- 6/7/2025
How to Make a Monster is a 1958 American horror film drama. It was produced and written by Herman Cohen, directed by Herbert L. Strock, and starring Gary Conway, Robert H. Harris, Paul Brinegar, Morris Ankrum, Robert Shayne, and John Ashley. The film was released by American International Pictures as a double feature with Teenage Caveman. It is notable for its inclusion of props and studios that created actual sci-fi horror movies.
The film is a follow-up to both I Was a Teenage Werewolf and I Was a Teenage Frankenstein. Like Teenage Frankenstein, a black-and-white film that switches to color in its final moments, How to Make a Monster was filmed in black-and-white and only the last reel (the fire scene finale) is in full color.
Storyline: Accomplished but eccentric film make-up artist Pete Dumond has been with the studio for decades and is totally devoted to his art, especially in the creation of screen monsters. His world ends abruptly when new management acquires the company and arbitrarily decides that the horror cycle has run its course and that the studio will now concentrate on escapist musicals. When he hears that he will be pink-slipped, the neurotic but usually affable Dumond turns psychotic and vows vengeance on the two executives that are responsible for the loss of his job. Using a combination of hypnosis and a newly developed chemical formula, Dumond is able to use mind control to compel the two young actors that are playing both the Teenage Werewolf and the Teenage Frankenstein to exact his vengeance for him.
The film is a follow-up to both I Was a Teenage Werewolf and I Was a Teenage Frankenstein. Like Teenage Frankenstein, a black-and-white film that switches to color in its final moments, How to Make a Monster was filmed in black-and-white and only the last reel (the fire scene finale) is in full color.
Storyline: Accomplished but eccentric film make-up artist Pete Dumond has been with the studio for decades and is totally devoted to his art, especially in the creation of screen monsters. His world ends abruptly when new management acquires the company and arbitrarily decides that the horror cycle has run its course and that the studio will now concentrate on escapist musicals. When he hears that he will be pink-slipped, the neurotic but usually affable Dumond turns psychotic and vows vengeance on the two executives that are responsible for the loss of his job. Using a combination of hypnosis and a newly developed chemical formula, Dumond is able to use mind control to compel the two young actors that are playing both the Teenage Werewolf and the Teenage Frankenstein to exact his vengeance for him.
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Short filmTranscript
00:00:00¶¶
00:02:05Mary.
00:02:07Larry, before I let you see yourself, are you sure you can stand the shock?
00:02:11Oh, yeah.
00:02:12I sure stand it.
00:02:12I know, with those fangs in your mouth, you can't talk clearly, but make a sound and I'll give you a look at yourself.
00:02:20Look.
00:02:20Okay, I'll remove your fangs. We can put them back in before we go to the set.
00:02:32Boy, it's so real, I even feel like a werewolf.
00:02:39Though I'd hate to have my girl see me.
00:02:42Pete, you're the end.
00:02:44Oh, thank you, my boy.
00:02:45He's the greatest.
00:02:47Boy, you're getting no argument from me there.
00:02:49I'd scare myself.
00:02:52Hey, this is as crazy as the Frankenstein monster you made out of Tony.
00:02:55Always the master's touch.
00:02:57You know, I think I'll be afraid to see myself, even on the screen.
00:03:01Oh, you'll get used to it, Larry.
00:03:03Just remember that an artist must have no fear.
00:03:06Why, a creation is almost a sacred thing.
00:03:09All creations.
00:03:10But the good Lord created saints, and he also created sinners.
00:03:14He created the lamb and the fawn, but he also created the wolf and the jackal.
00:03:19Now, who can judge which is the most praiseworthy?
00:03:23Well, that's one way to look at it.
00:03:25For 25 years he's been the master.
00:03:27He created them all.
00:03:29And if I may say so, in all due modesty, I regarded each one as a creation.
00:03:33No more important than this.
00:03:35Well, thanks for trying to cheer me up, but just the same.
00:03:38This scares me.
00:03:39Now, remember, my boy, I created you so that you could scare others.
00:03:42As an actor, as an artist, that's your mission.
00:03:45Live up to it.
00:03:46Well, if it's time for us to be on the set, we mustn't keep the director waiting.
00:03:51There we are.
00:03:54Fine.
00:03:55Well, come on.
00:03:59Fine.
00:04:01Fine.
00:04:32Hey, what about him in the next picture after we capture the ship?
00:04:40I climb aboard, I draw my sword, and they're standing at the helm.
00:04:46It's not the captain, but the werewolf.
00:04:50Terrific, huh?
00:04:52And we'll get old Pete to do the makeup.
00:04:54Not bad, not bad.
00:04:55But how did the wolf get in the ocean?
00:05:00Hello, everyone.
00:05:03Our first stop will be on stage three, where they are now shooting Horrors of the Black Museum.
00:05:08Folks, I think you're in luck.
00:05:10The big scene of the picture shoots today.
00:05:13Now, if you will all stay together and follow me.
00:05:32Boy, when Pete makes them up, it's for real.
00:05:48Well, at least we look normal.
00:05:49Well, here he is, Martin.
00:06:04Well, here he is, Martin.
00:06:11Great, Pete.
00:06:12Just great.
00:06:15Exactly what I wanted.
00:06:16This is as good and ferocious as your Frankenstein monster.
00:06:21Well, thank you.
00:06:23Get Tony out here.
00:06:24I want to see how these two beauties look together.
00:06:25Werewolf, meet Frankenstein.
00:06:38Shake hands and come out snarling.
00:06:40Well, Pete, all I can say is you gave birth to a fine pair of sons.
00:06:47You can be really proud of your creation.
00:06:49Would you be needing me?
00:06:50No.
00:06:50You can rest on your laurels.
00:06:51If I need you, I'll send for you.
00:06:52I'll be in my make-up room.
00:06:56Now, boys, listen carefully.
00:06:59Remember, this is the big scene of the picture.
00:07:03The audience is waiting for this, where, finally, werewolf meets Frankenstein.
00:07:07They hate each other.
00:07:09It's a fight to their death.
00:07:10It's the battle of the monsters, and it must be the high spot of the picture.
00:07:14It's got to be the greatest fight we've ever had on the screen.
00:07:18And I've got to get it in one take.
00:07:21So, listen to directions carefully.
00:07:22You'll come in from out there.
00:07:24Now, you'll come in from here.
00:07:28Very stealthily, very cunning.
00:07:33With animal instinct, you will feel that there's an enemy around.
00:07:37You hear something, you stop.
00:07:40You look around.
00:07:41I want this to be really creepy.
00:07:43You haven't seen anything yet, but you know that you're in danger.
00:07:48Suddenly, from over there, big as life and twice as frightening,
00:07:52comes the Frankenstein monster.
00:07:54Come in, son.
00:07:56As you move towards each other...
00:08:00Put everything away carefully.
00:08:03Yes, Pete.
00:08:04You know, I always do.
00:08:05I want to take home some pictures of these boys.
00:08:07I like to study them.
00:08:10I might decide to make masks for my collection.
00:08:12You should, Pete.
00:08:13I think this teenage werewolf and teenage Frankenstein are easily among the best things you've ever done.
00:08:19You know, another reason I want to keep a souvenir of this picture is that I enjoy working with these teenagers.
00:08:25They've got spirit and they cooperate.
00:08:27They don't sour on you like some of the older actors.
00:08:30I remember the trouble I had with that old Barry Horton when I disfigured him.
00:08:34Yeah, the picture in which he had the car crash.
00:08:36He was afraid he'd lose his women admirers.
00:08:40A truck was going to run over him and he wanted to come up without a scratch.
00:08:43Oh, but these teenagers, they've got spirit and confidence.
00:08:48They plunge into a role.
00:08:50They put themselves in your hands.
00:08:52I enjoy working with them.
00:08:56But, gentlemen, it's customary to knock.
00:08:59Well, we don't have to.
00:09:02We are the group that have taken over this studio.
00:09:04NBN Associates.
00:09:06We've personally taken over this lot and we're going to run it our way.
00:09:08My name is John Nixon.
00:09:09This is Mr. Jeff Clayton.
00:09:11Yes, of course.
00:09:11I read about it in the trade papers.
00:09:13It's certainly nice to meet you, gentlemen.
00:09:15Mr. Dumont, we're about to make some changes around here.
00:09:18Well, you'll have my best wishes.
00:09:20Oh, won't you sit down?
00:09:22Well, I'm afraid these aren't too comfortable,
00:09:24but perhaps the new regime will provide better chairs for my workshop.
00:09:28Your workshop?
00:09:30That sort of brings us to the point.
00:09:32What point?
00:09:34Mr. Dumont, we won't be needing you after you finish this picture.
00:09:37The one you're on now.
00:09:39Not need me?
00:09:41Yes.
00:09:42Monsters are finished.
00:09:43They're coming out of your ears.
00:09:45Saturation.
00:09:45The horror cycle is over.
00:09:47People want to hear music.
00:09:48They want to laugh.
00:09:49They want to see pretty girls.
00:09:50There's no doubt about it.
00:09:52Monsters are finny.
00:09:53I heard that 25 years ago when I created my first werewolf.
00:09:57It saved the studio from bankruptcy.
00:09:59Now, look.
00:09:59I didn't come here to discuss this thing or to argue it with you.
00:10:03That is the decision of the big brass.
00:10:06It's mine, too.
00:10:07Yes, but, well, it's a wrong one, if I may disagree.
00:10:13Why, even psychiatrists say that in all these monster pictures, there's not only entertainment, but for some people, therapy.
00:10:20Well, you know we never get over our childhood fears of the sinister, the terrifying faces we see in nightmares.
00:10:26Well, through these pictures, we can live out our hidden fears.
00:10:29It helps.
00:10:32You live them out, but not on our payroll.
00:10:36Like Mr. Nixon says, people want to see escape pictures nowadays.
00:10:41Musicals, jokes, pretty girls.
00:10:43Yes, but the decision is final.
00:10:46Now, instead of giving you a cold pink slip, I came to tell you in prison.
00:10:51It's the human way.
00:10:54It certainly is.
00:10:55And we'll allow you a week's severance pay.
00:10:57No, thank you.
00:10:58Keep your severance pay.
00:10:59I don't want your charity.
00:11:01This lot, this room, has been my home for 25 years.
00:11:05Now that you throw me out, don't try to soften the blow with a few cheap dollars.
00:11:10I'll leave when this picture is finished shooting.
00:11:12Okay, that's the way you feel.
00:11:17Turn down money.
00:11:19Maybe you've been living too long with monsters.
00:11:21Sometimes I find them better company than humans.
00:11:27Pete, what are we going to do?
00:11:31I don't know yet.
00:11:33But one thing I do know for sure, they're wrong and I'm right.
00:11:37I'd stake my very life on that.
00:11:38And before I leave this slot, I intend to prove that I'm right.
00:11:42I don't know.
00:12:02A werewolf, Frankenstein, they want to put an end to us.
00:12:32They say we're through.
00:12:35Not as gratitude.
00:12:38Don't they realize that the monsters I created...
00:12:40from my first prehistoric man through the spaceman of the future...
00:12:44why all these paid for this studio, made the owners rich and famous.
00:12:50Now they say it's over.
00:12:53But it isn't over.
00:12:55I'll destroy this studio, see it go up in flames before I...
00:13:02No.
00:13:07No, I'll destroy them first.
00:13:10And I'll use the very monsters they mock to bring them to an end.
00:13:15Nate!
00:13:16Huh?
00:13:17I heard voices.
00:13:21Only mine.
00:13:22You were talking to yourself?
00:13:24Not entirely.
00:13:26I was reassuring my children that I won't let them perish.
00:13:30Then I'm gonna stop these men from destroying us.
00:13:33But how?
00:13:35I'll show you.
00:13:42Those fools.
00:13:43They think a monster is just put together with glue, hair, putty, foam rubber.
00:13:48They don't realize that a monster even on the screen is human...
00:13:51and must be infused with a spirit by his creator.
00:13:54Well, if I didn't believe in my creations...
00:13:57they wouldn't believe in themselves.
00:13:59That's why they can throw fear into the hearts of spectators.
00:14:05Pete, what are you putting into that?
00:14:07I'm blending a new ingredient with a foundation cream.
00:14:10It's my own discovery.
00:14:12If they knew how many long hours I experimented with different chemical agents...
00:14:15to get better results.
00:14:18Do you remember the time I accidentally added Novocaine?
00:14:21Of course.
00:14:22James Duncan.
00:14:23Prehistoric man.
00:14:24Couldn't remember his lines.
00:14:26No.
00:14:27Not until I released him.
00:14:29When I ordered him under hypnosis to remember, he did.
00:14:32Well, I'll do the same with these young men.
00:14:34As I see fit, I'll order them what to remember and what to forget.
00:14:38You mustn't try that.
00:14:40Why not?
00:14:41Why, it's dangerous.
00:14:42Dangerous?
00:14:43Why, we're fighting for our lives.
00:14:51Now, this enters into the pores and paralyzes the will.
00:14:56It'll have the same effect chemically as a surgical prefrontal lobotomy.
00:15:00It blocks the nerve synapses.
00:15:02It makes the subject passive.
00:15:04Obedient to my will.
00:15:13Well, all quiet.
00:15:14Except for a light in old Pete's make-up room.
00:15:15When he's on a job, he frankly lives here.
00:15:28Yeah, I know.
00:15:29He's married to his career.
00:15:31That's the way I feel about my work.
00:15:33Well, what chances do I get?
00:15:34Now, don't knock it.
00:15:35You've got a nice, easy job.
00:15:37The only hoodlums you run into are the bit players.
00:15:40We're strictly law and order men.
00:15:43Nothing ever happens on the lobster ship.
00:15:45That's what I mean.
00:15:46Just high-class what?
00:15:48Look, Monaghan, you want action?
00:15:50Join the commandos.
00:15:51Yeah.
00:16:19What do you say, Peter?
00:16:20Sit down, my boy.
00:16:24I'll put you in a massage, Pete.
00:16:26I'm glad to see you're in a cheerful mood.
00:16:29Boy, you're not. You look bugged.
00:16:32How would you feel if someone pronounced a death sentence?
00:16:36Are you serious?
00:16:37You should be, too.
00:16:39It's no longer any secret.
00:16:42The new owners of the studio have decreed no more monsters.
00:16:45My job is done.
00:16:47My career is over.
00:16:49Well, actually, that's not too bad for me.
00:16:53I've had my days of glory and triumph.
00:16:56I suppose I'm an old man who should be able to face the end.
00:17:05But this also means that your career is over, too.
00:17:08I thought that was just a rumor.
00:17:11It's an order.
00:17:12One order can destroy both of us.
00:17:16Tough.
00:17:17But I guess my agent can get me another part.
00:17:19I don't want to discourage you, my boy, but I know this town, this industry.
00:17:23I've given my life to it.
00:17:25The first question a casting director asks is, what was your last part?
00:17:30Well, in your case, the answer would have to be, werewolf and werewolf meets Frankenstein.
00:17:35Yeah.
00:17:36Yeah.
00:17:37I can hear the casting director as if he were in this very room.
00:17:41Sorry.
00:17:42Nothing in this picture.
00:17:44But see me when the monster cycle comes around again.
00:17:48Oh, I begin to read you.
00:17:52Don't forget, Larry.
00:17:53The people who've seen you, your fans, don't know your real face.
00:17:57The only hope you have for a future is here.
00:18:02I guess you're right, Pete.
00:18:04Oh, I know I'm right.
00:18:06Well, what can we do?
00:18:09I like that question.
00:18:11At least you're interested in saving your career.
00:18:14I am.
00:18:15Well, if you'll sort of place yourself in my hands, perhaps we can make them change their minds.
00:18:24Go ahead, Pete. I'm with you.
00:18:37Larry, this foundation cream has a new firming agent in it.
00:18:41It's something that I perfected.
00:18:46So don't worry if you feel your skin tightening.
00:18:50Don't worry if it makes you feel...
00:18:51It does feel kind of cool.
00:18:54Remember, my boy.
00:18:56It's in your best interests.
00:18:59Do exactly as I instruct you.
00:19:05You will play your sea well today.
00:19:07But after you've completed it...
00:19:13Instead of coming back here...
00:19:16This is what I want you to do.
00:19:18Well, congratulations, Banks. The rushes are fine.
00:19:34You were right. This musical is going to be a big hit.
00:19:37I like the way you're handling this production.
00:19:39Thanks, John.
00:19:40Every end of the set's coming along just great.
00:19:42I'll see you in the morning. Good night.
00:19:43Good night.
00:19:45Well, I might as well see yesterday's rushes on the werewolf and Frankenstein picture.
00:19:49Without me, if you don't mind, John.
00:19:51Maybe you've got a secret yen for monsters, but not me.
00:19:54I think they scare you and you're too chicken to admit it.
00:19:57So you guessed my secret, huh?
00:19:58Well, it's part of my responsibility, so I'm going to see them.
00:20:01Well, have yourself a nightmare.
00:20:03All right, I'm ready.
00:20:05You can run the rushes on production 204.
00:20:11Scene 136, take two.
00:20:12Action.
00:20:43CHAPTER 286, take two.
00:20:44Now you're sure, my boy, nobody saw you.
00:20:55And you did exactly as I told you.
00:21:01And you did exactly as I told you.
00:21:05Exactly as I told you.
00:21:09And you came back exactly as I said.
00:21:14Good.
00:21:16You'll forget this after I wake you up.
00:21:20You won't remember a thing afterwards.
00:21:23You...
00:21:35Are you sure there's no danger of us getting caught?
00:21:37Just wash these.
00:21:47Now wake up, my boy.
00:21:51Wake up.
00:21:59Now here he is, Doc. See what you can get.
00:22:01Now tell me what you know about all this. Don't leave anything out.
00:22:04I already told you I ran the rushes for him on three pictures.
00:22:07What time?
00:22:08Beginning about eight. That's when he reserved the room.
00:22:11Did you see anything? Hear anything?
00:22:13All I could see was on the screen.
00:22:15All I could hear came from the soundtrack.
00:22:19Especially the last one.
00:22:20Two monsters beating each other's brains in.
00:22:24And then?
00:22:25When the picture was finished, I put the house lights up.
00:22:28Then I put the film back in the can and I went home.
00:22:31My work was done.
00:22:32The cop on the gate, Richards, he checked me out.
00:22:35Okay, you can go.
00:22:39Hey, did you see this?
00:22:42Glassner's wrist watch is cracked.
00:22:44Stopped at 8.34.
00:22:45And that fixes the time of the murder.
00:22:47And what do you make of it?
00:22:48Well, pending autopsy findings, I would say that he was attacked from behind by someone with fiendish strength.
00:22:57Neck is broken.
00:22:58And that the attacker, like an animal, inflicted sharp wounds on the neck.
00:23:03Looks like fangs to me.
00:23:05I'd say that the time of death is fixed by the time the watch stopped is reasonably accurate.
00:23:09So what do we have to do?
00:23:11Look for a monster?
00:23:12You don't have to go very far.
00:23:14I think that they make them to order right in the studio.
00:23:17We're not talking about actors.
00:23:19We mean a real monster.
00:23:20The news hounds will have a field day.
00:23:33What a way to start off the new regime.
00:23:35You've got to move fast.
00:23:37We'll do the best we can.
00:23:38The PM didn't help us very much.
00:23:40All it established is that he was strangled and his neck was broken.
00:23:43That could have been done by a human.
00:23:45But he was also clawed and bitten.
00:23:47That part is inhuman.
00:23:48I'm not interested in your speculations.
00:23:50I just want results.
00:23:51Nixon was my friend.
00:23:54You know, it's one thing when an eastern hoodlum comes out here to cut in on juicy California territory
00:23:59and the local mob turns him off.
00:24:02But when an eastern executive is killed in the west, in his own studio on his first job...
00:24:07Maybe you can help us.
00:24:09I'd be glad to.
00:24:11Anyway, it's all.
00:24:12Did he have any known enemies?
00:24:14Not out here.
00:24:15How could he?
00:24:16And certainly not enemies.
00:24:17He may have had rivals for his job.
00:24:19But they wouldn't resort to murder.
00:24:21In the entertainment business, the mortality rate is fast and high enough.
00:24:26You have your eye on a certain spot, all you need is patience.
00:24:30So wait a little bit.
00:24:31You're bound to get your turn.
00:24:32Well, did he antagonize anybody out here?
00:24:35No, not in that lethal way.
00:24:37Naturally, we pink-slept about 100 at the studio.
00:24:40We had to.
00:24:41Still cameramen, flax, maintenance men, secretaries, makeup department.
00:24:46But that's not unusual when a new regime moves in and takes over.
00:24:50And yet it throws an awful lot of people out of work.
00:24:52Some of them may not like the jolt.
00:24:54It's just one of the hazards of the industry.
00:24:57Besides, they'll all get jobs immediately.
00:24:59They'll be absorbed by TV.
00:25:00Then you don't know of any enemies he had out here.
00:25:04I'd say he had none.
00:25:06Well, we'll put every man we can on the case.
00:25:09Just bear in mind that we want this cleared up as badly as you do.
00:25:12A Hollywood murderer is okay on the screen, but not in the studio.
00:25:17What is it, Larry? Don't you feel well?
00:25:34I kind of black out. I don't understand.
00:25:39I start to weave and then I black out.
00:25:42This is something new.
00:25:44No, I just feel this way since...
00:25:46Look, maybe.
00:25:47Maybe you gave your all to the part of the werewolf.
00:25:50Now you don't have any strength.
00:25:52You may have something there.
00:25:54In the last scene I was in, I had to try to escape.
00:25:57To get away from the police.
00:25:59I...
00:26:00Arlene, I still feel as if I'm running.
00:26:03I don't know what I'm running from, but...
00:26:05But I am running away.
00:26:07Maybe the reporters and police upset you.
00:26:10No, no.
00:26:11They just looked around, took a few pictures.
00:26:14They barely spoke to me.
00:26:16Asked me how it feels to be a monster.
00:26:18Then they turned away.
00:26:20I heard them laughing at the makeup like...
00:26:23Like it was something to scare kids.
00:26:27It was the same.
00:26:29Still running, running, running.
00:26:31Come on, Larry. Relax.
00:26:33Calm yourself.
00:26:35I guess it's only natural if you work hard...
00:26:38That you're gonna have a letdown.
00:26:41Yeah, I guess so.
00:26:44You'd better get back in, Arlene.
00:26:46Before they chip in and buy me a wheelchair.
00:27:05Come on.
00:27:08Working late again, huh?
00:27:09Oh, well, I have no hours.
00:27:11No creator has.
00:27:13Besides, I get more joy and satisfaction out of my work...
00:27:15Than watching the clock.
00:27:17I know you're a beaver for work.
00:27:19But it's only human to call it a day once in a while.
00:27:21Not me.
00:27:22There's no rest for me.
00:27:24You should, though.
00:27:25Take it easy, I mean.
00:27:26It puzzles me why you knock yourself out.
00:27:28Especially when you're through here.
00:27:30This is your last job.
00:27:32So you know too, huh?
00:27:34It's all over the lot.
00:27:37But it's no disgrace.
00:27:39Believe me, you're in good company.
00:27:41Half the old-timers get pink slips.
00:27:43Did you?
00:27:44A cop doesn't make enough money to be a drag on a payroll.
00:27:47But I might just fire myself up.
00:27:50Oh?
00:27:51I never kidded myself that walking a watchman's rounds would move me to the top.
00:27:56No, I guess not.
00:27:58Take most of these studio cops.
00:28:00They're retired policemen.
00:28:01Looking for a soft touch.
00:28:03But not me, though.
00:28:04I've got different ideas.
00:28:06If I were chief of police of this studio, I'd run it real strict.
00:28:10No one would get on this lot without a pass.
00:28:12And I'd put on two night patrols.
00:28:15That new boss Nixon might not have been killed if my system had been in force.
00:28:20Well, too bad it wasn't.
00:28:23But now, I'm hept of something that might just put me in line for promotion.
00:28:32Really?
00:28:33I'll take that Nixon killing, for instance.
00:28:36A man gets strangled just watching the rushes.
00:28:39I wasn't satisfied with the way the big brass handled it.
00:28:43So I put some pointers of my own down.
00:28:45I've got them right here in my little black book.
00:28:48Like a real detective, huh?
00:28:51Exactly.
00:28:52Like I think it was an inside job.
00:28:55Someone who knew his way around the lot.
00:28:57Do you suspect anyone?
00:28:59No.
00:29:00But I can give you another for instance.
00:29:03Like you and your stews didn't leave the studio the night before the killing.
00:29:06Well, I often spend the night here, especially when I have a heavy makeup job.
00:29:10Do you realize I've got to be here at six o'clock in the morning to get the actor ready for his first scene of the day?
00:29:15Well, so why bother to go home?
00:29:17You don't have to explain anything to me.
00:29:19You can tell it all to Captain Hancock of homicide.
00:29:22And you can tell him, for instance, that on the night of the killing, you and Rivera left the lot at 9-12.
00:29:31I've got it all down here in my little black book.
00:29:35Then I figure Captain Hancock tells the new setup, and maybe I get promoted.
00:29:41Yeah, I've got a few other little things written down for him, too.
00:29:47Yes, but why bother? After all, you've already done all they expect of you.
00:29:51Why stick your neck out beyond the call of duty?
00:29:53The security of this lot means a great deal to me.
00:29:56This studio will be here a long time.
00:29:59And someday I expect to be its chief of police.
00:30:02Well, I like a show of ambition, and you've really got it.
00:30:06I'll see you downtown.
00:30:08Rivero, come help me quick.
00:30:38I'll see you back there.
00:30:40What did you do after the murder of the murder of the conflict?
00:30:42No.
00:30:43No.
00:30:44Leave me alone.
00:30:46Because, you know, the incident you're in the trouble of the murder.
00:30:48It's not my fault.
00:30:49I know I was done.
00:30:51Because, you know, the incident you're in the trouble is...
00:30:52I was left with my own murder.
00:30:55He was right to see you after the murder of the murder.
00:30:57And here was a mysterious murder of his death.
00:31:00And he was, I was right, I was right.
00:31:02And he was wrong with you after the murder of the murder.
00:31:04It was wrong with him.
00:31:05Oh, my God.
00:31:35I'm the one who's in the world.
00:31:37I'm the one who's in the world.
00:31:39I'm the one who's in the world.
00:32:05We're going to check out now.
00:32:35Remember, not a word out of you.
00:32:37Just follow me out of the studio and get into the car.
00:32:59Well, Pete, you don't get overtime for this, although I bet you earned it.
00:33:03Yes, we accomplished quite a lot, but we are far from finished.
00:33:07Just a few hours rest and then back again.
00:33:09Well, Richards, nine.
00:33:11Nine.
00:33:12Come on.
00:33:13Let's go.
00:33:16Yes.
00:33:48Hey, Monaghan!
00:34:18Hey, Monaghan!
00:34:30Monaghan!
00:34:32Monaghan!
00:34:42He must have put up a terrific battle.
00:34:44Sure looks like it.
00:34:46I'm surprised I didn't hear a thing.
00:34:49Now, this makes no sense. Killing a watchman in his rounds.
00:34:56Unless he surprised the murderer.
00:34:58Surprised him in what? As far as we know, nothing was stolen.
00:35:01No dressing rooms were broken into.
00:35:03When did you begin to suspect something was wrong?
00:35:05Well, I waited 15, 20 minutes after he was due back, then began to look for him.
00:35:10I figured maybe he brought a little snack from home.
00:35:13He used to tell me his wife worried about his stomach.
00:35:16I thought maybe he went to eat it in his car.
00:35:19But after I checked his rounds...
00:35:21Anybody come in late?
00:35:22No.
00:35:23No.
00:35:24Anybody leave?
00:35:25A couple of late-shift maintenance men.
00:35:27Pete, the make-up man with his assistant, Rivero.
00:35:30You'd better get their story.
00:35:31You got an address for them?
00:35:33This Pete and his assistant?
00:35:35Well, not in the booth.
00:35:36Payroll would have it.
00:35:37Anyway, Pete will be back here in a few hours to make up this young actor who's playing Frankenstein's monster.
00:35:42How early?
00:35:43Oh, maybe 6 o'clock.
00:35:46But this Pete, he's a harmless old guy.
00:35:50Just the same get his story.
00:35:59And you're sure you didn't hear a thing?
00:36:01No, sir.
00:36:02You see, I was here all the time.
00:36:04Right at this table, preparing the foundation cream I use in make-up.
00:36:07And you heard nothing and saw nothing?
00:36:09If I had, I would have done something about it.
00:36:11He was a nice young fellow, that Monaghan.
00:36:14Polite and enabling.
00:36:15It's a shame.
00:36:19Monsters.
00:36:20Is that all you do?
00:36:22Well, I sort of specialize in them.
00:36:25I have for 25 years.
00:36:27Look, Pete.
00:36:28My kid's having a Halloween party.
00:36:30I think he'd get a big bang out of scaring his friends.
00:36:33Oh, well, bring him over.
00:36:34I'll be glad to make him up as a monster.
00:36:36In the meantime, don't make any sudden trips.
00:36:38The captain might want to see you downtown.
00:36:40Oh, I won't.
00:36:41Believe me, I won't budge until this picture is finished shooting.
00:36:44Now, if you'll excuse me, I have some work to do.
00:36:47Okay, let's get ready to do the number starring John Ashley.
00:37:02This will be a take.
00:37:05Quiet.
00:37:06Bell, please.
00:37:07Roll him.
00:37:08Lay back.
00:37:09Hello, baby.
00:37:10I'm glad to see you.
00:37:11Might like to see you more.
00:37:12But someone gave you the wrong idea.
00:37:14About what you're charming for.
00:37:15You gotta have me here.
00:37:16To go with your smile.
00:37:17You'll find if you play up your figure.
00:37:18Fellas will dig your style.
00:37:19Well, you gotta have me here.
00:37:20To go with your smile.
00:37:21You'll find if you play up your figure.
00:37:22Fellas will dig your style.
00:37:24Well, you gotta have me here.
00:37:25And plenty of who.
00:37:26A guy will end up in your heart.
00:37:27If you give your chance.
00:37:28Don't say that.
00:37:29Gonna say you'll see.
00:37:30But if you play up your figure.
00:37:31You'll find if you play up your figure.
00:37:34Better, but not be.
00:37:36In any way.
00:37:37You gotta have me here.
00:37:39To go with your smile.
00:37:41You'll find if you play up your figure.
00:37:45Fellas will dig your style.
00:37:46Well, you gotta have me here.
00:37:49And plenty of who.
00:37:51A guy will end up in your heart.
00:38:24What it takes, ho!
00:38:48Well, some call it glamour and some call it class.
00:38:54But when they call it E-Hoo, baby, you're cooking with gas.
00:39:00You gotta have E-Hoo, you gotta have a while.
00:39:05Unless you aren't dressed up to catch him, someone will snatch him.
00:39:09What a difference it makes, but if you got E-Hoo, well, you got what it takes.
00:39:15Cut. Print. Very good, kids. Lunch, one hour.
00:39:29Hey, you see what I mean, Pete?
00:39:34I certainly do.
00:39:36This is what the people want.
00:39:38Instead of the old stuff, fright wigs and monsters,
00:39:40they go for gorgeous gals, singing, dancing, you know, escapism.
00:39:45And that's what you'll give them.
00:39:47Got to. It's the wheels of progress.
00:39:50The automobile kills off the horse and buggy,
00:39:52the freezer puts the old-fashioned icebox out of business, and so it goes.
00:39:56You're right, Mr. Clayton. The wheels of progress.
00:39:59No matter whom they run over.
00:40:01That's the way the footage cuts.
00:40:15Yes, girls? Anything I can do?
00:40:20We're from Oak Mount High. We're the editors of our school paper.
00:40:23We're writing a story a day at the studio.
00:40:25You know, one of the girls is in a musical they're shooting.
00:40:27Oh, yeah, Betty Davenport.
00:40:30You know her?
00:40:31Well, I met her.
00:40:33I played football with her brother last year.
00:40:35Well, that's what we mean.
00:40:36In our story, we want to get the teenage slant, and you just finish school.
00:40:39No, no, no, girls.
00:40:40I know you have a lot to write about, but we really don't have too much time.
00:40:43Well, we just want to ask one question.
00:40:45Ask me.
00:40:46How does it feel to be the last of the Frankensteins?
00:40:49Well, who told you he was the last?
00:40:52Mr. Clayton.
00:40:54Oh?
00:40:54Well, we had to get permission from him first,
00:40:56and then we described what we wanted, and he suggested that as a good question.
00:41:00I know the question.
00:41:02Well, go ahead, Tony. Answer it so we can get on with our work.
00:41:04Well, first or last, I'm going to do my best.
00:41:07That's a big opportunity for me.
00:41:09Thank you very much.
00:41:11We'll get pictures from publicity.
00:41:13Thanks again, and good luck, Tony.
00:41:14Goodbye, Tony.
00:41:16Bye.
00:41:17You see?
00:41:19I was right when I told you they were cutting the ground from under us.
00:41:24Now, remember, my boy, this new ingredient that I put into the foundation cream
00:41:29may tighten your skin.
00:41:31But as I told you, leave everything to me.
00:41:35Now, you'll be great in your last scene.
00:41:36When your enemies come upon you, you'll have maniacal strength to fight them off.
00:41:41And also remember, this maniacal strength will linger in your arms and hands.
00:41:48And with it, you'll destroy your real enemies.
00:41:52Exactly as I instruct you.
00:42:02You're going home pretty late tonight, Mr. Clayton.
00:42:04Yes, and it gets later every night.
00:42:05The work just seems to pile up.
00:42:07Good night, Regents.
00:42:08Good night, sir.
00:42:09Good night, sir.
00:42:11Good night, sir.
00:42:12Good night, sir.
00:42:13Good night, sir.
00:42:14Good night, sir.
00:42:15Good night, sir.
00:42:16Good night, sir.
00:42:17Good night, sir.
00:42:18Good night, sir.
00:42:19Good night, sir.
00:42:20Good night, sir.
00:42:21Good night, sir.
00:42:22Good night, sir.
00:42:23Good night, sir.
00:42:24Good night, sir.
00:42:25Good night, sir.
00:42:26Good night, sir.
00:42:27Good night, sir.
00:42:28Good night, sir.
00:42:29Good night, sir.
00:42:30Good night, sir.
00:42:31Good night, sir.
00:42:32Good night, sir.
00:42:33Good night, sir.
00:42:34Good night, sir.
00:42:35Good night, sir.
00:42:36Good night, sir.
00:42:37Good night, sir.
00:42:38Good night, sir.
00:42:39Good night, sir.
00:43:40The boy's late. Do you think anything's happened?
00:43:44You're always ready to think the worst.
00:43:46He'll do exactly as I told him and come back here to your house.
00:43:50Ready to see?
00:43:52Well, go ahead. Open it.
00:43:53You did well, my boy.
00:44:05And as I cautioned you, you won't remember a thing about what happened tonight.
00:44:09Help me get him out of this.
00:44:10The third studio murder shocks Hollywood.
00:44:19Following the morbid Hollywood tradition of death in threes,
00:44:22the third brutal slaying within the space of one week took place last night
00:44:26in the darkened garage of the Hollywood home of Jeffrey Clayton,
00:44:30American international studio executive who was the victim.
00:44:36To check this reign of terror,
00:44:38it is reported that officials are considering closing the studio
00:44:41until the mad murderer is apprehended by police.
00:44:45You've read it three times.
00:44:48So the press will have a field day.
00:44:50But, Pete, how about us?
00:44:52Our work here is done.
00:44:54Well done, I'd say.
00:44:56But according to the paper, the studio is closing.
00:44:59And the other studio is...
00:44:59Oh, quiet, you fool.
00:45:01A little gust of wind and you begin to shiver.
00:45:04I've taken care of you for 25 years.
00:45:06You won't starve.
00:45:10I'll see to that.
00:45:13Provided you keep your mouth shut.
00:45:16Shut at all times, do you understand?
00:45:18Yes, Pete, of course I do.
00:45:20I never give you any trouble.
00:45:21You know that, Pete.
00:45:22I've always considered you the master and I was the assistant.
00:45:27And let's keep it that way.
00:45:29A silent assistant.
00:45:33Rivero, you and I have been invited downtown to police headquarters.
00:45:37Police headquarters?
00:45:38For routine questioning.
00:45:40Merely a ride down and back.
00:45:42When we get there, don't open your mouth.
00:45:44I'll provide the answers.
00:45:46Yes, Pete.
00:45:47All right, let's go.
00:45:48Get your hat and coat.
00:45:50Police are very peculiar.
00:45:51They insist on punctuality.
00:45:56I was just going to barge in on you.
00:45:58Me?
00:45:58Yes, you.
00:45:59You're Pete, all right.
00:46:00I don't believe we've met.
00:46:02Well, you're meeting me now.
00:46:03Gary Droves, that's my name.
00:46:05I'm Larry's agent.
00:46:06Larry, your teenage werewolf.
00:46:09I set him from the park with the producer,
00:46:10but that doesn't mean I quit worrying about him.
00:46:13I never forget a client, even though I get them work.
00:46:16Gary Droves is not a flesh peddler.
00:46:18Get it?
00:46:18I don't quite understand.
00:46:20I'm like a father to my kids.
00:46:21Sometimes I don't even take the 10%
00:46:23till I get them a term contract.
00:46:25Now, how do you like that?
00:46:26Very admirable, but I don't see how it concerns me.
00:46:28All right, I'll throw you the connection.
00:46:30You leave my boy alone.
00:46:33Don't you tell him that after this picture he's finished
00:46:34that he'll never get another job.
00:46:36Getting him work is my department,
00:46:38and Larry's got a great future as an actor,
00:46:40and I'm going to help him build it.
00:46:42And for your information,
00:46:43I've got three jobs lined up for him right now,
00:46:45and I don't need to have a truck run over his face
00:46:47to get him more work.
00:46:49Do you understand?
00:46:50Yes, of course, Mr. Droves,
00:46:52but you see, I only suggested that...
00:46:53Don't suggest.
00:46:54In my book, you're a negative character.
00:46:56I can get Larry a job any time I want to.
00:46:58Well, I can even get you a job,
00:47:00as a heavy, if you'll join the union.
00:47:02Well, thanks for the offer.
00:47:04You're welcome for nothing.
00:47:05And don't forget what I've been telling you.
00:47:06You leave my client alone.
00:47:18I tell you, Pete,
00:47:19since that maniac's been on the kill,
00:47:20I've had no sleep.
00:47:22Nights on the studio gate,
00:47:23days over here.
00:47:25I know what you mean, Richard.
00:47:27It's been a hardship on all of us.
00:47:29Somebody sure had a grudge
00:47:30against those new executives.
00:47:32Well, it would seem that way.
00:47:34But as you pointed out,
00:47:35a maniac,
00:47:37well, a maniac really needs
00:47:38no reason for killing.
00:47:41Millie, we appreciate you
00:47:42coming down here to help us.
00:47:44Now, if you'll try to give us
00:47:46some kind of description
00:47:47of this monster.
00:47:48Well, Captain,
00:47:49that's as close as I can get to it.
00:47:51A monster.
00:47:53It looked like he walked
00:47:54right off the screen.
00:47:55Big, huge man
00:47:57with one eye out of his socket.
00:48:00Oh, it sure was a nightmare.
00:48:02He hit me and knocked me down.
00:48:04Must have had something in his hand
00:48:05and the blow was that heavy.
00:48:06About what time was it?
00:48:08Well, I don't know
00:48:09to the minute,
00:48:10but I was coming
00:48:10from a picture show
00:48:11and I took the last bus home
00:48:13to where I work
00:48:14and that would make it,
00:48:16we'd walk in three blocks
00:48:17about half past 12.
00:48:19Thank you, Millie.
00:48:20We'll probably want you
00:48:21to try to identify
00:48:22this monster
00:48:24from any suspects we pick up.
00:48:26You mean I have to come
00:48:27down here again?
00:48:28Well, I'm afraid so.
00:48:30Well, you call me
00:48:32and I'll come.
00:48:33No man like that
00:48:34should be roaming the streets.
00:48:35Yeah, I'll come.
00:48:46You can come in now, Bridges.
00:48:53Sit down.
00:48:53Now, last night,
00:48:58as you know,
00:48:58Mr. Clayton was killed.
00:48:59But right now,
00:49:00we want to take you back
00:49:01to the Monaghan Killett.
00:49:02Yes, sir.
00:49:03Are you sure you're not
00:49:04holding out anything on us?
00:49:06Why, no.
00:49:07Well, you yourself
00:49:08said it was strange
00:49:09that you didn't hear anything.
00:49:10Now, we've been chewing that over.
00:49:12Exactly where were you
00:49:13when it happened?
00:49:14Well, in my booth at the gate.
00:49:16How far is that
00:49:17from the commissary?
00:49:18About the same distance
00:49:19as two city blocks.
00:49:20And you mean to say
00:49:20with all that crockery
00:49:21tossed around and smashed
00:49:22in the dead of nights
00:49:23you didn't hear a thing?
00:49:24You think if I had,
00:49:25I wouldn't have run
00:49:25to help Monaghan?
00:49:26He was my partner.
00:49:28For years, we teamed together.
00:49:30He was younger than me,
00:49:31but we got along swell.
00:49:33Now, we're not accusing you
00:49:34of any dereliction of duty.
00:49:35We're just trying
00:49:36to get a clear picture.
00:49:37That's all.
00:49:39Well, I didn't have
00:49:40the radio on.
00:49:41Loud?
00:49:42Yes, quite loud.
00:49:43It isn't that I'm deaf
00:49:44or anything.
00:49:45I just happen to like loud music.
00:49:47How was I to know
00:49:47there was a killer loose?
00:49:48Well, it's no crime
00:49:50to listen to the radio.
00:49:52No, no, I guess not.
00:49:53But think of the maintenance men,
00:49:55their grips, their gaffers,
00:49:56even the secretaries.
00:49:57Think hard about everybody
00:49:58at the passenger booth
00:49:59in and out.
00:50:00Among all those,
00:50:01any sore heads,
00:50:01anybody with a grudge?
00:50:03No.
00:50:04A lot was run
00:50:04like a happy family.
00:50:06Why, in my ten years there,
00:50:08not a beef, not a gripe,
00:50:09just friendly hellos
00:50:10and goodbyes.
00:50:12Why, even at the parties
00:50:13on the set,
00:50:14you know, the usual shindig
00:50:15after a picture's finished shooting,
00:50:17a few drinks, some eats,
00:50:18laughs, a lot of laughs.
00:50:21Just one happy family.
00:50:22Yeah, well, it's not happy now.
00:50:24Now, you go back to the lot
00:50:25or turn the radio off.
00:50:27Keep an extra eye open
00:50:28all the time.
00:50:29If you see or hear anything,
00:50:31if you suddenly remember anything,
00:50:32any suspicious characters
00:50:34you see hanging around the gate,
00:50:35anyone who tries
00:50:36to sneak past you,
00:50:37call us.
00:50:38I will.
00:50:39You bet I will.
00:50:40All right, gentlemen.
00:50:49All right, gentlemen.
00:50:58I'm Captain Hancock.
00:51:00How do you do?
00:51:01I think you've met
00:51:01Detective Jones.
00:51:03This is Detective Thompson.
00:51:04Hello.
00:51:08Pete, I'll tell you
00:51:09why we asked you
00:51:10and your assistant
00:51:11to come down here.
00:51:12A little while ago,
00:51:14we questioned the maid
00:51:15who was knocked down
00:51:15by a man
00:51:16who might have murdered Clayton.
00:51:18Time in the street,
00:51:19check out.
00:51:20Oh, then you have a clue,
00:51:22a suspect.
00:51:23No, no, only this.
00:51:25She claimed her assailant
00:51:26was a monster.
00:51:28Well, I suppose
00:51:28any victim of any assault
00:51:30would get delusions
00:51:30about an attacker.
00:51:32No, she was quite specific.
00:51:35She had a good look at him.
00:51:36She claimed he was huge,
00:51:38big arms and shoulders,
00:51:39had one eye
00:51:40out of its socket.
00:51:41Well, sounds rather
00:51:42as if she had hallucinations.
00:51:44Of course,
00:51:44since she was hysterical,
00:51:45I can understand.
00:51:47No, she was quite sure
00:51:48of her description.
00:51:49I buy her story.
00:51:50She made sense to me.
00:51:52Well, gentlemen,
00:51:53what's expected of me,
00:51:54of us?
00:51:55We want your views on it.
00:51:57You're supposed
00:51:57to be an expert.
00:51:58Well, I am an expert.
00:52:00Well, in that case,
00:52:01do you think that,
00:52:02um, some crackpot,
00:52:03after seeing some
00:52:05of your monsters
00:52:05in a picture, I mean.
00:52:06They're playing
00:52:07all over town.
00:52:08Now, do you think
00:52:08a weirdy like that
00:52:10could have tricked himself
00:52:11out in imitation
00:52:13and got carried away?
00:52:14Now, how can I put myself
00:52:16in the position
00:52:16of what you call
00:52:17a weirdy?
00:52:18Well, anything is possible.
00:52:20But in an amateur,
00:52:21the results would be crude.
00:52:22It doesn't take
00:52:23the finished product
00:52:24to commit a murder.
00:52:26I'm no authority
00:52:27on murder.
00:52:28That's your department.
00:52:29As for me,
00:52:30my job is to take
00:52:31an actor and transform
00:52:32him into whatever
00:52:33offbeat appearance
00:52:34the part calls for.
00:52:35Yes, I create a monster,
00:52:37but I don't build
00:52:38in violence.
00:52:40What do you know
00:52:41about all this?
00:52:43Why, nothing.
00:52:44I didn't do anything.
00:52:45You have an opinion,
00:52:45don't you?
00:52:46Rivera wouldn't know
00:52:47anything about it.
00:52:48Let him speak for himself.
00:52:49How long you work
00:52:50for Pete?
00:52:50About 25 years.
00:52:52Well, you certainly
00:52:53should have learned
00:52:54the tricks of the trade
00:52:54by now, then.
00:52:56All I know
00:52:56is I've been
00:52:57a good assistant.
00:52:58But if you wanted,
00:52:58couldn't you make
00:52:59somebody up to frighten people?
00:53:01He told you
00:53:01he was only my assistant.
00:53:03You shut up
00:53:03and let him talk
00:53:04for himself.
00:53:04Sure he's your assistant.
00:53:05We know that.
00:53:05How far does
00:53:06his assistants go?
00:53:07Now, who do you live with?
00:53:08I live alone.
00:53:09Where?
00:53:10Off Crenshaw,
00:53:111564 Sorrento Street.
00:53:14You ever been married?
00:53:15No, sir.
00:53:15Haven't you got
00:53:15any nephews, cousins?
00:53:17Or maybe some
00:53:17of the neighbor's kids
00:53:18asked you to make them up
00:53:18just for a prank.
00:53:19And maybe you didn't
00:53:20tell your boss,
00:53:21but on your own,
00:53:21because maybe you think
00:53:22you're just as good
00:53:22an artist as he is,
00:53:23you'd turn loose a monster.
00:53:25Well?
00:53:26Well, tell me, did you?
00:53:27No!
00:53:28I only do what Pete tells me.
00:53:30I'm a good assistant.
00:53:31Ask him.
00:53:31Ask him!
00:53:32Why don't you stop all this?
00:53:33You've gone far enough.
00:53:35Just because you have
00:53:36no suspect
00:53:37is no reason to bully him.
00:53:38Then why aren't
00:53:39you more cooperative?
00:53:40Now, look,
00:53:40we know you live
00:53:41in a world of make-believe.
00:53:42All right.
00:53:43Come out of it.
00:53:44Look what we're up against.
00:53:46Three shocking murders
00:53:47committed.
00:53:48Two of them at your studio
00:53:49while you were there.
00:53:50But we weren't the only ones.
00:53:51We're questioning everybody.
00:53:52I'm sure you gentlemen
00:53:53can solve those murders
00:53:54without us.
00:53:55I wish it was possible
00:53:55to really help you.
00:53:56Well, there is something
00:53:57you can do.
00:53:58Think back.
00:53:58All the actors you've made up
00:53:59in other pictures.
00:54:00Think of how they talk,
00:54:01what they said to you.
00:54:02After all, you were close to them.
00:54:03Do you believe that any of these
00:54:04for one reason or another
00:54:05might go berserk?
00:54:07I'm sorry.
00:54:08Offhand, I can't recall
00:54:09a single one.
00:54:11Thanks to our makeup job,
00:54:13they may have looked
00:54:13like killers.
00:54:15But under the grease paint
00:54:16and putty,
00:54:17they were only actors
00:54:18performing a role.
00:54:20Now, are we excused?
00:54:21Yeah, I believe so.
00:54:23I can go, too.
00:54:25We'll get back to you later.
00:54:26As I said,
00:54:27any way we can,
00:54:28we'll be pleased to cooperate.
00:54:38There's something weird
00:54:39about that old cunt.
00:54:40And his assistant, Rivero.
00:54:42Maybe that's what comes
00:54:43from spending all your life
00:54:44with monsters.
00:54:45I don't like the ways
00:54:46under the thumb of his boss.
00:54:47Well, you certainly tried
00:54:49to shake him loose.
00:54:50Were you really aiming
00:54:51at something?
00:54:52Potshots.
00:54:53Potshots.
00:54:55I'd hoped that they'd give us
00:54:56something tangible to go on,
00:54:58but I doubt it.
00:55:00They know more about
00:55:02make-believe monsters
00:55:03than they do about killers.
00:55:04Get a grip on yourself.
00:55:05You collapse like a sick calf.
00:55:07The interview is over.
00:55:09We've been questioned.
00:55:10The police are through with us.
00:55:11I'm not so sure of that.
00:55:12I didn't like the way
00:55:13they looked at us,
00:55:14or the way they dig at you,
00:55:16and the way that big fella said,
00:55:17I'll get back to you later.
00:55:18That's routine stuff
00:55:19with all police
00:55:20until a murder is solved,
00:55:21until the case is closed.
00:55:22Well?
00:55:23Well, what?
00:55:24I'm in no mood for riddles.
00:55:25What?
00:55:26Do you think this case
00:55:27will be solved?
00:55:28Well, it nearly was,
00:55:29with your help.
00:55:30If I hadn't stopped
00:55:31the detective from questioning you,
00:55:32you would have told him everything.
00:55:34You certainly were on the verge.
00:55:37You should have seen your face.
00:55:38You were ready to crack,
00:55:39spit wide open,
00:55:40and spilled everything,
00:55:41weren't you?
00:55:41No, no.
00:55:42I'd never give you away,
00:55:43only...
00:55:43Only what?
00:55:44Well, when they press me to the wall...
00:55:46Is the time to keep your mouth shut?
00:55:51Why did you say
00:55:51I do only what Pete tells me?
00:55:53Why?
00:55:54Well, it's true, isn't it?
00:55:55I do what you tell me.
00:55:56Well, not when you say it
00:55:57in that sniveling voice,
00:55:58and definitely not
00:55:59when you tell it to the police.
00:56:01It's as if you already had it
00:56:02in the back of your mind
00:56:03to betray me and save yourself.
00:56:04No, no, Pete.
00:56:05I'd never do that.
00:56:06I'd never betray you.
00:56:07I swear I'd never do that.
00:56:08Well, you stay that way
00:56:11and I'll protect you.
00:56:13Anyway, time's on our side.
00:56:15The picture's finished
00:56:16and our work is done.
00:56:18It's done, all right.
00:56:20But there's still the two boys,
00:56:21Larry and Tony.
00:56:22What about them?
00:56:23Well, don't you think
00:56:24the police will get to them?
00:56:25And if they're questioned...
00:56:26Rivero, those boys
00:56:27are still under my control.
00:56:29You'll see.
00:56:29They'll be waiting for me
00:56:30at the studio.
00:56:32Now, calm yourself.
00:56:33Take after me.
00:56:34See, I'm not the least bit worried.
00:56:36I know I can trust you.
00:56:39And I'll make sure
00:56:40the boys remain under my control.
00:56:42Hmm?
00:56:43Now, get in there.
00:56:44Now, get in there.
00:57:15Say, I think we've got something
00:57:16in the Clayton case.
00:57:17Yeah, what?
00:57:18Well, we analyzed the scrapings
00:57:20from under Clayton's fingernails.
00:57:21What'd you find?
00:57:21Grease paint.
00:57:22Putty.
00:57:22You mean the killer wore makeup?
00:57:24Well, he must have.
00:57:25We've already checked this
00:57:26against a trade product
00:57:27put out by makeup companies
00:57:28and our first findings are
00:57:29that the pigment and cosmetic base
00:57:31used in the sample we analyzed
00:57:32was special, like homemade.
00:57:35Instead of linseed oil, a blend.
00:57:37Anyway, we'll have to check suppliers
00:57:38for beauty parlors and studios.
00:57:40That can wait.
00:57:41There's one studio we're going to check on now
00:57:43and you're coming along with us.
00:57:44Get your equipment ready.
00:57:45We may want to make a spot analysis.
00:57:47You see, Rivero,
00:57:57they didn't even give me the courtesy
00:57:58of letting me pack my own things.
00:58:00Oh, sorry, boys.
00:58:04We were a little delayed.
00:58:05I hope you haven't been waiting long.
00:58:07Well, no, Pete.
00:58:08You asked us to meet you
00:58:09and, well, we did want to say goodbye.
00:58:12Of course, but not here.
00:58:16I'd like you boys to come to my house.
00:58:17We'll have a little food,
00:58:18a little celebration.
00:58:20After all, this is no way to end a friendship.
00:58:23Well, sure, Pete, but,
00:58:24look, you don't mind
00:58:25if we don't stay too long, huh?
00:58:27We both have dates.
00:58:28Fine.
00:58:29Now, how about you boys
00:58:30helping Rivero load the car?
00:58:32Oh, sure, Pete.
00:58:33We'll help.
00:58:35But you go ahead,
00:58:36wait for me in the car.
00:58:37I'll just gather up the last of my stuff
00:58:38and we'll be off in a jiffy.
00:58:40Okay.
00:59:16Hi, Pete.
00:59:22Oh, well, it's nice of you to drop in.
00:59:25I've been working with the film editor.
00:59:27I heard you were checking off the lot today
00:59:28and I wanted to say so long.
00:59:30Thanks.
00:59:31After 25 years, I'm through.
00:59:35This place has many memories for me.
00:59:38Too many.
00:59:39Pete, I hope we get to work together again.
00:59:42Well, thanks.
00:59:43I appreciate your sentiments,
00:59:45but I'm finished.
00:59:47You'll be back.
00:59:48You'll be back in all your glory.
00:59:50One picture can do it.
00:59:51Maybe one of those foreign imports.
00:59:53And the whole monster cycle
00:59:55is on its way again.
00:59:56And producers will be clamoring
00:59:57for the old makeup wizard.
00:59:58It's nice of you to say it.
01:00:01Well, good luck, Pete.
01:00:03Goodbye, Pete.
01:00:20Goodbye, Rivero.
01:00:21Take it easy.
01:00:22Bye, Richards.
01:00:23Oh, uh, Richards.
01:00:25On the top shelf of my closet
01:00:27in the makeup room,
01:00:28there's a bottle of bourbon.
01:00:29I got it as a present.
01:00:30Never opened it.
01:00:31I don't touch the stuff.
01:00:33Go ahead, take it.
01:00:34It's for you.
01:00:35Have a snort on old Pete.
01:00:37Thanks, Pete.
01:00:38Bye.
01:00:48Is Pete Dumont, the makeup man, still here?
01:00:50Just checked off the lot.
01:00:51I know where his makeup room is.
01:00:53Let's go there first.
01:01:07It looks like he took everything with him.
01:01:09Yeah, clean sweep.
01:01:10Except for this.
01:01:14Let's have a look.
01:01:21Well, here we are, boys.
01:01:41Leave the boxes there, boys.
01:02:05Let's have a look.
01:02:35Let's have a look.
01:03:05Let's have a look.
01:03:06I see.
01:03:07You, you called them your, your children?
01:03:11Why, yes.
01:03:14Later, I'll tell you their history,
01:03:16how each one came about.
01:03:18But now let's just look at them.
01:03:20This room is like a cathedral to me.
01:03:34This room is like a cathedral to me.
01:03:41This is where I come when I need help from a source stronger than myself.
01:03:44Don't you think we should be getting some refreshments?
01:03:58Oh, yes.
01:03:59Hmm?
01:04:00Oh, yes.
01:04:02Yes, of course.
01:04:03I lose myself here.
01:04:05After all, I'm your host.
01:04:07Make yourselves at home, boys.
01:04:08This is the first time he's had guests here.
01:04:11You young men should feel honored.
01:04:12We do.
01:04:13We certainly do.
01:04:15Look around, boys.
01:04:17Study these heads.
01:04:18You'll recognize some great names among them.
01:04:21Artists who even behind the mask of horror achieved eternal fame.
01:04:29Study them closely.
01:04:31They'll be an inspiration to you.
01:04:33Larry, I say we cut out.
01:04:44Oh, man, you saw, you heard.
01:04:46If you don't dig the old man's collections, we'll hurt his feelings.
01:04:49It gives me the creeps.
01:04:50Yeah, he does, too.
01:04:52I wouldn't have come.
01:04:54Only he said it was some kind of celebration, a party.
01:04:57Yeah, it's a party, all right.
01:05:00All the guests are stuffed heads.
01:05:01We shouldn't have come, no matter how much you pressured.
01:05:04He makes it tough to refuse.
01:05:06I know.
01:05:08You know, Pete's got ways about him.
01:05:11I don't know, strange ways.
01:05:13Like when he was making you up for the picture,
01:05:15putting on that foundation cream.
01:05:18Did he give you a lot of stuff about how this would be your last job
01:05:20and that enemies would drive you out of the business
01:05:23and that only he could protect you?
01:05:26Yeah, yeah, he did.
01:05:27Yeah, I meant to check with you about that, only I forgot.
01:05:29I don't mean I forgot in a careless way.
01:05:32I just forgot.
01:05:34Like when he finished, everything kind of left me.
01:05:37You know, like went out of my head.
01:05:38Yeah, me too.
01:05:40It's only since the last scene was shot that I...
01:05:42Hey, Tony, tell me.
01:05:43When he finished, did he take off?
01:05:45Pete, I never criticize you.
01:05:50But I believe you made a mistake in bringing Larry and Tony here.
01:05:54Why?
01:05:55I don't think they can be trusted.
01:05:56Nonsense.
01:05:57Not trust these boys.
01:05:58They've already demonstrated quite favorably that they obey my orders.
01:06:02You know I have them under control.
01:06:03But you won't.
01:06:05Now that the picture's finished and you haven't helped their careers,
01:06:07your control will wear off.
01:06:09And the police are sure to talk to them.
01:06:11It's quite possible.
01:06:12And when the police begin to pressure them, they're bound to crack.
01:06:16That's why I want to leave.
01:06:18To visit my brother on his ranch in Arizona.
01:06:23Rivera, my old friend.
01:06:25I see your point.
01:06:27You want to leave me to face whatever comes alone.
01:06:30Oh, no, Pete.
01:06:31I just want to get away for a few weeks' rest.
01:06:33And you do this not because of disloyalty to me,
01:06:36but because you don't trust Larry and Tony.
01:06:38Now, isn't that why you want to leave?
01:06:40Yes, yes, that's it.
01:06:42These young men are not strong the way you are.
01:06:45No, of course not.
01:06:46If only they had your devotion to me, your iron nerves.
01:06:51But they haven't.
01:06:53What a source of strength and comfort it is to me that I can be sure of you.
01:06:57Of course you can, Pete.
01:06:59And should the police speak to you alone, you wouldn't reveal a thing?
01:07:03No, not a thing.
01:07:04Even if they gave you a third degree,
01:07:05they couldn't squeeze the tiniest bit of confession from you, could they?
01:07:08Of course not.
01:07:09But these boys, they'll crack.
01:07:14Yes.
01:07:15Yes, Pete.
01:07:16And I tell you now,
01:07:18if anything happens to you after I leave,
01:07:21they'll be the ones to blame.
01:07:24The boys, not you.
01:07:29Not me.
01:07:33I'll remember that,
01:07:40old friend.
01:07:42No.
01:07:54Oh, Lord.
01:07:58Oh, great.
01:08:00Oh, God.
01:08:01No.
01:08:02No.
01:08:02No.
01:08:02No.
01:08:04No.
01:08:04No.
01:08:04No.
01:08:06No.
01:08:06Your refreshments, boys.
01:08:32Ahead, you must be thirsty.
01:08:33Yeah, my throat is getting dry.
01:08:40Where's Rivero?
01:08:41Oh, he's in the kitchen preparing dinner.
01:08:44We're not hungry.
01:08:46Not at all hungry.
01:08:47Well, you don't have to bother.
01:08:49In fact, Larry and me have sort of a, well, dinner date.
01:08:52But you mustn't think of leaving yet.
01:08:54I brought you both here for a purpose.
01:08:56I can't let you go until that's accomplished.
01:08:59What purpose?
01:09:00I have a great honor to bestow upon you.
01:09:07Like what?
01:09:09I intend to add you two to my collection.
01:09:13Add us?
01:09:15How?
01:09:16It's always been my ambition to crown my collection with a werewolf and a Frankenstein monster that I created completely.
01:09:24Soul as well as body.
01:09:25But what about those?
01:09:29They're only images fashioned from memory.
01:09:34You want real heads on your wall?
01:09:38As real as I can get them.
01:09:41For the present, I only want to take your measurements to get exact replicas of your heads.
01:09:45You, you've got the stills?
01:09:47Oh, no.
01:09:48No, photographs are not enough.
01:09:50My new additions will be lifelike.
01:09:54Just think, in the years to come, you'll both be up there.
01:10:00A refuge, a permanent home.
01:10:03Now, look, Pete.
01:10:06We're thankful for you and all that.
01:10:07And, well, we know it's an honor.
01:10:10Well, but to level with you, we don't feel quite right in here.
01:10:15We'd like to get out.
01:10:16To tell you the truth, we tried.
01:10:19But you locked the door.
01:10:21Yeah, so just let us out.
01:10:24Is that how you repay me?
01:10:26Now, look, Pete.
01:10:27You did something to us.
01:10:31Tony and I talked it over.
01:10:33Can't exactly put our fingers on it, but it's the same we want to leave.
01:10:38After all my big plans for you, are you two trying to break away from me, from my influence?
01:10:43Now, don't try to confuse us anymore.
01:10:45We don't want you or your influence.
01:10:47Now, just open the door.
01:10:49I suppose if I let you go like a pair of sniveling babes, you'll go running to the police.
01:10:54What's the police got to do with it?
01:10:55As you know, there were three murders committed.
01:10:59What's that got to do with us?
01:11:01I'll tell you.
01:11:03The new executives threw me out.
01:11:05I swore I'd bring the studio down over their heads.
01:11:09I did.
01:11:12The studio's practically closed, and they'll never issue another order.
01:11:19Three murders, and we're all involved.
01:11:23Each of us must take credit for one.
01:11:31You're crazy, Pete.
01:11:33Not crazy enough to let you escape.
01:11:41What have you done, you fool?
01:11:42My children!
01:12:03I must serve my children!
01:12:04My children! I must save my children!
01:12:08You fools! What did you do?
01:12:10My children are dying!
01:12:12Save my children!
01:12:34Call the fire department!
01:12:38Break it in!
01:12:44Take them downtown!
01:12:46Where's Pete and Ribeiro?
01:12:48I don't know where Ribeiro is.
01:12:50But it's too late for Pete!
01:12:52Take them downtown!
01:12:54Where's Pete and Ribeiro?
01:12:56I don't know where Ribeiro is.
01:12:58But it's too late for Pete!
01:13:00He's in there!
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