All language subtitles for How to Make a Monster - 1958.eng

(dramatic music)

- Mirror.

Larry, before I let you see yourself,

are you sure you can stand the shock?

- Oh yeah, sure.

- 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.

(Larry growls)

Look.

(Larry speaks unintelligibly)

What'd you say?

(Larry speaks unintelligibly)

- Hm? (laughs)

Okay, I'll remove your fangs.

We can put them back in
before we go to the set.

- Boy, it's so real I
even feel like a werewolf.

Boy, I'd hate to have my girl see me.

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 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.

But 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.

(cheerful upbeat music)

(crowd chattering)

- 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 makeup.

- Not bad, not bad. But how
did the wolf get in the ocean?

- Hello, everyone.

Our first stop will be on
stage three 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
'em up, it's for real.

- Well, at least we look normal.

- 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
two beauties look together.

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 creations.

- 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 makeup 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 come in from here very
stealthily, very cunningly.

With animal instinct,

you'll feel that there's an enemy around.

You hear something. You stop.

You look around. And I want
this to be really creepy.

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 for...

- Yeah, the picture in
which he had the car crash.

- He was afraid he'd lose
his women admirers. (laughs)

A truck was gonna run over him,

and he wanted to come
up without a scratch.

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.

Well, gentlemen, it's customary to knock.

- We don't have to.

- We are the group that have taken over

this studio, NBN Associates.

We have 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. 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?

- 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.

- The 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 fin.

- 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 a wrong
one, if I may disagree.

Why even psychiatrists say that in all

of 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 it 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 thrown me out,

don't try to soften the blow
with a few cheap dollars.

I'll leave when this picture
is finished shooting.

- Okay, 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.

(dramatic music)

(dramatic music)

Werewolf, Frankenstein,

they want to put an end to us.

They say we're through. There's gratitude.

Don't they realize that
the monsters I created,

from my first prehistoric
man through the spaceman

of the future, why all
these paid for this studio.

Made the owners rich and famous.

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.

- 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.

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 novacane?

- 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 prefrontal lobotomy.

It blocks the nerve synapses,
makes the subject passive,

obedient to my will.

(upbeat jazzy music)

- Well, all quiet, except for a light

in old Pete's makeup 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.

They only hoodlums you
run are the bit players.

We're strictly law and order men.

- Nothing ever happens
on the lobster shift.

That's what I mean. Just
high class watchmen.

- Look, Monahan, you want
action? Join the commandos.

- Eh.

(crowd chattering)

- 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?

- You should be too. It's
no 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 a rumor.

- It's an order. One order
can destroy both of us.

- Tough, but 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've 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.

(upbeat jazzy music)

- 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 is
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 two.

- [Director] Action.

(werewolf growling)

(dramatic music)

- Are you 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?

- Oh, just wash these.

Now wake up, my boy.

Wake up.

- Now here he is, Doc.
See what you can get.

Now tell me what you know about all this.

Don't leave anything out.

- I already told you.

I ran the rushes for
him on three pictures.

- What time?

- Beginning 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,

two 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.

- Okay, you can go.

- Hey, did you see this

Glass in his wristwatch is
cracked. Stopped at 8:34.

- Well, that fixes the time of the murder.

Now 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 is 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.

- Well, we'll do the best we can.

The PM didn't help us very much.

All it established is 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 off.

But when an eastern executive
is killed in the west

in his own studio on his first job...

- [Detective] Maybe you can help us.

- I'd 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 a hundred at the studio.

We had to.

Still cameramen, flacks,
maintenance men, secretaries,

makeup 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.

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 okay on the screen,

but not in the studio.

(upbeat jazzy music)

- What is it, Larry? Don't you feel well?

- I kind of blacked out
there. 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 you gave your all
to the part of the werewolf.

Now you don't have any strength left.

- You may have something there.

In the last scene I was in,

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 I am running away.

- Maybe the reporters
and police upset you.

- 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 makeup,

like it was something to scare kids.

It's the same. 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.

(upbeat jazzy music)

Better get back in,
Arlene, before they chip in

and buy me a wheelchair.

(door slamming)

- 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, hm?

- It's all over the lot,
but it's no disgrace.

Believe me, you're in good company.

Half the old-timers got pink slips.

- Did you?

- No, a cop doesn't make
enough money to be a drag

on a payroll, but I might
just fire myself out.

- Oh?

- I never kidded myself that
walking a watchman's rounds

would move me to the top.

- No, I guess not.

- Take most of these studio cops.

They're retired policemen
looking for a soft touch.

But not me though. I've
got different ideas.

If I were chief of police at this studio,

I'd run it real strict.

No one would get on
this lot without a pass,

and I'd put on two night patrols.

That new boss Nixon might
not have been killed

if my system had been enforced.

- Too bad it wasn't.

- But now I'm hep to something
that might just put me

in line for promotion.

(dramatic music)

- [Pete] Oh, really?

- Now 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 'em 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 makeup job.

Do you realize I've got to be here

at six o'clock 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 setup,

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.

(upbeat jazzy music)

(Monahan whistling)

(dramatic music)

(dishes shattering)

(Monahan groaning)

(upbeat jazzy music)

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.

(slow jazzy music)

- Well, Pete, you don't
get overtime for this,

although I bet you earned it.

- Yes, we accomplished quite a lot,

but we are far from finished.

Just a few hours' rest
and then back again.

Well, Richards, good night.

- Night.

(upbeat jazzy music)

Hey, Monahan!

Hey, Monahan!

(dramatic music)

Monahan!

(dramatic music)

- He must've put up a terrific battle.

- It sure looks like it.

I'm surprised I didn't hear a thing.

- Now this makes no sense,
killing a watchmen on his rounds.

- Unless he surprised the murderer.

- Surprised him and 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

and 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, I...

- Anybody come in late?

- No.
- Anybody leave?

- Couple of late shift maintenance men.

Pete, the makeup man,
with his assistant Rivero.

- We'd 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 six o'clock.

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
budget until this picture

has finished shooting.

Now if you'll excuse me,
I have some work to do.

(crew chattering)

- Okay, 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.

(upbeat jazzy music)

♪ Hello, baby, I'm glad to see you ♪

♪ I might like to see you more ♪

♪ But someone gave you the wrong idea ♪

♪ About what your charms are for ♪

♪ You got to have ee-ooo
to go with your smile ♪

♪ You'll find if you play up your figure ♪

♪ Fellas will dig your style ♪

♪ Well, you got to have
ee-ooo and plenty of ooo ♪

♪ A guy will end up in your arms ♪

♪ If you keep your charms in view ♪

♪ Well, some call it glamor
and some call it class ♪

♪ But when they call it ee-ooo,
baby you're cookin' with gas ♪

♪ You got to have ee-ooo,
you got to have wow ♪

♪ Unless you are dressed up to catch him ♪

♪ Someone will snatch him,
what a difference it makes ♪

♪ But if you got ee-ooo,
well, you got what it takes ♪

♪ Oh ♪

♪ Well some call it glamor
and some call it class ♪

♪ But when they call it ee-ooo,
baby you're cookin' with gas ♪

♪ You got to have ee-ooo,
you got to have wow ♪

♪ Unless you are dressed up to catch him ♪

♪ Someone will snatch him,
what a difference it makes ♪

♪ But if you got ee-ooo,
well, you got what it takes ♪

- Cut. Print.

Very good kids. Lunch, one hour.

(dancers chattering)

- Hey, see what I mean, Pete?

- [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
ice box 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.

(someone knocking)

- Yes, girls, anything I can do?

- We're from Oak Mount 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 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?

- Well...

- 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.

- Goodbye, 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.

The work just seems to pile
up. Good night, Richards.

- Good night, sir.

(dramatic music)

(Jeff choking)

(horn honking)

(dog barking)

(woman screams)

- 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.

(door buzzing)

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.

Help me get him out of this.

- Third studio murder shocks Hollywood.

Following the morbid Hollywood
tradition of death in threes,

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 three 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 studio...

- 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.

The police are very peculiar.
They insist on punctuality.

- I was just gonna 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 them 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,

that he'll never get another job.

Getting him work is my department.

And Larry has got a
great future as an actor,

and I'm gonna help him build it.

And for your information,

I've got three 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 can 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.

- Well, it would seem that way.

But as you pointed out, a maniac.

Well, a maniac really needs
no reason for killing.

- Millie, we appreciate you
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. It 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 three blocks,

about half past 12:00.

- Thank you, Millie

We'll probably want you to
try to identify this 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 roamin' 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, my booth at the gate.

- How far is that from the commissary?

- About same distance as two 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.

- But 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 sore
heads, 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 goodbyes.

Why even at the parties on the set.

You know, the usual shindig

after a picture is 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
and 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.

Alright, gentlemen.

I'm Captain Hancock.

- How do you do?

- I think you've met Detective Jones,

and 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've murdered Clayton.

Time and the street check out.

- Oh, 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.

- Well, it 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, of us?

- Well, we want your views on it.

You're supposed to be an expert.

- Well, I am an expert.

- Well, in that case, do you
think that 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've

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 offbeat
appearance the part calls for.

Yes, I create a monster, but
I don't build in violence.

- What do you know about all this?

- 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 have you worked for Pete?

- About 25 years.

- Well, you certainly should've 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?

- Well...
- 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 Serrano Street.

- You ever been married?

- No, sir.

- Haven't you got any nephews, cousins?

Or maybe some of the neighbors'
kids ask you to make them up

just for a prank, and 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.

Three shocking murders committed,

two 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, but...

- 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, off hand I
can't recall a single one.

Thanks to our makeup job, they
may have looked like killers.

But under the grease paint 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.

- Something weird about that old Pete.

- And his assistant, Rivero.

Maybe that's what comes from spending

all of your life with monsters.

- I don't like the way he's
under the thumb of his boss.

- Well, you certainly
tried to shake him loose.

Were you really aiming at something?

- Pot shots. Pot shots.

- I'd hoped that they'd 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 the 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've told him everything.

You certainly were on the verge.

You should've seen your face.

You were ready to crack, split wide open,

and spill everything, weren't you?

- No. No, I'd never give you a way.

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.

- But 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.

- Now you stay that way,
and I'll protect you.

Anyway, time is on our side.

The picture's finished,
and our work is done.

- It's done, all right.

But there's still the
two 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.

Now get in there.

(dramatic music)

- Say, I think we've got
something in the Clayton case.

- Yeah, what?

- Well, we analyzed the scrapings

from under Clayton's fingernails.

- What'd you find?

- Grease paint 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 out now,

and you're coming along with us.

Get your equipment ready.

We may want to make a spot analysis.

- 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've asked us to meet you and, well,

we did want to say goodbye.

- 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, sure, Pete.

But look, you don't mind if
we don't stay too long, huh?

We both have dates.

- Fine.

Now how about you boys
helping Rivero load the car?

- Oh sure, Pete, we'll help.

- You go ahead and wait for me in the car.

I'll just gather up the last of my stuff,

and we'll be off in a jiffy.

- Okay.

- Hi, Pete.

- Oh. Oh, it's nice of you to drop in.

- I've been working with the 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.

- 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, goodbye, Pete.

Goodbye, Rivero. Take it easy.

- Goodbye, Richards.

Oh, 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.

- [Detective] 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.

- Well, here we are, boys.

You can leave the boxes there, boys.

(dramatic music)

- [Larry] 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 call them your children?

- Why yes.

Later, I'll tell you thir
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?

- Hm?

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 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.

- Larry, I say we cut out.

- Man, you saw, you heard.

If we don't dig 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.

- We shouldn't have come no
matter how much he pressured.

- He makes it tough to refuse.

- I know. Old Pete's got ways about him.

I don't know. Strange ways.

Like when he was making
you 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 will 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 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 that I...

- Hey, Tony, tell me, 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 is
finished and you haven't

helped their careers, your
control will wear off.

And the police are sure to talk to them.

- It's 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 weeks 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.

- [Rivero] 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 give you a
third degree, they couldn't

squeeze the tiniest bit of
confession from you, could they?

- Of 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.

(dramatic music)

- I'll remember that, old friend.

(Rivero shouts)

(door clattering)

Your refreshments, boys. Go
ahead, you must be thirsty.

- Yeah, my throat is kind of dry.

- Where's Rivero?

- Oh, he's in the
kitchen preparing dinner.

- We're not hungry.

- Not at all hungry, but
you don't have to bother.

In fact, Larry and me have
sort of a 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.

- [Larry] 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 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, but to level with you,

we don't feel quite right in here.

We'd like to get out.

To tell you the truth, we
tried, but you locked the door.

- [Larry] 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.

Can't exactly put our fingers on it,

but just the same we want to leave.

- After all my big plans for you,

are 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 it?

- As you know, there were
three 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 is practically closed

or they'll never issue another order.

Three 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.

(candle clattering)

What have you done, you fool?

(dramatic music)
(flames crackling)

My children! I must save my children!

You fools, what did you
do? My children are dying!

(dramatic music)
Save my children!

(glass shattering)

- Call the fire department. Break it in.

(detectives pounding)

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.

(dramatic music)