Rehearsal for Murder (1982)
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TVTranscript
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00:00:58 Who's there?
00:01:01 Who's out there?
00:01:04 That you Mr. Denison? Hello Ernie, how you been?
00:01:13 Just fine sir. You have any trouble getting in?
00:01:17 No problems. Well you gotta be careful you know.
00:01:21 Some of those junkies and white-os from Broadway they
00:01:25 try to bed down in the lobby overnight. Encourage them Ernie.
00:01:28 The theater was meant for the common man. Anything I can get for you sir?
00:01:33 Just some food. I'm expecting a few people. You mind going across the street
00:01:37 for coffee and danish and get something for yourself. What do
00:01:40 you have in a rehearsal? Only a reading. I'm working on a new play.
00:01:44 That's where it all starts right? With the words.
00:01:49 With the words.
00:01:54 Oh uh Mr. Denison. I didn't get to talk to you at the
00:01:59 funeral.
00:02:02 I just wanted to tell you how sorry I was. That's very kind of you Ernie.
00:02:08 Seems like such a long time ago. Well it was only about a year wasn't it?
00:02:15 A year this week. I'll be right back with a sweet rose.
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00:05:31 Oh Alex I'm gonna come down with amnesia. I never get this way when I'm making a film.
00:05:35 Darling I told you movies are for children. The theater's a whole different animal.
00:05:39 Yeah as long as it doesn't bite. Oh Alex I want to be good. I want to make you proud of me.
00:05:44 You will. Well at least we don't have to keep this a secret anymore.
00:05:50 You saw this? Heard about it.
00:05:52 Can't out of the bag department. Actress Monica Wells, playwright Alex Tennyson have a major announcement to make tonight.
00:06:01 The couple began their hush-hush love affair during the rehearsals of the Broadway comedy Chamber Music and hit or flop they plan to marry tomorrow in a quiet civil ceremony.
00:06:13 Congratulations fellas. Sorry to spoil the surprise.
00:06:17 [paper rustles]
00:06:19 She has a certain way with words. I'll wring her neck. How did you know?
00:06:23 We took out a license, we got ourselves a judge and somebody had a big mouth.
00:06:27 If ever I run into her. Oh you'll be perfectly charming. Gossip's gossip. That's their job.
00:06:32 [knock on door]
00:06:33 A flower Miss Wells. My makeup's not finished and my hair's a mess.
00:06:37 Get out of here before you break into hives. Alex I'm scared to death.
00:06:43 If it helps. I love you. It does.
00:06:48 [kiss]
00:06:54 Right. No more butterflies. I'm gonna be wonderful. I never doubted it.
00:07:03 Alex. Foolish question. Uh huh.
00:07:07 You have a lot of power. I mean people in the theater they do pretty much what you say. Isn't that right?
00:07:12 So I keep telling them. You're not asking me to bribe the critics?
00:07:16 No. Nothing like that. But I suppose you could stop somebody working if you wanted to.
00:07:21 I suppose if I was vindictive. Instead of being the tender hearted creature you've come to adore.
00:07:26 What is all this? Look at the time. Come on. Get out of here. Come on. I've got to pull myself together.
00:07:31 Love you. Break a leg.
00:07:34 [door opens]
00:07:37 Alex. Half hour blast off. How's Mona?
00:07:42 Traditional response. She's verified. I just talked to our leading man. He's making room on his shelf for a toony.
00:07:47 Good. Let him keep on thinking he's the star. I just hope we all do justice to the words.
00:07:52 Boy. It's a nice little commercial comedy. Nothing cosmic. If it's a hit, fine. If not, we'll survive.
00:07:58 Either way I'm grateful to the director of the shop. Don't go mobbing on me. He did a good job.
00:08:03 Where are you gonna watch? The back of the house? The Wigs?
00:08:06 Watch? You've got to be kidding. That's cruel and unusual punishment.
00:08:12 Well, that's another one for you, Mr. D. Hey, I must owe you three drinks by now.
00:08:16 Five. I should be saving my luck for the critics.
00:08:20 You're gonna have another hit. We Irish are psychic. Believe me, it's gonna be a smash.
00:08:27 Damon, you're superstitious. You're irrational. And if you're right, I won't tell the sanitation department about your kitchen.
00:08:34 Hey.
00:08:44 How can you just sit here when your baby is being delivered across the street?
00:08:49 What do you want me to do, Walter? Pace the aisle? Reacquaint myself with my dinner?
00:08:55 Believe me, on opening night, the best place to be is a saloon.
00:08:59 Why do you let him in here? The man is obviously bereft of human emotion.
00:09:04 Would you like a drink, Mr. Manley? No. Well, yes. Something out of a bottle with a skull and a crossbone on it.
00:09:12 Can you believe this? I have 600,000 riding on this man's show, and he sits here tossing dice.
00:09:20 It's therapy, Walter. You ought to try it. Oh, thanks. I'm taking enough of a gamble tonight.
00:09:24 Speaking of gambling, what is this I read about you and Monica? Is it true?
00:09:29 Would the newspapers lie? Amazing. I've been to every rehearsal, and I didn't know you two were even... what's the word?
00:09:37 Keeping company. Yeah. No, we were discreet. We didn't want to upset any apple carts.
00:09:43 Well, skull. Salute. It's about time you became a domestic animal.
00:09:50 Damon, is that the right time? Right on the button, Estelle. Right on the button.
00:09:55 Curtain comes down in ten minutes. Let's go. Thanks for the drink.
00:10:00 You coming? In due time.
00:10:04 Well, what do you say, Damon? Double or nothing? Surely.
00:10:10 Oops.
00:10:14 Nice of you to drop by.
00:10:18 Where is the lighting man tonight, in Yonkers?
00:10:31 He's in the office.
00:10:34 Where is the lighting man tonight, in Yonkers?
00:10:44 Now he claps.
00:10:49 Brother!
00:10:52 Brother!
00:11:18 Isn't this wonderful? I keep bumping into some very famous people.
00:11:23 They're all rented for the evening. And they all disappear if the notices are negative.
00:11:28 But we're going to be a hit. The audience loves it.
00:11:32 You're new to the theater, Karen. Lesson one. Never confuse the audience with the critics.
00:11:38 Alex, Lloyd and Mr. Lamb, they're still standing by that phone in there. They haven't even eaten yet.
00:11:45 It's a death watch. It's better on an empty stomach.
00:11:51 They're clamoring for you. Oh, give me a minute. I'm girding my loins.
00:12:01 They look fine to me.
00:12:05 Actors do strange things after an opening. But counting money...
00:12:09 I got this from the bank today. I mean, would you believe with all the excitement I just ran out of cash.
00:12:13 Lloyd, can you put it over there for me? I don't want to leave it lying around.
00:12:18 Signs and fortunes. Let's hope it's not an omen.
00:12:23 What's all this? There's still a few things you don't know about me.
00:12:28 That's my junk heap. This?
00:12:33 Monocle. Doesn't everyone have one? And?
00:12:38 A male scout knife.
00:12:43 Oh, no, that's a necessity. I got that this morning. You know, there was the power failure last night. Twenty minutes without lights.
00:12:49 Living with you is going to be an adventure. Which reminds me.
00:12:54 Why don't we collapse tonight? In Shakespeare's immortal words, your place or mine.
00:12:59 Well, Alex, if it's all the same to you, I'd rather stay here tonight. I mean, by myself.
00:13:04 Oh? It's been so hectic, you know, I need to be alone just for a few hours.
00:13:09 Do you mind? Yes. I'll make it up to you, I promise.
00:13:14 Oh, that's a good start. But if we don't stop, we'll never get downstairs.
00:13:25 Drink up.
00:13:33 Now. Let's show them what a star looks like.
00:13:38 Where's Monica? Nice of her to throw this party, but at least she could put on an appearance.
00:13:48 She wants to make an entrance. Honestly, it's a little overdue, isn't it?
00:13:53 Yeah.
00:13:58 Maybe we can use the second paragraph. No, I don't want to hear that again.
00:14:20 I'll talk to you later.
00:14:25 Gentlemen, I think I'm going to have a drink. Several drinks.
00:14:30 I suggest you do the same. It's that bad, huh?
00:14:35 Well, bad is a relative term. They were mixed.
00:14:40 But the times was a knock, and without the times.
00:14:45 I'm sorry, Alex. What did they say about Monica?
00:14:50 They liked her. I mean, not in ecstatic.
00:14:55 The post thought she was a little stiff. I don't want her to see that one. Can't we try for a run?
00:15:00 Monica's name means something. So does yours, Alex. Up to the producer. Walter.
00:15:05 Yeah, I'll sleep on it. I'll go into the office tomorrow and assess the damage. If we could just stay open for a few weeks.
00:15:10 Get some word of mouth going. Come on, Walter, please.
00:15:15 We'll see. It's starting to rain.
00:15:20 It's appropriate, isn't it?
00:15:25 Night. Good night, darling.
00:15:30 Well, you were right. I never saw people leave the party so quickly.
00:15:35 I'm going to sink the ship. How are you? Bearing up? I don't know. It hasn't hit me yet.
00:15:40 Night. Bye, Alex. I don't care about the reviews. It's a terrific party.
00:15:45 I'll see you soon. Bye-bye. Night, all.
00:16:00 It's what I'd laugh when you call a wet night. Can't you get a cab?
00:16:05 There's one parked across the street. But naturally, the idiot's got his off-duty sign on.
00:16:10 That's what I love about New York. Alex, does Monica have an umbrella?
00:16:15 Already gave it to somebody. Wonderful. Broadway's favorite actor gets pneumonia.
00:16:20 Oh, well, after those notices, I suppose I could use a cold shower.
00:16:25 Don't be depressed then, Alex. You've got worse things coming, like marriage.
00:16:30 You're amazing. I've had a few hits, so I can be philosophical.
00:16:35 But it's your first time out.
00:16:40 You're being very British. Well, I wanted a success, but I care more about the playwright than the play.
00:16:45 Are you sure you want me to leave?
00:16:50 No, I don't want you to leave.
00:16:55 But I want you to leave. An actress has to prepare herself.
00:17:00 And so does a wife. So I'm going to make myself a cup of tea, and then I'm going to bed.
00:17:05 All right. I'll call you first thing in the morning.
00:17:14 Alex, you do love me.
00:17:19 Very much. Why?
00:17:24 Oh, I was such an idiot last week. You were angry.
00:17:29 Not much of an excuse. Missing a performance and stranding everybody.
00:17:34 And that isn't even the worst part. Monica, is something wrong?
00:17:39 I don't know if you love me.
00:17:44 Get some rest. Yeah.
00:17:54 I'll see you later.
00:18:21 Hello?
00:18:26 Monica, you know what time it is?
00:18:31 I thought you wanted to be alone.
00:18:36 Hello? Monica?
00:18:41 Hello?
00:18:46 Hello?
00:18:51 Hello?
00:18:56 Hello?
00:19:21 No, I got my...
00:19:26 Yeah. Wells. Monica. That's right.
00:19:44 No, no, no. She was dead when we got here.
00:19:49 Yeah. Well, we found her on the sidewalk in front of a townhouse.
00:19:54 Looks like she jumped from a bedroom window.
00:19:59 Better take it, sir. You've had quite a shock.
00:20:04 Yeah. Yeah. No, no. We're here with her fiancé now. Apparently she called him.
00:20:09 Yeah. She always made herself a cup of tea before she went to bed.
00:20:14 Better not touch it, sir. Maybe we should go into the living room.
00:20:19 No, no. Who's in my living room?
00:20:24 No, no. Some name. Some old guy walking his dog.
00:20:29 Barty. And you were here.
00:20:34 Yes. I was when you left her. What? I was just wondering if she was depressed.
00:20:39 She wasn't depressed. I guess you were the last one to see her alive.
00:20:44 Catering people were here after I left. They were cleaning up.
00:20:49 Didn't do a very good job. What?
00:20:54 You let us in, so you must have a key. Does anyone else have one? That is, besides the deceased.
00:20:59 I don't know. Maid, probably.
00:21:04 Jim, the lieutenant's on the phone. He wants to talk to you.
00:21:09 Excuse me. And, sir, don't touch anything, okay?
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00:22:34 Alex?
00:22:39 You do love me.
00:22:44 I'm scared to death.
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00:45:39 What are you talking about?
00:45:42 Monica wasn't murdered. She committed suicide.
00:45:45 And to suggest that one of us is involved...
00:45:47 It isn't a suggestion. It's a statement of fact.
00:45:49 They investigated. The police...
00:45:51 The police were wrong.
00:45:52 Alex!
00:45:54 We all know you suffered a terrible loss.
00:45:57 We understand your grief.
00:45:59 But what you're doing here...
00:46:01 It won't change anything.
00:46:02 It won't bring her back.
00:46:04 Then you've nothing to lose by indulging me.
00:46:06 I'll tell you what we've got to lose.
00:46:08 Our privacy.
00:46:09 I'm sorry, Alex, but if you're going to be making accusations...
00:46:12 And digging into our personal lives...
00:46:13 I'd rather be somewhere else.
00:46:14 Karen, all I'm asking...
00:46:16 I know what you're asking!
00:46:17 At least I think I do. And I'm sorry. I just don't like it.
00:46:20 [Footsteps]
00:46:23 Well, I suppose that's it.
00:46:25 Class dismissed.
00:46:27 [Gasp]
00:46:32 Excuse me, Miss Daniels, but...
00:46:34 Shouldn't you reconsider?
00:46:36 Who are you?
00:46:37 We met last year after the suicide of Miss Wells.
00:46:40 I took a statement from you.
00:46:42 Karen?
00:46:44 You remember Lieutenant McElroy?
00:46:47 McElroy?
00:46:48 Yeah.
00:46:49 He was the investigating officer. I spoke to him myself.
00:46:52 What's he doing here?
00:46:53 I asked him to come.
00:46:55 Karen, would you do me a favor, please?
00:46:57 Would you come back on stage?
00:46:58 You too, Lieutenant.
00:47:00 I'd very much like to get to the bottom of this.
00:47:03 If you wouldn't mind, it might be helpful then.
00:47:07 Care to explain all this?
00:47:16 Lieutenant, Mr. Lamb requires an explanation.
00:47:20 Well, not much to explain, sir.
00:47:22 Mr. Dennison called, asked me to be here today.
00:47:25 Said he had some new information pertaining to the death of Monica Wells.
00:47:29 Well, now, a moment ago you said suicide, not death.
00:47:32 Yes, it was suicide.
00:47:34 That's my view, and the official determination of the medical examiner.
00:47:38 Then the case is closed.
00:47:40 Why are we wasting our time?
00:47:42 Because the lieutenant's willing to give me a hearing.
00:47:44 It's an admirable trait, don't you think?
00:47:46 I'll tell you what's not so admirable.
00:47:48 We didn't know he was here.
00:47:50 Well, Mr. Dennison asked me to keep out of sight.
00:47:52 Thought it might inhibit you.
00:47:55 I wonder why.
00:47:56 He agreed to intervene if any of you tried to leave.
00:47:59 But you can't keep us here against our will.
00:48:02 No, ma'am, I can't.
00:48:04 This is strictly unofficial.
00:48:06 You're perfectly free to go.
00:48:08 But I would have to wonder why you'd be so anxious to leave.
00:48:11 So we're back to what have we got to lose?
00:48:14 Frankly, I think Mr. Dennison's on a wild goose chase.
00:48:17 I've told him that.
00:48:19 But I'm willing to keep an open mind.
00:48:21 It's up to you, Carrie.
00:48:23 Where's my scene?
00:48:32 Welcome back.
00:48:33 But if you don't mind, Walter goes next.
00:48:38 Walter?
00:48:39 I'm not an actor, Alex.
00:48:41 All producers are actors.
00:48:46 Now, you just sit in this chair.
00:48:50 Come on, Walter, it's a simple phone call.
00:48:53 Back, Alex, back.
00:49:14 You're the producer of a play that's just opened to mixed reviews.
00:49:17 The opening night party is over and you're home.
00:49:20 The man on the other end of the line is your accountant.
00:49:23 It's all yours, Walter.
00:49:25 Hello, Harry, this is, uh...
00:49:33 What name shall I use?
00:49:35 What's the matter with your own?
00:49:37 This is Walter Lamb.
00:49:41 Sorry to drag you out of bed, but I assume you've heard, hmm?
00:49:45 Yes, well, the patient is in terminal, but the vital signs are fading fast.
00:49:51 Harry, I know the paperwork is at your office,
00:49:55 but do you remember offhand the insurance situation?
00:49:59 No, uh, specifically the non-appearance clause.
00:50:05 I'm not sure I like this, Alex.
00:50:09 What's the problem?
00:50:10 It's only a play.
00:50:12 Harry, I was wondering about the amount of coverage.
00:50:19 No, no particular reason, just give me a ballpark figure.
00:50:27 Uh-huh. Yes, that's what I thought.
00:50:31 All right, Harry, thank you. Go back to sleep.
00:50:35 You satisfied?
00:50:38 Yes, Walter. Very realistic.
00:50:41 Well, I guess I'm a little slow, but I have the foggiest idea what that was about.
00:50:45 Yes, well, let me enlighten you.
00:50:47 What Alex was trying to say is that I was the sole investor in Chamber Music.
00:50:52 So?
00:50:53 So, Walter stood to lose a small fortune, unless...
00:50:57 Unless, like the producer in this scene, I was covered by insurance.
00:51:02 So if I kept the show open and one of the actors failed to appear...
00:51:06 The leading lady, for example.
00:51:08 Then I would collect the insurance money. Is that your drift, Alex?
00:51:13 Only if you had that kind of coverage.
00:51:15 Yes, well, you know it's standard, so then I did.
00:51:17 Then Monica's death came at a very convenient time for you.
00:51:20 The woman killed herself. Do you understand? Whether you want to believe it or not.
00:51:26 She was depressed and she jumped out of her bedroom window.
00:51:29 How can you be so certain, Walter? Were you there?
00:51:34 Excuse me.
00:51:36 I'm looking for Mr. Denison. Alex Denison.
00:51:42 Right here.
00:51:43 Santoro moving in storage. We got your shipment.
00:51:52 Where's your truck?
00:51:53 Right outside. Want us to unload?
00:51:55 In a minute.
00:51:56 Excuse me. I want to check a bill of lading.
00:51:59 And by now, you all deserve an intermission.
00:52:03 What's this, moving day?
00:52:05 They're bringing in a set for the last scene.
00:52:07 What kind of set?
00:52:08 Permit me my element of surprise, Lloyd.
00:52:11 In a mystery, the audience should never know what's coming next.
00:52:15 I'll be right back.
00:52:16 Now what?
00:52:23 Apparently, we just wait.
00:52:25 The puppets without the puppeteer.
00:52:27 If we had any sense, we'd go home.
00:52:31 And that doesn't mean we're guilty of anything.
00:52:34 Easy, Carol.
00:52:37 Well, I don't like it.
00:52:39 I mean, what is wrong with him?
00:52:41 A year ago, even at the funeral, he was fine.
00:52:44 But now...
00:52:45 A year is a long time.
00:52:51 He's obsessed.
00:52:53 No, no. There's a method to all this.
00:52:58 He knows what he's doing.
00:53:00 That's a charitable interpretation.
00:53:02 He certainly raked you over the coals.
00:53:05 Well, that makes two of us.
00:53:07 Three?
00:53:08 Great.
00:53:09 Marvelous.
00:53:10 Wonderful.
00:53:11 We're next.
00:53:12 What could he accuse me of?
00:53:14 Monica and I were friends.
00:53:16 He'll think of something.
00:53:18 If you're both so worried, read the play.
00:53:20 What?
00:53:21 Your scenes. They should be about somewhere.
00:53:24 Forewarned is forearmed.
00:53:26 Forewarned is forearmed.
00:53:28 Let's check the pages and see what he's up to.
00:53:32 Ward.
00:53:38 Ward.
00:53:40 Nothing with your names on it?
00:53:42 No, David.
00:53:43 Let me see.
00:53:44 David.
00:53:45 Try the attaching case.
00:53:47 No.
00:53:48 No, it's empty.
00:53:52 Maybe, maybe, maybe we're not going to do anything.
00:53:55 Then why did he invite us?
00:53:57 Take my word for it, you won't be overlooked.
00:54:00 The papers are probably hidden.
00:54:02 What do you mean?
00:54:04 Well, he knew he'd be interrupted.
00:54:06 He didn't want to give you an advantage.
00:54:08 It's all part of keeping us all off balance.
00:54:10 He may be obsessed, David, but he's thorough.
00:54:13 Very thorough.
00:54:14 Somehow that doesn't comfort me.
00:54:16 Did you check the loads yourself?
00:54:21 Sir, it's all right here.
00:54:22 How long will it take you to set up on stage?
00:54:24 Half an hour.
00:54:25 Oh, make it sooner.
00:54:27 Like I said, 15 minutes.
00:54:30 Do you have the floor plan for the arrangement?
00:54:32 Oh, yeah.
00:54:33 Is this it?
00:54:34 I want every piece put in the position where it's marked, understood?
00:54:38 Sure.
00:54:39 Switch on the stage lights so you can see.
00:54:41 And if you need us, we'll be downstairs.
00:54:43 Fine.
00:54:44 I thought you people always had your sets built.
00:54:46 This stuff's all real.
00:54:47 We're trying something new.
00:54:49 Keeps the actors on their toes.
00:54:53 Oh.
00:54:54 Intermission over.
00:54:58 I'm sorry to keep you waiting.
00:55:00 Why don't we all go downstairs where we won't be distracted?
00:55:03 I promise you, we're almost finished.
00:55:07 Surely you don't want to miss the ending.
00:55:12 Well, I've had my turn in the dentist's chair.
00:55:21 Karen, Leo, why should you miss out on all the fun?
00:55:24 Hard to play a scene that doesn't exist.
00:55:27 Oh, well, you're looking for your pages.
00:55:29 Right here.
00:55:36 There's an interior compartment.
00:55:39 I think they make these things for spies and smugglers.
00:55:42 I should have told you.
00:55:44 You could have rehearsed.
00:55:46 Shall we?
00:55:50 You said it was empty.
00:55:51 It was.
00:55:52 Lieutenant.
00:56:10 Why are you going along with this nonsense?
00:56:12 Is it nonsense, Mr. Matthews?
00:56:14 You know it is.
00:56:15 Well, the department likes to be cooperative.
00:56:17 Particularly when a celebrity is involved.
00:56:20 You're humouring him, aren't you?
00:56:22 You said it, sir. I didn't.
00:56:24 Oh.
00:56:30 What's he getting at?
00:56:34 Does he actually suspect one of us?
00:56:37 We should catch up with the other, sir.
00:56:40 I'll be right along.
00:56:44 (Footsteps)
00:56:46 So who's the next victim, Alex?
00:57:07 Me?
00:57:08 Actually, Karen, I'd like you and Leo to play a scene together.
00:57:10 You mean I have to share the spotlight?
00:57:12 You should be used to that.
00:57:14 Isn't she wonderful, right between the shoulder blades?
00:57:17 It's easy. There's no backbone to get in the way.
00:57:20 (All talking at once)
00:57:22 You'd like to? I know you'd like to.
00:57:24 Lieutenant?
00:57:25 Could you sit here a minute, please?
00:57:26 Shut up!
00:57:27 Oh, you shut up!
00:57:28 Now I get it.
00:57:36 Don't you see what he's doing?
00:57:37 Now that you mention it.
00:57:38 No.
00:57:39 Hamlet.
00:57:40 Act two, scene two.
00:57:42 A play within a play to catch his father's killer.
00:57:46 I have heard that guilty creatures sitting at a play
00:57:51 have, by the very cunning of the scene,
00:57:54 been struck so to the soul that presently they have proclaimed their malefactions.
00:58:00 The play's the thing wherein I'll catch the conscience of the king.
00:58:04 Right.
00:58:05 That's all very interesting, but why isn't David here?
00:58:09 The last time I saw him, he was upstairs.
00:58:11 You think he went home?
00:58:12 I need him here. He knows that.
00:58:14 If he walked out...
00:58:15 David!
00:58:16 David!
00:58:17 The bus. Maybe the guy went to the bathroom.
00:58:19 Ah, there you are.
00:58:21 Hey, Dave, they thought you bailed out.
00:58:26 Who are you?
00:58:37 I don't get it.
00:58:38 You know who I am.
00:58:42 I know who you say you are.
00:58:44 Suppose you give me some identification.
00:58:47 What's this all about?
00:58:48 Whoever this man is, he's not Lieutenant McElroy.
00:58:51 What?
00:58:53 But I remember him.
00:58:55 You only think you do. There's a resemblance.
00:58:58 The age, the build, but I'm pretty good on faces.
00:59:00 And our friend here is not the man who spoke to me after Monica's death.
00:59:04 Are you sure?
00:59:05 I've just called the police.
00:59:07 Lieutenant Henry McElroy was killed in the line of duty six months ago.
00:59:14 Now, unless you're a ghost, I think you'd better tell us who you are.
00:59:19 Well, I tried.
00:59:26 Karen, gentlemen, may I introduce a fellow professional?
00:59:34 Mr. Frank Heller.
00:59:35 He's an actor?
00:59:37 And a very good one.
00:59:38 Maybe not, Mr. Denison. They nailed me.
00:59:40 Nothing to do with your performance.
00:59:42 Unfortunately, David has too good a memory.
00:59:44 Are you saying Alex hired you to impersonate Lieutenant McElroy?
00:59:48 Yes, sir.
00:59:49 Why?
00:59:51 Very simple, Walter.
00:59:52 For my little psychodrama to work, I had to keep you all here.
00:59:55 You know, given the nature of the situation, I knew someone would try to leave.
00:59:59 So I needed, what shall I call it?
01:00:01 Official leverage.
01:00:02 Of course. We might walk out on you, but not a cop.
01:00:05 That was the idea.
01:00:06 And since Lieutenant McElroy was no longer among the living...
01:00:10 And since a real police officer would never cooperate.
01:00:13 Exactly.
01:00:14 I decided to hire a look-alike.
01:00:16 Oh, excuse me, David. An almost look-alike.
01:00:20 Does he know how much trouble he's in?
01:00:22 What do you mean? What kind of trouble?
01:00:24 Impersonating a police officer is a felony.
01:00:27 I said he was a police officer.
01:00:29 He didn't.
01:00:30 That's a technicality.
01:00:32 If you're going to be angry, David, blame me.
01:00:35 Mr. Heller was just following instructions.
01:00:37 Now, wait a minute. Wait a minute.
01:00:38 I want to note something here.
01:00:40 How did...
01:00:41 Well, how'd you get into this?
01:00:43 Well, you may not believe this, but...
01:00:52 I went to an audition.
01:00:54 An audition?
01:00:56 An audition?
01:00:57 My agent said Alex Dennison was looking for an actor.
01:01:01 Who am I to say no to that?
01:01:03 Go on.
01:01:05 Well, I went to this rehearsal hall.
01:01:07 There were about ten other guys there.
01:01:09 We all looked the same.
01:01:11 Mr. Dennison interviewed me, and that was that.
01:01:14 Then about a week later, he called me back.
01:01:17 Now there was only three guys.
01:01:19 Finally, there was just me.
01:01:21 Well, what happened when he told you what he wanted?
01:01:25 I thought he was crazy.
01:01:26 An accurate impression.
01:01:29 Tell him the rest, Frank.
01:01:31 Well, first I told him no.
01:01:33 I mean, I never met Monica Wells, but like everybody else, I read in the paper that she committed suicide.
01:01:38 But then he explained some things to me.
01:01:40 Told me why she was murdered and...
01:01:43 who murdered her.
01:01:45 Did he know?
01:01:47 And, of course, he offered your money.
01:01:49 Yes, sir.
01:01:51 How much?
01:01:53 Ten thousand dollars.
01:01:55 For a one-day part? If I'd known that, it would have been plastic surgery.
01:01:59 Okay, look, I admit the money was important.
01:02:01 I mean, you people know what it's like.
01:02:03 Actors have to scramble for jobs.
01:02:05 I've tended bar.
01:02:07 I've been a hard hat.
01:02:09 Even drove a cab for a while.
01:02:11 It's not much of a life.
01:02:13 So when this came along...
01:02:14 You don't have to apologize, Frank.
01:02:16 Anyway, no hard feelings, I hope.
01:02:19 You want to talk about it?
01:02:21 I hope.
01:02:22 You won't be needing me now, so I guess I better be going.
01:02:24 No, not quite yet.
01:02:26 No one leaves until we're finished.
01:02:28 How can you keep us here?
01:02:30 You don't have a phony cop anymore.
01:02:32 Okay, I pretty much had a belly full of this.
01:02:34 We all have, Lloyd, but I suggest we put up with it a few more minutes.
01:02:38 What?
01:02:39 On one condition.
01:02:40 Alex tells us why he's so all fired positive that Monica was murdered.
01:02:45 I think that's your cue, Alex.
01:02:49 Frank, I'll need your help.
01:02:51 What do you want me to do?
01:02:53 Be Lieutenant McElroy again.
01:02:55 We've been over this.
01:02:56 Give them the case for suicide.
01:02:58 Well, one thing.
01:03:04 There's no signs of any forced entry into her townhouse.
01:03:07 Correct.
01:03:08 If she was killed by an intruder, how did he get in?
01:03:11 And why wasn't anything stolen?
01:03:13 The police found $1,000 in cash on the premises.
01:03:16 A thief would have taken it.
01:03:18 The sewer play was a flop.
01:03:19 So she was despondent.
01:03:21 She left a suicide note.
01:03:23 Concrete proof of her intentions.
01:03:25 After everybody left, she went upstairs, opened her bedroom window, and...
01:03:32 Say it.
01:03:35 She jumped.
01:03:37 And the words of the medical examiner's report?
01:03:40 Fall from a height. Case closed.
01:03:43 But not for you.
01:03:44 Nobody commits suicide because of bad notices.
01:03:47 It wasn't the notices.
01:03:48 It was the end of a dream for her.
01:03:50 Alex, you have to admit that sometimes she was...
01:03:54 Well, erratic.
01:03:56 I mean, she walked out on a performance one night.
01:03:59 I had to go on for her. Don't you remember?
01:04:01 Oh, the police made quite a point of that.
01:04:03 Monica Wells gets into an argument with the playwright just before a preview.
01:04:08 She bolts from the theater, hails a cab, and goes home.
01:04:11 She refuses to answer the phone, so we're forced to give a performance without her.
01:04:15 She comes back to the theater in a few hours and apologizes.
01:04:19 Obviously proof of an unsound mind.
01:04:21 It's certainly proof of something.
01:04:23 David, she was in love.
01:04:26 She was struggling over whether or not to make a commitment.
01:04:29 The tension was too much for her.
01:04:31 We fought, she ran away, she came back.
01:04:34 Unprofessional, yes, she admitted that.
01:04:36 But it was not abnormal.
01:04:39 Alex, I have listened very carefully.
01:04:43 And I have heard nothing about murder.
01:04:46 She called me that night. She asked me to come over.
01:04:49 Is that the behavior of a suicide?
01:04:51 Maybe it was a cry for help.
01:04:53 Then why did the phone go dead in the middle of a sentence?
01:04:56 Because she changed her mind and hung up.
01:04:58 The woman was under stress. She wasn't rational.
01:05:02 She was rational enough to make herself a cup of tea.
01:05:04 I saw it on her desk in the study.
01:05:06 Is that your evidence, a cup of tea?
01:05:09 She was starting a new life.
01:05:11 She had everything to live for.
01:05:13 You saw her at the party. Was that a woman in despair?
01:05:16 Nobody can get into someone else's mind, Alex.
01:05:19 Not even people we care about.
01:05:21 Who knows what she was thinking that night.
01:05:23 I know.
01:05:25 She was thinking about our future.
01:05:28 Alex, Alex, don't you see?
01:05:32 Monica did a terrible thing.
01:05:35 She not only took her own life, but she rejected you.
01:05:38 I mean, that's hard to accept.
01:05:41 So you've come up with this fantasy about a murder.
01:05:45 In a strange way, it's easier to live with.
01:05:48 I take it that means you're not going to help.
01:05:52 I just don't see what else we can do.
01:05:57 Karen, Leo, would you play the last scene for me?
01:06:00 Alex, Walter is right.
01:06:02 We're all friends here, but we're not getting anywhere with this.
01:06:05 Excuse me.
01:06:06 Leo, just a few pages.
01:06:09 No, I'm sorry.
01:06:11 Well, who'll share a ride with me uptown?
01:06:13 You can drop me on 75th Street.
01:06:16 Put him back.
01:06:18 Alex.
01:06:21 Alex, please.
01:06:23 Fine, but don't do that.
01:06:25 Listen, you don't need that.
01:06:27 Seems I do.
01:06:30 Alex, give me the gun.
01:06:32 Then no one will get hurt.
01:06:35 David, don't.
01:06:37 He's bluffing.
01:06:39 I wouldn't count on it.
01:06:41 Alex, that's just a prop, right? Or it's not loaded.
01:06:44 We'll cooperate. Just put it down.
01:06:46 This is ridiculous.
01:06:48 Probably.
01:06:50 Karen, Leo, pick up those pages.
01:06:52 Yes, sir.
01:06:54 You expect us to act?
01:06:56 That's exactly what I expect.
01:07:01 The scene takes place in your dressing room, Karen.
01:07:04 Get back there.
01:07:08 It's opening night.
01:07:09 Sit on the couch.
01:07:11 Leo, you make your entrance in a couple of moments.
01:07:16 Are you ready?
01:07:18 No.
01:07:19 But you'll try, won't you?
01:07:22 I'll read Monica again.
01:07:25 The scene starts with a knock on the door.
01:07:31 Yes?
01:07:34 Monica!
01:07:36 May I come in?
01:07:37 Yes, of course.
01:07:40 Oh, not in makeup yet.
01:07:42 Oh, I'll do my makeup for another hour or so.
01:07:45 I just wanted to sit in here and soak up the atmosphere.
01:07:49 And you're not quite sure which makeup to use, are you?
01:07:52 Pardon?
01:07:53 I mean, if I were to get sick at the last minute, you'd have to play my part for me again.
01:07:58 Never even crossed my mind.
01:08:02 Nobody gets sick on opening night.
01:08:04 No, I suppose not.
01:08:08 I heard you were quite good when you went on for me last week.
01:08:11 The audience was disappointed.
01:08:13 I did my best, but there's no comparison.
01:08:16 Oh, you're being modest.
01:08:18 Well, it doesn't much matter, does it?
01:08:19 I mean, you're here.
01:08:21 That seems to surprise you.
01:08:23 Why would I be surprised?
01:08:24 I brought you tea back.
01:08:26 You know?
01:08:27 Special blend of tea leaves that your grandmother whips up in her country kitchen.
01:08:31 Didn't you like it?
01:08:32 I mean, it really calms me down.
01:08:33 So you said.
01:08:34 Take some before opening night.
01:08:35 Wonderful for the nerves.
01:08:37 It is.
01:08:38 Yeah, maybe so.
01:08:39 Not quite so good for the rest of the body.
01:08:43 I don't know what you mean.
01:08:44 Let me see if I can make myself perfectly clear.
01:08:47 Since you practically forced that tea on me, and since your motives are so transparent,
01:08:51 I took some to my doctor and had him send a sample to the lab.
01:08:55 A lab?
01:08:56 I know a marvelous new word.
01:08:57 Cyclophosphamide.
01:08:59 It's an alkylating agent.
01:09:01 That's an odd thing to find in your grandmother's recipe.
01:09:04 There must be some mistake.
01:09:06 It causes dizziness and nausea.
01:09:08 A few sips of this and I'd be home right now, and you'd know which make-up to use.
01:09:12 Monica.
01:09:13 You weren't even willing to pay your dues, were you?
01:09:19 Kim, I-- oh.
01:09:20 I didn't know you had company.
01:09:21 Hi, Margaret.
01:09:22 Hi.
01:09:23 It's private, Leo.
01:09:24 No, come on in, Leo.
01:09:25 The three of us were thinking of a talk.
01:09:27 About what?
01:09:28 Oh, pick a subject.
01:09:30 Opening night, doing a favor for an intimate friend.
01:09:33 What?
01:09:34 Huh?
01:09:35 Going to medical school.
01:09:36 You did go, didn't you, for a few years?
01:09:38 I imagine you had courses in chemistry.
01:09:41 Well, that was a long time ago.
01:09:42 Why?
01:09:43 What's this all about?
01:09:44 She knows.
01:09:45 Knows what?
01:09:46 About that.
01:09:47 She had it analyzed.
01:09:49 Oh, brother.
01:09:51 Okay, look, we spiked your tea, but it wouldn't have harmed you.
01:09:53 Just would have slowed you down for tonight.
01:09:55 The question is, what are you going to do?
01:09:57 I told you it was crazy.
01:09:58 You wouldn't listen.
01:09:59 Be quiet, Leo.
01:10:00 They put people in jail for something like this.
01:10:01 Be quiet.
01:10:02 Excuse me, I, uh--
01:10:04 Oh, uh, well, yes, that was a very good rehearsal, Karen, Leo.
01:10:07 We'll do that scene again later.
01:10:09 I'm sorry, Mr. Dennison.
01:10:10 I didn't mean to interrupt.
01:10:12 We're finished.
01:10:13 Oh, thank you.
01:10:14 I just need you to sign this for me.
01:10:19 Thanks.
01:10:24 Thank you.
01:10:25 Thank you.
01:10:27 Now, we'll, uh, we'll be back tomorrow to, uh, pick up the stuff.
01:10:30 Right, thanks again.
01:10:34 Alex, I hope you know that scene we just played was nothing but lies.
01:10:38 You did bring her tea.
01:10:39 She told me.
01:10:40 It was a gift.
01:10:42 There was nothing in it.
01:10:44 I mean, what good would it do me?
01:10:46 Walter would never open with an unknown.
01:10:48 Would you, Walter?
01:10:50 Or would you send everyone home at the last minute?
01:10:52 The critics, the press?
01:10:54 I wonder.
01:10:55 Alex, use your head.
01:10:56 Even if Karen was nuts, I'm not.
01:10:57 I'd never help her with something like that.
01:10:59 You were living with her then.
01:11:00 You'd do anything she wanted.
01:11:01 No way.
01:11:03 Well, shall we go upstairs and see the set?
01:11:05 No, I don't think it's a good idea.
01:11:07 I have a great idea.
01:11:09 Shall we go upstairs and see the set?
01:11:12 The voice of reason.
01:11:13 At least one of us is rational.
01:11:15 Come on, let's get this over with.
01:11:16 Take it easy.
01:11:17 I'm right behind you.
01:11:18 You too, Leo.
01:11:24 Come on.
01:11:25 [music playing]
01:11:29 [music playing]
01:11:33 [music playing]
01:11:36 [chatter]
01:12:00 Alex, please.
01:12:01 Cut it out, Leo.
01:12:04 At least we knew what we were doing.
01:12:06 You'll find out.
01:12:07 I know.
01:12:08 [music playing]
01:12:29 What is it?
01:12:30 It's some kind of bedroom set.
01:12:32 Another seduction scene, Alex?
01:12:34 Well, as a matter of fact, it's the scene of the crime.
01:12:39 Oh, Lord.
01:12:40 What?
01:12:41 I think I know what this is.
01:12:45 This is Monica's bedroom, isn't it?
01:12:47 Very good, Karen.
01:12:49 But--
01:12:50 Her furniture was in storage.
01:12:53 I had it brought here today in the interest of realism.
01:12:56 Is this--
01:12:57 The original?
01:12:58 No.
01:12:59 The police have that in their files.
01:13:01 But everything else is exactly as it was.
01:13:04 The bedclothes, contents of the drawers,
01:13:06 even our champagne glasses.
01:13:09 Oh, I wouldn't, David.
01:13:12 Monica didn't smoke.
01:13:13 There are no ashtrays.
01:13:15 Lloyd, would you turn out the house lights, please?
01:13:18 Oh, and Karen, that chair's out of position.
01:13:21 Move it a little more center, would you?
01:13:27 Ah, ah.
01:13:29 Thank you, Leo.
01:13:32 Well, now what?
01:13:34 Alibis, Walter.
01:13:36 I was wondering when you were going to get around to that.
01:13:38 I've established that you all had motives.
01:13:40 Like hell we have.
01:13:42 But motives are nullified by a legitimate alibi.
01:13:45 Then cross me off your list.
01:13:47 I was in an after-hours bar drinking till 4 o'clock in the morning,
01:13:50 and there must have been 20 witnesses.
01:13:52 And I was with friends.
01:13:54 We went back to my place after the party and commiserated.
01:13:57 Walter.
01:13:58 Fortunately for me, I went home with our company manager.
01:14:01 I sat around with his wife and kids.
01:14:03 Oh, Karen, that leaves you and Leo.
01:14:06 It's easy.
01:14:07 As you keep reminding us, we were living together.
01:14:10 We spent the night in Leo's apartment.
01:14:12 Seems like everyone's accounted for.
01:14:14 Then who was Monica planning to meet after the party?
01:14:18 Who said she was meeting anyone?
01:14:22 She sent me home, Lloyd.
01:14:24 On the one night we should have been together.
01:14:26 And she got rid of the caterers.
01:14:28 Didn't even give them a chance to clean up.
01:14:31 No, she was expecting someone.
01:14:34 Maybe she wanted to be alone.
01:14:36 Then why didn't she lock the front door?
01:14:39 I don't understand.
01:14:40 What do you mean?
01:14:41 She didn't throw the bolt.
01:14:43 I was able to let the police in with my key.
01:14:46 You're saying she didn't want you to stay because someone was coming?
01:14:50 It explains the circumstances, doesn't it?
01:14:53 When I left, she let him in.
01:14:56 Him?
01:14:57 Or her.
01:14:59 They had some kind of argument.
01:15:01 She called me.
01:15:03 He grabbed the phone and hung up.
01:15:06 I think there was a struggle.
01:15:07 She was struck...
01:15:10 and killed.
01:15:11 Where did this happen?
01:15:12 In the study.
01:15:13 It's the only downstairs phone.
01:15:14 Why not up here?
01:15:16 The T. Walter.
01:15:19 She didn't bring it upstairs.
01:15:21 We're back to that again.
01:15:22 Maybe she forgot.
01:15:23 She was upset.
01:15:24 Won't wash, David.
01:15:26 Not too upset to make a cup of tea, but too upset to drink it?
01:15:31 And then, of course, she didn't turn off the downstairs lights.
01:15:34 They were on when I came in.
01:15:35 And the bedroom door was open.
01:15:37 Meaning?
01:15:39 Suicide is a private act.
01:15:41 She'd called me.
01:15:42 I might come over and stop her.
01:15:44 She knew I had the key.
01:15:46 First, throw the bolt on the front door.
01:15:49 Then close and lock the bedroom door.
01:15:51 But she didn't.
01:15:53 She was never upstairs that night alive.
01:15:57 So your imaginary murderer carries her upstairs...
01:16:01 and throws her out of the window.
01:16:03 Why not?
01:16:04 Instead of an unexplained corpse, he creates a suicide.
01:16:07 And the note?
01:16:08 He searches.
01:16:10 Finds a piece of stationary.
01:16:13 Here.
01:16:14 What about fingerprints?
01:16:16 Uh-huh.
01:16:17 Takes the stationary...
01:16:20 presses her fingers to it...
01:16:22 rolls it in the typewriter.
01:16:25 Her prints are on it.
01:16:27 His aren't.
01:16:29 Well, that's very ingenious, Alex.
01:16:31 But even if you're right...
01:16:33 even if somebody did kill her...
01:16:35 it wasn't one of us.
01:16:37 Unless you don't believe our alibis.
01:16:39 Oh, on the contrary.
01:16:41 I sent a team of private detectives to check them out.
01:16:44 Most of them held up.
01:16:46 Most of them?
01:16:48 Three of you were with multiple witnesses when Monica died.
01:16:51 David, you were at a club.
01:16:53 Lloyd with friends.
01:16:55 Walter with your company manager's family.
01:16:58 But you and Leo, Karen...
01:17:03 you two only alibi each other.
01:17:05 We were together.
01:17:06 We only have your word for that.
01:17:08 What do you mean?
01:17:10 There are five motives here...
01:17:12 all hypothetical...
01:17:14 but one of them is real.
01:17:16 It's a matter of record.
01:17:17 Read it.
01:17:18 This is a laboratory report.
01:17:25 Chemical analysis of a tea sample...
01:17:27 submitted by Monica Wells in April of last year.
01:17:30 What does it say?
01:17:32 The sample was saturated with...
01:17:34 I can't even pronounce it...
01:17:36 but it can cause illness and incapacitation.
01:17:39 I found that among her effects.
01:17:40 It's a fake.
01:17:41 Looks genuine to me, Leo.
01:17:43 Easy enough to check.
01:17:44 One legitimate motive and two unsupported alibis.
01:17:47 I am not going to listen to this.
01:17:49 She found out what you were doing.
01:17:51 You both pleaded with her.
01:17:52 You asked her to meet you after the party.
01:17:54 No.
01:17:55 You're the lady who would stick pins in a photograph...
01:17:57 and Monica was a threat.
01:17:58 I never went back there.
01:18:00 Then who did?
01:18:01 I don't know.
01:18:02 Maybe Leo.
01:18:03 But you were with Leo.
01:18:04 Not all the time.
01:18:06 He went out for a while.
01:18:09 That's all I wanted to know.
01:18:11 What are you doing to me?
01:18:12 Well, you did.
01:18:13 You said you couldn't sleep.
01:18:14 You wanted to take a walk.
01:18:15 How long was he gone, Karen?
01:18:17 I don't remember.
01:18:18 20 minutes?
01:18:19 An hour?
01:18:20 No alibi, Leo.
01:18:21 And a motive.
01:18:22 Hey, hey, hey.
01:18:23 This is crazy.
01:18:24 Don't tell me any of you believe this.
01:18:26 All right, I took a walk.
01:18:27 Is that some kind of crime?
01:18:28 And what about her?
01:18:29 If I don't have an alibi, neither does she.
01:18:31 That doesn't matter, Leo.
01:18:32 Why the hell doesn't it?
01:18:33 Because Monica was killed downstairs.
01:18:36 Her murder had to carry her up here.
01:18:39 As we all saw, Karen couldn't even move that chair.
01:18:43 I'm getting out of here.
01:18:44 Nobody's going to hang this on me.
01:18:46 You killed her.
01:18:47 She killed herself.
01:18:51 Her whole life ahead of her, and you killed her.
01:18:53 Alex, take it easy.
01:18:54 Come back here, Leo.
01:18:55 Nobody's going to railroad me.
01:18:56 I'm warning you.
01:18:57 Listen to me.
01:18:59 I've done enough listening.
01:19:00 [gunshot]
01:19:01 [screaming]
01:19:04 Alex, Alex.
01:19:07 [gunshot]
01:19:08 [screaming]
01:19:09 Alex, Alex.
01:19:10 I've got him.
01:19:11 Hold him, hold him.
01:19:12 [gunshot]
01:19:13 [screaming]
01:19:14 I've got him.
01:19:15 I've got him.
01:19:16 Alex.
01:19:17 [gunshot]
01:19:18 Alex.
01:19:19 Give me the gun, Alex.
01:19:20 Give me your hand.
01:19:21 Alex.
01:19:22 [gunshot]
01:19:23 Lloyd, where are you?
01:19:25 Lloyd, put the lights on.
01:19:27 I can't do it.
01:19:28 [screaming]
01:19:29 [gunshot]
01:19:30 [gunshot]
01:19:31 You killed somebody.
01:19:32 Put the lights on.
01:19:33 [gunshot]
01:19:34 I can't.
01:19:35 It won't work.
01:19:37 I got a flashlight.
01:19:38 Where is he?
01:19:39 Somebody say something.
01:19:44 Tell me where he is.
01:19:45 Talk to me.
01:19:49 Where is he?
01:19:50 [music playing]
01:20:07 Lights, Lloyd.
01:20:09 [music playing]
01:20:23 What is this?
01:20:24 What's going on?
01:20:26 Where'd you get the flashlight, Frank?
01:20:28 What?
01:20:29 The flashlight.
01:20:30 Where'd you get it?
01:20:32 Right there, in the drawer.
01:20:34 How did you know it was there?
01:20:36 Oh, I didn't.
01:20:37 I was just looking, you know, for matches.
01:20:40 Monica didn't smoke.
01:20:41 I made that clear.
01:20:43 Why would she keep matches in her bedroom?
01:20:46 What the hell is this?
01:20:47 Why did you open that particular drawer?
01:20:50 It was dark.
01:20:51 I opened up a lot of drawers.
01:20:52 No, you didn't.
01:20:54 Try them.
01:20:55 [drawer opening]
01:21:24 I had every drawer sealed, all except one.
01:21:27 That's the one you opened.
01:21:28 So what?
01:21:35 What difference does it make?
01:21:37 You went to that drawer because you
01:21:38 knew you'd find a flashlight.
01:21:41 What's he talking about?
01:21:43 How would I know that?
01:21:44 You saw it the night you killed Monica,
01:21:47 when you took out the piece of stationary
01:21:48 for her suicide note.
01:21:50 You're out of your mind.
01:21:52 Nobody else knew there was a flashlight in there.
01:21:55 She just bought it that morning.
01:21:58 He could have been in her room.
01:22:00 He carried her upstairs.
01:22:01 You said so yourself.
01:22:03 He doesn't get it yet.
01:22:05 Get what?
01:22:06 Leo wasn't there at all.
01:22:08 After the party, he went home to his two children.
01:22:12 What?
01:22:13 He was with his wife.
01:22:15 What?
01:22:16 He went home to his two children.
01:22:19 What?
01:22:20 The nearest he got to medical school
01:22:21 was playing a male nurse off Broadway.
01:22:24 Not one of my better parts.
01:22:27 But you said--
01:22:28 We all said a lot of things.
01:22:30 None of them were true.
01:22:33 You had motives.
01:22:35 Afraid not.
01:22:37 You.
01:22:38 You wanted her out of the way.
01:22:39 You mean Gramos home et ti?
01:22:42 No such concoction.
01:22:44 It was just part of the script.
01:22:46 Script?
01:22:47 Now listen closely, Frank.
01:22:49 Nothing here today was real.
01:22:51 Nothing.
01:22:52 The scenes we played, the arguments,
01:22:54 they all came out of my typewriter
01:22:56 with a little improvisation from my friends.
01:22:58 I thought we were terrific.
01:23:03 This is crazy.
01:23:05 As for motives, we invented them.
01:23:07 Karen and Leo never had an affair.
01:23:09 Missed opportunity, Leo.
01:23:11 Catch me when my kids are grown.
01:23:13 David and Monica were close friends.
01:23:15 And her relationship with Lloyd was strictly professional.
01:23:19 And I never put my own money in a play.
01:23:22 Oh, I almost forgot.
01:23:25 Here's your lighter back.
01:23:28 You kept it.
01:23:30 Wouldn't do for you to have a lighter in your pocket, Frank.
01:23:33 You might not have gone for the flashlight.
01:23:35 This whole thing was staged?
01:23:38 For an audience of one.
01:23:40 A gun.
01:23:43 Flanks.
01:23:45 And the audition, hiring me to play a cop.
01:23:48 Just an excuse to get you here.
01:23:50 We had to make you a participant.
01:23:53 We even recreated her bedroom
01:23:54 so you'd be back where you were a year ago.
01:23:57 And then we arranged for the lights to go out.
01:24:00 How'd you know about Monica and me?
01:24:19 Well, I didn't at first.
01:24:22 But it was obvious she was expecting someone that night.
01:24:26 Why me?
01:24:30 There are all the people in New York.
01:24:31 Why me?
01:24:33 In her dressing room, she asked me if I could stop someone from working.
01:24:36 I thought that was a strange thing to say.
01:24:38 Then later she was counting money.
01:24:40 A thousand dollars.
01:24:41 So?
01:24:42 It suddenly occurred to me it might be blackmail money.
01:24:45 Maybe she was paying someone off.
01:24:48 But that doesn't explain...
01:24:49 A thousand isn't much.
01:24:51 Who would she think she could buy for that kind of money?
01:24:54 And who could Alex Dennison, a successful playwright, keep from working?
01:25:00 An actor, naturally.
01:25:02 If there was a blackmailer, and he was coming for a payoff,
01:25:06 he'd probably wait outside until our party was over.
01:25:09 And it was raining that night.
01:25:13 Alex remembered there was a cab parked across the street with the off-duty sign on.
01:25:16 I was complaining about it.
01:25:18 I also remember the day Monica ran out of here during previews.
01:25:23 She took a cab home.
01:25:24 And we all know the cliché about out-of-work actors driving taxis.
01:25:29 In fact, Mr. Heller, you yourself had said that you had driven one for a while.
01:25:34 Every cab company keeps records of pickups and deliveries.
01:25:37 It seems a Frank Heller took a fare from here to Monica's townhouse the afternoon of our fight.
01:25:42 He also had his cab out the night of the murder.
01:25:45 With no recorded fares.
01:25:47 Well, why didn't you go to the police?
01:25:49 With what?
01:25:50 Suspicions?
01:25:51 No.
01:25:52 We had to prove that you were in her bedroom that night.
01:25:55 And since we're all creatures of the theater...
01:25:58 Yeah, yeah, yeah.
01:26:02 You decided to do a number on me.
01:26:07 You were good.
01:26:09 You're all very good.
01:26:13 Bravo!
01:26:20 What happened that night, Frank?
01:26:24 That's right.
01:26:28 Without me, you don't have a third act, do you?
01:26:33 It was raining.
01:26:41 I was parked across the street...
01:26:45 waiting for all of you to go home.
01:26:49 The party broke up early.
01:26:51 Some of the guests even tried to get me to take them in my cab in the rain.
01:26:56 I was rather tense. I'd been drinking.
01:26:59 I was going crazy sitting in that cab.
01:27:02 Finally, she let the caterers go home.
01:27:04 I walked across the street.
01:27:07 I knocked.
01:27:10 She was expecting me.
01:27:15 I'm sorry.
01:27:17 Hi.
01:27:26 Not even a hello?
01:27:28 Come with me.
01:27:30 How are the reviews?
01:27:32 You don't give a damn about the reviews.
01:27:34 Okay. No polite conversation.
01:27:37 You want to talk business? We'll talk business.
01:27:40 You were a lot friendlier the last time I was here.
01:27:43 This isn't the last time.
01:27:45 Listen, Frank. I was very angry with Alex.
01:27:48 He opened up a lot of emotions in me that I didn't know I had.
01:27:52 I wanted to punish him.
01:27:54 When I got in your cab the other day...
01:27:56 I couldn't believe it.
01:27:58 Monica Wells coming on to me, inviting me in for a drink.
01:28:02 I was using you, just playing my old seduction game.
01:28:06 I came to my senses. I asked you to leave. Nothing happened.
01:28:09 He doesn't know that. We spent hours together.
01:28:12 You even missed a performance.
01:28:14 You really think that he's going to believe...
01:28:17 that I would pick up a cab driver and let him make love to me?
01:28:20 Maybe. Maybe not.
01:28:22 But I'm betting you'd rather pay a few bucks and just forget the whole thing.
01:28:25 Nuisance value.
01:28:27 Call it whatever you like.
01:28:29 Look, I don't enjoy doing this.
01:28:32 But I've been an actor for 15 years and I'm driving a cab.
01:28:36 I need a stake, I need something to get me moving.
01:28:39 - I read in a paper this morning... - That Alex and I were getting married.
01:28:42 I figured he was a lucky man, so why shouldn't I be lucky too?
01:28:45 Listen to me, Frank.
01:28:47 I got you into this and I do owe you something, so...
01:28:51 if you just forget the whole thing, I promise you...
01:28:53 I will never mention your name to anyone.
01:28:56 Sorry.
01:29:01 What are you doing?
01:29:03 I was going to pay you.
01:29:05 I actually went to the bank this morning and I took out $1,000.
01:29:08 Hey, we're talking about a lot more money than that.
01:29:10 - It doesn't matter, Frank, you're not getting into it. - Paul?
01:29:13 I decided this evening that even if you call this whole thing off...
01:29:16 I was going to tell Alex the truth.
01:29:18 That's not very smart, you know, especially right before the wedding.
01:29:21 Tom, I was honest with him.
01:29:23 As you said, maybe he'll forgive me.
01:29:25 Maybe he won't, but either way, I'm going to pay you.
01:29:28 - Now, wait. - I wouldn't be in your shoes, Frank.
01:29:31 He's got a lot of friends.
01:29:33 Hi, Alex? I know it's the middle of the night.
01:29:36 Can you come over here right away?
01:29:38 Please, it's important.
01:29:40 I know I did, but...
01:29:43 - You know what you're doing? - I think so.
01:29:47 You're just going to ruin it for yourself.
01:29:50 Wait and see.
01:29:55 You're welcome to. Just stay around, Frank.
01:29:58 I'm sure he'd like to meet you.
01:30:00 Don't answer it.
01:30:02 Don't answer it.
01:30:04 Don't answer it!
01:30:06 Don't!
01:30:09 Monica!
01:30:11 Monica!
01:30:13 I called her name.
01:30:21 Which I don't know.
01:30:23 I'm sure she'll come back.
01:30:25 I'm sure she'll come back.
01:30:27 I'm sure she'll come back.
01:30:29 I'm sure she'll come back.
01:30:31 I'm sure she'll come back.
01:30:33 I'm sure she'll come back.
01:30:35 I called her name.
01:30:37 I tried to revive her.
01:30:39 I even felt her pulse.
01:30:41 I felt it flicker for like a second, and then it stopped.
01:30:45 When I realized she was dead, I didn't know what to do.
01:30:51 So you manufactured a suicide.
01:30:54 I didn't want a murder investigation.
01:30:57 So I wiped the blood from the corner of the bookcase.
01:31:02 I picked her up.
01:31:05 I carried her upstairs.
01:31:07 And I...
01:31:09 You know the rest.
01:31:29 Look, I've lived with this a long time.
01:31:32 I did what I did.
01:31:35 But it was an accident.
01:31:37 For whatever it's worth, I didn't mean the killer.
01:31:41 Lieutenant!
01:31:49 Yes, sir.
01:31:51 You heard?
01:31:57 I heard.
01:31:59 Who's this?
01:32:00 Frank, meet the man you impersonated.
01:32:03 Lieutenant McElroy.
01:32:05 You said...
01:32:06 Killed in the line of duty.
01:32:08 I believe that was the dialogue delivered as always with my well-known credibility.
01:32:13 Thanks for coming, Lieutenant.
01:32:16 Good thing I did.
01:32:18 Looks like I owe you an apology.
01:32:19 Not really. I didn't have any proof.
01:32:22 Well, you've made me a convert.
01:32:25 You've done our job for us.
01:32:27 I don't look anything like this guy.
01:32:33 Had to give you a reason for being here, Frank.
01:32:35 One you'd believe.
01:32:37 Come along, Mr. Heller.
01:32:39 If you ever write a play about this, at least I gave you an end, huh?
01:32:45 Thank you.
01:32:54 All the way.
01:32:56 Alex.
01:32:58 I thought it would never work.
01:33:04 Yes, especially with me. I was worried about blowing my lines.
01:33:08 I don't know, Walter.
01:33:10 I thought you weren't half bad, particularly for a non-pro.
01:33:13 Thank you.
01:33:14 You know, the one thing I don't understand is why you went along with it.
01:33:17 Heller, you promised him a lot of money and you told him it was a trap for Leo.
01:33:22 That made him feel safe.
01:33:24 You'd pin it on the wrong man and stop looking.
01:33:26 But even so, he knew he killed Monica.
01:33:29 Why get involved at all?
01:33:31 For one reason, Lloyd.
01:33:33 He's an actor.
01:33:36 And I was offering him a wonderful part.
01:33:39 Exactly.
01:33:41 Listen, why don't we all go across the street and have a drink?
01:33:44 Who's buying?
01:33:45 Well, since it's a special occasion.
01:33:47 No, no, no. He's busy with spending his own money.
01:33:50 I hear you. We'll see about that.
01:33:53 You know, there just might be a play in all that.
01:33:56 Well, why don't we have dinner next week and talk about it?
01:33:58 I'm buying you a drink. Now you want dinner?
01:34:00 You know, if I had him all to do again, I could be a little more convincing.
01:34:04 In certain areas, I like to...
01:34:05 I agree with you, David.
01:34:07 Why don't we go to a place across the street and say Walter's so kind?
01:34:10 Alex! Aren't you coming?
01:34:16 Save me a place.
01:34:18 [door opens]
01:34:21 [door closes]
01:34:24 [music]
01:34:26 [music]
01:34:29 [music]
01:34:31 [door opens]
01:34:39 [music]
01:34:41 [music]
01:34:51 [music]
01:34:53 [music]
01:35:03 [music]
01:35:15 [music]
01:35:17 [door opens]
01:35:24 [music]
01:35:31 [music]
01:35:33 [music]
01:35:43 [music]
01:35:53 [music]
01:35:55 [music]
01:36:05 [music]
01:36:15 [music]
01:36:17 [music]
01:36:23 [music]
01:36:25 [MUSIC]