Original subtitles

Hello good looking. How lovely. Mr.O'connor I believe

Mister to you newspaper man. How are you Joe. Fine, thanks.

Blondy I did not know you were working in the immigration department. How come ?

I got transfert in the narcotics division. Do you fellows overthere miss me ?

You should see the sadless girl they put in your place. Some congresman's niece.

She has got a moustache. I suppose you all thought I was fired.

I figured the supreme court had declared you unconstitutional.

She is waiting for you. See what she is up to, you know

Maybe they want to run you for president. Or hang you for murder.

Yeah that must be it. Well, you cannot keep a good man down.

Hell of a grand guy. They say he used to be an actor.

Just an amateur when he was in college. O'connor is a swell scout and he is pilling up a fine record to.

I had excellent reports on your work, so I asked the bureau of narcotics to transfer you temporarely to the immigration service

Well thanks mr. Lang, what is wrong with the immigration service.

Well we are in a spot on the west coast.

Asiatics are being smuggled in by land and water.

It's a tough racket, a dirty mess, and we're gonna clean it up.

I want you to go out there and see what you can do about it.

When do I start?

Right away.

Look here.

Ever hear of that fella?

Burke Darrow.

Darrow's one of the really big shots we've never been able to nail with an

important rep.

Narcotics was a specialty.

So you think he's mixed up in this alien smuggling racket, huh?

Yes, I do.

We reason to believe he's financing it.

I want a fresh mind to work on this, O 'Connor.

Someone never before identified with this department.

I want you to go to Hollywood and as soon as you get there,

report to the district commissioner in Los Angeles and he'll tell you all you

need to know.

After that, you're on your own.

You buy it?

It's a sale.

I knew it would be.

I'll get going.

We're making a few stops on our way north.

You're not the same boys who brought this coach over the line the other night.

Oh, no, sir.

This coach went in through Mexicali.

Company has a dozen coaches like this one.

All look the same.

Yes, I know.

Much below tonight.

Pull up.

Some American workmen killed him that sold at that mine explosion.

No duty on this cargo.

No passports either.

They got their tickets all one way.

Six, eh?

Yeah, I see.

Well, that's all.

Okay.

Thank you.

Thanks, Inspector.

What?

Sure, I pass them.

Why, their papers were in order?

Okay, we'll get them.

Those men on that end is coach of phonies.

The real driver and his helper were held up, beaten,

and left out in the desert.

Get off those guys and bring them back here.

They've probably taken the road to Buckham Springs.

This?

Hello, hello, Central.

Speak up, Jason!

I told you, that you'd never get away with this load!

Have a control!

Hey, where you going with all that speed?

We got a load here that needs quick delivery, Officer.

Open her up.

I want to take a look inside.

It's a look you won't like.

I can stand it.

Open her up.

Okay.

Stiffs, eh?

I'll just take you and your log back to the border.

Good morning.

Globe Productions Incorporated.

No, we haven't started production yet.

Ollie!

Glow Productions, Incorporated.

Well, yes, we expect to produce a picture very soon.

You're welcome.

Ma 'am, has Shirley Temple got anything that I haven't got?

Not a thing, darling.

Not a thing.

That's just what I suspected.

Hello, Glow Productions, Incorporated.

Announcing Miss Reynolds of the Morning Dispatch.

Good morning, Miss Reynolds.

You have an appointment?

How can you get an appointment in an office where nobody ever shows up with a

telephone girl?

This makes the fifth time I've been here.

Sorry, Mr.

Brace, our production manager is...

Is out of town.

That's the same powder I got before.

Isn't he ever coming back?

Of course he is.

He'll be back any day now, but...

You don't know when.

Who else have you got who can talk?

Mr.

Pirelli, our director is here, but he never talks.

What's the matter?

Has he done?

I mean, he never sees anyone.

Oh, poor devil.

He's blind.

Say,

what kind of picture producers are these that don't want to be interviewed?

Don't they know the value of publicity?

You tell Mr.

Pirelli I want to see him.

I'm sorry.

What have you got to be sorry about?

Get glad.

Get glad.

Hey, Speedy, snap out of it.

The operation's open.

We've got your appendix.

Where's it?

Where's it?

What do I shoot?

Put it away.

Put it away.

Nothing to shoot in this place.

Nothing but the same old store.

What did I tell you?

What kind of a story do you expect to get from an independent company that

ain't never made a picture?

I'll get my story.

Once I start something, I finish it.

When a motion picture producer tells all, that's no news.

But when he won't tell anything, that is news.

You know, just like the man who bit a dog.

Did a guy bite a dog?

Hey, I'd like to have had a picture of that.

Ooh, ooh, ooh.

Good morning, Globe Productions, Incorporated.

No, he isn't back, dear.

Sorry.

Help yourself, baby.

That's the only way to get anything in this world.

Stick your paw in there and grab what you want.

Hello, honey.

That female news hounds out here again,

can't you think of something to tell her?

How about run out of gags?

Well, go into your dance.

Come in here, gorgeous.

I've got something to tell you.

Good morning, Glow Productions, Incorporated.

No, Mr.

Brace is in New York, and it looks as though we never will come back.

Morning, Glow Productions, Incorporated.

No, this is not a wet wash laundry,

but I can connect you with a swelled Turkish bath.

Same to you, sweetheart.

Why?

Monty Brace will catch you during that one of these days,

and then where will you be?

I have cooled off better guys than Monty Brace.

Listen, beautiful, don't let that guy put you behind the eight ball.

What are you afraid of?

You know very well what I'm afraid of.

You know how jealous Monty is.

We don't want to start anything now that this new setup is running so sweet.

See, what am I going to do with this Daisy Dame from the morning dispatch?

First thing you know, she'll be printing some goofy story.

It'll get the whole outfit in bed.

Well, don't you worry.

Brace will be in today on the noon plane, and we'll let him handle her.

Trust that muck to think up a good one.

Take this back to the reception room, will you?

Come on, dynamite.

We've got to make the noon plane.

Oh, my camera.

Oh, lady, I'm sorry.

I would just turn it around.

Now, you get out of here before you break everything.

I'm going.

Baby!

I'm coming.

I'm sorry.

Hello, Chief.

This is your girl Friday.

Yeah.

I'm at the airport.

And have I got a hot tip?

Yeah, I know there's something funny about that whole outfit.

Uh -huh.

Sure.

Okay, I'll keep you posted.

Get set, will you?

Get set.

All right, I'm doing the best I can.

Well, hurry up and don't ball this one up.

I want a picture of that man, Brace.

All right, I'll get it.

Keep that bird along.

Where's my plate holder?

Holy smoke, Bobby.

I'm blind.

Come out of your dith it, will you?

Here's your plate holder.

I'll pry any of you out of that mysterious Mr.

Brace or bust.

I don't even know the man.

You don't know what he looks like.

You leave that to me.

Hurry up.

Here they come.

Hello there, Mr.

Brace.

Mr.

Brace, of all people.

Don't brace me, young woman.

It won't get you a thing.

Hi, Mr.

Brace.

Oh, hi there, cutie.

This is a surprise.

Ow!

Wrong number.

Welcome to Hollywood, Mr.

Brace.

Thanks.

What do you want?

I'm Miss Reynolds of the Morning Dispatch.

I want to know all about your production plans.

Well, my production plans are not for publication.

Oh, you?

You would, would you?

Where do you get that stuff?

Say, do you know any other nice games?

Well, you didn't have to follow for me.

You could have jumped, couldn't you?

No, playing leapfrog, eh?

They call your shots next time, will you?

I wasn't trying to play anything.

Every time I start to shoot a picture, something like this happens to me.

It makes me say, Gar -Sturn -Red, I can yell.

I seem to have the wrong hat here.

Oh, yeah.

That's mine.

Here, this one's yours.

Thanks.

Where's yours?

What are you running away from, Mr.

Brace?

Oh, I want an interview for my paper.

Hey!

Remind me to hate you!

You know, they're like limousines.

For Hollywood and Los Angeles, we're now leaving.

My Leslie Howard of all people.

This is a break.

I saw the preview of Romeo and Juliet the other night.

And you were swell.

Excuse me, young lady.

The name's not Howard.

I'm one of the Marx brothers.

Not horrible.

No groucho.

And I know you.

You're at the May -Oliver.

Oh, and this bright little light.

This little fellow here is Freddy Bartholomew, isn't he?

Too bad I have my autograph book.

I'll see you again sometime.

Wait a minute.

I know you're an actor anyway.

Well, that remains to be seen.

I'm Miss Reynolds of the Morning Dispatch, and this is Speedy Callahan.

What do you think of California?

What's your name?

What company are you signed up with?

O 'Connor's the name.

I'm crazy about your climate.

I'm not signed up.

I'm out here to make a test if I can get one.

And there ought to be a law against Callahan.

So long.

Hey, wait a minute.

Come on, Satchel.

Look, I know a lot of people out here.

If you want a test, I'm sure I can get you one.

Well, that's very nice of you, but...

I've got my car out here.

I can drive you anywhere you want to go.

I know a nice hotel tour.

I can get you a good rate.

See, I thought you said you were a newspaperwoman.

You sound more like a committee from the Chamber of Commerce.

Do you want to meet the Chamber of Commerce?

That's a cinch.

Come on.

I can introduce you to them, too.

Well, what can I lose?

I wouldn't be so impatient, O 'Connor.

You've only been on the case two weeks.

You must crawl before you run.

Yeah, crawl is right.

That's all I've done, crawling in the dark, looking for a lead.

What little I've picked up,

I've convinced the smugglers to have their headquarters right here in this

town.

They're using some respectable business for a false front.

That makes it a process of elimination.

And that always takes time.

I've got a day at the hospital.

with young Stuart at the border patrol.

I'm afraid Stuart hasn't much chance of recovery.

No, certainly did a brutal job on that poor lad.

He can only talk a few minutes at a time.

He can barely remember what happened to him that night.

Shame.

Tell me, how are you doing with your motion picture test?

Oh, I have a couple lined up with independent companies.

I suppose it won't be long before I'll see your name in lights.

Well, as long as you don't see it in the obituary notices,

it's all right with me.

So long.

He wanted me to give you this, Mr.

O 'Connor.

We found a grip tightly in his hand the night they brought him here.

Stuart, Mr.

O 'Connor's here.

Hello, Stuart.

You wanted me to have this.

I was talking to one of the men at the back of the ambulance.

Yeah?

I couldn't see his face very well, but I watched his hands.

He kept rolling that little piece of paper.

A nervous habit, I suppose.

A crazy one, I thought.

A fondant lying in the road after they'd gone.

I forgot all about it until this morning.

It may not help you, honey.

Then again it may.

You have known men with such habits.

Compulsion obsession, science calls it.

You'll have to go now, Mr.

O 'Connor.

All right.

Goodbye, Stuart.

Bye.

Here he is now.

We have a telephone call for you, Mr.

O 'Connor.

Will you take it here?

Yes, thanks.

The lady's been calling ever since you left this morning.

O 'Connor speaking.

Hi there, actor.

Oh, hello, Bobby.

How's your motion picture career?

Oh, I've been getting around.

If I could ever find you in, I'd fix it so you could meet the right people.

What you need is a good agent.

I've got one.

Who is it?

Blitz.

That big cheese?

Listen,

that guy's so corny he double -crossed his own mother just to prove to himself

he's a rat.

Well, he thinks he can get me a job with Globe Productions.

He couldn't even get you their telephone number.

Why, do you know them?

Know them?

Why, I practically own the place.

You meet me there in 10 minutes, and I'll start your career off with a bang.

I have a hunch about Globe Productions.

Yeah, so have I.

I'll see you there.

Right.

Hello, Miss Temple.

Good morning.

I've got a man coming in here who's one of the best picture bets that ever hit

this town.

Here he is now.

Me and Mr.

O 'Connor, fresh from the Broadway stage.

I'm giving you people the first crack at him.

Hello, Mr.

O 'Connor.

Hello.

I think we've met before, but why didn't you tell me you were a great actor?

Well, it's the curse of my fatal modesty,

because I hate to talk about it myself.

So, you know each other, huh?

You've been holding out on me.

Oh, no, I told you I'd been getting around.

Yes, I've been a chairwarmer on several occasions in this office lately.

Did you get in to see anybody?

No, but I had some nice chats with Miss Temple.

Yeah, I'll bet you got a lot of information out of that chatterbox.

Now, look here.

If you'll get us in to see Mr.

Bray...

Then you'll get the interview you're after, won't you?

Well, why not?

Two stones with one bird?

I'm sorry, but...

Mr.

Bray...

He's out, but he is, really.

Well, what about Mr.

Pearly?

Well, he's out, too.

I'm sorry.

Of course you are.

Your heart's just breaking, isn't it?

Well, Bobby, looks like we're stymied.

Oh, no, we're not.

Now look here, game to game.

I'm giving GLOW Productions a break.

If you'll only play ball with me.

GLOW Productions, Incorporated.

Why, Mr.

Brace is our production manager, but he's in New York.

No, I don't know when he'll be back.

Sorry.

She's still sorry.

Well, there's no use hanging around here.

Oh, I wouldn't say that.

Something's liable to happen any minute.

Hey, something is happening right now.

Holy smoke, I smell smoke.

So do I.

Well, no wonder.

Look at that.

Call the fire department.

The place is on fire.

Mr.

Pearly, Mr.

Pearly.

What's the matter?

What's going on in here?

Mr.

Pearly, I heard you were out.

Never mind what you heard.

Yeah, I'll call the fire department.

No, take it easy.

Take it easy, will you?

Here, here, it's only the wastebasket.

I don't want it.

You keep it.

Well, what'll I do with it?

Shall I throw it out the window?

Now, wait a minute.

I'll fix it.

Whoo!

There.

Now you're all right.

I'm all right, huh?

I look fine, huh?

Well, Mr.

Pirelli, we've been waiting to see you.

Have you?

What about?

Well, in the first place, I'm Miss Reynolds of the Morning Dispatch,

and this is Mr.

O 'Connor from Broadway.

I'm not Mr.

O 'Connor.

Mr.

Callahan, the fireman.

And I'm looking for a job in the movies.

I have no time to talk about jobs now.

I'm working on a script.

A script?

Well, you must be starting production soon.

Yes, we start a picture tomorrow morning.

Good.

Have a cigarette.

So you're starting tomorrow.

Well, that's swell.

I'll announce it in my paper.

Suit yourself.

Thanks.

Thank you.

Well, I'm glad to know Globe Productions is getting underway at last.

Yes, I was beginning to worry about you people, Mr.

Pirelli.

Were you?

Mm -hmm.

What studio are you working at?

We're shooting exteriors first, going on location, water stuff.

The company leaves the municipal pier the first thing in the morning.

I'm sure you wouldn't have a little part for me.

Sure, I'm sure.

The cast is all filled.

Well, good luck anyway.

Thanks.

Same to you, fella.

Still a ride.

You bet.

Bobby,

I certainly appreciate the trouble you're taking for the sake of my career.

Oh, that's OK.

Anything for a pal.

Besides it's no trouble it all to her we got to get down to free today anyway

in this town you've got a grab opportunity by the tail and hang on to it yeah

and if an horror is twisted do you really know this fella brace sure I know him

but she knows him only he won't admit it that man's a mystery to me where

there's a mystery there's always a story what's so mysterious about him the way

he works on the cover avoiding publicity starting a picture without telling the

press he's hiding something third -dimension color processor another garbo but

I'm keeping after him till I run it down shall I look at your oil miss well

it'll make you feel any better you bet you see there's a Chinese revolutionary

general getting in the day only efforts in China and I've got to interview him

while a stooge grabs a picture what is the Chinese gentleman general too long

yet no it isn't long hot pool or something like that it'll take about one quart

miss see if it won't apply you bet They were late.

The ship's in.

That's all right.

I'll stand up right out here.

You go shoot the general out so I can get a good shot at him.

I ain't a tip though, big boy.

Hello, Chief.

Just checking in.

I'm at Pier 49.

Okay.

Goodbye.

Hello there, General.

How's Trix?

Right this way, please.

Look, look, look, mister, will you please just...

Oh, pardon me.

Yeah.

Thank you.

How many extras you taking on location today?

20.

Too bad you can't make it 100.

Too big a risk.

You see, that was my original idea,

to take 20 Hollywood extras over in the morning and bring back 20 real Chinese

in the same costumes at night.

It's a good gag if you don't overdo it.

Here they come now.

Oh, boy, I'll get it now.

I hope.

My paper would like to state not any subject of interest to you,

and what do you think of the climate of California?

Yes, I quite agree with you, but have you an interpreter general?

I'm not so hot on my Chinese lately.

I see no interpreter,

but you are all highly in favor of a democratic government of the people,

by the people, and for the people.

Did you get it?

Oh boy, did I get it, eh?

How?

Bobby.

Look, is that Brace with Pirelli?

Sure it is.

Come on.

I'm right with you.

Hi there, Mr.

Brace.

I hear you're starting production today.

Yeah, so what?

I'd like to announce it in the dispatch, that's all.

Tell me, what do you call your picture?

Fools rush in.

Swell title sounds like an action story.

Oh, I want you to meet Mr.

O 'Connor, one of the best leading men that ever left Broadway.

It's a pleasure.

You should never have left it, O 'Connor.

Well, a fella has to eat, you know.

Besides, I have a yen for pictures.

Yeah, you and a million other guys.

Oh, this is my director, Mr.

Pirelli.

Hello, Pirelli.

Hello.

I met him yesterday at the office.

Hey, I want to talk to you boys about giving him a test.

He's a swell picture best.

Yeah, yeah, some of the time.

We're busy now.

Where you shooting today, mister?

Over on Santa Maria, a little island about 18 miles off the coast.

Well, I did nothing.

Well, here's the company.

All right, you guys, get aboard that boat.

Come on, let's go.

Right down there.

Come on, bring that wardrobe with you.

Come on, come on, hurry it up.

Get down.

All right.

Hey, what do we eat?

I don't see much on that boat.

Got a bag of rice over there, boys.

Oh, go on, you big fat.

He does men look like the real thing.

They sure do.

We got the best makeup man in town.

Oh, well, I should think you'd use real Chinese.

Then you wouldn't have to make them up.

Oh, yeah?

Hey, we ought to hire you as a technical advisor or something.

Oh, no, no.

You know best, of course.

What sort of a picture are you making?

A sea story, Chinese, pirates, and everything.

Hey, Billy.

Yes, sir.

Good nature.

Hey, hello.

Tough looking bunch we have there, officer.

Now, we're used to seeing actors in makeup.

Want to put it on the island?

Yeah, I hope the light holds out.

We've got a late start.

We'll probably have to make two or three trips before we shoot all the stuff we

need.

Do you intend to stay over at the island?

Oh, no, no, we'll come back every night.

I'll be seeing you.

Right.

Oh, Mr.

Brace.

Yeah?

Hey, I'd be glad to go along, play any small part you have,

just for the experience, you know.

I wouldn't expect any salary.

Sure.

Why don't you give him a break?

He can act like a house of fire.

I have no doubt of that, but we don't burn any houses in this picture.

Let's go, boys.

Wise guy.

Well, better luck next time.

Yes, I hope so.

Hey, Bobby, we gotta get back to town.

Gosh, yes.

I've got a deadline to make.

Come on, Alan.

Right.

Bobby.

What?

I think I'll stay around here for a while.

I'll cover the waterfront.

Are you sure you'll be all right without me?

Oh, I can find my way around.

Okay, but don't fall overboard.

I'll be careful.

Hey, Bobby.

What do you think I got?

Double pneumonia.

Yeah.

No, no, no.

Double exposure.

Are you going to tell me you didn't get a picture of the Chinese general to go

with this story of mine?

Oh, I got the general all right,

but he's all mixed up with a couple of other guys.

Holy smoke, what is this?

It's just my look, that's what it is.

Them two guys wasn't in there when I shot that.

Well, they're there now.

Why, that one's Mr.

Brace.

Yeah, I know it is.

That guy's got a nerve coming into my picture like that.

Well, who's the other one?

I don't know, never saw him before.

And I thought we was gonna break the front page with this.

We'll crash the front gate with a can tied to us if we don't show up with that

picture.

Hello, Miss Reynolds' desk.

Hi there, actor.

Where are you?

Still at the waterfront.

Listen, Bobby,

did your cameraman develop a negative of that picture he shot at the pier?

He certainly did.

He also developed a case of lead poisoning.

They're going to find him tomorrow morning with a bullet in his neck.

Well,

don't shoot him until he makes a print of that picture and save the print for

me, will you?

I'll tell you why another time.

Yeah, thanks.

Yeah, I'll be seeing you.

Goodbye.

Ah, gee, Bobby, I'm sorry.

Listen, Stu, we've got 30 minutes flat to grab another shot of the general.

Now, if you miss this one, I won't leave a hair in your head.

Go get your camera.

Come on, do your stuff.

Put on an act.

Watch me.

I can't shoot this scene till it's all been rewritten.

Well, it's too bad you didn't find out about that before we came over here.

How did I know the writer put all that junk in?

I always said that guy was no good.

No good.

He couldn't write himself a letter.

All right, all right.

Pay him off and send him home.

Well, listen, fellas, it's all off for today.

Well, what do you mean?

It's all right.

Now, listen, you'll get your checks.

Take off that makeup and turn in your costume.

We'll run you up to the boat landing,

and you can take the regular passenger steamer back to the mainland.

Now, everybody gets boat tickets and car fare.

Now, hurry it up.

Get them off.

Get on them.

Come on, shake it up.

Sir.

Say it.

Now, listen, fellas, it's all about that light we used to have.

That's all that we've done.

Do that.

What do you mean?

It was a long and terrible time.

Three, two, three.

Two.

Gee, I was surprised to hear from you yesterday, Mr.

O 'Connor.

I didn't know the department knew I was out here.

We know where all you boys are.

Well, what happened?

Nothing.

They didn't even shoot a scene.

As soon as we got over there, they paid us off and sent us home.

Why didn't they bring you back in the same boat they took you over in?

I drove out.

Where did you phone that message from?

From a pay station at the boat land on the island.

I thought you'd want to know which way it was coming back,

in case you wanted me.

The whole setup sounds goofy to me.

All right, Briggs, find out if they're going back to the island tomorrow.

Yes, sir.

Mr.

O 'Connor, you won't spill nothing about my record, will you?

Not as long as you keep quiet about me.

Trust me for that.

I make my living doing gangster bits in the movies.

But if they ever found out I was once the real McCoy,

they wouldn't even let me inside of a studio gate.

Crime doesn't pay, Briggs.

You're telling me?

Hey, Briggs, where's that same copper on the float again?

Never mind him.

He'll think this is the same bunch of extras we took over this morning.

Now, I see you're still on the job.

Oh, yes.

Do you have any luck on the air with us?

None at all.

Everything went haywire.

We'll have to go back again.

We've got plenty more to do.

Well, good night.

Good night.

See you tomorrow.

All right.

Sorry.

Come on.

Here you go.

Take it.

Shut up, you bunch. Shut up.

Good morning Why hello, Mr. O'connor.

What little thing can I do for you?

Well, I'd like to see Mr.

Braes.

If you don't mind.

Well, I don't mind, but maybe he might.

You see, he's in conference.

Sure.

We'll make it next Tuesday.

Oh, about 11 o 'clock.

We'll be here.

All right.

Goodbye.

Who was it?

That guy from the Motion Picture Producers Association.

Checking up on us again.

He wants to know why we haven't sent our script over to be censored.

Well, send him a telephone book.

Listen, you can't laugh those guys off.

First thing you know, they'll have the Department of Justice in here.

Giving us the once -over.

This racket is good for about two more trips.

And then we do a fade.

See?

Come on, end the boat.

Check it up.

Watch your step there.

Come on, drop that water over, boy.

That was a good trip.

All right, make it fast.

Make it fast.

We'll go over here, there.

All right, get in.

They're all in, boy.

All right, shove her off.

All right.

Quiet down now.

Listen to this scene.

Now, the story of this scene goes like this.

One of the coolies has tried to help the white woman escape from the Chinese

pirates, eh?

The other guys find out about it, and they want to kill him.

The whole mob goes after him while he's running for his life.

Uh, give me that script a minute.

How am I doing?

Well, I'm not going to do anything.

I don't lay it on too thick, or they'll get wise to you.

I'm telling you, what this scene needs is a little comedy to jazz it up a bit.

It's too heavy.

Well...

I don't see anything wrong with it.

There's something smelly about this outfit.

Brace told Bobby they were shooting a picture called Fools Rush In.

And they ain't doing nothing of the kind.

I got a pic of the script coming over in the boat, and the title on it was...

...Aunt Elsie's Wholesome Recipation.

How'd you get a job with this outfit?

Well, Bobby fixed it.

Yeah, I might have guessed that.

You see, she wants me to get the lowdown on it.

You know, you look so good in that outfit,

I didn't know you'd only get on the boat.

Bobby said you wanted a copy of this picture I shot at the pier the other day.

Oh, yes, yes.

I'm glad you brought that.

You see, it happened like this.

I was sent out to...

You guys are too busy to listen to me.

Maybe we ought to lay off for a while.

Well, I'm sorry, sir.

I was just showing him a picture of my family.

Well, forget your family and get on the job.

Yes, sir.

Listen, you...

I picked you for the Chinaman the mob was trying to kill, see?

Oh, but I don't know how to get killed.

You'll learn.

You know how to run, don't you?

Oh, yeah, but...

Oh, come on.

Well, let's rehearse the scene.

The rest of you birds come tearing out from behind those bushes.

This little lug is running for his life, and you're right on his neck.

You're trying to massacre him.

You're yelling for his blood.

You're going to tear him to pieces.

And don't be backward about it.

Make it real.

It's the only way you can get a scene like this.

Yeah, but not too real.

Shut up.

Make it so real, he'll have to run for his life.

And as for you, you'll run down this way, right past the camera.

Hey, but wait a minute.

Supposing they catch up with me, what then?

Boy, that's going to be just too bad.

Okay, let's try it once.

You birds, get over there behind those bushes.

And when I yell, action, you get going.

All right, places everywhere.

All right, over behind those bushes.

Come on, let us knock it.

Come on, undercover now.

Come on, hurry it up.

All set for it.

Kill him!

Come on!

Come on!

Come on!

Come on!

Kill him!

Kill him!

Hey, you!

Hey!

Come back here!

Come back here!

It's all over!

No fooling?

No fooling!

Come on!

They won't hurt you.

Come on in here!

Come on, shake it up!

That was a swell scene, Pirelli.

Yeah, too bad we didn't have some film in the box.

All right, pay the gang off and send them home.

That'll be all for today, boys.

Take off your make -ups and get into your own clothes.

I'm sending you back on the passenger steamer.

Come on, get a move on and turn in those costumes.

Well, I guess this is as good a place as any.

Gee, I'm glad to get away from that mob.

They think they were too serious to suit me.

Did you uncover the big story?

Not yet.

They should have seen all right.

It seemed rather short day's work to me.

What are you going to do now?

It's going to be Bobby up at the island boat landing.

And then what?

Oh, she's got something up her sleeve.

I don't know what it is.

She wouldn't tell me.

We've got about two hours to wait before it'll be dark.

I radioed the skipper not to bring his scumler into the pier tonight.

Told him to send the Chinese off in a lifeboat.

I've got a hunch that that newspaper dame is wise to something.

You don't seem to be in any hurry.

You better get that makeup off.

Oh, I'm in no hurry.

Look here.

Turn this costume into the assistant for me, will you?

Collect my check and tell him I'm walking to the boat landing.

Walking all that distance?

Sure, I need the exercise.

What are you going to do with that suit?

I'm going to keep it as a souvenir of my first movie.

Okay, you know best.

Any message for Bobby?

Yes.

Tell her to keep away from here, that's all.

Don't get lost.

Don't worry.

I'll follow the beach.

So long.

He's seeing you.

Hurry it up.

Get in there.

Right down the end of here there.

Oh, so far, so good.

What about that guy who walked?

Let him walk.

He won't do any more walking if he comes back here tonight.

They should have shown up over an hour ago.

Maybe they met with bad weather coming up the coast.

Ah, that won't hold them back.

That schooner has a 500 horsepower auxiliary inside him.

Ahoy!

Am I on the right course for Santa Maria?

The signal for tonight.

Come on, boys.

Into the boat, everybody.

Look.

You're on the float at the end of the pier.

Get down.

Get down.

Oh.

Be quiet, will you?

Do you want him to hear us?

I hear my knee in a rock.

I bet I've got a run in my stock.

Never mind the run.

Come on.

Keep crawling.

This is close enough.

We can get a small shot of the pier from here.

That walk in the landing about finished me.

Oh, my feet.

Okay.

You press this button when I give you the signal.

Now don't fail me.

We won't have time to reload this thing.

Look.

There's someone up there with a flashlight.

Holy smokes.

They saw us.

They're coming.

Come on.

Let's get to the beach.

We can run faster.

Come on.

That's that newspaper Damon has told you.

Shoo!

Hey.

What are we going to do with these mugs?

Throw them over the side.

Now, we'll find a better way than that.

All right.

Eighteen, nineteen, twenty.

There's a phony in this bunch.

What happened?

You were creased with a bullet.

I was.

Where?

Be careful.

You're bandaged.

You were brought here last night.

You've been unconscious up to now.

When I got here, you were muttering about a busload of smuggled Chinese.

I took a chance and broadcast a warning to the highway patrol.

The bus was stopped on its way north.

Good.

What about the other car?

Brace's car.

Any news of that?

I don't know what you mean.

Brace is the head of this smuggling outfit.

They've carried off Bobby Reynolds and her cameraman in that car.

Say, I've got to get out of here.

Wait a minute, old.

Please, take it easy.

This picture was found on you.

Where'd you get it?

I took it at the pier the other day.

That's Brace.

Recognize the man with him?

Sure I do.

Burke Darryl.

Then you can see what this means.

Darryl's the man behind this smuggling racket.

I have information that Darryl's hiding out in a ranch house in Hidden Valley.

An isolated section in the foothills.

Well, that must be where they headed for last night.

Say, let's get going.

You can't leave me in your condition.

This condition is right.

Dietrich, get me some clothes.

Sure I will.

Broadcast a warning to blockade all roads from the ranch house.

tell the highway patrol to hem them in and send an airplane with an observer to

report all movements in the ranch.

Right.

And don't forget the clothes.

But you can't get out of bed.

Oh don't be silly.

Where's that Chinese suit I had on when I came here?

It's being cleaned.

Oh it would be.

Now I've got to wait till Dietrich gets back.

What good's a man without a pair of pants?

Ah you pulled one boater after another.

And the dumbest play of all was to bring these people here.

What do you think you're going to do with them now?

What do you suppose?

There's only one thing to do.

Hey wait a minute.

I think I've got something here.

CHP 137.

CHP 137.

California Highway Patrol.

CHP 137.

Proceed south on Highway 61 to Old Simeon Ranch.

Report for orders to immigration inspectors deep in O 'Connor.

Arrest all persons leaving ranch house.

Calling CHP 137.

The Old Simeon Ranch.

That's this place, isn't it?

Of course it is.

We've been crossed.

We've got to get out of here.

You're telling me?

We're split, see?

You'll go with me and my cars faster than anything they've got on the road.

Now you and Joe take the small touring car and head north on 61 and take this

goofy day in her stooge along with you and get rid of them tonight.

Why aren't 61 we sure to be picked up.

No you won't.

Send the big truck out ahead of you and work the old gag.

Come on get going now.

Here we go, sister.

You told us which.

Come on.

Come on.

We'd better catch up to the truck.

There's a police car trailing us.

Immigration service plane 77.

Good morning from section 342.

Hidden Valley.

Small yellow touring car driving north on Highway 61.

Calling all cars.

There's the car we're after.

Signal that truck driver to slow down and pick us up.

Signal that truck driver to slow down and pick us up.

It must have taken a side road we'll go back.

It must have taken a side road we'll go back.

Here comes that copper again.

You've seen anything of a small, great touring car on this highway?

Sure.

The driver cussed us off because we wouldn't give him room enough.

Thanks.

This is a blind road that couldn't go any farther.

That marks where the truck stopped.

This is Bobby's shoe.

I've got it, Dietrich.

They let down a ramp,

drove the little car into that big truck we stopped back there.

Come on, let's go.

Shoot them guys in a hurry.

They'll never know what became of us.

Tell the driver to stop.

We're going to switch cars.

Come on.

There's the Fed's car coming back.

They've switched cars on us.

Drop them guns and stick them up or I'll let you have it.

You two, scream out of there and get into that other car.

Come on, step on it, we're going places.

Get over on the side of the road.

Come on, get over!

I'm leaving you guys right here, get me?

As long as I keep going, the Damon has stooged, you'll keep on living.

But if I'm stopped or followed, they get it.

And if you think I'm stalling, you're nuts.

Hold still.

There.

Oh, that feels good to get my mouth open.

I bet you never had a closer look in your life.

Gosh, why do we leave to be able to use it again?

Well, it's just as good as it ever was.

Quick, untie my hands, I want to use those too.

Hurry up with my hands, I got plenty used for mine.

But not the same as I have.

I want to scratch my nose.

Come on get in.

You know now that I'm not an artist.

Oh I knew that from the first but you never knew that I wasn't a newspaper

woman.

Oh yes I did.

You know that I was working for the Department of Justice.

Certainly.

And you knew I was working for the Immigration Service.

Sure.

Great Scott.

Just a couple of federal agents who couldn't pull each other.

No but I'm going to keep on trying.

Oh glad you took me off.

Shall we go.