How to Make a Monster (1958) Script

Mirror.

Larry, before I let you see yourself, are you sure you can stand the shock?

Oh, yeah, I'm 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.

Look.

(Indistinctly)

What'd you say?

(Indistinctly)

Hmm?

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're getting 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.

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.

Oh, who can judge which is the most praiseworthy.

Well, that's one way to look at it.

For 25 years he's been the master.

He created them all.

And if I may say so in all due modesty, I regarded each one as a creation, no more important than this.

Well, thanks for trying to cheer me up, but just the same, this scares me.

Now, remember, my boy, I created you so that you could scare others.

As an actor, as an artist, that's your mission.

Live up to it.

Well, it's time for us to be on the set.

We mustn't keep the director waiting.

There we are.

Fine.

Well, come on.


Hey!

What about him?

In the next picture after we capture the ship?

I climb aboard.

I draw my sword and there, standing at the helm is 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?

Well, here he is, Martin.

Great, Pete.

Just great!

Exactly what I wanted.

This is as good and ferocious as your Frankenstein monster.

Oh, 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'll come in from here.

Very stealthily, very cunning.

With animal instinct, you will feel that there's an enemy around.

You hear something.

You stop.

You look around.

Now, 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..

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

Yeah, he was afraid he'd lose his women admirers.

A truck was going to 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.

Well, we don't have to.

We are the group that have taken over this studio.

NBN Associates.

We're personally taking over this lot and we're going to run it our way.

My names is John Nixon, this is Mr. Jeff Clayton.

Oh, 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?

Uh, Mr. Dumond, we won't be needing you after you finish this picture, the one you're on now.

Not need me?

Yes.

Monsters are finished.

They're coming out of your ears.

Saturation.

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 finis.

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 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..

Our decision is final.

Now, instead of giving you a cold pink slip, I came to tell you in person.

It's the human way.

It certainly is.

And we'll allow you a week's severance pay.

No, thank you, keep your severance pay.

I don't want your charity.

This lot, this room has been my home for 25 years.

Now that you've thrown me out, don't try to soften the blow with a few cheap dollars!

I'll leave when this picture is finished shooting.

Okay.

If that's the way you feel.

To turn down money.

Maybe you've been living too long with monsters.

Sometimes I find them better company than humans.

Pete, what are we going to do?

I don't know yet.

But one thing I do know for sure, they're wrong and I'm right!

I'd stake my very life on that.

And before I leave this lot, I intend to prove that I'm right.


Werewolf.

Frankenstein.

They want to put an end to us.

They say we're through.

There's gratitude.

Don't they realize that the monsters I created from my first prehistoric man through the spaceman of the future, why, all these paid for this studio, made the owners rich and famous.

And now they say it's over.

But it isn't over.

I'll destroy this studio, see it go up in flames before I..

No.

No, I'll destroy them first.

And I'll use the very monsters they mock 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 going to 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 Novocaine?

'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.

Well, 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.

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.

The only hoodlums you run into 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!


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?

You serious?

And 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.

Oh, I don't want to discourage you, my boy, but I know this town, this industry.

I've given my life to it.

The first question a casting director asks is what was your last part?

Well, in your case the answer would have to be Werewolf in "Werewolf Meets Frankenstein."

Yeah.

I can hear the casting director as if he were in this very room.

"Sorry, nothing in this picture.

"But see me when the monster cycle comes around again."

Oh, I begin to read you.

Don't forget, Larry.

The people who have seen you, your fans, don't know your real face.

The only hope you have for a future is here.

I guess you're right, Pete.

Oh, I know I'm right.

Well, what can we do?

I like that question.

At least you're interested in saving your career.

I am.

Well, if you'll sort of place yourself in my hands, perhaps we can make them change their minds.

Go ahead, Pete, I'm with you.

Larry, this foundation cream has a new firming agent in it.

Something that I perfected.

So don't worry if you feel your skin tightening.

Don't worry if it makes you feel..

That does feel kinda 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.

Well, congratulations, Banks.

The rushes are fine.

You were right, this musical is going to be a big hit.

I like the way you're handling this production.

Thanks, John.

Everything on the set's coming along just great.

I'll see you in the morning.

Goodnight. Goodnight.

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.

Scene 136, take two.

Action.


Now, you're sure, my boy?

Nobody saw you?

And you did exactly as I told you?

And you came back exactly as I said?

Good.

You'll forget this after I wake you up.

You won't remember a thing afterwards.

You...

Pete.

Are you sure there's no danger of us getting caught?

Oh, just wash these!

Now, wake up, my boy.

Wake up!

Now, here he is, Doc, see what you can get.

Tell me what you know about all this.

Don't leave anything out.

I already told you.

I ran the rushes for him on three pictures.

What time?

Beginning about eight.

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 houselights 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?

The glass in his wristwatch is cracked.

Stopped at 8:34.

Well, that fixes the time of the murder.

What do you make of it?

Well, pending autopsy findings, I would say that he was attacked from behind by someone with fiendish strength.

Neck is broken.

And that the attacker, like an animal, inflicted sharp wounds on the neck.

Looks like fangs to me.

I'd say that the time of death 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 newshounds 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 that he was strangled and his neck was broken.

That could have been done by a human.

But he was also clawed and bit.

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, well...

Maybe you can help us.

I'll be glad to.

Any way at all.

Did he have any known enemies?

Not out here.

How could he?

And certainly not enemies.

He may have had rivals for his job, but they wouldn't resort to murder.

In the entertainment business, the mortality rate is fast and high enough.

You have your eye on a certain spot, all you need's patience.

Just 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.

What is it, Larry?

Don't you feel well?

Uh, I don't, I kinda blacked out.

I don't understand.

I start to weave and then I black out.

This is something new.

No, I just feel this way since..

Look, maybe you gave your all to the part of the werewolf and 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, I...

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, 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 'em laughing at the makeup like it was something to scare kids.

Just the same, I'm still running, running, running.

Come on, Larry, relax.

Calm yourself.

I guess it's only natural if you work hard that you're going to have a let down.

Yeah, I guess so.

You'd better get back in, Arlene, before they chip in and buy me a wheelchair.

Working late again, huh?

Oh.

Well, I have no hours.

No creator has.

Besides, I get more joy and satisfaction out of my work than watching the clock.

I know you're a beaver for work, but it's only human to call it a day once in a while.

Not me.

There's no rest for me.

You should, though.

Take it easy, I mean.

It puzzles me why you knock yourself out.

Especially when you're through here.

This is your last job.

So you know, too, hmm?

It's all over the lot.

But it's no disgrace.

Believe me, you're in good company.

Half the old-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 up.

Oh?

I never kidded myself that walking a watchman's rounds would move me to the top.

No, I guess not.

Take most of these studio cops.

They're retired policemen looking for a soft touch.

But not me, though.

I've got different ideas.

If I were chief of police of this studio, I'd run it real strict.

No one'd 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.

Ah.

Too bad it wasn't.

But now I'm hep to something that might just put me in line for promotion.

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.

I've 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.

Do 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 could tell him, for instance, that on the night of the killing you and Rivero left the lot at 9:12.

I've 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 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.


We're going to check out now.

Remember, not a word out of you.

Just follow me out of the studio and get into the car.

Well, Pete, you don't get overtime for this, although I bet you earned it.

Why, yes, we accomplished quite a lot.

But we are far from finished.

Just a few hours rest and then back again.

Well, Richards, goodnight.

'Night.


Hey, Monahan!

Hey, Monahan!

Monahan!

He must have put up a terrific battle.

Sure looks like it.

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

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

Unless he surprised the murderer.

Surprised him at what?

As far as we know nothing was stolen.

No dressing rooms were broken into.

When did you begin to suspect something was wrong?

Well, I waited 15, 20 minutes after he was due back then began to look for him.

I figured he'd maybe 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 would have it.

Anyway, Pete'll 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?

Well, if I had I would have done something about it.

He was a nice young fellow, that Monahan.

Polite and neighborly.

It's a shame.

Monsters.

Is that all you do?

Well, I sort of specialize in them.

I have for 25 years.

Look, Pete, my kid's having a Halloween party.

I think he'd get a big bang out of scaring his friends.

Oh, well, bring him over.

I'll be glad to make him up as a monster.

In the meantime, don't make any sudden trips.

The captain might want to see you downtown.

Oh, I won't.

Believe me, I won't budge until this picture is finished shooting.

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

Okay, let's get ready to do the number starring John Ashley!

This'll be a take!

Quiet!

Bell, please.

Roll 'em!

Playback!

♪ Hello baby I'm glad to see you ♪

♪ And might like to see you more ♪

♪ But someone gave you the wrong idea ♪

♪ About what your charms are for ♪

♪ You gotta have ee-ooo

♪ To go with your smile

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

♪ Fellas will dig your style

♪ Well you gotta 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 cooking with gas

♪ You gotta have ee-ooo

♪ You gotta have wow

♪ Unless you are dressed up to catch him ♪

♪ Someone will snatch him

♪ What a difference it makes

♪ But if you got 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 cooking with gas

♪ You gotta have ee-ooo

♪ You gotta have wow

♪ Unless you are dressed up to catch him ♪

♪ Someone will snatch him

♪ What a difference it makes

♪ But if you got ee-ooo

♪ Well you got what it takes

Cut!

Print!

Very good, Kids.

Lunch, one hour!

Hey, see what I mean, Pete?

I certainly do.

This is what the people want.

Instead of the old stuff, fright wigs and monsters, they go for gorgeous gals singing, dancing.

You know, escapism.

And that's what you'll give them.

Got to.

It's the wheels of progress.

The automobile kills off the horse and buggy, the freezer puts the old-fashioned icebox out of business, and so it goes.

You're right, Mr. Clayton, the wheels of progress.

No matter whom they run over.

That's the way the footage cuts.

Yes, girls?

Anything I can do?

We're from Oakmount 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.

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.

Now, now, now, girls, I know you have a lot to write about, but we really don't have too much time.

Well, we just want to ask one question.

Ask me.

How does it feel to be the last of the Frankensteins?

What?

Who told you he was the last?

Mr. Clayton.

Oh?

Well, we had to get permission from him first and then we described what we wanted and he suggested that as a good question.

I know the question.

Well, go ahead, Tony, answer it so we can get on with our work.

Well, first or last, I'm gonna do my best.

It's a big opportunity for me.

Thank you very much.

We'll get pictures from publicity.

Thanks again and good lucky, Tony.

Goodbye, Tony.

Goodbye.

There, 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.

Goodnight, Richards.

Goodnight, Sir.


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.

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 studios..

Oh, quiet, you fool.

A little gust of wind and you begin to shiver.

I've taken care of you for 25 years.

You won't starve.

I'll see to that.

Provided you keep your mouth shut.

Shut at all times, do you understand?

Yes, Pete, of course I do.

I never give you any trouble, you know that, Pete.

I've always considered you the master and I was the assistant.

And let's keep it that way.

A silent assistant.

Rivero, you and I have been invited downtown to police headquarters.

Police headquarters?

For routine questioning.

Merely a ride down and back.

When we get there don't open your mouth.

I'll provide the answers.

Yes, Pete.

All right, let's go.

Get your hat and coat.

The police are very peculiar, they insist on punctuality.

I was just going to barge in on you.

Me?

Yes, you.

You're Pete, all right.

I don't believe we've met.

Well, you're meeting me now.

Gary Droz, that's my name.

I'm Larry's agent.

Larry, your Teenage Werewolf.

I set 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's got a great future as an actor and I'm going to 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 could even get you a job as a heavy if you'll join the union!

Well, thanks for the offer.

You're welcome for nothing.

And don't forget what I've been telling you.

You leave my client alone!

I tell you, Pete, since that maniac's been on the kill, I've had no sleep.

Nights on the studio gig, days over here.

Yeah, 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!

Who 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've 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.

Thank you, Millie.

We'll probably want you to try to identify this uh, monster, from any suspects we pick up.

Oh, you mean I have to come down here again?

Well, I'm afraid so.

Well...

You call me and I'll come.

No man like that should be roaming the streets.

Yeah, I'll come.

You can come in now, Richards.

Sit down.

Now, last night, as you know, Mr. Clayton was killed.

But right now we want to take you back to the Monahan killing.

Yes, Sir?

Are you sure you're not holding out anything on us?

Why, no.

Well, you yourself said it was strange that you didn't hear anything.

Now, we've been chewing that over.

Exactly where were you when it happened?

Well, in my booth at the gate.

How far is that from the commissary?

About the same distance as 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 of those, any soreheads, anybody with a grudge?

No.

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's finished shooting?

There's a few drinks, some eats, laughs.

Lotta 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.

All right, Gentlemen.

I'm Captain Hancock.

How do you do?

I think you've met Detective Jones.

This is Detective Thompson.

Hello.

Hello.

Pete, I'll tell you why we asked you and your assistant to come down here.

A little while ago we questioned a maid who was knocked down by a man who might've murdered Clayton.

The 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 it was huge, big arms and shoulders, had one eye out of its socket.

Well, 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?

Uh, 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 um, some crackpot, after seeing some of your monsters in a picture, I mean..

They're playing all over town.

Now, do you think a weirdy like that could have tricked himself out in imitation and got carried away?

Now, how can I put myself in the position of what you call a weirdy?

Why, anything is possible.

But in an amateur, the results would be crude.

Doesn't take the finished product to commit a murder.

I'm no authority on murder, that's your department.

As for me, my job is to take an actor and transform him into whatever off-beat appearance the part calls for.

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

What do you know about all this?

Why, nothing.

I didn't do anything.

You have an opinion, don't you?

Rivero wouldn't know anything about it.

Let him speak for himself.

How long you work 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 Sorrento Street.

You ever been married?

No, Sir.

Haven't you got any nephews, cousins?

Or maybe some of the neighbors' kids asked 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 turned 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.

Well, we weren't the only ones.

Now, we're questioning everybody.

I'm sure you gentlemen can solve those murders without us.

I wish it was possible to really help you.

Well, there is something you can do.

Think back, all the actors you've made up in other pictures, think of how they talk, what they said to you.

After all, you were close to them.

Do you believe that any of these, for one reason or another, might go berserk?

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

Thanks to our makeup job, they may have looked like killers, but under the greasepaint and putty they were only actors performing a role.

Now, are we excused?

Yeah, I believe so.

I can go, too?

We'll get back to you later.

As I said, any way we can we'll be pleased to cooperate.

There's something weird about that old Pete.

And his assistant, Rivero.

Maybe that's what comes from spending all your life with monsters.

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

Well, you certainly tried to shake him loose.

Were you really aiming at something?

Potshots.

Potshots.

Ah, 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 that way that big fellow 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 have told him everything.

You certainly were on the verge.

You should have seen your face.

You were ready to crack, split wide open and spill everything, weren't you?

No, no, I'd never give you away, only..

Only what?

Well, when they press 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.

Well, 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.

Oh, no, no, Pete, I'd never do that.

I'd never betray you.

I swear, I'd never do that.

Well, you stay that way and I'll protect you.

Anyway, time's on our side.

The picture's finished and our work is done.

It's done, all right.

But there's still the 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.

Hmm?

Now, get in there.


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?

Greasepaint and putty.

You mean the killer wore makeup?

Well, he must have.

We've already checked this against the trade product put out by makeup companies and our first findings are that the pigment and cosmetic base used in the sample we analyzed was special, like homemade.

Instead of linseed oil, a blend.

Anyway, we'll have to check suppliers for beauty parlors and studios and..

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 asked us to meet you and, well, we did want to say goodbye.

Oh, of course, but not here.

I'd like you boys to come to my house.

We'll have a little food, a little celebration.

After all, this is no way to end a friendship.

Well, uh, sure, Pete, but, look, you don't mind if we don't stay too long, huh?

We both have dates.

Oh, fine.

Now, how about you boys helping Rivero load the car?

Oh, sure, Pete, we'll help.

You go ahead, wait for me in the car.

I'll just gather up the last of my stuff and we'll be off in a jiffy.

Okay.


Hi, Pete.

Oh!

Oh, well, 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.

Oh, 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.

Bye, Richards.

Oh, uh, Richards.

On the top shelf of my closet in the makeup room there's a bottle of bourbon.

I got it as a present, never opened it.

I don't touch the stuff.

Go ahead, take it, it's for you.

Have a snort on old Pete.

Thanks, Pete.

Bye.

Is Pete Dumond the makeup man still here?

Just checked off the lot.

I know where his makeup room is.

Let's go there first.

Well, it looks like he took everything with him.

Yeah, a clean sweep.

Except for this.

Well, let's have a look.


Well, here we are, boys.


Oh, leave the boxes there, boys.


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 called them your children?

Why, yes.

Later I'll tell you their history, how each one came about.

But now let's just look at them.

This room is like a cathedral to me.

This is where I come when I need help from a source stronger than myself.

Don't you think we should be getting some refreshments?

Hmm?

Oh, yes!

Yes, of course.

I lose myself here.

After all, I'm your host.

Make yourselves at home, boys.

This is the first time he's had guests here.

You young men should feel honored.

We do.

We certainly do.

Look around, boys.

Study these heads, you'll recognizes 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.

No, man, you saw, you heard.

If we don't dig the old man's collection we'll hurt his feelings.

It gives me the creeps.

Yeah, he does, too.

I wouldn't have come, only he said it was some kind of celebration, a party.

Yeah.

It's a party all right.

All the guests are stuffed heads.

Oh, we shouldn't have come, no matter how much he pressured.

Yeah, he makes it tough to refuse.

I know.

You know, old Pete's got ways about him.

I don't know, strange ways.

Like when he was making 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 would drive you out of the business and that only he could protect you?

Yeah, yeah, he did.

Hey, I meant to check with you about that, only I forgot.

I 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 how..

Pete, I never criticize you, but I believe you made a mistake in bringing Larry and Tony here.

Why?

I don't think they can be trusted.

Nonsense, not trust these boys.

They've already demonstrated quite favorably that they obey my orders.

You know I have them under control.

But you won't.

Now that the picture's finished and you haven't helped their careers, your control will wear off.

And the police are sure to talk to them.

That'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, yeah, that's it.

These young men are not strong the way you are.

No, of course not.

If only they had your devotion to me, your iron nerves.

But they haven't!

What a source of strength and comfort it is to me that I can be sure of you.

Of course you can, Pete.

And should the police speak to you alone, you wouldn't reveal a thing?

No, not a thing.

Even if they gave you a third degree, they couldn't squeeze the tiniest bit of confession from you, could they?

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.

I'll remember that, old friend!


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.

Why, you don't have to bother.

In fact, Larry and me have sort of a, well, dinner date.

But you mustn't think of leaving yet.

I brought you both here for a purpose.

I can't let you go until that's accomplished.

What purpose?

I have a great honor to bestow upon you.

Like what?

I intend to add you two to my collection.

Add us?

How?

It's always been my ambition to crown my collection with a werewolf and a Frankenstein monster that I created completely, soul as well as body.

But what about those?

Oh, they're only images fashioned from memory.

You want real heads on your wall?

As real as I can get them.

For the present, I only want to take your measurements to get exact replicas of your heads.

You've got the stills.

Oh, no.

No, photographs are not enough.

My new editions will be life-like.

Just think, in the years to come, you'll both be up there, a refuge, a permanent home.

Now, look, Pete, we're thankful to you and all that and, well, we know it's an honor, well, but to level with you, we don't feel quite right in here.

We'd like to get out.

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

Yeah, so just let us out.

Is that how you repay me?

Now, look, Pete.

You did something to us.

Tony and I talked it over.

We can't exactly put our fingers on it, but 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 your or your influence.

Now, just open the door!

I suppose if I let you go like a pair of sniveling babes, you'll go running to the police!

What's the police got to do with it?

As you know, there were 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's practically closed and 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.

What have you done, you fools?


My children!

I must save my children!

You fools, what did you do?

My children are dying!

Save my children!


Call the fire department!

Break it in!

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!