WEBVTT Kind: captions; Language: en 00:00:32.000 --> 00:00:36.000 This was the scene of the crime. In our book, it's murder. 00:00:37.001 --> 00:00:39.000 Same old story to begin with. 00:00:39.001 --> 00:00:44.000 Victim young, good looking, wanted to get on television. Had everything it takes 00:00:44.000 --> 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. 00:00:55.000 --> 00:01:01.001 We don't know who did it or how. That's what we're trying to find out. 00:01:02.001 --> 00:01:08.000 About the body, not pretty. Beat up, mutilated, pretty bad. Hard to believe 00:01:08.000 --> 00:01:13.000 anybody would do a thing like that. But if you've got a strong stomach, take a 00:01:13.000 --> 00:01:16.000 look. Alive and healthy a month ago. 00:01:16.000 --> 00:01:21.000 Now, she's dead. Couldn't get her through a projector. If you 00:01:21.000 --> 00:01:22.001 could, nobody could stand to look. 00:01:25.001 --> 00:01:31.001 Yes? 00:01:33.000 --> 00:01:38.000 Speaking? Tomorrow? 00:01:39.001 --> 00:01:44.001 But you told me next week. But you got it! 00:02:09.000 --> 00:02:12.000 Oh, Mr. Quill! No, Mr. Quill, please! Take him to the 00:02:12.000 --> 00:02:13.001 [...] Department! He won't survive! 00:02:20.001 --> 00:02:26.001 Who did it? We don't know. All we got are suspects. There's a guy named of Jones, 00:02:27.001 --> 00:02:32.000 lab man. He makes prints of films. He handled this print. That 00:02:32.000 --> 00:02:33.001 print was perfect when she left me. 00:02:34.000 --> 00:02:40.000 I had nothing to do with Kilvenor. And there's Smith. He's a film distributor. He 00:02:40.000 --> 00:02:44.001 sent the print to the station. Why would I do anything to hurt her? I loved her. 00:02:45.000 --> 00:02:49.001 And Brown. He's film director at the station. I know. You're trying to make me 00:02:49.001 --> 00:02:55.001 the fall guy. It won't work. She was with me a lot, sure. But I was taking care 00:02:55.001 --> 00:03:01.001 of her. And Harris. Projectionist at the station. I only had that print long 00:03:01.001 --> 00:03:06.000 enough to thread her up. I couldn't have done her any harm. Somebody did. 00:03:06.001 --> 00:03:12.001 Somebody murdered her. My job? Find out who. We questioned the suspects. Got 00:03:12.001 --> 00:03:18.000 their stories. First, this man Jones from the film laboratory. What do you pick 00:03:18.000 --> 00:03:23.000 on me for? I never hurt that print. How do you figure that? I know the kind of 00:03:23.000 --> 00:03:26.000 treatment film gets here. That's my business. Protecting film. 00:03:26.001 --> 00:03:32.000 Turning out perfect prints. Why ask me all these questions? Just routine. Well, I 00:03:32.000 --> 00:03:36.001 got nothing to hide. I'll tell you how it was. That print. Here's where she came 00:03:36.001 --> 00:03:41.001 from. First I saw her. She was coming off this processing machine. Brand new and 00:03:41.001 --> 00:03:48.000 perfect. And we kept her that way too. How? Well, figure it out. 00:03:48.001 --> 00:03:54.000 What's the biggest danger to film? Dirt. All right. Look around. No dirt in here. 00:03:54.001 --> 00:03:59.001 Even the air is filtered. Not a chance for any dust or dirt or stuff to get to 00:03:59.001 --> 00:04:02.000 her. Go on. Another thing. 00:04:02.001 --> 00:04:06.001 Before she ever left the machine. Before I ever touched her. She was 00:04:06.001 --> 00:04:08.001 lubricated. You oiled her? 00:04:09.001 --> 00:04:15.001 No, no wax solution. Here, film goes over this glass cylinder that rotates and 00:04:15.001 --> 00:04:21.001 puts the lubricant on the emulsion side. Lubricant? Yeah. We make it up 00:04:21.001 --> 00:04:28.000 ourselves. About a tenth of a gram of Hercules B16 synthetic wax to a hundred 00:04:28.000 --> 00:04:33.000 grams of solvent applied here. Drives almost instantly. What's the idea? 00:04:34.001 --> 00:04:38.000 Protection against scratches, abrasion. Keeps the film from sticking in a 00:04:38.000 --> 00:04:42.000 projector gate. For instance, you ever hear of people having trouble with green 00:04:42.000 --> 00:04:47.001 prints? Green prints? Yeah. That's a print that hasn't been lubricated. That 00:04:47.001 --> 00:04:51.001 fresh emulsion gelatin is always soft. A little tacky. 00:04:51.001 --> 00:04:56.000 Sticky. Unless you lubricate that surface the first few times you try to project 00:04:56.000 --> 00:05:01.001 it, you can have trouble. You get sticking. Little tiny particles of that soft 00:05:01.001 --> 00:05:07.000 emulsion come off and pile up in the gate. Result is jittery picture, not steady. 00:05:09.001 --> 00:05:16.001 Not only that, if it sticks bad, the cloth puts too 00:05:16.001 --> 00:05:18.000 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 --> 00:05:35.001 thing. Where that soft emulsion piles up, dirt gets in. It drags against the film 00:05:35.001 --> 00:05:40.001 and you get abrasion. Sounds like what happened to this print. Nope. Couldn't 00:05:40.001 --> 00:05:44.000 have. Because like I said, she was lubricated like all our prints. 00:05:44.000 --> 00:05:48.000 That wax coating prevents print sticking. So don't blame 00:05:48.000 --> 00:05:49.001 me for what happened to that print. 00:05:50.000 --> 00:05:52.001 Guy you're looking for must be... Never mind anybody 00:05:52.001 --> 00:05:54.001 else. What else did you do with her? 00:05:55.000 --> 00:06:01.001 What else? Well, took the reel off the machine, made a regular visual inspection. 00:06:02.000 --> 00:06:06.000 We'd have caught any defects if there had been any. And we're still working in 00:06:06.000 --> 00:06:07.001 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 --> 00:06:23.000 wonder. Huh? If you did all that. 00:06:25.001 --> 00:06:32.001 Next guy we talked to was Smith. Works for this film distribution 00:06:32.001 --> 00:06:38.001 outfit. His story was sure, I remember. She came to us from the lab on a core. We 00:06:38.001 --> 00:06:40.001 inspected her while rewinding her onto a reel. 00:06:42.000 --> 00:06:48.000 Careful, were you? Sure. Brand new reel, like always. Side straight, no burrs. 00:06:48.001 --> 00:06:53.001 Was she in good shape then? Perfect. And then? Well, she went out to two or three 00:06:53.001 --> 00:06:59.000 stations. I could tell you which ones. No names. Okay. Anyway, the next I saw 00:06:59.000 --> 00:07:00.001 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 --> 00:07:05.001 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. 00:07:14.000 --> 00:07:18.000 The point of no smoking is it helps keep the place clean. That's the first rule 00:07:18.000 --> 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 --> 00:07:25.000 see for yourself how clean we keep it around here. 00:07:25.001 --> 00:07:31.000 There's no windows to let dirt and grime in from the outside. Tables? Nothing on 00:07:31.000 --> 00:07:35.001 them except what we need to work with. No chance for dirt or abrasive material to 00:07:35.001 --> 00:07:41.001 get to our film. This is the way it always is? Sure. Film's our business. You 00:07:41.001 --> 00:07:45.000 know how much it costs us when a print gets scratched up and has to be junked? 00:07:45.001 --> 00:07:50.001 Plenty. Plenty is right. That's why I keep my place looking like this. You never 00:07:50.001 --> 00:07:55.000 catch me doing like some people, letting my table turn into a junk pile. That's 00:07:55.000 --> 00:07:59.000 murder on film. I got more sense than that. I'll tell you something about 00:07:59.000 --> 00:08:00.001 film. What's that? 00:08:01.001 --> 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. 00:08:08.001 --> 00:08:13.000 It gets just like a magnet. It attracts particles of dirt. Stuff from the air, 00:08:13.001 --> 00:08:18.000 cigarette ashes, dirt on the table. That stuff gets ground into the film and 00:08:18.000 --> 00:08:22.000 you've got scratches. But about this murder. You took this print to your table? 00:08:23.000 --> 00:08:28.000 Yeah, for timing and inspection. Meaning what? Well, to measure the footage first 00:08:28.000 --> 00:08:32.000 using this counter. But that can't hurt film, providing you don't pull it through 00:08:32.000 --> 00:08:39.000 too fast. Did you? No. Took it slow. Thing is, while I was timing her, I was 00:08:39.000 --> 00:08:45.001 checking for any damage. Any abrasions or scratches. How? How'd I check? Held her 00:08:45.001 --> 00:08:47.001 so the light reflects off the film. 00:08:47.001 --> 00:08:53.001 Any scratches, I'd see them. Did you see any? No. What else you checked 00:08:53.001 --> 00:08:56.000 for? Any splices in the print. 00:08:57.000 --> 00:09:01.000 If there had been any bad ones, I'd have repaired them. But there weren't. Look 00:09:01.000 --> 00:09:06.001 for any damage to the perforations. Any torn ones. They were all okay. Anything 00:09:06.001 --> 00:09:11.001 else? Yeah, I made sure that the last station hadn't left any commercials in the 00:09:11.001 --> 00:09:15.001 film and I checked for improper cue marks. What marks? 00:09:16.000 --> 00:09:20.001 Cue marks. You know, the little marks we put at certain points in the film to 00:09:20.001 --> 00:09:25.000 signal a director or projectionist when to switch over or when the film's about 00:09:25.000 --> 00:09:30.001 over or when to bring in a commercial. You know. I get you. The reason I checked 00:09:30.001 --> 00:09:33.001 that, well you should see some of the films we get back. 00:09:34.000 --> 00:09:38.001 Brother the cue marks. These jokers all think they've got to have their own 00:09:38.001 --> 00:09:43.000 special cue marks at their own special places and make them good and big so they 00:09:43.000 --> 00:09:45.000 can't miss them. Looks awful. 00:09:45.000 --> 00:09:51.001 Ruins a print. I can understand why they don't use a standard cue system. Believe 00:09:51.001 --> 00:09:57.001 me. Okay, but this print. Any cue marks on her? Only the right ones. That's all. 00:09:58.000 --> 00:10:00.000 Any other injuries? No. 00:10:01.000 --> 00:10:05.001 Like I say, she was in beautiful shape. Sure of that? 00:10:06.000 --> 00:10:08.000 Sure. Anything wrong had reported it. 00:10:08.000 --> 00:10:14.000 But there wasn't. Condition A1. No scratches, no perforation damage. Everything 00:10:14.000 --> 00:10:16.000 okay. You wear gloves? 00:10:16.001 --> 00:10:21.000 Always. Don't catch me getting fingerprints on any of them. Clean gloves? Yeah, 00:10:21.001 --> 00:10:25.001 clean gloves. Change them every day. Maybe oftener. Look, I know what you're 00:10:25.001 --> 00:10:30.001 getting at. Gloves pick up dirt particles while you work. Run film over the cloth 00:10:30.001 --> 00:10:33.000 and it acts just like sandpaper. Only thing is, I 00:10:33.000 --> 00:10:39.001 didn't I held it by the edges like 00:10:39.001 --> 00:10:46.001 always. So then what? Well, after inspection we rewound her and cleaned her at 00:10:46.001 --> 00:10:50.000 the same time. Cleaned her how? With wax and 00:10:50.000 --> 00:10:52.000 solvent. The same thing they use in the labs. 00:10:53.000 --> 00:10:57.001 Lubricant, is it? Yeah. Anytime you clean film you ought to use a lubricant to do 00:10:57.001 --> 00:11:03.001 it. Just makes sense to give it that protection. This machine. It's safe? Sure. 00:11:04.000 --> 00:11:08.001 Film runs through these strips of rayon plush. Solution drips onto the material. 00:11:09.000 --> 00:11:14.000 Keeps it moist. The plush is chained so no dirt gets a chance to pile up and 00:11:14.000 --> 00:11:19.000 scratch the film. Takes up on a reel and that's it. No, you still say. 00:11:19.001 --> 00:11:23.000 That I couldn't have hurt that print. She went right into the can and the 00:11:23.000 --> 00:11:28.001 shipping case and left here. Like I say, condition A1. I swear it. Anything that 00:11:28.001 --> 00:11:34.000 happened to her later, I had nothing to do with it. I pass. Yeah, I see you. 00:11:34.000 --> 00:11:40.001 What? Passin'. The buck that is. We followed the thing a little farther. 00:11:41.000 --> 00:11:45.001 Talked to this man, Brown, film director at the TV station. He admitted he'd had 00:11:45.001 --> 00:11:51.000 a lot to do with the victim. Naturally I did. I'm responsible for all the film 00:11:51.000 --> 00:11:55.001 here at the station. Our own prints and the ones we lease are rent. I make up the 00:11:55.001 --> 00:11:58.001 programs. See that the film's timed and cleaned. 00:11:58.001 --> 00:12:03.000 Put in commercials. Make repairs. All that. But I didn't hurt that 00:12:03.000 --> 00:12:05.000 film. What did you do to her? 00:12:06.000 --> 00:12:09.000 Well, the day she came in, I got her out of the rack to 00:12:09.000 --> 00:12:10.001 take her in for timing and inspection. 00:12:11.001 --> 00:12:16.000 Science says no smoking. I didn't smoke. We don't allow smoking 00:12:16.000 --> 00:12:18.000 where film's being handled because... 00:12:18.000 --> 00:12:22.001 I know. Then what? Took her in, put her on the table and started 00:12:22.001 --> 00:12:24.001 timing. Table pretty clean? 00:12:25.000 --> 00:12:31.000 Yeah, clean. Sure. Look at it anytime. I know what dirt does to film. 00:12:31.001 --> 00:12:37.001 We're careful. Any place we're handling film, it's clean. Air conditioned. That's 00:12:37.001 --> 00:12:40.000 all we do there. Just handle film. 00:12:40.001 --> 00:12:47.001 Don't get touchy. You project this print? No. Why not? Why, I 00:12:47.001 --> 00:12:52.000 haven't got time to project all the film we get in here hundreds of feet a day. 00:12:52.001 --> 00:12:59.000 Some stuff I project. Sure, if there's a question about it. But not this one. I 00:12:59.000 --> 00:13:04.001 don't think. You're not sure? No, but if I had, that wouldn't have hurt her. You 00:13:04.001 --> 00:13:09.001 can see our preview projectors in real good shape. Why, we clean the gate every 00:13:09.001 --> 00:13:12.001 other day. I know what a dirty projector can do to film. 00:13:16.001 --> 00:13:23.001 And I know what happens if you don't thread a projector right. So? 00:13:24.000 --> 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 specter and put in the commercials. Take it a 00:13:37.000 --> 00:13:42.001 step at a time. Well, what I did was run her through the footage counter at a 00:13:42.001 --> 00:13:48.000 good safe speed too. Some guys pull them through so fast they scream. Not me. 00:13:48.001 --> 00:13:51.001 I've seen what that can do to film. So have you. 00:13:52.000 --> 00:13:58.000 So I went slow. Meantime, I checked for scratches and damaged preparations. The 00:13:58.000 --> 00:14:04.000 usual things. And then? Find any damage? No, it didn't. Anyhow, I figured a 00:14:04.000 --> 00:14:08.001 distributor had made a real thorough check and cleaned it. So there was no reason 00:14:08.001 --> 00:14:13.001 to think anything was wrong. He claims there was nothing wrong with it. Okay, 00:14:13.001 --> 00:14:20.000 well, I couldn't have heard it either. Then what'd you do? Spiced in the 00:14:20.000 --> 00:14:26.001 commercials. How? Like I always do. Listen, I know how to make a splice, 00:14:27.000 --> 00:14:32.001 mister. You can watch me anytime right by the book. Put the film in carefully. 00:14:33.000 --> 00:14:39.001 Don't jam it on the pins. Never use scotch tape or masking tape to back up a 00:14:39.001 --> 00:14:44.000 splice. I know that stuff gets caught in the projector gate. 00:14:44.001 --> 00:14:50.001 Oh, then I scrape the emulsion and I use a scraper that's made for scraping. Wet 00:14:50.001 --> 00:14:55.001 the emulsion to soften it. Take it all off without cutting down into the base. 00:15:01.000 --> 00:15:08.000 Then the cement. Put it on, close her up, give it 00:15:08.000 --> 00:15:12.000 10 or 15 seconds to dry well, and I've got a perfect splice. 00:15:13.001 --> 00:15:18.001 But that's how I always do it. And I keep my splicer adjusted too, so there's no 00:15:18.001 --> 00:15:24.000 chance of the splices being crooked. Okay, after inspection what? You clean it? 00:15:24.001 --> 00:15:30.000 No, it didn't need it. The distributor always. .. Ever clean film here? Sure, 00:15:30.001 --> 00:15:36.000 sure. Our own library prints or any prints that need it. Use a machine? No, no, 00:15:36.001 --> 00:15:42.000 we clean it by hand. We run it through soft cotton pads moistened with cleaning 00:15:42.000 --> 00:15:48.001 fluid. I say clean. We keep changing the cloth so dirt can't pile up and scratch 00:15:48.001 --> 00:15:54.001 the film. Cleaning fluid? Yeah, solvent with a little synthetic wax in it to 00:15:54.001 --> 00:16:00.000 lubricate the film. Makes it move through the projector nice and smooth. Right. 00:16:00.001 --> 00:16:05.001 Now about this print. After inspection you rewound it. Yeah, and I was careful 00:16:05.001 --> 00:16:12.000 there too. First place, my rewinds no way film can 00:16:12.000 --> 00:16:18.001 drag against the sides. Then I kept the constant tension on the film. I'm not one 00:16:18.001 --> 00:16:23.001 of these wise guys when it comes to rewind and film. Wise guys? Yeah, you've seen 00:16:23.001 --> 00:16:28.001 them showing off, building up speed, then then coasting, letting the film drag 00:16:28.001 --> 00:16:32.001 over the table so it gets scratched, or cranking it through with a jerky motion 00:16:32.001 --> 00:16:39.000 so you won't get a good snug roll. And none of that stuff for me, steady speed, 00:16:39.001 --> 00:16:46.001 constant tension when I rewind. Yeah. Something else. I've seen guys do a sloppy 00:16:46.001 --> 00:16:50.001 job so the film's loose on the reel. Then they'll yank on the end of the film 00:16:50.001 --> 00:16:56.000 till it's tight. Worst thing you can do. Any dirt particles on the film just get 00:16:56.000 --> 00:17:03.000 grounded along against the grooves. Cinch marks. You've seen them look 00:17:03.000 --> 00:17:09.000 like this. Yeah, I've seen them. That's why I didn't cinch the film. 00:17:10.000 --> 00:17:17.000 Never do. Rewind are good and snug on a good reel. No bent sides, no burrs. 00:17:18.000 --> 00:17:23.000 Put her in with the next day's programs. That's all I did. I didn't hurt that 00:17:23.000 --> 00:17:29.001 print and you can't prove I did. I'm innocent, so help me. Funny thing. Huh? If 00:17:29.001 --> 00:17:32.000 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 --> 00:17:46.000 an answer to everything. Oh, I grant you a film can get ruined in projection. It 00:17:46.000 --> 00:17:50.000 happens. But not if the film is in good shape and the projector is working right. 00:17:50.001 --> 00:17:55.001 Now that's my job. No bent reels and I never spin the take up reel after I'm 00:17:55.001 --> 00:18:01.001 threaded up. And I'll tell you now, my projector never harmed that print. Sure of 00:18:01.001 --> 00:18:07.001 that. Figure it out. I'm supposed to get a good picture on the screen. Only way I 00:18:07.001 --> 00:18:12.000 can do that is to keep that projected clean. If I, the gate gets dirty and the 00:18:12.000 --> 00:18:15.001 picture starts jumping around like this. 00:18:18.000 --> 00:18:25.000 Or the sound scanning system gets dirty and the sound goes haywire like this 00:18:25.000 --> 00:18:30.001 noisy. You see? Yes, friends. Feed your pooch. Doggy drops. You'll 00:18:30.001 --> 00:18:32.000 go for that yummy flavor. 00:18:33.000 --> 00:18:38.001 And remember, doggy drops are double enriched. Now twice as effective. Get the 00:18:38.001 --> 00:18:44.001 handy 50 pound economy size at your neighborhood. So I don't let those things 00:18:44.001 --> 00:18:46.001 happen. I work on that projector. 00:18:47.001 --> 00:18:52.000 Work on it. How? Well, take the gate. Every chance I 00:18:52.000 --> 00:18:54.000 get, I pull it out and clean it. 00:18:55.000 --> 00:19:00.001 Especially along these rails. Let emulsion or dirt pile up here and it's liable 00:19:00.001 --> 00:19:05.001 to scratch the film, particularly on the soundtrack area. Then you've got a noisy 00:19:05.001 --> 00:19:12.000 track. Go on. Another thing. If the gate's dirty, the film can't move through 00:19:12.000 --> 00:19:17.001 freely. Tends to stick when the intermittent pulls down on the perforation. Now 00:19:17.001 --> 00:19:21.001 that extra strain can scar those perforations. May even tear them. 00:19:22.000 --> 00:19:27.000 Then you lose your loop, get run off, really chew up the film. That's what 00:19:27.000 --> 00:19:32.000 happened here to the victim? Nope. That's what didn't happen. Because I cleaned 00:19:32.000 --> 00:19:34.001 that gate, got the dust out of it. 00:19:34.001 --> 00:19:40.000 And that isn't all. I checked every film contact point. Made sure the rollers 00:19:40.000 --> 00:19:45.000 were all really rolling. Not stuck so the film was dragging over them. Now that 00:19:45.000 --> 00:19:51.001 could happen. Did it? No, I told you I checked it. Part of my normal maintenance. 00:19:52.001 --> 00:19:54.001 Like checking the sound system all the time. 00:19:55.000 --> 00:19:59.000 Cleaning all the film contact points to make sure we get the best sound quality. 00:19:59.001 --> 00:20:03.001 And also, make sure the film doesn't get scratched when it goes over the drum. 00:20:06.000 --> 00:20:12.000 Main thing with a projector is to keep it clean and lubricated right. Then it'll 00:20:12.000 --> 00:20:18.000 never damage film. Not if the film's okay to begin with. How about threading? 00:20:18.001 --> 00:20:24.001 Well, what about it? Listen, I know my job. I thread that projector 50 times a 00:20:24.001 --> 00:20:29.000 day and I do it right. Ask anybody. They'll tell you. Or you can watch me 00:20:29.000 --> 00:20:34.000 yourself. Anything goes wrong during projection. It's because there are bad 00:20:34.000 --> 00:20:40.000 splices in the print or torn preparations or dirt on the film. I take care of 00:20:40.000 --> 00:20:45.001 this projector and I thread it up the right way. Now that's all I can do. I 00:20:45.001 --> 00:20:51.001 projected that print and I put her in the rack. That's the last I saw of her. Not 00:20:51.001 --> 00:20:55.000 quite. What do you mean? You see her now. 00:20:58.000 --> 00:21:02.001 So there it's a murder that everybody says couldn't have happened. 00:21:05.000 --> 00:21:10.000 We don't know who did it. All we know is this. If all the suspects had treated 00:21:10.000 --> 00:21:16.001 the victim like they be alive today, only she's not. Somebody's guilty. 00:21:17.001 --> 00:21:22.001 Maybe all of them together. What if they stick to their stories? We're stuck with 00:21:22.001 --> 00:21:26.000 a perfect crime. It happens more than you think. 00:21:28.001 --> 00:21:35.000 As for you, we figure you're innocent. This case, 00:21:35.001 --> 00:21:40.000 you can go. Just one thing. You want to stay in the clear and get this straight. 00:21:41.000 --> 00:21:45.000 Every time you handle film, better figure it's a matter of life or death because 00:21:45.000 --> 00:21:50.001 it is. Get a little careless and we may be after you for murder on the screen.