Original subtitles

By the time The Big Sleep had its premiere in the fall of 1946,

a lot of scenes had been cut and a lot of new scenes had been added.

In just a minute, we'll show you all of these new scenes.

But first, what led to the delay in releasing the film,

and why did they think they had to make changes to it?

The Big Sleep was actually made a lot earlier than most people realize.

Howard Hawks began shooting it on October 10th, 1944,

and finished on January 12th, 1945.

And then, after a couple of months of editing and scoring,

the film was ready for release to the public in March of 1945.

And yet, it sat in the vaults of Warner Brothers for a year and a half

before the public ever saw it.

Now, why did this happen?

Well, there were a couple of reasons.

First of all, World War ll was coming to a close

and Warner Brothers was trying to rush into release

all those feature films in the pipeline which had a wartime theme.

A movie like The Big Sleep, a detective thriller,

could safely be held up until after the war without seeming dated.

Another reason involved Lauren Bacall and her fledgling career.

Bacall had just made a spectacular debut opposite Humphrey Bogart

in the Howard Hawks film, To Have and Have Not'

which opened in January 1945,

just as shooting on The Big Sleep was being concluded.

Her next film appearance was in a World War ll drama,

Confidential Agent, co-starring Charles Boyer,

made after The Big Sleep, but released before it.

The critics who had hailed Bacall as a major new talent

when she appeared in To Have and Have Not, now questioned her ability to act at all.

She received unanimously bad reviews,

and her promising new career was suddenly in deep trouble.

And then to the rescue came Charles K. Feldman.

Feldman was a talented agent

whose clients included many of Hollywood's top actors and directors,

including Howard Hawks and now, the youthful Lauren Bacall.

Painfully aware of Bacall's poor notices for Confidential Agent,

and knowing that The Big Sleep was still sitting on a shelf at Warner Brothers,

in the fall of 1945, Feldman wrote a letter to Jack I. Warner

that proved to be very influential.

'Dear Jack, you will recall that during the filming of The Big Sleep,

"I came to your house and urged you to make retakes with Bacall.

"You allowed Howard to make three or four days' additional scenes

"with some retakes.

"After viewing the picture in its entirety,

"I asked you, again, to redo the scene where Bacall wears a veil.

"But in the last analysis, you allowed the scene to stay in.

"After reading the write-ups in the New York papers, Jack,

"and the general comments regarding the girl

"with which you are probably familiar by now,

"I urge you to view the film again with the following in mind.

"One. Make whatever photographic retakes are necessary

"and by all means, redo the veil scene.

"Two. Give the girl at least three or four additional scenes with Bogart

"of the insolent and provocative nature that she had in To Have and Have Not.

"You see, Jack, in To Have and Have Not, Bacall was more insolent than Bogart,

"and this very Insolence endeared her

"in both the public's and the critics' minds,

"when the picture appeared.

"It was something startling and new.

"If this could be recaptured through these additional scenes

"with Bacall and Bogart,

"which, frankly, I think is a very easy task,

"I feel that the girl will come through for you magnificently.

"Bear in mind, Jack, that if the girl receives

"the same type of reviews and criticisms on The Big Sleep'

"which she definitely will receive unless changes are made,

"you might lose one of your most important assets.

"I am writing this note to you as a friend

"and trust you will not think

"that I presume to tell you how to run your business.

"Charles K. Feldman."

Four days later, on November 20th, 1945, Jack Warner contacted his New York office.

"How many prints have you made up on The Big Sleep?

"If you haven't made any, don't.

"If you have, advise the foreign department

"not to make up any prints until we send them replacements,

"as I have always felt we should take over several sequences with this girl.

"Keep this confidential."

The following day, November 21st,

Jack Warner sent a letter to Charles K. Feldman.

"Dear Charlie, thanks for your letter of the 16th regarding The Big Sleep retakes.

"You must've been reading my mail

"as I was thinking about this at the very time I was opening your letter.

"I am definitely arranging to so do."

Humphrey Bogart and Lauren Bacall agreed to make retakes,

but only if they were directed by Howard Hawks.

So in January of 1946,

a whole year after the original photography was completed,

Hawks, Bogart, Bacall and some of the other actors

returned to the studio to film new material.

So, now let's see the changes that they made.

First, we're gonna show you the scenes that were cut

from the 1945 version,

and then the replacement scenes, some of them really quite wonderful,

that Howard Hawks added in 1946.

You're now going to see all of the most significant differences

between the 1945 and 1946 versions.

The first of these differences occurs in reel three

about 25 minutes into the film.

- Lie down there and be quiet. - All right, Reilly.

NARRATOR: Phillip Marlowe's initial search

of murder victim, Arthur Gwynn Geiger's house

shown here in the 1945 version, was later eliminated from the film

and never seen by the public.

In the final 1946 release version, there's a dissolve from earlier action

directly into this shot of Marlowe discovering Geiger's secret code books.

Come on, we're going.

NARRATOR: Right after the conclusion of this scene,

the 1945 version has two more unique scenes.

The first shows Marlowe in a car with Carmen Stemwood.

And then we see Marlowe talking to the Stemwood family butler

outside in the rain.

- Good evening, sir. - Is Mrs. Rutledge in?

- No, sir. - The General?

He's asleep, sir.

Good, I've got something in the car.

She's all right, but is the maid around?

Yes, sir, I'll get Matilda at once.

Now, wait a minute, Norris. I'm leaving.

I haven't been here. You haven't seen me at all.

And it hasn't been out of the house all night.

I understand, sir. May I get a cab for you, sir?

- No, I'm all right. Put her car away. - Yes, sir.

NARRATOR: In place of the material you've just seen,

the final version substitutes a new sequence with Lauren Bacall,

shot in January 1946.

Come on, we're going.

NARRATOR: Incidentally, in private life,

Lauren Bacall had, by this time, become Mrs. Humphrey Bogart.

- Good evening, sir. - Evening, Norris.

- I'd like to see General Sternwood. - He's asleep, sir.

- Well, what about Mrs. Rutledge, is she? - Yes...

- MARLOWE: Oh, good evening, Mrs. Rutledge. - Hello.

I've got your sister outside.

She's all right, but she's not walking very well.

I'll need some help.

- Are you sure that she's-- - Yeah, she'll be all right in the morning.

- Did you do this? - That?

Oh, yes, that's a little special service I always provide all my clients.

Including being insolent.

- Where did you find her? - I didn't find her.

- Well, then how-- - I haven't been here. You haven't seen me

and she hasn't been out of this house all evening.

- That bad? - Mmm-hmm.

Just what did happen, Mr. Marlowe?

You're pretty fond of your sister, aren't you?

- Yes, I am. - You'd do anything for her, wouldn't you?

- Anything. - Then drop this whole thing.

- But I still think I should know what- - Uh-uh. Don't even ask her.

She never remembers, anyway.

Just what did she forget about Shawn Regan?

What did she tell you?

Not half as much as you just did.

Take it easy.

I don't slap so good around this time of the evening.

You go too far, Marlowe.

Those are harsh words to throw at a man.

Especially when he's walking out of your bedroom.

Good night, Mrs. Rutledge.

Thanks, Norris.

- I've put her car away, sir. - That's fine.

If anybody asks, she's been in all evening,

- and forget about my being here. - I understand, sir.

May I call a cab for you, sir?

No, it'd be better if you didn't. I'll be all right.

- Good night, sir. - Good night.

NARRATOR: Taking into account the scene that you just saw,

listen carefully to this dialogue from reel four of the 1945 version.

You know where this picture was taken?

I haven't the slightest idea.

- Or when? - No.

- Talked to Carmen about it? - She was asleep when I left.

She was sick last night.

She go out at all?

Servants say she didn't.

Did you?

I was out all evening.

Police already checked that when they called about Owen.

Go ahead and scratch.

NARRATOR: This dialogue had to be changed because in the 1946 version,

Mrs. Rutledge is at home when Marlowe comes by to drop off her sister.

Bogart and Bacall dubbed in new lines to fix this.

And if you look carefully,

you'll notice that their lips are not in perfect synchronism with the sound.

You know where this picture was taken?

I haven't the slightest idea.

- Or when? - No.

- Talked to Carmen about it? - She was asleep when I left.

Figure out a story?

- Norris fixed that. - l-low?

She was in all evening.

Police already checked that when they called about Owen.

Go ahead and scratch.

NARRATOR: There's only a minor shuffling of scenes in reel five.

So, we'll move on to reel seven,

which has, by far, the greatest differences between the two versions.

- Do you admit shooting Brody? Do you? - Take a jump, Jack.

He doesn't have to admit it. Here's his gun.

Come on.

You're coming too, Phil.

I called the DA. He's waiting for us.

On the way over, you and I can have a little talk.

You know, Phil, the DA isn't gonna like this very much.

Yeah, I know.

Cronjager will be there, too.

That won't help.

NARRATOR: Over nine minutes, virtually the entire 1945 reel seven

was eventually cut from the film.

Despite the fact that the dialogue in this reel

helps to make the plot a bit less incomprehensible.

Now we'll show just some of the highlights of this reel,

such as this scene in the DA's office,

in which the authorities discuss the capture and arrest

of Geigers shadow, Carol Lundgren,

after Lundgren shot Joe Brody through the door of Brady's apartment.

Well, your killer's down below, handcuffed.

There's the gun he used.

- Marlowe got him for you. - How did you manage?

Oh, yeah, there are a couple more deaths involved, huh?

One of them in your territory. Maybe you know about it.

- Marlowe uncovered them, too. - Keep going.

You heard about the car was lifted out of the Pacific Ocean last night

with a dead guy in it.

What about it?

The dead guy was chauffeur to a rich family that was being blackmailed

on account of one of the daughters.

Mr. Wilde recommended Marlowe to the family through me.

Marlowe'd been playing it kind of close to the vest.

I love private dicks that play 'em close to the vest.

Well, this chauffeur I was talking about killed a guy last night.

A guy named Geiger.

He ran a racket, back of a bookstore on Hollywood Boulevard,

in your territory.

But you haven't heard about Geiger, have you, or the racket?

NARRATOR: Because of cutting, actor James Flavin,

playing Captain Cronjager,

didn't appear in the final film.

So all you failed to do was to report a murder that happened last night?

You fooled around all day,

so the kid could commit his second killing this evening.

That's all?

I was in a tough spot. I was probably wrong.

But I wanted to protect my client.

I had no reason to think the boy would go gunning for Brody.

It just worked out that way.

That kind of thinking is police business. You're still in a tough spot.

Have you told your story complete?

Well, I left out a few personal details, Mr. Wilde,

- and I intend to keep on leaving them out. - Why?

- My client's entitled to that protection. - You'd think.

I got another idea.

You could lose your license, Marlowe.

Captain, your division's got two murders on its hands,

both solved, and you've got both killers.

I don't see what you've got to gain by starting trouble.

Besides, there are some other people in this.

NARRATOR: Thomas Jackson as District Attorney Wilde

also had his performance left on the cutting room floor,

when the film finally came out.

Continuing the scene, Marlowe and the DA talk about the case.

And then Marlowe joins his pal, Bernie Ohls, in the hallway.

And the two men talk about the disappearance of Shawn Regan

and Mrs. Eddie Mars.

Next, reel seven continues with the veil scene with Lauren Bacall,

which Charles K. Feldman objected to so strongly in his letter to Jack I. Warner.

- Well... - Good morning.

- How are you today? - Better than last night.

Come on in.

The telephone didn't answer to your apartment.

It was unplugged.

I wanted to get some sleep. I was tired.

I was worried.

I wanted to know what happened after I left last night.

Worried or curious?

Both.

And I read the morning papers.

Yeah, we were lucky we managed to keep the Sternwoods out of it.

Yes, my father and I were both very pleased.

He hopes you didn't involve yourself too deeply.

Tell him you were there, that you were mixed up in it?

No, I didn't see what there was to be gained by telling him.

Well, I guess you're probably right.

Anything special you wanted to see me about?

Yes, Dad asked me to give you a check.

- He considers the case closed. - Oh?

It is, isn't it?

Well, as regards Geiger, yes.

Then it's completely closed.

I hope this is satisfactory.

$500?

That's a lot more than I expected, but welcome just the same.

Here you are.

Here's the three promissory notes and Geiger's card. They're in there.

As for the rest of the photographs, I'll destroy them myself, if you don't mind.

We appreciate what you've done, Mr. Marlowe.

Someday, my father would like to thank you himself.

Fine, I'll come up and drink some more of his brandy.

Maybe talk some more about Shawn Regan.

My brandy's just as good.

Maybe sometime, if you can stop being a detective long enough,

you might have a drink with me.

I'd like to. I like brandy.

I've lots of it.

NARRATOR: Reel seven ends with Marlowe using his office telephone

to call gambler Eddie Mars.

- Hello, Mr. Mars. MARS: Yeah?

Oh, hello, Eddie. This is Phil Marlowe.

I called you up because I wanna see you.

Sure. When?

I could drive up tonight.

Okay. Come ahead.

NARRATOR: All of the scenes we've just highlighted were dropped completely.

And replaced with one of the best remembered scenes in the entire film.

- Do you admit shooting Brody? Do you? - Take a jump, Jack.

He doesn't have to admit it. Here's his gun.

Come on.

VIVIAN: Hello.

- Well. - I'm late. I'm sorry.

- How are you today? - Better than last night.

I can agree on that.

- Hello, Max. - Good afternoon, Mrs. Rutledge.

- Got a table for us? Certainly, madam. This way, please.

- I'll have a scotch, messy, please. - Yes, ma'am.

- Scotch and plain water. - Yes, sir.

Well, how did you happen to pick out this place?

Maybe I wanted to hold your hand.

Oh, that can be arranged.

What did you want to see me about?

Well, one thing, my father was very pleased when he saw the morning papers.

- So was I. - Yes, we were lucky.

I managed to keep the Sternwoods out of it.

He hopes you didn't involve yourself too deeply.

Did you tell him it was no fault of yours?

No. He asked me to give you a check.

I don't need any money yet.

He considers the case closed.

Oh?

It is, isn't it?

Well, as far as Geiger is concerned, yes.

Then it's completely closed.

I hope this is satisfactory.

$500? Well, that's a lot more than I expected,

but welcome just the same.

We're very grateful to you, Mr. Marlowe.

And I'm very glad it's all over.

Tell me, what do you usually do when you're not working?

Play the horses, fool around.

No women?

I'm generally working on something most of the time.

Could that be stretched to include me?

Oh, I like you. I've told you that before.

- I like hearing you say it. - Hmm.

- But you didn't do much about it. - Well, neither did you.

Well, speaking of horses, I like to play them myself.

But I like to see them work out a little first,

see if they're front runners or come from behind.

Find out what their hole-card is.

What makes them run.

- Find out mine? - I think so.

Go ahead.

I'd say you don't like to be rated.

You like to get out in front, open up a lead,

take a little breather in the back stretch,

and then come home free.

You don't like to be rated yourself.

I haven't met anyone yet that could do it.

Any suggestions?

Well, I can't tell till I've seen you over a distance of ground.

You got a touch of class, but I don't know how far you can go.

A lot depends on who's in the saddle.

Go ahead, Marlowe, I like the way you work.

In case you don't know it, you're doing all right.

There's one thing I can't figure out.

- What makes me run? - Uh-huh.

I'll give you a little hint.

Sugar won't work. It's been tried.

Then what'd you try it on me for?

Who told you to sugar me off this case?

Was it Eddie Mars?

All right, don't answer me.

But somebody put you up to it and it wasn't your father.

He didn't tell you to pay me off, did he?

No, he's not well. I used my own judgment.

Are you sure?

Of course, I know it hasn't worked so well up till now.

What's Eddie Mars got to do with this case?

Nothing. He runs a gambling house.

I play horses, I play the wheel.

You're playing something else, too.

- What makes you think-- - Never mind talking, let me do it.

Did you know it was Eddie Mars' blonde wife Shawn Regan

was supposed to have run off with?

Who doesn't?

Did you know he owned the house Geiger operated in?

And that he was mixed up in that racket, too?

- No. I don't believe it. - Then why does it bother you so much?

What's Eddie Mars got on you?

Oh, come now, angel, stop shaking.

I don't wanna hurt you. I'm tryin' to help you.

Well, you'd better run along.

You made a deal and you're gonna stick to it, right or wrong.

We'll take up the question of you and I when the race is over.

- The only trouble is, we could've-- Pardon me.

Yes, the only trouble is, we could have had a lot of fun,

if you weren't a detective.

We still can.

So long, Marlowe.

- Oh, uh, waiter. - Sir?

- Have you got a phone around here? - Yes, sir. Right over there.

- Thanks. - You're welcome.

OPERATOR: Deposit 55 cents, sir.

- How much is that? - Fifty-five cents.

Thank you.

OPERATOR: Here's your party, sir.

MARS: Hello? Hello?

- Hello, may I speak with Mr. Mars, please? - This is Mars talking.

Oh, hello, Eddie. I didn't recognize your voice.

This is Marlowe. I called you up because I wanna see you.

Sure. When?

I'd like to drive up this evening.

Okay. Come ahead.

NARRATOR: Some of the changes made by Hawks and company were quite subtle.

Listen carefully to the 1945 dialogue in this brief section from reel eight.

I don't like people who play games.

Tell your boss when you wake up.

Nice work, Marlowe.

- Are you my bodyguard new? - Looks like it.

- You ready to go? - Yes.

NARRATOR: In the 1946 version,

Marlowe and Mrs. Rutledge appear slightly more relaxed

and familiar with each other.

I don't like people who play games.

Tell your boss...

...when you wake up.

Well, I'm glad I asked you to take me home.

So am I.

Shall we go new?

Uh-huh.

NARRATOR: The sequence you're about to see featuring Marlowe and Carmen Sternwood

may have been shot in 1944.

In any case, it was not inserted into the film

until the final 1946 version.

It comes right after this scene,

showing Marlowe and Mrs. Rutledge in the car after leaving the casino.

Take me home.

All right, I'm afraid that's as far as I'm gonna carry you.

From now on, you can take care of yourself.

Well, what does the hat-check girl get for a tip?

I'm trying to think of something appropriate.

How'd you get in here?

- Bet you can't guess. - I'll bet I can.

You came in through the keyhole like Peter Pan.

- CARMEN: Who's he? - Hmm.

A guy I used to know around a pool room.

You're cute.

I'm getting cuter every minute. How did you get in?

I showed the manager your card. I stole it from Vivian.

I told him you said to come up here and wait for you.

I want...

See, I remembered.

What do you remember about Shawn Regan?

I didn't like him.

Yeah? Why?

He didn't pay any more attention to me than you do.

Treated me like a baby all the time.

How does Eddie Mars treat you?

- I don't know him. Mmm-hmm. - You sure?

You know who he is, don't you?

He's always calling Vivian up. Why?

Is he cute?

You know, I think you're telling the truth for a change.

Is he as cute as you are?

Nobody is.

All right, kid, I've had a long day. You'd better be going.

Mm-mm.

- Come on, Carmen. Come on. - I don't want-I--

- CARMEN: You can't-- - Shut up.

- Yeah? BERNIE: Hello, Phil.

Oh, hello, Bernie. What's up?

NARRATOR: A little further into reel nine,

the earlier 1945 version has a short scene with not too much dialogue

between Marlowe and Bernie Ohls-

Don't you know any better than to wake a man up

at 2:00 in the afternoon?

- What's up? - I got some orders for you.

You are to lay off the Sternwood case.

- Huh? Who says so? - The DA.

The DA, huh?

He must've changed his mind.

- Who changed it for him? - General Sternwood.

Personally?

All right. Between you and me, he didn't talk to the General.

He talked to the daughter, Mrs. Rutledge.

Oh!

- Any reason given? - Not that I know of.

Well, there's no law says a man can't work on a case without a client.

You know, just to keep his hand in.

Now, look, Phil, I'm supposed to tell you to lay off--

I know. You just work here.

All right, Bernie, you told me to lay off.

Well, I'm going out and getting some breakfast.

- You want a cup of coffee? - No, thanks.

NARRATOR: The final version of reel nine adds new shots with additional dialog

filmed in January 1946.

You may or may not notice it,

but in the middle of this scene, both actors are suddenly a year older.

He must've changed his mind.

- Who changed it for him? - General Sternwood.

Personally?

All right. Between you and me, he didn't talk to the General.

He talked to the daughter, Mrs. Rutledge.

Oh!

- Any reason given? - Not that I know of.

Well, there's no law says a man can't work on a case without a client.

You know, just to keep his hand in.

Now, look, Phil, I'm just supposed to tell you to lay off--

I know. You just work here.

Bernie, put yourself in my shoes for a minute.

A nice old guy has two daughters.

One of them is, well, wonderful. And the other one is not so wonderful.

As a result, somebody gets something on her.

The father hires me to pay off.

Before I can get to the guy, the family chauffeur kills him.

But that didn't stop things. It just starts them.

And two murders later,

I find out somebody's got something on Wonderful.

BERNIE: Who's somebody?

- I think it's Eddie Mars. - Why?

For one thing, he owns the house Geiger was killed in.

He did.

The day after the murder, he transfers the deed to a dummy.

What have you got that hooks Mars up with Mrs. Rutledge?

Well, last night the two of 'em...

Well, I don't want to bore you with the whole story,

but they went to the moon to prove to me

there was nothing between 'em, but I think there is,

and I think it's got something to do with Shawn Regan.

Who's missing and supposed to have run off with Eddie Mars' wife.

Uh-huh.

What does the General think about all this?

I don't know. Wonderful won't let me get to him.

You still want me to lay off?

Well, the DA does,

but you generally do all right following your own hunches.

Thanks, Bernie.

Well, I'm going out and getting some breakfast.

You want a cup of coffee?

Mm-mm. I can't afford to be seen with you.

Well, so long, Bernie.

NARRATOR: The last changes, extremely important ones,

occur in reel eleven about 20 minutes before the end.

This is the earlier 1945 version.

Take him in the house.

Oh, you'd be Mrs. Eddie Mars,

the blonde that was supposed to have run off with Regan.

That's right.

Hello, angel.

Move that light, will you, or move me?

I thought I'd find you here.

I suppose we're in the house back of the garage.

Maybe you better stop talking, Marlowe.

The boys don't take any chances, do they?

Where are they,

out diggin' a grave?

You had to go on with this, didn't you?

Where are they?

They've gone down the road to telephone.

To call up Eddie Mars, find out what to do with me.

I could tell 'em that.

Why did you have to go on?

Too many people told me to stop.

Light me a cigarette, will you, angel?

Why did you have to make trouble?

Eddie never did you any harm.

I was never in love with Shawn. We were just friends.

But if I hadn't hidden out here when Shawn disappeared,

the police would have been certain Eddie killed him.

Well, maybe he did kill him.

Eddie's not that kind.

- You mean Eddie Mars never kills anybody? - No.

You really believe that, don't you?

NARRATOR: Mrs. Eddie Mars is played here by actress Pat Clark,

whose performance was ultimately discarded, as you'll soon see.

He never killed anybody. He just hires it done.

I don't believe you. You're lying.

You think he's just a gambler, don't you?

Well, I think he's a blackmailer, a hot car broker,

a killer by remote control.

He's anything that looks good to him.

Anything with money pinned to it. Anything rotten. He'd--

Ask him when you see him.

Well, we got rid of her.

She's all right. I like her.

You like too many people.

I wonder if you'd do that for a man.

None that I've ever met.

Well, there's nothing to do but around till Canino gets back.

NARRATOR: In the final version, Lauren Bacall is given more close-ups

and better camera angles.

And Mrs. Eddie Mars is now portrayed by actress Peggy Knudsen.

Take him in the house.

Ah.

You'd be Mrs. Eddie Mars,

the blonde Regan was supposed to have run off with.

- That's right. - Uh-huh.

Where is Shawn Regan?

I'd like to know that myself.

MARLOWE: Oh, hello, angel.

I thought I'd find you here.

Yeah. But you don't seem to be running in front today.

Remove that light, will you, or move me?

I suppose we're in the house back of the garage.

That's right.

The boys don't take any chances, do they?

Where are they, out diggin' a grave?

You had to go on with this, didn't you?

Where are they?

They've gone down the road to telephone.

To call up Eddie Mars, huh? To find out what to do with me.

Well, I could've told 'em that.

Why did you have to go on?

Too many people tellin' me to stop.

Light me a cigarette, will you, angel?

Why did you have to make trouble?

Eddie never did you any harm.

Besides, I was never in love with Shawn.

We were just good friends.

If I hadn't hidden out here when Shawn disappeared,

the police would have been certain he killed him.

Well, maybe he did kill him.

Eddie's not that kind.

You mean Eddie Mars never kills anybody?

No.

- You really believe that, don't you? - Yes, I do.

How do you suppose I found out you were here?

I don't know. How did you?

Well, a little man named Harry Jones told me.

A funny little guy, harmless. I liked him.

He came to sell me the information

because he found out I was working for General Sternwood.

How he found out's a long story.

Anyway, Canine, your husband's hired man,

got to him first while I stood around like a sap.

I was in the next room.

Now that little man is dead.

- But Eddie Mars didn't do that. - You're lying.

Oh, no. Eddie Mars never kills anybody. He just hires it done.

I don't believe you.

You think he's just a gambler, don't you?

Well, I think he's a blackmailer--

- You'd better stop talking! - ...a hot car broker,

a killer by remote control.

He's anything that looks good to him.

Anything with money pinned to it. Anything rotten. He'd--

Ask him when you see him.

Well, I got rid of her.

She's okay. I like her.

You like too many people.

Never mind, angel. The water feels good.

I wonder if you'd do what she did for a man.

I was wondering that myself.

Well, there's nothing to do but wait for Canine to come back.

NARRATOR: On February 9th, 1946,

Jack Warner sent a wire to his New York executives.

"Had final sneak preview of Big Sleep last night.

"This new version, which has new scenes protecting Bacall, comes off great.

"And in my opinion, we have 100% better picture."

Incorporating the new footage which you've just seen,

The Big Sleep finally opened on August 31st, 1946.

The revisions by Hawks and his associates

made a good film even better,

and helped to restore and enhance

the career of Lauren Bacall.

What's wrong with you?

Nothing you can't fix.

ENGLISH - SDI-I