From Headquarters (Warner Bros., 1933) (1933)

Ineut. J. Stevens Lou Ann Winton Sgt. Boggs Manny Dolly White Jack Winton Muggs Anderzian Mac Bates Sgt.-Orderly Manly George Brent 1S acc Sree Re ee ae Margaret Lindsay Eee ie es oa oe Kugene Pallette Pee ee ts oan eas Hugh Herbert Fee eR ORES ee Dorothy Burgess ce ERSTE A er gna lee Theodore Newton Seren Le a eee Hobart Cavanaugh Were ee ee eet el een ae Robert Barrat Mert cos chem an ee enna e ee Henry O’Neill Brig t RM eS ia aaa Coady dh oa fa «cack ORM ne Ken Murray TES Ota TER en ee CPE Renee gens Murray Kinnell er See Tee RP ENE Semin Edward Ellis Sait ame eM gn Sars med gat eu Kenneth Thomson CBee est Haak A conte ee Robert Homans re NET co cso ia inode Gol =o nidcsans te a Frank Darien Gordon Bates, wealthy Broadway | she playboy, is found dead in his apartment by his valet, Waters, shot through the eye, an abrasion on the skull and bruises on the face. A lady’s blood-stained handkerchief initialed with the letter “W” is found in the room and two photographs, one of Lou Ann Winton, a show girl, Bates’ fiancee, and the other of Dolly White, a drug addict. Lieutenant Stevens, who had been Lou Ann’s sweetheart before Bates began to pay her attention, is assigned to the case with Sergeant Boggs. While grilling Waters a man named Anderzian, who claims to be a rug dealer, calls at headquarters and asks for some business letters he had written Bates. The police “pei im tie iotk ot Bates’ safe is jammed and ask him to eall later. Lou Ann is finally brought in, and later her brother shows up. At first they deny everything. Winton finally admits that he had gone to the apartment in search of his sister, that he had found her struggling with Bates and had fought with Bates. Lou Ann confesses that Bates was trying to force her to become his mistress on the strength of some indiscreet letters written by her mother. The two, however, claim to have left the apartment about ten o’clock, an hour before the murder. in the meantime Dolly White has been rounded up. She admits that she owns the handkerchief and that had been Bates’ enamorata. When she is told of his death, which she claims not to have known, she admits she killed him. She denies she shot him, however. When Anderzian calls again for his letters, the police, who have broken open the safe and recovered them, together with the Winton letters, stall him so that they have them tested chemically. On their face they appear to be perfectly innocent business letters. Anderzian becomes suspicious when the police try to get his fingerprints surreptitiously, and tries to leave police headquarters. Leaving, he bumps into Muggs Manton, a police character, whom he had hired the night before to crack Bates’ safe. Anderzian drags Muggs down the corrider to the janitor’s rocm where he stabs him to death. The Inspector has had a report on the letters, the chemicals having brought out invisible writing showing that Anderzian and Bates had been partners in blackmailing schemes and that the former had threatened the latter with death for holding out on him. Anderzian is caught and charged with the murder of Muggs. Lieut. Stevens, finally traps Waters into admitting that he was trying to get the Win ton letters, when Bates, knocked out by Dolly White’s blow, regained consciousness, saw Waters tampering with the safe and shot at him. Waters fired in return and killed Bates. Directed by Screen Play by From the Story by Dialogue Director Beta RE teed Rosi an 9 ee William Dieterle Robert N. Lee and Peter Milne eg en ee aie) ARE ee eee Robert N. Lee 7 Ca eee Eo? Oe OR ae Arthur Greville Collins Pe OO as nsec ban dee Wm. Reese BON aks Ng tY. Oe Sy isn ig Sages, Wm. B. Clemens AE, 0 Sates oie, es eae, se gt re Anton Grot MOPS 2 Sra arse LO es etc Gace deen ae Orry-Kelly Vitaphone Orchestra Conducted byY...........000.0.... Leo F. Forbstein Warner Bros. Pictures, Ince. & The Vitaphone Corp. 25% present “FROM HEADQUARTERS ”’ 100% with GEORGE BRENT—MARGARET LINDSAY 75% Eugene Pallette—Hugh Herbert 60% Dorothy Burgess—Robert Barrat—Henry O’Neill Directed by William Dieterle A Warner Bros. and Vitaphone Picture Page Two GEORGE BRENT George Brent was born in Dublin Ireland, the son of a prominent newspaperman and the descendant of a long line of Trishmen who had served with distinction in the British Army. George, however, saw fit to serve under the ClO eo rsa 0r the — rebell-ious Irish : forces, and / was a mem: ber of the ' Intelligence Staff under Michael Collins. Brent ats tended the National University GEORGE BRENT Mat No.10 Price5c in Dublin and while there won the focus of public admiration by his acting in the Abbey Theatre plays. Coming to America, he entered stock company work and finally heeded the call to Hollywood where he entered upon a successful screen career. He is married to Ruth Chatterton and played opposite her in “Lilly Turner,” “Female,” “The Rich Are Always With Us” and “The Crash.” Other pictures in which he recently appeared are “They Call It Sin,” “Miss Pinkerton,” “Week End Marriage,” “42nd Street,” “The Keyhole,” “Baby Face” and “The | Parchase Price.” EUGENE PALLETTE Eugene Pallette was born in Winfield, Kansas, July 8, 1889, of non-professional parents and educated at the Culver Military Academy. He was on the stage for six years appearing in stock. He turned to pictures in the early silent days and has appeared in more than 100 pictures. His more recent successes include “The Kennel Murder Case,” “Half Naked Truth,” “Wild Girl,” “Night Mayor,” “Strangers of the Evening,’ “Thunder Below” and “Shanghai Express.” Pallette is five feet nine inches tall, weighs 185 pounds and has brown hair and blue eyes. His favorite sports are hunting and fishing. ROBERT BARRAT Robert Barrat was born in New York City and educated in the public schools there. His debut in theatrical circles was in stock in Springfield, Mass. He later appeared in many noteworthy productions with some of the leading stars of the stage. It was while playing the role of the strong man in the stage play “Lilly Turner’ that Warner Bros. engaged him for that identical role with Ruth Chatterton in the picture. Since then he has played in “Captured!” “Heroes For Sale,” “Baby Face,” “Lilly Turner,” “The Silk Express,” “Picture Snatcher,,’ “Wild Boys of the Road,” “I Loved A Woman” and “The Kennell Murder Case,” all for Warner Bros. MARGARET LINDSAY Margaret Lindsay was born in Dubuque Iowa, her real name being Margaret Kies. She was educated in the National Park Seminary in Washington, D. C. aud in the National Academy of Dramatic Art. She _ bejgan with jsmall parts jon the stage Jand worked up to leadi roles, jin stock and |repertoire. Her biggest stage hit MARGARET was in LINDSAY ‘‘Death Mat No.9 Price 5c Takes a Holiday.” Recently she entered pictures and made a striking success in her role in “Cavalcade.” Other pictures in which she has appeared include “The House on 56th Street,” “The World Changes,” “Private Detective 62,” “Baby Face,” “Captured!”, “Voltaire,’ “All American” “Okay America,” “Once In a Lifetime,” “The Fourth Horseman” and “West of Singapore.” THEODORE NEWTON Theodore Newton is a native of Lawrenceville, New Jersey, and a graduate of Princeton. His theatrical career started through his acquaintance with Ann Harding who was instrumental in getting him a contract with the Hedgerow Theatre in Philadelphia where he remained for three years. His next step was to New York, where he appeared in “Elmer The Great” with Walter Huston, a part he landed through the friendship of Grant Mitchell. Warner Bros. spotted him in the New York production and gave him a screen test. He was signed for a part in “The Working Man.” Mr. Arliss liked the young man’s work so well he was again assigned to play with him in “Voltaire.” He also appeared with Paul Muni in “The World Changes.” MURRAY KINNELL Murray Kinnell was born in London, England, in 1889, and. was educated at Mill Hill School in Hertfordshire. His first work on the stage was in Shakespearean repertory at the Drury Lane Theatre. Kinnell has had more than twenty years of stage experience, playing with George Arliss, Ethel Barrymore, Doris Keane, Ellan Terry, Sir Frank Benson and others. He was on the American stage more than ten years. His first screen production was with George Arliss in “Old English.” His more recent pictures include “I Loved A Woman,” “The King’s Vacation,” “The Match King,” “The Purchase Price,” “A Successful Calamity,” “Grand Hotel” and “Beast of the City.” He is five feet, ten inches tall and weighs 140 pounds. His hair is brown and his eyes grey. Length: 5879 Ft. Running Time: 63 mins. WILLIAM HUGH HERBERT Hugh Herbert was born in New York City and was educated in the public schools there. After finishing high school, he got a position with the Fall River, Massachusetts, stock company. Later he returned to New York, playing in more than sixty plays and sketches there and _ other cities. He went to Los Angeles with the musical comedy, “Exposures of 1927” and shortly thereafter was engaged to play in pictures, although he had had some experience before that. His first screen part, in fact, was to talk behind a screen for one of the first “talkies.” Herbert collaborated with Murray Roth in writing the first all talking picture, “Lights of New York,” which was produced by Warner Bros. He has written a number of screen plays, notable among them, “The Great Gabbo” for Eric Von Stroheim. His principal pictures in which he has appeared include “Footlight Parade,” “Bureau of Missing Persons,” “Faithless,” “Goodbye Again,” “Diplomaniaes,” “Lost Squadron,” “Laugh and Get Rich,” “Danger Lights” and “She Had To Say Yes.” GEORGE BRENT—“Female,” “Lilly Turner,” “The Keyhole,” “Baby j Face,” “42nd Street,’ “They Call It Sin,’ “The Purchase Price,” “The Crash.” MARGARET LINDSAY “The World Changes,” “Baby Face,” “Voltaire,” “Captured,” “Private Detective 62,” “Cavaleade,” “The House on 56th Street.” EUGENE PALLETTE—“The Kennel Murder Case,” “Half Naked Truth,” “Wild Girl,” “Night Mayor,” “Strangers of the Evening,” “Shanghai Express.” HUGH HERBERT— “The World Changes,” “Ever in My Heart,” “Footlight Parade,” “Baby Face,” “The Silk Express,” “The Narrow Corner.” DOROTHY BURGESS — “Ladies They Talk About,” “Play Girl,” “Taxi,” “Lasca of the Rio,’ “Beyond Victory,’ “Easy Millions,” “What Price Victory.” THEODORE NEWTON — ‘‘The World Changes,” “The Working Man,” “Voltaire.” HOBART CAVANAUGH— Havana Widows.” ROBERT BARRAT—“I Loved a Woman,” “Wild Boys of the Road,’ “The Kennel Murder Case,” “Lilly Turner,” “Cap tured,” “Heroes for Sale.” HENRY O’NEILL—“I Loved a Woman,” “The World Changes,” “The Kennel Murder Case.” KEN MURRAY—Crooner,” “Half Marriage,” “Leathernecking.” EDWARD HLLIS—‘Girl Missing,” “T Am a Fugitive from a Chain Gang.” KENNETH THOMSON—‘Female,” “Little Giant,” “Lawyer Man,” “Her Mad Night,” “Thirteen Women,” “Man Wanted.” ROBERT HOMANS “Madame Racketeer,” “Son of Oklahoma,” “Blindfold,” “Fury of the Wild.” FRANK DARIEN — “Cimarron,” “June Moon,’ “Okay America,” “Lady and Gent,” “Prosperity,” “Big Shot,” “Miracle Man.” DIETERLE—director— “Female,” “Grand Slam,” “Law yer Man,” “Scarlet Dawn,” “The Crash,” “Jewel Robbery,” “Man Wanted.”