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1
00:00:05,605 --> 00:00:08,539
CAPTIONING MADE POSSIBLE BY
LIONS GATE HOME ENTERTAINMENT
2
00:01:55,247 --> 00:01:57,381
[SIGHS]
3
00:01:57,383 --> 00:01:58,549
MIRROR.
4
00:01:59,919 --> 00:02:01,820
LARRY, BEFORE I LET
YOU SEE YOURSELF,
5
00:02:01,822 --> 00:02:03,387
ARE YOU SURE YOU CAN
STAND THE SHOCK?
6
00:02:03,389 --> 00:02:05,056
[MUFFLED] OH, YEAH, SURE.
SURE I CAN.
7
00:02:05,058 --> 00:02:06,591
I KNOW WITH THOSE
FANGS IN YOUR MOUTH
8
00:02:06,593 --> 00:02:07,726
YOU CAN'T
TALK CLEARLY,
9
00:02:07,728 --> 00:02:09,027
BUT MAKE A SOUND,
AND I'LL GIVE YOU
10
00:02:09,029 --> 00:02:10,228
A LOOK
AT YOURSELF.
11
00:02:10,230 --> 00:02:11,796
[GROWLING]
12
00:02:11,798 --> 00:02:13,198
LOOK.
13
00:02:15,567 --> 00:02:17,068
[MUMBLING]
14
00:02:17,070 --> 00:02:18,169
WHAT'D YOU SAY?
15
00:02:18,171 --> 00:02:19,604
[MUMBLING]
16
00:02:19,606 --> 00:02:21,172
HMM? HEH HEH HEH!
17
00:02:21,174 --> 00:02:23,074
OK, I'LL REMOVE
YOUR FANGS.
18
00:02:23,076 --> 00:02:24,408
WE CAN
PUT THEM BACK IN
19
00:02:24,410 --> 00:02:26,077
BEFORE WE GO
TO THE SET.
20
00:02:27,880 --> 00:02:31,082
WHY, IT'S SO REAL,
I EVEN FEEL LIKE A WEREWOLF.
21
00:02:31,084 --> 00:02:33,118
THOUGH I'D HATE
TO HAVE MY GIRL SEE ME.
22
00:02:33,120 --> 00:02:34,919
[CHUCKLES]
23
00:02:34,921 --> 00:02:36,254
PETE, YOU'RE THE END.
24
00:02:36,256 --> 00:02:37,588
OH, THANK YOU,
MY BOY.
25
00:02:37,590 --> 00:02:39,490
HE'S THE GREATEST.
26
00:02:39,492 --> 00:02:41,993
BOY, YOU'LL GET NO
ARGUMENT FROM ME THERE.
27
00:02:41,995 --> 00:02:44,028
I SCARE MYSELF.
28
00:02:44,030 --> 00:02:46,064
HEY, THIS IS AS CRAZY
AS THE FRANKENSTEIN MONSTER
29
00:02:46,066 --> 00:02:47,265
YOU MADE OUT OF TONY.
30
00:02:47,267 --> 00:02:49,768
ALWAYS
THE MASTER'S TOUCH.
31
00:02:49,770 --> 00:02:52,837
YOU KNOW, I THINK I'LL
BE AFRAID TO SEE MYSELF,
32
00:02:52,839 --> 00:02:54,038
EVEN ON THE SCREEN.
33
00:02:54,040 --> 00:02:55,673
OH, YOU'LL GET
USED TO IT, LARRY.
34
00:02:55,675 --> 00:02:57,075
JUST REMEMBER
THAT AN ARTIST
35
00:02:57,077 --> 00:02:59,677
MUST HAVE NO FEAR.
WHY, A CREATION
36
00:02:59,679 --> 00:03:01,312
IS ALMOST
A SACRED THING.
37
00:03:01,314 --> 00:03:02,613
ALL CREATIONS.
38
00:03:02,615 --> 00:03:04,382
THE GOOD LORD
CREATED SAINTS,
39
00:03:04,384 --> 00:03:06,117
AND HE ALSO
CREATED SINNERS.
40
00:03:06,119 --> 00:03:08,319
HE CREATED THE LAMB
AND THE FAWN,
41
00:03:08,321 --> 00:03:09,620
BUT HE
ALSO CREATED
42
00:03:09,622 --> 00:03:11,589
THE WOLF
AND THE JACKAL.
43
00:03:11,591 --> 00:03:12,957
NOW, WHO CAN JUDGE
44
00:03:12,959 --> 00:03:15,426
WHICH IS THE MOST
PRAISEWORTHY?
45
00:03:15,428 --> 00:03:17,528
WELL, THAT'S ONE WAY
TO LOOK AT IT.
46
00:03:17,530 --> 00:03:19,864
FOR 25 YEARS
HE'S BEEN THE MASTER.
47
00:03:19,866 --> 00:03:21,365
HE CREATED THEM ALL.
48
00:03:21,367 --> 00:03:23,467
AND IF I MAY SAY SO
IN ALL DUE MODESTY,
49
00:03:23,469 --> 00:03:25,369
I REGARDED EACH ONE
AS A CREATION,
50
00:03:25,371 --> 00:03:27,038
NO MORE IMPORTANT
THAN THIS.
51
00:03:27,040 --> 00:03:28,639
WELL, THANKS FOR TRYING
TO CHEER ME UP,
52
00:03:28,641 --> 00:03:30,809
BUT JUST THE SAME,
THIS SCARES ME.
53
00:03:30,811 --> 00:03:32,143
NOW, REMEMBER,
MY BOY,
54
00:03:32,145 --> 00:03:33,477
I CREATED YOU
55
00:03:33,479 --> 00:03:34,979
SO THAT YOU COULD
SCARE OTHERS.
56
00:03:34,981 --> 00:03:36,447
AS AN ACTOR,
AS AN ARTIST,
57
00:03:36,449 --> 00:03:38,683
THAT'S YOUR MISSION.
LIVE UP TO IT.
58
00:03:38,685 --> 00:03:40,384
WELL, IT'S TIME FOR
US TO BE ON THE SET.
59
00:03:40,386 --> 00:03:43,154
WE MUSTN'T KEEP THE
DIRECTOR WAITING.
60
00:03:43,156 --> 00:03:44,956
THERE WE ARE.
61
00:03:46,491 --> 00:03:48,159
FINE.
62
00:03:48,161 --> 00:03:49,327
WELL, COME ON.
63
00:04:27,299 --> 00:04:28,333
HEY!
64
00:04:28,335 --> 00:04:30,668
WHAT ABOUT HIM?
IN THE NEXT PICTURE
65
00:04:30,670 --> 00:04:32,871
AFTER WE
CAPTURE THE SHIP?
66
00:04:32,873 --> 00:04:34,772
I CLIMB ABOARD,
67
00:04:34,774 --> 00:04:36,374
I DRAW MY SWORD,
68
00:04:36,376 --> 00:04:37,942
AND THERE, STANDING
AT THE HELM--
69
00:04:37,944 --> 00:04:39,543
IT'S NOT
THE CAPTAIN--
70
00:04:39,545 --> 00:04:41,445
BUT THE WEREWOLF.
71
00:04:42,514 --> 00:04:44,249
TERRIFIC, HUH?
72
00:04:44,251 --> 00:04:45,316
AND WE'LL GET
OLD PETE
73
00:04:45,318 --> 00:04:46,351
TO DO THE MAKE-UP.
74
00:04:46,353 --> 00:04:47,651
NOT BAD, NOT BAD.
75
00:04:47,653 --> 00:04:49,820
BUT HOW DID A WOLF
GET IN THE OCEAN?
76
00:04:51,924 --> 00:04:53,491
HELLO, EVERYONE.
77
00:04:53,493 --> 00:04:55,326
[MURMURING]
78
00:04:55,328 --> 00:04:57,628
OUR FIRST STOP
WILL BE ON STAGE 3,
79
00:04:57,630 --> 00:04:58,897
WHERE THEY ARE
NOW SHOOTING
80
00:04:58,899 --> 00:05:01,065
HORRORS OF THE BLACK MUSEUM.
81
00:05:01,067 --> 00:05:02,733
FOLKS, I THINK
YOU'RE IN LUCK.
82
00:05:02,735 --> 00:05:03,968
THE BIG SCENE
OF THE PICTURE
83
00:05:03,970 --> 00:05:05,169
SHOOTS TODAY.
84
00:05:05,171 --> 00:05:06,570
NOW, IF YOU WILL
ALL STAY TOGETHER
85
00:05:06,572 --> 00:05:08,172
AND FOLLOW ME...
86
00:05:31,096 --> 00:05:33,097
BOY, WHEN PETE
MAKES THEM UP,
87
00:05:33,099 --> 00:05:34,732
IT'S FOR REAL.
88
00:05:40,439 --> 00:05:42,040
WELL, AT LEAST
WE LOOK NORMAL.
89
00:05:42,042 --> 00:05:44,442
HA HA!
DON'T WE, THOUGH?
90
00:05:44,444 --> 00:05:46,477
[BOTH LAUGH]
91
00:05:58,390 --> 00:06:00,791
WELL, HERE HE IS,
MARTIN.
92
00:06:03,295 --> 00:06:07,065
GREAT, PETE.
JUST GREAT!
93
00:06:07,067 --> 00:06:09,100
EXACTLY WHAT I WANTED.
94
00:06:10,702 --> 00:06:11,970
THIS IS AS GOOD
AND FEROCIOUS
95
00:06:11,972 --> 00:06:13,637
AS YOUR FRANKENSTEIN
MONSTER.
96
00:06:13,639 --> 00:06:14,973
WELL, THANK YOU.
97
00:06:14,975 --> 00:06:16,574
GET TONY OUT HERE.
I WANT TO SEE
98
00:06:16,576 --> 00:06:18,242
HOW THESE 2 BEAUTIES
LOOK TOGETHER.
99
00:06:28,354 --> 00:06:30,688
Martin: WEREWOLF,
MEET FRANKENSTEIN.
100
00:06:30,690 --> 00:06:32,690
SHAKE HANDS AND
COME OUT SNARLING.
101
00:06:35,227 --> 00:06:37,528
WELL, PETE,
ALL I CAN SAY
102
00:06:37,530 --> 00:06:39,730
IS YOU GAVE BIRTH
TO A FINE PAIR OF SONS.
103
00:06:39,732 --> 00:06:41,466
YOU CAN BE REALLY
PROUD OF YOUR CREATION.
104
00:06:41,468 --> 00:06:42,566
WILL YOU BE NEEDING ME?
105
00:06:42,568 --> 00:06:43,834
NO. YOU CAN REST
ON YOUR LAURELS.
106
00:06:43,836 --> 00:06:45,003
IF I NEED YOU,
I'LL SEND FOR YOU.
107
00:06:45,005 --> 00:06:46,337
I'LL BE
IN MY MAKE-UP ROOM.
108
00:06:46,339 --> 00:06:48,506
GOOD.
109
00:06:48,508 --> 00:06:51,842
NOW, BOYS,
LISTEN CAREFULLY.
110
00:06:51,844 --> 00:06:53,677
REMEMBER,
THIS IS THE BIG SCENE
111
00:06:53,679 --> 00:06:55,046
OF THE PICTURE.
112
00:06:55,048 --> 00:06:56,614
THE AUDIENCE
IS WAITING FOR THIS,
113
00:06:56,616 --> 00:06:59,817
WHERE FINALLY WEREWOLF
MEETS FRANKENSTEIN.
114
00:06:59,819 --> 00:07:02,420
THEY HATE EACH OTHER.
IT'S A FIGHT TO THE DEATH.
115
00:07:02,422 --> 00:07:04,088
IT'S THE BATTLE
OF THE MONSTERS,
116
00:07:04,090 --> 00:07:05,689
AND IT MUST BE
THE HIGH SPOT
117
00:07:05,691 --> 00:07:06,957
OF THE PICTURE.
118
00:07:06,959 --> 00:07:08,426
IT'S GOT TO BE
THE GREATEST FIGHT
119
00:07:08,428 --> 00:07:10,061
WE'VE EVER HAD
ON THE SCREEN.
120
00:07:10,063 --> 00:07:13,064
AND I'VE GOT TO GET IT
IN ONE TAKE.
121
00:07:13,066 --> 00:07:14,832
SO, LISTEN TO DIRECTIONS
CAREFULLY.
122
00:07:14,834 --> 00:07:17,135
YOU'LL COME IN
FROM OUT THERE.
123
00:07:17,137 --> 00:07:21,039
NOW, YOU'LL
COME IN FROM HERE.
124
00:07:21,041 --> 00:07:23,141
FAIRLY STEALTHILY...
125
00:07:23,143 --> 00:07:25,543
VERY CUNNING...
126
00:07:25,545 --> 00:07:27,245
WITH ANIMAL INSTINCT,
127
00:07:27,247 --> 00:07:29,580
YOU WILL FEEL THAT
THERE'S AN ENEMY AROUND.
128
00:07:29,582 --> 00:07:31,882
YOU HEAR SOMETHING.
YOU STOP.
129
00:07:31,884 --> 00:07:33,451
YOU LOOK AROUND.
130
00:07:33,453 --> 00:07:35,386
I WANT THIS TO BE
REALLY CREEPY.
131
00:07:35,388 --> 00:07:37,621
YOU--YOU HAVEN'T SEEN
ANYTHING YET,
132
00:07:37,623 --> 00:07:40,058
BUT YOU KNOW
THAT YOU'RE IN DANGER.
133
00:07:40,060 --> 00:07:42,160
SUDDENLY,
FROM OVER THERE,
134
00:07:42,162 --> 00:07:44,995
BIG AS LIFE AND TWICE
AS FRIGHTENING,
135
00:07:44,997 --> 00:07:46,664
COMES THE FRANKENSTEIN
MONSTER.
136
00:07:46,666 --> 00:07:48,499
COME IN, SON.
137
00:07:48,501 --> 00:07:50,734
AS YOU MOVE
TOWARDS EACH OTHER...
138
00:07:53,505 --> 00:07:55,073
PUT EVERYTHING AWAY
CAREFULLY.
139
00:07:55,075 --> 00:07:57,808
YES, PETE. YOU KNOW
I ALWAYS DO.
140
00:07:57,810 --> 00:07:59,043
I WANT TO TAKE HOME
SOME PICTURES
141
00:07:59,045 --> 00:08:00,578
OF THESE BOYS.
142
00:08:00,580 --> 00:08:02,246
I LIKE
TO STUDY THEM.
143
00:08:02,248 --> 00:08:03,881
I MIGHT DECIDE
TO MAKE MASKS
144
00:08:03,883 --> 00:08:05,049
FOR MY COLLECTION.
145
00:08:05,051 --> 00:08:06,217
YOU SHOULD, PETE.
146
00:08:06,219 --> 00:08:07,718
I THINK THIS
TEENAGE WEREWOLF
147
00:08:07,720 --> 00:08:09,053
AND TEENAGE
FRANKENSTEIN
148
00:08:09,055 --> 00:08:10,488
ARE EASILY AMONG
THE BEST THINGS
149
00:08:10,490 --> 00:08:11,922
YOU'VE EVER DONE.
150
00:08:11,924 --> 00:08:13,057
YOU KNOW,
ANOTHER REASON
151
00:08:13,059 --> 00:08:14,125
I WANT TO KEEP
A SOUVENIR
152
00:08:14,127 --> 00:08:15,426
OF THIS PICTURE
IS THAT I ENJOY
153
00:08:15,428 --> 00:08:17,095
WORKING WITH THESE
TEENAGERS.
154
00:08:17,097 --> 00:08:19,397
THEY'VE GOT SPIRIT,
AND THEY COOPERATE.
155
00:08:19,399 --> 00:08:20,764
THEY DON'T
SOUR ON YOU
156
00:08:20,766 --> 00:08:22,700
LIKE SOME OF
THE OLDER ACTORS.
157
00:08:22,702 --> 00:08:23,901
I REMEMBER
THE TROUBLE I HAD
158
00:08:23,903 --> 00:08:25,136
WITH THAT OLD
BARRY HORTON
159
00:08:25,138 --> 00:08:26,270
WHEN I
DISFIGURED HIM.
160
00:08:26,272 --> 00:08:27,605
YEAH, THE PICTURE
IN WHICH
161
00:08:27,607 --> 00:08:28,772
HE HAD THE CAR CRASH.
162
00:08:28,774 --> 00:08:30,274
HE WAS AFRAID
HE'D LOSE
163
00:08:30,276 --> 00:08:32,276
HIS WOMEN ADMIRERS.
HEH HEH HEH!
164
00:08:32,278 --> 00:08:33,777
A TRUCK WAS GOING
TO RUN OVER HIM,
165
00:08:33,779 --> 00:08:35,113
AND HE WANTED
TO COME UP
166
00:08:35,115 --> 00:08:37,014
WITHOUT
A SCRATCH. HEH!
167
00:08:37,016 --> 00:08:38,916
OH, BUT THESE
TEENAGERS,
168
00:08:38,918 --> 00:08:40,585
THEY'VE GOT SPIRIT
AND CONFIDENCE.
169
00:08:40,587 --> 00:08:42,220
THEY PLUNGE
INTO A ROLE.
170
00:08:42,222 --> 00:08:44,788
THEY PUT THEMSELVES
IN YOUR HANDS.
171
00:08:44,790 --> 00:08:46,424
I ENJOY WORKING
WITH THEM.
172
00:08:49,394 --> 00:08:51,162
BUT GENTLEMEN,
IT'S CUSTOMARY TO KNOCK.
173
00:08:51,164 --> 00:08:53,664
WE DON'T HAVE TO.
174
00:08:53,666 --> 00:08:55,633
WE ARE THE GROUP
THAT HAVE TAKEN OVER
175
00:08:55,635 --> 00:08:57,935
THIS STUDIO--
NBN ASSOCIATES.
176
00:08:57,937 --> 00:08:59,537
WE'VE PERSONALLY
TAKEN OVER THIS LOT,
177
00:08:59,539 --> 00:09:00,971
AND WE'RE GOING
TO RUN IT OUR WAY.
178
00:09:00,973 --> 00:09:02,039
MY NAME
IS JOHN NIXON.
179
00:09:02,041 --> 00:09:03,307
THIS IS
MR. JEFF CLAYTON.
180
00:09:03,309 --> 00:09:04,609
YES, OF COURSE,
I READ ABOUT IT
181
00:09:04,611 --> 00:09:05,809
IN THE TRADE PAPERS.
182
00:09:05,811 --> 00:09:07,478
IT'S CERTAINLY NICE
TO MEET YOU, GENTLEMEN.
183
00:09:07,480 --> 00:09:09,247
MR. DUMOND,
184
00:09:09,249 --> 00:09:11,081
WE'RE GOING TO MAKE SOME
CHANGES AROUND HERE.
185
00:09:11,083 --> 00:09:12,617
WELL, YOU HAVE
MY BEST WISHES.
186
00:09:12,619 --> 00:09:14,818
OH, WON'T YOU SIT DOWN?
187
00:09:14,820 --> 00:09:16,820
WELL, I'M AFRAID THESE
AREN'T TOO COMFORTABLE,
188
00:09:16,822 --> 00:09:18,156
BUT PERHAPS
THE NEW REGIME
189
00:09:18,158 --> 00:09:20,658
WILL PROVIDE BETTER CHAIRS
FOR MY WORKSHOP.
190
00:09:20,660 --> 00:09:22,160
YOUR WORKSHOP?
191
00:09:22,162 --> 00:09:23,827
THAT SORT OF BRINGS US
TO THE POINT.
192
00:09:23,829 --> 00:09:25,029
WHAT POINT?
193
00:09:25,031 --> 00:09:27,331
UH, MR. DUMOND,
194
00:09:27,333 --> 00:09:28,666
WE WON'T BE
NEEDING YOU
195
00:09:28,668 --> 00:09:30,000
AFTER YOU FINISH
THIS PICTURE--
196
00:09:30,002 --> 00:09:31,835
THE ONE YOU'RE
ON NOW.
197
00:09:31,837 --> 00:09:32,903
NOT NEED ME?
198
00:09:32,905 --> 00:09:35,306
YES. MONSTERS
ARE FINISHED.
199
00:09:35,308 --> 00:09:36,641
THEY'RE COMING OUT
OF YOUR EARS.
200
00:09:36,643 --> 00:09:37,775
SATURATION.
201
00:09:37,777 --> 00:09:39,510
A HORROR CYCLE
IS OVER.
202
00:09:39,512 --> 00:09:40,978
PEOPLE WANT
TO HEAR MUSIC.
203
00:09:40,980 --> 00:09:41,979
THEY WANT TO LAUGH.
204
00:09:41,981 --> 00:09:43,181
THEY WANT TO SEE
PRETTY GIRLS.
205
00:09:43,183 --> 00:09:44,348
THERE'S NO DOUBT
ABOUT IT,
206
00:09:44,350 --> 00:09:45,683
MONSTERS ARE FINI.
207
00:09:45,685 --> 00:09:47,385
I HEARD THAT
25 YEARS AGO
208
00:09:47,387 --> 00:09:49,187
WHEN I CREATED
MY FIRST WEREWOLF.
209
00:09:49,189 --> 00:09:51,422
IT SAVED THE STUDIO
FROM BANKRUPTCY.
210
00:09:51,424 --> 00:09:53,191
NOW, LOOK.
I DIDN'T COME HERE
211
00:09:53,193 --> 00:09:54,325
TO DISCUSS
THIS THING
212
00:09:54,327 --> 00:09:56,227
OR TO ARGUE IT
WITH YOU.
213
00:09:56,229 --> 00:09:58,196
THAT IS THE DECISION
OF THE BIG BRASS.
214
00:09:58,198 --> 00:09:59,497
IT'S MINE, TOO.
215
00:09:59,499 --> 00:10:00,864
YES, BUT...
216
00:10:00,866 --> 00:10:02,200
WELL, IT'S
THE WRONG ONE,
217
00:10:02,202 --> 00:10:03,901
IF I MAY DISAGREE.
218
00:10:05,537 --> 00:10:07,938
WHY, EVEN
PSYCHIATRISTS SAY
219
00:10:07,940 --> 00:10:09,873
THAT IN ALL THESE
MONSTER PICTURES,
220
00:10:09,875 --> 00:10:11,209
THERE'S NOT ONLY
ENTERTAINMENT
221
00:10:11,211 --> 00:10:12,776
BUT, FOR SOME PEOPLE,
THERAPY.
222
00:10:12,778 --> 00:10:14,378
WELL, YOU KNOW
WE NEVER GET OVER
223
00:10:14,380 --> 00:10:16,247
OUR CHILDHOOD FEARS
OF THE SINISTER--
224
00:10:16,249 --> 00:10:18,982
THE TERRIFYING FACES
WE SEE IN NIGHTMARES.
225
00:10:18,984 --> 00:10:20,218
WELL, THROUGH
THESE PICTURES,
226
00:10:20,220 --> 00:10:21,719
WE CAN LIVE OUT
OUR HIDDEN FEARS.
227
00:10:21,721 --> 00:10:23,887
IT HELPS.
228
00:10:23,889 --> 00:10:25,389
YOU LIVE THEM OUT,
229
00:10:25,391 --> 00:10:27,458
BUT NOT ON OUR PAYROLL.
230
00:10:27,460 --> 00:10:28,826
LIKE MR. NIXON SAYS,
231
00:10:28,828 --> 00:10:30,060
PEOPLE WANT TO SEE
232
00:10:30,062 --> 00:10:31,729
ESCAPE PICTURES
NOWADAYS.
233
00:10:31,731 --> 00:10:33,764
MUSICALS, JOKES,
PRETTY GIRLS.
234
00:10:33,766 --> 00:10:35,065
YES, BUT--
235
00:10:35,067 --> 00:10:36,601
THE DECISION
IS FINAL.
236
00:10:36,603 --> 00:10:38,068
NOW, INSTEAD
OF GIVING YOU
237
00:10:38,070 --> 00:10:39,470
A COLD PINK SLIP,
238
00:10:39,472 --> 00:10:41,272
I CAME TO TELL YOU
IN PERSON.
239
00:10:42,741 --> 00:10:44,742
IT'S THE HUMAN WAY.
240
00:10:44,744 --> 00:10:45,909
IT CERTAINLY IS.
241
00:10:45,911 --> 00:10:47,044
AND WE'LL ALLOW YOU
242
00:10:47,046 --> 00:10:48,446
A WEEK'S
SEVERANCE PAY.
243
00:10:48,448 --> 00:10:49,913
NO, THANK YOU.
KEEP YOUR SEVERANCE PAY.
244
00:10:49,915 --> 00:10:51,782
I DON'T WANT
YOUR CHARITY.
245
00:10:51,784 --> 00:10:53,817
THIS LOT, THIS ROOM,
HAS BEEN MY HOME
246
00:10:53,819 --> 00:10:55,753
FOR 25 YEARS!
247
00:10:55,755 --> 00:10:57,020
NOW THAT YOU'VE
THROWN ME OUT,
248
00:10:57,022 --> 00:10:58,256
DON'T TRY
TO SOFTEN THE BLOW
249
00:10:58,258 --> 00:11:00,591
WITH A FEW
CHEAP DOLLARS.
250
00:11:00,593 --> 00:11:02,460
I'LL LEAVE
WHEN THIS PICTURE
251
00:11:02,462 --> 00:11:04,262
IS FINISHED SHOOTING.
252
00:11:04,264 --> 00:11:06,497
OK, IF THAT'S
THE WAY YOU FEEL.
253
00:11:08,267 --> 00:11:10,000
YOU TURNED DOWN MONEY.
254
00:11:10,002 --> 00:11:12,836
MAYBE YOU'VE BEEN LIVING
TOO LONG WITH MONSTERS.
255
00:11:12,838 --> 00:11:14,438
SOMETIMES I FIND THEM
BETTER COMPANY
256
00:11:14,440 --> 00:11:16,140
THAN HUMANS.
257
00:11:18,109 --> 00:11:20,878
PETE, WHAT ARE WE
GOING TO DO?
258
00:11:22,447 --> 00:11:24,649
I DON'T KNOW YET.
259
00:11:24,651 --> 00:11:26,450
BUT ONE THING I DO
KNOW FOR SURE--
260
00:11:26,452 --> 00:11:28,118
THEY'RE WRONG,
AND I'M RIGHT!
261
00:11:28,120 --> 00:11:30,588
I'D STAKE MY
VERY LIFE ON THAT.
262
00:11:30,590 --> 00:11:32,290
AND BEFORE
I LEAVE THIS LOT,
263
00:11:32,292 --> 00:11:34,625
I INTEND TO PROVE
THAT I'M RIGHT.
264
00:12:15,266 --> 00:12:17,468
WEREWOLF.
265
00:12:17,470 --> 00:12:19,403
FRANKENSTEIN.
266
00:12:20,672 --> 00:12:23,374
THEY WANT TO PUT
AN END TO US.
267
00:12:23,376 --> 00:12:26,109
THEY SAY
WE'RE THROUGH.
268
00:12:26,111 --> 00:12:28,512
THERE'S GRATITUDE.
269
00:12:28,514 --> 00:12:29,680
DON'T THEY REALIZE
270
00:12:29,682 --> 00:12:31,349
THAT THE MONSTERS
I CREATED,
271
00:12:31,351 --> 00:12:33,050
FROM MY FIRST
PREHISTORIC MAN
272
00:12:33,052 --> 00:12:35,185
THROUGH THE SPACE
MAN OF THE FUTURE...
273
00:12:35,187 --> 00:12:38,021
WHY, ALL THESE PAID
FOR THIS STUDIO--
274
00:12:38,023 --> 00:12:39,790
MADE THE OWNERS
RICH AND FAMOUS.
275
00:12:41,192 --> 00:12:42,926
AND NOW THEY SAY
IT'S OVER.
276
00:12:44,696 --> 00:12:46,397
BUT IT ISN'T OVER.
277
00:12:46,399 --> 00:12:48,031
I'LL DESTROY
THIS STUDIO,
278
00:12:48,033 --> 00:12:50,534
SEE IT GO UP
IN FLAMES BEFORE I--
279
00:12:56,040 --> 00:12:57,475
NO.
280
00:12:58,877 --> 00:13:00,878
NO, I'LL DESTROY
THEM FIRST.
281
00:13:00,880 --> 00:13:02,713
AND I'LL USE
282
00:13:02,715 --> 00:13:04,348
THE VERY MONSTERS
THEY MOCKED
283
00:13:04,350 --> 00:13:06,216
TO BRING THEM
TO AN END.
284
00:13:06,218 --> 00:13:07,418
Man: PETE?
HUH?
285
00:13:10,689 --> 00:13:12,256
I HEARD VOICES.
286
00:13:12,258 --> 00:13:13,591
ONLY MINE.
287
00:13:13,593 --> 00:13:15,626
YOU WERE TALKING
TO YOURSELF?
288
00:13:15,628 --> 00:13:17,395
NOT ENTIRELY.
289
00:13:17,397 --> 00:13:19,029
I WAS REASSURING
MY CHILDREN
290
00:13:19,031 --> 00:13:21,365
THAT I WON'T
LET THEM PERISH...
291
00:13:21,367 --> 00:13:23,066
THAT I'M GONNA
STOP THESE MEN
292
00:13:23,068 --> 00:13:24,468
FROM DESTROYING US.
293
00:13:24,470 --> 00:13:25,836
BUT HOW?
294
00:13:27,572 --> 00:13:29,006
I'LL SHOW YOU.
295
00:13:33,678 --> 00:13:35,078
Pete: THOSE FOOLS.
296
00:13:35,080 --> 00:13:36,747
THEY THINK A MONSTER
IS JUST PUT TOGETHER
297
00:13:36,749 --> 00:13:39,583
WITH GLUE, HAIR,
PUTTY, FOAM RUBBER.
298
00:13:39,585 --> 00:13:41,251
THEY DON'T REALIZE
THAT A MONSTER,
299
00:13:41,253 --> 00:13:43,053
EVEN ON THE SCREEN,
IS HUMAN AND MUST BE
300
00:13:43,055 --> 00:13:46,189
INFUSED WITH A SPIRIT
BY HIS CREATOR.
301
00:13:46,191 --> 00:13:48,426
WHY, IF I DIDN'T
BELIEVE IN MY CREATIONS,
302
00:13:48,428 --> 00:13:50,127
THEY WOULDN'T
BELIEVE IN THEMSELVES.
303
00:13:50,129 --> 00:13:51,762
THAT'S WHY THEY
CAN THROW FEAR
304
00:13:51,764 --> 00:13:53,531
INTO THE HEARTS
OF SPECTATORS.
305
00:13:56,568 --> 00:13:58,602
PETE, WHAT ARE YOU
PUTTING INTO THAT?
306
00:13:58,604 --> 00:13:59,837
I'M BLENDING
A NEW INGREDIENT
307
00:13:59,839 --> 00:14:01,038
FOR THE FOUNDATION CREAM.
308
00:14:01,040 --> 00:14:03,407
IT'S MY OWN DISCOVERY.
309
00:14:03,409 --> 00:14:05,208
IF THEY KNEW HOW MANY
LONG HOURS
310
00:14:05,210 --> 00:14:07,110
I EXPERIMENTED WITH
DIFFERENT CHEMICAL AGENTS
311
00:14:07,112 --> 00:14:09,447
TO GET BETTER RESULTS...
312
00:14:09,449 --> 00:14:11,114
DO YOU REMEMBER
THE TIME
313
00:14:11,116 --> 00:14:12,616
I ACCIDENTALLY
ADDED NOVOCAINE?
314
00:14:12,618 --> 00:14:13,951
OF COURSE.
315
00:14:13,953 --> 00:14:15,920
JAMES DUNCAN,
PREHISTORIC MAN.
316
00:14:15,922 --> 00:14:17,455
COULDN'T REMEMBER
HIS LINES.
317
00:14:17,457 --> 00:14:20,624
NO. NOT UNTIL
I RELEASED HIM.
318
00:14:20,626 --> 00:14:21,959
WHEN I ORDERED HIM
UNDER HYPNOSIS
319
00:14:21,961 --> 00:14:23,961
TO REMEMBER, HE DID.
320
00:14:23,963 --> 00:14:25,963
AND I'LL DO THE SAME
WITH THESE YOUNG MEN.
321
00:14:25,965 --> 00:14:28,566
AS I SEE FIT, I'LL ORDER
THEM WHAT TO REMEMBER
322
00:14:28,568 --> 00:14:29,934
AND WHAT TO FORGET.
323
00:14:29,936 --> 00:14:31,234
YOU MUSTN'T
TRY THAT.
324
00:14:31,236 --> 00:14:32,235
WHY NOT?
325
00:14:32,237 --> 00:14:33,403
WHY, IT'S DANGEROUS!
326
00:14:33,405 --> 00:14:37,407
DANGEROUS? WHY, WE'RE
FIGHTING FOR OUR LIVES.
327
00:14:41,746 --> 00:14:43,981
NOW...
328
00:14:43,983 --> 00:14:45,315
THIS ENTERS
INTO THE PORES
329
00:14:45,317 --> 00:14:47,117
AND PARALYZES THE WILL.
330
00:14:47,119 --> 00:14:48,819
IT'LL HAVE THE SAME
EFFECT CHEMICALLY
331
00:14:48,821 --> 00:14:50,821
AS A SURGICAL
PRE-FRONTAL LOBOTOMY.
332
00:14:50,823 --> 00:14:53,123
IT BLOCKS
THE NERVE SYNAPSES,
333
00:14:53,125 --> 00:14:57,595
MAKES THE SUBJECT PASSIVE,
OBEDIENT TO MY WILL.
334
00:15:12,210 --> 00:15:14,444
WELL, ALL QUIET,
EXCEPT FOR A LIGHT
335
00:15:14,446 --> 00:15:16,013
IN OLD PETE'S
MAKE-UP ROOM.
336
00:15:16,015 --> 00:15:17,180
WHEN HE'S ON A JOB,
337
00:15:17,182 --> 00:15:18,516
HE PRACTICALLY
LIVES HERE.
338
00:15:18,518 --> 00:15:19,817
YEAH, I KNOW.
339
00:15:19,819 --> 00:15:21,886
HE'S MARRIED
TO HIS CAREER.
340
00:15:21,888 --> 00:15:23,821
THAT'S THE WAY I FEEL
ABOUT MY WORK,
341
00:15:23,823 --> 00:15:25,355
BUT WHAT CHANCES
DO I GET?
342
00:15:25,357 --> 00:15:26,524
NOW, DON'T KNOCK IT.
343
00:15:26,526 --> 00:15:28,492
YOU GOT A NICE,
EASY JOB.
344
00:15:28,494 --> 00:15:30,027
THE ONLY HOODLUMS
YOU RUN INTO
345
00:15:30,029 --> 00:15:31,629
ARE THE BIT PLAYERS.
346
00:15:31,631 --> 00:15:33,731
WE'RE STRICTLY
LAW AND ORDER MEN.
347
00:15:33,733 --> 00:15:36,266
NOTHING EVER HAPPENS
ON THE LOTS TO SHIFT.
348
00:15:36,268 --> 00:15:39,369
THAT'S WHAT I MEAN.
JUST HIGH-CLASS WATCHMEN.
349
00:15:39,371 --> 00:15:41,405
LOOK, MONAHAN,
YOU WANT ACTION?
350
00:15:41,407 --> 00:15:42,773
JOIN THE COMMANDOS.
351
00:15:42,775 --> 00:15:43,908
NAH.
352
00:16:09,901 --> 00:16:11,234
WHAT DO YOU SAY,
PETER?
353
00:16:11,236 --> 00:16:13,470
SIT DOWN, MY BOY.
354
00:16:15,239 --> 00:16:17,407
A BUTCH AND
A MASSAGE, PETE.
355
00:16:17,409 --> 00:16:19,810
WELL, I'M GLAD TO SEE
YOU'RE IN A CHEERFUL MOOD.
356
00:16:21,079 --> 00:16:23,581
BOY, YOU'RE NOT.
YOU LOOK BUGGED.
357
00:16:23,583 --> 00:16:25,515
HOW WOULD YOU FEEL
IF SOMEONE PRONOUNCED
358
00:16:25,517 --> 00:16:27,384
A DEATH SENTENCE?
359
00:16:27,386 --> 00:16:29,053
ARE YOU SERIOUS?
360
00:16:29,055 --> 00:16:31,188
YEAH,
YOU SHOULD BE, TOO.
361
00:16:31,190 --> 00:16:33,090
IT'S NOT LONGER
ANY SECRET.
362
00:16:33,092 --> 00:16:34,758
THE NEW OWNERS
OF THE STUDIO
363
00:16:34,760 --> 00:16:37,027
HAVE DECREED
NO MORE MONSTERS.
364
00:16:37,029 --> 00:16:39,262
MY JOB IS DONE.
365
00:16:39,264 --> 00:16:41,932
MY CAREER IS OVER.
366
00:16:41,934 --> 00:16:44,434
WELL, ACTUALLY,
THAT'S NOT TOO BAD FOR ME.
367
00:16:44,436 --> 00:16:47,605
I'VE HAD MY DAYS
OF GLORY AND TRIUMPH.
368
00:16:47,607 --> 00:16:49,539
I SUPPOSE
I'M AN OLD MAN
369
00:16:49,541 --> 00:16:51,742
WHO SHOULD BE ABLE
TO FACE THE END.
370
00:16:56,114 --> 00:16:57,280
BUT THIS ALSO MEANS
371
00:16:57,282 --> 00:16:59,617
THAT YOUR CAREER
IS OVER, TOO.
372
00:16:59,619 --> 00:17:01,719
I THOUGHT THAT WAS
JUST--JUST A RUMOR.
373
00:17:01,721 --> 00:17:03,153
IT'S AN ORDER.
374
00:17:03,155 --> 00:17:06,456
ONE ORDER CAN DESTROY
BOTH OF US.
375
00:17:06,458 --> 00:17:08,291
TOUGH.
376
00:17:08,293 --> 00:17:10,427
I GUESS MY AGENT CAN
GET ME ANOTHER PART.
377
00:17:10,429 --> 00:17:12,295
I DON'T WANT TO
DISCOURAGE YOU, MY BOY,
378
00:17:12,297 --> 00:17:14,464
BUT I KNOW THIS TOWN,
THIS INDUSTRY.
379
00:17:14,466 --> 00:17:16,600
I'VE GIVEN MY LIFE TO IT.
380
00:17:16,602 --> 00:17:19,302
THE FIRST QUESTION
A CASTING DIRECTOR ASKS IS,
381
00:17:19,304 --> 00:17:21,805
"WHAT WAS
YOUR LAST PART?"
382
00:17:21,807 --> 00:17:23,140
WELL, IN YOUR CASE,
383
00:17:23,142 --> 00:17:24,407
THE ANSWER
WOULD HAVE TO BE
384
00:17:24,409 --> 00:17:26,777
WEREWOLF IN WEREWOLF MEETS FRANKENSTEIN.
385
00:17:26,779 --> 00:17:28,245
YEAH.
386
00:17:28,247 --> 00:17:29,880
I CAN HEAR
THE CASTING DIRECTOR
387
00:17:29,882 --> 00:17:32,482
AS IF HE WERE IN
THIS VERY ROOM.
388
00:17:32,484 --> 00:17:34,985
"SORRY, NOTHING
IN THIS PICTURE.
389
00:17:34,987 --> 00:17:36,586
"BUT SEE ME WHEN
THE MONSTER CYCLE
390
00:17:36,588 --> 00:17:37,855
COMES AROUND AGAIN."
391
00:17:39,491 --> 00:17:41,124
OH, I BEGIN
TO READ YOU.
392
00:17:42,761 --> 00:17:44,160
DON'T FORGET, LARRY--
393
00:17:44,162 --> 00:17:46,497
THE PEOPLE WHO HAVE
SEEN YOU, YOUR FANS,
394
00:17:46,499 --> 00:17:48,465
DON'T KNOW
YOUR REAL FACE.
395
00:17:48,467 --> 00:17:51,301
THE ONLY HOPE YOU HAVE
FOR A FUTURE IS HERE.
396
00:17:53,271 --> 00:17:55,038
I GUESS
YOU'RE RIGHT, PETE.
397
00:17:55,040 --> 00:17:56,573
OH, I KNOW I'M RIGHT.
398
00:17:56,575 --> 00:17:59,843
WELL,
WHAT CAN WE DO?
399
00:17:59,845 --> 00:18:02,012
I LIKE THAT QUESTION.
400
00:18:02,014 --> 00:18:04,415
AT LEAST YOU'RE INTERESTED
IN SAVING YOUR CAREER.
401
00:18:04,417 --> 00:18:05,783
I AM!
402
00:18:05,785 --> 00:18:08,519
WELL...
403
00:18:08,521 --> 00:18:12,155
IF YOU'LL SORT OF PLACE
YOURSELF IN MY HANDS,
404
00:18:12,157 --> 00:18:15,191
PERHAPS WE CAN MAKE THEM
CHANGE THEIR MINDS.
405
00:18:15,193 --> 00:18:17,127
GO AHEAD, PETE.
I'M WITH YOU.
406
00:18:28,139 --> 00:18:29,606
LARRY, THIS
FOUNDATION CREAM
407
00:18:29,608 --> 00:18:31,809
HAS A NEW
FIRMING AGENT IN IT.
408
00:18:33,244 --> 00:18:35,245
SOMETHING
THAT I PERFECTED.
409
00:18:37,214 --> 00:18:40,551
SO DON'T WORRY IF YOU
FEEL YOUR SKIN TIGHTENING.
410
00:18:40,553 --> 00:18:42,385
DON'T WORRY IF
IT MAKES YOU FEEL--
411
00:18:42,387 --> 00:18:44,387
IT DOES FEEL
KIND OF COOL.
412
00:18:44,389 --> 00:18:46,457
REMEMBER, MY BOY,
413
00:18:46,459 --> 00:18:49,125
IT'S IN YOUR
BEST INTERESTS.
414
00:18:49,127 --> 00:18:52,295
DO EXACTLY
AS I INSTRUCT YOU.
415
00:18:56,033 --> 00:18:58,134
YOU WILL PLAY YOUR SCENE
WELL TODAY.
416
00:19:00,905 --> 00:19:02,673
BUT AFTER YOU'VE
COMPLETED IT...
417
00:19:04,342 --> 00:19:06,510
INSTEAD OF COMING
BACK HERE...
418
00:19:08,245 --> 00:19:10,413
THIS IS WHAT
I WANT YOU TO DO.
419
00:19:10,415 --> 00:19:12,349
[BIG BAND MUSIC PLAYING]
420
00:19:20,925 --> 00:19:23,360
WELL, CONGRATULATIONS,
BANKS.
421
00:19:23,362 --> 00:19:26,096
THE RUSHES ARE FINE.
YOU WERE RIGHT.
422
00:19:26,098 --> 00:19:27,965
THIS MUSICAL IS GOING
TO BE A BIG HIT.
423
00:19:27,967 --> 00:19:29,766
I LIKE THE WAY YOU'RE
HANDLING THIS PRODUCTION.
424
00:19:29,768 --> 00:19:31,101
THANKS, JOHN.
425
00:19:31,103 --> 00:19:33,003
EVERYTHING ON THE SET'S
COMING ALONG JUST GREAT.
426
00:19:33,005 --> 00:19:34,938
I'LL SEE YOU IN
THE MORNING. GOOD NIGHT.
427
00:19:34,940 --> 00:19:36,673
GOOD NIGHT.
WELL, I MIGHT AS WELL
428
00:19:36,675 --> 00:19:38,108
SEE YESTERDAY'S RUSHES
429
00:19:38,110 --> 00:19:39,910
ON THE WEREWOLF
AND FRANKENSTEIN PICTURE.
430
00:19:39,912 --> 00:19:42,112
WITHOUT ME,
IF YOU DON'T MIND, JOHN.
431
00:19:42,114 --> 00:19:43,446
MAYBE YOU'VE GOT
432
00:19:43,448 --> 00:19:44,982
A SECRET YEN FOR
MONSTERS, BUT NOT ME.
433
00:19:44,984 --> 00:19:46,349
I THINK
THEY SCARE YOU,
434
00:19:46,351 --> 00:19:47,784
AND YOU'RE TOO CHICKEN
TO ADMIT IT.
435
00:19:47,786 --> 00:19:49,185
SO YOU GUESSED
MY SECRET, HUH?
436
00:19:49,187 --> 00:19:51,021
WELL, IT'S PART
OF MY RESPONSIBILITY,
437
00:19:51,023 --> 00:19:52,455
SO I'M GOING
TO SEE THEM.
438
00:19:52,457 --> 00:19:54,324
WELL, HAVE YOURSELF
A NIGHTMARE.
439
00:19:54,326 --> 00:19:55,993
ALL RIGHT, I'M READY.
440
00:19:55,995 --> 00:19:58,896
YOU CAN RUN THE RUSHES
ON PRODUCTION 204.
441
00:20:01,766 --> 00:20:03,299
Man: SCENE 136, TAKE 2.
442
00:20:03,301 --> 00:20:04,401
Second Man: ACTION.
443
00:20:11,976 --> 00:20:13,911
[GROWLING]
444
00:20:16,347 --> 00:20:18,281
[GRUNTING]
445
00:20:18,283 --> 00:20:20,250
[SNARLING]
446
00:20:25,790 --> 00:20:27,724
[GROWLING]
447
00:20:47,045 --> 00:20:49,112
NOW, YOU'RE SURE,
MY BOY,
448
00:20:49,114 --> 00:20:51,014
NOBODY SAW YOU?
449
00:20:54,351 --> 00:20:57,120
AND YOU DID EXACTLY
AS I TOLD YOU?
450
00:20:59,356 --> 00:21:02,392
AND YOU CAME BACK
EXACTLY AS I SAID?
451
00:21:04,195 --> 00:21:06,697
GOOD.
452
00:21:06,699 --> 00:21:09,666
YOU'LL FORGET THIS
AFTER I WAKE YOU UP.
453
00:21:09,668 --> 00:21:12,736
YOU WON'T REMEMBER
A THING AFTERWARDS.
454
00:21:12,738 --> 00:21:14,404
YOU--
455
00:21:25,549 --> 00:21:27,484
PETE? ARE YOU SURE
THERE'S NO DANGER
456
00:21:27,486 --> 00:21:28,685
OF US GETTING
CAUGHT?
457
00:21:28,687 --> 00:21:29,920
JUST WASH THESE.
458
00:21:37,895 --> 00:21:39,596
NOW WAKE UP, MY BOY.
459
00:21:41,933 --> 00:21:43,466
WAKE UP!
460
00:21:50,474 --> 00:21:52,308
NOW, HERE HE IS, DOC.
SEE WHAT YOU CAN GET.
461
00:21:52,310 --> 00:21:54,144
TELL ME WHAT YOU KNOW
ABOUT ALL THIS.
462
00:21:54,146 --> 00:21:55,578
DON'T LEAVE
ANYTHING OUT.
463
00:21:55,580 --> 00:21:56,813
I ALREADY TOLD YOU.
I RAN THE RUSHES
464
00:21:56,815 --> 00:21:58,048
FOR HIM
ON 3 PICTURES.
465
00:21:58,050 --> 00:21:59,249
WHAT TIME?
466
00:21:59,251 --> 00:22:00,416
BEGINNING
AT ABOUT 8:00.
467
00:22:00,418 --> 00:22:01,818
THAT'S WHEN HE
RESERVED THE ROOM.
468
00:22:01,820 --> 00:22:03,887
DID YOU SEE ANYTHING?
HEAR ANYTHING?
469
00:22:03,889 --> 00:22:05,956
ALL I COULD SEE
WAS ON THE SCREEN.
470
00:22:05,958 --> 00:22:07,590
ALL I COULD HEAR
471
00:22:07,592 --> 00:22:09,760
CAME FROM
THE SOUNDTRACK.
472
00:22:09,762 --> 00:22:11,594
ESPECIALLY
THE LAST ONE--
473
00:22:11,596 --> 00:22:14,765
2 MONSTERS BEATING
EACH OTHER'S BRAINS IN.
474
00:22:14,767 --> 00:22:16,266
AND THEN?
475
00:22:16,268 --> 00:22:17,600
WHEN THE PICTURE
WAS FINISHED,
476
00:22:17,602 --> 00:22:19,069
I PUT THE HOUSE
LIGHTS UP.
477
00:22:19,071 --> 00:22:20,771
THEN I PUT THE FILM
BACK IN THE CAN,
478
00:22:20,773 --> 00:22:23,040
AND I WENT HOME.
MY WORK WAS DONE.
479
00:22:23,042 --> 00:22:24,941
THE COP ON THE GATE,
RICHARDS,
480
00:22:24,943 --> 00:22:26,476
HE CHECKED ME OUT.
481
00:22:26,478 --> 00:22:27,978
OK, YOU CAN GO.
482
00:22:30,114 --> 00:22:31,848
HEY, DID YOU
SEE THIS?
483
00:22:33,217 --> 00:22:35,218
GLASS OF HIS WRIST WATCH
IS CRACKED.
484
00:22:35,220 --> 00:22:37,253
IT STOPPED AT 8:34.
485
00:22:37,255 --> 00:22:38,789
AND THAT FIXES
THE TIME OF THE MURDER.
486
00:22:38,791 --> 00:22:40,957
WHAT DO YOU MAKE OF IT?
487
00:22:40,959 --> 00:22:42,759
WELL, PENDING
AUTOPSY FINDINGS,
488
00:22:42,761 --> 00:22:44,227
I WOULD SAY
THAT HE WAS
489
00:22:44,229 --> 00:22:45,628
ATTACKED
FROM BEHIND
490
00:22:45,630 --> 00:22:47,397
BY SOMEONE WITH
FIENDISH STRENGTH.
491
00:22:47,399 --> 00:22:48,799
NECK IS BROKEN.
492
00:22:48,801 --> 00:22:50,033
AND THAT
THE ATTACKER,
493
00:22:50,035 --> 00:22:51,434
LIKE AN ANIMAL,
494
00:22:51,436 --> 00:22:54,004
INFLICTED SHARP
WOUNDS ON THE NECK.
495
00:22:54,006 --> 00:22:55,972
LOOKS LIKE FANGS
TO ME.
496
00:22:55,974 --> 00:22:57,307
I'D SAY THAT
THE TIME OF DEATH
497
00:22:57,309 --> 00:22:58,474
AS FIXED
BY THE TIME
498
00:22:58,476 --> 00:22:59,542
THE WATCH STOPPED
499
00:22:59,544 --> 00:23:00,643
IS REASONABLY
ACCURATE.
500
00:23:00,645 --> 00:23:02,145
SO, WHAT DO WE
HAVE TO DO?
501
00:23:02,147 --> 00:23:03,847
LOOK FOR A MONSTER?
502
00:23:03,849 --> 00:23:05,582
YOU DON'T HAVE
TO GO VERY FAR.
503
00:23:05,584 --> 00:23:07,317
I THINK THAT THEY
MAKE THEM TO ORDER
504
00:23:07,319 --> 00:23:08,618
RIGHT IN THIS
STUDIO.
505
00:23:08,620 --> 00:23:10,253
WE'RE NOT TALKING
ABOUT ACTORS.
506
00:23:10,255 --> 00:23:12,089
WE MEAN
A REAL MONSTER.
507
00:23:22,233 --> 00:23:24,567
THE NEWS HOUNDS
WILL HAVE A FIELD DAY.
508
00:23:24,569 --> 00:23:27,337
WHAT A WAY TO START
OFF THE NEW REGIME.
509
00:23:27,339 --> 00:23:28,905
YOU'VE GOT
TO MOVE FAST!
510
00:23:28,907 --> 00:23:30,207
WE'LL DO THE BEST
WE CAN.
511
00:23:30,209 --> 00:23:31,842
THE P.M. DIDN'T
HELP US VERY MUCH.
512
00:23:31,844 --> 00:23:33,076
ALL IT ESTABLISHED
WAS THAT
513
00:23:33,078 --> 00:23:34,644
HE WAS STRANGLED AND
HIS NECK WAS BROKEN.
514
00:23:34,646 --> 00:23:36,179
THAT COULD HAVE BEEN
DONE BY A HUMAN.
515
00:23:36,181 --> 00:23:37,981
BUT HE WAS ALSO
CLAWED AND BITTEN.
516
00:23:37,983 --> 00:23:39,282
THAT PART
IS INHUMAN.
517
00:23:39,284 --> 00:23:40,951
I'M NOT INTERESTED
IN YOUR SPECULATIONS.
518
00:23:40,953 --> 00:23:44,354
I JUST WANT RESULTS.
NIXON WAS MY FRIEND.
519
00:23:44,356 --> 00:23:47,023
YOU KNOW, IT'S ONE THING
WHEN AN EASTERN HOODLUM
520
00:23:47,025 --> 00:23:48,691
COMES OUT HERE
TO CUT IN
521
00:23:48,693 --> 00:23:51,027
ON JUICY CALIFORNIA
TERRITORY,
522
00:23:51,029 --> 00:23:52,963
AND THE LOCAL MOB
TURNS HIM OUT.
523
00:23:52,965 --> 00:23:54,865
BUT WHEN AN EASTERN
EXECUTIVE IS KILLED
524
00:23:54,867 --> 00:23:56,800
IN THE WEST,
IN HIS OWN STUDIO
525
00:23:56,802 --> 00:23:58,368
ON HIS FIRST JOB,
WELL...
526
00:23:58,370 --> 00:23:59,970
MAYBE YOU CAN
HELP US.
527
00:23:59,972 --> 00:24:03,006
I'LL BE GLAD TO.
ANY WAY AT ALL.
528
00:24:03,008 --> 00:24:04,540
DID HE HAVE ANY
KNOWN ENEMIES?
529
00:24:04,542 --> 00:24:06,576
NOT OUT HERE.
HOW COULD HE?
530
00:24:06,578 --> 00:24:08,211
AND CERTAINLY
NOT ENEMIES.
531
00:24:08,213 --> 00:24:10,446
HE MAY HAVE HAD
RIVALS FOR HIS JOB,
532
00:24:10,448 --> 00:24:12,548
BUT THEY WOULDN'T
RESORT TO MURDER.
533
00:24:12,550 --> 00:24:14,217
IN THE ENTERTAINMENT
BUSINESS,
534
00:24:14,219 --> 00:24:17,654
THE MORTALITY RATE
IS FAST AND HIGH ENOUGH.
535
00:24:17,656 --> 00:24:19,722
YOU HAVE YOUR EYE
ON A CERTAIN SPOT,
536
00:24:19,724 --> 00:24:21,391
ALL YOU NEED
IS PATIENCE.
537
00:24:21,393 --> 00:24:23,260
WAIT A LITTLE BIT,
YOU'RE BOUND TO GET YOUR TURN.
538
00:24:23,262 --> 00:24:25,929
WELL, DID HE ANTAGONIZE
ANYBODY OUT HERE?
539
00:24:25,931 --> 00:24:28,431
NO, NOT IN THAT
LETHAL WAY.
540
00:24:28,433 --> 00:24:31,134
NATURALLY, WE PINK-SLIPPED
ABOUT 100 AT THE STUDIO.
541
00:24:31,136 --> 00:24:33,736
WE HAD TO.
STILL CAMERAMEN,
542
00:24:33,738 --> 00:24:36,072
FLACKS, MAINTENANCE MEN,
SECRETARIES,
543
00:24:36,074 --> 00:24:37,640
MAKE-UP DEPARTMENT.
544
00:24:37,642 --> 00:24:39,542
BUT THAT'S NOT UNUSUAL
WHEN A NEW REGIME
545
00:24:39,544 --> 00:24:40,777
MOVES IN
AND TAKES OVER.
546
00:24:40,779 --> 00:24:42,345
AND YET IT THROWS
AN AWFUL LOT
547
00:24:42,347 --> 00:24:43,780
OF PEOPLE OUT OF WORK.
548
00:24:43,782 --> 00:24:45,916
SOME OF THEM MAY NOT
LIKE THE JOKE.
549
00:24:45,918 --> 00:24:47,250
IT'S JUST ONE
OF THE HAZARDS
550
00:24:47,252 --> 00:24:48,451
OF THE INDUSTRY.
551
00:24:48,453 --> 00:24:50,253
AND BESIDES, THEY'LL ALL
GET JOBS IMMEDIATELY.
552
00:24:50,255 --> 00:24:51,754
THEY'LL BE
ABSORBED BY TV.
553
00:24:51,756 --> 00:24:55,692
AND YOU DON'T KNOW OF ANY
ENEMIES HE HAD OUT HERE?
554
00:24:55,694 --> 00:24:58,228
I'D SAY HE HAD NONE.
555
00:24:58,230 --> 00:25:00,430
WELL, WE'LL PUT EVERY MAN
WE CAN ON THE CASE.
556
00:25:00,432 --> 00:25:02,332
JUST BEAR IN MIND
THAT WE WANT THIS
557
00:25:02,334 --> 00:25:03,967
CLEARED UP AS BADLY
AS YOU DO.
558
00:25:03,969 --> 00:25:05,869
A HOLLYWOOD MURDER
IS OK ON THE SCREEN,
559
00:25:05,871 --> 00:25:07,370
BUT NOT IN THE STUDIO.
560
00:25:12,143 --> 00:25:14,077
[DANCE MUSIC PLAYING]
561
00:25:20,651 --> 00:25:22,352
WHAT IS IT, LARRY?
562
00:25:22,354 --> 00:25:23,887
DON'T YOU FEEL WELL?
563
00:25:25,122 --> 00:25:27,824
I DON'T--
I KIND OF BLACKED OUT.
564
00:25:27,826 --> 00:25:30,293
I DON'T UNDERSTAND.
565
00:25:30,295 --> 00:25:33,129
I START TO WEAVE,
AND THEN I BLACK OUT.
566
00:25:33,131 --> 00:25:35,131
THIS IS SOMETHING NEW.
567
00:25:35,133 --> 00:25:37,300
NO, I JUST
FEEL THIS WAY SINCE--
568
00:25:37,302 --> 00:25:39,469
LOOK, MAYBE--
MAYBE YOU GAVE YOUR ALL
569
00:25:39,471 --> 00:25:41,137
TO THE PART
OF THE WEREWOLF.
570
00:25:41,139 --> 00:25:43,006
NOW YOU DON'T HAVE
ANY STRENGTH LEFT.
571
00:25:43,008 --> 00:25:44,975
YOU MAY HAVE
SOMETHING THERE.
572
00:25:44,977 --> 00:25:46,809
THE LAST SCENE
I WAS IN, I--
573
00:25:46,811 --> 00:25:48,378
I HAD TO TRY
TO ESCAPE,
574
00:25:48,380 --> 00:25:50,781
TO GET AWAY
FROM THE POLICE.
575
00:25:50,783 --> 00:25:54,317
ARLENE, I STILL FEEL
AS IF I'M RUNNING.
576
00:25:54,319 --> 00:25:56,319
I DON'T KNOW WHAT
I'M RUNNING FROM, BUT--
577
00:25:56,321 --> 00:25:57,988
BUT I AM
RUNNING AWAY!
578
00:25:57,990 --> 00:25:59,856
MAYBE THE REPORTERS
AND POLICE UPSET YOU.
579
00:25:59,858 --> 00:26:02,492
NO, NO.
580
00:26:02,494 --> 00:26:05,295
THEY JUST LOOKED AROUND
AND TOOK A FEW PICTURES.
581
00:26:05,297 --> 00:26:07,197
THEY BARELY SPOKE TO ME.
582
00:26:07,199 --> 00:26:08,965
ASKED ME HOW IT FEELS
TO BE A MONSTER,
583
00:26:08,967 --> 00:26:10,433
THEN THEY TURNED AWAY.
584
00:26:11,836 --> 00:26:14,304
I HEARD THEM LAUGHING
AT THE MAKE-UP, LIKE--
585
00:26:14,306 --> 00:26:16,073
LIKE IT WAS SOMETHING
TO SCARE KIDS.
586
00:26:17,975 --> 00:26:19,743
IT'S THE SAME.
587
00:26:19,745 --> 00:26:21,511
I'M STILL RUNNING,
RUNNING, RUNNING--
588
00:26:21,513 --> 00:26:23,346
COME ON, LARRY, RELAX.
589
00:26:23,348 --> 00:26:25,682
CALM YOURSELF.
590
00:26:25,684 --> 00:26:27,517
I GUESS
IT'S ONLY NATURAL,
591
00:26:27,519 --> 00:26:28,885
IF YOU WORK HARD,
592
00:26:28,887 --> 00:26:30,587
THAT YOU'RE GONNA
HAVE A LET DOWN.
593
00:26:31,823 --> 00:26:33,190
YEAH, I GUESS SO.
594
00:26:33,192 --> 00:26:34,858
[DANCE MUSIC PLAYS]
595
00:26:34,860 --> 00:26:36,960
YOU BETTER
GET BACK IN, ARLENE,
596
00:26:36,962 --> 00:26:39,029
BEFORE THEY CHIP IN
AND BUY ME A WHEELCHAIR.
597
00:26:39,031 --> 00:26:40,463
[CHUCKLES]
598
00:26:46,003 --> 00:26:47,470
[KNOCK ON DOOR]
599
00:26:57,882 --> 00:26:59,549
WORKING LATE AGAIN, HUH?
600
00:26:59,551 --> 00:27:02,318
OH, WELL,
I HAVE NO HOURS.
601
00:27:02,320 --> 00:27:04,020
NO CREATOR HAS.
602
00:27:04,022 --> 00:27:05,856
BESIDES, I GET MORE
JOY AND SATISFACTION
603
00:27:05,858 --> 00:27:07,958
OUT OF MY WORK THAN
WATCHING THE CLOCK.
604
00:27:07,960 --> 00:27:10,326
I KNOW YOU'RE A BEAVER
FOR WORK,
605
00:27:10,328 --> 00:27:12,362
BUT IT'S ONLY HUMAN TO CALL IT
A DAY ONCE IN A WHILE.
606
00:27:12,364 --> 00:27:14,798
NOT ME.
THERE'S NO REST FOR ME.
607
00:27:14,800 --> 00:27:17,467
YOU SHOULD, THOUGH.
TAKE IT EASY, I MEAN.
608
00:27:17,469 --> 00:27:19,870
IT PUZZLES ME WHY
YOU KNOCK YOURSELF OUT,
609
00:27:19,872 --> 00:27:21,738
ESPECIALLY WHEN
YOU'RE THROUGH HERE.
610
00:27:21,740 --> 00:27:23,740
THIS IS YOUR LAST JOB.
611
00:27:23,742 --> 00:27:26,276
SO YOU KNOW, TOO, HMM?
612
00:27:26,278 --> 00:27:27,978
IT'S ALL OVER
THE LOT.
613
00:27:27,980 --> 00:27:30,080
BUT IT'S
NO DISGRACE.
614
00:27:30,082 --> 00:27:32,082
BELIEVE ME,
YOU'RE IN GOOD COMPANY.
615
00:27:32,084 --> 00:27:34,050
HALF THE OLD TERMERS
GET PINK SLIPS.
616
00:27:34,052 --> 00:27:35,551
DID YOU?
617
00:27:35,553 --> 00:27:37,254
NO, A COP DOESN'T
MAKE ENOUGH MONEY
618
00:27:37,256 --> 00:27:38,855
TO BE A DRAG
ON THE PAYROLL.
619
00:27:38,857 --> 00:27:41,457
BUT I MIGHT JUST
FIRE MYSELF--UP.
620
00:27:41,459 --> 00:27:42,926
OH?
621
00:27:42,928 --> 00:27:44,261
I NEVER
KIDDED MYSELF
622
00:27:44,263 --> 00:27:45,796
THAT WALKING
A WATCHMAN'S ROUNDS
623
00:27:45,798 --> 00:27:47,264
WOULD MOVE ME
TO THE TOP.
624
00:27:47,266 --> 00:27:49,065
NO, I GUESS NOT.
625
00:27:49,067 --> 00:27:50,700
TAKE MOST OF THESE
STUDIO COPS.
626
00:27:50,702 --> 00:27:52,035
THEY'RE RETIRED
POLICEMEN
627
00:27:52,037 --> 00:27:54,604
LOOKING
FOR A SOFT TOUCH.
628
00:27:54,606 --> 00:27:57,240
BUT NOT ME, THOUGH.
I'VE GOT DIFFERENT IDEAS.
629
00:27:57,242 --> 00:27:59,509
IF I WERE CHIEF OF POLICE
AT THIS STUDIO,
630
00:27:59,511 --> 00:28:01,278
I'D RUN IT REAL STRICT.
631
00:28:01,280 --> 00:28:03,379
NO ONE WOULD GET ON THIS LOT
WITHOUT A PASS.
632
00:28:04,949 --> 00:28:06,983
AND I'D PUT ON
2 NIGHT PATROLS.
633
00:28:06,985 --> 00:28:09,119
THAT NEW BOSS NIXON
MIGHT NOT HAVE BEEN KILLED
634
00:28:09,121 --> 00:28:11,587
IF MY SYSTEM
HAD BEEN ENFORCED.
635
00:28:11,589 --> 00:28:14,024
WELL, IT'S TOO BAD
IT WASN'T.
636
00:28:14,026 --> 00:28:16,293
BUT NOW
I'M HIP TO SOMETHING
637
00:28:16,295 --> 00:28:18,628
THAT MIGHT JUST PUT ME
IN LINE FOR PROMOTION.
638
00:28:22,800 --> 00:28:25,168
OH, REALLY?
639
00:28:25,170 --> 00:28:27,470
TAKE THAT NIXON KILLING,
FOR INSTANCE.
640
00:28:27,472 --> 00:28:28,638
A MAN GETS STRANGLED
641
00:28:28,640 --> 00:28:30,640
JUST WATCHING
THE RUSHES.
642
00:28:30,642 --> 00:28:32,142
I WASN'T SATISFIED
WITH THE WAY
643
00:28:32,144 --> 00:28:33,576
THE BIG BRASS
HANDLED IT,
644
00:28:33,578 --> 00:28:35,912
SO I PUT SOME POINTERS
OF MY OWN DOWN.
645
00:28:35,914 --> 00:28:39,582
GOT THEM RIGHT HERE
IN MY LITTLE BLACK BOOK.
646
00:28:39,584 --> 00:28:41,251
LIKE A REAL
DETECTIVE, HUH?
647
00:28:41,253 --> 00:28:42,418
EXACTLY.
648
00:28:42,420 --> 00:28:45,488
LIKE I THINK IT WAS
AN INSIDE JOB.
649
00:28:45,490 --> 00:28:47,190
SOMEONE WHO KNEW
HIS WAY AROUND THE LOT.
650
00:28:47,192 --> 00:28:49,492
YOU SUSPECT ANYONE?
651
00:28:49,494 --> 00:28:51,127
NO.
652
00:28:51,129 --> 00:28:53,563
BUT I CAN GIVE YOU
ANOTHER FOR INSTANCE.
653
00:28:53,565 --> 00:28:55,665
LIKE YOU AND YOUR STOOGE
DIDN'T LEAVE THE STUDIO
654
00:28:55,667 --> 00:28:57,334
THE NIGHT
BEFORE THE KILLING.
655
00:28:57,336 --> 00:28:59,002
WELL, I OFTEN SPEND
THE NIGHT HERE,
656
00:28:59,004 --> 00:29:00,837
ESPECIALLY WHEN I HAVE
A HEAVY MAKE-UP JOB.
657
00:29:00,839 --> 00:29:02,272
DO YOU REALIZE
I'VE GOT TO BE HERE
658
00:29:02,274 --> 00:29:03,639
AT 6:00 IN THE MORNING
659
00:29:03,641 --> 00:29:05,008
TO GET THE ACTOR READY
660
00:29:05,010 --> 00:29:06,509
FOR HIS FIRST SCENE
OF THE DAY?
661
00:29:06,511 --> 00:29:08,278
SO WHY BOTHER
TO GO HOME?
662
00:29:08,280 --> 00:29:10,247
YOU DON'T HAVE TO
EXPLAIN ANYTHING TO ME.
663
00:29:10,249 --> 00:29:13,516
YOU CAN TELL IT ALL TO
CAPTAIN HANCOCK OF HOMICIDE.
664
00:29:13,518 --> 00:29:15,185
AND YOU CAN TELL HIM,
FOR INSTANCE,
665
00:29:15,187 --> 00:29:17,487
THAT ON THE NIGHT
OF THE KILLING,
666
00:29:17,489 --> 00:29:21,258
YOU AND RIVERO
LEFT THE LOT AT 9:12.
667
00:29:21,260 --> 00:29:25,395
GOT IT ALL DOWN HERE
IN MY LITTLE BLACK BOOK.
668
00:29:25,397 --> 00:29:27,430
AND I FIGURE
CAPTAIN HANCOCK
669
00:29:27,432 --> 00:29:30,133
TELLS THE NEW SET-UP,
AND MAYBE I GET PROMOTED.
670
00:29:31,969 --> 00:29:33,503
YEAH, I'VE GOT A FEW
OTHER LITTLE THINGS
671
00:29:33,505 --> 00:29:35,305
WRITTEN DOWN
FOR HIM, TOO.
672
00:29:37,708 --> 00:29:39,542
YES, BUT WHY BOTHER?
AFTER ALL,
673
00:29:39,544 --> 00:29:41,577
YOU'VE ALREADY DONE
ALL THEY EXPECT OF YOU.
674
00:29:41,579 --> 00:29:44,047
WHY STICK YOUR NECK OUT
BEYOND THE CALL OF DUTY?
675
00:29:44,049 --> 00:29:47,250
THE SECURITY OF THIS LOT
MEANS A GREAT DEAL TO ME.
676
00:29:47,252 --> 00:29:50,220
THIS STUDIO WILL BE HERE
A LONG TIME.
677
00:29:50,222 --> 00:29:53,356
AND SOMEDAY I EXPECT TO BE
ITS CHIEF OF POLICE.
678
00:29:53,358 --> 00:29:55,392
WELL, I LIKE A SHOW
OF AMBITION,
679
00:29:55,394 --> 00:29:57,593
AND YOU'VE
REALLY GOT IT.
680
00:29:57,595 --> 00:29:59,495
I'LL SEE YOU DOWNTOWN.
681
00:30:06,437 --> 00:30:07,370
RIVERO.
682
00:30:08,539 --> 00:30:09,639
COME HELP ME, QUICK.
683
00:30:47,111 --> 00:30:49,045
[BIG BAND MUSIC
PLAYING ON RADIO]
684
00:30:50,448 --> 00:30:52,048
[VOLUME INCREASES]
685
00:31:03,694 --> 00:31:05,628
[WHISTLING]
686
00:31:19,710 --> 00:31:21,644
[CONTINUES WHISTLING]
687
00:31:47,004 --> 00:31:47,937
OH!
688
00:31:49,606 --> 00:31:51,541
[CRASHING]
689
00:32:12,996 --> 00:32:14,931
[BIG BAND MUSIC
PLAYING ON RADIO]
690
00:32:22,173 --> 00:32:24,707
WE'RE GONNA
CHECK OUT NOW.
691
00:32:24,709 --> 00:32:26,976
REMEMBER,
NOT A WORD OUT OF YOU.
692
00:32:26,978 --> 00:32:28,511
JUST FOLLOW ME
OUT OF THE STUDIO
693
00:32:28,513 --> 00:32:30,046
AND GET INTO THE CAR.
694
00:32:37,455 --> 00:32:39,389
[SOFT MUSIC
PLAYING ON RADIO]
695
00:32:48,865 --> 00:32:50,066
WELL, PETE,
696
00:32:50,068 --> 00:32:51,568
YOU DON'T GET
OVERTIME FOR THIS,
697
00:32:51,570 --> 00:32:53,303
ALTHOUGH I BET
YOU EARNED IT.
698
00:32:53,305 --> 00:32:55,305
UH, YES. WE ACCOMPLISHED
QUITE A LOT,
699
00:32:55,307 --> 00:32:56,806
BUT WE ARE FAR
FROM FINISHED.
700
00:32:56,808 --> 00:32:59,509
JUST A FEW HOURS REST,
AND THEN BACK AGAIN.
701
00:32:59,511 --> 00:33:00,710
WELL, RICHARDS, NIGHT.
702
00:33:00,712 --> 00:33:01,844
NIGHT.
703
00:33:10,020 --> 00:33:11,954
[SWING MUSIC
PLAYING ON RADIO]
704
00:33:15,259 --> 00:33:16,526
[MUSIC STOPS]
705
00:33:52,162 --> 00:33:53,362
HEY, MONAHAN!
706
00:34:09,012 --> 00:34:10,145
HEY, MONAHAN!
707
00:34:19,989 --> 00:34:20,989
MONAHAN!
708
00:34:31,167 --> 00:34:33,936
AND HE MUST HAVE PUT UP
A TERRIFIC BATTLE.
709
00:34:33,938 --> 00:34:35,938
SURE LOOKS LIKE IT.
710
00:34:35,940 --> 00:34:37,773
I'M SURPRISED
I DIDN'T HEAR A THING.
711
00:34:42,613 --> 00:34:43,879
THIS MAKES NO SENSE.
712
00:34:43,881 --> 00:34:45,848
KILLING A WATCHMAN
ON HIS ROUNDS.
713
00:34:45,850 --> 00:34:47,617
UNLESS HE SURPRISED
THE MURDERER.
714
00:34:47,619 --> 00:34:48,684
SURPRISED HIM IN WHAT?
715
00:34:48,686 --> 00:34:50,853
AS FAR AS WE KNOW,
NOTHING WAS STOLEN.
716
00:34:50,855 --> 00:34:52,588
NO DRESSING ROOMS
WERE BROKEN INTO.
717
00:34:52,590 --> 00:34:53,656
WHEN DID YOU
BEGIN TO SUSPECT
718
00:34:53,658 --> 00:34:55,224
SOMETHING WAS WRONG?
719
00:34:55,226 --> 00:34:57,293
WELL, I WAITED
15, 20 MINUTES
720
00:34:57,295 --> 00:34:58,494
AFTER HE WAS DUE BACK,
721
00:34:58,496 --> 00:35:00,496
THEN BEGAN
TO LOOK FOR HIM.
722
00:35:00,498 --> 00:35:01,564
I FIGURED
MAYBE HE BROUGHT
723
00:35:01,566 --> 00:35:03,332
A LITTLE SNACK
FROM HOME.
724
00:35:03,334 --> 00:35:04,367
HE USED TO TELL ME
725
00:35:04,369 --> 00:35:06,802
HIS WIFE WORRIED
ABOUT HIS STOMACH.
726
00:35:06,804 --> 00:35:09,538
I THOUGHT MAYBE HE WENT
TO EAT IT IN HIS CAR,
727
00:35:09,540 --> 00:35:10,839
BUT AFTER I CHECKED
HIS ROUNDS--
728
00:35:10,841 --> 00:35:12,375
ANYBODY COME IN LATE?
729
00:35:12,377 --> 00:35:13,376
NO.
730
00:35:13,378 --> 00:35:14,843
ANYBODY LEAVE?
731
00:35:14,845 --> 00:35:17,112
A COUPLE OF LATE SHIFT
MAINTENANCE MEN,
732
00:35:17,114 --> 00:35:18,213
PETE, THE MAKEUP MAN
733
00:35:18,215 --> 00:35:19,782
WITH HIS ASSISTANT
RIVERO.
734
00:35:19,784 --> 00:35:21,517
YOU BETTER GET
THEIR STORY.
735
00:35:21,519 --> 00:35:22,985
YOU GOT AN ADDRESS
FOR THEM?
736
00:35:22,987 --> 00:35:24,687
THIS PETE
AND HIS ASSISTANT?
737
00:35:24,689 --> 00:35:25,788
WELL, NOT IN THE BOOTH.
738
00:35:25,790 --> 00:35:27,456
PAYROLL WILL HAVE IT.
739
00:35:27,458 --> 00:35:29,224
ANYWAY, PETE WILL BE
BACK HERE IN A FEW HOURS
740
00:35:29,226 --> 00:35:30,426
TO MAKE UP
THIS YOUNG ACTOR
741
00:35:30,428 --> 00:35:32,161
WHO'S PLAYING
FRANKENSTEIN'S MONSTER.
742
00:35:32,163 --> 00:35:33,162
HOW EARLY?
743
00:35:33,164 --> 00:35:36,098
OH, MAYBE 6:00.
744
00:35:36,100 --> 00:35:39,702
BUT THIS PETE,
HE'S A HARMLESS OLD GUY.
745
00:35:39,704 --> 00:35:41,103
JUST THE SAME,
GET HIS STORY.
746
00:35:48,978 --> 00:35:51,079
AND YOU'RE SURE
YOU DIDN'T HEAR A THING?
747
00:35:51,081 --> 00:35:52,147
NO, SIR.
748
00:35:52,149 --> 00:35:53,649
YOU SEE, I WAS HERE
ALL THE TIME.
749
00:35:53,651 --> 00:35:54,750
RIGHT AT THIS TABLE,
750
00:35:54,752 --> 00:35:56,084
PREPARING THE
FOUNDATION CREAM
751
00:35:56,086 --> 00:35:57,252
I USE IN MAKEUP.
752
00:35:57,254 --> 00:35:58,921
AND YOU HEARD NOTHING
AND SAW NOTHING?
753
00:35:58,923 --> 00:36:01,223
IF I HAD, I WOULD HAVE
DONE SOMETHING ABOUT IT.
754
00:36:01,225 --> 00:36:03,225
HE WAS A NICE YOUNG
FELLOW, THAT MONAHAN.
755
00:36:03,227 --> 00:36:04,927
POLITE AND NEIGHBORLY.
756
00:36:04,929 --> 00:36:05,861
IT'S A SHAME.
757
00:36:08,498 --> 00:36:09,765
MONSTERS.
758
00:36:09,767 --> 00:36:10,833
IS THAT ALL YOU DO?
759
00:36:11,901 --> 00:36:14,503
WELL, I SORT OF
SPECIALIZE IN THEM.
760
00:36:14,505 --> 00:36:16,839
I HAVE FOR 25 YEARS.
761
00:36:16,841 --> 00:36:17,940
LOOK, PETE.
762
00:36:17,942 --> 00:36:19,775
MY KID'S HAVING
A HALLOWEEN PARTY.
763
00:36:19,777 --> 00:36:20,943
I THINK HE'D
GET A BIG BANG
764
00:36:20,945 --> 00:36:22,511
OUT OF SCARING
HIS FRIENDS.
765
00:36:22,513 --> 00:36:23,946
OH, WELL,
BRING HIM OVER.
766
00:36:23,948 --> 00:36:25,914
I'LL BE GLAD TO MAKE
HIM UP AS A MONSTER.
767
00:36:25,916 --> 00:36:26,949
IN THE MEANTIME,
768
00:36:26,951 --> 00:36:28,317
DON'T MAKE
ANY SUDDEN TRIPS.
769
00:36:28,319 --> 00:36:29,819
THE CAPTAIN MIGHT WANT
TO SEE YOU DOWNTOWN.
770
00:36:29,821 --> 00:36:30,953
OH, I WON'T.
771
00:36:30,955 --> 00:36:32,120
BELIEVE ME,
I WON'T BUDGE
772
00:36:32,122 --> 00:36:34,022
UNTIL THIS PICTURE
IS FINISHED SHOOTING.
773
00:36:34,024 --> 00:36:35,123
NOW, IF YOU'LL
EXCUSE ME,
774
00:36:35,125 --> 00:36:36,392
I HAVE SOME WORK TO DO.
775
00:36:38,795 --> 00:36:40,730
[DOOR OPENS AND CLOSES]
776
00:36:49,406 --> 00:36:50,473
Man: OK,
LET'S GET READY
777
00:36:50,475 --> 00:36:52,274
TO DO THE NUMBER
STARRING JOHN ASHLEY.
778
00:36:54,043 --> 00:36:55,310
THIS WILL BE A TAKE.
779
00:36:58,982 --> 00:37:00,649
QUIET!
780
00:37:00,651 --> 00:37:02,017
BELL, PLEASE.
781
00:37:02,019 --> 00:37:04,019
[BELL RINGING]
782
00:37:04,021 --> 00:37:05,120
ROLL 'EM!
783
00:37:07,724 --> 00:37:08,824
PLAY BACK.
784
00:37:09,893 --> 00:37:11,827
[ROCKABILLY MUSIC PLAYING]
785
00:37:15,365 --> 00:37:18,133
� HELLO, BABY,
I'M GLAD TO SEE YOU �
786
00:37:18,135 --> 00:37:20,536
� MIGHT LIKE
TO SEE YOU MORE �
787
00:37:20,538 --> 00:37:23,372
� BUT SOMEONE GAVE YOU
THE WRONG IDEA �
788
00:37:23,374 --> 00:37:25,908
� ABOUT WHAT YOUR CHARMS
ARE FOR �
789
00:37:25,910 --> 00:37:28,310
� YOU GOTTA HAVE
EEH-OOH �
790
00:37:28,312 --> 00:37:31,046
� TO GO WITH YOUR SMILE �
791
00:37:31,048 --> 00:37:33,582
� YOU'LL FIND IF YOU PLAY UP
YOUR FIGURE �
792
00:37:33,584 --> 00:37:36,585
� FELLAS WILL DIG
YOUR STYLE �
793
00:37:36,587 --> 00:37:39,321
� WELL, YOU GOTTA HAVE
EEH-OOH �
794
00:37:39,323 --> 00:37:42,157
� AND PLENTY OF OOH �
795
00:37:42,159 --> 00:37:44,460
� A GUY WILL END UP
IN YOUR ARMS �
796
00:37:44,462 --> 00:37:47,663
� IF YOU KEEP
YOUR CHARMS IN VIEW �
797
00:37:47,665 --> 00:37:50,365
� WELL, SOME CALL IT
GLAMOUR �
798
00:37:50,367 --> 00:37:53,769
� AND SOME CALL IT CLASS �
799
00:37:53,771 --> 00:37:56,972
� BUT WHEN THEY CALL IT
EEH-OOH �
800
00:37:56,974 --> 00:37:59,074
� BABY, YOU'RE COOKIN'
WITH GAS �
801
00:37:59,076 --> 00:38:01,644
� YOU GOTTA HAVE EEH-OOH �
802
00:38:01,646 --> 00:38:04,447
� YOU GOTTA HAVE WOW �
803
00:38:04,449 --> 00:38:06,782
� UNLESS YOU ARE DRESSED UP
TO CATCH HIM �
804
00:38:06,784 --> 00:38:08,216
� SOMEONE WILL SNATCH HIM �
805
00:38:08,218 --> 00:38:10,252
� WHAT A DIFFERENCE
IT MAKES �
806
00:38:10,254 --> 00:38:12,220
� BUT IF YOU GOT EEH-OOH �
807
00:38:12,222 --> 00:38:15,390
� WELL, YOU GOT
WHAT IT TAKES �
808
00:38:15,392 --> 00:38:16,559
WHOA!
809
00:38:16,561 --> 00:38:18,494
[MUSIC CONTINUES]
810
00:38:37,581 --> 00:38:40,449
� WELL, SOME CALL IT
GLAMOUR �
811
00:38:40,451 --> 00:38:43,919
� AND SOME CALL IT CLASS �
812
00:38:43,921 --> 00:38:47,155
� BUT WHEN THEY CALL IT
EEH-OOH �
813
00:38:47,157 --> 00:38:49,257
� BABY, YOU'RE COOKIN'
WITH GAS �
814
00:38:49,259 --> 00:38:51,727
� YOU GOTTA HAVE EEH-OOH �
815
00:38:51,729 --> 00:38:54,563
� YOU GOTTA HAVE WOW �
816
00:38:54,565 --> 00:38:56,932
� UNLESS YOU ARE DRESSED UP
TO CATCH HIM �
817
00:38:56,934 --> 00:38:58,767
� SOMEONE WILL SNATCH HIM �
818
00:38:58,769 --> 00:39:00,268
� WHAT A DIFFERENCE
IT MAKES �
819
00:39:00,270 --> 00:39:02,004
� BUT IF YOU GOT EEH-OOH �
820
00:39:02,006 --> 00:39:03,271
� WELL �
821
00:39:03,273 --> 00:39:06,375
� YOU GOT
WHAT IT TAKES �
822
00:39:08,812 --> 00:39:10,112
CUT.
823
00:39:10,114 --> 00:39:11,279
PRINT.
824
00:39:11,281 --> 00:39:13,048
VERY GOOD, KIDS.
LUNCH, ONE HOUR.
825
00:39:13,050 --> 00:39:14,984
[ALL TALKING INDISTINCTLY]
826
00:39:17,821 --> 00:39:19,454
WELL, YOU SEE
WHAT I MEAN, PETE?
827
00:39:22,826 --> 00:39:24,727
I CERTAINLY DO.
828
00:39:24,729 --> 00:39:26,294
THIS IS WHAT
THE PEOPLE WANT
829
00:39:26,296 --> 00:39:27,930
INSTEAD OF
THE OLD STUFF--
830
00:39:27,932 --> 00:39:29,297
FRIGHT WIGS
AND MONSTERS.
831
00:39:29,299 --> 00:39:30,799
THEY GO FOR
GORGEOUS GALS.
832
00:39:30,801 --> 00:39:32,334
SINGING, DANCING.
833
00:39:32,336 --> 00:39:33,969
YOU KNOW, ESCAPISM.
834
00:39:33,971 --> 00:39:35,905
AND THAT'S WHAT
YOU'LL GIVE THEM.
835
00:39:35,907 --> 00:39:36,972
GOT TO.
836
00:39:36,974 --> 00:39:38,774
IT'S THE WHEELS
OF PROGRESS.
837
00:39:38,776 --> 00:39:41,176
THE AUTOMOBILE KILLS OFF
THE HORSE AND BUGGY,
838
00:39:41,178 --> 00:39:42,578
THE FREEZER PUTS THE
OLD-FASHIONED ICEBOX
839
00:39:42,580 --> 00:39:43,646
OUT OF BUSINESS,
840
00:39:43,648 --> 00:39:44,947
AND SO IT GOES.
841
00:39:44,949 --> 00:39:46,248
YOU'RE RIGHT,
MR. CLAYTON.
842
00:39:46,250 --> 00:39:47,816
THE WHEELS
OF PROGRESS,
843
00:39:47,818 --> 00:39:49,952
NO MATTER
WHOM THEY RUN OVER.
844
00:39:49,954 --> 00:39:51,420
THAT'S THE WAY
THE FOOTAGE CUTS.
845
00:39:58,762 --> 00:40:00,262
[KNOCKING ON DOOR]
846
00:40:07,203 --> 00:40:08,737
YES, GIRLS?
ANYTHING I CAN DO?
847
00:40:08,739 --> 00:40:10,172
WE'RE FROM
OAKMONT HIGH.
848
00:40:10,174 --> 00:40:11,941
WE'RE THE EDITORS
OF OUR SCHOOL PAPER.
849
00:40:11,943 --> 00:40:13,842
WE'RE WRITING A STORY,
"A DAY AT THE STUDIO."
850
00:40:13,844 --> 00:40:15,010
YOU KNOW,
ONE OF THE GIRLS
851
00:40:15,012 --> 00:40:16,511
IS IN A MUSICAL
THEY'RE SHOOTING.
852
00:40:16,513 --> 00:40:18,581
Tony: OH, YEAH.
BETTY DAVENPORT.
853
00:40:18,583 --> 00:40:19,648
YOU--YOU KNOW HER?
854
00:40:19,650 --> 00:40:21,349
WELL, I MET HER.
855
00:40:21,351 --> 00:40:22,685
I PLAYED FOOTBALL
WITH HER BROTHER
856
00:40:22,687 --> 00:40:23,852
LAST YEAR.
857
00:40:23,854 --> 00:40:25,187
WELL, THAT'S
WHAT WE NEED.
858
00:40:25,189 --> 00:40:26,822
IN OUR STORY, WE WANT
TO GET THE TEENAGE SLANT,
859
00:40:26,824 --> 00:40:28,190
AND YOU JUST
FINISHED SCHOOL.
860
00:40:28,192 --> 00:40:29,191
NO, NO, NO, GIRLS.
861
00:40:29,193 --> 00:40:30,358
I KNOW YOU HAVE
A LOT TO WRITE ABOUT,
862
00:40:30,360 --> 00:40:31,694
BUT WE REALLY DON'T
HAVE TOO MUCH TIME.
863
00:40:31,696 --> 00:40:33,361
WELL, WE JUST WANT
TO ASK ONE QUESTION.
864
00:40:33,363 --> 00:40:34,597
ASK ME.
865
00:40:34,599 --> 00:40:35,998
HOW DOES IT FEEL
866
00:40:36,000 --> 00:40:38,200
TO BE THE LAST
OF THE FRANKENSTEINS?
867
00:40:38,202 --> 00:40:39,201
WHAT?
868
00:40:39,203 --> 00:40:40,269
WHO TOLD YOU
HE WAS THE LAST?
869
00:40:40,271 --> 00:40:42,538
MR. CLAYTON.
870
00:40:42,540 --> 00:40:43,705
OH?
871
00:40:43,707 --> 00:40:45,507
WELL, WE HAD TO GET
PERMISSION FROM HIM FIRST,
872
00:40:45,509 --> 00:40:46,976
AND THEN WE DESCRIBED
WHAT WE WANTED,
873
00:40:46,978 --> 00:40:48,577
AND HE SUGGESTED
THAT AS A GOOD QUESTION.
874
00:40:48,579 --> 00:40:50,212
I KNOW
THE QUESTION.
875
00:40:50,214 --> 00:40:51,713
WELL,
GO AHEAD, TONY.
876
00:40:51,715 --> 00:40:53,049
ANSWER IT SO WE CAN
GET ON WITH OUR WORK.
877
00:40:53,051 --> 00:40:54,783
WELL, FIRST OR LAST,
878
00:40:54,785 --> 00:40:56,485
I'M GONNA DO MY BEST.
879
00:40:56,487 --> 00:40:57,886
IT'S A BIG OPPORTUNITY
FOR ME.
880
00:40:57,888 --> 00:41:00,056
THANK YOU VERY MUCH.
881
00:41:00,058 --> 00:41:01,890
WE'LL GET PICTURES
FROM PUBLICITY.
882
00:41:01,892 --> 00:41:03,625
THANKS AGAIN,
AND GOOD LUCK, TONY.
883
00:41:03,627 --> 00:41:04,660
GOOD-BYE, TONY.
884
00:41:04,662 --> 00:41:06,562
BYE.
885
00:41:06,564 --> 00:41:08,230
YOU SEE?
886
00:41:08,232 --> 00:41:09,398
I WAS RIGHT
WHEN I TOLD YOU
887
00:41:09,400 --> 00:41:11,067
THEY WERE CUTTING
THE GROUND FROM UNDER US.
888
00:41:13,603 --> 00:41:16,072
NOW, REMEMBER, MY BOY,
THIS NEW INGREDIENT
889
00:41:16,074 --> 00:41:18,074
THAT I PUT INTO
THE FOUNDATION CREAM
890
00:41:18,076 --> 00:41:20,276
MAY TIGHTEN YOUR SKIN.
891
00:41:20,278 --> 00:41:23,245
BUT, AS I TOLD YOU,
LEAVE EVERYTHING TO ME.
892
00:41:23,247 --> 00:41:26,615
NOW, YOU'LL BE GREAT
IN YOUR LAST SCENE.
893
00:41:26,617 --> 00:41:27,916
WHEN YOUR ENEMIES
COME UPON YOU,
894
00:41:27,918 --> 00:41:29,418
YOU'LL HAVE
MANIACAL STRENGTH
895
00:41:29,420 --> 00:41:31,287
TO FIGHT THEM OFF.
896
00:41:31,289 --> 00:41:33,322
AND ALSO REMEMBER,
897
00:41:33,324 --> 00:41:35,257
THIS MANIACAL STRENGTH
WILL LINGER
898
00:41:35,259 --> 00:41:37,259
IN YOUR ARMS AND HANDS,
899
00:41:37,261 --> 00:41:38,560
AND WITH IT,
YOU'LL DESTROY
900
00:41:38,562 --> 00:41:40,762
YOUR REAL ENEMIES...
901
00:41:40,764 --> 00:41:42,731
EXACTLY AS I
INSTRUCT YOU.
902
00:41:50,607 --> 00:41:52,108
YOU'RE GOING HOME
PRETTY LATE TONIGHT,
903
00:41:52,110 --> 00:41:53,275
MR. CLAYTON.
904
00:41:53,277 --> 00:41:54,610
YES, AND IT GETS LATER
EVERY NIGHT.
905
00:41:54,612 --> 00:41:56,112
WORK JUST SEEMS
TO PILE UP.
906
00:41:56,114 --> 00:41:57,279
GOOD NIGHT, RICHARDS.
907
00:41:57,281 --> 00:41:58,381
GOOD NIGHT, SIR.
908
00:42:49,166 --> 00:42:51,200
[CAR HORN HONKS]
909
00:42:53,403 --> 00:42:56,372
[GRUNTING]
910
00:42:56,374 --> 00:42:58,040
[CAR HORN HONKS]
911
00:43:02,479 --> 00:43:04,913
[CAR HORN HONKING]
912
00:43:10,954 --> 00:43:12,455
[HONKING CONTINUES]
913
00:43:12,457 --> 00:43:14,390
[DOG BARKING]
914
00:43:22,732 --> 00:43:24,333
AAH! AAH!
915
00:43:29,872 --> 00:43:31,273
THE BOY IS LATE.
916
00:43:31,275 --> 00:43:32,908
DO YOU THINK
ANYTHING'S HAPPENED?
917
00:43:32,910 --> 00:43:34,943
YOU'RE ALWAYS READY
TO THINK THE WORST.
918
00:43:34,945 --> 00:43:36,378
HE'LL DO EXACTLY
AS I TOLD HIM
919
00:43:36,380 --> 00:43:38,280
AND COME BACK HERE
TO YOUR HOUSE.
920
00:43:38,282 --> 00:43:39,715
[DOORBELL BUZZES]
921
00:43:39,717 --> 00:43:41,217
THERE, YOU SEE?
922
00:43:41,219 --> 00:43:42,485
WELL, GO AHEAD.
OPEN IT.
923
00:43:52,229 --> 00:43:54,230
YOU DID WELL, MY BOY.
924
00:43:54,232 --> 00:43:55,464
AND AS I CAUTIONED YOU,
925
00:43:55,466 --> 00:43:56,465
YOU WON'T
REMEMBER A THING
926
00:43:56,467 --> 00:43:58,334
ABOUT WHAT HAPPENED
TONIGHT.
927
00:43:58,336 --> 00:43:59,668
NOW, HELP ME GET HIM
OUT OF THIS.
928
00:44:04,907 --> 00:44:07,109
"THIRD STUDIO MURDER
SHOCKS HOLLYWOOD.
929
00:44:08,411 --> 00:44:10,346
"FOLLOWING THE MORBID
HOLLYWOOD TRADITION
930
00:44:10,348 --> 00:44:11,713
"OF DEATH IN 3's,
931
00:44:11,715 --> 00:44:13,282
"THE THIRD
BRUTAL SLAYING
932
00:44:13,284 --> 00:44:14,617
"WITHIN THE SPACE
OF ONE WEEK
933
00:44:14,619 --> 00:44:17,186
"TOOK PLACE LAST NIGHT
IN THE DARKENED GARAGE
934
00:44:17,188 --> 00:44:19,622
"OF THE HOLLYWOOD HOME
OF JEFFREY CLAYTON,
935
00:44:19,624 --> 00:44:22,791
"AMERICAN INTERNATIONAL
STUDIO EXECUTIVE,
936
00:44:22,793 --> 00:44:23,892
"WHO WAS THE VICTIM.
937
00:44:25,328 --> 00:44:27,029
"TO CHECK
THIS REIGN OF TERROR,
938
00:44:27,031 --> 00:44:28,497
"IT IS REPORTED
THAT OFFICIALS
939
00:44:28,499 --> 00:44:31,200
"ARE CONSIDERING
CLOSING THE STUDIO
940
00:44:31,202 --> 00:44:32,635
"UNTIL THE MAD MURDERER
941
00:44:32,637 --> 00:44:34,303
"IS APPREHENDED
BY POLICE."
942
00:44:34,305 --> 00:44:36,938
YOU'VE READ IT
3 TIMES.
943
00:44:36,940 --> 00:44:39,508
SO, THE PRESS WILL
HAVE A FIELD DAY.
944
00:44:39,510 --> 00:44:41,644
BUT, PETE,
HOW ABOUT US?
945
00:44:41,646 --> 00:44:44,046
OUR WORK HERE
IS DONE.
946
00:44:44,048 --> 00:44:45,514
WELL DONE, I'D SAY.
947
00:44:45,516 --> 00:44:46,615
BUT ACCORDING
TO THE PAPER,
948
00:44:46,617 --> 00:44:48,850
THE STUDIO IS CLOSING,
AND THE OTHER STUDIOS--
949
00:44:48,852 --> 00:44:50,486
OH, QUIET, YOU FOOL.
950
00:44:50,488 --> 00:44:53,455
A LITTLE GUST OF WIND,
AND YOU BEGIN TO SHIVER.
951
00:44:53,457 --> 00:44:55,591
I'VE TAKEN CARE OF YOU
FOR 25 YEARS.
952
00:44:55,593 --> 00:44:56,892
YOU WON'T STARVE.
953
00:44:58,961 --> 00:45:00,329
I'LL SEE TO THAT.
954
00:45:02,232 --> 00:45:05,067
PROVIDED YOU KEEP
YOUR MOUTH SHUT.
955
00:45:05,069 --> 00:45:07,603
SHUT AT ALL TIMES,
DO YOU UNDERSTAND?
956
00:45:07,605 --> 00:45:09,471
YES, PETE.
OF COURSE I DO.
957
00:45:09,473 --> 00:45:10,806
I NEVER GIVE YOU
ANY TROUBLE.
958
00:45:10,808 --> 00:45:12,974
YOU KNOW THAT, PETE.
959
00:45:12,976 --> 00:45:15,043
I'VE ALWAYS CONSIDERED
YOU THE MASTER,
960
00:45:15,045 --> 00:45:16,712
AND I WAS THE ASSISTANT.
961
00:45:16,714 --> 00:45:18,714
AND LET'S
KEEP IT THAT WAY.
962
00:45:18,716 --> 00:45:20,316
A SILENT ASSISTANT.
963
00:45:22,586 --> 00:45:24,620
RIVERO, YOU AND I HAVE
BEEN INVITED DOWNTOWN
964
00:45:24,622 --> 00:45:26,188
TO POLICE HEADQUARTERS.
965
00:45:26,190 --> 00:45:27,489
POLICE HEADQUARTERS?
966
00:45:27,491 --> 00:45:28,757
FOR ROUTINE QUESTIONING.
967
00:45:28,759 --> 00:45:31,327
MERELY A RIDE
DOWN AND BACK.
968
00:45:31,329 --> 00:45:33,662
WHEN WE GET THERE,
DON'T OPEN YOUR MOUTH.
969
00:45:33,664 --> 00:45:35,130
I'LL PROVIDE
THE ANSWERS.
970
00:45:35,132 --> 00:45:36,332
YES, PETE.
971
00:45:36,334 --> 00:45:37,533
ALL RIGHT. LET'S GO.
972
00:45:37,535 --> 00:45:39,335
GET YOUR HAT AND COAT.
973
00:45:39,337 --> 00:45:40,836
POLICE ARE VERY PECULIAR.
974
00:45:40,838 --> 00:45:42,938
THEY INSIST
ON PUNCTUALITY.
975
00:45:44,974 --> 00:45:46,609
I WAS JUST GOING
TO BARGE IN ON YOU.
976
00:45:46,611 --> 00:45:47,676
ME?
977
00:45:47,678 --> 00:45:49,778
YES, YOU. YOU'RE
PETE, ALL RIGHT.
978
00:45:49,780 --> 00:45:51,012
I DON'T BELIEVE
WE'VE MET.
979
00:45:51,014 --> 00:45:52,414
WELL, YOU'RE
MEETING ME NOW.
980
00:45:52,416 --> 00:45:54,550
GARY DROZ,
THAT'S MY NAME.
981
00:45:54,552 --> 00:45:55,684
I'M LARRY'S AGENT.
982
00:45:55,686 --> 00:45:58,186
LARRY, YOUR
TEENAGE WEREWOLF.
983
00:45:58,188 --> 00:45:59,855
I SENT HIM FOR THE PART
WITH THE PRODUCER,
984
00:45:59,857 --> 00:46:02,023
BUT THAT DOESN'T MEAN I
QUIT WORRYING ABOUT HIM.
985
00:46:02,025 --> 00:46:03,191
I NEVER FORGET A CLIENT,
986
00:46:03,193 --> 00:46:05,026
EVEN THOUGH
I GET THEM WORK.
987
00:46:05,028 --> 00:46:07,630
GARY DROZ IS NOT
A FLESH PEDDLER. GET IT?
988
00:46:07,632 --> 00:46:09,030
I DON'T QUITE
UNDERSTAND.
989
00:46:09,032 --> 00:46:10,733
I'M LIKE A FATHER
TO MY KIDS.
990
00:46:10,735 --> 00:46:12,434
SOMETIMES I DON'T
EVEN TAKE THE 10%
991
00:46:12,436 --> 00:46:13,869
TILL I GET 'EM
A TERM CONTRACT.
992
00:46:13,871 --> 00:46:15,070
NOW, HOW DO YOU
LIKE THAT?
993
00:46:15,072 --> 00:46:16,372
VERY ADMIRABLE,
BUT I DON'T SEE
994
00:46:16,374 --> 00:46:17,773
HOW IT CONCERNS ME.
995
00:46:17,775 --> 00:46:19,608
ALL RIGHT, I'LL THROW
YOU THE CONNECTION.
996
00:46:19,610 --> 00:46:21,377
YOU LEAVE MY BOY ALONE.
997
00:46:21,379 --> 00:46:23,412
DON'T YOU TELL HIM
THAT AFTER THIS PICTURE
998
00:46:23,414 --> 00:46:25,213
HE'S FINISHED AND HE'LL
NEVER GET ANOTHER JOB.
999
00:46:25,215 --> 00:46:27,383
GETTING HIM WORK
IS MY DEPARTMENT,
1000
00:46:27,385 --> 00:46:29,217
AND LARRY'S GOT A GREAT
FUTURE AS AN ACTOR,
1001
00:46:29,219 --> 00:46:30,852
AND I'M GOING
TO HELP HIM BUILD IT.
1002
00:46:30,854 --> 00:46:32,220
AND FOR YOUR
INFORMATION,
1003
00:46:32,222 --> 00:46:34,256
I'VE GOT 3 JOBS LINED UP
FOR HIM RIGHT NOW,
1004
00:46:34,258 --> 00:46:35,691
AND I DON'T NEED
TO HAVE A TRUCK
1005
00:46:35,693 --> 00:46:37,626
RUN OVER HIS FACE
TO GET HIM MORE WORK.
1006
00:46:37,628 --> 00:46:39,561
DO YOU UNDERSTAND?
1007
00:46:39,563 --> 00:46:40,896
YES, OF COURSE,
MR. DROZ,
1008
00:46:40,898 --> 00:46:42,264
BUT, YOU SEE,
I ONLY SUGGESTED THAT--
1009
00:46:42,266 --> 00:46:43,432
DON'T SUGGEST.
1010
00:46:43,434 --> 00:46:44,633
IN MY BOOK, YOU'RE
A NEGATIVE CHARACTER.
1011
00:46:44,635 --> 00:46:47,770
I CAN GET LARRY A JOB
ANY TIME I WANT TO.
1012
00:46:47,772 --> 00:46:49,104
WHY, I COULD EVEN
GET YOU A JOB--
1013
00:46:49,106 --> 00:46:51,139
AS A HEAVY, IF YOU'LL
JOIN THE UNION.
1014
00:46:51,141 --> 00:46:52,741
WELL, THANKS
FOR THE OFFER.
1015
00:46:52,743 --> 00:46:54,209
YOU'RE WELCOME
FOR NOTHING.
1016
00:46:54,211 --> 00:46:55,577
AND DON'T FORGET WHAT
I'VE BEEN TELLING YOU.
1017
00:46:55,579 --> 00:46:57,313
YOU LEAVE
MY CLIENT ALONE!
1018
00:47:07,223 --> 00:47:08,256
I TELL YOU, PETE,
1019
00:47:08,258 --> 00:47:09,591
SINCE THAT MANIAC'S
BEEN ON THE KILL,
1020
00:47:09,593 --> 00:47:10,892
I'VE HAD NO SLEEP.
1021
00:47:10,894 --> 00:47:12,728
NIGHTS
ON THE STUDIO GATE,
1022
00:47:12,730 --> 00:47:14,596
DAYS OVER HERE.
1023
00:47:14,598 --> 00:47:16,264
I KNOW WHAT
YOU MEAN, RICHARDS.
1024
00:47:16,266 --> 00:47:18,099
IT'S BEEN A HARDSHIP
ON ALL OF US.
1025
00:47:18,101 --> 00:47:19,568
SOMEBODY SURE
HAD A GRUDGE
1026
00:47:19,570 --> 00:47:21,437
AGAINST THOSE
NEW EXECUTIVES.
1027
00:47:21,439 --> 00:47:23,372
IT WOULD SEEM THAT WAY.
1028
00:47:23,374 --> 00:47:24,940
BUT, AS YOU POINTED OUT,
1029
00:47:24,942 --> 00:47:26,274
A MANIAC.
1030
00:47:26,276 --> 00:47:27,943
WELL, A MANIAC
REALLY NEEDS NO REASON
1031
00:47:27,945 --> 00:47:30,145
FOR KILLING.
1032
00:47:30,147 --> 00:47:31,780
MILLIE, WE APPRECIATE
YOUR COMING DOWN HERE
1033
00:47:31,782 --> 00:47:33,849
TO HELP US.
1034
00:47:33,851 --> 00:47:34,916
NOW, IF YOU'LL
TRY TO GIVE US
1035
00:47:34,918 --> 00:47:37,252
SOME KIND OF DESCRIPTION
OF THIS MONSTER.
1036
00:47:37,254 --> 00:47:38,454
WELL, CAPTAIN,
THAT'S AS CLOSE
1037
00:47:38,456 --> 00:47:40,121
AS I CAN GET TO IT--
1038
00:47:40,123 --> 00:47:41,957
A MONSTER.
1039
00:47:41,959 --> 00:47:44,693
HE LOOKED LIKE HE WALKED
RIGHT OFF THE SCREEN!
1040
00:47:44,695 --> 00:47:49,197
BIG, HUGE MAN WITH ONE
EYE OUT OF ITS SOCKET.
1041
00:47:49,199 --> 00:47:51,633
OH, IT SURE WAS
A NIGHTMARE.
1042
00:47:51,635 --> 00:47:53,134
HE HIT ME
AND KNOCKED ME DOWN.
1043
00:47:53,136 --> 00:47:54,503
MUST HAVE HAD
SOMETHING IN HIS HAND.
1044
00:47:54,505 --> 00:47:55,804
THE BLOW WAS THAT HEAVY.
1045
00:47:55,806 --> 00:47:57,473
ABOUT WHAT
TIME WAS IT?
1046
00:47:57,475 --> 00:47:58,807
WELL, I DON'T KNOW
TO THE MINUTE,
1047
00:47:58,809 --> 00:48:00,942
BUT I WAS COMING
FROM A PICTURE SHOW,
1048
00:48:00,944 --> 00:48:03,979
AND I TOOK THE LAST BUS
HOME TO WHERE I WORK,
1049
00:48:03,981 --> 00:48:05,180
AND THAT WOULD MAKE IT,
1050
00:48:05,182 --> 00:48:06,715
WITH WALKING 3 BLOCKS,
1051
00:48:06,717 --> 00:48:07,983
ABOUT HALF PAST 12:00.
1052
00:48:07,985 --> 00:48:09,418
THANK YOU, MILLIE.
1053
00:48:09,420 --> 00:48:10,652
WE'LL PROBABLY WANT YOU
1054
00:48:10,654 --> 00:48:13,188
TO TRY TO IDENTIFY
THIS, UH, MONSTER
1055
00:48:13,190 --> 00:48:15,123
FROM ANY SUSPECTS
WE PICK UP.
1056
00:48:15,125 --> 00:48:17,325
YOU MEAN I HAVE TO COME
DOWN HERE AGAIN?
1057
00:48:17,327 --> 00:48:18,894
WELL, I'M AFRAID SO.
1058
00:48:18,896 --> 00:48:20,262
WELL...
1059
00:48:20,264 --> 00:48:22,097
YOU CALL ME,
AND I'LL COME.
1060
00:48:22,099 --> 00:48:24,666
NO MAN LIKE THAT SHOULD
BE ROAMING THE STREETS.
1061
00:48:24,668 --> 00:48:25,934
YEAH, I'LL COME.
1062
00:48:35,244 --> 00:48:36,612
YOU CAN COME IN NOW,
RICHARDS.
1063
00:48:41,984 --> 00:48:43,285
SIT DOWN.
1064
00:48:46,022 --> 00:48:47,322
NOW, LAST NIGHT,
AS YOU KNOW,
1065
00:48:47,324 --> 00:48:48,824
MR. CLAYTON
WAS KILLED.
1066
00:48:48,826 --> 00:48:50,392
BUT RIGHT NOW, WE WANT
TO TAKE YOU BACK
1067
00:48:50,394 --> 00:48:51,994
TO THE MONAHAN KILLING.
1068
00:48:51,996 --> 00:48:53,261
YES, SIR?
1069
00:48:53,263 --> 00:48:55,064
ARE YOU SURE YOU'RE NOT
HOLDING OUT ANYTHING ON US?
1070
00:48:55,066 --> 00:48:56,464
WHY, NO.
1071
00:48:56,466 --> 00:48:57,632
WELL, YOU YOURSELF SAID
1072
00:48:57,634 --> 00:48:59,034
IT WAS STRANGE THAT YOU
DIDN'T HEAR ANYTHING.
1073
00:48:59,036 --> 00:49:01,036
NOW, WE'VE BEEN
CHEWING THAT OVER.
1074
00:49:01,038 --> 00:49:03,538
EXACTLY WHERE WERE YOU
WHEN IT HAPPENED?
1075
00:49:03,540 --> 00:49:05,373
WELL, IN MY BOOTH
AT THE GATE.
1076
00:49:05,375 --> 00:49:07,076
HOW FAR IS THAT
FROM THE COMMISSARY?
1077
00:49:07,078 --> 00:49:08,711
ABOUT THE SAME DISTANCE
AS 2 CITY BLOCKS.
1078
00:49:08,713 --> 00:49:09,845
AND YOU MEAN TO SAY
1079
00:49:09,847 --> 00:49:11,213
WITH ALL THAT CROCKERY
TOSSED AROUND
1080
00:49:11,215 --> 00:49:12,380
AND SMASHED
IN THE DEAD OF NIGHT,
1081
00:49:12,382 --> 00:49:13,548
YOU DIDN'T HEAR A THING?
1082
00:49:13,550 --> 00:49:14,883
YOU THINK IF I HAD,
I WOULDN'T HAVE RUN
1083
00:49:14,885 --> 00:49:16,451
TO HELP MONAHAN?
HE WAS MY PARTNER!
1084
00:49:16,453 --> 00:49:19,054
FOR YEARS
WE TEAMED TOGETHER.
1085
00:49:19,056 --> 00:49:22,024
HE WAS YOUNGER THAN ME,
BUT WE GOT ALONG SWELL.
1086
00:49:22,026 --> 00:49:23,291
WE'RE NOT ACCUSING YOU
1087
00:49:23,293 --> 00:49:24,593
OF ANY DERELICTION
OF DUTY.
1088
00:49:24,595 --> 00:49:25,660
WE'RE JUST TRYING
TO GET A CLEAR PICTURE,
1089
00:49:25,662 --> 00:49:26,729
THAT'S ALL.
1090
00:49:26,731 --> 00:49:28,563
WELL, I DID HAVE
THE RADIO ON.
1091
00:49:28,565 --> 00:49:29,564
LOUD?
1092
00:49:29,566 --> 00:49:31,066
YES, QUITE LOUD.
1093
00:49:31,068 --> 00:49:32,567
IT ISN'T THAT I'M DEAF
OR ANYTHING.
1094
00:49:32,569 --> 00:49:34,703
I JUST HAPPEN
TO LIKE LOUD MUSIC.
1095
00:49:34,705 --> 00:49:37,106
HOW WAS I TO KNOW
THERE WAS A KILLER LOOSE?
1096
00:49:37,108 --> 00:49:39,574
IT'S NO CRIME TO LISTEN
TO THE RADIO.
1097
00:49:39,576 --> 00:49:41,210
NO, NO. I GUESS NOT.
1098
00:49:41,212 --> 00:49:42,611
WELL, THINK
OF THE MAINTENANCE MEN,
1099
00:49:42,613 --> 00:49:44,279
THE GRIPS, THE GAFFERS,
1100
00:49:44,281 --> 00:49:46,081
EVEN THE SECRETARIES.
THINK HARD ABOUT EVERYBODY
1101
00:49:46,083 --> 00:49:47,582
THAT PASSES YOUR BOOTH
IN AND OUT.
1102
00:49:47,584 --> 00:49:49,251
AMONG ALL THOSE,
ANY SOREHEADS?
1103
00:49:49,253 --> 00:49:50,919
ANYBODY WITH A GRUDGE?
1104
00:49:50,921 --> 00:49:53,922
NO, THE LOT WAS RUN
LIKE A HAPPY FAMILY.
1105
00:49:53,924 --> 00:49:55,557
WHY, IN MY
10 YEARS THERE,
1106
00:49:55,559 --> 00:49:57,092
NOT A BEEF,
NOT A GRIPE.
1107
00:49:57,094 --> 00:50:00,028
JUST FRIENDLY HELLOS
AND GOOD-BYES.
1108
00:50:00,030 --> 00:50:01,596
WHY, EVEN AT THE PARTIES
ON THE SET--
1109
00:50:01,598 --> 00:50:03,031
YOU KNOW,
THE USUAL SHINDIG
1110
00:50:03,033 --> 00:50:04,933
AFTER A PICTURE'S
FINISHED SHOOTING?
1111
00:50:04,935 --> 00:50:07,335
A FEW DRINKS,
SOME EATS, LAUGHS.
1112
00:50:07,337 --> 00:50:08,937
A LOT OF LAUGHS.
1113
00:50:08,939 --> 00:50:10,272
JUST ONE HAPPY FAMILY.
1114
00:50:10,274 --> 00:50:11,940
YEAH, WELL,
IT'S NOT HAPPY NOW.
1115
00:50:11,942 --> 00:50:13,408
NOW, YOU GO BACK
TO THE LOT.
1116
00:50:13,410 --> 00:50:15,043
TURN THE RADIO OFF.
1117
00:50:15,045 --> 00:50:16,879
KEEP AN EXTRA EYE
OPEN ALL THE TIME.
1118
00:50:16,881 --> 00:50:18,380
IF YOU SEE
OR HEAR ANYTHING--
1119
00:50:18,382 --> 00:50:20,215
IF YOU SUDDENLY
REMEMBER ANYTHING--
1120
00:50:20,217 --> 00:50:21,950
ANY SUSPICIOUS
CHARACTERS YOU SEE
1121
00:50:21,952 --> 00:50:23,118
HANGING AROUND THE GATE,
1122
00:50:23,120 --> 00:50:24,787
ANYONE WHO TRIES
TO SNEAK PAST YOU,
1123
00:50:24,789 --> 00:50:25,854
CALL US.
1124
00:50:25,856 --> 00:50:27,422
I WILL.
YOU BET I WILL!
1125
00:50:27,424 --> 00:50:28,556
THANK YOU.
1126
00:50:35,865 --> 00:50:37,065
ALL RIGHT, GENTLEMEN.
1127
00:50:45,909 --> 00:50:47,475
I'M CAPTAIN HANCOCK.
1128
00:50:47,477 --> 00:50:48,543
HOW DO YOU DO?
1129
00:50:48,545 --> 00:50:50,979
I THINK YOU'VE MET
DETECTIVE JONES.
1130
00:50:50,981 --> 00:50:52,347
THIS IS
DETECTIVE THOMPSON.
1131
00:50:52,349 --> 00:50:53,448
HELLO.
HELLO.
1132
00:50:56,019 --> 00:50:57,119
PETE, I'LL TELL YOU
1133
00:50:57,121 --> 00:50:58,653
WHY WE ASKED YOU
AND YOUR ASSISTANT
1134
00:50:58,655 --> 00:51:00,555
TO COME DOWN HERE.
1135
00:51:00,557 --> 00:51:02,490
A LITTLE WHILE AGO,
WE QUESTIONED THE MAID,
1136
00:51:02,492 --> 00:51:03,758
WHO WAS KNOCKED
DOWN BY A MAN
1137
00:51:03,760 --> 00:51:05,760
WHO MIGHT HAVE
MURDERED CLAYTON.
1138
00:51:05,762 --> 00:51:08,197
THE TIME AND THE STREET
CHECK OUT.
1139
00:51:08,199 --> 00:51:10,565
WELL, THEN YOU HAVE
A CLUE, A SUSPECT.
1140
00:51:10,567 --> 00:51:12,367
NO, NO. ONLY THIS.
1141
00:51:12,369 --> 00:51:15,603
SHE CLAIMED HER ASSAILANT
WAS A MONSTER.
1142
00:51:15,605 --> 00:51:17,605
WELL, I SUPPOSE ANY
VICTIM OF ANY ASSAULT
1143
00:51:17,607 --> 00:51:20,075
WOULD GET DELUSIONS
ABOUT AN ATTACKER.
1144
00:51:20,077 --> 00:51:22,744
NO, SHE WAS
QUITE SPECIFIC.
1145
00:51:22,746 --> 00:51:24,046
SHE HAD
A GOOD LOOK AT HIM.
1146
00:51:24,048 --> 00:51:26,949
SHE CLAIMED HE WAS HUGE,
BIG ARMS AND SHOULDERS,
1147
00:51:26,951 --> 00:51:28,616
HAD ONE EYE
OUT OF ITS SOCKET.
1148
00:51:28,618 --> 00:51:31,186
SOUNDS RATHER AS IF
SHE HAD HALLUCINATIONS.
1149
00:51:31,188 --> 00:51:33,021
OF COURSE, SINCE SHE
WAS HYSTERICAL,
1150
00:51:33,023 --> 00:51:34,789
I CAN UNDERSTAND.
1151
00:51:34,791 --> 00:51:37,192
NO, SHE WAS QUITE SURE
OF HER DESCRIPTION.
1152
00:51:37,194 --> 00:51:40,095
I BUY HER STORY.
SHE MADE SENSE TO ME.
1153
00:51:40,097 --> 00:51:42,030
WELL, GENTLEMEN,
WHAT'S EXPECTED OF ME?
1154
00:51:42,032 --> 00:51:43,365
ER, OF US?
1155
00:51:43,367 --> 00:51:44,699
WELL, WE WANT
YOUR VIEWS ON IT.
1156
00:51:44,701 --> 00:51:46,134
YOU'RE SUPPOSED
TO BE AN EXPERT.
1157
00:51:46,136 --> 00:51:47,269
OH, I AM AN EXPERT.
1158
00:51:47,271 --> 00:51:50,105
WELL, IN THAT CASE,
DO YOU THINK THAT, UM...
1159
00:51:50,107 --> 00:51:52,341
SOME CRACKPOT,
AFTER SEEING
1160
00:51:52,343 --> 00:51:54,209
SOME OF YOUR MONSTERS
IN A PICTURE, I MEAN--
1161
00:51:54,211 --> 00:51:55,577
THEY'RE PLAYING
ALL OVER TOWN.
1162
00:51:55,579 --> 00:51:58,213
NOW, DO YOU THINK
A WEIRDY LIKE THAT
1163
00:51:58,215 --> 00:51:59,547
COULD HAVE
TRICKED HIMSELF OUT
1164
00:51:59,549 --> 00:52:02,217
IN IMITATION AND GOT
CARRIED AWAY?
1165
00:52:02,219 --> 00:52:03,585
NOW, HOW CAN I PUT MYSELF
1166
00:52:03,587 --> 00:52:06,188
IN THE POSITION OF WHAT
YOU CALL A WEIRDY?
1167
00:52:06,190 --> 00:52:08,156
WHY, ANYTHING IS POSSIBLE.
1168
00:52:08,158 --> 00:52:10,458
BUT IN AN AMATEUR,
THE RESULTS WOULD BE CRUDE.
1169
00:52:10,460 --> 00:52:12,160
IT DOESN'T TAKE
THE FINISHED PRODUCT
1170
00:52:12,162 --> 00:52:13,762
TO COMMIT A MURDER.
1171
00:52:13,764 --> 00:52:15,430
I'M NO AUTHORITY
ON MURDER.
1172
00:52:15,432 --> 00:52:17,199
THAT'S YOUR DEPARTMENT.
1173
00:52:17,201 --> 00:52:19,234
AS FOR ME, MY JOB
IS TO TAKE AN ACTOR
1174
00:52:19,236 --> 00:52:20,269
AND TRANSFORM HIM
1175
00:52:20,271 --> 00:52:21,569
INTO WHATEVER
OFF-BEAT APPEARANCE
1176
00:52:21,571 --> 00:52:23,505
THE PART CALLS FOR.
1177
00:52:23,507 --> 00:52:24,940
YES, I CREATE A MONSTER,
1178
00:52:24,942 --> 00:52:26,708
BUT I DON'T
BUILD IN VIOLENCE.
1179
00:52:28,444 --> 00:52:30,245
WHAT DO YOU KNOW
ABOUT ALL THIS?
1180
00:52:30,247 --> 00:52:31,413
WHY, NOTHING.
1181
00:52:31,415 --> 00:52:33,248
I DIDN'T DO
ANYTHING.
1182
00:52:33,250 --> 00:52:34,416
YOU HAVE AN OPINION,
DON'T YOU?
1183
00:52:34,418 --> 00:52:35,583
RIVERO WOULDN'T KNOW
ANYTHING ABOUT IT.
1184
00:52:35,585 --> 00:52:36,785
LET HIM SPEAK
FOR HIMSELF.
1185
00:52:36,787 --> 00:52:38,320
HOW LONG YOU
WORKED FOR PETE?
1186
00:52:38,322 --> 00:52:39,621
ABOUT 25 YEARS.
1187
00:52:39,623 --> 00:52:41,523
WELL, YOU CERTAINLY
SHOULD HAVE LEARNED
1188
00:52:41,525 --> 00:52:43,258
THE TRICKS OF THE TRADE
BY NOW THEN.
1189
00:52:43,260 --> 00:52:44,426
ALL I KNOW IS
1190
00:52:44,428 --> 00:52:45,627
I'VE BEEN A GOOD
ASSISTANT.
1191
00:52:45,629 --> 00:52:47,296
BUT IF YOU WANTED,
COULDN'T YOU
1192
00:52:47,298 --> 00:52:49,031
MAKE SOMEBODY UP
TO FRIGHTEN PEOPLE?
1193
00:52:49,033 --> 00:52:50,632
HE TOLD YOU HE WAS
ONLY MY ASSISTANT.
1194
00:52:50,634 --> 00:52:51,900
YOU SHUT UP AND LET HIM
TALK FOR HIMSELF!
1195
00:52:51,902 --> 00:52:53,268
SURE, HE'S YOUR
ASSISTANT. WE KNOW THAT.
1196
00:52:53,270 --> 00:52:54,469
HOW FAR DOES HIS
ASSISTANCE GO?
1197
00:52:54,471 --> 00:52:55,637
NOW, WHO DO
YOU LIVE WITH?
1198
00:52:55,639 --> 00:52:56,671
I LIVE ALONE.
1199
00:52:56,673 --> 00:52:58,106
WHERE?
1200
00:52:58,108 --> 00:53:01,443
OFF CRENSHAW.
1564 SORENTO STREET.
1201
00:53:01,445 --> 00:53:02,477
YOU EVER BEEN MARRIED?
1202
00:53:02,479 --> 00:53:03,511
NO, SIR.
1203
00:53:03,513 --> 00:53:04,879
HAVEN'T YOU GOT
ANY NEPHEWS? COUSINS?
1204
00:53:04,881 --> 00:53:05,914
OR MAYBE SOME
OF THE NEIGHBOR'S KIDS
1205
00:53:05,916 --> 00:53:07,115
ASKED YOU TO MAKE THEM
UP JUST FOR A PRANK,
1206
00:53:07,117 --> 00:53:08,516
AND THEN MAYBE YOU
DIDN'T TELL YOUR BOSS,
1207
00:53:08,518 --> 00:53:09,851
BUT ON YOUR OWN,
BECAUSE MAYBE YOU THINK
1208
00:53:09,853 --> 00:53:11,119
YOU'RE JUST AS GOOD
AN ARTIST AS HE IS,
1209
00:53:11,121 --> 00:53:12,620
YOU TURN LOOSE
A MONSTER!
1210
00:53:12,622 --> 00:53:13,688
WELL?!
1211
00:53:13,690 --> 00:53:14,689
WELL, TELL ME!
DID YOU?
1212
00:53:14,691 --> 00:53:15,824
NO!
1213
00:53:15,826 --> 00:53:17,426
I ONLY DO WHAT
PETE TELLS ME.
1214
00:53:17,428 --> 00:53:18,927
I'M A GOOD
ASSISTANT. ASK HIM.
1215
00:53:18,929 --> 00:53:19,995
ASK HIM!
1216
00:53:19,997 --> 00:53:20,996
WHY DON'T YOU
STOP ALL THIS--
1217
00:53:20,998 --> 00:53:22,797
YOU'VE GONE
FAR ENOUGH.
1218
00:53:22,799 --> 00:53:24,466
JUST BECAUSE
YOU HAVE NO SUSPECT
1219
00:53:24,468 --> 00:53:26,068
IS NO REASON
TO BULLY HIM.
1220
00:53:26,070 --> 00:53:27,702
THEN WHY AREN'T YOU
MORE COOPERATIVE?
1221
00:53:27,704 --> 00:53:29,137
NOW, LOOK.
WE KNOW YOU LIVE
1222
00:53:29,139 --> 00:53:30,638
IN A WORLD OF MAKE-BELIEVE.
ALL RIGHT.
1223
00:53:30,640 --> 00:53:32,140
COME OUT OF IT.
1224
00:53:32,142 --> 00:53:33,808
LOOK WHAT WE'RE
UP AGAINST.
1225
00:53:33,810 --> 00:53:35,610
3 SHOCKING MURDERS
COMMITTED.
1226
00:53:35,612 --> 00:53:37,579
2 OF THEM AT YOUR STUDIO
WHILE YOU WERE THERE.
1227
00:53:37,581 --> 00:53:38,580
WE WEREN'T
THE ONLY ONES.
1228
00:53:38,582 --> 00:53:39,881
WE'RE QUESTIONING
EVERYBODY.
1229
00:53:39,883 --> 00:53:40,983
I'M SURE YOU GENTLEMEN
1230
00:53:40,985 --> 00:53:42,617
CAN SOLVE THOSE MURDERS
WITHOUT US.
1231
00:53:42,619 --> 00:53:44,252
I WISH IT WAS POSSIBLE
TO REALLY HELP YOU--
1232
00:53:44,254 --> 00:53:45,487
WELL, THERE IS
SOMETHING YOU CAN DO.
1233
00:53:45,489 --> 00:53:46,888
THINK BACK. ALL THE
ACTORS YOU'VE MADE UP
1234
00:53:46,890 --> 00:53:47,990
IN OTHER PICTURES.
1235
00:53:47,992 --> 00:53:49,624
THINK OF HOW THEY TALK,
WHAT THEY SAID TO YOU.
1236
00:53:49,626 --> 00:53:50,993
AFTER ALL, YOU WERE
CLOSE TO THEM.
1237
00:53:50,995 --> 00:53:52,094
DO YOU BELIEVE
THAT ANY OF THESE,
1238
00:53:52,096 --> 00:53:53,161
FOR ONE REASON
OR ANOTHER,
1239
00:53:53,163 --> 00:53:54,696
MIGHT GO BERSERK?
1240
00:53:54,698 --> 00:53:59,134
I'M SORRY. OFFHAND, I CAN'T
RECALL A SINGLE ONE.
1241
00:53:59,136 --> 00:54:00,668
THANKS TO OUR MAKEUP JOB,
1242
00:54:00,670 --> 00:54:02,770
THEY MAY HAVE LOOKED
LIKE KILLERS,
1243
00:54:02,772 --> 00:54:04,839
BUT UNDER
THE GREASEPAINT AND PUTTY,
1244
00:54:04,841 --> 00:54:08,043
THEY WERE ONLY ACTORS
PERFORMING A ROLE.
1245
00:54:08,045 --> 00:54:10,145
NOW, ARE WE EXCUSED?
1246
00:54:10,147 --> 00:54:11,313
YEAH, I BELIEVE SO.
1247
00:54:11,315 --> 00:54:12,580
I CAN GO, TOO?
1248
00:54:12,582 --> 00:54:14,282
WE'LL GET BACK
TO YOU LATER.
1249
00:54:14,284 --> 00:54:15,617
AS I SAID,
ANY WAY WE CAN,
1250
00:54:15,619 --> 00:54:17,119
WE'LL BE PLEASED
TO COOPERATE.
1251
00:54:25,794 --> 00:54:28,163
THERE'S SOMETHING WEIRD
ABOUT THAT OLD COOT.
1252
00:54:28,165 --> 00:54:29,864
AND HIS ASSISTANT
RIVERO.
1253
00:54:29,866 --> 00:54:31,033
MAYBE THAT'S
WHAT COMES
1254
00:54:31,035 --> 00:54:32,200
FROM SPENDING
ALL YOUR LIFE
1255
00:54:32,202 --> 00:54:33,335
WITH MONSTERS.
1256
00:54:33,337 --> 00:54:34,536
I DON'T LIKE THE WAY
1257
00:54:34,538 --> 00:54:36,304
HE'S UNDER THE THUMB
OF HIS BOSS.
1258
00:54:36,306 --> 00:54:38,373
YOU CERTAINLY TRIED
TO SHAKE HIM LOOSE.
1259
00:54:38,375 --> 00:54:40,108
WERE YOU REALLY
AIMING AT SOMETHING?
1260
00:54:40,110 --> 00:54:42,544
POT SHOTS. POT SHOTS.
1261
00:54:42,546 --> 00:54:44,046
I HAD HOPED
THEY WOULD GIVE US
1262
00:54:44,048 --> 00:54:46,814
SOMETHING TANGIBLE
TO GO ON, BUT I DOUBT IT.
1263
00:54:48,551 --> 00:54:50,652
THEY KNOW MORE ABOUT
MAKE-BELIEVE MONSTERS
1264
00:54:50,654 --> 00:54:52,387
THAN THEY DO
ABOUT KILLERS.
1265
00:54:52,389 --> 00:54:53,555
GET A GRIP ON YOURSELF.
1266
00:54:53,557 --> 00:54:55,524
YOU COLLAPSED
LIKE A SICK CALF.
1267
00:54:55,526 --> 00:54:57,392
THE INTERVIEW IS OVER.
WE'VE BEEN QUESTIONED.
1268
00:54:57,394 --> 00:54:58,726
THE POLICE ARE
THROUGH WITH US.
1269
00:54:58,728 --> 00:55:00,395
I'M NOT SO SURE
OF THAT.
1270
00:55:00,397 --> 00:55:02,030
I DIDN'T LIKE THE WAY
THEY LOOKED AT US
1271
00:55:02,032 --> 00:55:03,398
OR THE WAY
THEY DIG AT YOU,
1272
00:55:03,400 --> 00:55:04,899
AND THE WAY
THAT BIG FELLA SAID,
1273
00:55:04,901 --> 00:55:06,234
"I'LL GET BACK
TO YOU LATER."
1274
00:55:06,236 --> 00:55:07,802
THAT'S ROUTINE STUFF
WITH ALL POLICE
1275
00:55:07,804 --> 00:55:08,903
UNTIL A MURDER
IS SOLVED,
1276
00:55:08,905 --> 00:55:10,072
UNTIL THE CASE
IS CLOSED.
1277
00:55:10,074 --> 00:55:11,440
WELL?
1278
00:55:11,442 --> 00:55:14,008
WELL, WHAT? I'M IN NO
MOOD FOR RIDDLES. WHAT?
1279
00:55:14,010 --> 00:55:16,078
DO YOU THINK THIS CASE
WILL BE SOLVED?
1280
00:55:16,080 --> 00:55:18,180
WELL, IT NEARLY WAS
WITH YOUR HELP.
1281
00:55:18,182 --> 00:55:19,381
IF I HADN'T STOPPED
THE DETECTIVE
1282
00:55:19,383 --> 00:55:20,415
FROM QUESTIONING YOU,
1283
00:55:20,417 --> 00:55:22,084
YOU WOULD HAVE
TOLD HIM EVERYTHING.
1284
00:55:22,086 --> 00:55:24,586
YOU CERTAINLY WERE
ON THE VERGE.
1285
00:55:24,588 --> 00:55:26,088
YOU SHOULD HAVE
SEEN YOUR FACE.
1286
00:55:26,090 --> 00:55:27,389
YOU WERE READY TO CRACK,
1287
00:55:27,391 --> 00:55:28,756
SPLIT WIDE OPEN
AND SPILL EVERYTHING,
1288
00:55:28,758 --> 00:55:29,924
WEREN'T YOU?
1289
00:55:29,926 --> 00:55:31,259
NO, NO. I'D NEVER
GIVE YOU AWAY, ONLY--
1290
00:55:31,261 --> 00:55:32,427
ONLY WHAT?
1291
00:55:32,429 --> 00:55:34,062
WELL, WHEN THEY
PRESSED ME TO THE WALL--
1292
00:55:34,064 --> 00:55:35,863
IS THE TIME TO KEEP
YOUR MOUTH SHUT!
1293
00:55:38,267 --> 00:55:39,434
WHY DID YOU SAY,
1294
00:55:39,436 --> 00:55:41,570
"I DO ONLY WHAT
PETE TELLS ME"? WHY?
1295
00:55:41,572 --> 00:55:42,770
WELL, IT'S TRUE,
ISN'T IT?
1296
00:55:42,772 --> 00:55:44,005
I DO WHAT YOU TELL ME.
1297
00:55:44,007 --> 00:55:46,074
NOT WHEN YOU SAY IT
IN THAT SNIVELING VOICE,
1298
00:55:46,076 --> 00:55:47,442
AND DEFINITELY NOT
WHEN YOU TELL IT
1299
00:55:47,444 --> 00:55:48,610
TO THE POLICE!
1300
00:55:48,612 --> 00:55:49,944
IT'S AS IF
YOU ALREADY HAD IT
1301
00:55:49,946 --> 00:55:51,113
IN THE BACK OF YOUR MIND
1302
00:55:51,115 --> 00:55:52,447
TO BETRAY ME
AND SAVE YOURSELF.
1303
00:55:52,449 --> 00:55:54,048
NO, NO, PETE.
I'D NEVER DO THAT.
1304
00:55:54,050 --> 00:55:55,283
I'D NEVER BETRAY YOU.
1305
00:55:55,285 --> 00:55:57,051
I SWEAR
I'D NEVER DO THAT.
1306
00:55:57,053 --> 00:55:59,521
WELL, YOU STAY THAT WAY,
AND I'LL PROTECT YOU.
1307
00:56:01,124 --> 00:56:02,957
ANYWAY,
TIME'S ON OUR SIDE.
1308
00:56:02,959 --> 00:56:05,494
THE PICTURE'S FINISHED,
AND OUR WORK IS DONE.
1309
00:56:05,496 --> 00:56:07,295
IT'S DONE, ALL RIGHT.
1310
00:56:07,297 --> 00:56:08,796
BUT THERE'S
STILL THE 2 BOYS,
1311
00:56:08,798 --> 00:56:09,897
LARRY AND TONY.
1312
00:56:09,899 --> 00:56:10,898
WHAT ABOUT THEM?
1313
00:56:10,900 --> 00:56:11,966
WELL, DON'T YOU THINK
1314
00:56:11,968 --> 00:56:13,135
THE POLICE WILL
GET TO THEM?
1315
00:56:13,137 --> 00:56:14,469
AND IF THEY'RE
QUESTIONED--
1316
00:56:14,471 --> 00:56:16,304
RIVERO, THOSE BOYS ARE
STILL UNDER MY CONTROL.
1317
00:56:16,306 --> 00:56:17,539
YOU'LL SEE.
1318
00:56:17,541 --> 00:56:19,807
THEY'LL BE WAITING
FOR ME AT THE STUDIO.
1319
00:56:19,809 --> 00:56:21,042
NOW CALM YOURSELF.
1320
00:56:21,044 --> 00:56:22,277
TAKE AFTER ME.
1321
00:56:22,279 --> 00:56:24,112
SEE? I'M NOT
THE LEAST BIT WORRIED.
1322
00:56:24,114 --> 00:56:25,980
I KNOW I CAN TRUST YOU.
1323
00:56:25,982 --> 00:56:27,482
AND I'LL MAKE SURE
1324
00:56:27,484 --> 00:56:30,152
THE BOYS REMAIN
UNDER MY CONTROL.
1325
00:56:30,154 --> 00:56:31,586
HMM?
1326
00:56:31,588 --> 00:56:32,687
NOW GET IN THERE.
1327
00:56:43,732 --> 00:56:45,667
[CAR ENGINE STARTS]
1328
00:57:02,185 --> 00:57:03,351
SAY, I THINK
WE'VE GOT SOMETHING
1329
00:57:03,353 --> 00:57:04,519
IN THE CLAYTON CASE.
1330
00:57:04,521 --> 00:57:05,520
YEAH, WHAT?
1331
00:57:05,522 --> 00:57:06,855
WELL, WE ANALYZED
THE SCRAPINGS
1332
00:57:06,857 --> 00:57:07,889
FROM UNDER
CLAYTON'S FINGERNAILS.
1333
00:57:07,891 --> 00:57:08,890
WHAT DID YOU FIND?
1334
00:57:08,892 --> 00:57:09,891
GREASEPAINT AND PUTTY.
1335
00:57:09,893 --> 00:57:11,158
YOU MEAN THE KILLER
WORE MAKEUP?
1336
00:57:11,160 --> 00:57:12,426
WELL, HE MUST HAVE.
1337
00:57:12,428 --> 00:57:13,661
WE'VE ALREADY CHECKED THIS
1338
00:57:13,663 --> 00:57:15,363
AGAINST THE TRADE PRODUCT
PUT OUT BY MAKEUP COMPANIES,
1339
00:57:15,365 --> 00:57:17,098
AND OUR FIRST FINDINGS
ARE THAT THE PIGMENT
1340
00:57:17,100 --> 00:57:19,133
AND COSMETIC BASE USED
IN THE SAMPLE WE ANALYZED
1341
00:57:19,135 --> 00:57:20,368
WAS SPECIAL.
1342
00:57:20,370 --> 00:57:21,836
LIKE, HOMEMADE.
1343
00:57:21,838 --> 00:57:24,205
INSTEAD OF LINSEED OIL,
A BLEND.
1344
00:57:24,207 --> 00:57:25,773
ANYWAY, WE'LL HAVE
TO CHECK SUPPLIERS
1345
00:57:25,775 --> 00:57:27,274
FOR BEAUTY PARLORS
AND STUDIOS--
1346
00:57:27,276 --> 00:57:28,676
THAT CAN WAIT.
1347
00:57:28,678 --> 00:57:30,277
THERE'S ONE STUDIO WE'RE
GOING TO CHECK ON NOW,
1348
00:57:30,279 --> 00:57:31,713
AND YOU'RE COMING
ALONG WITH US.
1349
00:57:31,715 --> 00:57:32,881
GET YOUR EQUIPMENT
READY.
1350
00:57:32,883 --> 00:57:34,649
WE MAY WANT TO MAKE
A SPOT ANALYSIS.
1351
00:57:41,524 --> 00:57:42,891
HEH!
1352
00:57:42,893 --> 00:57:44,225
YOU SEE, RIVERO?
1353
00:57:44,227 --> 00:57:45,894
THEY DIDN'T EVEN
GIVE ME THE COURTESY
1354
00:57:45,896 --> 00:57:47,829
OF LETTING ME
PACK MY OWN THINGS.
1355
00:57:49,965 --> 00:57:51,566
OH, SORRY, BOYS.
1356
00:57:51,568 --> 00:57:52,901
WE WERE
A LITTLE DELAYED.
1357
00:57:52,903 --> 00:57:54,335
I HOPE YOU HAVEN'T
BEEN WAITING LONG.
1358
00:57:54,337 --> 00:57:55,737
WELL, NO, PETE.
1359
00:57:55,739 --> 00:57:57,071
YOU ASKED US
TO MEET YOU,
1360
00:57:57,073 --> 00:57:59,774
AND, WELL, WE DID
WANT TO SAY GOOD-BYE.
1361
00:57:59,776 --> 00:58:01,576
WELL, OF COURSE,
BUT...
1362
00:58:01,578 --> 00:58:02,944
NOT HERE.
1363
00:58:02,946 --> 00:58:04,412
I'D LIKE YOU BOYS
TO COME TO MY HOUSE.
1364
00:58:04,414 --> 00:58:05,580
WE'LL HAVE
A LITTLE FOOD.
1365
00:58:05,582 --> 00:58:07,314
A LITTLE
CELEBRATION.
1366
00:58:07,316 --> 00:58:09,851
AFTER ALL, THIS IS NO
WAY TO END A FRIENDSHIP.
1367
00:58:09,853 --> 00:58:12,253
WELL, UH, SURE,
PETE, BUT...
1368
00:58:12,255 --> 00:58:13,922
LOOK, YOU DON'T MIND
IF WE DON'T STAY TOO LONG?
1369
00:58:13,924 --> 00:58:15,590
WE BOTH HAVE DATES.
1370
00:58:15,592 --> 00:58:16,758
FINE.
1371
00:58:16,760 --> 00:58:17,926
NOW, HOW ABOUT
YOU BOYS
1372
00:58:17,928 --> 00:58:19,326
HELPING RIVERO
LOAD THE CAR?
1373
00:58:19,328 --> 00:58:20,695
OH, SURE, PETE.
WE'LL HELP.
1374
00:58:22,264 --> 00:58:23,932
YOU GO AHEAD, WAIT
FOR ME IN THE CAR.
1375
00:58:23,934 --> 00:58:25,633
I'LL JUST GATHER UP THE
LAST OF MY STUFF,
1376
00:58:25,635 --> 00:58:27,435
AND WE'LL BE OFF
IN A JIFFY.
1377
00:58:27,437 --> 00:58:28,703
OK.
1378
00:59:08,611 --> 00:59:09,644
HI, PETE.
1379
00:59:09,646 --> 00:59:10,979
OH.
1380
00:59:10,981 --> 00:59:12,814
OH, IT'S NICE
OF YOU TO DROP IN.
1381
00:59:12,816 --> 00:59:14,181
I'VE BEEN WORKING
WITH A FILM EDITOR.
1382
00:59:14,183 --> 00:59:15,683
I HEARD YOU WERE
CHECKING OFF THE LOT TODAY,
1383
00:59:15,685 --> 00:59:17,451
AND I WANTED
TO SAY SO LONG.
1384
00:59:17,453 --> 00:59:18,686
THANKS.
1385
00:59:18,688 --> 00:59:21,155
AFTER 25 YEARS,
I'M THROUGH.
1386
00:59:23,325 --> 00:59:25,326
THIS PLACE HAS MANY
MEMORIES FOR ME.
1387
00:59:25,328 --> 00:59:26,661
TOO MANY.
1388
00:59:26,663 --> 00:59:29,497
PETE, I HOPE WE GET
TO WORK TOGETHER AGAIN.
1389
00:59:29,499 --> 00:59:30,665
WELL, THANKS,
1390
00:59:30,667 --> 00:59:32,166
I APPRECIATE
YOUR SENTIMENTS,
1391
00:59:32,168 --> 00:59:33,835
BUT I'M FINISHED.
1392
00:59:33,837 --> 00:59:35,503
HEH HEH! YOU'LL BE BACK.
1393
00:59:35,505 --> 00:59:36,838
YOU'LL BE BACK
IN ALL YOUR GLORY.
1394
00:59:36,840 --> 00:59:38,172
ONE PICTURE CAN DO IT.
1395
00:59:38,174 --> 00:59:40,041
MAYBE ONE OF THOSE
FOREIGN IMPORTS,
1396
00:59:40,043 --> 00:59:42,576
AND THE WHOLE MONSTER
CYCLE IS ON ITS WAY AGAIN,
1397
00:59:42,578 --> 00:59:43,978
AND PRODUCERS
WILL BE CLAMORING
1398
00:59:43,980 --> 00:59:45,513
FOR THE OLD
MAKEUP WIZARD.
1399
00:59:45,515 --> 00:59:47,682
IT'S NICE OF YOU
TO SAY IT.
1400
00:59:47,684 --> 00:59:49,984
WELL,
GOOD LUCK, PETE.
1401
01:00:06,035 --> 01:00:07,535
WELL, GOOD-BYE, PETE.
1402
01:00:07,537 --> 01:00:09,370
GOOD-BYE, RIVERO.
TAKE IT EASY.
1403
01:00:09,372 --> 01:00:11,706
BYE, RICHARDS.
OH, UH, RICHARDS...
1404
01:00:11,708 --> 01:00:14,208
ON THE TOP SHELF OF MY
CLOSET IN THE MAKEUP ROOM,
1405
01:00:14,210 --> 01:00:15,710
THERE'S A BOTTLE
OF BOURBON.
1406
01:00:15,712 --> 01:00:18,046
I GOT IT AS A PRESENT.
NEVER OPENED IT.
1407
01:00:18,048 --> 01:00:19,714
I DON'T TOUCH THE STUFF.
1408
01:00:19,716 --> 01:00:21,549
GO AHEAD, TAKE IT.
IT'S FOR YOU.
1409
01:00:21,551 --> 01:00:23,384
HAVE A SNORT ON OLD PETE.
1410
01:00:23,386 --> 01:00:25,153
THANKS, PETE. BYE.
1411
01:00:34,229 --> 01:00:36,197
IS PETE DUMOND
THE MAKEUP MAN STILL HERE?
1412
01:00:36,199 --> 01:00:37,899
JUST CHECKED OFF
THE LOT.
1413
01:00:37,901 --> 01:00:39,633
I KNOW WHERE
HIS MAKEUP ROOM IS.
1414
01:00:39,635 --> 01:00:41,002
LET'S GO THERE FIRST.
1415
01:00:54,083 --> 01:00:56,084
IT LOOKS LIKE HE TOOK
EVERYTHING WITH HIM.
1416
01:00:56,086 --> 01:00:57,418
YEAH,
A CLEAN SWEEP.
1417
01:00:57,420 --> 01:00:58,686
EXCEPT FOR THIS.
1418
01:01:00,756 --> 01:01:02,190
LET'S HAVE A LOOK.
1419
01:01:26,615 --> 01:01:28,382
Pete: WELL,
HERE WE ARE, BOYS.
1420
01:01:47,136 --> 01:01:49,070
YOU CAN LEAVE THE BOXES
THERE, BOYS.
1421
01:02:07,322 --> 01:02:08,756
[LOCK CLICKS]
1422
01:02:30,079 --> 01:02:31,913
Larry: AHEM. WELL,
WHAT ARE THESE?
1423
01:02:34,016 --> 01:02:35,683
MY FAMILY.
1424
01:02:35,685 --> 01:02:37,284
MY CHILDREN.
1425
01:02:42,691 --> 01:02:44,692
I'M DEVOTED TO THEM.
1426
01:02:44,694 --> 01:02:47,195
I'VE ARRANGED THEM HERE
WITH GREAT CARE,
1427
01:02:47,197 --> 01:02:48,395
AS YOU SEE.
1428
01:02:48,397 --> 01:02:50,698
I SEE.
1429
01:02:50,700 --> 01:02:53,901
YOU--YOU CALLED THEM
YOUR CHILDREN?
1430
01:02:53,903 --> 01:02:55,636
WHY, YES.
1431
01:02:57,539 --> 01:02:59,540
LATER I'LL TELL YOU
THEIR HISTORY--
1432
01:02:59,542 --> 01:03:01,542
HOW EACH ONE CAME ABOUT.
1433
01:03:01,544 --> 01:03:03,811
BUT NOW LET'S JUST
LOOK AT THEM.
1434
01:03:19,561 --> 01:03:21,996
THIS ROOM IS LIKE
A CATHEDRAL TO ME.
1435
01:03:24,066 --> 01:03:26,234
THIS IS WHERE I COME
WHEN I NEED HELP
1436
01:03:26,236 --> 01:03:28,636
FROM A SOURCE STRONGER
THAN MYSELF.
1437
01:03:38,914 --> 01:03:40,414
DON'T YOU THINK
1438
01:03:40,416 --> 01:03:42,583
WE SHOULD BE GETTING
SOME REFRESHMENTS?
1439
01:03:42,585 --> 01:03:43,918
HMM?
1440
01:03:43,920 --> 01:03:45,253
OH, YES.
1441
01:03:45,255 --> 01:03:46,921
YES, OF COURSE.
1442
01:03:46,923 --> 01:03:48,589
I LOSE MYSELF HERE.
1443
01:03:48,591 --> 01:03:50,258
AFTER ALL,
I'M YOUR HOST.
1444
01:03:50,260 --> 01:03:51,926
MAKE YOURSELVES
AT HOME, BOYS.
1445
01:03:51,928 --> 01:03:53,928
THIS IS THE FIRST TIME
HE'S HAD GUESTS HERE.
1446
01:03:53,930 --> 01:03:55,596
YOU YOUNG MEN
SHOULD FEEL HONORED.
1447
01:03:55,598 --> 01:03:56,931
WE DO.
1448
01:03:56,933 --> 01:03:58,432
WE--
WE CERTAINLY DO.
1449
01:03:58,434 --> 01:04:00,101
LOOK AROUND, BOYS.
1450
01:04:00,103 --> 01:04:01,769
STUDY THESE HEADS.
1451
01:04:01,771 --> 01:04:04,105
YOU'LL RECOGNIZE SOME
GREAT NAMES AMONG THEM.
1452
01:04:04,107 --> 01:04:05,606
ARTISTS WHO,
1453
01:04:05,608 --> 01:04:07,275
EVEN BEHIND
THE MASK OF HORROR,
1454
01:04:07,277 --> 01:04:08,876
ACHIEVED ETERNAL FAME.
1455
01:04:12,948 --> 01:04:14,615
STUDY THEM CLOSELY.
1456
01:04:14,617 --> 01:04:16,550
THEY'LL BE
AN INSPIRATION TO YOU.
1457
01:04:23,959 --> 01:04:25,293
[WHISPERS] Larry...
1458
01:04:25,295 --> 01:04:26,961
I SAY WE CUT OUT.
1459
01:04:26,963 --> 01:04:28,963
OH, MAN, YOU SAW.
YOU HEARD.
1460
01:04:28,965 --> 01:04:30,965
IF WE DON'T DIG THE
OLD MAN'S COLLECTION,
1461
01:04:30,967 --> 01:04:32,466
WE'LL HURT HIS FEELINGS.
1462
01:04:32,468 --> 01:04:33,634
IT GIVES ME THE CREEPS.
1463
01:04:33,636 --> 01:04:34,969
YEAH, HE DOES, TOO.
1464
01:04:34,971 --> 01:04:36,470
I WOULDN'T HAVE COME,
1465
01:04:36,472 --> 01:04:38,973
ONLY HE SAID IT WAS
SOME KIND OF CELEBRATION--
1466
01:04:38,975 --> 01:04:40,308
A PARTY.
1467
01:04:40,310 --> 01:04:41,475
YEAH.
1468
01:04:41,477 --> 01:04:42,977
IT'S A PARTY,
ALL RIGHT.
1469
01:04:42,979 --> 01:04:44,645
ALL THE GUESTS
ARE STUFFED HEADS.
1470
01:04:44,647 --> 01:04:46,147
AH, WE SHOULDN'T
HAVE COME,
1471
01:04:46,149 --> 01:04:47,815
NO MATTER HOW MUCH
HE PRESSURED.
1472
01:04:47,817 --> 01:04:49,483
HE MAKES IT TOUGH
TO REFUSE.
1473
01:04:49,485 --> 01:04:50,985
I KNOW.
1474
01:04:50,987 --> 01:04:53,654
YOU KNOW, OLD PETE'S
GOT WAYS ABOUT HIM--
1475
01:04:53,656 --> 01:04:55,656
I DON'T KNOW,
STRANGE WAYS.
1476
01:04:55,658 --> 01:04:58,659
LIKE WHEN HE WAS MAKING
ME UP FOR THE PICTURE,
1477
01:04:58,661 --> 01:05:00,661
PUTTING ON THAT
FOUNDATION CREAM.
1478
01:05:00,663 --> 01:05:02,330
DID HE GIVE YOU
A LOT OF STUFF
1479
01:05:02,332 --> 01:05:04,165
ABOUT HOW THIS WOULD BE
YOUR LAST JOB,
1480
01:05:04,167 --> 01:05:05,833
AND THAT ENEMIES WOULD
1481
01:05:05,835 --> 01:05:07,668
DRIVE YOU
OUT OF THE BUSINESS,
1482
01:05:07,670 --> 01:05:09,503
AND THAT ONLY HE
COULD PROTECT YOU?
1483
01:05:09,505 --> 01:05:10,838
YEAH. YEAH, HE DID.
1484
01:05:10,840 --> 01:05:12,673
HEY, I MEANT TO
CHECK WITH YOU ABOUT THAT,
1485
01:05:12,675 --> 01:05:14,008
ONLY I FORGOT.
1486
01:05:14,010 --> 01:05:15,843
I--I DON'T MEAN I FORGOT
IN A CARELESS WAY.
1487
01:05:15,845 --> 01:05:17,511
I...JUST FORGOT.
1488
01:05:17,513 --> 01:05:19,847
LIKE, WHEN HE FINISHED,
EVERYTHING KIND OF LEFT ME.
1489
01:05:19,849 --> 01:05:21,849
YOU KNOW, LIKE,
WENT OUT OF MY HEAD.
1490
01:05:21,851 --> 01:05:23,184
YEAH, ME, TOO.
1491
01:05:23,186 --> 01:05:25,186
IT WAS ONLY SINCE THE
LAST SCENE WAS SHOT--
1492
01:05:25,188 --> 01:05:26,687
HEY, TONY, TONY.
1493
01:05:26,689 --> 01:05:28,422
LOOK, WHEN HE FINISHED,
DID HE TELL YOU--
1494
01:05:30,525 --> 01:05:32,526
PETE, I NEVER
CRITICIZE YOU.
1495
01:05:32,528 --> 01:05:35,363
BUT...I BELIEVE
YOU MADE A MISTAKE
1496
01:05:35,365 --> 01:05:37,365
IN BRINGING
LARRY AND TONY HERE.
1497
01:05:37,367 --> 01:05:38,532
WHY?
1498
01:05:38,534 --> 01:05:40,201
I DON'T THINK
THEY CAN BE TRUSTED.
1499
01:05:40,203 --> 01:05:41,869
NONSENSE,
NOT TRUST THESE BOYS.
1500
01:05:41,871 --> 01:05:43,704
THEY'VE ALREADY
DEMONSTRATED QUITE FAVORABLY
1501
01:05:43,706 --> 01:05:45,039
THAT THEY OBEY MY ORDERS.
1502
01:05:45,041 --> 01:05:46,707
YOU KNOW I HAVE THEM
UNDER CONTROL.
1503
01:05:46,709 --> 01:05:49,043
BUT YOU WON'T. NOW THAT
THE PICTURE'S FINISHED
1504
01:05:49,045 --> 01:05:50,878
AND YOU HAVEN'T
HELPED THEIR CAREERS,
1505
01:05:50,880 --> 01:05:52,546
YOUR CONTROL
WILL WEAR OFF.
1506
01:05:52,548 --> 01:05:54,548
AND THE POLICE ARE SURE
TO TALK TO THEM.
1507
01:05:54,550 --> 01:05:55,883
YES, QUITE POSSIBLE.
1508
01:05:55,885 --> 01:05:57,885
AND WHEN THE POLICE
BEGIN TO PRESSURE THEM,
1509
01:05:57,887 --> 01:05:59,387
THEY'RE BOUND TO CRACK.
1510
01:05:59,389 --> 01:06:01,389
THAT'S WHY
I WANT TO LEAVE,
1511
01:06:01,391 --> 01:06:03,824
TO VISIT MY BROTHER ON
HIS RANCH IN ARIZONA.
1512
01:06:06,228 --> 01:06:08,896
RIVERO, MY OLD FRIEND...
1513
01:06:08,898 --> 01:06:10,564
I SEE YOUR POINT.
1514
01:06:10,566 --> 01:06:12,900
YOU WANT TO LEAVE ME TO
FACE WHATEVER COMES ALONE.
1515
01:06:12,902 --> 01:06:14,235
OH, NO, PETE.
1516
01:06:14,237 --> 01:06:16,737
I JUST WANT TO GET AWAY
FOR A FEW WEEK'S REST.
1517
01:06:16,739 --> 01:06:18,072
AND YOU DO THIS
1518
01:06:18,074 --> 01:06:20,074
NOT BECAUSE OF
DISLOYALTY TO ME,
1519
01:06:20,076 --> 01:06:22,076
BUT BECAUSE YOU DON'T
TRUST LARRY AND TONY.
1520
01:06:22,078 --> 01:06:23,911
NOW, ISN'T THAT
WHY YOU WANT TO LEAVE?
1521
01:06:23,913 --> 01:06:25,246
YES, THAT'S IT.
1522
01:06:25,248 --> 01:06:27,915
THESE YOUNG MEN ARE NOT
STRONG THE WAY YOU ARE.
1523
01:06:27,917 --> 01:06:29,583
NO, OF COURSE NOT.
1524
01:06:29,585 --> 01:06:32,420
IF ONLY THEY HAD
YOUR DEVOTION TO ME--
1525
01:06:32,422 --> 01:06:34,255
YOUR IRON NERVES.
1526
01:06:34,257 --> 01:06:36,090
BUT THEY HAVEN'T.
1527
01:06:36,092 --> 01:06:38,926
WHAT A SOURCE OF STRENGTH
AND COMFORT IT IS TO ME
1528
01:06:38,928 --> 01:06:40,928
THAT I CAN
BE SURE OF YOU.
1529
01:06:40,930 --> 01:06:42,596
OF COURSE YOU CAN,
PETE.
1530
01:06:42,598 --> 01:06:44,598
AND SHOULD THE POLICE
SPEAK TO YOU ALONE,
1531
01:06:44,600 --> 01:06:46,100
YOU WOULDN'T
REVEAL A THING.
1532
01:06:46,102 --> 01:06:47,268
NO, NOT A THING.
1533
01:06:47,270 --> 01:06:48,769
EVEN IF THEY GAVE YOU
A THIRD DEGREE,
1534
01:06:48,771 --> 01:06:50,271
THEY COULDN'T SQUEEZE
THE TINIEST BIT
1535
01:06:50,273 --> 01:06:51,772
OF CONFESSION FROM YOU,
COULD THEY?
1536
01:06:51,774 --> 01:06:53,274
COURSE NOT.
1537
01:06:53,276 --> 01:06:55,109
BUT THESE BOYS...
1538
01:06:55,111 --> 01:06:56,944
THEY'LL CRACK.
1539
01:06:56,946 --> 01:06:58,279
YES.
1540
01:06:58,281 --> 01:06:59,780
YES, PETE.
1541
01:06:59,782 --> 01:07:01,282
AND I TELL YOU NOW,
1542
01:07:01,284 --> 01:07:02,950
IF ANYTHING
HAPPENS TO YOU
1543
01:07:02,952 --> 01:07:04,452
AFTER I LEAVE,
1544
01:07:04,454 --> 01:07:06,887
THEY'LL BE THE ONES
TO BLAME.
1545
01:07:08,290 --> 01:07:09,890
THE BOYS.
1546
01:07:09,892 --> 01:07:11,258
NOT YOU.
1547
01:07:11,260 --> 01:07:12,994
NOT ME.
1548
01:07:21,470 --> 01:07:24,472
I'LL REMEMBER THAT...
1549
01:07:24,474 --> 01:07:26,140
OLD FRIEND.
1550
01:07:26,142 --> 01:07:27,975
OH!
1551
01:07:27,977 --> 01:07:29,576
[GRUNTS]
1552
01:07:50,298 --> 01:07:52,333
[LOCK CLICKING]
1553
01:07:52,335 --> 01:07:54,435
[DOOR CLOSES]
1554
01:08:11,853 --> 01:08:13,787
YOUR REFRESHMENTS,
BOYS.
1555
01:08:15,524 --> 01:08:17,691
GO AHEAD.
YOU MUST BE THIRSTY.
1556
01:08:17,693 --> 01:08:20,294
YEAH, MY--
MY THROAT IS GETTING DRY.
1557
01:08:23,031 --> 01:08:24,698
WHERE'S RIVERO?
1558
01:08:24,700 --> 01:08:26,200
OH, HE'S IN
THE KITCHEN
1559
01:08:26,202 --> 01:08:27,535
PREPARING DINNER.
1560
01:08:27,537 --> 01:08:29,036
WE'RE--
WE'RE NOT HUNGRY.
1561
01:08:29,038 --> 01:08:30,704
NOT AT ALL HUNGRY.
1562
01:08:30,706 --> 01:08:32,540
WELL, YOU DON'T HAVE TO
BOTHER AND...
1563
01:08:32,542 --> 01:08:33,874
IN FACT, LARRY AND ME
1564
01:08:33,876 --> 01:08:35,709
HAVE SORT OF A, WELL,
DINNER DATE.
1565
01:08:35,711 --> 01:08:37,711
BUT YOU MUSTN'T THINK
OF LEAVING YET.
1566
01:08:37,713 --> 01:08:39,547
I BROUGHT YOU BOTH HERE
FOR A PURPOSE.
1567
01:08:39,549 --> 01:08:40,881
I CAN'T LET YOU GO
1568
01:08:40,883 --> 01:08:42,716
UNTIL THAT'S
ACCOMPLISHED.
1569
01:08:42,718 --> 01:08:43,984
WHAT PURPOSE?
1570
01:08:45,720 --> 01:08:48,489
I HAVE A GREAT HONOR
TO BESTOW UPON YOU.
1571
01:08:50,725 --> 01:08:52,726
LIKE WHAT?
1572
01:08:52,728 --> 01:08:55,563
I INTEND TO ADD YOU TWO
TO MY COLLECTION.
1573
01:08:55,565 --> 01:08:57,565
ADD US?
1574
01:08:57,567 --> 01:08:58,966
HOW?
1575
01:08:58,968 --> 01:09:01,068
IT'S ALWAYS
BEEN MY AMBITION
1576
01:09:01,070 --> 01:09:03,070
TO CROWN MY COLLECTION
WITH A WEREWOLF
1577
01:09:03,072 --> 01:09:04,905
AND A FRANKENSTEIN
MONSTER
1578
01:09:04,907 --> 01:09:06,740
THAT I CREATED
COMPLETELY--
1579
01:09:06,742 --> 01:09:08,576
SOUL AS WELL AS BODY.
1580
01:09:10,245 --> 01:09:12,413
BUT WHAT ABOUT
THOSE?
1581
01:09:12,415 --> 01:09:14,148
OH, THEY'RE ONLY IMAGES,
1582
01:09:14,150 --> 01:09:15,782
FASHIONED FROM MEMORY.
1583
01:09:17,419 --> 01:09:19,587
YOU WANT...
1584
01:09:19,589 --> 01:09:21,589
REAL HEADS ON YOUR WALL?
1585
01:09:21,591 --> 01:09:23,424
AS REAL
AS I CAN GET THEM.
1586
01:09:23,426 --> 01:09:24,925
FOR THE PRESENT,
1587
01:09:24,927 --> 01:09:26,927
I ONLY WANT TO
TAKE YOUR MEASUREMENTS
1588
01:09:26,929 --> 01:09:28,929
TO GET EXACT REPLICAS
OF YOUR HEADS.
1589
01:09:28,931 --> 01:09:30,598
YOU'VE--
YOU'VE GOT THE STILLS.
1590
01:09:30,600 --> 01:09:31,932
OH, NO.
1591
01:09:31,934 --> 01:09:33,767
NO, PHOTOGRAPHS
ARE NOT ENOUGH.
1592
01:09:33,769 --> 01:09:36,203
MY NEW ADDITIONS
WILL BE LIFELIKE.
1593
01:09:37,772 --> 01:09:39,273
JUST THINK.
1594
01:09:39,275 --> 01:09:40,941
IN THE YEARS TO COME,
1595
01:09:40,943 --> 01:09:43,944
YOU'LL BOTH
BE UP THERE.
1596
01:09:43,946 --> 01:09:46,614
A REFUGE--
A PERMANENT HOME.
1597
01:09:46,616 --> 01:09:48,616
NOW, LOOK, PETE.
1598
01:09:48,618 --> 01:09:50,951
WE'RE THANKFUL TO YOU
AND ALL THAT,
1599
01:09:50,953 --> 01:09:53,120
AND, WELL, WE KNOW
IT'S AN HONOR...
1600
01:09:53,122 --> 01:09:55,122
WELL, BUT TO
LEVEL WITH YOU,
1601
01:09:55,124 --> 01:09:57,291
WE DON'T FEEL
QUITE RIGHT IN HERE.
1602
01:09:57,293 --> 01:09:59,293
WE'D LIKE TO GET OUT.
1603
01:09:59,295 --> 01:10:02,296
Larry: TO TELL YOU
THE TRUTH, WE TRIED...
1604
01:10:02,298 --> 01:10:03,964
BUT YOU LOCKED THE DOOR.
1605
01:10:03,966 --> 01:10:05,899
Tony: YEAH,
SO JUST LET US OUT.
1606
01:10:07,469 --> 01:10:09,470
IS THAT HOW
YOU REPAY ME?
1607
01:10:09,472 --> 01:10:10,904
NOW, LOOK, PETE.
1608
01:10:12,641 --> 01:10:14,308
YOU DID SOMETHING TO US.
1609
01:10:14,310 --> 01:10:15,976
TONY AND I TALKED IT OVER.
1610
01:10:15,978 --> 01:10:18,145
WE CAN'T EXACTLY
PUT OUR FINGERS ON IT,
1611
01:10:18,147 --> 01:10:20,314
BUT LET'S JUST SAY
WE WANT TO LEAVE.
1612
01:10:20,316 --> 01:10:22,983
AFTER ALL
MY BIG PLANS FOR YOU,
1613
01:10:22,985 --> 01:10:24,985
WERE YOU TWO TRYING TO
BREAK AWAY FROM ME,
1614
01:10:24,987 --> 01:10:26,654
FROM MY INFLUENCE?
1615
01:10:26,656 --> 01:10:28,489
NOW, DON'T TRY TO
CONFUSE US ANYMORE.
1616
01:10:28,491 --> 01:10:30,324
WE DON'T WANT YOU
OR YOUR INFLUENCE.
1617
01:10:30,326 --> 01:10:31,992
NOW,
JUST OPEN THE DOOR!
1618
01:10:31,994 --> 01:10:33,661
I SUPPOSE
IF I LET YOU GO
1619
01:10:33,663 --> 01:10:35,329
LIKE A PAIR
OF SNIVELING BABES,
1620
01:10:35,331 --> 01:10:37,164
YOU'LL GO RUNNING
TO THE POLICE!
1621
01:10:37,166 --> 01:10:39,500
WHAT'S THE POLICE
GOT TO DO WITH IT?
1622
01:10:39,502 --> 01:10:42,169
AS YOU KNOW, THERE WERE
3 MURDERS COMMITTED.
1623
01:10:42,171 --> 01:10:44,171
WHAT'S THAT
GOT TO DO WITH US?
1624
01:10:44,173 --> 01:10:46,006
I'LL TELL YOU.
1625
01:10:46,008 --> 01:10:48,175
THE NEW EXECUTIVES
THREW ME OUT.
1626
01:10:48,177 --> 01:10:50,344
I SWORE I'D
BRING THE STUDIO DOWN
1627
01:10:50,346 --> 01:10:52,179
OVER THEIR HEADS.
1628
01:10:52,181 --> 01:10:54,181
I DID.
1629
01:10:54,183 --> 01:10:56,684
THE STUDIO'S
PRACTICALLY CLOSED,
1630
01:10:56,686 --> 01:10:58,719
AND THEY'LL NEVER ISSUE
ANOTHER ORDER.
1631
01:11:02,524 --> 01:11:04,525
3 MURDERS,
1632
01:11:04,527 --> 01:11:06,627
AND WE'RE ALL INVOLVED.
1633
01:11:08,530 --> 01:11:10,964
EACH OF US MUST
TAKE CREDIT FOR ONE.
1634
01:11:14,202 --> 01:11:16,370
YOU'RE CRAZY, PETE!
1635
01:11:16,372 --> 01:11:18,806
NOT CRAZY ENOUGH
TO LET YOU ESCAPE.
1636
01:11:23,211 --> 01:11:24,545
[THUD]
1637
01:11:24,547 --> 01:11:26,480
WHAT HAVE YOU DONE,
YOU FOOLS?!
1638
01:11:47,903 --> 01:11:49,570
MY CHILDREN!
1639
01:11:49,572 --> 01:11:51,572
I MUST SAVE MY CHILDREN!
1640
01:11:51,574 --> 01:11:53,741
YOU FOOLS! WHAT DID YOU DO?
1641
01:11:53,743 --> 01:11:55,543
MY CHILDREN ARE DYING!
1642
01:11:55,545 --> 01:11:57,578
SAVE MY CHILDREN!
1643
01:12:03,084 --> 01:12:04,351
[BANG]
1644
01:12:20,769 --> 01:12:22,536
[GLASS SHATTERING]
1645
01:12:29,110 --> 01:12:30,444
[BOYS COUGHING]
1646
01:12:30,446 --> 01:12:32,045
Captain Hancock:
CALL THE FIRE DEPARTMENT.
1647
01:12:33,949 --> 01:12:35,215
BREAK IT IN.
1648
01:12:37,619 --> 01:12:39,019
[BANGING ON DOOR]
1649
01:12:41,289 --> 01:12:42,790
TAKE 'EM DOWNTOWN!
1650
01:12:42,792 --> 01:12:44,291
WHERE'S PETE
AND RIVERO?
1651
01:12:44,293 --> 01:12:45,793
I DON'T KNOW
WHERE RIVERO IS,
1652
01:12:45,795 --> 01:12:47,294
BUT IT'S TOO LATE
FOR PETE.
1653
01:12:47,296 --> 01:12:48,562
HE'S IN THERE.
1654
01:12:50,565 --> 01:12:53,567
CAPTIONING MADE POSSIBLE BY
LIONS GATE HOME ENTERTAINMENT
1655
01:12:53,569 --> 01:12:56,504
CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
--www.ncicap.org--
157045
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