:37:25Yeah?
00:37:38Then Chalmers didn't kill himself, huh?
00:37:40Let's leave that to Sheehan.
00:37:42I guess that he ought to be here by now.
00:37:48I found him slumped over on the table.
00:37:50Dick, huh?
00:37:52Don't let Sheehan know what we found out.
00:37:54I got you.
00:37:56The captain got here 15 minutes ago.
00:37:58Captain?
00:38:01What are you and that Keystone cop doing here?
00:38:03Now looky here, Sheehan,
00:38:05you can't talk that way about me.
00:38:07Remember, I'm chief of the studio police
00:38:09and I got rights.
00:38:10I'm raw.
00:38:12Here's another opportunity for your skill, lieutenant.
00:38:14We've been waiting for you.
00:38:16Everybody around here seems to know more about police matters than the police.
00:38:18That's noble of you to admit it.
00:38:20Did you two nuisances touch anything around here?
00:38:22Nothing important.
00:38:24Good. Then clear out.
00:38:26And take that uniform moron with you.
00:38:28Come on.
00:38:32Suicide, huh?
00:38:35Looks like it.
00:38:37Well, I always thought it was Chalmers right from the start.
00:38:40Now who's the Keystone cop?
00:38:42He don't even know Chalmers was left-handed.
00:38:44Come on.
00:38:47Left-handed?
00:38:56Sure.
00:38:58That starts it all over again.
00:39:00I can remember when murders were nice,
00:39:02clean, simple things
00:39:04done with machine guns and meat axes.
00:39:06But this case?
00:39:11All right, right straight back.
00:39:17All right.
00:39:25What seems to be the trouble?
00:39:27Battery's dead.
00:39:29But didn't Miss Lane get a new battery just last week?
00:39:31Yeah, I don't understand it.
00:39:33It's bone dry.
00:39:35Liquid's all gone.
00:39:41Just as I thought.
00:39:46We were right.
00:39:48Poison.
00:39:52Electro...
00:39:54Electrolytic liquid...
00:39:56...38% distilled water,
00:39:5833% electrolytic liquid...
00:40:00...7% by volume.
00:40:02The man said a teaspoonful in a glass
00:40:04will kill a man dead.
00:40:06I don't understand it.
00:40:07The man said a teaspoonful in a glass
00:40:09will kill a man dead.
00:40:11Electrolytic acid.
00:40:13Did he say anything else?
00:40:15No, that was all.
00:40:29Hey, ain't them the same kind of trick
00:40:31that left the marks under Chalmers' window?
00:40:33Oh, there's probably a thousand cars in Hollywood
00:40:34that have that make-so-it-make attire.
00:40:36Yeah, I never thought of that.
00:40:40Say, Gully.
00:40:42I want you to get me the key to Brent's dressing room,
00:40:44but don't let anybody know it's for me, see?
00:40:46Say, I'll get you the key to the city if you want it.
00:40:49No, I have a couple of things to do.
00:40:51I'll meet you here in half an hour.
00:40:53Okay.
00:40:57Who is it?
00:40:59Frank, may I come in?
00:41:01Just a minute.
00:41:02Just a minute.
00:41:11Why all the locks?
00:41:13I was just going through some old letters
00:41:15and didn't want to be disturbed.
00:41:17Oh, I see.
00:41:19Where have you been?
00:41:21I've been waiting all afternoon for you.
00:41:23Oh, I've just been doing a little sleuthing.
00:41:25Marsha, you trust me, don't you?
00:41:27Why, yes, of course.
00:41:29You know I'd do anything in the world for you, don't you?
00:41:30I believe you would, dear.
00:41:32Then is there anything you know about the murder of Brent
00:41:35that you haven't told me?
00:41:38No.
00:41:41I've just come from Chalmers' place.
00:41:43He's dead.
00:41:45Chalmers?
00:41:47Poisoned.
00:41:49You mean murdered?
00:41:51If it isn't that, it's a good imitation of it.
00:41:53Oh, how awful.
00:41:55Whoever did it used electrolytic acid.
00:41:57Acid out of a battery.
00:41:58The unfortunate part of the whole thing is that
00:42:00they used your car
00:42:02and the acid out of your battery.
00:42:04My car?
00:42:09That's why my car wouldn't start.
00:42:11Yes, I only told you this
00:42:13because I'm afraid Sheehan will find out
00:42:15and arrest you on suspicion.
00:42:17That would mean headlines and scandal.
00:42:19What do you want me to do?
00:42:21I want you to get out of here.
00:42:23Anyplace, just so Sheehan can't find you.
00:42:25But that's running away.
00:42:26Only for a day or two, just to give me time.
00:42:29I'll go to Mary's at Malibu.
00:42:31She'll help me.
00:42:33Oh, that's swell.
00:42:35Make it fast, will you?
00:42:37There's no knowing how close Sheehan's behind me.
00:42:39I'll telephone you when I get it all worked out.
00:42:41You may have a long beard by then,
00:42:43but I'll try and hurry.
00:42:45Bye-bye, sweet.
00:42:56Bye-bye.
00:43:13Come in.
00:43:16Leon.
00:43:20I suppose you're surprised that I'm here, huh, Marsha?
00:43:23Frankly, yes.
00:43:25You haven't come to see me since...
00:43:27since Brent's accident.
00:43:29I should think you'd know why.
00:43:31I don't.
00:43:33I only know that I...
00:43:35that I want to help you.
00:43:37I have all the help I need.
00:43:39Marsha, you mustn't treat me like this.
00:43:42I never said anything to you while Brent was alive,
00:43:45but you should know how I feel.
00:43:48You succeeded in making your feelings quite plain enough.
00:43:52Marsha, I...
00:43:55I'm very fond of you.
00:43:58It's not the kind of fondness I care about.
00:44:01Please go now, Leon.
00:44:03I'm in rather a hurry.
00:44:15Marsha,
00:44:17maybe someday you will come to me and ask for help.
00:44:20Maybe you will apologize to me
00:44:21for laughing about how I feel for you.
00:44:25Perhaps Brent wasn't killed for nothing.
00:44:47No matter how smart they are, they always slip up.
00:44:52What's your name?
00:44:54Pardon me.
00:44:56Hello?
00:44:58Yes, sir, I will.
00:45:00Well, wait a minute. Here she is now.
00:45:03Miss Lane,
00:45:05Mr. Steiner would like to see you in his office.
00:45:11What's your name?
00:45:13Mr. Wheatcroft.
00:45:15Mr. Todd, please.
00:45:17Mr. Wheatcroft, of course.
00:45:18Mr. Todd, please.
00:45:20Mr. Wheatcroft calling to see you.
00:45:23All right, thank you.
00:45:28Pull down that blind.
00:45:39Did you see Brent when he came in?
00:45:41I see everybody.
00:45:43What kind of a suit did he have on?
00:45:49There it is.
00:45:55Funny, she hadn't missed looking in here.
00:45:58You've been keeping her too busy.
00:46:00See what those letters are.
00:46:05Here's one from a dame named Agnes.
00:46:08Agnes who?
00:46:10She ain't that dumb.
00:46:12She don't say much,
00:46:14except that she can't live without him.
00:46:16Married, too.
00:46:18She says her husband don't understand her.
00:46:21Well, that's that old, old story.
00:46:23Two men and a woman.
00:46:25The internal triangle.
00:46:28What kind of a place is the Clifside Inn?
00:46:31Oh, you know, one of those weekend places
00:46:33with all the Mr. Smiths and Mr. Jones and Mr. Browns.
00:46:36Brent wouldn't go there alone, would he?
00:46:38Not him.
00:46:40How far is Ocean View from here?
00:46:42A couple hours north on the Coast Road.
00:46:44Well, I guess that's a stop.
00:46:46Why?
00:46:48Because of the case.
00:46:50No.
00:46:52Mr. Drew, this case has become uncomplicated.
00:46:54Even for me.
00:46:56Come on.
00:47:02See, it's 4.30.
00:47:04I gotta check in on my next...
00:47:06Listen, don't go away without me, will you?
00:47:09All right, Gulley, I'll pick you up at the gate when I get...
00:47:12Mr. Drew, I've been looking for you.
00:47:14Miss Lane wants to see you.
00:47:16She's in Mr. Steiner's office.
00:47:18Yes, sir.
00:47:28Go right in, Mr. Drew.
00:47:30When did you find out your car wouldn't start?
00:47:32About an hour ago.
00:47:35Well.
00:47:37With all your dabbling, you didn't throw us off.
00:47:39You've thrown yourself off
00:47:41if you think Miss Lane had anything to do
00:47:43with Chalmers or Brent either.
00:47:45All right, all right.
00:47:46Sit down there.
00:47:48And keep quiet.
00:47:52Where did you go this afternoon?
00:47:54I went downtown.
00:47:56In your car?
00:47:58Yes.
00:48:00Where did you park it?
00:48:02On the street, in front of Elfman's flower shop.
00:48:04I ordered some flowers for Mr. Brent's funeral.
00:48:06Then where did you go?
00:48:08You went to Chalmers' house, didn't you?
00:48:10Wait a minute, I won't stand for this.
00:48:12You can't trick Miss Lane into answers
00:48:14and have little boy Blue over there take him down.
00:48:16Don't talk to me about this.
00:48:18Oh, no, you're not.
00:48:20She isn't trying to force Miss Lane
00:48:22into admissions of things she's never done.
00:48:24She might as well talk here as downtown.
00:48:26I've got a warrant for her.
00:48:28For what?
00:48:30Suspicion of murder.
00:48:32What's your theory?
00:48:34It's as simple as ABC.
00:48:36Yes, it would be if you thought of it.
00:48:38Chalmers killed Brent because he hated him
00:48:40and she offered him money.
00:48:42Then she got frightened and killed Chalmers
00:48:44thinking that he would get drunk and give it away.
00:48:46Chalmers has an acid from her battery that killed him.
00:48:49Oh, that's a lot of bunk.
00:48:51I know, you've got to make an arrest.
00:48:53It's okay with you.
00:48:55China, you can't sit there and let them arrest Marsha.
00:48:58She has nothing more to do with these murders
00:49:00than Lincoln had to do with the burning of Rome.
00:49:02Mr. Drew, we don't know whether Lincoln burned Rome or not.
00:49:06And we don't care.
00:49:08But this man is a policeman,
00:49:10so let us hear what he has to say.
00:49:12I'm not paying you to quarrel with the police.
00:49:14I don't care if you pay me a dime.
00:49:16I don't care if you pay my headlines.
00:49:18Hold off for 24 hours and I'll be responsible.
00:49:20Better than that, because I'll prove that she's innocent.
00:49:22You're making yourself ridiculous.
00:49:24I'm trying to protect one of your stars.
00:49:26Wait a minute, Steiner.
00:49:28Maybe he's right.
00:49:30What about this scandal?
00:49:32What about her box of his name?
00:49:34Ain't he got enough trouble here already
00:49:36without having Marsha arrested?
00:49:38Mr. Grossmith, if you want to accept the responsibility, you can.
00:49:40But remember, this is a murder case.
00:49:42Two people are dead.
00:49:43And how do you know someone else won't be killed?
00:49:46For my part, I believe that the police
00:49:48should not be interfered with.
00:49:50Well, all I got to say is that it's a terrible calamity.
00:49:56Let's go, Hilliker.
00:49:58I guess the explosion's over.
00:50:00Someone in this studio killed Miles Brent and Chalmers.
00:50:03And he's trying to pin it on Marsha Lane.
00:50:06But they won't get away with it.
00:50:08Come on, Miss Lane.
00:50:14Marsha, honey.
00:50:16I'm sorry.
00:50:18I'll get you out of this as soon as I can.
00:50:20I know you will, Frank.
00:50:22I'm not worried, really.
00:50:24Come on.
00:50:30I, Specs Electric.
00:50:33I, Reno LaBallantine.
00:50:36I, X-Ray.
00:50:38Marsha Lane is here at the studio.
00:50:40I, X-Ray.
00:50:44I, X-Ray.
00:50:46I, Reno LaBallantine.
00:50:48Marsha Lane is here at the studio.
00:50:51I, X-Ray.
00:50:54I, Reno LaBallantine.
00:50:58I, X-Ray.
00:51:13I, Reno LaBallantine.
00:51:15I, X-Ray.
00:51:17I, Reno LaBallantine.
00:51:19I, Reno LaBallantine.
00:51:21I, X-Ray.
00:51:23I, Reno LaBallantine.
00:51:25I, Reno LaBallantine.
00:51:27I, Reno LaBallantine.
00:51:29I, Reno LaBallantine.
00:51:31I, Reno LaBallantine.
00:51:33I, Reno LaBallantine.
00:51:35I, Reno LaBallantine.
00:51:37I, Reno LaBallantine.
00:51:39I, Reno LaBallantine.
00:51:41I, Reno LaBallantine.
00:51:43I, Reno LaBallantine.
00:51:45I, Reno LaBallantine.
00:51:47I, Reno LaBallantine.
00:51:49I, Reno LaBallantine.
00:51:51I, Reno LaBallantine.
00:51:53I, Reno LaBallantine.
00:51:55I, Reno LaBallantine.
00:51:57I, Reno LaBallantine.
00:51:59I, Reno LaBallantine.
00:52:01I, Reno LaBallantine.
00:52:03I, Reno LaBallantine.
00:52:05I, Reno LaBallantine.
00:52:07I, Reno LaBallantine.
00:52:09I, Reno LaBallantine.
00:52:11I, Reno LaBallantine.
00:52:13a husband to see the cancel check. Perhaps. Oh, pardon me. Yes, madame?
00:52:17Bernie Gardinius.
00:52:18D'accord.
00:52:43Oh, good evening.
00:52:56Evening.
00:52:59Alone?
00:53:00Yes, I'm not stopping.
00:53:02Oh.
00:53:03I have a key here a friend of mine carried away with him.
00:53:05Oh, thank you.
00:53:07My name is Drew. I'm from the Tone Art Studios. I'd like to keep this thing quiet.
00:53:11Keep what quiet?
00:53:13Brent's visit here the night before he was murdered.
00:53:15You see, if the papers get hold of a story like this, they play it up and it's bad for the picture business.
00:53:20Well, it doesn't do us any good either.
00:53:22All right, let's get together.
00:53:23Sure, what do you want?
00:53:25Who was the woman with Brent?
00:53:27Mrs. Brent?
00:53:28There is no Mrs. Brent. They were divorced.
00:53:30Well, then I don't know who she is.
00:53:32You see, I wasn't here when they checked in and they left in such a hurry I didn't see them go out.
00:53:36In a hurry? Why?
00:53:38Well, a fellow came in here and started a row.
00:53:41And then he waited in that telephone booth over there and when they came down he stepped out.
00:53:46At least that's what Charlie says.
00:53:48Who's Charlie?
00:53:49One of the night bellhops.
00:53:50Could I see him?
00:53:51Sure.
00:53:54Oh, Charlie.
00:53:55Yes, sir.
00:53:56Thank you, sir.
00:54:00This gentleman wants to ask you a few questions.
00:54:02Shoot.
00:54:04Say, do you remember seeing the man who waited for Miles Brent in the telephone booth the other night?
00:54:09I just got a glimpse of him before the fight.
00:54:12What fight?
00:54:13Well, when Brent hit him in the patio.
00:54:16How did it happen?
00:54:18Well, a lady ran out to the car when she saw the guy come out of the booth.
00:54:21Then the guy steps up to Mr. Brent and says,
00:54:24Brent, I want to see you.
00:54:26I thought it sounded kind of silly because he was seeing him right there.
00:54:29Well, then what happened?
00:54:31Well, Brent takes the guy outside in the patio.
00:54:33That's when he socked him.
00:54:35Then did Brent get into his car?
00:54:36Yeah.
00:54:37And the other guy picked himself up.
00:54:39Boy, was he mad.
00:54:40And was his face red.
00:54:42What did he say?
00:54:43What didn't he say?
00:54:48It was awful.
00:54:49And then he beats it.
00:54:51Would you remember this man if you saw him again?
00:54:53Well, I might.
00:54:54And then again I might not.
00:54:56It all happened so fast.
00:54:58Would you remember the lady?
00:54:59Sure.
00:55:00By the way, she was a honey.
00:55:01She looked kind of funny.
00:55:03You know, like she was a foreigner or something.
00:55:05With an accent?
00:55:06Yeah.
00:55:08That's fine, Charlie.
00:55:09You've been a big help to me.
00:55:11Here.
00:55:12Thanks.
00:55:13Good night.
00:55:14And thanks.
00:55:15Good night.
00:55:16Say, are you a detective?
00:55:17No, I'm just from the studio.
00:55:18Will there be detectives here?
00:55:20I hope not.
00:55:21Call for Mr. Wallace.
00:55:25Calling Mr. Wallace.
00:55:31Which booth did that fellow hide in?
00:55:33There.
00:55:35How long has it been out of order?
00:55:37Just since the guy hid in there.
00:55:39I guess he kept pounding on the hook trying...
00:55:41Come on.
00:56:00Shelf, shelf.
00:56:01That's all you can think of is shelf.
00:56:03Already this picture cost me $239,351.
00:56:08Where did I put my money in the bank?
00:56:10Did I get any interest from a shelf?
00:56:12I'm not asking you to do anything.
00:56:14But how can we finish the picture without Brent?
00:56:16I've told you 17 times that we can use a double.
00:56:18And play the whole kissing scene in a long shot?
00:56:20Why not?
00:56:21Because it's all wrong.
00:56:22It's terrible.
00:56:23I've got my reputation to think of.
00:56:24And I've got my money to think of.
00:56:26Money, money.
00:56:27What's money?
00:56:30Now, just a minute.
00:56:32Now, let's take it calmly.
00:56:34New York office is of the opinion
00:56:36that the murder of Brent won't hurt the picture
00:56:38if we can release it soon enough.
00:56:40Now, why not shoot that scene using a double and wind it up?
00:56:44It's the last scene in the picture.
00:56:46It can't possibly do you any harm.
00:56:48Exactly.
00:56:49Steiner has got right.
00:56:50Oh, all right.
00:56:51What's the use of arguing?
00:56:52Good.
00:56:53We can get the company together and shoot it tonight.
00:56:55Oh, wait a minute.
00:56:56What about Marcia?
00:56:57Oh, we can arrange with she and you, sir, for that one scene.
00:57:00She can come over with the whole police department if he likes.
00:57:03Everybody's on call and everything on the set is standing.
00:57:05We can shoot it in half an hour.
00:57:07Hello?
00:57:08Todd, hold on a minute.
00:57:10What time?
00:57:127.30.
00:57:13Say 9.30.
00:57:14Make it 9 o'clock.
00:57:15We'll save a half hour.
00:57:18Todd, we're going to shoot the last scene of the death kiss tonight.
00:57:22Round up the company for a 9 o'clock call.
00:57:24Sure, Mr. Steiner.
00:57:26Mac, we're retaking the death kiss.
00:57:28Get busy on the call.
00:57:29Okay.
00:57:33You've got Brent's double on call, haven't you?
00:57:35Yes, I'll have him all right.
00:57:36But say, what about Miss Lane?
00:57:39I'll take care of her.
00:57:43Silk on that 36.
00:57:45Hey, Mac, will you put that light over and look?
00:57:47Screen 80, will you?
00:57:49Screen 80, Joe.
00:57:50Look, screen 80.
00:57:52Say, 47 and 42.
00:57:54Joe, that's my camera.
00:58:00Good evening.
00:58:01You know Mrs. Avery?
00:58:03Yes, of course. How are you?
00:58:06I'm surprised you've come to see this retake.
00:58:08Put it down to morbid curiosity.
00:58:10That's the woman of it.
00:58:11She insisted on coming.
00:58:13Come along with me.
00:58:14I'll make you comfortable.
00:58:15She's very good with the ladies.
00:59:05We'll do it the same way.
00:59:06You two guards in the back.
00:59:08On the left.
00:59:10Watch out.
00:59:13Shoot the whole thing over.
00:59:14Kill those two over there, 16 and 12.
00:59:16Take the whole thing over again.
00:59:18All right?
00:59:19Huh?
00:59:22Sullivan.
00:59:23Yes, Miss Lane.
00:59:24Do you know where Mr. Drew is?
00:59:26He went away in a little while.
00:59:28I don't know where he is.
00:59:29I don't know where he is.
00:59:30I don't know where he is.
00:59:31I don't know where he is.
00:59:32I don't know where he is.
00:59:33I don't know where he is.
00:59:34He went away and left me after him promising he wouldn't.
00:59:37Well, do you know where he went?
00:59:39I got an idea, but I can't tell.
00:59:42Well, do you know when he'll be back?
00:59:45I don't know.
00:59:46He'll turn up.
00:59:47You can't lose that guy.
00:59:49We're ready for a rehearsal, Miss Lane.
00:59:51All right, thank you.
00:59:53Go ahead.
00:59:54We'll wait here.
00:59:58And just as you reach here, Miss Lane steps up and kisses you.
01:00:01Now, naturally, you're surprised because you don't know her.
01:00:03Then you turn, read your line to the doorman, and walk out to the curb.
01:00:06Right.
01:00:09Oh, Mark.
01:00:10I'm so sorry about everything.
01:00:13I know it's going to be difficult for you, but I'll try and help you all I can.
01:00:18Thank you, Tom.
01:00:21Oh, you know Mr. Johnson?
01:00:23Yes, how do you do?
01:00:24Shall we try it once?
01:00:26Oh, George, let's have quiet, please.
01:00:29Quiet!
01:00:31Rehearsal!
01:00:34Take your places, please.
01:00:37Get them all!
01:00:38Tom's ready for rehearsal.
01:00:40Okay.
01:00:42Hammer.
01:00:43This business gives me a funny feeling.
01:00:45What do you mean?
01:00:46I don't know, it just gives me a funny feeling, that's all.
01:00:48I suppose unless it happens, somebody else is shot.
01:00:51That's ridiculous.
01:00:52Well, maybe it is, and maybe it ain't.
01:00:54Anyway, I don't like the set, and I don't like the title of the picture.
01:00:57The Death Kiss.
01:00:58Yeah.
01:00:59From now on, we have no more titles with death in it.
01:01:02You're getting superstitious.
01:01:04I say, you ain't got no nerves.
01:01:06Well, I ain't afraid either, but I'm just a little scared, that's all.
01:01:10What can possibly happen?
01:01:12That's it, anything.
01:01:13I must have been overlooking something.
01:01:15Oh, bloody shame, sir.
01:01:16Now's tonight.
01:01:17Right under me very nose.
01:01:19Wait a minute.
01:01:20What's the matter now?
01:01:22I can't get it with the mic there.
01:01:24Well, go ahead and fix it the way you want it.
01:01:27Swing it in here, Father.
01:01:30Come on, Father.
01:01:32Bow down a little closer.
01:01:35There.
01:01:36Is that in your picture?
01:01:37No, it'll be just safe there.
01:01:38Okay, test it.
01:01:44One, two, three, four.
01:01:45One, two, three, four.
01:01:47Microphone number two.
01:01:49All right, let's go.
01:01:50Okay for sound.
01:02:03Well, Lieutenant, can I see you a minute?
01:02:05Well, if it isn't our little mystery writer.
01:02:08I knew you'd turn up.
01:02:10Have you solved it?
01:02:12Come over here a minute.
01:02:17What's the revelation?
01:02:20Well, I went through the clothes that Brent wore the night before he was murdered.
01:02:23I found a room key to the cliffside inn in his pocket.
01:02:26I went up to the inn and found that he'd registered there the night before
01:02:29I went up to the inn and found that he'd registered there the night before as Mr. and Mrs. Brent.
01:02:32Not unusual for him, was it?
01:02:34No, but the husband of the woman that was with him
01:02:36waited for Brent in the telephone booth in the lobby.
01:02:39When Brent came down, they had a fight.
01:02:41Brent beat him up and left with the woman.
01:02:43Now, there's your motive.
01:02:44The fellow who hid in the telephone booth is the fellow who murdered Brent.
01:02:47It's a motive, sure.
01:02:49But it seems to me that everyone around here had a motive.
01:02:52Yes, but this same man knew a lot about electricity and a lot about film.
01:02:55Now, Chalmers couldn't have thrown that cigarette butt in the film
01:02:57because he was nowhere around at the time.
01:02:59Marsha couldn't have poured acid on the negative.
01:03:01Well, she knows less about film than you do.
01:03:03But this same fellow, whoever it was,
01:03:05found out that Chalmers had discovered his contraption in the lamp,
01:03:09stole Marsha's car,
01:03:11took acid again, ducked the Chalmers gin,
01:03:13and then returned the car.
01:03:14Yes, but why did he take Miss Lane's car?
01:03:16Well, to give himself a double-headed out.
01:03:18If you believe that suicide gag, well, that was the end of it.
01:03:21If you didn't, everything pointed to Marsha.
01:03:23Whatever happened, he wouldn't be suspected.
01:03:25Yeah?
01:03:27But you have got to show me that the guy who was at the inn
01:03:29is someone here at the studio
01:03:31and that he had access to the light, the film, the car, and everything else.
01:03:34Well, that's easy.
01:03:36The man who hid in the telephone booth left his trademark.
01:03:40What's this?
01:03:41Oh, you know as well as I do
01:03:42that the scribblings a man makes on a piece of paper
01:03:44are as identifying as his signature.
01:03:46Oh.
01:03:47Now all we've got to do is to find the guy that scribbles like this, huh?
01:03:51Well, I've done that, too.
01:03:53Take a look at this.
01:03:59Where did you get this?
01:04:00In Grossmith's office.
01:04:02Now, Avery, Steiner, Grossmith, and Howell were in there having a conference.
01:04:08And you think one of those four killed Brent?
01:04:11Yes.
01:04:14Well, this is interesting.
01:04:17But I've only your word for it, and that don't count for much.
01:04:20Well, I'll keep your paper, Dolls.
01:04:22But you have got to get me more substantial evidence than this
01:04:25before I can let Miss Lane go.
01:04:37Take good care of these guns, boys, and don't forget to check them back to me.
01:04:40All right.
01:04:51Sure the gun isn't loaded?
01:04:53You bet not.
01:04:54I just looked at it.
01:04:56Mind if I look?
01:04:58Not at all.
01:05:03A clear deal?
01:05:04All right, we'll take it.
01:05:06Is everybody ready?
01:05:07Let's make it.
01:05:08Johnson, powder up, will you, please?
01:05:10Sure.
01:05:15Thanks.
01:05:16You're welcome.
01:05:21Frank, I've been so worried about you.
01:05:23Darling, I'm hot on the trail.
01:05:24I've got an idea.
01:05:25And if I'm right, I'll have this whole thing wrapped up and tied before you know it.
01:05:28But don't go away before I'm through, will you?
01:05:30You bet I won't.
01:05:31Miss Lane, will you stand on a minute, please?
01:05:33See you later.
01:05:43Isn't it loaded, is it?
01:05:45What do you think, I'm crazy?
01:05:47Mind if I look?
01:05:48Oh, go ahead.
01:05:53Thanks.
01:06:00Say, Bill, those aren't the same guns you used before, are they?
01:06:02I know.
01:06:03I couldn't get 38s before, so I slipped in 45s.
01:06:06Nobody knew the difference.
01:06:07You mean 38s were called for before?
01:06:09Yeah, they made a row about it.
01:06:11Who insisted on it?
01:06:12OK, coming up.
01:06:13Come on with me.
01:06:14Listen, I've got it.
01:06:15This is Bill, the property man.
01:06:17He tells me on the day that Brent was murdered,
01:06:19he was definitely ordered to give all the extras 38-caliber guns.
01:06:22Yeah?
01:06:23Did you get it?
01:06:2438-caliber guns were ordered.
01:06:25Now, if Bill had supplied them,
01:06:26we'd have never have known that it wasn't an accident.
01:06:34But he didn't.
01:06:35He substituted 45s.
01:06:37That's how we knew it was a murder.
01:06:39Now, the fellow who ordered the gun,
01:06:41Say, who ordered those guns?
01:06:42Go ahead, Bill.
01:06:43Tell him.
01:06:44Well, it was Mr.
01:06:46Everybody, stand where they are!
01:06:47Lights!
01:06:48Give me a light!
01:06:49Be our shift.
01:06:50Come on!
01:06:51There he is!
01:06:52There he is!
01:06:53Over there!
01:06:54Get him!
01:06:55Get him!
01:06:56Get him!
01:06:57Get him!
01:06:58Get him!
01:06:59Get him!
01:07:00Get him!
01:07:01Get him!
01:07:02Get him!
01:07:03Get him!
01:07:04Get him!
01:07:05Get him!
01:07:06Get him!
01:07:07Get him!
01:07:08Get him!
01:07:09Get him!
01:07:10Get him!
01:07:11Get him!
01:07:12Get him!
01:07:13Get him!
01:07:33What do you want?
01:07:34Out of here!
01:07:35Stay where you are, or I'll shoot!
01:08:02Stay where you are, or I'll shoot!
01:08:22Stay where you are, or I'll shoot!
01:08:52Stay where you are, or I'll shoot!
01:09:12Stay where you are, or I'll shoot!
01:09:42Stay where you are, or I'll shoot!
01:10:12Stay where you are, or I'll shoot!