Original subtitles

CAPTIONING MADE POSSIBLE BY LIONS GATE HOME ENTERTAINMENT

[SIGHS]

MIRROR.

LARRY, BEFORE I LET YOU SEE YOURSELF,

ARE YOU SURE YOU CAN STAND THE SHOCK?

[MUFFLED] OH, YEAH, SURE. SURE I CAN.

I KNOW WITH THOSE FANGS IN YOUR MOUTH

YOU CAN'T TALK CLEARLY,

BUT MAKE A SOUND, AND I'LL GIVE YOU

A LOOK AT YOURSELF.

[GROWLING]

LOOK.

[MUMBLING]

WHAT'D YOU SAY?

[MUMBLING]

HMM? HEH HEH HEH!

OK, I'LL REMOVE YOUR FANGS.

WE CAN PUT THEM BACK IN

BEFORE WE GO TO THE SET.

WHY, IT'S SO REAL, I EVEN FEEL LIKE A WEREWOLF.

THOUGH I'D HATE TO HAVE MY GIRL SEE ME.

[CHUCKLES]

PETE, YOU'RE THE END.

OH, THANK YOU, MY BOY.

HE'S THE GREATEST.

BOY, YOU'LL GET NO ARGUMENT FROM ME THERE.

I SCARE MYSELF.

HEY, THIS IS AS CRAZY AS THE FRANKENSTEIN MONSTER

YOU MADE OUT OF TONY.

ALWAYS THE MASTER'S TOUCH.

YOU KNOW, I THINK I'LL BE AFRAID TO SEE MYSELF,

EVEN ON THE SCREEN.

OH, YOU'LL GET USED TO IT, LARRY.

JUST REMEMBER THAT AN ARTIST

MUST HAVE NO FEAR. WHY, A CREATION

IS ALMOST A SACRED THING.

ALL CREATIONS.

THE GOOD LORD CREATED SAINTS,

AND HE ALSO CREATED SINNERS.

HE CREATED THE LAMB AND THE FAWN,

BUT HE ALSO CREATED

THE WOLF AND THE JACKAL.

NOW, WHO CAN JUDGE

WHICH IS THE MOST PRAISEWORTHY?

WELL, THAT'S ONE WAY TO LOOK AT IT.

FOR 25 YEARS HE'S BEEN THE MASTER.

HE CREATED THEM ALL.

AND IF I MAY SAY SO IN ALL DUE MODESTY,

I REGARDED EACH ONE AS A CREATION,

NO MORE IMPORTANT THAN THIS.

WELL, THANKS FOR TRYING TO CHEER ME UP,

BUT JUST THE SAME, THIS SCARES ME.

NOW, REMEMBER, MY BOY,

I CREATED YOU

SO THAT YOU COULD SCARE OTHERS.

AS AN ACTOR, AS AN ARTIST,

THAT'S YOUR MISSION. LIVE UP TO IT.

WELL, IT'S TIME FOR US TO BE ON THE SET.

WE MUSTN'T KEEP THE DIRECTOR WAITING.

THERE WE ARE.

FINE.

WELL, COME ON.

HEY!

WHAT ABOUT HIM? IN THE NEXT PICTURE

AFTER WE CAPTURE THE SHIP?

I CLIMB ABOARD,

I DRAW MY SWORD,

AND THERE, STANDING AT THE HELM--

IT'S NOT THE CAPTAIN--

BUT THE WEREWOLF.

TERRIFIC, HUH?

AND WE'LL GET OLD PETE

TO DO THE MAKE-UP.

NOT BAD, NOT BAD.

BUT HOW DID A WOLF GET IN THE OCEAN?

HELLO, EVERYONE.

[MURMURING]

OUR FIRST STOP WILL BE ON STAGE 3,

WHERE THEY ARE NOW SHOOTING

HORRORS OF THE BLACK MUSEUM.

FOLKS, I THINK YOU'RE IN LUCK.

THE BIG SCENE OF THE PICTURE

SHOOTS TODAY.

NOW, IF YOU WILL ALL STAY TOGETHER

AND FOLLOW ME...

BOY, WHEN PETE MAKES THEM UP,

IT'S FOR REAL.

WELL, AT LEAST WE LOOK NORMAL.

HA HA! DON'T WE, THOUGH?

[BOTH LAUGH]

WELL, HERE HE IS, MARTIN.

GREAT, PETE. JUST GREAT!

EXACTLY WHAT I WANTED.

THIS IS AS GOOD AND FEROCIOUS

AS YOUR FRANKENSTEIN MONSTER.

WELL, THANK YOU.

GET TONY OUT HERE. I WANT TO SEE

HOW THESE 2 BEAUTIES LOOK TOGETHER.

Martin: WEREWOLF, MEET FRANKENSTEIN.

SHAKE HANDS AND COME OUT SNARLING.

WELL, PETE, ALL I CAN SAY

IS YOU GAVE BIRTH TO A FINE PAIR OF SONS.

YOU CAN BE REALLY PROUD OF YOUR CREATION.

WILL YOU BE NEEDING ME?

NO. YOU CAN REST ON YOUR LAURELS.

IF I NEED YOU, I'LL SEND FOR YOU.

I'LL BE IN MY MAKE-UP ROOM.

GOOD.

NOW, BOYS, LISTEN CAREFULLY.

REMEMBER, THIS IS THE BIG SCENE

OF THE PICTURE.

THE AUDIENCE IS WAITING FOR THIS,

WHERE FINALLY WEREWOLF MEETS FRANKENSTEIN.

THEY HATE EACH OTHER. IT'S A FIGHT TO THE DEATH.

IT'S THE BATTLE OF THE MONSTERS,

AND IT MUST BE THE HIGH SPOT

OF THE PICTURE.

IT'S GOT TO BE THE GREATEST FIGHT

WE'VE EVER HAD ON THE SCREEN.

AND I'VE GOT TO GET IT IN ONE TAKE.

SO, LISTEN TO DIRECTIONS CAREFULLY.

YOU'LL COME IN FROM OUT THERE.

NOW, YOU'LL COME IN FROM HERE.

FAIRLY STEALTHILY...

VERY CUNNING...

WITH ANIMAL INSTINCT,

YOU WILL FEEL THAT THERE'S AN ENEMY AROUND.

YOU HEAR SOMETHING. YOU STOP.

YOU LOOK AROUND.

I WANT THIS TO BE REALLY CREEPY.

YOU--YOU HAVEN'T SEEN ANYTHING YET,

BUT YOU KNOW THAT YOU'RE IN DANGER.

SUDDENLY, FROM OVER THERE,

BIG AS LIFE AND TWICE AS FRIGHTENING,

COMES THE FRANKENSTEIN MONSTER.

COME IN, SON.

AS YOU MOVE TOWARDS EACH OTHER...

PUT EVERYTHING AWAY CAREFULLY.

YES, PETE. YOU KNOW I ALWAYS DO.

I WANT TO TAKE HOME SOME PICTURES

OF THESE BOYS.

I LIKE TO STUDY THEM.

I MIGHT DECIDE TO MAKE MASKS

FOR MY COLLECTION.

YOU SHOULD, PETE.

I THINK THIS TEENAGE WEREWOLF

AND TEENAGE FRANKENSTEIN

ARE EASILY AMONG THE BEST THINGS

YOU'VE EVER DONE.

YOU KNOW, ANOTHER REASON

I WANT TO KEEP A SOUVENIR

OF THIS PICTURE IS THAT I ENJOY

WORKING WITH THESE TEENAGERS.

THEY'VE GOT SPIRIT, AND THEY COOPERATE.

THEY DON'T SOUR ON YOU

LIKE SOME OF THE OLDER ACTORS.

I REMEMBER THE TROUBLE I HAD

WITH THAT OLD BARRY HORTON

WHEN I DISFIGURED HIM.

YEAH, THE PICTURE IN WHICH

HE HAD THE CAR CRASH.

HE WAS AFRAID HE'D LOSE

HIS WOMEN ADMIRERS. HEH HEH HEH!

A TRUCK WAS GOING TO RUN OVER HIM,

AND HE WANTED TO COME UP

WITHOUT A SCRATCH. HEH!

OH, BUT THESE TEENAGERS,

THEY'VE GOT SPIRIT AND CONFIDENCE.

THEY PLUNGE INTO A ROLE.

THEY PUT THEMSELVES IN YOUR HANDS.

I ENJOY WORKING WITH THEM.

BUT GENTLEMEN, IT'S CUSTOMARY TO KNOCK.

WE DON'T HAVE TO.

WE ARE THE GROUP THAT HAVE TAKEN OVER

THIS STUDIO-- NBN ASSOCIATES.

WE'VE PERSONALLY TAKEN OVER THIS LOT,

AND WE'RE GOING TO RUN IT OUR WAY.

MY NAME IS JOHN NIXON.

THIS IS MR. JEFF CLAYTON.

YES, OF COURSE, I READ ABOUT IT

IN THE TRADE PAPERS.

IT'S CERTAINLY NICE TO MEET YOU, GENTLEMEN.

MR. DUMOND,

WE'RE GOING TO MAKE SOME CHANGES AROUND HERE.

WELL, YOU HAVE MY BEST WISHES.

OH, WON'T YOU SIT DOWN?

WELL, I'M AFRAID THESE AREN'T TOO COMFORTABLE,

BUT PERHAPS THE NEW REGIME

WILL PROVIDE BETTER CHAIRS FOR MY WORKSHOP.

YOUR WORKSHOP?

THAT SORT OF BRINGS US TO THE POINT.

WHAT POINT?

UH, MR. DUMOND,

WE WON'T BE NEEDING YOU

AFTER YOU FINISH THIS PICTURE--

THE ONE YOU'RE ON NOW.

NOT NEED ME?

YES. MONSTERS ARE FINISHED.

THEY'RE COMING OUT OF YOUR EARS.

SATURATION.

A HORROR CYCLE IS OVER.

PEOPLE WANT TO HEAR MUSIC.

THEY WANT TO LAUGH.

THEY WANT TO SEE PRETTY GIRLS.

THERE'S NO DOUBT ABOUT IT,

MONSTERS ARE FINI.

I HEARD THAT 25 YEARS AGO

WHEN I CREATED MY FIRST WEREWOLF.

IT SAVED THE STUDIO FROM BANKRUPTCY.

NOW, LOOK. I DIDN'T COME HERE

TO DISCUSS THIS THING

OR TO ARGUE IT WITH YOU.

THAT IS THE DECISION OF THE BIG BRASS.

IT'S MINE, TOO.

YES, BUT...

WELL, IT'S THE WRONG ONE,

IF I MAY DISAGREE.

WHY, EVEN PSYCHIATRISTS SAY

THAT IN ALL THESE MONSTER PICTURES,

THERE'S NOT ONLY ENTERTAINMENT

BUT, FOR SOME PEOPLE, THERAPY.

WELL, YOU KNOW WE NEVER GET OVER

OUR CHILDHOOD FEARS OF THE SINISTER--

THE TERRIFYING FACES WE SEE IN NIGHTMARES.

WELL, THROUGH THESE PICTURES,

WE CAN LIVE OUT OUR HIDDEN FEARS.

IT HELPS.

YOU LIVE THEM OUT,

BUT NOT ON OUR PAYROLL.

LIKE MR. NIXON SAYS,

PEOPLE WANT TO SEE

ESCAPE PICTURES NOWADAYS.

MUSICALS, JOKES, PRETTY GIRLS.

YES, BUT--

THE DECISION IS FINAL.

NOW, INSTEAD OF GIVING YOU

A COLD PINK SLIP,

I CAME TO TELL YOU IN PERSON.

IT'S THE HUMAN WAY.

IT CERTAINLY IS.

AND WE'LL ALLOW YOU

A WEEK'S SEVERANCE PAY.

NO, THANK YOU. KEEP YOUR SEVERANCE PAY.

I DON'T WANT YOUR CHARITY.

THIS LOT, THIS ROOM, HAS BEEN MY HOME

FOR 25 YEARS!

NOW THAT YOU'VE THROWN ME OUT,

DON'T TRY TO SOFTEN THE BLOW

WITH A FEW CHEAP DOLLARS.

I'LL LEAVE WHEN THIS PICTURE

IS FINISHED SHOOTING.

OK, IF THAT'S THE WAY YOU FEEL.

YOU TURNED DOWN MONEY.

MAYBE YOU'VE BEEN LIVING TOO LONG WITH MONSTERS.

SOMETIMES I FIND THEM BETTER COMPANY

THAN HUMANS.

PETE, WHAT ARE WE GOING TO DO?

I DON'T KNOW YET.

BUT ONE THING I DO KNOW FOR SURE--

THEY'RE WRONG, AND I'M RIGHT!

I'D STAKE MY VERY LIFE ON THAT.

AND BEFORE I LEAVE THIS LOT,

I INTEND TO PROVE THAT I'M RIGHT.

WEREWOLF.

FRANKENSTEIN.

THEY WANT TO PUT AN END TO US.

THEY SAY WE'RE THROUGH.

THERE'S GRATITUDE.

DON'T THEY REALIZE

THAT THE MONSTERS I CREATED,

FROM MY FIRST PREHISTORIC MAN

THROUGH THE SPACE MAN OF THE FUTURE...

WHY, ALL THESE PAID FOR THIS STUDIO--

MADE THE OWNERS RICH AND FAMOUS.

AND NOW THEY SAY IT'S OVER.

BUT IT ISN'T OVER.

I'LL DESTROY THIS STUDIO,

SEE IT GO UP IN FLAMES BEFORE I--

NO.

NO, I'LL DESTROY THEM FIRST.

AND I'LL USE

THE VERY MONSTERS THEY MOCKED

TO BRING THEM TO AN END.

Man: PETE? HUH?

I HEARD VOICES.

ONLY MINE.

YOU WERE TALKING TO YOURSELF?

NOT ENTIRELY.

I WAS REASSURING MY CHILDREN

THAT I WON'T LET THEM PERISH...

THAT I'M GONNA STOP THESE MEN

FROM DESTROYING US.

BUT HOW?

I'LL SHOW YOU.

Pete: THOSE FOOLS.

THEY THINK A MONSTER IS JUST PUT TOGETHER

WITH GLUE, HAIR, PUTTY, FOAM RUBBER.

THEY DON'T REALIZE THAT A MONSTER,

EVEN ON THE SCREEN, IS HUMAN AND MUST BE

INFUSED WITH A SPIRIT BY HIS CREATOR.

WHY, IF I DIDN'T BELIEVE IN MY CREATIONS,

THEY WOULDN'T BELIEVE IN THEMSELVES.

THAT'S WHY THEY CAN THROW FEAR

INTO THE HEARTS OF SPECTATORS.

PETE, WHAT ARE YOU PUTTING INTO THAT?

I'M BLENDING A NEW INGREDIENT

FOR THE FOUNDATION CREAM.

IT'S MY OWN DISCOVERY.

IF THEY KNEW HOW MANY LONG HOURS

I EXPERIMENTED WITH DIFFERENT CHEMICAL AGENTS

TO GET BETTER RESULTS...

DO YOU REMEMBER THE TIME

I ACCIDENTALLY ADDED NOVOCAINE?

OF COURSE.

JAMES DUNCAN, PREHISTORIC MAN.

COULDN'T REMEMBER HIS LINES.

NO. NOT UNTIL I RELEASED HIM.

WHEN I ORDERED HIM UNDER HYPNOSIS

TO REMEMBER, HE DID.

AND I'LL DO THE SAME WITH THESE YOUNG MEN.

AS I SEE FIT, I'LL ORDER THEM WHAT TO REMEMBER

AND WHAT TO FORGET.

YOU MUSTN'T TRY THAT.

WHY NOT?

WHY, IT'S DANGEROUS!

DANGEROUS? WHY, WE'RE FIGHTING FOR OUR LIVES.

NOW...

THIS ENTERS INTO THE PORES

AND PARALYZES THE WILL.

IT'LL HAVE THE SAME EFFECT CHEMICALLY

AS A SURGICAL PRE-FRONTAL LOBOTOMY.

IT BLOCKS THE NERVE SYNAPSES,

MAKES THE SUBJECT PASSIVE, OBEDIENT TO MY WILL.

WELL, ALL QUIET, EXCEPT FOR A LIGHT

IN OLD PETE'S MAKE-UP ROOM.

WHEN HE'S ON A JOB,

HE PRACTICALLY LIVES HERE.

YEAH, I KNOW.

HE'S MARRIED TO HIS CAREER.

THAT'S THE WAY I FEEL ABOUT MY WORK,

BUT WHAT CHANCES DO I GET?

NOW, DON'T KNOCK IT.

YOU GOT A NICE, EASY JOB.

THE ONLY HOODLUMS YOU RUN INTO

ARE THE BIT PLAYERS.

WE'RE STRICTLY LAW AND ORDER MEN.

NOTHING EVER HAPPENS ON THE LOTS TO SHIFT.

THAT'S WHAT I MEAN. JUST HIGH-CLASS WATCHMEN.

LOOK, MONAHAN, YOU WANT ACTION?

JOIN THE COMMANDOS.

NAH.

WHAT DO YOU SAY, PETER?

SIT DOWN, MY BOY.

A BUTCH AND A MASSAGE, PETE.

WELL, I'M GLAD TO SEE YOU'RE IN A CHEERFUL MOOD.

BOY, YOU'RE NOT. YOU LOOK BUGGED.

HOW WOULD YOU FEEL IF SOMEONE PRONOUNCED

A DEATH SENTENCE?

ARE YOU SERIOUS?

YEAH, YOU SHOULD BE, TOO.

IT'S NOT LONGER ANY SECRET.

THE NEW OWNERS OF THE STUDIO

HAVE DECREED NO MORE MONSTERS.

MY JOB IS DONE.

MY CAREER IS OVER.

WELL, ACTUALLY, THAT'S NOT TOO BAD FOR ME.

I'VE HAD MY DAYS OF GLORY AND TRIUMPH.

I SUPPOSE I'M AN OLD MAN

WHO SHOULD BE ABLE TO FACE THE END.

BUT THIS ALSO MEANS

THAT YOUR CAREER IS OVER, TOO.

I THOUGHT THAT WAS JUST--JUST A RUMOR.

IT'S AN ORDER.

ONE ORDER CAN DESTROY BOTH OF US.

TOUGH.

I GUESS MY AGENT CAN GET ME ANOTHER PART.

I DON'T WANT TO DISCOURAGE YOU, MY BOY,

BUT I KNOW THIS TOWN, THIS INDUSTRY.

I'VE GIVEN MY LIFE TO IT.

THE FIRST QUESTION A CASTING DIRECTOR ASKS IS,

"WHAT WAS YOUR LAST PART?"

WELL, IN YOUR CASE,

THE ANSWER WOULD HAVE TO BE

WEREWOLF IN WEREWOLF MEETS FRANKENSTEIN.

YEAH.

I CAN HEAR THE CASTING DIRECTOR

AS IF HE WERE IN THIS VERY ROOM.

"SORRY, NOTHING IN THIS PICTURE.

"BUT SEE ME WHEN THE MONSTER CYCLE

COMES AROUND AGAIN."

OH, I BEGIN TO READ YOU.

DON'T FORGET, LARRY--

THE PEOPLE WHO HAVE SEEN YOU, YOUR FANS,

DON'T KNOW YOUR REAL FACE.

THE ONLY HOPE YOU HAVE FOR A FUTURE IS HERE.

I GUESS YOU'RE RIGHT, PETE.

OH, I KNOW I'M RIGHT.

WELL, WHAT CAN WE DO?

I LIKE THAT QUESTION.

AT LEAST YOU'RE INTERESTED IN SAVING YOUR CAREER.

I AM!

WELL...

IF YOU'LL SORT OF PLACE YOURSELF IN MY HANDS,

PERHAPS WE CAN MAKE THEM CHANGE THEIR MINDS.

GO AHEAD, PETE. I'M WITH YOU.

LARRY, THIS FOUNDATION CREAM

HAS A NEW FIRMING AGENT IN IT.

SOMETHING THAT I PERFECTED.

SO DON'T WORRY IF YOU FEEL YOUR SKIN TIGHTENING.

DON'T WORRY IF IT MAKES YOU FEEL--

IT DOES FEEL KIND OF COOL.

REMEMBER, MY BOY,

IT'S IN YOUR BEST INTERESTS.

DO EXACTLY AS I INSTRUCT YOU.

YOU WILL PLAY YOUR SCENE WELL TODAY.

BUT AFTER YOU'VE COMPLETED IT...

INSTEAD OF COMING BACK HERE...

THIS IS WHAT I WANT YOU TO DO.

[BIG BAND MUSIC PLAYING]

WELL, CONGRATULATIONS, BANKS.

THE RUSHES ARE FINE. YOU WERE RIGHT.

THIS MUSICAL IS GOING TO BE A BIG HIT.

I LIKE THE WAY YOU'RE HANDLING THIS PRODUCTION.

THANKS, JOHN.

EVERYTHING ON THE SET'S COMING ALONG JUST GREAT.

I'LL SEE YOU IN THE MORNING. GOOD NIGHT.

GOOD NIGHT. WELL, I MIGHT AS WELL

SEE YESTERDAY'S RUSHES

ON THE WEREWOLF AND FRANKENSTEIN PICTURE.

WITHOUT ME, IF YOU DON'T MIND, JOHN.

MAYBE YOU'VE GOT

A SECRET YEN FOR MONSTERS, BUT NOT ME.

I THINK THEY SCARE YOU,

AND YOU'RE TOO CHICKEN TO ADMIT IT.

SO YOU GUESSED MY SECRET, HUH?

WELL, IT'S PART OF MY RESPONSIBILITY,

SO I'M GOING TO SEE THEM.

WELL, HAVE YOURSELF A NIGHTMARE.

ALL RIGHT, I'M READY.

YOU CAN RUN THE RUSHES ON PRODUCTION 204.

Man: SCENE 136, TAKE 2.

Second Man: ACTION.

[GROWLING]

[GRUNTING]

[SNARLING]

[GROWLING]

NOW, YOU'RE SURE, MY BOY,

NOBODY SAW YOU?

AND YOU DID EXACTLY AS I TOLD YOU?

AND YOU CAME BACK EXACTLY AS I SAID?

GOOD.

YOU'LL FORGET THIS AFTER I WAKE YOU UP.

YOU WON'T REMEMBER A THING AFTERWARDS.

YOU--

PETE? ARE YOU SURE THERE'S NO DANGER

OF US GETTING CAUGHT?

JUST WASH THESE.

NOW WAKE UP, MY BOY.

WAKE UP!

NOW, HERE HE IS, DOC. SEE WHAT YOU CAN GET.

TELL ME WHAT YOU KNOW ABOUT ALL THIS.

DON'T LEAVE ANYTHING OUT.

I ALREADY TOLD YOU. I RAN THE RUSHES

FOR HIM ON 3 PICTURES.

WHAT TIME?

BEGINNING AT ABOUT 8:00.

THAT'S WHEN HE RESERVED THE ROOM.

DID YOU SEE ANYTHING? HEAR ANYTHING?

ALL I COULD SEE WAS ON THE SCREEN.

ALL I COULD HEAR

CAME FROM THE SOUNDTRACK.

ESPECIALLY THE LAST ONE--

2 MONSTERS BEATING EACH OTHER'S BRAINS IN.

AND THEN?

WHEN THE PICTURE WAS FINISHED,

I PUT THE HOUSE LIGHTS UP.

THEN I PUT THE FILM BACK IN THE CAN,

AND I WENT HOME. MY WORK WAS DONE.

THE COP ON THE GATE, RICHARDS,

HE CHECKED ME OUT.

OK, YOU CAN GO.

HEY, DID YOU SEE THIS?

GLASS OF HIS WRIST WATCH IS CRACKED.

IT STOPPED AT 8:34.

AND THAT FIXES THE TIME OF THE MURDER.

WHAT DO YOU MAKE OF IT?

WELL, PENDING AUTOPSY FINDINGS,

I WOULD SAY THAT HE WAS

ATTACKED FROM BEHIND

BY SOMEONE WITH FIENDISH STRENGTH.

NECK IS BROKEN.

AND THAT THE ATTACKER,

LIKE AN ANIMAL,

INFLICTED SHARP WOUNDS ON THE NECK.

LOOKS LIKE FANGS TO ME.

I'D SAY THAT THE TIME OF DEATH

AS FIXED BY THE TIME

THE WATCH STOPPED

IS REASONABLY ACCURATE.

SO, WHAT DO WE HAVE TO DO?

LOOK FOR A MONSTER?

YOU DON'T HAVE TO GO VERY FAR.

I THINK THAT THEY MAKE THEM TO ORDER

RIGHT IN THIS STUDIO.

WE'RE NOT TALKING ABOUT ACTORS.

WE MEAN A REAL MONSTER.

THE NEWS HOUNDS WILL HAVE A FIELD DAY.

WHAT A WAY TO START OFF THE NEW REGIME.

YOU'VE GOT TO MOVE FAST!

WE'LL DO THE BEST WE CAN.

THE P.M. DIDN'T HELP US VERY MUCH.

ALL IT ESTABLISHED WAS THAT

HE WAS STRANGLED AND HIS NECK WAS BROKEN.

THAT COULD HAVE BEEN DONE BY A HUMAN.

BUT HE WAS ALSO CLAWED AND BITTEN.

THAT PART IS INHUMAN.

I'M NOT INTERESTED IN YOUR SPECULATIONS.

I JUST WANT RESULTS. NIXON WAS MY FRIEND.

YOU KNOW, IT'S ONE THING WHEN AN EASTERN HOODLUM

COMES OUT HERE TO CUT IN

ON JUICY CALIFORNIA TERRITORY,

AND THE LOCAL MOB TURNS HIM OUT.

BUT WHEN AN EASTERN EXECUTIVE IS KILLED

IN THE WEST, IN HIS OWN STUDIO

ON HIS FIRST JOB, WELL...

MAYBE YOU CAN HELP US.

I'LL BE GLAD TO. ANY WAY AT ALL.

DID HE HAVE ANY KNOWN ENEMIES?

NOT OUT HERE. HOW COULD HE?

AND CERTAINLY NOT ENEMIES.

HE MAY HAVE HAD RIVALS FOR HIS JOB,

BUT THEY WOULDN'T RESORT TO MURDER.

IN THE ENTERTAINMENT BUSINESS,

THE MORTALITY RATE IS FAST AND HIGH ENOUGH.

YOU HAVE YOUR EYE ON A CERTAIN SPOT,

ALL YOU NEED IS PATIENCE.

WAIT A LITTLE BIT, YOU'RE BOUND TO GET YOUR TURN.

WELL, DID HE ANTAGONIZE ANYBODY OUT HERE?

NO, NOT IN THAT LETHAL WAY.

NATURALLY, WE PINK-SLIPPED ABOUT 100 AT THE STUDIO.

WE HAD TO. STILL CAMERAMEN,

FLACKS, MAINTENANCE MEN, SECRETARIES,

MAKE-UP DEPARTMENT.

BUT THAT'S NOT UNUSUAL WHEN A NEW REGIME

MOVES IN AND TAKES OVER.

AND YET IT THROWS AN AWFUL LOT

OF PEOPLE OUT OF WORK.

SOME OF THEM MAY NOT LIKE THE JOKE.

IT'S JUST ONE OF THE HAZARDS

OF THE INDUSTRY.

AND BESIDES, THEY'LL ALL GET JOBS IMMEDIATELY.

THEY'LL BE ABSORBED BY TV.

AND YOU DON'T KNOW OF ANY ENEMIES HE HAD OUT HERE?

I'D SAY HE HAD NONE.

WELL, WE'LL PUT EVERY MAN WE CAN ON THE CASE.

JUST BEAR IN MIND THAT WE WANT THIS

CLEARED UP AS BADLY AS YOU DO.

A HOLLYWOOD MURDER IS OK ON THE SCREEN,

BUT NOT IN THE STUDIO.

[DANCE MUSIC PLAYING]

WHAT IS IT, LARRY?

DON'T YOU FEEL WELL?

I DON'T-- I KIND OF BLACKED OUT.

I DON'T UNDERSTAND.

I START TO WEAVE, AND THEN I BLACK OUT.

THIS IS SOMETHING NEW.

NO, I JUST FEEL THIS WAY SINCE--

LOOK, MAYBE-- MAYBE YOU GAVE YOUR ALL

TO THE PART OF THE WEREWOLF.

NOW YOU DON'T HAVE ANY STRENGTH LEFT.

YOU MAY HAVE SOMETHING THERE.

THE LAST SCENE I WAS IN, I--

I HAD TO TRY TO ESCAPE,

TO GET AWAY FROM THE POLICE.

ARLENE, I STILL FEEL AS IF I'M RUNNING.

I DON'T KNOW WHAT I'M RUNNING FROM, BUT--

BUT I AM RUNNING AWAY!

MAYBE THE REPORTERS AND POLICE UPSET YOU.

NO, NO.

THEY JUST LOOKED AROUND AND TOOK A FEW PICTURES.

THEY BARELY SPOKE TO ME.

ASKED ME HOW IT FEELS TO BE A MONSTER,

THEN THEY TURNED AWAY.

I HEARD THEM LAUGHING AT THE MAKE-UP, LIKE--

LIKE IT WAS SOMETHING TO SCARE KIDS.

IT'S THE SAME.

I'M STILL RUNNING, RUNNING, RUNNING--

COME ON, LARRY, RELAX.

CALM YOURSELF.

I GUESS IT'S ONLY NATURAL,

IF YOU WORK HARD,

THAT YOU'RE GONNA HAVE A LET DOWN.

YEAH, I GUESS SO.

[DANCE MUSIC PLAYS]

YOU BETTER GET BACK IN, ARLENE,

BEFORE THEY CHIP IN AND BUY ME A WHEELCHAIR.

[CHUCKLES]

[KNOCK ON DOOR]

WORKING LATE AGAIN, HUH?

OH, WELL, I HAVE NO HOURS.

NO CREATOR HAS.

BESIDES, I GET MORE JOY AND SATISFACTION

OUT OF MY WORK THAN WATCHING THE CLOCK.

I KNOW YOU'RE A BEAVER FOR WORK,

BUT IT'S ONLY HUMAN TO CALL IT A DAY ONCE IN A WHILE.

NOT ME. THERE'S NO REST FOR ME.

YOU SHOULD, THOUGH. TAKE IT EASY, I MEAN.

IT PUZZLES ME WHY YOU KNOCK YOURSELF OUT,

ESPECIALLY WHEN YOU'RE THROUGH HERE.

THIS IS YOUR LAST JOB.

SO YOU KNOW, TOO, HMM?

IT'S ALL OVER THE LOT.

BUT IT'S NO DISGRACE.

BELIEVE ME, YOU'RE IN GOOD COMPANY.

HALF THE OLD TERMERS GET PINK SLIPS.

DID YOU?

NO, A COP DOESN'T MAKE ENOUGH MONEY

TO BE A DRAG ON THE PAYROLL.

BUT I MIGHT JUST FIRE MYSELF--UP.

OH?

I NEVER KIDDED MYSELF

THAT WALKING A WATCHMAN'S ROUNDS

WOULD MOVE ME TO THE TOP.

NO, I GUESS NOT.

TAKE MOST OF THESE STUDIO COPS.

THEY'RE RETIRED POLICEMEN

LOOKING FOR A SOFT TOUCH.

BUT NOT ME, THOUGH. I'VE GOT DIFFERENT IDEAS.

IF I WERE CHIEF OF POLICE AT THIS STUDIO,

I'D RUN IT REAL STRICT.

NO ONE WOULD GET ON THIS LOT WITHOUT A PASS.

AND I'D PUT ON 2 NIGHT PATROLS.

THAT NEW BOSS NIXON MIGHT NOT HAVE BEEN KILLED

IF MY SYSTEM HAD BEEN ENFORCED.

WELL, IT'S TOO BAD IT WASN'T.

BUT NOW I'M HIP TO SOMETHING

THAT MIGHT JUST PUT ME IN LINE FOR PROMOTION.

OH, REALLY?

TAKE THAT NIXON KILLING, FOR INSTANCE.

A MAN GETS STRANGLED

JUST WATCHING THE RUSHES.

I WASN'T SATISFIED WITH THE WAY

THE BIG BRASS HANDLED IT,

SO I PUT SOME POINTERS OF MY OWN DOWN.

GOT THEM RIGHT HERE IN MY LITTLE BLACK BOOK.

LIKE A REAL DETECTIVE, HUH?

EXACTLY.

LIKE I THINK IT WAS AN INSIDE JOB.

SOMEONE WHO KNEW HIS WAY AROUND THE LOT.

YOU SUSPECT ANYONE?

NO.

BUT I CAN GIVE YOU ANOTHER FOR INSTANCE.

LIKE YOU AND YOUR STOOGE DIDN'T LEAVE THE STUDIO

THE NIGHT BEFORE THE KILLING.

WELL, I OFTEN SPEND THE NIGHT HERE,

ESPECIALLY WHEN I HAVE A HEAVY MAKE-UP JOB.

DO YOU REALIZE I'VE GOT TO BE HERE

AT 6:00 IN THE MORNING

TO GET THE ACTOR READY

FOR HIS FIRST SCENE OF THE DAY?

SO WHY BOTHER TO GO HOME?

YOU DON'T HAVE TO EXPLAIN ANYTHING TO ME.

YOU CAN TELL IT ALL TO CAPTAIN HANCOCK OF HOMICIDE.

AND YOU CAN TELL HIM, FOR INSTANCE,

THAT ON THE NIGHT OF THE KILLING,

YOU AND RIVERO LEFT THE LOT AT 9:12.

GOT IT ALL DOWN HERE IN MY LITTLE BLACK BOOK.

AND I FIGURE CAPTAIN HANCOCK

TELLS THE NEW SET-UP, AND MAYBE I GET PROMOTED.

YEAH, I'VE GOT A FEW OTHER LITTLE THINGS

WRITTEN DOWN FOR HIM, TOO.

YES, BUT WHY BOTHER? AFTER ALL,

YOU'VE ALREADY DONE ALL THEY EXPECT OF YOU.

WHY STICK YOUR NECK OUT BEYOND THE CALL OF DUTY?

THE SECURITY OF THIS LOT MEANS A GREAT DEAL TO ME.

THIS STUDIO WILL BE HERE A LONG TIME.

AND SOMEDAY I EXPECT TO BE ITS CHIEF OF POLICE.

WELL, I LIKE A SHOW OF AMBITION,

AND YOU'VE REALLY GOT IT.

I'LL SEE YOU DOWNTOWN.

RIVERO.

COME HELP ME, QUICK.

[BIG BAND MUSIC PLAYING ON RADIO]

[VOLUME INCREASES]

[WHISTLING]

[CONTINUES WHISTLING]

OH!

[CRASHING]

[BIG BAND MUSIC PLAYING ON RADIO]

WE'RE GONNA CHECK OUT NOW.

REMEMBER, NOT A WORD OUT OF YOU.

JUST FOLLOW ME OUT OF THE STUDIO

AND GET INTO THE CAR.

[SOFT MUSIC PLAYING ON RADIO]

WELL, PETE,

YOU DON'T GET OVERTIME FOR THIS,

ALTHOUGH I BET YOU EARNED IT.

UH, YES. WE ACCOMPLISHED QUITE A LOT,

BUT WE ARE FAR FROM FINISHED.

JUST A FEW HOURS REST, AND THEN BACK AGAIN.

WELL, RICHARDS, NIGHT.

NIGHT.

[SWING MUSIC PLAYING ON RADIO]

[MUSIC STOPS]

HEY, MONAHAN!

HEY, MONAHAN!

MONAHAN!

AND HE MUST HAVE PUT UP A TERRIFIC BATTLE.

SURE LOOKS LIKE IT.

I'M SURPRISED I DIDN'T HEAR A THING.

THIS MAKES NO SENSE.

KILLING A WATCHMAN ON HIS ROUNDS.

UNLESS HE SURPRISED THE MURDERER.

SURPRISED HIM IN WHAT?

AS FAR AS WE KNOW, NOTHING WAS STOLEN.

NO DRESSING ROOMS WERE BROKEN INTO.

WHEN DID YOU BEGIN TO SUSPECT

SOMETHING WAS WRONG?

WELL, I WAITED 15, 20 MINUTES

AFTER HE WAS DUE BACK,

THEN BEGAN TO LOOK FOR HIM.

I FIGURED MAYBE HE BROUGHT

A LITTLE SNACK FROM HOME.

HE USED TO TELL ME

HIS WIFE WORRIED ABOUT HIS STOMACH.

I THOUGHT MAYBE HE WENT TO EAT IT IN HIS CAR,

BUT AFTER I CHECKED HIS ROUNDS--

ANYBODY COME IN LATE?

NO.

ANYBODY LEAVE?

A COUPLE OF LATE SHIFT MAINTENANCE MEN,

PETE, THE MAKEUP MAN

WITH HIS ASSISTANT RIVERO.

YOU BETTER GET THEIR STORY.

YOU GOT AN ADDRESS FOR THEM?

THIS PETE AND HIS ASSISTANT?

WELL, NOT IN THE BOOTH.

PAYROLL WILL HAVE IT.

ANYWAY, PETE WILL BE BACK HERE IN A FEW HOURS

TO MAKE UP THIS YOUNG ACTOR

WHO'S PLAYING FRANKENSTEIN'S MONSTER.

HOW EARLY?

OH, MAYBE 6:00.

BUT THIS PETE, HE'S A HARMLESS OLD GUY.

JUST THE SAME, GET HIS STORY.

AND YOU'RE SURE YOU DIDN'T HEAR A THING?

NO, SIR.

YOU SEE, I WAS HERE ALL THE TIME.

RIGHT AT THIS TABLE,

PREPARING THE FOUNDATION CREAM

I USE IN MAKEUP.

AND YOU HEARD NOTHING AND SAW NOTHING?

IF I HAD, I WOULD HAVE DONE SOMETHING ABOUT IT.

HE WAS A NICE YOUNG FELLOW, THAT MONAHAN.

POLITE AND NEIGHBORLY.

IT'S A SHAME.

MONSTERS.

IS THAT ALL YOU DO?

WELL, I SORT OF SPECIALIZE IN THEM.

I HAVE FOR 25 YEARS.

LOOK, PETE.

MY KID'S HAVING A HALLOWEEN PARTY.

I THINK HE'D GET A BIG BANG

OUT OF SCARING HIS FRIENDS.

OH, WELL, BRING HIM OVER.

I'LL BE GLAD TO MAKE HIM UP AS A MONSTER.

IN THE MEANTIME,

DON'T MAKE ANY SUDDEN TRIPS.

THE CAPTAIN MIGHT WANT TO SEE YOU DOWNTOWN.

OH, I WON'T.

BELIEVE ME, I WON'T BUDGE

UNTIL THIS PICTURE IS FINISHED SHOOTING.

NOW, IF YOU'LL EXCUSE ME,

I HAVE SOME WORK TO DO.

[DOOR OPENS AND CLOSES]

Man: OK, LET'S GET READY

TO DO THE NUMBER STARRING JOHN ASHLEY.

THIS WILL BE A TAKE.

QUIET!

BELL, PLEASE.

[BELL RINGING]

ROLL 'EM!

PLAY BACK.

[ROCKABILLY MUSIC PLAYING]

� HELLO, BABY, I'M GLAD TO SEE YOU �

� MIGHT LIKE TO SEE YOU MORE �

� BUT SOMEONE GAVE YOU THE WRONG IDEA �

� ABOUT WHAT YOUR CHARMS ARE FOR �

� YOU GOTTA HAVE EEH-OOH �

� TO GO WITH YOUR SMILE �

� YOU'LL FIND IF YOU PLAY UP YOUR FIGURE �

� FELLAS WILL DIG YOUR STYLE �

� WELL, YOU GOTTA HAVE EEH-OOH �

� AND PLENTY OF OOH �

� A GUY WILL END UP IN YOUR ARMS �

� IF YOU KEEP YOUR CHARMS IN VIEW �

� WELL, SOME CALL IT GLAMOUR �

� AND SOME CALL IT CLASS �

� BUT WHEN THEY CALL IT EEH-OOH �

� BABY, YOU'RE COOKIN' WITH GAS �

� YOU GOTTA HAVE EEH-OOH �

� YOU GOTTA HAVE WOW �

� UNLESS YOU ARE DRESSED UP TO CATCH HIM �

� SOMEONE WILL SNATCH HIM �

� WHAT A DIFFERENCE IT MAKES �

� BUT IF YOU GOT EEH-OOH �

� WELL, YOU GOT WHAT IT TAKES �

WHOA!

[MUSIC CONTINUES]

� WELL, SOME CALL IT GLAMOUR �

� AND SOME CALL IT CLASS �

� BUT WHEN THEY CALL IT EEH-OOH �

� BABY, YOU'RE COOKIN' WITH GAS �

� YOU GOTTA HAVE EEH-OOH �

� YOU GOTTA HAVE WOW �

� UNLESS YOU ARE DRESSED UP TO CATCH HIM �

� SOMEONE WILL SNATCH HIM �

� WHAT A DIFFERENCE IT MAKES �

� BUT IF YOU GOT EEH-OOH �

� WELL �

� YOU GOT WHAT IT TAKES �

CUT.

PRINT.

VERY GOOD, KIDS. LUNCH, ONE HOUR.

[ALL TALKING INDISTINCTLY]

WELL, YOU SEE WHAT I MEAN, PETE?

I CERTAINLY DO.

THIS IS WHAT THE PEOPLE WANT

INSTEAD OF THE OLD STUFF--

FRIGHT WIGS AND MONSTERS.

THEY GO FOR GORGEOUS GALS.

SINGING, DANCING.

YOU KNOW, ESCAPISM.

AND THAT'S WHAT YOU'LL GIVE THEM.

GOT TO.

IT'S THE WHEELS OF PROGRESS.

THE AUTOMOBILE KILLS OFF THE HORSE AND BUGGY,

THE FREEZER PUTS THE OLD-FASHIONED ICEBOX

OUT OF BUSINESS,

AND SO IT GOES.

YOU'RE RIGHT, MR. CLAYTON.

THE WHEELS OF PROGRESS,

NO MATTER WHOM THEY RUN OVER.

THAT'S THE WAY THE FOOTAGE CUTS.

[KNOCKING ON DOOR]

YES, GIRLS? ANYTHING I CAN DO?

WE'RE FROM OAKMONT HIGH.

WE'RE THE EDITORS OF OUR SCHOOL PAPER.

WE'RE WRITING A STORY, "A DAY AT THE STUDIO."

YOU KNOW, ONE OF THE GIRLS

IS IN A MUSICAL THEY'RE SHOOTING.

Tony: OH, YEAH. BETTY DAVENPORT.

YOU--YOU KNOW HER?

WELL, I MET HER.

I PLAYED FOOTBALL WITH HER BROTHER

LAST YEAR.

WELL, THAT'S WHAT WE NEED.

IN OUR STORY, WE WANT TO GET THE TEENAGE SLANT,

AND YOU JUST FINISHED SCHOOL.

NO, NO, NO, GIRLS.

I KNOW YOU HAVE A LOT TO WRITE ABOUT,

BUT WE REALLY DON'T HAVE TOO MUCH TIME.

WELL, WE JUST WANT TO ASK ONE QUESTION.

ASK ME.

HOW DOES IT FEEL

TO BE THE LAST OF THE FRANKENSTEINS?

WHAT?

WHO TOLD YOU HE WAS THE LAST?

MR. CLAYTON.

OH?

WELL, WE HAD TO GET PERMISSION FROM HIM FIRST,

AND THEN WE DESCRIBED WHAT WE WANTED,

AND HE SUGGESTED THAT AS A GOOD QUESTION.

I KNOW THE QUESTION.

WELL, GO AHEAD, TONY.

ANSWER IT SO WE CAN GET ON WITH OUR WORK.

WELL, FIRST OR LAST,

I'M GONNA DO MY BEST.

IT'S A BIG OPPORTUNITY FOR ME.

THANK YOU VERY MUCH.

WE'LL GET PICTURES FROM PUBLICITY.

THANKS AGAIN, AND GOOD LUCK, TONY.

GOOD-BYE, TONY.

BYE.

YOU SEE?

I WAS RIGHT WHEN I TOLD YOU

THEY WERE CUTTING THE GROUND FROM UNDER US.

NOW, REMEMBER, MY BOY, THIS NEW INGREDIENT

THAT I PUT INTO THE FOUNDATION CREAM

MAY TIGHTEN YOUR SKIN.

BUT, AS I TOLD YOU, LEAVE EVERYTHING TO ME.

NOW, YOU'LL BE GREAT IN YOUR LAST SCENE.

WHEN YOUR ENEMIES COME UPON YOU,

YOU'LL HAVE MANIACAL STRENGTH

TO FIGHT THEM OFF.

AND ALSO REMEMBER,

THIS MANIACAL STRENGTH WILL LINGER

IN YOUR ARMS AND HANDS,

AND WITH IT, YOU'LL DESTROY

YOUR REAL ENEMIES...

EXACTLY AS I INSTRUCT YOU.

YOU'RE GOING HOME PRETTY LATE TONIGHT,

MR. CLAYTON.

YES, AND IT GETS LATER EVERY NIGHT.

WORK JUST SEEMS TO PILE UP.

GOOD NIGHT, RICHARDS.

GOOD NIGHT, SIR.

[CAR HORN HONKS]

[GRUNTING]

[CAR HORN HONKS]

[CAR HORN HONKING]

[HONKING CONTINUES]

[DOG BARKING]

AAH! AAH!

THE BOY IS LATE.

DO YOU THINK ANYTHING'S HAPPENED?

YOU'RE ALWAYS READY TO THINK THE WORST.

HE'LL DO EXACTLY AS I TOLD HIM

AND COME BACK HERE TO YOUR HOUSE.

[DOORBELL BUZZES]

THERE, YOU SEE?

WELL, GO AHEAD. OPEN IT.

YOU DID WELL, MY BOY.

AND AS I CAUTIONED YOU,

YOU WON'T REMEMBER A THING

ABOUT WHAT HAPPENED TONIGHT.

NOW, HELP ME GET HIM OUT OF THIS.

"THIRD STUDIO MURDER SHOCKS HOLLYWOOD.

"FOLLOWING THE MORBID HOLLYWOOD TRADITION

"OF DEATH IN 3's,

"THE THIRD BRUTAL SLAYING

"WITHIN THE SPACE OF ONE WEEK

"TOOK PLACE LAST NIGHT IN THE DARKENED GARAGE

"OF THE HOLLYWOOD HOME OF JEFFREY CLAYTON,

"AMERICAN INTERNATIONAL STUDIO EXECUTIVE,

"WHO WAS THE VICTIM.

"TO CHECK THIS REIGN OF TERROR,

"IT IS REPORTED THAT OFFICIALS

"ARE CONSIDERING CLOSING THE STUDIO

"UNTIL THE MAD MURDERER

"IS APPREHENDED BY POLICE."

YOU'VE READ IT 3 TIMES.

SO, THE PRESS WILL HAVE A FIELD DAY.

BUT, PETE, HOW ABOUT US?

OUR WORK HERE IS DONE.

WELL DONE, I'D SAY.

BUT ACCORDING TO THE PAPER,

THE STUDIO IS CLOSING, AND THE OTHER STUDIOS--

OH, QUIET, YOU FOOL.

A LITTLE GUST OF WIND, AND YOU BEGIN TO SHIVER.

I'VE TAKEN CARE OF YOU FOR 25 YEARS.

YOU WON'T STARVE.

I'LL SEE TO THAT.

PROVIDED YOU KEEP YOUR MOUTH SHUT.

SHUT AT ALL TIMES, DO YOU UNDERSTAND?

YES, PETE. OF COURSE I DO.

I NEVER GIVE YOU ANY TROUBLE.

YOU KNOW THAT, PETE.

I'VE ALWAYS CONSIDERED YOU THE MASTER,

AND I WAS THE ASSISTANT.

AND LET'S KEEP IT THAT WAY.

A SILENT ASSISTANT.

RIVERO, YOU AND I HAVE BEEN INVITED DOWNTOWN

TO POLICE HEADQUARTERS.

POLICE HEADQUARTERS?

FOR ROUTINE QUESTIONING.

MERELY A RIDE DOWN AND BACK.

WHEN WE GET THERE, DON'T OPEN YOUR MOUTH.

I'LL PROVIDE THE ANSWERS.

YES, PETE.

ALL RIGHT. LET'S GO.

GET YOUR HAT AND COAT.

POLICE ARE VERY PECULIAR.

THEY INSIST ON PUNCTUALITY.

I WAS JUST GOING TO BARGE IN ON YOU.

ME?

YES, YOU. YOU'RE PETE, ALL RIGHT.

I DON'T BELIEVE WE'VE MET.

WELL, YOU'RE MEETING ME NOW.

GARY DROZ, THAT'S MY NAME.

I'M LARRY'S AGENT.

LARRY, YOUR TEENAGE WEREWOLF.

I SENT HIM FOR THE PART WITH THE PRODUCER,

BUT THAT DOESN'T MEAN I QUIT WORRYING ABOUT HIM.

I NEVER FORGET A CLIENT,

EVEN THOUGH I GET THEM WORK.

GARY DROZ IS NOT A FLESH PEDDLER. GET IT?

I DON'T QUITE UNDERSTAND.

I'M LIKE A FATHER TO MY KIDS.

SOMETIMES I DON'T EVEN TAKE THE 10%

TILL I GET 'EM A TERM CONTRACT.

NOW, HOW DO YOU LIKE THAT?

VERY ADMIRABLE, BUT I DON'T SEE

HOW IT CONCERNS ME.

ALL RIGHT, I'LL THROW YOU THE CONNECTION.

YOU LEAVE MY BOY ALONE.

DON'T YOU TELL HIM THAT AFTER THIS PICTURE

HE'S FINISHED AND HE'LL NEVER GET ANOTHER JOB.

GETTING HIM WORK IS MY DEPARTMENT,

AND LARRY'S GOT A GREAT FUTURE AS AN ACTOR,

AND I'M GOING TO HELP HIM BUILD IT.

AND FOR YOUR INFORMATION,

I'VE GOT 3 JOBS LINED UP FOR HIM RIGHT NOW,

AND I DON'T NEED TO HAVE A TRUCK

RUN OVER HIS FACE TO GET HIM MORE WORK.

DO YOU UNDERSTAND?

YES, OF COURSE, MR. DROZ,

BUT, YOU SEE, I ONLY SUGGESTED THAT--

DON'T SUGGEST.

IN MY BOOK, YOU'RE A NEGATIVE CHARACTER.

I CAN GET LARRY A JOB ANY TIME I WANT TO.

WHY, I COULD EVEN GET YOU A JOB--

AS A HEAVY, IF YOU'LL JOIN THE UNION.

WELL, THANKS FOR THE OFFER.

YOU'RE WELCOME FOR NOTHING.

AND DON'T FORGET WHAT I'VE BEEN TELLING YOU.

YOU LEAVE MY CLIENT ALONE!

I TELL YOU, PETE,

SINCE THAT MANIAC'S BEEN ON THE KILL,

I'VE HAD NO SLEEP.

NIGHTS ON THE STUDIO GATE,

DAYS OVER HERE.

I KNOW WHAT YOU MEAN, RICHARDS.

IT'S BEEN A HARDSHIP ON ALL OF US.

SOMEBODY SURE HAD A GRUDGE

AGAINST THOSE NEW EXECUTIVES.

IT WOULD SEEM THAT WAY.

BUT, AS YOU POINTED OUT,

A MANIAC.

WELL, A MANIAC REALLY NEEDS NO REASON

FOR KILLING.

MILLIE, WE APPRECIATE YOUR COMING DOWN HERE

TO HELP US.

NOW, IF YOU'LL TRY TO GIVE US

SOME KIND OF DESCRIPTION OF THIS MONSTER.

WELL, CAPTAIN, THAT'S AS CLOSE

AS I CAN GET TO IT--

A MONSTER.

HE LOOKED LIKE HE WALKED RIGHT OFF THE SCREEN!

BIG, HUGE MAN WITH ONE EYE OUT OF ITS SOCKET.

OH, IT SURE WAS A NIGHTMARE.

HE HIT ME AND KNOCKED ME DOWN.

MUST HAVE HAD SOMETHING IN HIS HAND.

THE BLOW WAS THAT HEAVY.

ABOUT WHAT TIME WAS IT?

WELL, I DON'T KNOW TO THE MINUTE,

BUT I WAS COMING FROM A PICTURE SHOW,

AND I TOOK THE LAST BUS HOME TO WHERE I WORK,

AND THAT WOULD MAKE IT,

WITH WALKING 3 BLOCKS,

ABOUT HALF PAST 12:00.

THANK YOU, MILLIE.

WE'LL PROBABLY WANT YOU

TO TRY TO IDENTIFY THIS, UH, MONSTER

FROM ANY SUSPECTS WE PICK UP.

YOU MEAN I HAVE TO COME DOWN HERE AGAIN?

WELL, I'M AFRAID SO.

WELL...

YOU CALL ME, AND I'LL COME.

NO MAN LIKE THAT SHOULD BE ROAMING THE STREETS.

YEAH, I'LL COME.

YOU CAN COME IN NOW, RICHARDS.

SIT DOWN.

NOW, LAST NIGHT, AS YOU KNOW,

MR. CLAYTON WAS KILLED.

BUT RIGHT NOW, WE WANT TO TAKE YOU BACK

TO THE MONAHAN KILLING.

YES, SIR?

ARE YOU SURE YOU'RE NOT HOLDING OUT ANYTHING ON US?

WHY, NO.

WELL, YOU YOURSELF SAID

IT WAS STRANGE THAT YOU DIDN'T HEAR ANYTHING.

NOW, WE'VE BEEN CHEWING THAT OVER.

EXACTLY WHERE WERE YOU WHEN IT HAPPENED?

WELL, IN MY BOOTH AT THE GATE.

HOW FAR IS THAT FROM THE COMMISSARY?

ABOUT THE SAME DISTANCE AS 2 CITY BLOCKS.

AND YOU MEAN TO SAY

WITH ALL THAT CROCKERY TOSSED AROUND

AND SMASHED IN THE DEAD OF NIGHT,

YOU DIDN'T HEAR A THING?

YOU THINK IF I HAD, I WOULDN'T HAVE RUN

TO HELP MONAHAN? HE WAS MY PARTNER!

FOR YEARS WE TEAMED TOGETHER.

HE WAS YOUNGER THAN ME, BUT WE GOT ALONG SWELL.

WE'RE NOT ACCUSING YOU

OF ANY DERELICTION OF DUTY.

WE'RE JUST TRYING TO GET A CLEAR PICTURE,

THAT'S ALL.

WELL, I DID HAVE THE RADIO ON.

LOUD?

YES, QUITE LOUD.

IT ISN'T THAT I'M DEAF OR ANYTHING.

I JUST HAPPEN TO LIKE LOUD MUSIC.

HOW WAS I TO KNOW THERE WAS A KILLER LOOSE?

IT'S NO CRIME TO LISTEN TO THE RADIO.

NO, NO. I GUESS NOT.

WELL, THINK OF THE MAINTENANCE MEN,

THE GRIPS, THE GAFFERS,

EVEN THE SECRETARIES. THINK HARD ABOUT EVERYBODY

THAT PASSES YOUR BOOTH IN AND OUT.

AMONG ALL THOSE, ANY SOREHEADS?

ANYBODY WITH A GRUDGE?

NO, THE LOT WAS RUN LIKE A HAPPY FAMILY.

WHY, IN MY 10 YEARS THERE,

NOT A BEEF, NOT A GRIPE.

JUST FRIENDLY HELLOS AND GOOD-BYES.

WHY, EVEN AT THE PARTIES ON THE SET--

YOU KNOW, THE USUAL SHINDIG

AFTER A PICTURE'S FINISHED SHOOTING?

A FEW DRINKS, SOME EATS, LAUGHS.

A LOT OF LAUGHS.

JUST ONE HAPPY FAMILY.

YEAH, WELL, IT'S NOT HAPPY NOW.

NOW, YOU GO BACK TO THE LOT.

TURN THE RADIO OFF.

KEEP AN EXTRA EYE OPEN ALL THE TIME.

IF YOU SEE OR HEAR ANYTHING--

IF YOU SUDDENLY REMEMBER ANYTHING--

ANY SUSPICIOUS CHARACTERS YOU SEE

HANGING AROUND THE GATE,

ANYONE WHO TRIES TO SNEAK PAST YOU,

CALL US.

I WILL. YOU BET I WILL!

THANK YOU.

ALL RIGHT, GENTLEMEN.

I'M CAPTAIN HANCOCK.

HOW DO YOU DO?

I THINK YOU'VE MET DETECTIVE JONES.

THIS IS DETECTIVE THOMPSON.

HELLO. HELLO.

PETE, I'LL TELL YOU

WHY WE ASKED YOU AND YOUR ASSISTANT

TO COME DOWN HERE.

A LITTLE WHILE AGO, WE QUESTIONED THE MAID,

WHO WAS KNOCKED DOWN BY A MAN

WHO MIGHT HAVE MURDERED CLAYTON.

THE TIME AND THE STREET CHECK OUT.

WELL, THEN YOU HAVE A CLUE, A SUSPECT.

NO, NO. ONLY THIS.

SHE CLAIMED HER ASSAILANT WAS A MONSTER.

WELL, I SUPPOSE ANY VICTIM OF ANY ASSAULT

WOULD GET DELUSIONS ABOUT AN ATTACKER.

NO, SHE WAS QUITE SPECIFIC.

SHE HAD A GOOD LOOK AT HIM.

SHE CLAIMED HE WAS HUGE, BIG ARMS AND SHOULDERS,

HAD ONE EYE OUT OF ITS SOCKET.

SOUNDS RATHER AS IF SHE HAD HALLUCINATIONS.

OF COURSE, SINCE SHE WAS HYSTERICAL,

I CAN UNDERSTAND.

NO, SHE WAS QUITE SURE OF HER DESCRIPTION.

I BUY HER STORY. SHE MADE SENSE TO ME.

WELL, GENTLEMEN, WHAT'S EXPECTED OF ME?

ER, OF US?

WELL, WE WANT YOUR VIEWS ON IT.

YOU'RE SUPPOSED TO BE AN EXPERT.

OH, I AM AN EXPERT.

WELL, IN THAT CASE, DO YOU THINK THAT, UM...

SOME CRACKPOT, AFTER SEEING

SOME OF YOUR MONSTERS IN A PICTURE, I MEAN--

THEY'RE PLAYING ALL OVER TOWN.

NOW, DO YOU THINK A WEIRDY LIKE THAT

COULD HAVE TRICKED HIMSELF OUT

IN IMITATION AND GOT CARRIED AWAY?

NOW, HOW CAN I PUT MYSELF

IN THE POSITION OF WHAT YOU CALL A WEIRDY?

WHY, ANYTHING IS POSSIBLE.

BUT IN AN AMATEUR, THE RESULTS WOULD BE CRUDE.

IT DOESN'T TAKE THE FINISHED PRODUCT

TO COMMIT A MURDER.

I'M NO AUTHORITY ON MURDER.

THAT'S YOUR DEPARTMENT.

AS FOR ME, MY JOB IS TO TAKE AN ACTOR

AND TRANSFORM HIM

INTO WHATEVER OFF-BEAT APPEARANCE

THE PART CALLS FOR.

YES, I CREATE A MONSTER,

BUT I DON'T BUILD IN VIOLENCE.

WHAT DO YOU KNOW ABOUT ALL THIS?

WHY, NOTHING.

I DIDN'T DO ANYTHING.

YOU HAVE AN OPINION, DON'T YOU?

RIVERO WOULDN'T KNOW ANYTHING ABOUT IT.

LET HIM SPEAK FOR HIMSELF.

HOW LONG YOU WORKED FOR PETE?

ABOUT 25 YEARS.

WELL, YOU CERTAINLY SHOULD HAVE LEARNED

THE TRICKS OF THE TRADE BY NOW THEN.

ALL I KNOW IS

I'VE BEEN A GOOD ASSISTANT.

BUT IF YOU WANTED, COULDN'T YOU

MAKE SOMEBODY UP TO FRIGHTEN PEOPLE?

HE TOLD YOU HE WAS ONLY MY ASSISTANT.

YOU SHUT UP AND LET HIM TALK FOR HIMSELF!

SURE, HE'S YOUR ASSISTANT. WE KNOW THAT.

HOW FAR DOES HIS ASSISTANCE GO?

NOW, WHO DO YOU LIVE WITH?

I LIVE ALONE.

WHERE?

OFF CRENSHAW. 1564 SORENTO STREET.

YOU EVER BEEN MARRIED?

NO, SIR.

HAVEN'T YOU GOT ANY NEPHEWS? COUSINS?

OR MAYBE SOME OF THE NEIGHBOR'S KIDS

ASKED YOU TO MAKE THEM UP JUST FOR A PRANK,

AND THEN MAYBE YOU DIDN'T TELL YOUR BOSS,

BUT ON YOUR OWN, BECAUSE MAYBE YOU THINK

YOU'RE JUST AS GOOD AN ARTIST AS HE IS,

YOU TURN LOOSE A MONSTER!

WELL?!

WELL, TELL ME! DID YOU?

NO!

I ONLY DO WHAT PETE TELLS ME.

I'M A GOOD ASSISTANT. ASK HIM.

ASK HIM!

WHY DON'T YOU STOP ALL THIS--

YOU'VE GONE FAR ENOUGH.

JUST BECAUSE YOU HAVE NO SUSPECT

IS NO REASON TO BULLY HIM.

THEN WHY AREN'T YOU MORE COOPERATIVE?

NOW, LOOK. WE KNOW YOU LIVE

IN A WORLD OF MAKE-BELIEVE. ALL RIGHT.

COME OUT OF IT.

LOOK WHAT WE'RE UP AGAINST.

3 SHOCKING MURDERS COMMITTED.

2 OF THEM AT YOUR STUDIO WHILE YOU WERE THERE.

WE WEREN'T THE ONLY ONES.

WE'RE QUESTIONING EVERYBODY.

I'M SURE YOU GENTLEMEN

CAN SOLVE THOSE MURDERS WITHOUT US.

I WISH IT WAS POSSIBLE TO REALLY HELP YOU--

WELL, THERE IS SOMETHING YOU CAN DO.

THINK BACK. ALL THE ACTORS YOU'VE MADE UP

IN OTHER PICTURES.

THINK OF HOW THEY TALK, WHAT THEY SAID TO YOU.

AFTER ALL, YOU WERE CLOSE TO THEM.

DO YOU BELIEVE THAT ANY OF THESE,

FOR ONE REASON OR ANOTHER,

MIGHT GO BERSERK?

I'M SORRY. OFFHAND, I CAN'T RECALL A SINGLE ONE.

THANKS TO OUR MAKEUP JOB,

THEY MAY HAVE LOOKED LIKE KILLERS,

BUT UNDER THE GREASEPAINT AND PUTTY,

THEY WERE ONLY ACTORS PERFORMING A ROLE.

NOW, ARE WE EXCUSED?

YEAH, I BELIEVE SO.

I CAN GO, TOO?

WE'LL GET BACK TO YOU LATER.

AS I SAID, ANY WAY WE CAN,

WE'LL BE PLEASED TO COOPERATE.

THERE'S SOMETHING WEIRD ABOUT THAT OLD COOT.

AND HIS ASSISTANT RIVERO.

MAYBE THAT'S WHAT COMES

FROM SPENDING ALL YOUR LIFE

WITH MONSTERS.

I DON'T LIKE THE WAY

HE'S UNDER THE THUMB OF HIS BOSS.

YOU CERTAINLY TRIED TO SHAKE HIM LOOSE.

WERE YOU REALLY AIMING AT SOMETHING?

POT SHOTS. POT SHOTS.

I HAD HOPED THEY WOULD GIVE US

SOMETHING TANGIBLE TO GO ON, BUT I DOUBT IT.

THEY KNOW MORE ABOUT MAKE-BELIEVE MONSTERS

THAN THEY DO ABOUT KILLERS.

GET A GRIP ON YOURSELF.

YOU COLLAPSED LIKE A SICK CALF.

THE INTERVIEW IS OVER. WE'VE BEEN QUESTIONED.

THE POLICE ARE THROUGH WITH US.

I'M NOT SO SURE OF THAT.

I DIDN'T LIKE THE WAY THEY LOOKED AT US

OR THE WAY THEY DIG AT YOU,

AND THE WAY THAT BIG FELLA SAID,

"I'LL GET BACK TO YOU LATER."

THAT'S ROUTINE STUFF WITH ALL POLICE

UNTIL A MURDER IS SOLVED,

UNTIL THE CASE IS CLOSED.

WELL?

WELL, WHAT? I'M IN NO MOOD FOR RIDDLES. WHAT?

DO YOU THINK THIS CASE WILL BE SOLVED?

WELL, IT NEARLY WAS WITH YOUR HELP.

IF I HADN'T STOPPED THE DETECTIVE

FROM QUESTIONING YOU,

YOU WOULD HAVE TOLD HIM EVERYTHING.

YOU CERTAINLY WERE ON THE VERGE.

YOU SHOULD HAVE SEEN YOUR FACE.

YOU WERE READY TO CRACK,

SPLIT WIDE OPEN AND SPILL EVERYTHING,

WEREN'T YOU?

NO, NO. I'D NEVER GIVE YOU AWAY, ONLY--

ONLY WHAT?

WELL, WHEN THEY PRESSED ME TO THE WALL--

IS THE TIME TO KEEP YOUR MOUTH SHUT!

WHY DID YOU SAY,

"I DO ONLY WHAT PETE TELLS ME"? WHY?

WELL, IT'S TRUE, ISN'T IT?

I DO WHAT YOU TELL ME.

NOT WHEN YOU SAY IT IN THAT SNIVELING VOICE,

AND DEFINITELY NOT WHEN YOU TELL IT

TO THE POLICE!

IT'S AS IF YOU ALREADY HAD IT

IN THE BACK OF YOUR MIND

TO BETRAY ME AND SAVE YOURSELF.

NO, NO, PETE. I'D NEVER DO THAT.

I'D NEVER BETRAY YOU.

I SWEAR I'D NEVER DO THAT.

WELL, YOU STAY THAT WAY, AND I'LL PROTECT YOU.

ANYWAY, TIME'S ON OUR SIDE.

THE PICTURE'S FINISHED, AND OUR WORK IS DONE.

IT'S DONE, ALL RIGHT.

BUT THERE'S STILL THE 2 BOYS,

LARRY AND TONY.

WHAT ABOUT THEM?

WELL, DON'T YOU THINK

THE POLICE WILL GET TO THEM?

AND IF THEY'RE QUESTIONED--

RIVERO, THOSE BOYS ARE STILL UNDER MY CONTROL.

YOU'LL SEE.

THEY'LL BE WAITING FOR ME AT THE STUDIO.

NOW CALM YOURSELF.

TAKE AFTER ME.

SEE? I'M NOT THE LEAST BIT WORRIED.

I KNOW I CAN TRUST YOU.

AND I'LL MAKE SURE

THE BOYS REMAIN UNDER MY CONTROL.

HMM?

NOW GET IN THERE.

[CAR ENGINE STARTS]

SAY, I THINK WE'VE GOT SOMETHING

IN THE CLAYTON CASE.

YEAH, WHAT?

WELL, WE ANALYZED THE SCRAPINGS

FROM UNDER CLAYTON'S FINGERNAILS.

WHAT DID YOU FIND?

GREASEPAINT AND PUTTY.

YOU MEAN THE KILLER WORE MAKEUP?

WELL, HE MUST HAVE.

WE'VE ALREADY CHECKED THIS

AGAINST THE TRADE PRODUCT PUT OUT BY MAKEUP COMPANIES,

AND OUR FIRST FINDINGS ARE THAT THE PIGMENT

AND COSMETIC BASE USED IN THE SAMPLE WE ANALYZED

WAS SPECIAL.

LIKE, HOMEMADE.

INSTEAD OF LINSEED OIL, A BLEND.

ANYWAY, WE'LL HAVE TO CHECK SUPPLIERS

FOR BEAUTY PARLORS AND STUDIOS--

THAT CAN WAIT.

THERE'S ONE STUDIO WE'RE GOING TO CHECK ON NOW,

AND YOU'RE COMING ALONG WITH US.

GET YOUR EQUIPMENT READY.

WE MAY WANT TO MAKE A SPOT ANALYSIS.

HEH!

YOU SEE, RIVERO?

THEY DIDN'T EVEN GIVE ME THE COURTESY

OF LETTING ME PACK MY OWN THINGS.

OH, SORRY, BOYS.

WE WERE A LITTLE DELAYED.

I HOPE YOU HAVEN'T BEEN WAITING LONG.

WELL, NO, PETE.

YOU ASKED US TO MEET YOU,

AND, WELL, WE DID WANT TO SAY GOOD-BYE.

WELL, OF COURSE, BUT...

NOT HERE.

I'D LIKE YOU BOYS TO COME TO MY HOUSE.

WE'LL HAVE A LITTLE FOOD.

A LITTLE CELEBRATION.

AFTER ALL, THIS IS NO WAY TO END A FRIENDSHIP.

WELL, UH, SURE, PETE, BUT...

LOOK, YOU DON'T MIND IF WE DON'T STAY TOO LONG?

WE BOTH HAVE DATES.

FINE.

NOW, HOW ABOUT YOU BOYS

HELPING RIVERO LOAD THE CAR?

OH, SURE, PETE. WE'LL HELP.

YOU GO AHEAD, WAIT FOR ME IN THE CAR.

I'LL JUST GATHER UP THE LAST OF MY STUFF,

AND WE'LL BE OFF IN A JIFFY.

OK.

HI, PETE.

OH.

OH, IT'S NICE OF YOU TO DROP IN.

I'VE BEEN WORKING WITH A FILM EDITOR.

I HEARD YOU WERE CHECKING OFF THE LOT TODAY,

AND I WANTED TO SAY SO LONG.

THANKS.

AFTER 25 YEARS, I'M THROUGH.

THIS PLACE HAS MANY MEMORIES FOR ME.

TOO MANY.

PETE, I HOPE WE GET TO WORK TOGETHER AGAIN.

WELL, THANKS,

I APPRECIATE YOUR SENTIMENTS,

BUT I'M FINISHED.

HEH HEH! YOU'LL BE BACK.

YOU'LL BE BACK IN ALL YOUR GLORY.

ONE PICTURE CAN DO IT.

MAYBE ONE OF THOSE FOREIGN IMPORTS,

AND THE WHOLE MONSTER CYCLE IS ON ITS WAY AGAIN,

AND PRODUCERS WILL BE CLAMORING

FOR THE OLD MAKEUP WIZARD.

IT'S NICE OF YOU TO SAY IT.

WELL, GOOD LUCK, PETE.

WELL, GOOD-BYE, PETE.

GOOD-BYE, RIVERO. TAKE IT EASY.

BYE, RICHARDS. OH, UH, RICHARDS...

ON THE TOP SHELF OF MY CLOSET IN THE MAKEUP ROOM,

THERE'S A BOTTLE OF BOURBON.

I GOT IT AS A PRESENT. NEVER OPENED IT.

I DON'T TOUCH THE STUFF.

GO AHEAD, TAKE IT. IT'S FOR YOU.

HAVE A SNORT ON OLD PETE.

THANKS, PETE. BYE.

IS PETE DUMOND THE MAKEUP MAN STILL HERE?

JUST CHECKED OFF THE LOT.

I KNOW WHERE HIS MAKEUP ROOM IS.

LET'S GO THERE FIRST.

IT LOOKS LIKE HE TOOK EVERYTHING WITH HIM.

YEAH, A CLEAN SWEEP.

EXCEPT FOR THIS.

LET'S HAVE A LOOK.

Pete: WELL, HERE WE ARE, BOYS.

YOU CAN LEAVE THE BOXES THERE, BOYS.

[LOCK CLICKS]

Larry: AHEM. WELL, WHAT ARE THESE?

MY FAMILY.

MY CHILDREN.

I'M DEVOTED TO THEM.

I'VE ARRANGED THEM HERE WITH GREAT CARE,

AS YOU SEE.

I SEE.

YOU--YOU CALLED THEM YOUR CHILDREN?

WHY, YES.

LATER I'LL TELL YOU THEIR HISTORY--

HOW EACH ONE CAME ABOUT.

BUT NOW LET'S JUST LOOK AT THEM.

THIS ROOM IS LIKE A CATHEDRAL TO ME.

THIS IS WHERE I COME WHEN I NEED HELP

FROM A SOURCE STRONGER THAN MYSELF.

DON'T YOU THINK

WE SHOULD BE GETTING SOME REFRESHMENTS?

HMM?

OH, YES.

YES, OF COURSE.

I LOSE MYSELF HERE.

AFTER ALL, I'M YOUR HOST.

MAKE YOURSELVES AT HOME, BOYS.

THIS IS THE FIRST TIME HE'S HAD GUESTS HERE.

YOU YOUNG MEN SHOULD FEEL HONORED.

WE DO.

WE-- WE CERTAINLY DO.

LOOK AROUND, BOYS.

STUDY THESE HEADS.

YOU'LL RECOGNIZE SOME GREAT NAMES AMONG THEM.

ARTISTS WHO,

EVEN BEHIND THE MASK OF HORROR,

ACHIEVED ETERNAL FAME.

STUDY THEM CLOSELY.

THEY'LL BE AN INSPIRATION TO YOU.

[WHISPERS] Larry...

I SAY WE CUT OUT.

OH, MAN, YOU SAW. YOU HEARD.

IF WE DON'T DIG THE OLD MAN'S COLLECTION,

WE'LL HURT HIS FEELINGS.

IT GIVES ME THE CREEPS.

YEAH, HE DOES, TOO.

I WOULDN'T HAVE COME,

ONLY HE SAID IT WAS SOME KIND OF CELEBRATION--

A PARTY.

YEAH.

IT'S A PARTY, ALL RIGHT.

ALL THE GUESTS ARE STUFFED HEADS.

AH, WE SHOULDN'T HAVE COME,

NO MATTER HOW MUCH HE PRESSURED.

HE MAKES IT TOUGH TO REFUSE.

I KNOW.

YOU KNOW, OLD PETE'S GOT WAYS ABOUT HIM--

I DON'T KNOW, STRANGE WAYS.

LIKE WHEN HE WAS MAKING ME UP FOR THE PICTURE,

PUTTING ON THAT FOUNDATION CREAM.

DID HE GIVE YOU A LOT OF STUFF

ABOUT HOW THIS WOULD BE YOUR LAST JOB,

AND THAT ENEMIES WOULD

DRIVE YOU OUT OF THE BUSINESS,

AND THAT ONLY HE COULD PROTECT YOU?

YEAH. YEAH, HE DID.

HEY, I MEANT TO CHECK WITH YOU ABOUT THAT,

ONLY I FORGOT.

I--I DON'T MEAN I FORGOT IN A CARELESS WAY.

I...JUST FORGOT.

LIKE, WHEN HE FINISHED, EVERYTHING KIND OF LEFT ME.

YOU KNOW, LIKE, WENT OUT OF MY HEAD.

YEAH, ME, TOO.

IT WAS ONLY SINCE THE LAST SCENE WAS SHOT--

HEY, TONY, TONY.

LOOK, WHEN HE FINISHED, DID HE TELL YOU--

PETE, I NEVER CRITICIZE YOU.

BUT...I BELIEVE YOU MADE A MISTAKE

IN BRINGING LARRY AND TONY HERE.

WHY?

I DON'T THINK THEY CAN BE TRUSTED.

NONSENSE, NOT TRUST THESE BOYS.

THEY'VE ALREADY DEMONSTRATED QUITE FAVORABLY

THAT THEY OBEY MY ORDERS.

YOU KNOW I HAVE THEM UNDER CONTROL.

BUT YOU WON'T. NOW THAT THE PICTURE'S FINISHED

AND YOU HAVEN'T HELPED THEIR CAREERS,

YOUR CONTROL WILL WEAR OFF.

AND THE POLICE ARE SURE TO TALK TO THEM.

YES, QUITE POSSIBLE.

AND WHEN THE POLICE BEGIN TO PRESSURE THEM,

THEY'RE BOUND TO CRACK.

THAT'S WHY I WANT TO LEAVE,

TO VISIT MY BROTHER ON HIS RANCH IN ARIZONA.

RIVERO, MY OLD FRIEND...

I SEE YOUR POINT.

YOU WANT TO LEAVE ME TO FACE WHATEVER COMES ALONE.

OH, NO, PETE.

I JUST WANT TO GET AWAY FOR A FEW WEEK'S REST.

AND YOU DO THIS

NOT BECAUSE OF DISLOYALTY TO ME,

BUT BECAUSE YOU DON'T TRUST LARRY AND TONY.

NOW, ISN'T THAT WHY YOU WANT TO LEAVE?

YES, THAT'S IT.

THESE YOUNG MEN ARE NOT STRONG THE WAY YOU ARE.

NO, OF COURSE NOT.

IF ONLY THEY HAD YOUR DEVOTION TO ME--

YOUR IRON NERVES.

BUT THEY HAVEN'T.

WHAT A SOURCE OF STRENGTH AND COMFORT IT IS TO ME

THAT I CAN BE SURE OF YOU.

OF COURSE YOU CAN, PETE.

AND SHOULD THE POLICE SPEAK TO YOU ALONE,

YOU WOULDN'T REVEAL A THING.

NO, NOT A THING.

EVEN IF THEY GAVE YOU A THIRD DEGREE,

THEY COULDN'T SQUEEZE THE TINIEST BIT

OF CONFESSION FROM YOU, COULD THEY?

COURSE NOT.

BUT THESE BOYS...

THEY'LL CRACK.

YES.

YES, PETE.

AND I TELL YOU NOW,

IF ANYTHING HAPPENS TO YOU

AFTER I LEAVE,

THEY'LL BE THE ONES TO BLAME.

THE BOYS.

NOT YOU.

NOT ME.

I'LL REMEMBER THAT...

OLD FRIEND.

OH!

[GRUNTS]

[LOCK CLICKING]

[DOOR CLOSES]

YOUR REFRESHMENTS, BOYS.

GO AHEAD. YOU MUST BE THIRSTY.

YEAH, MY-- MY THROAT IS GETTING DRY.

WHERE'S RIVERO?

OH, HE'S IN THE KITCHEN

PREPARING DINNER.

WE'RE-- WE'RE NOT HUNGRY.

NOT AT ALL HUNGRY.

WELL, YOU DON'T HAVE TO BOTHER AND...

IN FACT, LARRY AND ME

HAVE SORT OF A, WELL, DINNER DATE.

BUT YOU MUSTN'T THINK OF LEAVING YET.

I BROUGHT YOU BOTH HERE FOR A PURPOSE.

I CAN'T LET YOU GO

UNTIL THAT'S ACCOMPLISHED.

WHAT PURPOSE?

I HAVE A GREAT HONOR TO BESTOW UPON YOU.

LIKE WHAT?

I INTEND TO ADD YOU TWO TO MY COLLECTION.

ADD US?

HOW?

IT'S ALWAYS BEEN MY AMBITION

TO CROWN MY COLLECTION WITH A WEREWOLF

AND A FRANKENSTEIN MONSTER

THAT I CREATED COMPLETELY--

SOUL AS WELL AS BODY.

BUT WHAT ABOUT THOSE?

OH, THEY'RE ONLY IMAGES,

FASHIONED FROM MEMORY.

YOU WANT...

REAL HEADS ON YOUR WALL?

AS REAL AS I CAN GET THEM.

FOR THE PRESENT,

I ONLY WANT TO TAKE YOUR MEASUREMENTS

TO GET EXACT REPLICAS OF YOUR HEADS.

YOU'VE-- YOU'VE GOT THE STILLS.

OH, NO.

NO, PHOTOGRAPHS ARE NOT ENOUGH.

MY NEW ADDITIONS WILL BE LIFELIKE.

JUST THINK.

IN THE YEARS TO COME,

YOU'LL BOTH BE UP THERE.

A REFUGE-- A PERMANENT HOME.

NOW, LOOK, PETE.

WE'RE THANKFUL TO YOU AND ALL THAT,

AND, WELL, WE KNOW IT'S AN HONOR...

WELL, BUT TO LEVEL WITH YOU,

WE DON'T FEEL QUITE RIGHT IN HERE.

WE'D LIKE TO GET OUT.

Larry: TO TELL YOU THE TRUTH, WE TRIED...

BUT YOU LOCKED THE DOOR.

Tony: YEAH, SO JUST LET US OUT.

IS THAT HOW YOU REPAY ME?

NOW, LOOK, PETE.

YOU DID SOMETHING TO US.

TONY AND I TALKED IT OVER.

WE CAN'T EXACTLY PUT OUR FINGERS ON IT,

BUT LET'S JUST SAY WE WANT TO LEAVE.

AFTER ALL MY BIG PLANS FOR YOU,

WERE YOU TWO TRYING TO BREAK AWAY FROM ME,

FROM MY INFLUENCE?

NOW, DON'T TRY TO CONFUSE US ANYMORE.

WE DON'T WANT YOU OR YOUR INFLUENCE.

NOW, JUST OPEN THE DOOR!

I SUPPOSE IF I LET YOU GO

LIKE A PAIR OF SNIVELING BABES,

YOU'LL GO RUNNING TO THE POLICE!

WHAT'S THE POLICE GOT TO DO WITH IT?

AS YOU KNOW, THERE WERE 3 MURDERS COMMITTED.

WHAT'S THAT GOT TO DO WITH US?

I'LL TELL YOU.

THE NEW EXECUTIVES THREW ME OUT.

I SWORE I'D BRING THE STUDIO DOWN

OVER THEIR HEADS.

I DID.

THE STUDIO'S PRACTICALLY CLOSED,

AND THEY'LL NEVER ISSUE ANOTHER ORDER.

3 MURDERS,

AND WE'RE ALL INVOLVED.

EACH OF US MUST TAKE CREDIT FOR ONE.

YOU'RE CRAZY, PETE!

NOT CRAZY ENOUGH TO LET YOU ESCAPE.

[THUD]

WHAT HAVE YOU DONE, YOU FOOLS?!

MY CHILDREN!

I MUST SAVE MY CHILDREN!

YOU FOOLS! WHAT DID YOU DO?

MY CHILDREN ARE DYING!

SAVE MY CHILDREN!

[BANG]

[GLASS SHATTERING]

[BOYS COUGHING]

Captain Hancock: CALL THE FIRE DEPARTMENT.

BREAK IT IN.

[BANGING ON DOOR]

TAKE 'EM DOWNTOWN!

WHERE'S PETE AND RIVERO?

I DON'T KNOW WHERE RIVERO IS,

BUT IT'S TOO LATE FOR PETE.

HE'S IN THERE.

CAPTIONING MADE POSSIBLE BY LIONS GATE HOME ENTERTAINMENT

CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE --www.ncicap.org--