How to Make a Monster (1958) Movie Script
[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 PU 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 LO 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.
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 PU 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 LO 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.