While filming the closing scene of "The Death Kiss", leading man Myles Brent is actually killed. Having played around with, or been married to, most of the women connected with the movie studio, there are lots of suspects. When leading lady Marcia Lane is arrested for the killing, her suiter, a studio writer, starts to investigate the killing in order to prove her innocence.
Source: IMDB
Source: IMDB
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Short filmTranscript
00:00:00The End
00:00:30The End
00:01:00The End
00:01:29The End
00:01:59The End
00:02:29Save them
00:02:34Okay for sound, Mr. Avery
00:02:35How is it for you, George?
00:02:37Okay
00:02:37All right
00:02:38We do it again, silk number 10
00:02:41Up high, 99
00:02:42Quiet
00:02:43Do you want to move in and take a close-up at the top of the stairs?
00:02:52No, that was terrible. I'll make it over
00:02:54Yes, sir
00:02:55Yes, sir
00:02:55We'll do it again, folks
00:02:57All right
00:02:58Move that car back here
00:03:02All right, hold it
00:03:03Come on
00:03:03Take it easy
00:03:06Oh, Mr. Bender
00:03:08When you die this time, let's have less gymnastics
00:03:11And don't spin like a top when you fall
00:03:14Okay, let's go
00:03:17Come on, folks
00:03:18Move that one over a little
00:03:19What's the matter?
00:03:22What's the matter?
00:03:24Stay back, everybody
00:03:25Hey, Pete, call the doctor
00:03:32Come on, give me a hand
00:03:34Let's get him to his dressing room
00:03:35All right
00:03:36We won't need a doctor, George
00:03:45He's dead
00:03:47Dead?
00:03:48Dead?
00:03:48Dead
00:03:49Round up every man that had a gun
00:03:58Get the property man
00:04:00And find out who loaded those guns
00:04:01And see that the body isn't touched
00:04:03I'm going to phone the front office
00:04:04Yes, sir
00:04:05All right, everybody
00:04:06Line up over there
00:04:07All right, come on
00:04:08And all you fellas in right turn
00:04:10Stand over there
00:04:11Hey, Bill
00:04:12Come on
00:04:13Keep that door closed
00:04:16And see that no one leaves the stage
00:04:18And no one comes in
00:04:19Yes, sir
00:04:19And dear, Mr. Little
00:04:25Since I read your scenario
00:04:27I have come to the absolutely conclusion
00:04:30That your name, Mr. Little
00:04:33Fits you something beautiful
00:04:36And furthermore, and yet besides
00:04:41Yes
00:04:46Oh, yes, Mr. Avery
00:04:48Just a minute
00:04:49It's Mr. Avery
00:04:50Tell him to finish our schedule
00:04:52He's two days behind already
00:04:54Talking to me is a wasting time
00:04:55But he says it's important
00:04:57That's the trouble
00:04:57He's too important entirely
00:04:58Hello
00:05:00What?
00:05:04Brent
00:05:05Shot
00:05:06Dead
00:05:08Oh, that's going to cost me a fortune
00:05:11What a calamity
00:05:12Quick
00:05:12Call Steiner
00:05:13Tell him
00:05:14Tell him Brent was killed
00:05:14Shot
00:05:15What a calamity
00:05:16What a calamity
00:05:17I get it, Bill
00:05:24Thanks
00:05:24Shhh
00:05:26Yes
00:05:26Miles Brent was shot on the set
00:05:29Killed
00:05:29Mr. Grossman has gone to the stage
00:05:32I'll be right there
00:05:34Miles
00:05:37Brent
00:05:38Killed
00:05:41On general principle
00:05:42Not a bad idea
00:05:43Except that he happens to be
00:05:44One of our stars
00:05:45Get back to your office
00:05:47And do what you can
00:05:48To keep the papers off this
00:05:49Until you hear what happened
00:05:50Don't give out any story
00:05:52Until you hear from me
00:05:53Sure, but rescue me
00:05:54As quickly as possible
00:05:54They'll be on my neck
00:05:56Just as soon as the police
00:05:56Get the joyful news
00:05:57Miss Manning
00:05:58Yes
00:05:58Phone the brigades on the lot
00:06:02And tell them
00:06:03Not to let anyone in or out
00:06:05Until they hear from me
00:06:06Very well
00:06:06Thanks
00:06:07Say, why don't you watch
00:06:13Where I'm going
00:06:14What's the hurry
00:06:18Gumshoe
00:06:19Miles Brent's been shot
00:06:21Well, now there's a job
00:06:24That should have been done
00:06:24Years ago
00:06:25Oh
00:06:26You won't have to rewrite
00:06:29Any stuff for the death kiss
00:06:30Now
00:06:30Say, Marsha was on the set
00:06:34With him, wasn't she?
00:06:35Sure
00:06:35But I don't think she did it
00:06:37What stage?
00:06:38Three
00:06:39Drop this stuff
00:06:40In my office, will you?
00:06:44Miles Brent, huh?
00:06:54Picture actor
00:06:55My wife always liked it
00:06:57I have that kind of trouble, too
00:06:58Come on, let's go
00:07:00All right, fellas
00:07:02Here's something hot
00:07:04Miles Brent killed
00:07:05Shot
00:07:06Soundstage number three
00:07:07Tonarch studio
00:07:08Sure, I'll take just a minute
00:07:10Tonarch studio
00:07:11Operator
00:07:11Operator
00:07:12Hey, that's the evening stall
00:07:13You're telling me
00:07:15Hey, Storm
00:07:15Give me the journal, will you, please?
00:07:17Hello
00:07:17Tonarch
00:07:18I want Pat Hill
00:07:19In the publicity department
00:07:20Come on, snap into it
00:07:22You know me, Connolly
00:07:23I never held out on the evening star yet
00:07:25Yeah, I know all about your deadline
00:07:26Yeah, you'll get the facts
00:07:27Call me back
00:07:28Yeah, never mind
00:07:30I'll get it
00:07:30Yeah
00:07:33Yes, Morris
00:07:34I know
00:07:34But can I help her
00:07:35To be shot in the morning
00:07:36You've got to take those things
00:07:37As they come
00:07:37Yeah, I'm going over there right away
00:07:39The police ought to be here now
00:07:40Yeah, call me back in ten minutes
00:07:42Hey, come back here
00:07:56Get out of that door
00:08:12Get out of that door
00:08:13Ambulance coming
00:08:20Yeah
00:08:20Get out
00:08:21Get your foot out of that
00:08:22Detective Lieutenant Sheehan
00:08:30Homicide squad
00:08:31Who's in charge here?
00:08:33I've been trying to get things
00:08:34Straightened out for you
00:08:35My name is Steiner
00:08:36Studio manager
00:08:37What happened?
00:08:39Well, the company
00:08:40Was shooting a scene
00:08:41During which several people
00:08:42Fired guns at Brent
00:08:44And someone used real bullets, huh?
00:08:46People do get hurt that way
00:08:47That's the director's guess
00:08:49Oh, the director
00:08:50Did he happen to guess
00:08:52Who did it?
00:08:54No
00:08:54Well, that's unfortunate
00:08:56Looks like we'll have to do
00:08:59Some guessing on our own
00:09:00Come on, Hill
00:09:04Loosen up
00:09:04Was it an accident
00:09:05Or did somebody really bump him on?
00:09:06I tell you, I don't know
00:09:07Then let us in on the lot
00:09:08So we can find out
00:09:09I can't let anyone on the lot
00:09:11Marsha Lane was with him
00:09:12In the picture, wasn't she?
00:09:12Sure
00:09:13She was doing the lead
00:09:13Opposite him
00:09:14Marsha?
00:09:15Oh, his ex-wife
00:09:16That helps the story
00:09:17Hey, what's the name of the picture?
00:09:18The death kiss
00:09:19The death kiss
00:09:20Gee, what a tie-up
00:09:21Pardon me
00:09:22Hayes-off's on the phone
00:09:23Just a minute, boys
00:09:24I'll be right with you
00:09:25But wait a minute
00:09:25Can we get the angle on this thing?
00:09:27Couldn't very well see what happened
00:09:29And there were eight men with guns?
00:09:30Yes
00:09:31Well, it might have been an accident
00:09:34But
00:09:34Frank, you don't think it was murder?
00:09:38Darling, I don't even know yet
00:09:39Whether he was shot
00:09:40Maybe he just died of old age
00:09:43Maybe he never even existed at all
00:09:45Now, you wait here
00:09:47I'm going to have a look around
00:09:48Your guy
00:09:53Yours
00:10:02You break it
00:10:08Nothing but blanks left in these guns
00:10:19Any other guns on the set?
00:10:25That's all I know of
00:10:26You see, Captain
00:10:41It's strictly an accident
00:10:42Lieutenant Sheehan
00:10:44What's your name?
00:10:45Leon A. Grossmith
00:10:46I'm the president of this concern
00:10:48Well, what about it?
00:10:49Now, look here, Sergeant
00:10:51Do you realize what this cost me already, huh?
00:10:54You have no idea
00:10:55It cost me up to now
00:10:56Two hundred and thirty-nine thousand
00:10:58Three hundred and fifty-one dollars
00:10:59Yes
00:10:59And it cost Brent his life
00:11:01Which also loses me money
00:11:02I can't have no more Brent pictures
00:11:04Now, pardon me, Lieutenant
00:11:05Mr. Grossmith means to convey
00:11:07That this regrettable accident
00:11:09Need not be converted
00:11:10Into a Roman holiday
00:11:12For the rabble
00:11:12Now, I assure you
00:11:14That Mr. Grossmith feels deeply
00:11:16Very deeply
00:11:17The tragedy of this affair
00:11:18And his point is
00:11:19Naturally
00:11:20Not to throw consternation
00:11:22Into that great
00:11:23And unseen army
00:11:24Of Mr. Brent's admirers
00:11:25Now, that is precisely
00:11:27What Mr. Grossmith means
00:11:28That's just what I was going to say
00:11:30Mr. Steiner
00:11:31Yes
00:11:31Mr. Steiner
00:11:32Pardon me
00:11:33What is it?
00:11:34The papers are on my neck
00:11:35I've got to tell them something
00:11:36There's no use stalling any longer
00:11:37And they've got a story now
00:11:38About a mysterious woman
00:11:39Who is she?
00:11:40They don't know themselves
00:11:41But they say it makes a great story
00:11:42Tell him it was an accident
00:11:43They won't believe it
00:11:44Then make him
00:11:45You don't know those boys
00:11:46They've got imagination
00:11:47I don't care if they've got fallen arches
00:11:49Tell him the Brent shooting
00:11:51Was an unfortunate accident
00:11:52Yes
00:11:53Is that satisfactory to you, Lieutenant?
00:11:56Nothing satisfactory to me
00:11:57I can't tell what it is
00:11:58Because
00:11:59I don't know myself
00:12:00Oh
00:12:01Here's all you had on him
00:12:03Oh
00:12:03Keep that
00:12:31Well, I'm sorry to gum up the works
00:12:54But it wasn't an accident
00:12:55It's murder
00:12:57Murder?
00:12:58Oi
00:12:59What a calamity
00:13:00How do you know?
00:13:02This is the bullet that killed him
00:13:03The .38 caliber sent a fire
00:13:05All the guns the extras used were .45s
00:13:08And you can't fire a .38 bullet through a .45 gun
00:13:12It's an old Chinese principle
00:13:14Where did you get this?
00:13:18Out of the wall of the set
00:13:19Don't you know better than to meddle in police matters
00:13:22Oh, I'm sorry
00:13:23I didn't mean to meddle
00:13:23I just wanted to help
00:13:24You see, uh
00:13:25I like to dabble a bit in murder cases
00:13:28Well, you just go and dabble someplace else
00:13:30All right
00:13:31Who is he?
00:13:35One of our scenario writers
00:13:36Franklin Drew
00:13:37Oh
00:13:37Writes detective stories, I suppose
00:13:39Yes
00:13:40How do you know?
00:13:41They always do
00:13:42Well
00:13:44This makes a difference
00:13:46Looks like we've got a murder on our hands
00:13:48Oh, you go and get that assistant director
00:13:51That brilliant young man who said there were no other guns on this set
00:13:54Right
00:13:54Who's Marsha Lane?
00:14:00What?
00:14:02You don't know who is Marsha Lane?
00:14:04Over a million dollars we spend advertising her
00:14:06I don't know who Marsha Lane is
00:14:08Where is she?
00:14:08She was on set just a minute ago
00:14:10Well, let's have a talk with her
00:14:11How?
00:14:11Oh, ask Miss Lane to come here
00:14:13Yes, sir
00:14:13Now, Steiner and the detective
00:14:19Want to see Miss Lane immediately
00:14:20Well, hurry
00:14:22I'm fluttering, sweetheart
00:14:24Bill
00:14:26Tell Miss Lane Steiner and Dick want to see her
00:14:29Okay, Chief
00:14:29Oh, Pete
00:14:31Uh, rush Miss Lane over to Mr. Steiner and Dick
00:14:35Now?
00:14:37No, next Tuesday, you sap
00:14:39Oh, come on, get going
00:14:41Oh, all right
00:14:42Pardon me, Miss Lane
00:14:46Mr. Steiner and the Dick want to see you
00:14:49Thank you
00:14:51You're welcome
00:14:52What can they want with me?
00:14:54Oh, they just want to annoy you with a lot of routine questions
00:14:57You see, they always question people like you first
00:15:00To give the guilty ones plenty of time to make up good alibis
00:15:02It's part of the system
00:15:04It's been going on for years
00:15:06Sit down, Miss Lane
00:15:15Thank you
00:15:16I don't wish to be unpleasant
00:15:20But there are a few questions I'd like to ask you
00:15:24Certainly
00:15:25How long have you and Brent been separated?
00:15:30We were divorced last May
00:15:32Why?
00:15:33Well, I don't quite see
00:15:34Divorce is a matter of record, Lieutenant
00:15:36I don't think we need to go into that now
00:15:37Say, will you go up to your office and write
00:15:39Bad little boy 500 times?
00:15:42When did you last quarrel with Miles Brent?
00:15:48I don't remember
00:15:49Didn't you love him?
00:15:50I wouldn't answer that, Marsha
00:15:52Say, just what is your interest in this case?
00:15:55Personally, I don't care who killed Brent
00:15:56But I would like to know how it was done
00:15:59Besides that, I'm...
00:16:01I'm a friend of Miss Lane's
00:16:03Wasn't your name mentioned during the divorce proceedings?
00:16:07No
00:16:07Sorry to disappoint you
00:16:09What did you do with your gun, Miss Lane?
00:16:13My gun?
00:16:14Yes
00:16:14I didn't have a gun
00:16:15Didn't you use one in the picture?
00:16:16No
00:16:17But when you fired with the other
00:16:18As a matter of fact, if Miss Lane had fired
00:16:19She couldn't have hit him
00:16:20She was around on the other side of the set
00:16:21When she took place
00:16:22Say, if you don't lay off
00:16:23I'm going to take you downtown
00:16:24What for?
00:16:25How do I know what for?
00:16:27Good
00:16:27I was beginning to be afraid
00:16:29That you might say something sensible
00:16:30Hey
00:16:39What are you trying to do there, huh?
00:16:42Don't move now
00:16:43I got you surrounded
00:16:44Don't lie now
00:16:46Why'd you try to hide in there, huh?
00:16:48Why nothing, I...
00:16:48Yeah
00:16:49We'll see about that
00:16:50Hold this a minute
00:16:51Now, wait a minute, wait a minute
00:16:52No, you don't
00:16:53Yeah
00:16:54Oh, yeah
00:16:56This letter, already in the mail
00:16:58Was found in Miles Brent's pocket
00:17:00In this letter, he told his lawyer
00:17:02That Marsha Lane
00:17:04Refused to sign a release
00:17:06As beneficiary of his life insurance policy
00:17:09So you stand to collect $200,000
00:17:11Miss Lane's lawyer wouldn't let her sign the release
00:17:14I know all about that
00:17:15Say, it's too bad you weren't the one that was shot
00:17:17So that gives you a pretty nice motive
00:17:22Don't have any business now
00:17:23Come on now
00:17:24Come on, keep moving now
00:17:25There's your man, Chief
00:17:30I caught him red-handed
00:17:31He was trying to ditch his gun
00:17:33Look, it's loaded, too
00:17:35I tell you I didn't
00:17:35Save your breath
00:17:36Put the bracelets on him, Owen
00:17:37Now, ain't that astounding
00:17:40Something told me to take a squint around
00:17:43I sees him trying to ditch his gun, see
00:17:45And I puts two and two together
00:17:47I says to my...
00:17:49I says to myself
00:17:50That's the man
00:17:52I guess I used unchanny skill
00:17:55.38 caliber and loaded
00:17:58It's the gun, all right
00:17:58Who is this fellow?
00:18:00Name's Chuck
00:18:00He was an extra on the set
00:18:02Why did you kill Brent?
00:18:03Oh, I never killed nobody
00:18:04You can't alibi yourself out of this
00:18:06That's the only .38 gun in the place
00:18:08You killed him, why?
00:18:10I'll tell you I didn't
00:18:10Now you gotta listen to me
00:18:11You'll have plenty of time to talk later on
00:18:15Do you know this man?
00:18:21Why, yes
00:18:21Everyone on the lot knows him
00:18:23He was head electrician here for years
00:18:25How much did you pay him to kill Brent?
00:18:27Now, wait a minute, Lieutenant
00:18:28Why not pin the murder on the murderer?
00:18:31That's not against the rules
00:18:32What are you talking about?
00:18:34Chalmers didn't kill Brent
00:18:35How do you know?
00:18:37This gun hasn't been fired
00:18:38How did this gun come to be loaded?
00:18:49I loaded it for Brent
00:18:50But I lost my nerve
00:18:51So you had planned to kill Brent, huh?
00:18:53Yes, I wanted to kill him
00:18:54I had every reason in the world to kill him
00:18:56But he made no attempt
00:18:57So you can't arrest him
00:18:59Not unless you want to make a fool of yourself
00:19:01You know, I'm beginning to think
00:19:03You're giving us the rats
00:19:04Prove it
00:19:05You're a detective
00:19:06Take them off, Hilliker
00:19:09And maybe we'll put them on him
00:19:11Well, we seem to be right back where we started
00:19:14Yes, perhaps you have some very valuable suggestion
00:19:16Yes, I have
00:19:18What?
00:19:20The cameras were photographing when Brent was killed
00:19:22There might be something very interesting on the film
00:19:25It wouldn't hurt to look
00:19:26Not bad
00:19:30How soon can we see the stuff?
00:19:33We could get a print in, say, three or four hours
00:19:36Well, will you get them going?
00:19:38Certainly
00:19:38Come, Mr. Smith
00:19:40You take the name and address of every person on this set
00:19:47And warn them all about trying to leave town
00:19:50Right
00:19:50In any of your books
00:19:56Does the detective ever sock the novelist on the nose?
00:20:02No
00:20:02Write it in sometime
00:20:05Seems to me like a good idea
00:20:08Bill, George?
00:20:12Marsha
00:20:23Oh, Frank
00:20:24It won't be very pleasant to see it all over again
00:20:27But it may help us a lot
00:20:28Watch carefully
00:20:30Is everybody here?
00:20:44I think so, Mr. Grossman
00:20:45Mr. Steiner's in a projection booth
00:20:47He'll be right in
00:20:48All right
00:20:49Here he is now
00:20:50You ready, Mr. Grossman?
00:20:55Yes
00:20:56Mr. Grossman's ready
00:20:57Quiet, please
00:21:03Quiet
00:21:04All right, turn him over
00:21:09Rolling
00:21:09Mark it
00:21:12Action
00:21:15It'll be right here
00:21:26Thanks, handsome
00:21:37I just couldn't pass you up
00:21:39Believe it or not
00:21:46I've never seen her in my life before
00:21:48I must have been overlooking something
00:21:50Already shamed her
00:21:51Most annoying
00:21:52Right under my pity news
00:21:54Your nose
00:21:56Your nose
00:21:56Oh, I'll get the cows
00:21:57Huh
00:21:58Lights
00:22:06Lights, turn on those lights
00:22:07I wonder what that was
00:22:08Wait, did you see that?
00:22:10What?
00:22:11What's supposed to happen?
00:22:13Yeah
00:22:14Oops
00:22:15Oops
00:22:19Oops
00:22:20Oops
00:22:21Oops
00:22:22Oops
00:22:23Oops
00:22:24It's not hurt badly
00:22:41But
00:22:41He must have received a sharp blow
00:22:43Yeah
00:22:44It looks like it was done with a blunt instrument
00:22:46You know
00:22:47I had an uncle once
00:22:48Was knocked out the same way
00:22:49Only he got hit with a shovel
00:22:51Whoever rocked your cradle over did it
00:22:53A rouge-tipped cigarette
00:22:55What started it off
00:22:56Can you tell me
00:22:58Is that studio makeup?
00:22:59Out to see
00:23:01Perhaps which is our makeup man could tell you
00:23:03Thanks
00:23:04How did it happen?
00:23:07I swear I don't know
00:23:10I was leaning over the machine
00:23:12Chugging the focus
00:23:14I thought the building came down on me
00:23:18How about another print?
00:23:19Yes
00:23:19Yes
00:23:19And we'll take care of it this time
00:23:21There was something on it
00:23:22And whoever touched it off
00:23:23Didn't want it to be seen
00:23:24We can have the laboratory run one off right away
00:23:26Could we, Mr. Gordon Smith?
00:23:29Why, yes
00:23:29There's no reason why we couldn't
00:23:31Will you come with me?
00:23:32No, Hilliker will go with you
00:23:34I have another angle
00:23:35Where will I find this makeup man?
00:23:38Makeup department
00:23:39Clear around the other end of the lot
00:23:40Just the end of S Street
00:23:41Sounds like a sleeper, gentlemen
00:23:43Thanks
00:23:43It's a special panchromatic rouge of my own made
00:23:52Only two people on the lot are in the habit of using it
00:23:55Who are they?
00:23:56Miss Collins and Miss Lane
00:23:57Who's Miss Collins?
00:23:59She's one of our players
00:24:00Is she in this picture you're photographing?
00:24:01No, I believe she's working in the Knight Riders
00:24:03They're out in location
00:24:04And the only other person on the lot that uses this rouge is Marsha Lane?
00:24:09As far as I know
00:24:10I see
00:24:12Thanks
00:24:15You're welcome
00:24:15Now, wait a minute
00:24:16You have quite a stock of this rouge on hand, haven't you?
00:24:20A few tubes of it
00:24:20Just as I thought
00:24:22Anybody could get at it
00:24:23Not very well
00:24:24All the makeup that is not in use is kept in the cabinets
00:24:27And the cabinets are locked
00:24:28Yes
00:24:29Excuse me
00:24:30Hello
00:24:32Just a minute
00:24:33It's for you
00:24:35Hello
00:24:37Yes, Hilliker
00:24:39How?
00:24:42All right
00:24:45You stick around there and see what you can find out
00:24:47Tell Steiner I'll see it at his office
00:24:48The negative of that last scene has been ruined
00:24:51Someone poured acid in the container
00:24:53This thing gets more muddled every minute
00:24:55You telling me?
00:24:56How do I get to Steiner's office?
00:24:58I'll show you
00:24:59Thanks
00:24:59And you're not going with me
00:25:01Right at the head of the street
00:25:06Thanks
00:25:07You want to have a map of this place
00:25:08Oh, Lieutenant
00:25:09Of course you know
00:25:11That anybody could have taken the rouge
00:25:12From Miss Lane's dressing room
00:25:13Sure
00:25:14A very interesting detail
00:25:17What do you make of it, Drew?
00:25:23It's got me
00:25:24It's more of a mystery than anything I ever wrote
00:25:27What I can't understand is
00:25:29Why anyone should want a murder print
00:25:31Now, if it were a supervisor
00:25:33I don't see why anybody wants to murder anybody
00:25:37It's a silly idea
00:25:38You're going to try and solve it?
00:25:42Yes, why not?
00:25:43It'd be fun
00:25:44Besides
00:25:45Marsha?
00:25:46Yes
00:25:46Oh, say, Tom
00:25:47If you see her
00:25:48Don't say anything about that cigarette business
00:25:50It'll only upset her
00:25:50No, no, no, no
00:25:51Of course not
00:25:52If I can help you, let me know
00:25:53Thanks
00:25:54Has anything been moved on the set?
00:25:57No
00:25:57Police instructions were
00:25:58To leave everything undisturbed
00:26:00Well, I'm going to have another look around
00:26:01I want to find out just how he was murdered
00:26:04And with what gun
00:26:05Gee, I got a
00:26:09I got an idea
00:26:10How Brent was killed
00:26:11You want to hear it?
00:26:12Some other time
00:26:13Better go home and sleep it off, Chalmers
00:26:14That's what you think
00:26:16Chalmers don't know anything, huh?
00:26:18Well, listen
00:26:19I've been on the set
00:26:20And I've been seeing things
00:26:22Yeah, snakes and pink elephants, I'll bet
00:26:24All right, all right
00:26:25Be smart, huh?
00:26:26Be smart
00:26:27Now, listen
00:26:28You're going to come to me later
00:26:30Oh, I'll see you in the morning
00:26:31Go on home
00:26:32The old boy
00:26:34Evidently cashed his paycheck
00:26:36And drank it
00:26:37Want to have a look around with me?
00:26:39No
00:26:39I'm not much of a detective
00:26:41Besides, Mrs. Avery's waiting for me
00:26:43All right
00:26:44Good luck
00:26:46Thanks
00:26:47So, Teaэpe'e
00:26:52I'm going to take beer
00:26:52All right
00:26:55Okay, thanks
00:28:26Go find Sheehan.
00:28:35He's someplace on the lot.
00:28:36Bring him here.
00:28:39Mr. Drew.
00:28:40Mr. Drew, what happened?
00:28:42What happened?
00:28:44Here.
00:28:45Here.
00:28:45It's swell, ain't it?
00:28:49I made it myself.
00:28:53Who's in there?
00:28:54It's all right, Sheehan.
00:28:55What's going on now?
00:29:00Plenty.
00:29:01I found the gun that killed Brent.
00:29:03Where?
00:29:03Right here in this lamp.
00:29:06Why, it's gone.
00:29:07So it seems.
00:29:11Probably got tired sitting there and decided to take a walk.
00:29:15No, I'm not kidding.
00:29:16I came down on the set to have a look around.
00:29:18Just by accident, I noticed this smudge on the lamp here.
00:29:21So I looked inside.
00:29:23Found a small derringer fastened there, attached to an electromagnet.
00:29:28There's the wire it was connected to.
00:29:30And I got a bump on the head that knocked me out.
00:29:33Well, this proves one thing.
00:29:35Whoever killed Brent knew a whole lot about electricity.
00:29:39Who has charge of these lamps?
00:29:40Head gaffer.
00:29:42Well, what's that in English?
00:29:43The chief electrician.
00:29:44Who is he?
00:29:45Al Payne.
00:29:46Where can I find him?
00:29:47Here, Tom will take you over.
00:29:49Come here, kid.
00:29:49Let me take a look at that head.
00:29:52Now, that's all right.
00:29:53Now, listen.
00:29:55You stop monkeying around with police matters.
00:29:56It's a tough racket.
00:29:58That head of yours won't stand another wallop.
00:30:00Come on, let's get going.
00:30:04Mr. Drew, I've been thinking.
00:30:07No.
00:30:07Yeah, the first thing I ask myself when I investigate the murder is,
00:30:11whodunit.
00:30:12Well, that sounds logical.
00:30:14And the next thing I ask myself is, who could do it?
00:30:17And then?
00:30:18And then I ask myself again, who wanted to do it?
00:30:22And how do you answer yourself?
00:30:24Well, I ain't come to that yet.
00:30:27You take Chalmers, for instance.
00:30:28He didn't like Brent.
00:30:30Well, why should he be an exception?
00:30:32He didn't like Brent in account that Brent had him fired.
00:30:34When was this?
00:30:35A couple months ago, when Chalmers was head gaffer, they had an argument.
00:30:39Head gaffer?
00:30:40Yes, Chalmers is an electrician, isn't he?
00:30:42Yeah, Chalmers had a couple of drinks, and him and Brent had an argument.
00:30:45Say, Gully, you are a first-class gumshoe.
00:30:50Investigator.
00:30:50All right, investigator.
00:30:52Right now, will you run up to the casting office and investigate, and find out where Chalmers lives?
00:30:56Sure, what are you going to do, put the finger, I mean, apprehend them?
00:30:59Maybe.
00:30:59You want to come along?
00:31:00Oh, boy, I'll say.
00:31:01Got a gun?
00:31:02Yeah.
00:31:03Oh.
00:31:04Got my gun, my badge, and my bracelet.
00:31:06Well, you wouldn't need those.
00:31:07Come on, let's get going.
00:31:08The director hasn't anything to do with it.
00:31:12The cameraman really sets the lights.
00:31:14You mean, he tells you where to put the lights?
00:31:16Yeah.
00:31:17When was this set lit?
00:31:19The afternoon before.
00:31:21They rehearsed the scene with the principals, so they wouldn't hold the company up when they called the extras.
00:31:25Do you remember anything particular about that one light?
00:31:28To be truthful with you, we had a lot of arguments on that set.
00:31:34Mr. Steiner didn't like the photography, and he wanted more light.
00:31:37Steiner?
00:31:38Was he there when it was rehearsed?
00:31:39Yes.
00:31:40Who else?
00:31:41Well, they're all there, with the exception of the extra people.
00:31:44Well, no extras there, huh?
00:31:46No, only Chalmers.
00:31:48You know, he's a sort of a privileged character around this lot.
00:31:51He used to be our head gaffer.
00:31:53Chalmers used to be an electrician?
00:31:54Yes.
00:31:55Miss Lane felt sorry for him, and made Mr. Avery give him a bit of her picture.
00:32:00Oh, Miss Lane got him the job.
00:32:02Yeah.
00:32:04Could you give me the address of the cameraman and Chalmers?
00:32:08Sure.
00:32:10And, by the way, if a writer by the name of Drew asks you anything, don't answer him.
00:32:17Drew?
00:32:19Say, do you think he did it?
00:32:20Well, you can't keep me from hoping.
00:32:25This is it.
00:32:26Look, that Chalmers is in trouble again.
00:32:54Do you wish to see Mr. Chalmers?
00:33:04Yes.
00:33:04Is he in Mrs. uh...
00:33:05Miss Potts?
00:33:07And I don't know anything at all about his comings and goings.
00:33:09Doesn't he answer the bell?
00:33:11Oh, he doesn't.
00:33:12I was just going in, cleaning day today, you know.
00:33:15I suppose he's lying stiff and the place all cluttered up with gin bottles.
00:33:19Let's go in and have a look around, Captain.
00:33:21As the tenants, guests, I mean, though, he wasn't so bad until he lost his job.
00:33:27Then he started acting queer, like...
00:33:29See?
00:33:30I told you.
00:33:31I laid down the law to him.
00:33:34I said, Mr. Chalmers, my bungalow court isn't an alcoholic ward.
00:33:39As I thought, drunk again.
00:33:42Well, this is the end.
00:33:43This is no key liqueur.
00:33:45Out he goes.
00:33:46I'm sick and tired of his carrying's on.
00:33:48The fellow's dead.
00:33:52Dead?
00:33:53Well, he didn't think of me.
00:33:55No, not him.
00:33:56I suppose my 2850 bank rent has gone up the flue.
00:34:02Did I have Chalmers spotted?
00:34:05All I did was ask myself, who done it?
00:34:08Poison, all right.
00:34:09Familiar smelling stuff, too.
00:34:13Boy, that guy had to drink anything that wasn't too thick to chew.
00:34:18Well, I guess this about washes up the case, eh, Mr. Drew?
00:34:32Looks like suicide to you, eh, Gully?
00:34:34Sure.
00:34:36I guess Sheehan would think so, too.
00:34:38Uh, he may be dumb, but he ain't blind.
00:34:40He's not as dumb as he looks.
00:34:42Do you wear a wristwatch, Gully?
00:34:43Huh?
00:34:44Do you wear a watch on your wrist?
00:34:47Well...
00:34:48You see, it's a present from the wife.
00:34:50I gotta wear it.
00:34:52Why do you wear it on your left wrist?
00:34:54Well, I use my right hand the most, because I'm right-handed.
00:34:57You ever try to write with it on your right wrist?
00:35:00No.
00:35:02Neither did Chalmers.
00:35:05Which makes this note a very interesting piece of fiction.
00:35:07What do you see?
00:35:17What?
00:35:52Say, Gully, come here.
00:36:04Take a look in here.
00:36:08Now, what do you see?
00:36:10A bottle of gin and a piece of ice.
00:36:12What else? Use your powers of observation.
00:36:17Oh, you mean that piece of waltzed lettuce in there?
00:36:19Don't you notice that little service door in the back has been left open?
00:36:22Whatever. The ice men probably left it that way.
00:36:25My wife says you can't trust those ice men anyway.
00:36:28If the ice men had left that little door open when he put in the fresh cake,
00:36:30there wouldn't be any ice there now.
00:36:33Oh, I never thought of that.
00:36:36Let's have a look outside.
00:36:36Oh, someone must have stood here a long time.
00:37:00Them are fresh prints, ain't they?
00:37:01Hey, step up there a minute.
00:37:05Look out for those tracks.
00:37:07Now what?
00:37:08Look through the window.
00:37:13You see Chalmers sitting there?
00:37:15Yeah, the door is open.
00:37:16Supposing someone stood here
00:37:22and Dr. Chalmers gin through the ice box from this side.
00:37:29And then stood here
00:37:30and watched him drink his last drink through the window, what would you say?
00:37:35And then watched him die.
00:37:37Went in and wrote the note and put the pencil in his hand, huh?
00:37:40Yeah.
00:37:40Only there's where he made his mistake.
00:37:42Put the pencil in the wrong hand.
00:37:43That's just what I was thinking.
00:37:49Gully.
00:37:51You know, if a car was parked here,
00:37:54it would entirely conceal that door and that window.
00:37:57Yeah?
00:38:09Then Chalmers didn't kill himself, huh?
00:38:11Let's leave that to Sheehan.
00:38:12I'm any good as a guesser.
00:38:14He ought to be here by now.
00:38:15He's bumped over on the table.
00:38:22Yeah, huh?
00:38:23Don't let Sheehan know what we found out.
00:38:25I gotcha.
00:38:26The captain got here 15 minutes ago.
00:38:28Captain?
00:38:28What are you and that Keystone cop doing here?
00:38:35Now, looky here, Sheehan.
00:38:36You can't talk that way about me.
00:38:38Remember, I'm chief of the studio police, and I got rights.
00:38:41Aye, aye.
00:38:41Nature in the raw.
00:38:43Here's another opportunity for your skill, Lieutenant.
00:38:45We've been waiting for you.
00:38:46Everybody around here seems to know more about police matters than the police.
00:38:49That's noble of you to admit it.
00:38:51Did you two loosens as touch anything around here?
00:38:53Nothing important.
00:38:54Good.
00:38:54Then clear out.
00:38:56And take that uniformed moron with you.
00:38:58Come on.
00:39:04Suicide, huh?
00:39:07Looks like it.
00:39:08Well, I always thought it was Chalmers right from the start.
00:39:12Now who's the Keystone cop?
00:39:14He don't even know Chalmers was left-handed.
00:39:15Come on.
00:39:18Left-handed?
00:39:19Sure.
00:39:29That starts it all over again.
00:39:31I can remember when murders were nice, clean, simple things done with machine guns and meat axes.
00:39:38But this case...
00:39:45Right, right straight back.
00:39:49Seems to be the trouble.
00:39:59Battery's dead.
00:40:01But didn't Miss Lane get a new battery just last week?
00:40:03Yeah, I don't understand it.
00:40:04It's bone dry.
00:40:06Liquid's all gone.
00:40:07Just as I thought.
00:40:24We were right.
00:40:25Poison.
00:40:26Electrolytic liquid, sulfureic acid-based, great alcohol, 38% distilled water, 33% electrolytic liquid, 27% by volume.
00:40:41The man said a teaspoonful of a glass of water will kill a man dead.
00:40:46Electrolytic acid.
00:40:47Can you say anything else?
00:40:48No.
00:40:49Well, that was all.
00:41:04Hey.
00:41:04Ain't them the same kind of tread that they'd rough the marks under Chalmers' window?
00:41:08Oh, there's probably a thousand cars in the Hollywood that have that make of tire.
00:41:12Yeah, I never thought of that.
00:41:13Say, Gully, I want you to get me the key to Brent's dressing room, but don't let anybody know it's for me, see?
00:41:22Say, I'll get you the key to the city if you want it.
00:41:25Now, I have a couple of things to do.
00:41:26I'll meet you here in half an hour.
00:41:28Okay?
00:41:34Who is it?
00:41:35Frank, ma'am, come in.
00:41:36Just a minute.
00:41:37Well, why all the marks?
00:41:48I was just going through some old letters and didn't want to be disturbed.
00:41:50Oh, I see.
00:41:52Where have you been?
00:41:53I've been waiting all afternoon for you.
00:41:54Oh, I've just been doing a little sleuthing.
00:41:57Marsha, you trust me, don't you?
00:42:00Why, yes, of course.
00:42:03You know I'd do anything in the world for you, don't you?
00:42:05I believe you would, dear.
00:42:07Then, is there anything you know about the murder of Brent that you haven't told me?
00:42:14No.
00:42:17I've just come from Chalmers' place.
00:42:19He's dead.
00:42:21Chalmers?
00:42:22Poisoned.
00:42:23You mean murdered?
00:42:24If it isn't that, it's a good imitation of it.
00:42:27Oh, how awful.
00:42:29Whoever did it used electrolytic acid.
00:42:32Acid out of a battery.
00:42:33The unfortunate part of the whole thing is that they used your car and the acid out of your battery.
00:42:40My car?
00:42:41That's why my car wouldn't start.
00:42:47Yes.
00:42:47I only told you this because I'm afraid Sheehan will find out and arrest you on suspicion.
00:42:51That would mean headlines and scandal.
00:42:53What do you want me to do?
00:42:57I want you to get out of here.
00:42:58Anyplace.
00:42:59Just so Sheehan can't find you.
00:43:00But that's...
00:43:01That's running away.
00:43:02Only for a day or two.
00:43:03Just to give me time.
00:43:04I'll go to Mary's at Malibu.
00:43:07She'll help me.
00:43:08Oh, that's as well.
00:43:09Make it fast, will you?
00:43:11There's no knowing how close she ends behind me.
00:43:13I'll telephone you when I get it all worked out.
00:43:14You may have a long beard by then, but I'll try and hurry.
00:43:18Bye-bye, sweet.
00:43:19Bye-bye.
00:43:19Bye-bye.
00:43:19Bye-bye.
00:43:20Bye-bye.
00:43:21Bye-bye.
00:43:22Bye-bye.
00:43:23Bye-bye.
00:43:24Bye-bye.
00:43:26Bye-bye.
00:43:28Bye-bye.
00:43:30Bye-bye.
00:43:32Bye-bye.
00:43:33Bye-bye.
00:43:34Come in.
00:43:50Leon.
00:43:51You're surprised that I'm here, huh?
00:43:52Frankly, yes.
00:43:54You haven't come to see me since...
00:43:56since Brent's accident.
00:43:59I should think you'd know why.
00:44:01I don't.
00:44:02I only know that I...
00:44:04that I want to help you.
00:44:06I have all the help I need.
00:44:09Marcia, you mustn't treat me like this.
00:44:11I never said anything to you while Brent was alive.
00:44:15But you should know how I feel.
00:44:18You've succeeded in making your feelings quite plain enough.
00:44:22Marcia, I...
00:44:23I'm very fond of you.
00:44:27It's not the kind of fondness I care about.
00:44:30Please go now, Leon.
00:44:31I'm in rather a hurry.
00:44:32Okay.
00:44:33I'm in rather a hurry.
00:44:44Marcia,
00:44:44maybe someday you will come to me and ask for help.
00:44:48Maybe you will apologize to me for laughing about how I feel for you.
00:44:55Perhaps Brent wasn't killed for nothing.
00:44:58No matter how smart they are,
00:45:18they always slip up.
00:45:20What's your name?
00:45:28Pardon me.
00:45:30Hello?
00:45:31Yes, sir.
00:45:32I will.
00:45:34Wait a minute.
00:45:35Here she is now.
00:45:37Miss Lane.
00:45:38Mr. Steiner would like to see you in his office.
00:45:44What's your name?
00:45:45Mr. Wheatcroft.
00:45:47Mr. Todd, please.
00:45:49Mr. Wheatcroft calling to see you.
00:45:52All right.
00:45:57Go down that blind.
00:46:08Did you see Brent when he came in?
00:46:10I see everybody.
00:46:12What kind of a suit do you have on?
00:46:15There it is.
00:46:25Funny she and Miss looking in here.
00:46:27You've been keeping them too busy.
00:46:29See what those letters are.
00:46:34Here's one from a dame named Agnes.
00:46:37Agnes who?
00:46:38She ain't that dumb.
00:46:40She don't say much.
00:46:41Except that, uh, she can't live without them.
00:46:45Married, too.
00:46:48Says her husband don't understand her.
00:46:51Well, that's that old, old story.
00:46:53Two men and a woman.
00:46:54The internal triangle.
00:46:58What kind of a place is the Cliffside Inn?
00:47:00Oh, you know, one of those weekend places with all the Mr. Smiths and Mr. Jones and Mr. Browns.
00:47:04How far is Ocean View from here?
00:47:07Why?
00:47:07I'm beginning to think there's a woman in the case.
00:47:10No.
00:47:12Mr. Drew, this case has become uncomplicated.
00:47:15Even from me.
00:47:16Come on.
00:47:17Gee, it's 4.30.
00:47:25I gotta check in on my next shift.
00:47:27Listen, don't go away without me, will you?
00:47:31All right, Gully.
00:47:32I'll pick you up the gate when I go out.
00:47:34Boy, oh boy.
00:47:36Mr. Drew, I've been looking for you.
00:47:38Miss Lane wants to see you.
00:47:39She's in Mr. Steiner's office.
00:47:41Oh, thanks.
00:47:42Yes, sir.
00:47:42Yes, sir.
00:47:42Yes, sir.
00:47:47Go right in, Mr. Drew.
00:47:53When did you find out your car wouldn't start?
00:47:55About an hour ago.
00:47:59Well, with all your dabbling, you didn't throw us off.
00:48:03You've thrown yourself off if you think Miss Lane had anything to do with Chalmers or Brent either.
00:48:08All right, all right.
00:48:09Just sit down there.
00:48:12And keep quiet.
00:48:15Where did you go this afternoon?
00:48:17I went downtown.
00:48:18In your car?
00:48:19Yes.
00:48:20Where did you park it?
00:48:21On the street.
00:48:22In front of Elfness' flower shop.
00:48:25I ordered some flowers for Miles.
00:48:27Uh, Mr. Brent's funeral.
00:48:29Then where did you go?
00:48:30You went to Chalmers' house, didn't you?
00:48:31Wait a minute.
00:48:31I won't stand for this.
00:48:33You can't trick Miss Lane into answers.
00:48:36And have little boy Blue over there take him down.
00:48:39Now keep quiet, Drew.
00:48:40You're trying to get at the bottom of this.
00:48:41Oh, no, you're not.
00:48:42Sheehan's trying to force Miss Lane into admissions of things she's never done.
00:48:45She might as well talk here as downtown.
00:48:48I've got a warrant for her.
00:48:50For what?
00:48:51Suspicion of murder.
00:48:52What's your theory?
00:48:53It's as simple as ABC.
00:48:54Yes, it would be if you thought of it.
00:48:56Chalmers killed Brent because he hated him and she offered him money.
00:49:00Then she got frightened and killed Chalmers, thinking that he would get drunk and give it away.
00:49:05Every piece of evidence we have got points to her.
00:49:07It was her cigarette that blew up the film.
00:49:10Her car that made the tracks outside of Chalmers' house.
00:49:12And acid from her battery that killed him.
00:49:15Oh, that's a lot of bunk.
00:49:17I know.
00:49:17Well, you've got to make an arrest.
00:49:18It's okay with you.
00:49:20China, you can't sit there and let them arrest Marcia.
00:49:23Well, she has nothing more to do with these murders than Lincoln had to do with the burning of Rome.
00:49:28Mr. Drew, we don't know whether Lincoln burned Rome or not.
00:49:32And we don't care.
00:49:33But this man is a policeman.
00:49:35So let us hear what he has to say.
00:49:36If you're not paying you to quarrel with the police.
00:49:38Oh, I don't care if you pay me a dime.
00:49:40Sheehan, if you arrest Miss Lane now, there'll be a lot of nasty newspaper headlines.
00:49:43Hold off for 24 hours and I'll be responsible.
00:49:45Better than that.
00:49:46In 24 hours, I'll prove that she's innocent.
00:49:48You're making yourself ridiculous.
00:49:49I'm trying to protect one of your stars.
00:49:51Wait a minute, Steiner.
00:49:53Maybe he's right.
00:49:54What about this scandal?
00:49:56What about her box of his name?
00:49:58Ain't he got enough trouble here already without having Marcia arrested?
00:50:00Now, Mr. Grossmith.
00:50:02If you want to accept the responsibility, you can.
00:50:05But remember, this is a murder case.
00:50:09Two people are dead.
00:50:10And how do you know someone else won't be killed?
00:50:14For my part, I believe that the police should not be interfered with.
00:50:18Well, all I got to say is that it's a terrible calamity.
00:50:24Let's go, Hilliker.
00:50:25I guess the explosion's over.
00:50:28Someone in this studio killed Miles Brenton Chalmers.
00:50:31And he's trying to pin it on Marcia Lane.
00:50:34But they won't get away with it.
00:50:37Come on, Miss Lane.
00:50:40Marcia, honey.
00:50:43I'm sorry.
00:50:45I'll get you out of this just as soon as I can.
00:50:47I know you will, Frank.
00:50:49I'm not worried, really.
00:50:50Come on.
00:50:51I am afraid.
00:51:00I read all my ballot here.
00:51:03I'm afraid.
00:51:04Marcia Lane accused the studio murder.
00:51:07I'm excited.
00:51:11Thanks.
00:51:12I'm claiming.
00:51:13Read all my ballot.
00:51:15Marcia Lane accused the studio murder here.
00:51:18I'm claiming.
00:51:20I'll let you know about it.
00:51:24I'll get it, but you'll let me in.
00:51:50How do you do, sir?
00:51:58How do you do?
00:51:59I'm from the Publicity Office of the Tone Art Studios.
00:52:01Yes?
00:52:02I'd like to see a list of the people who sent flowers to the Brent funeral.
00:52:05Oh.
00:52:06I think I have a list.
00:52:07Thanks.
00:52:15Terrible thing that Brent murdered, wasn't it?
00:52:17I hear they've visited the Marshall Lane.
00:52:19Yes.
00:52:20I guess she'll be one who won't send flowers.
00:52:22Oh, yes, she will.
00:52:23She was in here early this afternoon and ordered a big wreath.
00:52:26Is that so?
00:52:27They are mostly women.
00:52:29It's surprising so many of them gave their names.
00:52:31Oh, some of them didn't.
00:52:33There was a lady near just now who signed a check,
00:52:36then thought better of it and tore it up.
00:52:39Didn't want the husband to see the canceled check.
00:52:42Perhaps.
00:52:43Oh, pardon me.
00:52:44Yes, madame?
00:52:45Certainly.
00:52:49No, I'm over.
00:52:50You just had a mask.
00:52:51No, I'm over.
00:52:52It's all over.
00:52:53It was a man named Jim.
00:52:54Yes, sir.
00:52:55Yes, sir.
00:52:56Even a man named Jim.
00:52:57Yes, sir.
00:52:58Yes, sir.
00:52:59Yes.
00:53:00No, sir.
00:53:01Yes, sir.
00:53:02Yes, sir.
00:53:03Yes.
00:53:04No.
00:53:05No, sir.
00:53:06Yes.
00:53:07No, sir.
00:53:08Yes, sir.
00:53:09Yes, sir.
00:53:10Yes, sir.
00:53:12Yes, sir.
00:53:13Oh, good evening.
00:53:23Evening.
00:53:26Alone?
00:53:27Yes, I'm not stopping.
00:53:29Oh.
00:53:30I have a key here a friend of mine carried away with him.
00:53:33Oh, thank you.
00:53:34My name is Drew.
00:53:35I'm from the tone art studios.
00:53:37I'd like to keep this thing quiet.
00:53:38Keep what quiet?
00:53:40Brent's visit here the night before he was murdered.
00:53:42You see, if the papers get hold of a story like this,
00:53:44they play it up and it's bad for the picture business.
00:53:47Well, it doesn't do us any good either.
00:53:49All right, let's get together.
00:53:50Sure, what do you want?
00:53:52Who was the woman with Brent?
00:53:55Mrs. Brent.
00:53:56There is no Mrs. Brent.
00:53:57They were divorced.
00:53:59Well, then I don't know who she is.
00:54:01You see, I wasn't here when they checked in
00:54:02and they left in such a hurry I didn't see them go out.
00:54:05In a hurry? Why?
00:54:06Well, a fellow came in here and started a row
00:54:09and then he waited in that telephone booth over there
00:54:12and when they came down, he stepped out.
00:54:14At least that's what Charlie says.
00:54:16Who's Charlie?
00:54:17One of the night bellhops.
00:54:19Could I see him?
00:54:20Sure.
00:54:22Oh, Charlie.
00:54:23Yes, sir.
00:54:25Thanks.
00:54:25This gentleman wants to ask you a few questions.
00:54:31Shoot.
00:54:33Say, do you remember seeing the man
00:54:35who waited for Miles Brent in the telephone booth the other night?
00:54:38I just got a glimpse of him before the fight.
00:54:40What fight?
00:54:42Well, when Brent hit him in the patio.
00:54:44How did it happen?
00:54:46Well, the lady ran out to the car
00:54:48when she saw the guy come out of the booth.
00:54:50Then the guy steps up to Mr. Brent and says,
00:54:52Brent, I want to see you.
00:54:54Well, I thought it sounded kind of silly
00:54:56because he was seeing him right there.
00:54:58Well, then what happened?
00:54:59Well, Brent takes the guy outside in the patio.
00:55:02That's when he socked him.
00:55:03Well, then did Brent get into his car?
00:55:04Yeah, and the other guy picked himself up.
00:55:07Boy, was he mad.
00:55:08And was his face red.
00:55:10What did he say?
00:55:11What didn't he say?
00:55:13It was awful.
00:55:17And then he beats it.
00:55:19Would you remember this man if you saw him again?
00:55:21Well, I might.
00:55:22And then again, I might not.
00:55:24It all happened so fast.
00:55:26Would you remember the lady?
00:55:27Sure.
00:55:28Say, she was a honey.
00:55:30Only she talked kind of funny.
00:55:31You know, like she was a foreigner or something.
00:55:34With an accent?
00:55:35Yeah.
00:55:36Oh.
00:55:37That's fine, Charlie.
00:55:38You've been a big help to me.
00:55:39Here.
00:55:40Thanks.
00:55:41Good night.
00:55:42Thanks.
00:55:43Good night.
00:55:43Say, are you a detective?
00:55:45No, I'm just from the studio.
00:55:47Will there be detectives here?
00:55:48I hope not.
00:55:49Call for Mr. Wallace.
00:55:53Calling Mr. Wallace.
00:56:01Which booth did that fellow hide in?
00:56:03There.
00:56:05How long has it been out of order?
00:56:07Just since the guy hid in there.
00:56:09I guess he kept pounding on a hook trying to get Brent's room.
00:56:11Shelf, shelf.
00:56:33That's all you can think of is shelf.
00:56:35Already this picture cost me $239,351.
00:56:40Where did I put my money in the bank?
00:56:42Can I get any interest from a shelf?
00:56:44I'm not asking you to lose anything.
00:56:46But how can we finish the picture without Brent?
00:56:48I've told you 17 times that we can use a double.
00:56:51And play the whole kissing scene in a long shot?
00:56:52Why not?
00:56:53Because it's all wrong.
00:56:54It's terrible.
00:56:55I've got my reputation to think of.
00:56:56And I've got my money to think of.
00:56:58Money, money.
00:56:59What's money?
00:56:59Now, just a minute.
00:57:04Now, let's take it calmly.
00:57:07New York offices of the opinion
00:57:08that the murder of Brent won't hurt the picture
00:57:10if we can release it soon enough.
00:57:13Now, why not shoot that scene using a double and wind it up?
00:57:16It's the last scene in the picture.
00:57:18It can't possibly do you any harm.
00:57:20Exactly.
00:57:21Steiner has got right.
00:57:22Oh, all right.
00:57:23What's the use of arguing?
00:57:24Good.
00:57:25We can get the company together and shoot it tonight.
00:57:27Oh, wait a minute.
00:57:28What about Marcia?
00:57:28Oh, we can arrange with she
00:57:30and use her for that one scene.
00:57:32She can come over
00:57:33with the whole police department if he likes.
00:57:35Everybody's on call
00:57:36and everything on a set is standing.
00:57:37We can shoot it in half an hour.
00:57:40Todd, hold on a minute.
00:57:43What time?
00:57:457.30.
00:57:46Say 9.30.
00:57:47Make it 9 o'clock.
00:57:48We'll save a half hour.
00:57:51Todd, we're going to shoot
00:57:53the last scene of the death kiss tonight.
00:57:55Round up the company for a 9 o'clock call.
00:57:57Sure, Mr. Steiner.
00:57:59Mac, we're retaking the death kiss.
00:58:01Get busy on the call.
00:58:02Okay.
00:58:06You've got that double-en call, haven't you?
00:58:08Yes, I'll have him all right.
00:58:10But say, what about Miss Lane?
00:58:13I see, careful.
00:58:17Silk on that 36.
00:58:19Hey, Mac, let me put that light over here.
00:58:20Look.
00:58:21Screen 80, will you?
00:58:22Screen 80, Joe.
00:58:24That's it.
00:58:24Look, screen 80.
00:58:25Say, it's 47 and 42.
00:58:28Sure, they'll check with Michael in my camera.
00:58:31How about those over there?
00:58:32I think everything is all right.
00:58:33All right.
00:58:34Good evening.
00:58:36You know Mrs. Abrane?
00:58:37Oh, yes, of course.
00:58:37How are you?
00:58:39I'm surprised you've come to see the street.
00:58:41Put it down to morbid curiosity.
00:58:43That's the woman of it.
00:58:44She insisted on coming.
00:58:46Now, come along with me.
00:58:47I will have how to make you comfortable.
00:58:49He's very good with the ladies.
00:59:22The last time you did this team, folks, we'll do it the same way.
00:59:47You two girls in the back, on the left.
00:59:49I can't wait.
00:59:50I can't wait.
00:59:51Watch out.
00:59:52I'm going to put a scrim on it.
00:59:54Shoot the whole scene over.
00:59:55Kill those two over there, six feet and twelve.
00:59:57Take the whole scene over again.
00:59:58All right.
00:59:59Huh?
01:00:00How much is it?
01:00:01Let me have 42 proof here.
01:00:03Dollivan.
01:00:04Yes, Miss Lane?
01:00:05Do you know where Mr. Drew is?
01:00:06Uh, he went away and left me after him promising he wouldn't.
01:00:10Well, do you know where he went?
01:00:12I got an idea, but I can't tell.
01:00:15Well, do you know when he'll be back?
01:00:18I don't know.
01:00:19He'll turn up.
01:00:20You can't lose that guy.
01:00:21We're ready for a rehearsal, Miss Lane.
01:00:23All right.
01:00:25Go ahead.
01:00:26We'll wait here.
01:00:28All right.
01:00:29And just as you reach here, Miss Lane steps up and kisses you.
01:00:33Now, naturally, you're surprised because you don't know her.
01:00:36Then you turn, read your line to the doorman, and walk out of the curb.
01:00:39Right.
01:00:40Oh, Marshal, I'm so sorry about everything.
01:00:45I know it's going to be difficult for you, but I'll try and help you all I can.
01:00:50Thank you, Tom.
01:00:52Oh, you know Miss Johnson?
01:00:55Yes.
01:00:56How do you do?
01:00:57Shall we try at once?
01:00:59Oh, George.
01:01:00Let's have quiet, please.
01:01:01Quiet!
01:01:02Rehearsal.
01:01:03Take your places, please.
01:01:04Come on!
01:01:05Time ready for rehearsal?
01:01:06Okay.
01:01:07Come on.
01:01:08This business gives me a funny feeling.
01:01:09What do you mean?
01:01:10I don't know.
01:01:11It just gives me a funny feeling, that's all.
01:01:12Supposingly should happen to somebody else's shot.
01:01:13This is ridiculous.
01:01:14Well, maybe it is and maybe it ain't.
01:01:15Anyway, I don't like the set and I don't like the title of the picture.
01:01:18The Death Kiss.
01:01:19Yeah.
01:01:20From now on, we have no more titles with death in it.
01:01:21You're getting superstitious.
01:01:22Ah, say, you ain't got no nerves.
01:01:23Well, I ain't afraid either, but I'm just a little scared, that's all.
01:01:26What can possibly happen?
01:01:27That's it, anything.
01:01:28I must have been overlooking something.
01:01:29I must have been overlooking something.
01:01:30Oh, yes.
01:01:31Oh, yes.
01:01:32Oh, yes.
01:01:33Oh, yes.
01:01:34Oh, yes.
01:01:35Oh, yes.
01:01:36Oh, yes.
01:01:37Oh, yes.
01:01:38Oh, yes.
01:01:39Oh, yes.
01:01:40Oh, yes.
01:01:41Oh, yes.
01:01:42Oh, yes.
01:01:43Oh, yes.
01:01:44Oh, yes.
01:01:45Oh, yes.
01:01:46Oh, yes.
01:01:47What's the matter now?
01:01:48I can't get it with the mic there.
01:01:49Well, go ahead and fix it the way you want it.
01:01:50All right.
01:01:51Swing it in here, Father.
01:01:52Come on, Father.
01:01:53Now down a little closer.
01:01:54There.
01:01:55Is that in your picture?
01:01:56No, you're safe there.
01:01:57Okay.
01:01:58Test it.
01:01:59One.
01:02:00One.
01:02:01One.
01:02:02One.
01:02:03One.
01:02:04One.
01:02:05One.
01:02:06One.
01:02:07One.
01:02:08One.
01:02:09One.
01:02:10One.
01:02:11One.
01:02:12One.
01:02:13One.
01:02:14One.
01:02:15One.
01:02:16One.
01:02:17Two.
01:02:18Three.
01:02:19Four.
01:02:20One.
01:02:21Two.
01:02:22Three.
01:02:23Four.
01:02:24One.
01:02:25Two.
01:02:26Three.
01:02:27Four.
01:02:28One.
01:02:29Two.
01:02:30Three.
01:02:31Four.
01:02:32Microphone number two.
01:02:33All right.
01:02:34Let's go.
01:02:35Okay for sound.
01:02:36We're going.
01:02:37Another.
01:02:38One.
01:02:41One.
01:02:42Well, Lieutenant, can I see you a minute?
01:02:44Well, if it isn't our little mystery writer, ha, I knew you'd turn up.
01:02:48Have you solved it?
01:02:50Come over here a minute.
01:02:55What's the revelation?
01:02:58Well, I went through the clothes that Brent wore the night before he was murdered.
01:03:01I found a room key to the Cliffside Inn in his pocket.
01:03:04I went up to the inn and found that he'd registered there the night before as Mr. and Mrs. Brent.
01:03:08Not unusual for him, was it?
01:03:10No, but the husband of the woman that was with him
01:03:12waited for Brent in the telephone booth in the lobby.
01:03:15When Brent came down, they had a fight.
01:03:17Brent beat him up and left with the woman.
01:03:18Now, there's your motive.
01:03:20The fellow who hid in the telephone booth is the fellow who murdered Brent.
01:03:23It's a motive, sure.
01:03:24But it seems to me that everyone around here had a motive.
01:03:27Yes, but this same man knew a lot about electricity and a lot about film.
01:03:31Now, Chalmers couldn't have thrown that cigarette butt in the film
01:03:33because he was nowhere around at the time.
01:03:35Marsha couldn't have poured acid on the negative.
01:03:37Well, she knows less about film than you do.
01:03:39But this same fellow, whoever it was,
01:03:41found out that Chalmers had discovered his contraption in the lamp,
01:03:45stole Marsha's car,
01:03:47took acid again, Dr. Chalmers' gin,
01:03:49and then returned the car.
01:03:50Yes, but why did he take Miss Lane's car?
01:03:52To give himself a double-headed out.
01:03:54If you believe that suicide gag, well, that was the end of it.
01:03:57If you didn't, everything pointed to Marsha.
01:03:59Whatever happened, he wouldn't be suspected.
01:04:01Yeah.
01:04:03But you have got to show me that the guy who was at the inn is someone here at the studio,
01:04:07and that he had access to the light, the film, the car, and everything else.
01:04:10Well, that's easy.
01:04:12The man who hid in the telephone booth left this trademark.
01:04:16What's this?
01:04:17Well, you know as well as I do.
01:04:18The scribblings a man makes on a piece of paper are as identifying as his signature.
01:04:21Oh, now all we've got to do is to find the guy that scribbles like this, huh?
01:04:27Well, I've done that, too.
01:04:29Take a look at this.
01:04:35Where did you get this?
01:04:36In Grossmith's office.
01:04:38Now, Avery, Steiner, Grossmith, and Howell were in there having a conference.
01:04:42Then you think one of those four killed Brent?
01:04:47Yes.
01:04:50This is interesting.
01:04:53But I've only your word for it, and that don't count for much.
01:04:58Well, I'll keep your paper dolls.
01:05:00But you have got to get me more substantial evidence than this
01:05:02before I can let Miss Lane go.
01:05:12Take good care of these guns, boys, and don't forget to check them back to me.
01:05:18All right.
01:05:29Sure the gun isn't loaded?
01:05:31You bet not.
01:05:32I just looked at it.
01:05:34Mind if I look?
01:05:35Not at all.
01:05:40Is that clear to you?
01:05:42All right, we'll take it.
01:05:43Is everybody ready?
01:05:44Let's make it.
01:05:45Johnson, powder up, will you please?
01:05:47Sure.
01:05:53Thanks.
01:05:57Frank, I've been so worried about you.
01:06:01Darling, I'm hot on the trail.
01:06:02I've got an idea.
01:06:04If I'm right, I'll have this whole thing wrapped up and tied before you know it.
01:06:07But don't go away before I'm through, will you?
01:06:08You bet I won't.
01:06:09Miss Lane, will you stand on a minute, please?
01:06:12See you later.
01:06:21Isn't loaded, is it?
01:06:23What do you think?
01:06:23I'm crazy?
01:06:24Mind if I look?
01:06:25Oh, go ahead.
01:06:31Thanks.
01:06:31Say, Bill, those aren't the same guns you used before, are they?
01:06:40I know I couldn't get 38s before, so I slipped in the 45s.
01:06:44Nobody knew the difference.
01:06:45You mean 38s were called for before?
01:06:47Yeah, they made a row about it.
01:06:49Who insisted?
01:06:49Okay, coming up.
01:06:51Come on with me.
01:06:55Listen, I've got it.
01:06:56This is Bill, the property man.
01:06:58He tells me on the day that Brent was murdered, he was definitely ordered to give all the extras 38 caliber guns.
01:07:03Yeah?
01:07:03Did you get it?
01:07:0438 caliber guns were ordered.
01:07:05Now, if Bill had supplied them, we'd have never known that it wasn't an accident.
01:07:14But he didn't.
01:07:15He substituted 45s.
01:07:17That's how we knew it was a murder.
01:07:19Now, the fellow who ordered those 38s...
01:07:21Say, who ordered those guns?
01:07:22Go ahead, Bill, tell him.
01:07:23Well, it was Mr...
01:07:25Everybody stand on their eye!
01:07:30Lights!
01:07:30Give me a light!
01:07:31Here's your chips!
01:07:33Come on!
01:07:37There he is!
01:07:38There he goes!
01:07:38Look at that there!
01:07:43Look at that light!
01:07:46Can't you get out of this place?
01:07:48Come on!
01:07:49Can't you get on?
01:07:50I'm right here!
01:07:51Come on!
01:08:05Come on, he went this way!
01:08:08Oh, there he is!
01:08:09Come on!
01:08:17There he goes!
01:08:20Look out!
01:08:20Look out!
01:08:20Look out!
01:08:21Stand where you are, I'll shoot!
01:08:33Avery.
01:09:02Mr. Avery.
01:09:03So he's the one that ordered the guns?
01:09:05Yes, I told you about him under the microphone.
01:09:06He was listening in with the earphones.
01:09:08So it was him.
01:09:11Don't look at him now. He's dead.
01:09:14Dead? Yes.
01:09:17I am glad.
01:09:20The woman at the cliffside inn, huh?
01:09:27You stay here, Helica.
01:09:28Come on, go with me.
01:09:30Oh, Lord.
01:09:31Watch this.
01:09:31I got him.
01:09:35I got him.
01:09:40There's your man.
01:09:41Who is he?
01:09:47You'll suffer for this,
01:09:49you despicable cad.
01:09:51So you're a policeman, huh?
01:09:53I think I owe apologies to Miss Lane and to you, too.
01:10:10I'm sorry.
01:10:12I was unpleasant.
01:10:13You know, at first I could have sworn it was you.
01:10:15I knew it, and it made me quite angry.
01:10:18But you're much more clever than I gave you credit for.
01:10:20Well, that sounds like a new contract.
01:10:22We'll talk about that later.
01:10:25Oh, uh, Lieutenant, would you mind telling me why it is that detectives always wear their hats,
01:10:35even in the presence of ladies?
01:10:37Well, sure.
01:10:37That's so we won't have anything in our hands or arms in case we have to use them.
01:10:43That's one for the book.
01:10:45Do you mind if I write it in right now?
01:10:46Well, it's all for the book.