🎬 The Death Kiss (1932) | Full Movie 🎬🔍 Pre-Code Murder Mystery with Bela Lugosi - video Dailymotion

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📖🎥 Lights, camera… murder! Dive into the shadows of early Hollywood with The Death Kiss (1932), a stylish pre-Code crime mystery that takes you behind the scenes of a film set where fiction turns fatally real.  When a leading actor is shot dead during a take, everyone on set becomes a suspect — and the studio's secrets come dangerously close to the surface. Is it part of the script... or something far more sinister?   ⭐ Reuniting the trio from Dracula (1931) — Bela Lugosi, David Manners, and Edward Van Sloan — this moody whodunit blends early sound-era drama, film noir vibes, and meta-Hollywood storytelling to create a unique vintage mystery experience.   💡 A must-watch for fans of classic thrillers, pre-Code Hollywood, and the early careers of horror legends — with just the right amount of glamour and grit.  ________________________________________  📺 Explore More Classic Mysteries, Horror & Vintage Films:  👉 Classic Movie Playlist 🎥  ________________________________________  🔖 Hashtags:  #TheDeathKiss #FullMovie #BelaLugosi #ClassicMystery #1930sMovies #GoldenAgeHollywood #PreCodeCinema #MurderMystery #PublicDomainMovies #OldHollywood #FilmSetWhodunit #DraculaCast #VintageCrime #ClassicCinema #FreeMovies  ________________________________________

Transcript

00:00:00The End

00:00:30The End

00:01:00The End

00:01:30The End

00:01:59Most annoying

00:02:00Right under my very nose

00:02:03Your nose

00:02:04I'll get the car, sir

00:02:06Save them

00:02:21Save them

00:02:33Okay for town, Mr. Avery

00:02:34How is it for you, George?

00:02:36Okay

00:02:37All right

00:02:37We do it again

00:02:39Soak number 10

00:02:40Up high

00:02:4199

00:02:41Quiet

00:02:42Do you want to move in

00:02:49And take a close-up

00:02:50At the top of the stairs?

00:02:52No, that was terrible

00:02:53I'll make it over

00:02:53Yes, sir

00:02:54We'll do it again, folks

00:02:57All right

00:02:58Move that car back here

00:03:01All right, hold it

00:03:02Come on

00:03:03Hit them all

00:03:03Take it easy

00:03:06Oh, uh, Mr. Brent

00:03:07When you die this time

00:03:09Let's have less gymnastics

00:03:11And don't spin like a top

00:03:13When you fall

00:03:13Okay

00:03:14Okay, let's go

00:03:16Come on, folks

00:03:17Move up and over a little

00:03:18What's the matter?

00:03:21What's the matter?

00:03:24Stay back, everybody

00:03:25Hey, Pete

00:03:31Call the doctor

00:03:32Come on, give me a hand

00:03:33Let's get him to his dressing room

00:03:34All right

00:03:35We won't need a doctor, George

00:03:44He's dead

00:03:46Dead?

00:03:48Dead

00:03:48Round up every man that had a gun

00:03:58Get the property man

00:03:59And find out who loaded those guns

00:04:00And see that the body isn't touched

00:04:02I'm going to phone the front

00:04:03Yes, sir

00:04:04All right, everybody

00:04:05Line up over there

00:04:06All right, come on

00:04:07And all you fellas

00:04:08In the right junk stand over there

00:04:10Hey, Bill

00:04:11Come on

00:04:12Keep that door closed

00:04:15And see that no one leaves the stage

00:04:17And no one comes in

00:04:18Yes, sir

00:04:19My dear, Mr. Little

00:04:24Since I read your scenario

00:04:27I've 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

00:04:41Ach

00:04:42Yes

00:04:45Oh, yes, Mr. Avery

00:04:47Just a minute

00:04:48It's Mr. Avery

00:04:50Tell him to finish on schedule

00:04:51He's two days behind already

00:04:53Talking to me is a wasting time

00:04:55But he says it's important

00:04:56That's the trouble

00:04:57He's too important entirely

00:04:58Hello

00:04:59What?

00:05:04Brent

00:05:04Shot

00:05:05Dead

00:05:07Boy, that's going to cost me a fortune

00:05:10What a calamity

00:05:11Quick

00:05:12Call Steiner

00:05:13Tell him

00:05:13Tell him Brent was killed

00:05:14Shot

00:05:14What a calamity

00:05:15What a calamity

00:05:16I give it to you

00:05:23I give it to you

00:05:23Thanks

00:05:24Yes

00:05:26Miles Brent was shot on the set

00:05:28Killed

00:05:29Mr. Grossman has gone to the stage

00:05:31I give it to you

00:05:33I give it to you

00:05:35Miles Brent

00:05:37Killed

00:05:40On 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

00:05:46And 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

00:05:51Until you hear from me

00:05:52Sure, but rescue me

00:05:53As quickly as possible

00:05:54They'll be on my neck

00:05:55Just as soon as the police

00:05:56Get the joyful news

00:05:57Miss Manning

00:05:57Yes

00:05:58Phone the brigade on the lot

00:06:01And tell them

00:06:03Not to let anyone in or out

00:06:04Until they hear from me

00:06:05Very well

00:06:06Thanks

00:06:06Hey, why don't you watch

00:06:12Where I'm going

00:06:13What's the hurry, Gumshoe?

00:06:19Miles Brent's been shot

00:06:20Well, now there's a job

00:06:23That should have been done

00:06:24Years ago

00:06:24Oh

00:06:25You don't have to rewrite

00:06:28Any stuff for the death kiss

00:06:29Now

00:06:30No

00:06:31Say, Marsha was on the set

00:06:33With him, wasn't she?

00:06:34Sure

00:06:35But I don't think she did it

00:06:36What stage?

00:06:38Three

00:06:38Drop this stuff in my office, will you?

00:06:52Miles Brent, huh?

00:06:53Picture actor

00:06:54My wife always liked it

00:06:56I have that kind of trouble, too

00:06:58Come on, let's go

00:06:59All right, fellas

00:07:02Here's something hot

00:07:03Miles Brent killed

00:07:05Shot

00:07:05Soundstage number three

00:07:07Tone art studio

00:07:07You sure about me

00:07:09Just a minute

00:07:09Tone art studio

00:07:10Operator

00:07:11Hey, that's the evening star phone

00:07:13You're telling me

00:07:14Hey, Storm

00:07:15Give me the journal, will you please?

00:07:16Hello

00:07:16Tone art

00:07:17I want Pat Hill in the publicity department

00:07:20Come on, snap into it

00:07:21You know me, Connelly

00:07:22I never held out on the evening star yet

00:07:24Yeah, I know all about your deadline

00:07:25Yeah, you'll get the facts

00:07:26Call me back

00:07:27Yeah, never mind

00:07:29I'll get it

00:07:30Yeah

00:07:32Yes, Morris, I know

00:07:34But can I help him

00:07:34If he's shot in the morning

00:07:35You've got to take those things

00:07:36As they come

00:07:36Yeah, I'm going over there right away

00:07:38The police ought to be here now

00:07:39Yeah, call me back in ten minutes

00:07:41Hey, come back here

00:07:55Get out of that door

00:08:12Get out of that door

00:08:13Maybe let's go

00:08:19Yeah

00:08:20Detective Lieutenant Sheehan

00:08:29Homicide squad

00:08:30Who's in charge here?

00:08:32I've been trying to get things straightened out for you

00:08:34My name is Steiner

00:08:35Studio manager

00:08:37What happened?

00:08:38Well, the company was shooting a scene

00:08:40During which several people fired guns at Brent

00:08:43And someone used real bullets, huh?

00:08:45People do get hurt that way

00:08:47That's the director's guess

00:08:48Oh, the director

00:08:49Did, uh, he happen to guess who did it?

00:08:53No

00:08:54Well, that's unfortunate

00:08:55Looks like we'll have to do some guessing on our own

00:08:59Come on, Hill, loosen up

00:09:04Was it an accident or did somebody really bump him off?

00:09:06I tell you, I don't know

00:09:06Then let us in on the lot so we can find out

00:09:09I can't let anyone on the lot

00:09:10Marsha Lane was with him in the picture, wasn't she?

00:09:12Sure, she was doing the lead opposite him

00:09:13Marsha, oh, his ex-wife

00:09:15That helps the story

00:09:16Hey, what's the name of the picture?

00:09:18The death kiss

00:09:18The death kiss?

00:09:20Gee, what a tie-up

00:09:21Pardon me

00:09:21Hang off some phone

00:09:22Just a minute, boys

00:09:23I'll be right with you

00:09:24But wait a minute

00:09:24Can't we get the angle on this thing?

00:09:27Couldn't very well see what happened

00:09:28And there were eight men with guns?

00:09:30Yes

00:09:30Hmm, well, it might have been an accident, but

00:09:34Frank, you don't think it was murder?

00:09:38Darling, I don't even know yet whether he was shot

00:09:40Maybe he just died of old age

00:09:42Maybe he never even existed at all

00:09:44Now you wait here

00:09:46I'm going to have a look around

00:09:47Your gun

00:09:53Yours

00:10:01You break it

00:10:07Nothing but blanks left of these guns

00:10:18Any other guns on the set?

00:10:24That's all I know of

00:10:25You see, Captain, it's strictly an accident

00:10:42Lieutenant Sheehan

00:10:43What's your name?

00:10:45Leon A. Grossmith

00:10:45I'm the president of this concern

00:10:47Well, what about it?

00:10:49Now look here, Sergeant

00:10:50Do 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

00:10:57Three hundred and fifty-one dollars

00:10:58Yes

00:10:59And it cost Brent his life

00:11:00Which also loses me money

00:11:02I can't have no more Brent pictures

00:11:03Now pardon me, Lieutenant

00:11:04Mr. Grossmith means to convey

00:11:07That this regrettable accident

00:11:09Need not be converted into a Roman holiday

00:11:11For the rabble

00:11:12Now I assure you that Mr. Grossmith

00:11:14Feels deeply

00:11:15Very deeply

00:11:16The tragedy of this affair

00:11:17And his point is, naturally

00:11:19Not to throw consternation

00:11:21Into that great and unseen army

00:11:23Of Mr. Brent's admirers

00:11:25Now that is precisely

00:11:26What Mr. Grossmith means

00:11:27That's just what I was going to say

00:11:29Mr. Steiner

00:11:30Mr. Steiner

00:11:31Pardon me

00:11:32What is it?

00:11:33The papers are on my neck

00:11:34I've got to tell them something

00:11:35There's no use telling them any longer

00:11:36And they've got a story now

00:11:38About a mysterious woman

00:11:39Who is she?

00:11:39They don't know themselves

00:11:40But 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 them

00:11:44You don't know those boys

00:11:46They've got imagination

00:11:47I don't care

00:11:48They've got fallen arches

00:11:49Tell them the branch shooting

00:11:50Was an unfortunate accident

00:11:52Yes

00:11:52Is that satisfactory to you, Lieutenant?

00:11:55Nothing satisfactory to me

00:11:57I can't tell what it is

00:11:58Because

00:11:58I don't know myself

00:11:59Oh

00:12:00Here's all you had on him

00:12:02Oh

00:12:02Keep that

00:12:13Here you have to know that

00:12:26I thought you were told

00:12:27guessed by David

00:12:27I said

00:12:28I thought you were going to know that

00:12:29What is it?

00:12:30I said

00:12:31I thought that

00:12:31You were going to be

00:12:32Maybe with nichts

00:12:33But I didn't know where it was

00:12:33You could win

00:12:34I don't know you

00:12:35I thought that

00:12:36You have to give you

00:12:36I thought you you're going to do

00:12:37You've got deja

00:12:39And I thought that

00:12:40I thought you were looking

00:12:40I'm sorry to gum up the works, but it wasn't an accident. It's murder. Murder? Oi, what's a calamity.

00:13:00How do you know? This is the bullet that killed him. The .38 caliber sent a fire. All the guns the extras used were .45s.

00:13:08And you can't fire a .38 bullet through a .45 gun. It's an old Chinese principle.

00:13:16Where did you get this? Out of the wall of the set.

00:13:19Don't you know better than to meddle in police matters?

00:13:21Oh, I'm sorry. I didn't mean to meddle. I just wanted to help.

00:13:24You see, I like to dabble a bit in murder cases.

00:13:27Well, you just go and dabble someplace else.

00:13:30All right.

00:13:32Who is he?

00:13:34One of our scenario writers, Franklin Drew.

00:13:36Oh, writes detective stories, I suppose.

00:13:39Yes. How do you know?

00:13:41They always do.

00:13:43Well, this 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.

00:13:50That brilliant young man who said there were no other guns on this set.

00:13:53Right.

00:13:58Who's Marshal Lane?

00:14:00What?

00:14:00You don't know who is Marshal Lane?

00:14:04Over a million dollars we spend that with her, Signora.

00:14:06I don't know who Marshal Lane is.

00:14:07Where is she?

00:14:08She was on the set just a minute ago.

00:14:09Well, let's have a talk with her.

00:14:10I'll ask Miss Lane to come here.

00:14:12Yes, sir.

00:14:17Now, Steiner and the detective want to see Miss Lane immediately.

00:14:21Well, hurry.

00:14:22I am fluttering, sweetheart.

00:14:23Bill, tell Miss Lane Steiner and Dick want to see her.

00:14:28Okay, Chief.

00:14:30Oh, Pete.

00:14:32Rush Miss Lane over to Mr. Steiner and Dick.

00:14:35Now?

00:14:36No, next Tuesday, you sap.

00:14:39Oh, come on.

00:14:40Get going.

00:14:41All right.

00:14:44Pardon me, Miss Lane.

00:14:46Mr. Steiner and the Dick want to see you.

00:14:50You're welcome.

00:14:51What 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

00:14:59to give the guilty ones plenty of time to make up good alibis.

00:15:03It's part of the system.

00:15:04It's been going on for years.

00:15:14Sit down, Miss Lane.

00:15:18I don't wish to be unpleasant.

00:15:21But there are a few questions I'd like to ask you.

00:15:24Certainly.

00:15:24How long have you and Brent been separated?

00:15:29We were divorced last May.

00:15:31Why?

00:15:32Well, I don't quite see.

00:15:33Divorce is a matter of record, Lieutenant.

00:15:35I don't think we need to go into that now.

00:15:37Say, will you go up to your office and write bad little boy 500 times?

00:15:41When 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?

00:15:54Personally, I don't care who killed Brent.

00:15:57But I would like to know how it was done.

00:15:59Besides that, I'm...

00:16:00I'm a friend of Miss Lane's.

00:16:04Wasn't your name mentioned during the divorce proceedings?

00:16:06No.

00:16:07Sorry to disappoint you.

00:16:10What did you do with your gun, Miss Lane?

00:16:12My gun?

00:16:13Yes.

00:16:14I didn't have a gun.

00:16:15Didn't you use one in the picture?

00:16:16No.

00:16:16But when you fired with the other...

00:16:17As a matter of fact, if Miss Lane had fired, she couldn't have hit him.

00:16:19She was around on the other side of the set when she took place.

00:16:22Say, if you don't lay off, I'm going to take you downtown.

00:16:24What for?

00:16:25How do I know what for?

00:16:26Oh, good.

00:16:27I was beginning to be afraid that you might say something sensible.

00:16:29Hey, what are you trying to do there, huh?

00:16:41Don't move now.

00:16:42I've got you surrounded.

00:16:44Don't lie now.

00:16:46What did you try to hide in there, huh?

00:16:47Why, nothing.

00:16:47I...

00:16:48Yeah, we'll see about that.

00:16:49Hold this a minute.

00:16:50Now, wait a minute.

00:16:51Wait a minute.

00:16:52No, you don't.

00:16:53Yeah.

00:16:54Oh, yeah.

00:16:55This letter, already the mail, was found in Miles Brent's pocket.

00:17:00In this letter, he told his lawyer that Marsha Lane refused to sign a release as beneficiary

00:17:07of 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.

00:17:13I know all about that.

00:17:15Say, it's too bad you weren't the one that was shot.

00:17:19So that gives you a pretty nice motive.

00:17:22No funny business now.

00:17:23Come on now.

00:17:23Come on.

00:17:23Keep moving now.

00:17:25There's your man, Chief.

00:17:29I caught him red-handed.

00:17:31He was trying to ditch his gun.

00:17:32Look.

00:17:33It's loaded, too.

00:17:34I tell you, I didn't.

00:17:34Save your brat.

00:17:35Put the bracelets on him, Owen.

00:17:38Now, 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...

00:17:48I says to myself,

00:17:50That's the man.

00:17:52I guess I used uncanny skill.

00:17:54Thirty-eight caliber and loaded.

00:17:57It's the gun, all right.

00:17:58Who is this fellow?

00:17:59Name's Chuck.

00:18:00He was an extra on the set.

00:18:01Why did you kill Frank?

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.

00:18:08Why?

00:18:09I'll tell you I didn't.

00:18:10Now, you've got to listen to me.

00:18:11You'll have plenty of time to talk later on.

00:18:16Do you know this man?

00:18:20Why, 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?

00:18:26Now, wait a minute, Lieutenant.

00:18:28Why not pin the murderer on the murderer?

00:18:30That's not against the rules.

00:18:32What are you talking about?

00:18:33Chalmers didn't kill Brent.

00:18:35How do you know?

00:18:36This gun hasn't been fired.

00:18:46How did this gun come to be loaded?

00:18:48I loaded it for Brent.

00:18:49I lost my nerve.

00:18:50So you had planned to kill Brent, huh?

00:18:52Yes, 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 you're giving us the rats.

00:19:04Prove it.

00:19:04You're a detective?

00:19:07Take 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.

00:19:13Yes, perhaps you have some very valuable suggestions.

00:19:16Yes, I have.

00:19:18What?

00:19:19The cameras were photographing when Brent was killed.

00:19:23There might be something very interesting on the film.

00:19:24It wouldn't hurt to look.

00:19:28Not bad.

00:19:29How soon can we see the stuff?

00:19:33We could get a print in, say, three or four hours.

00:19:36Will you get them going?

00:19:37Certainly.

00:19:38Come, Mr. Brussmith.

00:19:39You take the name and address of every person on this set and warn them all about trying to leave town.

00:19:49Right.

00:19:50In any of your books, does the detective ever sock the novelist on the nose?

00:20:01No.

00:20:03Write it in sometime.

00:20:05Seems to me like a good idea.

00:20:07Bill, George?

00:20:11Oh, hello, sir.

00:20:21Marcia.

00:20:22Oh, Frank.

00:20:24It won't be very pleasant to see it all over again.

00:20:26But it may help us a lot.

00:20:28Watch carefully.

00:20:29Okay.

00:20:37Is everybody here?

00:20:43I think so, Mr. Grosmith.

00:20:45Mr. Steiner's in the projection booth.

00:20:47He'll be right in.

00:20:48All right.

00:20:49Here he is now.

00:20:53You ready, Mr. Grosmith?

00:20:55Yes.

00:20:56Mr. Grosmith's ready.

00:21:01Quiet, please.

00:21:03Quiet.

00:21:07All right, turn him over.

00:21:08Rolling.

00:21:10Mark it.

00:21:14Action.

00:21:23Can you take a counter?

00:21:25It'll be right here.

00:21:35Thanks, Hanson.

00:21:36I just couldn't pass you up.

00:21:45Believe it or not, I've never seen her in my life before.

00:21:48I must have been overlooking something.

00:21:50Oh, Ruddy, shame, sir.

00:21:51Most annoyed.

00:21:52Why come to my pity news?

00:21:55Your nose?

00:21:56Oh, I'll get the car, sir.

00:21:57Huh.

00:21:57Lights!

00:22:05Lights!

00:22:06Turn on those lights!

00:22:07I wonder what that was.

00:22:08Wait, did you see that?

00:22:09Did you see that?

00:22:11and you see that?

00:22:12Yeah.

00:22:20Oops.

00:22:20I don't know.

00:22:20Oops.

00:22:34He's not hurt badly, but he must have received a shot blue.

00:22:43Yeah, it looks like it was done with a blunt instrument.

00:22:46You know, I had an uncle once, was knocked out the same way, only he got hit with a shovel.

00:22:50Whoever rocked your cradle overdid it.

00:22:54A rouge-tipped cigarette butt started it off.

00:22:56Can you tell me, is that studio makeup?

00:22:59I'll have to see.

00:23:01Perhaps which is our makeup man who tells you?

00:23:02Thanks.

00:23:04How did it happen?

00:23:08I swear, I don't know.

00:23:10I was leaning over the machine, checking the focus.

00:23:15I thought the building came down on me.

00:23:17How about another print?

00:23:18Yes, and we'll take care of it this time.

00:23:20There was something on it.

00:23:22And whoever touched it off didn't want it to be seen.

00:23:24We can have the laboratory run one off right away.

00:23:26Could we, Mr. Goldsmith?

00:23:28Why, yes, there's no reason why we couldn't.

00:23:31Will you come with me?

00:23:32No, Hillock will go with you.

00:23:33I have another angle.

00:23:35Where'll I find this makeup man?

00:23:37Makeup department.

00:23:38Clear around the other end of the lot, just the end of S Street.

00:23:41Sounds like a sleeper, gentlemen.

00:23:42Thanks.

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.

00:23:54Who are they?

00:23:55Miss Collins and Miss Lane.

00:23:57Who's Miss Collins?

00:23:58She's one of our players.

00:23:59Is 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?

00:24:08As far as I know.

00:24:11I see.

00:24:14Thanks.

00:24:14You're welcome.

00:24:15Now, wait a minute.

00:24:16You have quite a stock of this rouge on hand, haven't you?

00:24:19A 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.

00:24:26And the cabinets are locked?

00:24:28Yes.

00:24:29Excuse me.

00:24:31Hello.

00:24:32Just a minute.

00:24:33It's for you.

00:24:36Hello.

00:24:38Yes, Hilliker.

00:24:41How?

00:24:43All right.

00:24:44You stick around there and see what you can find out.

00:24:46Tell Steiner I'll see you to his office.

00:24:49The 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?

00:24:57I'll show you.

00:24:58Thanks.

00:24:59And you're not going with me.

00:25:01Right at the head of the street.

00:25:06Thanks.

00:25:06I want to have a map of this place.

00:25:08Oh, Lieutenant.

00:25:09Of course you know that anybody could have taken the rouge from Miss Lane's dressing room.

00:25:13Sure.

00:25:14A very interesting detail.

00:25:21What do you make of it, Drew?

00:25:23Got me?

00:25:24It's more of a mystery than anything I ever wrote.

00:25:26What I can't understand is why anyone should want a murder print.

00:25:31Now, if it were a supervisor.

00:25:34I don't see why anybody wants to murder anybody.

00:25:36It's a silly idea.

00:25:38You're going to try and solve it?

00:25:41Yes.

00:25:41Why not?

00:25:43It'd be fun.

00:25:44Besides, Marsha.

00:25:45Yes.

00:25:46Oh, say, Tom.

00:25:47If you see her, don't say anything about that cigarette business.

00:25:49It's only upset her.

00:25:50No, no, no, no.

00:25:51Of course not.

00:25:51If I can help you, let me know.

00:25:53Thanks.

00:25:54Has anything been moved on the set?

00:25:56No.

00:25:57Police instructions were to leave everything undisturbed.

00:25:59Well, I'm going to have another look around.

00:26:01I want to find out just how he was murdered.

00:26:03And with what gun.

00:26:04Say, I got an idea of how Brent was killed.

00:26:11You want to hear it?

00:26:11Some other time.

00:26:12Better go home and sleep it off, Chalmers.

00:26:14No, that's what you think.

00:26:15Chalmers don't know anything, huh?

00:26:17Well, listen.

00:26:18I've been on the set and I've been seeing things.

00:26:21Yeah, snakes and pink elephants, I'll bet.

00:26:23All 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.

00:26:29Oh, I'll see you in the morning.

00:26:31Go on home.

00:26:31The old boy evidently cashed his pee check and drank it.

00:26:37Want to have a look around with me?

00:26:38No, I'm not much of a detective.

00:26:41Besides, Mrs. Avery's waiting for me.

00:26:43All right.

00:26:45Good luck.

00:26:46Thanks.

00:27:01Good luck.

00:27:18Good luck.

00:28:19Go find Sheehan.

00:28:34He's someplace on the lot.

00:28:35Bring him here.

00:28:38Mr. Drew.

00:28:39Mr. Drew, what happened?

00:28:41What happened?

00:28:43Here.

00:28:44Here.

00:28:44It's swell, ain't it?

00:28:48I made it myself.

00:28:52Who's in there?

00:28:53It's all right, Sheehan.

00:28:58What's going on now?

00:28:59Plenty.

00:29:00I found the gun that killed Brent.

00:29:02Where?

00:29:03Right here, in this lamp.

00:29:05Why, it's gone.

00:29:09So it seems.

00:29:11Probably got tired sitting there and decided to take a walk.

00:29:14No, I'm not kidding.

00:29:15I came down on the set to have a look around.

00:29:17Just by accident, I noticed this smudge on the lamp here.

00:29:21So I looked inside.

00:29:22Found a small derringer fastened there.

00:29:25Attached to an electromagnet.

00:29:27There's the wire it was connected to.

00:29:29And 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.

00:29:38Who has charge of these lamps?

00:29:40Head gaffer.

00:29:41Well, what's that in English?

00:29:42The chief electrician.

00:29:43Who is he?

00:29:44Al Payne.

00:29:45Where can I find him?

00:29:46Here, Tom will take you over.

00:29:48Come here, kid.

00:29:48Let me take a look at that head.

00:29:51Now, that's all right.

00:29:52Now, listen.

00:29:54You stop monkeying around with police matters.

00:29:56It's a tough racket.

00:29:57That head of yours won't stand another wallop.

00:29:59Come on, let's get going.

00:30:03Mr. Drew, I've been thinking.

00:30:06No.

00:30:07Yeah, the first thing I ask myself when I investigate the murder is,

00:30:11whodunit.

00:30:12Well, that sounds logical.

00:30:13And the next thing I ask myself is, who could do it?

00:30:16And then?

00:30:17And then I ask myself again, who wanted to do it?

00:30:21And how do you answer yourself?

00:30:23Well, I ain't come to that yet.

00:30:26You take Chalmers, for instance.

00:30:28He didn't like Brent.

00:30:29Well, why should he be an exception?

00:30:31He 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.

00:30:38Head gaffer?

00:30:39Yes, Chalmers is an electrician, isn't he?

00:30:41Yeah, Chalmers had a couple of drinks, and him and Brent had an argument.

00:30:44Say, Gully, you are a first-class gumshoe.

00:30:49Investigator.

00:30:50All right, investigator.

00:30:51Right now, will you run up to the casting office and investigate, and find out where Chalmers lives?

00:30:55Sure, what are you going to do, put the finger, I mean, apprehend him?

00:30:58Maybe.

00:30:59You want to come along?

00:31:00Oh, boy, I'll say.

00:31:00Got a gun?

00:31:01Yeah.

00:31:02Oh.

00:31:03Got my gun, my badge, and my...

00:31:05Well, you don't need those.

00:31:06Come on, let's get going.

00:31:07The 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.

00:31:16When was this set lit?

00:31:18The afternoon before.

00:31:19They rehearsed the scene with the principal, so they wouldn't hold the company up when

00:31:24they 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.

00:31:33Mr. Steiner didn't like the photography, and he wanted more light.

00:31:36Steiner?

00:31:37Was he there when it was rehearsed?

00:31:38Yes.

00:31:39Who else?

00:31:40Well, they're all there, with the exception of the extra people.

00:31:44Well, no extras there, huh?

00:31:45No, only Chalmers.

00:31:47You know, he's a sort of a privileged character around this lot.

00:31:50He used to be our head gaffer.

00:31:52Chalmers used to be an electrician?

00:31:54Yes.

00:31:55Miss Lane felt sorry for him, and made Mr. Avery give him a bit in her picture.

00:31:59Oh, Miss Lane got him the job.

00:32:01Yes.

00:32:03Could you give me the address of the cameraman and Chalmers?

00:32:08Sure.

00:32:09And, by the way, if a writer by the name of Drew asks you anything,

00:32:15don't answer him.

00:32:17True.

00:32:18Say, do you think he did it?

00:32:20Well, you can't keep me from hoping.

00:32:24This is it.

00:32:25This is it.

00:32:25Look, that Chalmers is in trouble again.

00:32:54Do you wish to see Mr. Chalmers?

00:33:03Yes.

00:33:03Is he in, Mrs., uh...

00:33:05Miss Potts?

00:33:06And I don't know anything at all about his comings and goings.

00:33:09Doesn't he answer the bell?

00:33:10No, he doesn't.

00:33:11I was just going in, cleaning day today, you know.

00:33:14I 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 go, he wasn't so bad until he lost his job.

00:33:26Then he started acting queer-like.

00:33:28See?

00:33:29I told you.

00:33:32I 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.

00:33:41Well, this is the end.

00:33:43This is no key liqueur.

00:33:44Out he goes.

00:33:45I'm sick and tired of his carrying's on.

00:33:47The fellow's dead.

00:33:51Dead?

00:33:52Well, he didn't think of me.

00:33:54No, not him.

00:33:55I suppose my 2850 back wind has gone up the flue.

00:34:01Did I have Chalmers spotted?

00:34:04All I did was ask myself, who done it?

00:34:07Poison, all right.

00:34:08Familiar smelling stuff, too.

00:34:12Boy, that guy had drink anything that wasn't too thick to chew.

00:34:17Well, I guess this about washes up the case, eh, Mr. Drew?

00:34:31Looks like suicide to you, eh, Gully?

00:34:33Sure.

00:34:36I guess Sheehan would think so, too.

00:34:38He may be dumb, but he ain't blind.

00:34:40He's not as dumb as he looks.

00:34:41You wear a wristwatch, Gully?

00:34:43Huh?

00:34:43You wear a watch on your wrist?

00:34:47Well...

00:34:47You see, it's a present from the wife.

00:34:50I gotta wear it.

00:34:51Why do you wear it on your left wrist?

00:34:53Well, I use my right hand the most,

00:34:55because I'm right-handed.

00:34:56You ever try to write with it on your right wrist?

00:35:00No.

00:35:02Neither did Chalmers.

00:35:04Which makes this note a very interesting piece of fiction.

00:35:06But...

00:35:06I don't know.

00:35:09I'm not saying it.

00:35:10I don't know.

00:35:10But...

00:35:11I don't know.

00:35:15But...

00:35:16I don't know.

00:35:18I don't know.

00:35:19I don't know.

00:35:50Say, Gully, come here.

00:36:03Take a look in here.

00:36:07What do you see?

00:36:09A bottle of gin and a piece of ice.

00:36:11What else? Use your powers of observation.

00:36:16Oh, you mean that piece of old 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.

00:36:24My wife says you can't trust those ice men anyway.

00:36:27If 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.

00:36:32Oh, I never thought of that.

00:36:35Let's have a look outside.

00:36:36Oh, someone must have stood here a long time.

00:36:59Them are fresh prints, ain't they?

00:37:01Step up there a minute.

00:37:04Look out for those tracks.

00:37:06Now what?

00:37:07Look through the window.

00:37:12You see Chalmers sitting there?

00:37:14Yeah, the door's open.

00:37:15Supposing someone stood here

00:37:22and Dr. Chalmers' gin threw the ice box from this side

00:37:25and then stood here

00:37:29and watched him drink his last drink through the window,

00:37:34what would you say?

00:37:34And then watched him die.

00:37:37Well, then he wrote the note and put the pencil in his hand, huh?

00:37:39Yeah.

00:37:40Only there's where he made his mistake.

00:37:41Put the pencil in the wrong hand.

00:37:43That's just what I was thinking.

00:37:49Gully,

00:37:49you know, if a car was parked here,

00:37:53it would entirely conceal that door and that window.

00:37:56Yeah?

00:37:56Then Chalmers didn't kill himself, huh?

00:38:10Let's leave that to Sheehan.

00:38:12I'm any good as a guesser.

00:38:13He ought to be here by now.

00:38:20There's something over on the table.

00:38:21There you go.

00:38:22Don't let Sheehan know what we found out.

00:38:24I got you.

00:38:25The captain got here 15 minutes ago.

00:38:27Captain?

00:38:32What are you and that Keystone cop doing here?

00:38:35Now, looky here, Sheehan,

00:38:35you can't talk that way about me.

00:38:37Remember, I'm chief of the studio police

00:38:39and I got rights.

00:38:40Aye, 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

00:38:47seems to know more about police matters than the police.

00:38:49That's noble of you to admit it.

00:38:50Did you two nuisances touch anything around here?

00:38:52Nothing important.

00:38:53Good.

00:38:53Then clear up.

00:38:55And take that uniformed moron with you.

00:38:58Come on.

00:39:03Suicide, huh?

00:39:06Looks like it.

00:39:07Well, I always thought it was Chalmers

00:39:09right from the start.

00:39:12Now it was the Keystone cop.

00:39:13He don't even know Chalmers was left-handed.

00:39:15Come on.

00:39:18Left-handed?

00:39:18Sure.

00:39:28That starts it all over again.

00:39:30I can remember when murders were nice, clean, simple things

00:39:34done with machine guns and meat axes.

00:39:36But this case...

00:39:37Right, right, right, right, right, right, right.

00:39:48All right.

00:39:50Seems to be the trouble, the battery's dead, but didn't Miss Lane get a new battery just

00:40:02last week?

00:40:03Yeah, I don't understand it, it's bone dry, liquid's all gone.

00:40:09Just as I thought, we were right, poison, electrolytic liquid, sulfuric acid base,

00:40:34great alcohol, 38% distilled water, 33% electrolytic liquid, 27% by volume.

00:40:41The man said a teaspoonful in a glass of water will kill a man dead.

00:40:45Electrolytic acid, can I say anything else?

00:40:48No, that was all.

00:40:51Hey, ain't that the same kind of trick that, that roughed the marks under Chalmers' window?

00:41:07Oh, there's probably a thousand cars in the Hollywood that have that sort of make of tire.

00:41:11Yeah, I never thought of that.

00:41:14Say, Gully, I want you to get me the key to Brent's dressing room, but don't let anybody

00:41:20know it's for me, see?

00:41:21Say, I'll get you the key to the city if you want it.

00:41:24I have a couple of things to do, I'll meet you here in half an hour, okay?

00:41:33Who is it?

00:41:34Frank, may I come in?

00:41:36Just a minute.

00:41:37Well, why all the marks?

00:41:47I was just going through some old letters and didn't want to be disturbed.

00:41:50Oh, I see.

00:41:51Where have you been?

00:41:52I'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?

00:41:59Why, yes, of course.

00:42:02You 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.

00:42:16I've just come from Chalmers' place.

00:42:18He's dead.

00:42:20Chalmers?

00:42:21Poisoned.

00:42:22You 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.

00:42:31Acid 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.

00:42:39My car?

00:42:44That's why my car wouldn't start.

00:42:46Yes.

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.

00:42:54What do you want me to do?

00:42:56I want you to get out of here.

00:42:58Any place.

00:42:59Just so Sheehan can't find you.

00:43:00But that...

00:43:01That's running away.

00:43:02Only for a day or two.

00:43:03Just to give me time.

00:43:06I'll go to Mary's at Malibu.

00:43:07She'll help me.

00:43:08Oh, that's swell.

00:43:09Make it fast, will you?

00:43:10There's no knowing how close Sheehan's behind me.

00:43:12I'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.

00:43:19Come in.

00:43:47Come in.

00:43:50Leon.

00:43:51Because you'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.

00:44:08Marcia, you mustn't treat me like this.

00:44:11I never said anything to you while Brent was alive.

00:44:14But you should know how I feel.

00:44:16You've succeeded in making your feelings quite plain enough.

00:44:21Marcia, I...

00:44:23I'm very fond of you.

00:44:26It's not the kind of fondness I care about.

00:44:29Please go now, Leon.

00:44:31I'm in rather a hurry.

00:44:32I'm in a hurry.

00:44:43Marcia, maybe 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.

00:44:52Perhaps Brent wasn't killed for nothing.

00:45:01No matter how smart they are, they always slip up.

00:45:06What's your name?

00:45:07Pardon me.

00:45:08Hello?

00:45:09Yes, sir.

00:45:10I will.

00:45:11Wait a minute.

00:45:12Here she is now.

00:45:13Miss Lane.

00:45:14Mr. Steiner would like to see you in his office.

00:45:16Mr. Steiner would like to see you in his office.

00:45:20What's your name?

00:45:21Uh, Mr. Wick подпис.

00:45:22Mr. Brecroft.

00:45:23Mr. Steiner wouldn't like to see you in his office.

00:45:26What's your name?

00:45:27Mr. Steiner would like to see you in his office.

00:45:41What's your name?

00:45:43What's your name?

00:45:45Uh, Mr. Wickcroft.

00:45:46Mr. Todd, please.

00:45:49Mr. Wickcroft calling to see you.

00:45:51All right. Thank you.

00:45:57Pull down that blind.

00:46:07Did you see Brett when he came in?

00:46:09I see everybody.

00:46:11What kind of a suit do you have on?

00:46:13What kind of a suit do you have on?

00:46:18There it is.

00:46:24Funny she ain't missed looking in here.

00:46:26You'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.

00:46:42Except that, uh, she can't live without them.

00:46:45Married, too.

00:46:47Says her husband don't understand her.

00:46:50Well, that's that old, old story.

00:46:52Two men and a woman.

00:46:54The internal triangle.

00:46:55What kind of a place is the Cliffside Inn?

00:46:59Oh, you know, one of those weekend places with all the Mr. Smiths and Mr. Jones and Mr. Browns.

00:47:04How far is that from here?

00:47:06Why?

00:47:07I'm beginning to think there's a woman in the case.

00:47:09No.

00:47:11Mr. Drew, this case has become uncomplicated.

00:47:14Even from me.

00:47:15Come on.

00:47:16Gee, it's 4.30.

00:47:24I gotta check in on my next shift.

00:47:26Listen, don't go away without me, will you?

00:47:30All right, Gully.

00:47:31I'll pick you up the gate when I go out.

00:47:33Boy, oh boy.

00:47:35Mr. Drew, I've been looking for you.

00:47:37Miss Lane wants to see you.

00:47:38She's in Mr. Steiner's office.

00:47:40Oh, thanks.

00:47:41Yes, sir.

00:47:51Go right in, Mr. Drew.

00:47:52When did you find out your car wouldn't start?

00:47:55About an hour ago.

00:47:58Well, with all your dabbling, you didn't throw us off.

00:48:02You've thrown yourself off if you think Miss Lane had anything to do with Chalmers or Brent either.

00:48:07All right, all right.

00:48:08Just sit down there.

00:48:11And keep quiet.

00:48:14Where did you go this afternoon?

00:48:16I went downtown.

00:48:18In your car?

00:48:19Yes.

00:48:19Where did you park it?

00:48:20On the street.

00:48:22In front of Elfness' flower shop.

00:48:24I ordered some flowers for Miles.

00:48:26Uh, Mr. Brent's funeral.

00:48:28Then where did you go?

00:48:29You went to Chalmers' house, didn't you?

00:48:30Wait a minute.

00:48:31I won't stand for this.

00:48:32You can't trick Miss Lane into answers.

00:48:35And have little boy Blue over there take him down.

00:48:38Now keep quiet, Drew.

00:48:39You'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.

00:48:47I've got a warrant for her.

00:48:49For what?

00:48:50Suspicion of murder.

00:48:51What's your theory?

00:48:52It's as simple as ABC.

00:48:54Yes, it would be if you thought of it.

00:48:57Chalmers 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.

00:49:04Every piece of evidence we've got points to her.

00:49:07It was her cigarette that blew up the film.

00:49:09Her car that made the tracks outside of Chalmers' house.

00:49:12And acid from her battery that killed him.

00:49:14Oh, that's a lot of bunk.

00:49:16I know.

00:49:16You've got to make an arrest.

00:49:17It's okay with you.

00:49:20China, you can't sit there and let them arrest Marsha.

00:49:23Well, she has nothing more to do with these murders than...

00:49:25...that Lincoln had to do with the burning of Rome.

00:49:27Mr. Drew, we don't know whether Lincoln burned Rome or not.

00:49:31And we don't care.

00:49:32But this man is a policeman.

00:49:34So let us hear what he has to say.

00:49:35If you're not paying you to quarrel with the police...

00:49:37Oh, I don't care if you pay me a dime.

00:49:39She and if you arrest Miss Lane now, there'll be a lot of nasty newspaper headlines.

00:49:42Hold off for 24 hours and I'll be responsible.

00:49:44Better than that.

00:49:45In 24 hours, I'll prove that she's innocent.

00:49:47You're making yourself ridiculous.

00:49:49I'm trying to protect one of your stars.

00:49:51Wait a minute, Steiner.

00:49:52Maybe he's right.

00:49:54What about this scandal?

00:49:55What about her box of his name?

00:49:57Ain't he got enough trouble here already without having Marsha arrested?

00:50:00Now, Mr. Grossmith, if you want to accept the responsibility, you can.

00:50:04But remember, this is a murder case.

00:50:08Two people are dead.

00:50:10And how do you know someone else won't be killed?

00:50:13For my part, I believe that the police should not be interfered with.

00:50:17Well, all I gotta say is that it's a terrible calamity.

00:50:23Let's go, Helica.

00:50:25I guess the explosion's over.

00:50:27Someone in this studio killed Miles Brenton Chalmers.

00:50:30And he's trying to pin it on Marsha Lane.

00:50:33But they won't get away with it.

00:50:36Come on, Miss Lane.

00:50:41Marsha, honey.

00:50:43I'm sorry.

00:50:44I'll get you out of this just as soon as I can.

00:50:46I know you will, Frank.

00:50:48I'm not worried, really.

00:50:49Come on.

00:50:57Hi, Special Electric.

00:50:59Hi, read all my ballot here.

00:51:02Hi, Extra.

00:51:04Marsha Lane is here.

00:51:05The studio's winner.

00:51:07Hi, Extra.

00:51:10Thanks.

00:51:11Hi, baby.

00:51:13Read all my ballot.

00:51:14Marsha Lane is here for the studio's winner here.

00:51:18Hi, baby.

00:51:21I'll let you know my ballot here.

00:51:25I ain't got a question like me, man.

00:51:27And I'll let you know my ballot here.

00:51:44how do you do sir how do you do i'm from the publicity office of the tone art studio yes

00:52:01i'd like to see a list of the uh people who sent flowers to the brent funeral oh i think i have a

00:52:06list thanks terrible thing that brent murder wasn't it i hear that this is much elaine yes i i guess

00:52:20she'll be one who won't send flowers oh yes she will she wasn't here early this afternoon and

00:52:24ordered a big wreath is that so they are mostly women surprising so many of them gave their names

00:52:30oh some of them didn't there was a lady near just now who signed the check then thought better of

00:52:36it and tore it up didn't want the husband to see the cancel check perhaps oh pardon me yes madame

00:52:43any gardenia oh certainly

00:53:06yes i'm not stopping

00:53:13oh good evening evening alone yes i'm not stopping well i have a key here a friend of mine carried

00:53:31away with him oh thank you my name is drew i'm from the tone art studios i'd like to keep this thing

00:53:37quiet keep what quiet brent's visit here the night before he was murdered you see if the papers get

00:53:43hold of a story like this they play it up and it it's bad for the picture business well it doesn't do

00:53:47us any good either all right let's get together sure what do you want who was the woman with brent

00:53:53mrs brent there is no mrs brent they were divorced well then i don't know who she is you see i wasn't

00:54:01here when they checked in and they left in such a hurry i didn't see them go out in a hurry why well

00:54:06a fellow came in here and started a row and then he waited in a telephone booth over there and when

00:54:12they came down he stepped out at least that's what charlie says who's charlie one of the night bellhops

00:54:18could i see him sure oh charlie yes sir thanks this gentleman wants to ask you a few questions

00:54:29shoot say you remember seeing the man who waited for miles brent in the telephone booth the other

00:54:36night i just got a glimpse of him before the fight what fight well when brent hit him in the patio

00:54:42how did it happen well the lady ran out to the car when she saw the guy come out of the booth

00:54:49then the guy steps up to mr brent and says brent i want to see you i thought it sounded kind of silly

00:54:55because he was seeing him right there well then what happened well brent takes a guy outside in the

00:55:00patio that's when he socked him well then did brent get into his car yeah and the other guy picked

00:55:05himself up boy was he mad and was his face red what did he say what didn't he say the

00:55:12it was awful and then he beats it would you remember this man if you saw him again

00:55:20well i might and then again i might not it all happened so fast would you remember the lady

00:55:26sure say she was a honey only she talked kind of funny you know like she was a foreigner or

00:55:32something with an accent yeah that's fine charlie you've been a big help to me here thanks good

00:55:41night and thanks good night say are you a detective no i'm just from the studio will there be detectives

00:55:47here i hope not which booth did that fellow hide in there how long has it been out of order

00:56:06just since the guy hid in there i guess he kept pounding on the hook trying to get brent's room

00:56:11shelf shelf that's all you can think of a shelf already this picture cost me two hundred and thirty nine

00:56:37thousand three hundred and fifty one dollars whether i put my money in the bank can i get

00:56:41any interest from a shelf i'm not asking you to lose anything but how can we finish the picture

00:56:46without brent i've told you seventeen times that we can use a double and play the whole kissing scene

00:56:51in a long shot why not because it's all wrong it's terrible i've got my reputation to think of and i got

00:56:56my money to think of money money what's money now just a minute now let's take it calmly

00:57:04new york offices of the opinion that the murder of brent won't hurt the picture if we can release it

00:57:11soon enough now why not shoot that scene using a double and wind it up it's the last scene in the

00:57:16picture it can't possibly do you any harm exactly steiner has got right oh all right what's use of

00:57:23arguing good we can get the company together and shoot it tonight oh wait a minute what about marcia oh

00:57:28we can arrange with she and use her for that one scene she can come over with the whole police

00:57:32department if he likes everybody's on call and everything and a set is standing you can shoot

00:57:37it in half an hour hold on a minute what time seven thirty say nine thirty uh make it nine o'clock

00:57:47we'll save a half hour but we are going to shoot the last scene of the death kiss tonight

00:57:54round up the company for a nine o'clock call sure mr steiner mac we're retaking the death kiss get busy on the

00:58:01call okay

00:58:07yes i'll have him all right but say what about miss lane

00:58:11i think i'll come at 36

00:58:18exactly put that light over here screen 80 with it screen 80 joe

00:58:23that's it look screen 80

00:58:2427 47 and 42

00:58:26good evening you know mrs avery yes of course how are you

00:58:38i'm surprised you've come to see the street put it down to morbid curiosity that's the woman of it

00:58:44she insisted on coming now come along with me i'll have how i'll make you comfortable he's very good with the ladies

00:59:00i'm so

00:59:05i'm

00:59:06i'm

00:59:08i'm

00:59:10i'm

00:59:12i'm

00:59:14i'm

00:59:16i'm

00:59:18i'm

00:59:20i'm

00:59:26i'm

00:59:28i'm

00:59:30i'm

00:59:32i'm

00:59:34i'm

00:59:40i'm

00:59:43i'm

00:59:45i'm

00:59:47i'm

00:59:49i'm

00:59:51i'm

00:59:53i'm

00:59:55i'm

00:59:57i'm

00:59:59i'm

01:00:02all

01:00:04do you know where mr drew is

01:00:06oh

01:00:06he went away and left me after him promising he wouldn't

01:00:10well do you know where he went

01:00:11i got an idea but i can't tell

01:00:15well do you know when you'll be back

01:00:18i don't know he'll turn up you can't lose that guy we're ready for a rehearsal miss lane all right

01:00:24thank you go ahead we'll wait here thank you and just as you reach here miss lane steps up and

01:00:32kisses you now naturally you're surprised because you don't know her then you turn lead your line

01:00:37to the doorman and walk out of the curb right oh my i'm so sorry about him i know it's going

01:00:46to be difficult for you but i'll try and help you all i can thank you john oh you know mr johnson yes

01:00:55how do you do shall we try it once oh george let's have quiet please quiet rehearsal

01:01:04take your places please come on this business gives me a funny feeling what do you mean i

01:01:19don't know it just gives me a funny feeling that's all supposing this should happen somebody else's

01:01:23shot it's ridiculous well maybe it is and maybe it ain't anyway i don't like the set and i don't

01:01:29like the title of the picture the death kiss yeah from now on we have no more titles with death in it

01:01:35getting superstitious i say you ain't got no nerves well i ain't afraid either but i'm just a little

01:01:41scared that's all what can possibly happen that's it anything i must have been overlooking something

01:01:47oh bloody shame sir now tonight right under me very no wait a minute what's the matter now

01:01:55i can't get it with the mic there well go ahead and fix it the way you want it

01:02:00swing it in here father come on father now down a little closer

01:02:07there is that in your picture no you're safe there okay tested

01:02:16one two three four one two three four microphone number two all right let's go okay for sound

01:02:29well lieutenant can i see you a minute well if it isn't our little mystery writer

01:02:46i knew you would turn up have you solved it come over here a minute

01:02:54what's the revelation well i went through the clothes that brent wore the night before he was

01:02:59murdered i found a room key to the cliffside inn in his pocket i went up to the inn and found that

01:03:05he'd registered there the night before as mr and mrs brent not unusual for him was it no but the husband

01:03:10of the woman that was with him waited for brent in the telephone booth in the lobby

01:03:14when brent came down they had a fight brent beat him up and left with the woman now there's your motive

01:03:19the fellow who hid in the telephone booth is the fellow who murdered brent it's a motive sure

01:03:24but it seems to me that everyone around here had a motive yes but this same man knew a lot about

01:03:28electricity a lot about film now chalmers couldn't have thrown that cigarette butt in the film because

01:03:32he was nowhere around at the time marcia couldn't have poured acid on the negative well she knows

01:03:36less about film than you do but this same fellow whoever it was found out the chalmers had discovered

01:03:42his contraption in the lamp stole marsh's car took acid again dr chalmers gin and then returned the car

01:03:49yes but why did he take miss lane's car to give himself a double-headed out if you believed that

01:03:54uh suicide gag well that was the end of it if you didn't everything pointed to marsha whatever happened

01:03:59he wouldn't be suspected yeah but you have got to show me that the guy who was at the inn is someone

01:04:05here at the studio and that he had access to the light the film the car and everything else well that's

01:04:10easy the man who hid in the telephone booth left this trademark watch this well you know as well as i do

01:04:17the scribblings a man makes on a piece of paper i was identifying as his signature oh now all we've

01:04:23got to do is to find the guy that scribbles like this huh well i've done that too take a look at this

01:04:34where did you get this in grossmith's office now avery steiner grossmith and howell were in there

01:04:40having a conference then you think one of those four killed brent yes this is interesting but i've

01:04:53only your word for it and that don't count for much well i'll keep your paper dolls but you have

01:05:00got to get me more substantial evidence than this before i can let miss lane go

01:05:14take good care of these guns boys and don't forget to check them back to me thank you

01:05:19sure the gun isn't loaded you bet not i just look at it you mind if i look not at all

01:05:40a clear deal all right we'll take it is everybody ready let's make it uh johnson power up will you

01:05:46please sure thanks i've been so worried about you darling i'm hot on the trail i've got an idea

01:06:03if i'm right i'll have this whole thing wrapped up and tied before you know it but don't go away

01:06:06before i'm through will you you bet i won't miss lane will you stand on a minute please see you later

01:06:16it isn't loaded is it what do you think i'm crazy mind if i look oh go ahead

01:06:30thanks

01:06:37say bill those aren't the same guns you used before are they i know i couldn't get 38s before so i slipped in

01:06:42the 45s nobody knew the difference do you mean 38s were called for before yeah they made a row about

01:06:48it who insisted okay coming up come on with me listen i've got it this is bill the property man

01:06:57he tells me on the day that brent was murdered he was definitely ordered to give all the extras 38

01:07:01caliber guns yeah did you get it 38 caliber guns were ordered now bill had supplied them we'd have never

01:07:06known that it wasn't an accident but he didn't he substituted 45s that's how we knew it was a

01:07:17murder now the fellow who ordered those 38s say who ordered those guns go ahead bill tell him well it

01:07:24was mr

01:07:54Come on, he went this way.

01:08:07Oh, there he is. Come on.

01:08:16There he goes.

01:08:17Stay where you are, I'll shoot.

01:08:33Avery.

01:08:46Mr. Avery.

01:08:53He's the one who came here in Brooklyn.

01:09:01Mr. Avery.

01:09:02He's the one that ordered the guns.

01:09:04Yes, I told you about him under the microphone.

01:09:06He was listening in with the earphones.

01:09:07It was him.

01:09:11Don't look at him now.

01:09:12He's dead.

01:09:13He's dead.

01:09:15Yes.

01:09:16I am glad.

01:09:19The woman at the cliffside in, huh?

01:09:27You stay here, Helica.

01:09:28Come on, go with me.

01:09:29Come on.

01:09:30I got him.

01:09:34I got him.

01:09:39There's your man.

01:09:40Who is he?

01:09:46You'll suffer for this, you despicable cad.

01:09:51So, you're a policeman, huh?

01:09:52I think I owe apologies, Miss Lane, and to you, too.

01:10:10I'm sorry I was so unpleasant.

01:10:12You know, at first I could have sworn it was you.

01:10:14I knew it, and it made me quite angry.

01:10:17But you're much more clever than I gave you credit for.

01:10:19Well, that sounds like a new contract.

01:10:23Talk about that later.

01:10:25Oh, uh, Lieutenant, would you mind telling me why it is that detectives always wear their hats,

01:10:34even in the presence of ladies?

01:10:36Well, 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.

01:10:44Do you mind if I write it in right now?

01:10:46I don't know.

01:10:46Well, thanks, Paul.

01:10:54And I'll be back.

🎬 The Death Kiss (1932) | Full Movie 🎬🔍 Pre-Code Murder Mystery with Bela Lugosi

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