WEBVTT Kind: captions; Language: en 00:00:00.000 --> 00:00:26.000 [...] 00:00:31.001 --> 00:00:35.001 This was the scene of the crime. In our book, it's murder. 00:00:37.000 --> 00:00:38.001 Same old story to begin with. 00:00:39.001 --> 00:00:43.001 Victim young, good looking, wanted to get on television. Had everything it takes 00:00:43.001 --> 00:00:50.001 for a great career. Someplace along the line got mixed up with the wrong guy. You 00:00:50.001 --> 00:00:52.000 know, wound up dead. 00:00:57.001 --> 00:01:02.001 We don't know who did it or how. That's what we're trying to find out. About 00:01:02.001 --> 00:01:04.000 the body, not pretty. 00:01:04.001 --> 00:01:09.000 Beat up, mutilated, pretty bad. Hard to believe anybody would do a thing like 00:01:09.000 --> 00:01:15.000 that. But if you've got a strong stomach, take a look. Alive and healthy a month 00:01:15.000 --> 00:01:33.001 ago. Now, she's dead. Couldn't have been [...] Yes? Speaking. 00:01:36.001 --> 00:01:41.000 Tomorrow. But you told me next 00:01:41.000 --> 00:01:44.001 week. But you got it. 00:02:08.001 --> 00:02:09.001 Oh, Mr. 00:02:09.001 --> 00:02:21.001 [...] Well, please. Let me alone. 00:02:21.001 --> 00:02:28.000 We don't know. All we got are suspects. There's a guy named of Jones, lab man. He 00:02:28.000 --> 00:02:33.000 makes prints of films. He handled this print. That print was perfect when she 00:02:33.000 --> 00:02:38.001 left me. I had nothing to do with killing her. And there's Smith. He's a film 00:02:38.001 --> 00:02:41.000 distributor. He sent the print to the station. 00:02:41.001 --> 00:02:44.001 Why would I do anything to hurt her? I loved her. And 00:02:44.001 --> 00:02:47.000 Brown. He's film director at the station. 00:02:47.001 --> 00:02:52.001 I know you're trying to make me the fall guy. It won't work. She was with me a 00:02:52.001 --> 00:02:58.001 lot. Sure. But I was taking care of her. And Harris, projectionist at the 00:02:58.001 --> 00:03:03.001 station. I only had that print long enough to thread her up. I couldn't have done 00:03:03.001 --> 00:03:08.000 her any harm. Somebody did. Somebody murdered her. My job. 00:03:08.001 --> 00:03:15.000 Find out who. We questioned the suspects. Got their stories. First, this man 00:03:15.000 --> 00:03:19.001 Jones from the film laboratory. What do you pick on me for? I never heard that 00:03:19.001 --> 00:03:24.000 print. How do you figure that? I know the kind of treatment film gets here. 00:03:24.000 --> 00:03:29.000 That's my business. Protecting film. Turning out perfect prints. Why ask me all 00:03:29.000 --> 00:03:34.000 these questions? Just routine. Well, I got nothing to hide. I'll tell you how it 00:03:34.000 --> 00:03:39.000 was. That print. Here's where she came from. First, I saw her. She was coming off 00:03:39.000 --> 00:03:43.001 this processing machine. Brand new and perfect. And we kept her that way too. 00:03:45.000 --> 00:03:47.001 How? Well, figure it out. 00:03:48.000 --> 00:03:54.000 What's the biggest danger to film? Dirt. All right. Look around. No dirt in here. 00:03:54.000 --> 00:03:59.000 Even the air is filtered. Not a chance for any dust or dirt or stuff to get to 00:03:59.000 --> 00:04:05.000 her. Go on. Another thing. Before she ever left the machine. Before I ever 00:04:05.000 --> 00:04:10.000 touched her. She was lubricated. You oiled her? No, no. 00:04:10.001 --> 00:04:16.000 Wax solution. Here, film goes over this glass cylinder that rotates and puts the 00:04:16.000 --> 00:04:22.001 lubricant on the emulsion side. Lubricant? Yeah. We make it up ourselves. About a 00:04:22.001 --> 00:04:28.001 tenth of a gram of Hercules B16 synthetic wax to a hundred grams of solvent. 00:04:29.000 --> 00:04:34.001 Applied here. Drives almost instantly. What's the idea? Protection against 00:04:34.001 --> 00:04:38.001 scratches, abrasion. Keeps the film from sticking in a projector gate. 00:04:39.000 --> 00:04:42.000 For instance, you ever hear of people having trouble with green 00:04:42.000 --> 00:04:44.001 prints? Green prints? Yeah. 00:04:44.001 --> 00:04:49.000 That's a print that hasn't been lubricated. That fresh emulsion gelatin is always 00:04:49.000 --> 00:04:54.001 soft. A little tacky. Sticky. Unless you lubricate that surface, the first few 00:04:54.001 --> 00:04:59.001 times you try to project it, you can have trouble. You get sticking. Little tiny 00:04:59.001 --> 00:05:02.000 particles of that soft emulsion come off. 00:05:02.000 --> 00:05:06.001 And pile up in the gate. Result is jittery picture, not steady. 00:05:09.000 --> 00:05:16.000 Not only that, if it sticks bad, the cloth puts too 00:05:16.000 --> 00:05:17.001 much tension on the perforations. 00:05:18.000 --> 00:05:23.001 May even tear them. Or you can lose a loop, break the film. Or the film runs off 00:05:23.001 --> 00:05:29.000 and the sprockets punch new holes. A green print will do that. Right. Another 00:05:29.000 --> 00:05:35.000 thing. Where that soft emulsion piles up, dirt gets in. It drags against the film 00:05:35.000 --> 00:05:40.000 and you get abrasion. Sounds like what happened to this print. Nope. Couldn't 00:05:40.000 --> 00:05:44.000 have. Because like I said, she was lubricated like all our prints. 00:05:44.001 --> 00:05:47.001 That wax coating prevents print sticking. So don't blame 00:05:47.001 --> 00:05:49.000 me for what happened to that print. 00:05:49.001 --> 00:05:52.000 Guy you're looking for must be. Never mind anybody 00:05:52.000 --> 00:05:54.000 else. What else did you do with her? 00:05:54.001 --> 00:06:01.000 What else? Well, took the reel off the machine, made a regular visual inspection. 00:06:01.001 --> 00:06:05.001 We'd have caught any defects if there had been any. And we're still working in 00:06:05.001 --> 00:06:07.000 clean filtered air remember. 00:06:07.001 --> 00:06:13.000 Put her on a core, labeled her, packaged her up and shipped her off. That's all? 00:06:14.000 --> 00:06:19.001 Yeah. So if I did all that, took all that care, how could I have hurt her? I 00:06:19.001 --> 00:06:22.000 wonder. Huh? If you did all that. 00:06:28.001 --> 00:06:33.000 Next guy we talked to was Smith. Works for this film distribution outfit. His 00:06:33.000 --> 00:06:38.001 story was. Sure, I remember. She came to us from the lab on a core. We inspected 00:06:38.001 --> 00:06:40.001 her while rewinding her onto a reel. 00:06:41.001 --> 00:06:47.001 Careful, were you? Sure. Brand new reel, like always. Side straight, no burrs. 00:06:48.000 --> 00:06:53.000 Was she in good shape then? Perfect. And then? Well, she went out to two or three 00:06:53.000 --> 00:06:58.001 stations. I could tell you which ones. No names. Okay. Anyway, the next I saw 00:06:58.001 --> 00:07:00.000 of her, she was still in A1 condition. 00:07:00.001 --> 00:07:03.001 That was one morning when I got her out of the rack for timing and 00:07:03.001 --> 00:07:05.000 inspection. Hold it. 00:07:07.000 --> 00:07:13.001 This sign. This film of fire hazard? What's that? Oh no, it's all safety film. 00:07:13.001 --> 00:07:17.001 The point of no smoking is it helps keep the place clean. That's the first rule 00:07:17.001 --> 00:07:22.001 in handling film. Don't let dirt and stuff get to it. So they tell me. You can 00:07:22.001 --> 00:07:24.001 see for yourself how clean we keep it around here. 00:07:25.000 --> 00:07:30.001 There's no windows to let dirt and grime in from the outside. Tables? Nothing on 00:07:30.001 --> 00:07:35.000 them except what we need to work with. No chance for dirt or abrasive material to 00:07:35.000 --> 00:07:41.000 get to our film. This is the way it always is? Sure. Films are business. You know 00:07:41.000 --> 00:07:45.000 how much it costs us when a print gets scratched up and has to be junked? Plenty. 00:07:46.000 --> 00:07:50.001 Plenty is right. That's why I keep my place looking like this. You never catch me 00:07:50.001 --> 00:07:55.000 doing like some people, letting my table turn into a junk pile. That's murder on 00:07:55.000 --> 00:07:58.001 film. I got more sense than that. I'll tell you something about 00:07:58.001 --> 00:08:00.001 film. What's that? 00:08:01.000 --> 00:08:06.001 Whenever film's being handled, moved, other words wound and rewound, it 00:08:06.001 --> 00:08:08.000 builds up static electricity. 00:08:08.000 --> 00:08:13.000 It gets just like a magnet. It attracts particles of dirt. Stuff from the air, 00:08:13.001 --> 00:08:17.001 cigarette ashes, dirt on the table. That stuff gets ground into the film and 00:08:17.001 --> 00:08:21.001 you've got scratches. But about this murder, you took this print to your table? 00:08:22.001 --> 00:08:27.001 Yeah, for timing and inspection. Meaning what? Well, to measure the footage first 00:08:27.001 --> 00:08:32.000 using this counter. But that can't hurt film, providing you don't pull it through 00:08:32.000 --> 00:08:38.001 too fast. Did you? No. Took it slow. Thing is, while I was timing her, I was 00:08:38.001 --> 00:08:45.001 checking for any damage. Any abrasions or scratches. How? How'd I check? Held her 00:08:45.001 --> 00:08:47.000 so the light reflects off the film. 00:08:47.001 --> 00:08:53.000 Any scratches, I'd see them. Did you see any? No. What else you checked 00:08:53.000 --> 00:08:55.001 for? Any splices in the print. 00:08:56.001 --> 00:09:00.000 If there had been any bad ones, I'd have repaired them. But there weren't. 00:09:00.000 --> 00:09:05.001 Look for any damage to the perforations. Any torn ones. They were all okay. 00:09:06.000 --> 00:09:10.000 Anything else? Yeah, I made sure that the last station hadn't left any 00:09:10.000 --> 00:09:16.000 commercials in the film and I checked for improper cue marks. What marks? Cue 00:09:16.000 --> 00:09:20.001 marks. You know, the little marks we put at certain points in the film to signal 00:09:20.001 --> 00:09:25.001 a director or projectionist when to switch over or when the film's about over or 00:09:25.001 --> 00:09:30.001 when to bring in a commercial. You know. I get you. The reason I checked that, 00:09:31.000 --> 00:09:36.001 well, you should see some of the films we get back. Brother, the cue marks. These 00:09:36.001 --> 00:09:40.000 jokers all think they've got to have their own special cue marks at their own 00:09:40.000 --> 00:09:44.001 special places and make them good and big so they can't miss them. Looks awful. 00:09:45.001 --> 00:09:48.000 Ruins a print. I can understand why they 00:09:48.000 --> 00:09:55.000 don't hurt. 00:09:55.001 --> 00:10:02.000 Only the right ones. That's all. Any other injuries? No. Like I say, she was in 00:10:02.000 --> 00:10:08.001 beautiful shape. Sure of that? Sure. Anything wrong had reported it, but there 00:10:08.001 --> 00:10:15.000 wasn't. Condition A1. No scratches, no perforation damage. Everything okay. You 00:10:15.000 --> 00:10:19.001 wear gloves. Always. Don't catch me getting fingerprints on any of them. Clean 00:10:19.001 --> 00:10:25.000 gloves? Yeah, clean gloves. Change them every day. Maybe often look. I know what 00:10:25.000 --> 00:10:29.001 you're getting at. Gloves pick up dirt particles while you work. Run film over 00:10:29.001 --> 00:10:34.000 the cloth and it acts just like sandpaper. Only thing is I didn't do that. My 00:10:34.000 --> 00:10:39.000 gloves were clean and I didn't drag the film over the dry cloth. I held it by the 00:10:39.000 --> 00:10:42.000 edges like always. So then what? 00:10:42.001 --> 00:10:48.000 Well, after inspection, we rewound her and cleaned her at the same time. Cleaned 00:10:48.000 --> 00:10:53.000 her how? With wax and solvent. The same thing they use in the labs. Lubricant, is 00:10:53.000 --> 00:10:58.000 it? Yeah. Anytime you clean film, you ought to use a lubricant to do it. Just 00:10:58.000 --> 00:11:04.000 makes sense to give it that protection. This machine, it's safe. Sure. Film runs 00:11:04.000 --> 00:11:09.000 through these strips of rayon plush. Solution drips onto the material, keeps it 00:11:09.000 --> 00:11:13.000 moist. The plush is chained so no dirt gets a chance to 00:11:13.000 --> 00:11:14.001 pile up and scratch the film. 00:11:15.000 --> 00:11:20.000 Takes up on a reel and that's it. No, you still say? That I couldn't have hurt 00:11:20.000 --> 00:11:24.001 that print. She went right into the can and the shipping case and left here. Like 00:11:24.001 --> 00:11:27.001 I say, condition A1. I swear it. 00:11:28.000 --> 00:11:31.001 Anything that happened to her later, I had nothing to do with it. I pass. 00:11:32.000 --> 00:11:34.000 Yeah, I see you. What? 00:11:35.000 --> 00:11:41.000 Passin'. The buck, that is. We followed the thing a little farther. Talk to this 00:11:41.000 --> 00:11:44.001 man, Brown, film director at the TV station. He 00:11:44.001 --> 00:11:46.000 admitted he'd had a lot to do with the victim. 00:11:48.000 --> 00:11:52.000 Naturally I did. I'm responsible for all the film here at the station. Our own 00:11:52.000 --> 00:11:57.000 prints and the ones we lease are rent. I make up the programs, see that the 00:11:57.000 --> 00:12:02.000 film's timed and cleaned, put in commercials, make repairs, all that. But I 00:12:02.000 --> 00:12:06.001 didn't hurt that film. What did you do to her? Well, the day 00:12:06.001 --> 00:12:13.001 she smoked. No smoking. I 00:12:13.001 --> 00:12:16.000 didn't smoke. We don't allow smoking where 00:12:16.000 --> 00:12:18.000 film's being handled because... I know. 00:12:18.001 --> 00:12:24.000 Then what? Took her in, put her on the table and started timing. Table pretty 00:12:24.000 --> 00:12:30.001 clean? Yeah, clean, sure. Look at it anytime. I know what dirt does to film. 00:12:31.001 --> 00:12:37.000 We're careful. Any place where handling film, it's clean, air conditioned. And 00:12:37.000 --> 00:12:41.000 that's all we do there. Just handle film. Don't get touchy. 00:12:42.000 --> 00:12:48.000 You project this print? No. Why not? Why, I haven't got time to 00:12:48.000 --> 00:12:50.000 project all the film we get in here. 00:12:50.001 --> 00:12:56.000 Hundreds of feet a day. Some stuff I project. Sure, if there's a question about 00:12:56.000 --> 00:12:57.001 it. But not this one. 00:12:58.001 --> 00:13:03.001 I don't think. You're not sure? No, but if I had, that wouldn't have hurt her. 00:13:04.000 --> 00:13:08.000 You can see our preview projectors in real good shape. Why, we 00:13:08.000 --> 00:13:09.001 clean the gate every other day. 00:13:09.001 --> 00:13:12.001 I know what a dirty projector can do to film. 00:13:17.000 --> 00:13:23.000 And I know what happens if you don't thread a projector right. So? 00:13:23.001 --> 00:13:30.001 So, I'm careful about threading every time. But like I say, this print, I didn't 00:13:30.001 --> 00:13:37.000 project. All I did was timer and spectra and put in the commercials. Take it a 00:13:37.000 --> 00:13:42.000 step at a time. Well, what I did was run her through the footage counter at a 00:13:42.000 --> 00:13:46.000 good safe speed too. Some guys pull them through so fast they scream. 00:13:47.000 --> 00:13:52.001 Not me. I've seen what that can do to film. So, if you. So, I went slow. 00:13:53.001 --> 00:13:59.000 Meantime, I checked for scratches and damaged preparations. The usual things. And 00:13:59.000 --> 00:14:02.000 then? Find any damage? No, it didn't. 00:14:02.001 --> 00:14:06.001 Anyhow, I figured a distributor had made a real thorough check and cleaned it. 00:14:07.000 --> 00:14:10.001 So, there was no reason to think anything was wrong. He 00:14:10.001 --> 00:14:12.000 claims there was nothing wrong with it. 00:14:12.001 --> 00:14:17.001 Okay, well, I couldn't have heard it either. Then what'd you 00:14:17.001 --> 00:14:20.000 do? Spliced in the commercials. 00:14:21.000 --> 00:14:28.000 How? Like I always do. Listen, I know how to make a splice, mister. You can watch 00:14:28.000 --> 00:14:32.000 me anytime, right by the book. Put the film in carefully. 00:14:33.000 --> 00:14:34.001 Don't jam it on the pins. 00:14:36.000 --> 00:14:42.000 Never use scotch tape or masking tape to back up a splice. I know that. Stuff 00:14:42.000 --> 00:14:48.000 gets caught in the projector gate. Oh. Then I scrape the emulsion and I use a 00:14:48.000 --> 00:14:49.001 scraper that's made for scraping. 00:14:50.001 --> 00:14:53.001 Wet the emulsion to soften it. Take it all off without 00:14:53.001 --> 00:14:55.001 cutting down into the base. 00:15:02.001 --> 00:15:09.000 Then the cement. Put it on. Close her up. Give it 10 or 15 seconds to dry well. 00:15:09.001 --> 00:15:15.001 And I've got a perfect splice. But that's how I always do it. And I keep my 00:15:15.001 --> 00:15:21.000 splicer adjusted, too. So there's no chance of the splices being crooked. Okay. 00:15:21.001 --> 00:15:26.000 After inspection, what? You clean it? No, it didn't need it. The distributor 00:15:26.000 --> 00:15:32.001 always... Ever clean film here? Sure. Sure. Our own library prints or any prints 00:15:32.001 --> 00:15:39.001 that need it. Use a machine? No, no. We clean it by hand. We run it through 00:15:39.001 --> 00:15:46.000 soft cotton pads moistened with cleaning fluid. I say clean. We keep changing the 00:15:46.000 --> 00:15:52.000 cloth so dirt can't pile up and scratch the film. Cleaning fluid? Yeah. Solve 00:15:52.000 --> 00:15:56.000 them with a little synthetic wax in it to lubricate the film. Makes it move 00:15:56.000 --> 00:16:01.000 through the projector nice and smooth. Right. Now about this print. 00:16:01.001 --> 00:16:06.001 After inspection, you rewound it. Yeah. And I was careful there, too. First 00:16:06.001 --> 00:16:13.000 place, my rewinds are lined up perfectly. No way film can drag against the sides. 00:16:14.000 --> 00:16:19.001 Then I kept the constant tension on the film. I'm not one of these wise guys when 00:16:19.001 --> 00:16:24.001 it comes to rewind and film. Wise guys? Yeah. You've seen them showing off, 00:16:25.000 --> 00:16:29.001 building up speed, then coasting, letting the film drag over the table so it gets 00:16:29.001 --> 00:16:33.000 scratched, or cranking it through with a jerky motion so you 00:16:33.000 --> 00:16:34.001 won't get a good snug roll. 00:16:35.000 --> 00:16:40.001 And none of that stuff for me, uh-huh. Steady speed. Constant tension when I 00:16:40.001 --> 00:16:42.000 rewind. Yeah. 00:16:43.000 --> 00:16:48.000 Something else. I've seen guys do a sloppy job so the film's loose on the reel. 00:16:48.001 --> 00:16:53.001 Then they'll yank on the end of the film till it's tight. Worst thing you can do. 00:16:53.001 --> 00:16:58.001 Any dirt particles on the film just get grounded along against the emulsion and 00:16:58.001 --> 00:17:03.001 dig grooves. Cinch marks. You've seen them look like this. 00:17:05.000 --> 00:17:12.000 Yeah, I've seen them. That's why I didn't sense the film. Never do. Rewind are 00:17:12.000 --> 00:17:18.001 good and snug on a good reel. No bent sides. No burrs. Put her in with 00:17:18.001 --> 00:17:23.001 the next day's programs. That's all I did. I didn't hurt that print and you can't 00:17:23.001 --> 00:17:26.000 prove I did. I'm innocent, so help me. 00:17:26.001 --> 00:17:31.001 Funny thing. Huh? If you're innocent, why would you want help? 00:17:35.000 --> 00:17:40.000 That left us with one more suspect. Harris, projectionist at the TV station, had 00:17:40.000 --> 00:17:45.001 an answer to everything. Oh, I grant you a film can get ruined in projection. It 00:17:45.001 --> 00:17:49.001 happens. But not if the film is in good shape and the projector is working right. 00:17:50.000 --> 00:17:55.000 Now that's my job. No bent reels and I never spin the take-up reel after I'm 00:17:55.000 --> 00:18:01.000 threaded up. And I'll tell you now, my projector never harmed that print. Sure of 00:18:01.000 --> 00:18:07.000 that. Figure it out. I'm supposed to get a good picture on the screen. Only way I 00:18:07.000 --> 00:18:12.000 can do that is to keep that projector clean. If I, the gate gets dirty and the 00:18:12.000 --> 00:18:14.000 picture starts jumping around like this. 00:18:17.000 --> 00:18:23.000 Or the sound scanning system gets dirty and the sound goes 00:18:23.000 --> 00:18:25.000 haywire. Like this. 00:18:25.000 --> 00:18:30.000 Noisy, you see? Yes, friends. Feed your pooch. Doggy drops. You'll 00:18:30.000 --> 00:18:32.000 go for that yummy flavor. 00:18:32.000 --> 00:18:38.000 And remember, doggy drops are double enriched. Now twice as effective. Get the 00:18:38.000 --> 00:18:44.000 handy 50 pound economy size at your neighborhood camel. So I don't let those 00:18:44.000 --> 00:18:50.000 things happen. I work on that projector. Work on it? How? Well, take the gate. 00:18:51.000 --> 00:18:53.001 Every chance I get I pull it out and clean it. 00:18:54.001 --> 00:18:59.001 Especially along these rails. Let emulsion or dirt pile up here 00:18:59.001 --> 00:19:01.000 and it's liable to scratch the film. 00:19:01.000 --> 00:19:07.000 Particularly on the soundtrack area. Then you've got a noisy track. Go on. 00:19:08.000 --> 00:19:13.001 Another thing. If the gate's dirty, the film can't move through freely. Tends to 00:19:13.001 --> 00:19:18.000 stick when the intermittent pulls down on the perforation. Now that extra strain 00:19:18.000 --> 00:19:23.001 can scar those perforations. May even tear em. Then you lose your loop, get run 00:19:23.001 --> 00:19:28.000 off, really chew up the film. That's what happened here to the victim? 00:19:29.000 --> 00:19:33.001 Nope, that's what didn't happen. Because I cleaned that gate. Got the dust out of 00:19:33.001 --> 00:19:40.000 it. And that isn't all. I checked every film contact point. Made sure the rollers 00:19:40.000 --> 00:19:44.001 were all really rolling. Not stuck, so the film was dragging over them. Now that 00:19:44.001 --> 00:19:49.001 could happen. Did it? No, I told you I checked it. 00:19:50.000 --> 00:19:54.001 Part of my normal maintenance. Like checking the sound system all the time. 00:19:55.000 --> 00:19:58.001 Cleaning all the film contact points to make sure we get the best sound quality. 00:19:59.001 --> 00:20:03.000 And also make sure the film doesn't get scratched when it goes over the drum. 00:20:05.001 --> 00:20:12.000 Main thing with a projector is to keep it clean and lubricated right. Then it'll 00:20:12.000 --> 00:20:17.001 never damage film. Not if the film's okay to begin with. How about threading? 00:20:18.000 --> 00:20:23.001 Well, what about it? Listen, I know my job. I thread that projector 50 00:20:23.001 --> 00:20:25.000 times a day and I do it right. 00:20:25.001 --> 00:20:29.000 Ask anybody. They'll tell you. Or you can watch me yourself. 00:20:30.000 --> 00:20:32.000 Anything goes wrong during projection. 00:20:32.001 --> 00:20:37.001 It's because there are bad splices in the print or torn perforations or dirt on 00:20:37.001 --> 00:20:42.001 the film. I take care of this projector and I thread it up the right way. Now 00:20:42.001 --> 00:20:49.000 that's all I can do. I projected that print and I put her in the rack. That's the 00:20:49.000 --> 00:20:54.001 last I saw of her. Not quite. What do you mean? You see her now. 00:20:58.001 --> 00:21:02.000 So there it's a murder that everybody says couldn't have happened. 00:21:03.001 --> 00:21:09.001 We don't know who did it. All we know is this. If all the suspects have treated 00:21:09.001 --> 00:21:14.001 the victim like they say they did, she'd be alive today. Only she's not. 00:21:15.001 --> 00:21:18.001 Somebody's guilty. Maybe all of them together. 00:21:19.000 --> 00:21:24.001 What if they stick to their stories? We're stuck with a perfect crime. It happens 00:21:24.001 --> 00:21:26.000 more than you think. 00:21:28.000 --> 00:21:34.001 As for you, we figure you're innocent. This case, 00:21:35.000 --> 00:21:39.001 you can go. Just one thing. You want to stay in the clear and get this straight. 00:21:40.001 --> 00:21:45.000 Every time you handle film, better figure it's a matter of life or death because 00:21:45.000 --> 00:21:50.000 it is. Get a little careless and we may be after you for murder on the screen.